CULTURAL DIVERSITY MANAGEMENT in EUROPEAN PUBLIC CULTURAL INSTITUTIONS Compilation of National Reports

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CULTURAL DIVERSITY MANAGEMENT IN EUROPEAN PUBLIC CULTURAL INSTITUTIONS Compilation of National Reports

Contents 1. Introduction...... 3 2. Objectives ...... 3 3. Cultural policy towards migrants’ integration in participant countries ...... 4 3.1. AUSTRIA ...... 4 3.2. BELGIUM ...... 4 3.2.1. Flemish community ...... 4 3.2.2. French speaking community ...... 5 3.2.3. German-speaking community ...... 6 3.3. ITALY ...... 6 3.4. SPAIN ...... 10 3.5. SWEDEN ...... 13 4. National pilot profiles conclusions ...... 15 4.1. AUSTRIA ...... 15 4.2. BELGIUM ...... 16 4.3. ITALY ...... 18 4.4. SPAIN ...... 19 4.5. SWEDEN ...... 21 5. Cross-country comparison ...... 23 6. ANNEXES...... 31 I. Analysis of institutions: Austria ...... 31 II. Analysis of institutions: Belgium ...... 43 III. Analysis of institutions: Italy ...... 75 IV. Analysis of institutions: Spain ...... 97 V. Analysis of institutions: Sweden ...... 118

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1. Introduction Brokering Migrants' Cultural Participation (MCP Broker) is a European project that emerges from the need to provide public cultural institutions with mechanisms and tools to improve their management of cultural diversity. Thereby the project seeks to study the situation of diversity in cultural institutions in five European countries, and the adoption of a framework to guide cultural institutions in the management of cultural diversity. Participating cultural institutions will have an evaluation of their integration in society, specifically as regards issues related to migration.

MCP Broker is a project which studies the role of cultural institutions as actors in societies that integrate migrants. It questions how these adapt to the new demographic composition of our society; it also analyzes how institutions react to the new cultural and social flows and foresees (or not) integration mechanisms.

The MCP Broker (Brokering Migrants' Cultural Participation) project is funded by the European Commission-Directorate General Home Affairs, and coordinated by Interarts with the participation of four partners from different EU countries: Austria (Educult), Belgium (Culture Action Europe), Italy (Eccom) and Sweden (Intercult).

This report aims to show the results of all pilot studies on the status of diversity management in public cultural institutions within five European countries. Firstly, the political framework of all countries is explained, before the main conclusions that the pilot researches produced. Moreover, the results of each institution are analyzed with a cross-country analysis approach, compiling the results of the application of the benchmarking tool in a single chapter. Finally, the explanation and analysis of each institution is included in the annexes.

2. Objectives The main objective of MCP Broker is to train public cultural institutions and provide them with the tools needed to improve the management of cultural diversity, as well as stimulate cultural participation of migrants by improving the capacity of local public cultural institutions to interact with them. In this way, the initiative focuses on improving the interaction of public cultural institutions with migrants.

The specific objectives of the project are to take local action to improve the political, economic, social and cultural participation of migrants. Moreover, cultural participation of migrants is driven by the integration of local communities regarding the acceptance of migrants, and respecting the rights of the different cultures present in the community. Another aim stated in the project is to ensure equal treatment of migrants and improve the management of cultural diversity in public and private institutions, education systems, services, media, etc.

The phases of the project are:

I. Benchmarking tool for the management of cultural diversity in public cultural institutions.

II. Pilot studies on the status of diversity management in public cultural institutions in five countries of the European Union.

III. Four types of learning workshops for cultural institutions to provide knowledge and support integration measures in five European countries.

IV. Dissemination of the benchmarking tool and Learning Partnerships to facilitate the use and emulation of the project.

The specific objective of this report is to find out general conclusions for all the participant countries, and develop a framework of the situation of cultural diversity management in cultural institutions, in order to discover the deficiencies and areas of improvement in the cultural sector, and find ways to improve their capacities in each indicator of the benchmarking tool.

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3. Cultural policy towards migrants’ integration in participant countries

3.1. AUSTRIA In terms of cultural policy and migration, the country profile of the compendium on cultural policies and trends in Europe emphasises that apart from individual projects and the stipulation of cultural diversity in strategy papers and laws there has not been any cohesive programmes linking intercultural dialogue and culture in Austria so far. The analysis draws the conclusion that the visibility of migrants as cultural consumers and producers is still low in Austria and that it depends on small cultural initiatives to raise the awareness on the need of intercultural dialogue, which is however growing:

“In fact, the essential players here have been primarily smaller initiatives and cultural associations that try to reflect migrant experiences, e.g. the Soho festival in Ottakring, the Moving Cultures festival in Vienna, and NGOs such as "Initiative Minderheiten" (initiative of minorities) that try to give a voice to minorities living in Austria. The free radio stations, institutions such as the MAIZ in Linz and the interest-group for cultural initiatives (IG Kultur) are also active in this field. The awareness of the need to promote intercultural dialogue is growing and there are a number of initiatives to support this. Thus the "Outstanding Artist Award for Intercultural Dialogue" has been awarded for artistic and cultural achievements that contribute to dialogue and the understanding of people from different countries of origin living in Austria. In the current 2011-2014 international culture concept, the Ministry for Europe, Integration and Foreign Affairs puts a thematic emphasis on dialogue between cultures and religions.”1

Also in terms of cultural policy Vienna takes a specific position regarding cultural participation of migrants. Although culture and arts are not a specific focus in the Diversity- and Integration Monitor of the city of Vienna, the new Viennese government has seen a change in cultural policy in terms of intercultural dialogue and migrant mainstreaming. In the 2010 Viennese Coalition Agreement between the Socialist Party (SPÖ) and the Green Party (Die Grünen) the preamble on the cultural coalition program “Kultur und Wissenschaft 2010-2015“ gives emphasis to the importance of intercultural dialogue and migrant mainstreaming. These two aspects are described as crucial duties of cultural policies with the objective to ensure cultural exchange and the equal treatment of migrants. By these mean the political idea of post-migrant cultural spaces is explicitly promoted in the program.

3.2. BELGIUM

3.2.1. Flemish community The Flemish Parliament approved a Decree for a policy in the field of cultural diversity (relating to ethic-cultural minorities) in 1998 (28 April 1998). The minority policy is a three-track policy: an emancipation policy focused on the integration of the target groups, a reception policy and a relief policy.

Between 1998 and today, the policy course has changed. On the practical and operational level, the Flemish government sees interculturalisation as "a constant process of tuning organisational structures, personnel & services offered to the ethnic-cultural diversified society". Intercultural policy is considered more than a passive tolerance for ethnic-cultural diversity; it is a policy that is capable of actively supporting and stimulating heterogeneity. The actions are focussed on a qualitative and sustainable policy on behalf of people and organisations.

Interculturality and intercultural competence are central concepts in the recent multi-annual cultural policy documents. The following definition of the concept is used in Flanders:

1 Ratzenböck, Veronika; Lungstraß, Anja: Country Profile Austria. Compendium on Cultural Policies and Trends in Europe. April 2014, S. 25 Página 4 de 147

Interculturality concerns the mutual encounter, dialogue & cooperation between people with different ethnic-cultural backgrounds.

Interculturalisation in the cultural sector is mainly seen as policy processes on different tracks referred to as the "3 P's": Participation, Personnel & Programming. On the Flemish level, interculturality is anchored in all decrees and it is a basic principle for the Flemish government as a whole. Government subsidised organisations are invited to not only reflect on interculturality but also to declare a clear position and implement an action programme. Recently, "intercultural dialogue" has been made more prominent in the Arts Decree (2004, amended in 2008), since it has become one of the evaluation criteria in the assessment procedures for projects and structures. The Local Cultural Policy Decree focuses on promoting cultural diversity and working with specific target groups for cultural centres and community centres.

In the previous policy period (2004-2009), a cluster of initiatives formed part of an "interculturality" trajectory ("Actieplan interculturaliseren") that was active in the period 2006- 2009. For instance, it formulated criteria for staff, management and governance of a number of institutions and stimuli to promote the diversity of cultural production and the installation of a knowledge centre for interculturalisation in the Flemish Ministry for Culture. The "Action plan" has recently been evaluated rather critically. The current cultural policy document (2009-2014) keeps cultural diversity high on the agenda; linked to participation, diversity is one of the strategic objectives as a catalyst for innovation. As such, it was a topic of discussion at the 2010 "Cultuurforum". In 2011, the minister of Culture initiated a trajectory in which the cultural sector itself, guided by the "knowledge centre of interculturalisation" of the Flemish government, develops a "statement of commitment" concerning interculturality in their everyday practice.

The perspective of ethnic-cultural diversity has equally been integrated in other policy instruments. Several instruments have been developed to encourage the highest level of participation in the field of culture. Encouraging participation is carried out through various actions, focussed on five different groups (one of which is people with an ethnic-culturally diversified background). To intercept the continuous change that is inherent in a dynamic participation policy, the instruments were bundled in the Participation Decree.

3.2.2. French speaking community With cultural policy being organised on a Community basis by reference to cultural and linguistic affiliation, the question of cultural minorities is viewed here from the point of view of the cultural minorities formed by communities of foreign or immigrant origins. According to 2010 statistics, foreigners make up 9.76% of Belgium‟s total population. In Wallonia itself, the figure is 9.47%, which is close to the average. In Brussels, however, it is 30.02%.

The foreign population in Wallonia breaks down as follows: 7.28% are from countries which are members of the European Union, and 2.19% from outside the EU. In Brussels, the corresponding figures are 19% and 11%. Across Belgium as a whole, the largest numbers among the non-EU population originate from Morocco (0.76% of the total population), Turkey (0.36%) and Congo (0.16%). (figures for 2010).

Cultural operators representing cultural minorities and artists living in Wallonia or Brussels, irrespective of their origin or nationality, have access to various types of support provided by decrees and regulations. However, these operators do report repeated difficulty in accessing these entitlements and these offerings, and this public does find it hard to make the switch to becoming operators.

Recognising and valuing populations‟ cultural diversity requires specific mechanisms which develop gradually, mainly in the form of calls for projects. These mechanisms are designed to promote a dynamic of associations within immigrant circles; to develop and value their expressions, their cultures, their histories and their various heritages; to develop their participation in social and cultural life in Wallonia and Brussels, and to provide a showcase for their expressions and their creations. Particular attention is paid to the expression of the intercultural and intergenerational dimension of these social and cultural groups.

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It is equally important to stress that the youth and continuing education sectors, and Cultural Centres, focus on the effectiveness of the exercise of fundamental rights, including cultural rights, and in particular access to culture and cultural participation by socially excluded people and social groups: a large number of associations base their issues and activities around the development and expression of minority cultures or the defense of the rights, issues and cultures of minority or marginalized populations, or those in an insecure situation. Broadly speaking, priorities are laid down in all sectors, in order to attach value to the new forms of cultural and intercultural expression which are emerging as populations and cultural and artistic practices hybridize. Specific credits, shared across several sectors (culture, education, youth, early years) are managed jointly to support projects by associations, schools or public players to develop projects in socially disadvantaged neighborhoods and municipalities.

These projects relate to school support, learning French, literacy, social cohesion, educational and learning support, cultural action, the collective memory, intercultural dialogue, the expression of cultural diversity and equal opportunities and combatting discrimination.

When it comes to broadcasting, the RTBF (public service radio and TV broadcaster) and all the local TV stations (local editors of public TV services) must ensure, when drawing up their content offer, that the quality and diversity of the programmes available will engage the widest possible audiences, and serve as a factor for social cohesion while meeting the expectations of the socio-cultural minorities and allowing space to reflect the various schools of thought in society without discrimination, in particular in cultural, racial, sexual, ideological, philosophical or religious terms, and without social segregation.

3.2.3. German-speaking community Whether one speaks of minor urban or rural districts in the German-speaking Community, many places are seeing a high number of incomers from non-European states. However, the situation varies from borough to borough, so that each has developed its own measures, which are both social and e.g. cultural in nature.

For its part, the German-speaking Community supports initiatives by private-sector associations to advance integration. Above all in the area of continuing and adult education, recognised organisations have constructed a varied and comprehensive offering that includes literacy courses, language programmes, international events and mor 3.3. ITALY

The Italian Constitution of 1947, Art. 3, affirms that:

“All citizens have equal social dignity and are equal before the law, without distinction of sex, race, language, religion, political opinion, personal and social conditions. It is the duty of the Republic to remove those obstacles of an economic or social nature which constrain the freedom and equality of citizens, thereby impeding the full development of the human person and the effective participation of all workers in the political, economic and social organisation of the country”.

Notwithstandings this statement, cultural minorities have become a very hot issue in Italy in relatively recent times. It is necessary, however, to distinguish between autochthonous minorities, established in Italy centuries ago, and eterochthonous minorities: i.e., the constantly growing number of migrants from Eastern Europe, Africa, Asia and Latin America.

On the one hand, the rights of the autochthonous, officially recognised cultural minorities (Germans and Ladins in the province of Bolzano, Slovenians and Croatiansin Friuli Venezia Giulia, Greeks and Albanians in Southern Italy and Sicily, Catalans in Sardinia) have been well safeguarded through national and regional legislation since the post-war period (most notably by Law 482/1999), and guaranteed by the 1947 Constitution, Article 6. They all enjoy citizen status and the related civic and cultural rights, with a particular focus on language matters. The only exception to this rule is represented by the Roma community, still significantly segregated, although 70 000 out of the 160 000 Roma and Sinti reckoned to be living in Italy enjoy citizen status. Following new migrations from Rumania and the Balkans since the late 1990s, and after

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Rumania and Bulgaria joined the EU in 2007, this community has known an ever sharper increase in number.

As for the cultural integration of new migrant communities, Italy started to deal with the issue of developing a sound policy framework for immigration and integration only recently by comparison with other EU countries. In fact, immigration from the less developed areas of the world is a relatively new phenomenon in our country. It gradually started in the 1970s to gain momentum in the following decades, with the number of regular foreign residents virtually doubling every 10 years, and knowing a further increase after 2000. Although since 2010 migratory flows started to slow down for the first time in years, mainly due to the economic crisis, "the immigrant workforce continues to play a useful role in support of the Italian economic and productive system, thanks to its young age, availability and flexibility (features which, unfortunately, often result in more or less serious forms of exploitation). […] At present, foreign workers employed in Italy – including those categories which are not monitored by the Istat Sample Survey – are about 2.5 million, representing one-tenth of the total employment rate", and account for over 12% of Italy's GDP (Caritas Migrantes, 2012).

According to the latest data, based on residence permits issued by the Ministry of the Interior, foreign residents in Italy (including those awaiting registration) amounted to 5 104 000 at the beginning of 2012; if we then consider the estimated number of illegal immigrants, the actual amount of the migrant population in Italy could be as high as 5 430 000, accounting for around 8.2% of the total Italian population (Istat - Fondazione ISMU, 2012; Caritas Migrantes, 2012).

Figure 1: Foreign residents with a regular residence permit, years 1970, 1980, 1990, 2000, 2005 and 2012*

Source: Fondazione Ismu elaboration on data by ISTAT 2012. *1 January 2012.

This sharp increase over the years is mostly due to our country's rapidly ageing population and the consequent demand for immigrant labour force, as well as to Italy's geographical position at the crossroads between the African and the Asian continent, and at the doorstep of Eastern Europe. In fact, immigration from the latter has grown exponentially, so much so that,at the end of 2011, the European component of Italy's foreign population accounted for 50.8% (EU 27.4%, non-EU 23.4%), followed by Africa (22.1%), Asia (18.8%) and America (8.3%) (source: Caritas Migrantes, estimate on various sources, 2012). Table 2 ranks in absolute and percentage terms the ten most represented nationalities of immigrants with a regular residence permit at the beginning of 2012.

Table 1: Foreign residents with a regular residence permit: most represented nationalities, year 2012* Country of origin Absolute % var. 2012/2011 numbers Romania 997 000 +2.8 Morocco 506 000 +11.9 Albania 491 000 +1.6

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China 277 000 +31.9 Ukraine 223 000 +10.9 Philippines 152 000 +13.4 Moldova 147 000 +12.2 India 145 000 +19.8 Tunisia 122 000 +15 Egypt 117 000 +30 Total 10 countries 3 177 000 Source: Caritas Migrantes, 2012. *1 January 2012.

As shown in Table1, Eastern Europeans – nearly 2 million people among the most represented nationalities (Romanians, Albanians, Ukrainians and Moldovans) – are by far our biggest immigrant community. Also, the Asian community (in particular Chinese, whose number more than doubled in the last decade) is rapidly developing, followed by North Africans, where Moroccans are also on the rise, along with Tunisians and Egyptians. Less numerous is the Latin American community, especially settled in Northern Italy and mostly composed of Peruvians and Ecuadorians.

The most recent evolution in the socio-demographic makeup of Italy's population is particularly evident in schools: according to Caritas Migrantes (2012), foreign students now account for around 8.4% of the overall school population.

Table 2: Foreign students in Italian schools: 2000-2012 School year Numbers % of the overall school population 2000-2001 147 406 1.8 2001-2002 181 767 2.3 2002-2003 232 766 3.0 2003-2004 282 683 3.5 2004-2005 361 576 4.2 2005-2006 424 683 4.8 2006-2007 501 494 5.6 2007-2008 574 133 6.4 2008-2009 629 360 7.0 2009-2010 673 592 7.5 2010-2011 711 046 7.9 2011-2012 755 939 8.4 Source: Fondazione ISMU elaboration on data by the Ministry of Education, 2011; Caritas Migrantes, 2012.

The impact of this constantly growing migratory wave on the Italian society cannot be fully understood without taking into account the huge diaspora experienced by our own country between the late 19th century and the 1960s. The abrupt shift from being a country of emigration (although the latest data point to a significant increase in Italians leaving their country to work abroad – more than 50 000 in 2011) to becoming a country of immigration took Italy by surprise: unlike post-colonial countries such as Great Britain, France and the Netherlands, our nation had first to deal with emergency issues such as welcoming and assisting the growing wave of newcomers, and establishing a legal framework to regulate this new phenomenon. In fact, legislation dealing with immigration adopted since the 1990s may be described as a work in progress, constantly lurching from integration to expulsion, and mainly subject to the shifting political viewpoints of the state and local governments.

Law 39/1990 was the first piece of legislation to deal with the issue of integrating the newcomers. Subsequently, Leg. Decree 286/1998 put immigration on a more legal footing, by

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also providing entitlements to basic social services (in particular the right to education, social security, and national healthcare services).

Law 189/2002, on the other hand, was adopted by Berlusconi's government during a time when the influx of illegal migrants grew exponentially and xenophobic pressures came from the Northern League party; the new law tightened border controls and introduced a highly restrictive immigration regime, as well as easier expulsion procedures.

With the centre-left coalition shortly back in power (2006-2008), a shift in policy occurred once again,the integration of "new minorities" ranking high among political priorities. A draft law was endorsed to facilitate access to citizenship, introduce ius soli for foreign children born in Italy, and envisage the right for regular immigrants to vote in administrative elections.

All these plans were dropped when Berlusconi's right-wing coalition once again won the election in 2008 partly by promising to crack down on crime and immigration. After a "security package" passed shortly after the elections, tough new measures to fight illegal immigration and crime were introduced through Law 94/2009, which makes illegal immigration a crime, provides for higher taxes (e.g. to obtain the residence permit), and makes access to basic social services for legal migrants more difficult.

Law 94/2009 was only the latest of a series of measures by the Berlusconi government to fight illegal immigration. The policy temporarily worked in reducing the number of boat arrivals in Italy (from 36 000 migrants arriving illegally in 2008 to 4 300 in 2010, according to UNHCR), but the uprisings in North African countries are reversing the situation.

It has been mostly left to human rights lobbyists and Catholic organisations to point out that most illegal immigrants are employed in Italian households as cleaners and carers of the elderly. The Catholic Church has also repeatedly criticised the measures envisaged by Law 94/2009, which civil rights groups say could deter illegal immigrants from seeking hospital treatment or enrolling their children in school for fear of being reported to the police.

The following government (2011-2013) showed a different attitude towards immigration and integration issues, so much so that a new Ministry for International Cooperation and Integration was created (although the Ministry of the Interior still remains the key actor in this domain). In March 2012, an "integration agreement" originally provided for by Leg. Decree 286/1998 was introduced to promote a mutual engagement between the state and newly-arrived adult immigrants (from the age of 16 onwards), through language literacy, the knowledge of key civic principles and respect of the "Charter of Values, Rights and Integration" (2007).

Finally, the appointment of Congo-born Italian citizen Cecile Kyenge as Minister for Integration in the new coalition government (2013-2014) has prompted a much-needed discussion on race and immigration in a country that still struggles to come to terms with its rapid demographic, social and cultural transformation.

Leg. Decree on Simplification Measures 2013 make access to citizenship bureaucratically easier for foreign 18-year olds born in Italy; a "mobility grant" is also envisaged for particularly bright students with an immigrant background, making it possible for them to carry on with their university studies also in a city distant from where they live.

Furthermore, L. 97/2013 (European Law 2013) guarantees access to public competitions for non-EU citizens. In the newly appointed Government (February 2014), the Ministry for Integration has been cancelled.

In this general framework of alternate moods towards immigration, it is not surprising that migrant communities' fundamental right to culture and freedom of expression, which is enshrined in the Constitution, has not yet been recognised and explicitly promoted – let alone regulated through specific legislation – by the state administration, nor, more specifically, by the Ministry for Culture. But while no specific cultural policy approach towards Italy's new minorities

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can be identified at the national level, this gap has been partly filled by recent measures taken at the regional and local level.

In the past decade, a number of regional laws have been passed in implementation of Leg. Decree 286/1998 (see above) with the specific aim of promoting the social integration of migrant residents. Many of them, in particular the most recent ones (Liguria's Regional Law 7/2007, Lazio's Regional Law 10/2008, Marche's Regional Law 13/2009, Tuscany's Regional Law 29/2009, Calabria's Regional Law 18/2009 and Puglia's Regional Law 32/2009), explicitly mention "intercultural education and communication" and the "safeguard of cultural identities" as a means for integration; some (most notably Tuscany's) also refer to "the use of the media".

At the local level, many cities in the North and Centre of Italy have appointed representative bodies to promote the civic integration of their growing immigrant communities.

In fact – as it often happens not only in Italy, but elsewhere in Europe – cultural matters concerning immigrant communities still tend to be automatically assigned to social policy and do not seem to concern cultural administrators / institutions and the arts sector as a whole. Noteworthy exceptions to the rule are the programmes and pilot projects promoted by the Department for Heritage Education of the City of Turin with a view to exploring new models of intercultural heritage mediation in museums, and the Institute for Cultural Heritage of the Emilia- Romagna Region, which in the past few years has been successfully tapping into European funding (Grundtivg Lifelong Learning Programme) in order to promote workforce development in museums across the region (e.g. "LEM – The Learning Museum", "MAP for ID – Museums as Places for Intercultural Dialogue" and "MTMS – Museums Tell Many Stories" projects).

Other EU-funded projects have seen the participation of private organisations (as Eccom- European Centre for Cultural Organization and Management) and public bodies (Museo Civico di Zoologia of Rome) in activities aimed, among other things, at fostering migrants‟ cultural access and participation (“DIAMOND – Dialoguing Museums for a New Cultural Democracy”). 3.4. SPAIN The regions‟ cultural and linguistic diversity is protected by the country‟s Constitution of 1978 and by the charters of the autonomous regions, and since 2000 foreign cultural diversity has also been included in cultural policy frameworks, especially in a municipal level.

Indeed, Spain's transition to a democratic model has been based on the recognition of territorial cultural diversity. Understood in this sense, "territorial cultural diversity" becomes the reverse of "cultural minorities". The rapid influx of immigrants since the 2000s until the start of the crisis that led to the transformation of the country, as well as the influx of Spaniards abroad due to the crisis, are relatively recent phenomena that to some extent may help explain why a debate has yet to be held on a cultural policy for minorities, although some aspects of integration are being touched upon regarding education, citizenship, customs, security, etc.

According to the Quarterly Report of the Permanent Immigration Observatory (Ministry for Employment and Social Security), on 30 June 2013, the number of foreign residents in Spain was 5 503 977, an increase of 3.2% with respect to the previous year. As regards the distribution by continent of origin, the largest group comprised those from the European Union Member States (40.7%), Latin America (26.8%), followed by Africa (21.4%), Asia (7%), the rest of Europe (2.8%), North America (0.7%), AELC-EFTA (0.5%) and Oceania (0.0%).

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Figure 2: Foreign Residents by Continent

Africa

Asia Rest of Europe North America AELC-EFTA

Latin America European Union

Source: Interarts

When analyzed by country of origin the largest immigrant community was from Romania (925 140), followed by Morocco (888 937), Ecuador (390 034), Colombia (270 335) and the UK (255 135). In comparison to the previous year, the greater numerical increases have corresponded to Saudi Arabia (from 195 to 372), Nicaragua (from 8 162 to 10 190), Honduras (from 17 865 to 21 445) and Vietnam (from 330 to 396).

The main aim of the government's immigration policy (currently implemented by the General Secretariat for Immigration and Emigration) is to derive the maximum benefit for society as a whole. The policy applies to all the foreigners who reside in Spain, regardless of their nationality of origin. The Forum for the Social Integration of Immigrants, a collegial organization attached to the former Ministry for Employment and Immigration, through the Secretary of State for Immigration and Emigration, was set up in 2006 to aid the integration of immigrants who legally reside in Spain. The Forum is the consulting, informing and advising entity for Spain's national government and, when appropriate, for the 17 autonomous regional and local governments in matters relating to the integration of immigrants. In 2009, the Organic Law 2/2009, which modifies the Organic Act 4/2000, on the rights and liberties of foreign nationals in Spain and their social integration, was approved with the aim of emphasizing the role of integration within the government's immigration policy. According to the European Community acquis on migration and international protection, the new Act sought to achieve a peaceful framework for the coexistence of identities and cultures. In this sense, the Act includes extensive references to the full integration of immigrants in Spanish society, within a framework for a fruitful coexistence of diverse identities and cultures limited only by respect for the Constitution and the Act. More recently, the Spanish Observatory for Racism and Xenophobia has been set up with functions of study and analysis, and with capacity to make proposals for action in the fight against racism and xenophobia and for the promotion of equal treatment.

The cross-sectional nature of immigration has meant that various ministries (education, labor, health and social services, etc.) have drawn up specific regulations and programs for the access of these groups to education, employment, health and accommodation. Of these projects, the most important is the National Action Plan on Social Inclusion (2001-2003, 2003- 2005, 2005-2006, 2006-2008 and 2008-2010). Arriving late and with an insufficient budget allocation given the situation of poverty and social vulnerability of the country, in December 2013, the government approved the National Action Plan on Social Inclusion 2013-2016. It is based on three pillars: inclusion through employment, the guarantee of a system of economic benefits and basic public services and includes, for the first time, the fight against child poverty as a transversal objective. In fact, poverty and social exclusion in Spain affects, at present, very drastically children, the foreign population (excluding those with EU citizenship), unemployed and inactive people, adults with basic education, as well as the residents of the autonomous communities and cities of Ceuta and Melilla located in the southern part of Spain. References to culture in the new plan are related to access by the younger population, as well as the promotion of integration and intercultural coexistence of the immigrant population. With the general aim of promoting social cohesion and built with the maximum institutional and social participation, in September 2011, the government approved the Strategic Plan on Citizenship and Integration (2011-2014), which replaced the previous Plan which was adopted

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in 2007. Addressed to all of the population, autochthonous and immigrants, the Plan recognizes equal rights and duties for everyone, equality of opportunities and respect for diversity. The Plan also wants to consolidate among immigrants a consciousness of belonging to the Spanish community. In that sense, the Plan is aimed to foster among immigrants greater understanding and respect for the common values of the European Union, the rights and duties of residents in Spain, the official languages used in different Communities and the social rules of Spanish society. In relation to the previous Plan, the new Plan considers new measures aimed at responding to new challenges such as how to manage diversity, strengthen human capital and ensure equal opportunities to guarantee social cohesion.

In the strictly cultural field, one of the projects undertaken by the government is the creation of the Roma Cultural Institute Foundation, a state-owned public sector foundation associated to the Ministry of Culture, currently the Ministry of Education, Culture and Sport. Its creation was authorized by the Council of Ministers held on 9 March 2007 with the aim to support the gypsy community, which has maintained its own identity in Spain since its arrival in the XV century. At present, this community represents 1.5% of the overall Spanish population. The Institute contributes to the harmonious relations between the various groups and cultures present in Spanish culture, paying special attention to equality of opportunities and to combating discrimination on grounds of gender or race. The Institute also supports the development and promotion of gypsy history, culture and language in all its manifestations, and contributes to its dissemination through research, publications and the organization of academic and cultural events. From a more general perspective, the government approved a specific Plan for the development of the Roma community to be implemented during the period 2010-2012. The Plan includes a series of actions to promote the social participation of the gypsy community, and the exercising of its rights and access to goods and services. In 2012, in accordance with European regulations, the government approved the Strategy for the Social Inclusion of the Gypsy Population in Spain 2012-2020, which includes the promotion of culture as a complementary line of action.

Another cultural project in this field is the Network of Spanish Jewish Cities, a non-profit making public association with the goal of protecting all facets of Sephardic heritage in Spain. Its members promote cultural and academic projects, organize events in Spain and abroad and support the design of sustainable cultural tourism policies in Spanish cities.

Beyond institutional initiatives, in Spain, there are many actions that promote culture and artistic creation as an "instrument" for the social integration of immigrant communities and cultural minorities, and as a "bridge" between these groups and the host population. Among their various objectives, the following are the most important:

 Promoting reading among immigrants living in Spain: the writing contest around the topic Immigration, intercultural integration and peaceful coexistence within the framework of a general agreement signed by the CEPAIM Foundation (Consortium of Organizations for Integral Action with Migrants) and the Ministry of Education, Culture and Sport to promote reading among the immigrant population;  Increasing visibility through public celebrations and cultural events: the annual festival Murcia: three cultures (Arab, Jewish and Christian) organized by the Murcia City Council; Venagua, organized since 1991 by the Columbares Association in Beniajan (Murcia);  Increasing visibility through the media: the Columbares Association has run various film and TV projects;  Raising the skills of the minority communities: the ETANE Association is a working group from Sub-Saharan Africa which, since 1989, has organized teaching programs for teachers and pupils in Barcelona (Spain); since 2002, "La Formiga", a non-profit organization, organizes the School of Language, which offers language training in the host language to new immigrants;  Intensifying the contacts between the associations and the NGOs: the CEPAIM Foundation (Consortium of Organizations for Integral Action with Migrants);  Increasing intercultural activities for schools: since 1997, the Columbares Association in Murcia organizes the Awareness in Schools project; and

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 Promoting intercultural coexistence and mutual respect for all cultures: since 1992, the Socio-Cultural Association for Cooperation and Development in Colombia and Latin America, Aculco, coordinates different cultural projects (such as festivals, workshops, art exhibitions, etc.) which allow interaction between the autochthonous and immigrants; and Foundation Tot Raval (Barcelona) organizes, since 2003, the cultural festival Raval(s), which shows the various "Ravals" living in the neighborhood.

More recently, the Ministry of Education, Culture and Sport has carried out initiatives aimed at the inclusion of other disadvantaged groups such as the disabled. Thus, in July 2011, the Ministry of Culture and the Ministry of Health, Social Policy and Equality presented the document A Comprehensive Strategy of culture for all, that seeks to provide full accessibility to spaces, cultural activities and services managed by the Ministry of Culture and National Heritage; to encourage artistic creation of people with disabilities, as well as their activity as direct cultural managers, and promote research on technologies that facilitate accessibility to cultural content and spaces. In November 2011, an inter-ministerial body (Inclusive Culture Forum) was created for the follow-up of this initiative, which is composed of both Ministries, along with National Heritage, the largest organization representing people with disabilities, public and private referral centers and various experts.

More specific institutional initiatives in this area include the participation of the National Institute of Performing Arts and Music in several projects, such as "Accessible Theatre", which includes audio description for people with disabilities, or the organization of the "A different look" Festival by the National Drama Centre that programs shows by artists with disabilities2. 3.5. SWEDEN Historically the Folkhem-nationalism (infoga not – vad är folkem nationalism) had strong tendencies to assimilate minorities and immigrant communities. The national minorities (Jews, Roma, Sami, Swedish Finns and Tornedalers) have had a subordinate role and the Swedish policy of assimilation has strongly affected their condition of living and also subjecting their practice and usage of their own language. The racial policy consolidated in the 19th century included among others an explicit strategy for sterilisation of Roma and Sami. Furthermore, the national minorities were also subjected to racial biology studies for a long time. Continuous education for Roma children was for example obstructed as an effect of the Roma population being driven away from place to place. Roma were first given access to continuous education at the end of the 1960s. The policy Sweden pursued has led to a denial of the cultural and linguistic diversity that characterised the country for centuries, with devastating results still traceable. As a direct consequence of the policy pursued, many of the national minority languages are on the verge of vanishing.3

Increasing demand from national minority groups for linguistic and cultural rights in the 1960s, along with growing number of labour immigration, led to changes in policy making. These changes not only influenced the Government Bill on Culture in 1974, but also the immigrant and minority policy of 1975, where multiculturalism replaced assimilation policy. The bill included references to immigrant and minority communities. Together with other marginalised groups, such as people with disabilities, the position of these groups was to be improved through implementation of a democratic and equal cultural policy.4 It has to be emphasised that the assimilationist stance has coexisted with other stances in governmental policy and has still not been entirely abandoned.5

The Language Act (2009:600) established Swedish as the principal language in Sweden but also stated that Finnish, Meänkieli, Romani Chib, Sami and Yiddish, are national minority

2 See “Artes Escénicas e Inclusión Social”: www.mecd.gob.es/cultura-mecd/areas-cultura/artesescenicas/artesescenicas-e-inclusion-social.html 3 Discrimination of national minorities in the education system, DO:s rapportserie 2008:2 eng, (http://www.do.se/Documents/material-gamla-ombudsman/dorapport-nationella-minoriteter-engelska.pdf) 4 Multiculturalism and Cultural Policy in Northern Europe, Pasi Saukkonen, Nordisk kulturpolitisk tidskrift 02/2013, (http://www.idunn.no/nkt/2013/02/multiculturalism_and_cultural_policy_in_northern_europe) 5 Multicultural Sweden, assimilationist France : how and why national identity narratives evolve, Nathalie Blac-Noël, (http://sens-public.org/spip.php?article768&lang=fr#sdfootnote42anc)

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languages and that the public sector has a particular responsibility to protect and promote these languages, along with Swedish sign language. This aim was further reinforced in 2010, through the Act on National Minorities and National Minorities Languages (2009:724) which recognised Jews, Roma, Sami, Swedish Finns and Tornedalers as national minorities and their languages were recognised as minority languages.6 From 2014, the appropriation to the Institute for Language and Folklore has increased by SEK 3 million to strengthen language planning initiatives for the national minority languages, Swedish sign language, and for those whose mother tongue is not Swedish.7

The assimilation policies have also influenced the migration policies where a hegemonic discourse, regarding the integration benefits for the members of ethnic and cultural minorities, lied in adapting to the alleged progressive and individualistic mainstream Swedish culture. This idea was based on the belief that this adaptation or assimilation would provide better access to labour market and yield for social opportunities for the minorities.8

In the 1990s, diversity replaced multiculturalism and when the cultural policy of 1974 was evaluated, the focus on disadvantaged groups was removed. Minority groups were now to be regarded as a part of the diverse Swedish society. Cultural policy acts were meant to highlight international exchange and encounters between different cultures in Sweden. During 1990s, the Swedish integration policy was also reformed considerably. The cultural diversity in society was to be the ground to build general politics on. Financial support for cultural associations came to be considered as means for realising the objectives of integration policy.9

A policy reform in 1997 made a conceptual shift from immigrant policy to integration policy. The diversification of the Swedish society was acknowledged, and integration was understood as a process which concerned both „original Swedes‟ and newcomers. Group-specific policy measures would, however, be limited to such activities that were needed during the first years after arrival in Sweden. The right to be different was guaranteed, but responsibility for maintaining their own language and culture was increasingly delegated to immigrants themselves and the members of minority communities.10

In the Government Bill on cultural policy of 2009, under the heading, „diversity and inter-cultural co-operation‟, the Government proposal discusses discrimination, participation in culture and the arts, gender equality, national minorities and other forms of diversity. Cultural policy should accordingly contribute to expanding diversity and a multifaceted cultural supply and thus broadened freedom of choice for all.11

6 Lagen (2009:724) om nationella minoriteter och minoritetsspråk 7 Swedish Ministry of Culture, (http://www.government.se/sb/d/14978) 8 Multiculturalism and Cultural Policy in Northern Europe, Pasi Saukkonen, Nordisk kulturpolitisk tidskrift 02/2013, (http://www.idunn.no/nkt/2013/02/multiculturalism_and_cultural_policy_in_northern_europe) 9 Har du sett på mångkulturkonsulenten! Utvärdering av verksamheten med regionala konsulenter för mångkultur. Edström, Nina, 2006, Botkyrka: Kulturrådet/Mångkulturellt centrum. 10 Multiculturalism and Cultural Policy in Northern Europe, Pasi Saukkonen, Nordisk kulturpolitisk tidskrift 02/2013, (http://www.idunn.no/nkt/2013/02/multiculturalism_and_cultural_policy_in_northern_europe) 11 Ibid. Página 14 de 147

4. National pilot profiles conclusions

4.1. AUSTRIA The Austrian research has shown that migrant cultural participation is strongly linked to the question of different other socio-economic factor. Relating to theoretical approaches which emphasise the intersection of different forms of discrimination,12 the examination of migrant cultural participation in Austria by other actors has also shown that there is always a need to look at different factors influencing cultural participation of migrants.

As such the yearly Austrian migration report has shown that 45% of Turkish and ex-Yugoslav migrants in Austria are employed in low-paid jobs (Arbeiter) whereas the percentage among employees without migrant background is at 23%. Although the professional position of second generation migrants is converging towards the position of people with non-migrant background, this gap can also be witnessed in terms of education. People with migrant background twice as often only have the mandatory level of education (Pflichtschulabschluss) in comparison to Austrians without migrant background.13 A detailed scientific report evaluating the perspectives of the 2010-2015 cultural programme of the Viennese government in terms of migrant cultural participation has also pointed at a trend describing social challenges as cultural ones.14

According to these findings, our interviewees from cultural institutions have emphasised that reaching out to people with migrant background is very often also a socio-economic questions rather than a cultural one. This is furthermore reflected in the fact that staff from migrant background is often employed in customer service rather than in programming, education or the leadership of cultural institution. Furthermore, a programme which by our interviewees has been repeatedly mentioned in helping to increase migrant cultural participation is the Austrian-wide programme of “Hunger auf Kunst und Kultur.” This programme guarantees free admission of socioeconomic weak audiences to cultural institutions. Our findings therefore also suggest that evaluating and improving migrant cultural participation always has to take into account intersections with other factors, such as the socioeconomic position as well as level of education of persons with migrant backgrounds.

WHAT MIGRANTS?

In addition to factors of wealth and of education also other issues influence migrant cultural participation, especially age. The terms diversity as well as diversity management inherently points at the variety of backgrounds, belongings and ascriptions of people. Therefore, fostering migrant cultural participation generally has to differentiate between stakeholders described by the term migrants. This is also reflected in the fact that no causality exists in the relationship of factors and intersections. That is to say that not all people with migrant background have lower levels of income which has been proven by an Austrian study showing that the expenditure on cultural goods is on average as high among migrants than among persons with Austrian citizenship.15 So no person with migrant background equals another person with migrant background. That puts into question migrant background as a sufficient indicator for education and participation programmes of cultural institutions.

According to this question, our research has shown that the structure and programmes of education departments in museums are generally divided along the line of age of visitors.

12 I.e. , such as the theory of intersectionality, 13 Statistik Austria. Migration und Integration 2014 14 Akbaba, Ülkü; Bratic, Ljubomir; Galehr, Sarah; Görg, Andreas; Pfeiffer, Gabriele C. Kunst, Kultur und Theater für Alle! Impulse für eine transkulturelle Theateroffensive Studie zu Perspektiven der Kunst- und Kulturpolitik Wien 2010 – 2015 mit besonderem Fokus auf Migrationsrealität Ein Projekt von IODO – Kunst, Kultur, Bildung und Wissenschaft. Wien, 2009 15 Educult. Kunst, Kultur und interkultureller Dialog. Wien, 2008, S.65 Página 15 de 147

Migrant background rather functions as a cross-sectional issue. The Wien Museum as well as the Mumok and Kunsthaus Bregenz have projects for adults on the one hand and projects for youngsters, kids and schools on the other hand. Obviously, this division interrelates also with each other, since children‟s inclusion in cultural institution can also bring their parents to visit the establishment. As such children may function as multiplicators in fostering cultural participation of their parents.

WHAT ART? WHAT CULTURE?

Fostering migrant cultural participation while taking into account other sections and factors such as age, socioeconomic position and level of education also very much depends on the vision as well as character of an institution. That means that approaches of museums clearly differ from approaches of theatres. Furthermore, a contemporary orientation of an institution brings above different content than more traditionally oriented houses. Examples can be found throughout almost all of the institutions under consideration.

For instance the cultural institutions very advanced in terms of cultural participation of migrants are for instance the Büchereien Wien (libraries in Vienna) or the WUK (an open cultural house in Vienna). These institutions are, due to its character and self-understanding defined as institutions of exchange and dialogue. Libraries for instance, have the public mandate to educate and provide space for education and exchange. Fostering migrant cultural participation is therefore an inherent factor of the work of the library. Similary, the WUK has, since its beginnings, also been understood as a protected space for minorities. As such work and integration of migrant cultural initiatives has a long tradition in the house. Even inside a specific form of cultural institutions, challenges may differ. Museums such as the MUMOK – a museum for contemporary are – are confronted with different obstacles in reaching out to people with migrant background than for instance city museums such as the WIEN MUSEUM which is directly dedicated to the representation of city life and the changes in city life. Our research has shown that when discussing diversity measures the character of an institution, its history and specifically the art form, are factors which are crucial in defining ways to include migrants as visitors, programmers or staff into the institution.

RELEVANCE OF LEADERSHIP

In several of the interviewed institutions the attempts and efforts of diversity management and migrant cultural participation have changed with new leadership. For instance, the interviewees from the MUMOK have emphasised that the director of the museums gives special attention to these topics. This can help to foster migrant cultural participation also in view of obstacles such as the question of financing.

Also the already mentioned scientific report evaluating the perspective of the 2010-2015 cultural programme in Vienna emphasised the need for leadership when implementing diversity concepts. This is specifically so, since the diversity concept is a top-down approach which has a weakness for reproducing established power relations in an institution. In order to be successful the leadership of a specific organization, institution or sphere therefore has to be committed to it.16

4.2. BELGIUM The eleven Belgian cultural institutions analysed are in themselves “good stories” about efforts made, where possible, although not necessarily with lasting and comprehensive success, to

16 Akbaba, Ülkü; Bratic, Ljubomir; Galehr, Sarah; Görg, Andreas; Pfeiffer, Gabriele C. Kunst, Kultur und Theater für Alle! Impulse für eine transkulturelle Theateroffensive Studie zu Perspektiven der Kunst- und Kulturpolitik Wien 2010 – 2015 mit besonderem Fokus auf Migrationsrealität Ein Projekt von IODO – Kunst, Kultur, Bildung und Wissenschaft. Wien, 2009, S.41 Página 16 de 147

enhance the cultural participation of migrants. The stories were generously shared, usually by the directors of the institutions, and empathetically retold, i.e. with due regard for difficulties encountered. The benchmarks defined by the Brokering Migrants‟ Cultural Participation project were the guiding thread for eliciting the stories.

The benchmark analysis (performance tables) - with all due regard for the need to improve it as outlined above - represents a more sober, quantitative telling of the stories in an attempt to undertake an objective, comparable and replicable analysis. The benchmark analysis tells each institution how well or not it has done across seven themes (tables I to VIII, and summary table at the end of each profile), whereby the weaker areas indicate where efforts might need to be increased. The benchmarks are about cultural institutions making progress with regard to migrants‟ cultural participation; they are about cultural institutions changing profoundly. The benchmark themes could be divided into “talking the change” (vision/policy), “doing the change” (visitors/audiences, programming/collections/narrative, partners), and “being the change” (staff, boards, suppliers). What is very clear is that (looking at the summary of benchmark results across the institutions) “being the change” is where globally least progress can be recorded: There isn‟t a single cultural institution in the sample where the staff or governing body reflects the diversity of the country‟s population. Most institutions are preoccupied with “doing the change”, i.e. with adjusting programming to audiences/visitors in partnerships. They might also “talk the change” depending on resources and strength of mission. A few more remarks follow on each aspect of the change:

TALKING THE CHANGE

“Brokering migrants‟ cultural participation” is a problematical aim for some of the institutions participating in the research because it requires considering migrants as (a) distinct group(s). KVS and M HKA, for example, subscribe to „total diversity‟ and therefore refrain from defining target groups. To target “third country national”, i.e. non-EU citizens legally residing in the EU, as is the remit of the European Integration Fund, which supports this project, would be even more unacceptable to them. The institutions therefore cannot attain certain of the benchmarks, e.g. making oral or written statements about the importance of reaching out to people with a migration background, because they contradict their mission.

Furthermore, the expectation of explicitly serving migrants‟ cultural participation cannot be levelled equally at all kinds of cultural institutions. A Flemish heritage library, for example, cannot be expected to serve the goal as much as a municipal cultural centre. Certain art forms also tend to appeal to (educational and/or monetary) elites, and as long as people with a migration background are not part of those elites through the general integration avenues of society (education, and professional development), the cultural institutions representing the elitist art forms cannot draw people with a migration background into their audiences. Werkplaats Zimmer, for example, acknowledges that contemporary dance appeals to an internationalized, educational elite and will in all likelihood never draw in significant numbers of people from labour migration communities (which however doesn‟t stop the institution from offering employment and training in technical and administrative roles to people from migrant communities and from applying diversity principles to their relationships with the suppliers of goods and services).

The “Brokering Migrants‟ Cultural Participation” project assumed that “talking the change” (if not “doing” and “being” it) might be necessitated by governmental pressure or indeed that demands from policy-makers help cultural institutions bring about their intercultural change. Certainly in Flanders, the Dutch-speaking part of Belgium, diversity criteria have long been attached to public funding for cultural institutions, but compliance with them seems neither part of the ultimate measure of the success of an institution, nor are extra resources usually given to fulfil them. Bart de Baere, director of contemporary visual art museum MuHKA in Antwerp, for example, maintains: “While there is a whole system of criteria, including on visitor diversity, by which the museum has to prove itself in burdensome reporting procedures, decisions on public funding are not propelled by that system.” Rather he is convinced that what really counts is the image the museum has in the media, and the prestige it therefore confers on its locality.

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Declarations of commitment to intercultural change by cultural institutions are therefore altogether much less significant than the commitments themselves. And indeed some institutions fulfil their commitments rather quietly.

DOING THE CHANGE

One of the most striking aspects which this research revealed is perhaps that cultural institutions know relatively little about their visitors or audiences in general. Data gathering on audiences or visitors is in all cases rather restricted; total numbers still matter foremost; the composition of audiences or visitors is largely garnered through the observation of the staff of cultural institutions. So there is little hard data on whether or not cultural institutions reach people with a migration background. Moreover, none of the institutions interviewed indicated that they needed to seek out people with a migration background for a current lack of audiences (projections into the future being a different matter). Where cultural institutions orientate themselves towards new audience and seek different ways of engaging with them based, they seem to do so based on their subjective perceptions of new existing and emerging realities. Individual champions of intercultural change carve out new institutions depending on the influencing factors of their environments and the tools at their disposal.

BEING THE CHANGE

The research shows that most cultural institutions struggle with achieving staff (and board) diversity - particularly diversity of the staff, which cultural institution employ rather than staff which they contract for specific assignments, and the reasons are manifold. First of all, if an institution is part of a city‟s administration (library, museum) it might not be able to set the rules for its recruitments (or its governing body or its supplier relationships).

Secondly, opportunities to create new posts in cultural institutions are rare because of funding cuts. Even when staff is replaced, the vacancies often have to be filled through internal recruitment (cultural centres, libraries or museums in some cases belong to the administration of their city, so inter-service recruitment is an option).

Thirdly, diversifying staff takes effort, e.g. to find out how to go about advertising and recruiting staff differently. Smaller cultural institutions tend not to have dedicated human resource personnel and are often so strapped for time resources, that they even find it difficult to engage with public programmes designed to help them diversify their staff (e.g. Actiris Diversity Plans). Where cultural institutions are big enough to have human resource departments, they may be preoccupied with instituting other government policies, for example enabling employees to work up to raised retirement ages or to provided in-service training (e.g. BOZAR – mentoring scheme and language courses).

Of course, such reasons should not serve as excuses. More fundamentally, sometimes it is not yet sufficiently recognized that diversity in programming and audience diversity hinge on staff diversity. Most importantly, however, the diversification of staff is so difficult because it involves ceding power. It involves acknowledging that our societies have changed and that other people should occupy important posts, that other people should have the opportunity to shape things. Individuals mostly can‟t be relied upon to cede power voluntarily. It helps if communities decide collectively how to regulate power transfers. The benchmarking tool for “Brokering Migrants‟ Cultural Participation” has the potential to help the willing and could be employed to apply judicious pressure for change where it might be resisted. This report, by having put the benchmarks to the test with Belgian cultural institution, paves the way for taking the tool to the next quality level where it can fulfil its potential. 4.3. ITALY The Italian pilot research shows that in some cases there are some interesting and innovative initiatives which take place thanks to single departments or even individuals, but which are not supported by the institutional and political contexts. There are other cases or very significant cultural institutions – in terms of dimensions and numbers of visitors/spectators – where the issue is not at all tackled.

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Particularly, some of the most common pitfalls identified during the research in terms of approach towards the issue of migrants participation are:

 The scarce involvement of the higher levels of the cultural institutions and of their political references in considering the issue as a priority;

 The lack of training of the cultural professionals, who very often feel themselves inadequate to tackle the issue;

 The low level of communication/dissemination of good practices, which is strongly required by cultural institutions, also in terms of sharing of methodologies and approaches.

A project like MCP partially represents an answer to all the above mentioned issues, because on the one hand it intends to bring attention to it also at a high institutional and political level, on the other one it will offer training opportunities and the chance of knowing and sharing good practices through the learning partnerships and the dissemination of the research report. 4.4. SPAIN The Spanish pilot research revealed 4 cultural institutions in an advanced level, and 1 institution with a basic benchmarking level, leaving the rest of institutions in different positions of the intermediate level: 1 in upper intermediate, 1 between lower intermediate and upper intermediate, 1 between basic and upper intermediate, and 3 between basic and lower intermediate.

Figure 3: Benchmarking Levels in Percentage

Advanced 9% 9% 37% Between Basic and 9% Lower Intermediate

9% Between Basic and Upper Intermediate 27%

Almost 40% of the cultural institutions analyzed have an advanced level in the benchmarking tool, a fact that shows the good performance of some institutions and their commitment to migrants‟ cultural participation. These institutions are devoted to the understanding and dissemination of interculturality and identity issues, as well as integration and social cohesion, in an attempt to enhance the opportunities of communities at risk of social exclusion. Other important fact shown in the compilation of information about institutional level of migrants‟ cultural participation is that 36% of the institutions have a lower intermediate or basic level, displaying the necessity of developing migrant‟s cultural participation policies and methods to improve the diversity intercultural processes in the cultural sector.

Hereafter the different criteria‟s results are analyzed to have a better understanding of the potential improvement areas or weaknesses of the cultural institution based on the results of applying the benchmarking tool in each specific area of the institutions‟ activities. The graphs below show the results of the each specific criterion in percentages: institutional vision and policy, audiences, programming and repertoire, as well as partners and collaborators. In relation to the other criteria (staff, boards and governing bodies, and suppliers), it is not possible to analyze them in the Spanish institutions, since all the decisions related to those criteria are a responsibility of the State, or in other words, the Spanish public cultural institutions cannot influence the diversity of staff, boards and suppliers since they are hired by the State with no cultural diversity procedures.

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Figure 4: Institutional Vision and Policy Figure 5: Audiences

Basic 18% Advanced 27%

Advanced Lower 46% Basic Interm. 55% 18% Lower Interm. Upper 18% Interm. 18%

Figure 6: Programming/Repertoire Figure 7: Partners/Collaborators

Basic 18% Advance Basic 37% d Advance 27% d 37%

Lower Interm. 27% Lower Upper Upper Interm. Interm. Interm. 9% 27% 18%

Firstly, and regarding institutional vision and policy, 73% of the cultural institutions are in the lower intermediate level or below. Therefore, one of the main improvements regarding migrants‟ cultural participation should involve an upgrade in this issue. The approach to enhance the institutional vision and policy of cultural institutions includes several subjects. The institutions should start to perceive themselves as a cultural space for interaction, participation and cooperation, as well as to reflect society‟s diversity. Additionally, consultation groups can be created to break barriers of access and participation (incorporating the results to the institutions‟ policy) and structures to ensure the commitment to migrants‟ cultural participation (specific departments), reflecting it in policy documents or contracts. The funding for migrant cultural participation must have a permanent or core funding line, and the evaluation of programs needs to be carried out in all stages through guidelines and standards, sharing the results internally and externally.

The results of the pilot research in relation to visitors and audiences are fairly positive. 64% of the cultural institutions are in the two highest levels (advanced and upper intermediate). 46% of those institutions work on developing hybrid audiences and ownership of projects, and the targeting of migrants is no longer seen as a separate domain (targeting polices have become superfluous). It is worth mentioning that the good results in the audience criteria can be conditioned by the fact that some institutions do not perform diversity programs, and therefore they do not target or approach migrants (the benchmarking tool considers an advanced level to target migrants with identical strategies as to the autochthonous audiences).

With regard to the programming and repertoire, 45% of the institutions have a basic or lower intermediate level in migrants‟ cultural participation. Accordingly almost half of the institutions analyzed exhibit works which migrants would experience in their countries of origin, focused on traditional cultural expressions and traditions, as well as activities to educate migrants about the values, history and values of the host country. In order to improve the results of this group of

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institutions, the cultural plans must focus in hybridized and inclusive productions, without underlining the migration background of participants and works. In addition, the programs should boost the co-production of knowledge and narratives.

The majority of cultural institutions do not have a specific approach towards partners and collaborators and its implication in migrants‟ participation. Consequently most of the institutions‟ collaborations do not have a permanent strategy or scheme to increase the participation of migrants. On the other hand, 27% of the cultural institutions have a growing number of strategic collaborative relationships in different sectors of civil society (upper intermediate level), and other 27% act as an umbrella for organizations, collaborating in several sectors of society in order to optimize the productions‟ diversity (advanced level).

In conclusion, the Spanish research study highlights several needs and impediments in the institutions‟ approaches to tackle the cultural participation of migrants:

 Strong lack of awareness in the institutions regarding vision and policy to enhance migrants‟ cultural participation.

 Funding of migrants‟ cultural participation is not based in separate funding lines, but provided by the institutions‟ general budget.

 Evaluation of migrants‟ participation programs is not carried out in all phases and the standards are improvable.

 No existence of a specific department within the cultural institutions to deal with diversity concerns and participation of migrants.

 In general, cultural institutions do not encourage project ownership or co-production, and visitors with migrant background are not included in the interpretation of works or repertoire. The approach and identification of migrants are perceived as separate domains of the institutions‟ policies.

 There is a deficiency in relation to the migrant participation in staff, boards/governing bodies, and suppliers. As mentioned before, the public cultural institutions cannot influence these issues since the State stipulates the requirements about contracting employees and companies (no provisions about migrant‟s participation). 4.5. SWEDEN The Swedish pilot research shows that none of the participating cultural institutions in the project has a consistent diversity perspective that concerns the overall organizations and includes its different departments.

When analyzing the data we can clearly see that the cultural institutions without policies or a concrete strategy cannot rise over basic level.

Concerning programming, there are good initiatives embracing diversity and inclusion however this has been bound to individual engagement or appointed to a specific department of the organization, therefore the result is not visible in the whole organization and poorly communicated.

The audience work is in general not strategic when it comes to involving migrant communities. Few institutions have mapped the migrant communities in their mission area.

We find the lowest levels of diversity within the staff, 10 out of 12 institutions reach the basic level and 2 reach the lower intermediate level.

Most of the cultural institutions boards‟ are politically elected therefore it‟s difficult to draw any conclusions, which is why the benchmark is not applicable. The CI‟s are in general bound to the municipality‟s rather complicated rules concerning subcontractors and are therefore not free to neither choose nor engage in this issue.

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Finally, the self-perception of power and privileges is rather weak within most of the cultural institutions. We also see a risk with an increased influence of the Sweden Democrats that might jeopardize the current political vision of a culture for “all”.

The conclusions of the pilot research lead to the next recommendations or actions to undertake in order to improve the diversity management in Swedish cultural institutions.

- A clear policy document or concrete strategies on how to work with diversity and inclusion are crucial for success.

- The CI should regard development in competence in diversity and inclusion as part of the overall organizational development.

- Set up teams with internal and strategic partners in order to secure engagement and sustainability for diversity and inclusion.

- On an individual level reflect on your role as a gatekeeper and work with norm critical and postcolonial perspectives.

- Each CI should collect data and map the migrant communities in their mission area in order to picture their potential audiences and understand their target groups.

- All new recruitments need to have a clear diversity target. There is very little recruitment in the cultural sector therefore each opportunity needs to be regarded with special attention and affirmative action. Diversity and intercultural competence need to be the leading perspectives. We therefore strongly recommend competence based recruitment processes.

- Subcontracting is difficult and time-consuming. Team up with other cultural institutions in the municipality together with the municipality‟s procurement office aiming in including diversity and intercultural competence in the offers.

- Public funding that the cultural institutions receive should be measured towards its results and its work with diversity and inclusion of migrants. Public bodies should work much more proactively with funding as a steering tool.

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5. Cross-country comparison This chapter aims to compare the main findings and results of the analysis of cultural institutions in the five participant countries.

The Austrian pilot research was developed through the analysis of nine cultural institutions. Given that the publication of rankings, especially in the cultural field, is not common in Austria (where data protection is a very sensitive issue), the participant institutions were not informed during the interview process that there will be a public ranking. Therefore, the Austrian partner did not receive these institutions‟ consent about the public dissemination of this ranking.

The Belgian national research about diversity management in public cultural institutions led to different results. Since the report was developed by numeric benchmarks, they are translated into categories in order to be able to compare them with the results in the rest of the countries.

In Italy, 10 institutions were analysed, and in Spain and Sweden, 11 cultural and 12 institutions were studied respectively.

Table 3: Assessment of European Cultural Institutions

ASSESSMENT LEVEL Name Typology Country Institutional Audiences Programming Partners & Staff Boards Suppliers Vision & /Repertoire Collaborators Policy 1 Wien Museum Museum Austria 2 Mumok Museum Austria 3 Kunsthaus Museum Austria Bregenz 4 Landestheater Theatre Austria St.Pölten 5 Tanzquartier Wien Dance Theatre Austria 6 Büchereien Wien Library Austria 7 Steirischer Herbst Festival Austria 8 WUK Arts House Austria 9 Anton Bruckner School Austria Private University 10 Bozar Fine Arts Centre Belgium Basic Lower Basic Lower N/A N/A N/A Intermediate Intermediate

11 MIAT Museum Belgium Lower Lower Lower Lower Basic Basic N/A Intermediate Intermediate Intermediate Intermediate 12 Wiels Contemporary Visual Belgium Lower Basic Basic Basic Basic N/A N/A Arts Centre Intermediate 13 KVS Theatre Belgium Lower Upper Advanced Lower Upper N/A N/A Intermediate Intermediate Intermediate Interm ediate 14 Cultuur Centrum Multidisciplinary Belgium Lower Upper Lower Lower Basic N/A N/A Sint Niklaas cultural centre Intermediate Intermediate Intermediate Intermediate

15 WP Zimmer Contemporary dance Belgium Basic N/A N/A N/A N/A N/A Lower production Intermedi ate 16 Bibliotheek Gent Public library Belgium Lower Basic Basic Lower N/A Lower N/A intermediate Intermediate Interme diate 17 T‟Arsenaal Theatre Belgium Lower Lower Lower Lower Basic Advanc Lower Intermediate Intermediate Intermediate Intermediate ed Intermedi ate 18 M HKA Art museum Belgium Basic Lower Upper Basic Basic N/A Lower Intermediate Intermediate Intermedi ate 19 Beursschouwburg Performing arts Belgium Basic Basic Lower Lower Lower Lower N/A centre Intermediate Intermediate Interm Interme ediate diate 20 Erfgoedbibliotheek Heritage library Belgium Basic Basic N/A Basic Basic N/A N/A 21 Brera National State owned Italy Lower Upper Advanced Lower Lower Basic N/A Gallery, Milan museum intermediate intermediate intermediate interm ediate 22 Museum of Private museum Italy Lower Upper Upper Lower Lower Basic N/A Peoples and intermediate intermediate intermediate intermediate interm Cultures, Milan ediate 23 MAXXI, Rome Private/public Italy Basic Lower Basic Lower Basic Basic N/A museum intermediate intermediate 24 City Museum of City museum Italy Basic Upper Lower Upper Basic Basic N/A Zoology, Rome intermediate intermediate intermediate

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25 Museum of Natural City museum Italy Upper Upper Lower Upper Lower Basic N/A History and intermediate intermediate intermediate intermediate interm Archaeology, ediate Montebelluna (Treviso) 26 Opera Theatre, Theatre/Opera Italy Basic N/A Basic Basic Basic Basic N/A Rome house 27 Auditorium Music Theatre/Opera Italy Basic N/A Basic Basic Basic Basic N/A Park, Rome house 28 Teatro dell‟Argine, Theatre/Opera Italy Upper Upper Advanced Advanced Basic Basic Basic S. Lazzaro di house intermediate intermediate Savena (Bologna) 29 City Libraries of Library Italy Lower Upper Advanced Upper Basic Basic N/A Genoa intermediate intermediate intermediate 30 Libraries of Rome Library Italy Lower Upper Advanced Upper Basic Basic N/A Institution intermediate intermediate intermediate 31 Red de Bibliotecas Public Libraries Spain Advanced Advanced Advanced Advanced Basic Basic Below de Andalucía threshold 32 Conservatorio Municipal Spain Basic Lower Lower Basic Basic Basic Below Municipal Conservatory intermediate intermediate threshold Barcelona 33 Museo de América State owned Spain Lower Advanced Advanced Advanced Basic Basic Below museum intermediate threshold 34 Museo State owned Spain Basic Upper Basic Upper Basic Basic Below Arqueológico de museum intermediate intermediate threshold Badajoz 35 Museo y Centro de State owned Spain Basic Basic Basic Basic Basic Basic Below Investigación de museum threshold Altamira 36 Museo Marítimo de City hall owned Spain Basic Upper Lower Upper Upper Basic Below Barcelona museum Intermediate Intermediate Intermediate Interm threshold ediate

37 Museo Etnológico City hall owned Spain Advanced Advanced Advanced Advanced Basic Basic Below de Barcelona museum threshold

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38 Museo de la Public consortium Spain Advanced Advanced Advanced Upper Basic Basic Below Inmigración owned museum intermediate threshold 39 Museo d‟Historia City hall owned Spain Basic Advanced Upper Lower Basic Basic Below de Barcelona museum Intermediate Intermediate threshold

40 MACBA Public shared Spain Basic Lower Lower Basic Basic Basic Below ownership museum Intermediate Intermediate threshold

41 Centro Dramático Theatre production Spain Lower Basic Lower Basic Basic Basic Below Nacional Intermediate Intermediate threshold

42 Malmö Museer Museum Sweden Advanced Upper Upper Upper Lower N/A N/A intermediate intermediate intermediate interm. 43 Stockholms Museum Sweden Basic Basic Basic Basic Basic N/A N/A Stadsmuseum 44 Bohusläns Museum Sweden Upper Upper Lower Lower Basic N/A N/A Museum intermediate intermediate intermediate intermediate 45 Västerbottens Museum Sweden Upper Basic Basic Basic Basic N/A N/A Museum intermediate 46 Riksteatern Theatre Sweden Basic Upper Lower Upper Lower Basic Basic intermediate intermediate intermediate interm. 47 Västerbottenteater Theatre Sweden Basic Basic Basic Basic Basic N/A N/A n 48 Kulturhuset/Stadst Culture Sweden Basic Lower N/A Basic Basic N/A Basic eatern House/Theatre intermediate 49 Folkoperan Opera House Sweden Advanced Basic Basic Upper Basic Basic Basic intermediate 50 Vara Konserthus Concert House Sweden Basic Basic Basic Basic Basic Basic Basic 51 Länsbiblioteket i Library Sweden N/A N/A N/A N/A Basic N/A N/A Västerbotten 52 Finspångs Library Sweden Basic Lower Lower Basic Basic N/A Basic Bibliotek intermediate intermediate 53 Botkyrka Culture and arts Sweden Advanced Lower Basic Lower Basic N/A N/A Kulturskola school intermediate intermediate Source: Interarts

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Figure 8: Number of cultural institutions by country

Austria; 9 Sweden; 12

Belgium; 11 Spain; 11

Italy; 10

The total of institutions analysed under the umbrella of the projects is 53, with a wide range of institutions‟ types, covering museums, libraries, performing arts centres, etc.

More than 40% of the institutions analysed are museums (22 institutions), with different public ownership schemes (municipal, state, city hall, etc.). The next most important category in this study is the one comprising different types of theatres and opera houses, as well as those institutions dedicated only to the production of theatre performances. This category represents 22% of the overall analysis. Public libraries are another important factor in the European pilot studies, since 15% of the institutions are book repositories. Contemporary visual art centres, concert houses and art schools symbolize 4% of the institutions each. Furthermore, the smaller categories, with a 2% each, are festivals, fine art centres, art houses, performing arts centres, and conservatories.

Figure 9: Typology of cultural institutions

Museums 4% 2% 2% Contemporary Visual Arts Centre 15% Fine Art Centres 41% Art House 2% Theatre/Opera house 4% Concert House Performing Arts Centres Libraries

Art schools 22% Conservatory 4% 2% 2% Festival

Moreover, the results of the benchmarking tool application to each institution are very diverse. The next figures will show the cultural institutions assessment of applying the benchmarking tool, (from basic to advanced) in each indicator of the benchmarks, showing the most urgent needs in terms of improvement of the institutions regarding the categories of the benchmarking tool. The cross country analysis is limited by the fact that some of the results in the indicators do not apply to specific institutions, whether the institutions cannot implement actions on those indicators, or the interviewers could not establish comprehensive answers from the institutions representatives. In these cases, the indicator is set up as information not available. Moreover, when an institution does not reach the minimum requirements to be included in the basic assessment of the benchmarks, it is defined by below threshold.

In order to analyze the main needs of the cultural institutions and their performance in cultural diversity management, the next figures show the assessment of all cultural institutions in each indicator of the benchmarking tool. Firstly, 50% of the institutions are assessed as basic in the institutional vision and policy indicator and, secondly, 26% of the cultural institutions have a lower intermediate assessment level. Accordingly, 21% of the cultural institutions are assessed as above lower intermediate level. Since the majority of the cultural institutions are below the lower intermediate assessment, it can be identified that the institutional vision does not often include socio-cultural goals regarding the cultural participation of migrants.

Figure 11: Institutional vision and policy Figure 12: Institutional vision and policy (%) 7 Basic 6 2% Basic 5 Lower Intermediate 13% Lower 4 Intermediate 9% 3 Upper Intermediate 50% Upper Intermediate 2 26% Advanced 1 Advanced 0 Information Not Information Not available Available

The visitor and audience indicator show similar results.

Figure 13: Visitors / Audiences Figure 14: Visitors / Audiences (%)

8 Basic 7 Basic 6 9% Lower Intermediate 5 11% 25% Lower 4 Intermediate 3 Upper Intermediate Upper 2 Intermediate 32% 23% 1 Advanced Advanced 0 Information Not Information Not Available Available

Figure 15: Programming / Repertoire Figure 16: Programming / Repertoire (%)

7 Basic 6 Basic 9% 5 Lower Intermediate 4 32% Lower 21% Intermediate 3 Upper Intermediate Upper 2 11% Intermediate 1 Advanced 27% Advanced 0 Information Not Available

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Figure 17: Partners Figure 18: Partners (%)

8 5% Basic 7 Basic 6 9% 5 Lower Intermediate 35% Lower 4 Intermediate Upper Intermediate 21% 3 Upper 2 Intermediate 1 Advanced Advanced 0 30% Information Not Available

Figure 19: Staff Figure 20: Staff (%)

12 Basic 5% 10 Basic 7% 8 Lower Intermediate Lower 6 14% Intermediate Upper Intermediate 4 Upper Intermediate 74% 2 Advanced Advanced 0 Information Not Available

Figure 22: Boards (%) Figure 21: Boards

12 Basic Basic 10

8 Lower Intermediate 36% Lower Intermediate 6 Upper Intermediate 57% Upper 4 Intermediate 2 Advanced 2% Advanced 0 5% Information Not Available

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Figure 23: Suppliers Figure 24: Suppliers (%)

12 Basic Basic 10 Lower Lower Intermediate 14% 8 25% Intermediate 7% 6 Upper Upper Intermediate Intermediate 4 Advanced Advanced 2 54% Information Not 0 Information Not Available Available Below threshold Below threshold

An additional analysis developed in the next graphs concerns the results regarding the typology of the cultural institutions, in order to find the areas of improvement in each institution typology. Therefore, the three bigger typologies within the pilot studies (museums, libraries, and theatre and opera houses) are assessed in each indicator of the benchmarking tool.

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6. ANNEXES

I. Analysis of institutions: Austria

Wien Museum17

SHORT DESCRIPTION OF THE INSTITUTION According to its mission statement, the Wien Museum is a general-purpose metropolitan museum with a wide range of collections and exhibitions - from the history of the city to art, fashion and modern culture, from the earliest settlements to the present day. Because of its general approach and interdisciplinary potential, it occupies a unique position among Vienna‟s museums. It has sites throughout the city. Taking the city of Vienna as a model, it explores the general theme of social, cultural and urban change in comparison with other cities. The museum combines a permanent exhibition with changing special exhibitions. Some examples for recent special exhibitions are:  World War I in Vienna - City Life in Photography and Graphic Art (2014)  The Metropolis Experiment - Vienna and the 1873 World Exhibition (2014)  The "Austrian Riviera" - Vienna discovers the seaside (2013/2014)  Edith Tudor Hart - In the Shadow of Tyranny (2013/2014)  Viennese Types - Clichés and Reality (2013)

The exhibition “Gastarbajteri” in 2004 was specifically dedicated to 40 years of workers migration since the signature of the Agreement between Austria and Turkey as well as Austria and the Socialist Federal Republic of Yugoslavia on specific conditions for recruiting foreign workers. The exhibition was curated and organized in cooperation with the NGO Initiative Minderheiten and is understood as one of the milestones in Austria for exhibiting migrant history.

INSTITUTONAL VISION AND POLICY The importance of diversity is emphasised by the mission statement of the Wien Museum: “The history of the city and the cultures within it are not regarded as homogeneous processes, and the collection of objects and their exhibition are presented and managed with account taken of the lifestyles, interests and recollections of people of different origins.”18 Migrant history is understood as inherent part of the history of the city. Therefore, the museum attempts to incorporate migrant perspectives – similarly as women‟s perspectives, throughout the range of its work. It is the vision of the current leadership of the Wien Museum to change the character of the city-museum, from a bourgeois institution as which it has been founded to an institution which reflects on the variety of backgrounds present in Vienna.

The central document for the museums vision is the mission statement quoted above. There are no other documents defining specific factors and indicators for diversity management and migrant cultural participation in the museum. However, every two year the museum conducts a survey among visitors. At the same time visitors are asked about their postal code when buying a ticket to the museum. However no statistical data on migrant cultural participation is gathered.

VISITORS / AUDIENCES The work of the Wien Museum education department is generally divided among the age of its audiences. There are specific education programmes for schools, children, adults and elderly people. Specifically in the work with schools the Wien Museum emphasises intercultural dialogue. By these means the museum initiated intercultural project weeks which included guided tours on graffiti‟s and xenophobic doodles throughout Vienna as well as a video contest on the topic of racism. In the framework of the education programme “Schule stellt aus” (school

17 Profiles of the institutions under consideration are based on interview with representatives of the institution as well as public documents and sources from the institutions. 18 Mission Statement Wien Museum; http://www.wienmuseum.at/en/about-the-museum/mission-statement.html Página 31 de 147

exhibits) participatory exhibitions are organized in cooperation with schools. This programme repeatedly also repeatedly includes intercultural aspects due to the background of the children included. As such the exhibition Erik (2011/12) was organized broaching the issue of intercultural dialogue between children and their parents, looking for instance at the place of birth of the parents.

In addition, specific migrant audiences are addressed in the context of specific exhibitions, such as in the case of the 2004 exhibition “Gastarbajteri”. On this occasion the education concept puts emphasis on counter-narratives against dominant representations and historic images of Gastarbajteri. The aim was not only to provide insight into the approaches of the exhibition, but also to initiate discussion on it. A similar exhibition in terms of cooperation partners and approaches is organised for 2015 looking at the history and spaces of the Roma community in Austria.

The identification of cooperation partners in education depends on the topic of the relevant exhibition. However, there is no specific methodology in identifying and collecting information about migrant community organisations. The museum disposes of a detailed address data base with a range of filter and search opportunities to look for migrant community organisations. Furthermore, the museum is regularly approached by various migrant organizations.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE According to its visions and statement of the Wien Museum representative, the museum realizes its vision also in terms of programming. The topic of movement and nomadism is central to its self-understanding and thereby also inherent part to the programming of the repertoire.

In terms of collections the museum however sees a challenge in the gathering of history and exhibition objects of communities which, until now, have only marginally been represented in the representation of museums.

PARTNERS / COLLABORATORS Partners and collaborators in exhibitions are defined according to the topic of the exhibition and are looked for individually according to the occasion. As such the Roma NGO Romano Centro is a direct partner in the planning and implementation of the 2015 "Romane Thana" exhibition of the Wien Museum. Ideas and initiatives on cooperation‟s come from different departments of the museum and are finally decided by the directorate, in general the approach is to reach as many as possible institutions and organisations.

From the perspective of the museum, one challenge in terms of cooperation is also that not all potential collaborators are interested in the medium of exhibitions. Although the Wien Museum seems to be understood as an open house from the point of stakeholders who approach the museum, the challenge is to reach out to stakeholders who do not know it. In addition, many groups are not familiar with exhibition as an art medium.

STAFF /BOARDS / GOVERNING BODIES According to the information received from the museums representative, the diversity in terms of background of staff members is very rich. This is however mainly the case in the oversight section of the museum. Also among the curators there are some employees with foreign background. In general, the diversity is however higher in low-paid jobs than in other departments of the museum. Thereby, the diversity of the team is understood as great value to the museum, yet, no specific investigation has been made into the background of the employees in order to specifically use it.

In terms of intercultural training the employees of the Wien Museum are able to attend personnel training offered by the city of Vienna which regularly. Furthermore, especially the education department is regularly taking part in relevant conferences.

SUPPLIERS In terms of suppliers there have been specifically targeted suppliers with migrant background. These efforts to cooperate with suppliers with migrant background were however limited to

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exhibition which also specifically broached migration-related issues such as the mentioned “Gastarbajteri” exhibition. In general, suppliers are chosen according to pragmatic and financial terms.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

MUMOK

SHORT DESCRIPTION OF THE INSTITUTION According to its self-description on the website, the mumok (Museum moderner Kunst Stiftung Ludwig Wien) is the largest museum in Central Europe for art since modernism and specifically looks at international and Austrian avant-garde. Since its founding, the mumok has set out to preserve, expand and exhibit its collection of 20th and 21st century art while at the same time supporting current and innovative research and museological methods. It was founded on September 21, 1962, as the Museum of the Twentieth Century and in due to loaned art works from the Ludwig collection which were later transferred in the possession of the museum when the museum was changed into the Austrian Ludwig foundation in 1981. On September 15, 2001, the Museum moderner Kunst Stiftung Ludwig Wien was reopened in the MuseumsQuartier in Vienna‟s historical center. It provides 4,800 m² of exhibition space for monographic or thematic exhibitions and alternating presentations of the museum‟s own collection, which now comprise some 10,000 works of modernist and contemporary art.

INSTITUTONAL VISION AND POLICY Its institutional vision and mission statement describes the mumok as a museum which attempts to takes down barriers. “It is a place where the most diverse cultural groups and people of all ages can meet and exchange ideas and experience. It is an interface where artists and everyone interested in art can come up close to art with all its contradictions and multiple facets. (…) [The] mumok continually develops and implements creative ideas in art education and communication with the public. (…) mumok is committed to a culture of equal opportunity and transparency. Communication between staff as a team and with museum visitors is open, respectful and trusting.

In terms of intercultural dialogue and diversity the mission statement however does not provide any specific information. According to its representatives, the mumok attempts to reach out to all different audiences. By these means, the “high-end” offer of the museum should be transmitted to different audiences who are not used to visit museums of contemporary art. Specific commitment to migrant cultural participation can be found in the education programme of the museum.

VISITORS / AUDIENCES The education department of the mumok is generally divided between young people and schools on the one hand and adults on the other. In the section for young people a concrete desire from the side of the mumok leadership to develop migrant cultural participation can be witnessed. In order to develop specific programs and projects for the cultural participation of young people with migrant background, the education department cooperates with various institutions which are experience in the work with this target group. For instance there have been cooperation‟s with schools identified as institutions in which the percentage of pupils with migrant background is comparably high. Together with these schools the pupils were invited to come to the museum and work in the studios, look at the exhibitions, etc. In a second step the children were invited to bring their parents in order to function as museum representatives themselves and present the done work to their relatives. By these means special experience has been generated in terms of intercultural approaches but also regarding multiplication between young and older people.

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Such projects are however not included in the basic funding of the education department. This level of work and reflexion was only possible due to additional funds provided by the ministry. In terms of evaluation the museum however regularly evaluates who is visiting and above all who is not visiting the museum. The contacts with partner institutions are based on individual contacts and good experiences with partners. In general the youth education department identifies three ways in which it attempts to promote migrant cultural participation. One is through identification of exclusive target groups, the second is bridging financial challenges through favourable offers and the third are general possibilities generated through the childrens- and youth-club of the museum.

Anther focus of the youth department is multilingualism which also represents an intercultural approach of the museum‟s adult education department. The adult section of the education department does not implement any specific programmes related to migrant cultural participation but gives a specific focus on new forms of guided tours. By these means it attempts to support a participatory visit to the museum and specifically offers tours in various languages. From the perspective of the representatives of the museum, these are simple however effective means to generate interest from different target groups. Another helpful approach is low priced tickets or programmes such as “Hunger auf Kunst und Kultur” which support the inclusion of persons who usually do not visit the museum.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE In its programming the mumok gives special emphasis to art from Central Eastern Europe. The museum attempts to give the floor not only to renowned international art styles, but also to the Viennese neighbourhood a context in Central Eastern Europe. As such the mumok cooperated in the promotion and support of young artists from the region and the collection of the museum are characterized by a high proportion of art from Central Eastern Europe. Also, specific exhibitions focussed only on art from this region. For instance the exhibition “Gender check” was based on a research project by the ERSTE Foundation on the occasion of the 20th anniversary of the revolution in Eastern Europe. Berlin-based curator Bojana Pejić, a native of Belgrade, was asked to put together the exhibition.19 The programming, narratives and collections however mainly depend on the specific exhibition and migrant cultural participation as such is not a transversal issue throughout the programming.

PARTNERS / COLLABORATORS & SUPPLIERS Cooperation with partners and collaborators as well as suppliers depends on the occasion of an exhibition and the programme. As such the museum has a range of partners, such as the Erste Stiftung, which has experience in intercultural dialogue. Specifically, in the youth education department there is a growing number of collaborative relationships due to the experience of previous cooperation‟s. The motivation to work with partners and collaborators from different backgrounds is an internal commitment of the education department which is also supported by a trend in increased diversity management throughout the whole institution.

STAFF /BOARDS / GOVERNING BODIES There is a trend of increased relevance of diversity management also in the personnel department, however no specific strategy is yet implemented. At the same time there is a lot of staff with different cultural background employed in the museum, however specifically in the customer service. These employers are encouraged to use their mother tongues and language experience in the visitor‟s support of the museum. In terms of training, no specific intercultural training is offered, however possibilities to attend trainings outside the house are given and also experts in intercultural dialogue are invited according to specific occasions.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

19 http://www.erstestiftung.org/gender-check/ Página 34 de 147

Kunsthaus Bregenz

SHORT DESCRIPTION OF THE INSTITUTION In August 1993 the district administration office Bregenz issued the building permit for the construction of a new art museum. The plans and negotiations had already begun in 1989. Work on the new building began in 1994, the Kunsthaus was opened on July 2, 1997. The Kunsthaus is dedicated to the exhibition and discussion contemporary art and it is part of the Cultural Houses of the region of Vorarlberg, which apart from the Kunsthaus also include the Vorarlberg Museum as well as the Vorarlberger Theatre. The director of the Kunsthaus Bregenz is Dr. Yilmaz Dziewior.

INSTITUTONAL VISION AND POLICY As a museum of contemporary art the main institutional aim is to provide exhibitions on contemporary art in the regional context of Vorarlberg. Therefore, the exchange and dialogue between the regional focus and international requirements is at the heart of the institutional vision of the Bregenzer Kunsthaus. As such die museum is inspired by the international art scene and its developments, but takes a specific approach due to is location at the border triangle between Austria, Germany and Switzerland. By these means, diverse cultural backgrounds are a point of departure in the work of the house which has been emphasised also due to the Turkish-Polish background of director Yilmaz Dziewior.

VISITORS / AUDIENCES In terms of visitors and audiences the institutions perceives the need to stay as open as possible to various audiences and visitor groups. Migrants are not specifically identified as a target group, yet in case of in case of specific occasions (exhibition) reaching out to migrant organisation or similar is taking place. With the support of multiplicators the museum in general attempts to reach different audiences and people from various backgrounds. There is no specific financing structure or evaluation tool for diversity management in audience development.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE In 2008 the Kunsthaus Bregenz put programmatic emphasis on intercultural dialogue during all of its four exhibitions throughout the year. This was realized in form of specific projects which on the one hand related to the art exhibited in the collections and on the other hand to various cultures. The emphasis on intercultural dialogues was financed by the Austrian Federal Ministry for Culture and Art as well the “Friends of the Kunsthaus Bregenz”. By such means the programming of the Kunsthaus is motived by debates going beyond art-related European perspectives, embedding artistic work in political and societal discussions.

PARTNERS / COLLABORATORS & SUPPLIERS Work with partners and collaborators are characterized by individual contacts. There is no specific methodology engaging citizens with a migration background into the programming but it is rather taken an un-bureaucratic and direct way to organisation and institutions in which persons with migrant background are active. Apart from that there is a specific focus on youth centres in and around the city of Bregenz which are often also characterized by a high number of youngsters with migrant background.

STAFF /BOARDS / GOVERNING BODIES In terms of leadership, Yilmaz Dziewior is the director of the Kunsthaus Bregenz and has brought a specific focus on international trends, developments and diversity to the house. Yet, no specific equality measures in terms of personnel with migrant background exist.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

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Landestheater Niederösterreich

SHORT DESCRIPTION OF THE INSTITUTION The Landestheater Niederösterreich is one of the nine federal theatres in the regions of Austria. The beginning of the theatre goes back to the year 1820 when an association of theatre- interested residents was formed. The association acquired a building in St. Pölten which until today is the home of the theatre. It was opened in its current form in 2005/6 and is now lead by the region of Lower Austria. The house is dedicated to spoken theatre. Apart from the main house with 357 seats, another venue has been inaugurated in 2002 which provides space for another 120 visitors.

INSTITUTONAL VISION AND POLICY In terms of institutional vision the Landestheater Niederösterreich is mainly defined by its emphasis on spoken theatre. According to the representative of the house, the theatre has implemented participatory projects and actually co-produced a play dealing with the issue of migration during this season. However, these are punctual efforts without a specific target- oriented strategy for fostering migrant cultural participation.

VISITORS / AUDIENCES Bettina Haring has taken over the artistic leadership of the house three years ago. With her management the theatre has witnessed a stronger emphasis on participatory processes. By these means a citizens-theatre has been formed in which project-based productions are developed together with interested residents. People are invited to join the stage through newspaper announcements. One of the recent productions of the citizens-theatre broaches the issue of an old regional factory which also employed foreigners and Gastarbeiter. However, no efforts are made to directly invite migrants and relevant associations or specifically focus on migration-related issues in such productions.

PARTNERS / COLLABORATORS Selection and approach of partners and collaborators largely depends on the programming and on individual projects.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIV In terms of programming especially the citizens-theatre is characterized by a participatory process in production. In addition, the Landestheater Niederösterreich has recently put on stage a production which explicitly looked at the island of Lampedusa the main place of reception of African migrant attempting to enter Europe. Apart from that the season 2014 has seen a main focus on issues related to war, specifically to the beginning of World War II.

STAFF /BOARDS / GOVERNING BODIES The Landestheater Niederösterreich is part of the cultural sector corporation of the region Lower Austria. Although staff selection is independent of the corporation the composition of personnel is not specifically characterized by a high level of diversity and specific equality measures in terms of migrant background.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Tanzquartier Wien

SHORT DESCRIPTION OF THE INSTITUTION The Tanzquartier Wien (TQW) is one of the most important dance houses in Austria, especially when it comes to promoting contemporary dance and performance and the related theoretical

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discourses and standpoints. According to the information on the TQW website the tracing of contemporary developments and pioneering tendencies in dance creation determine the actions of the TQW. Against an interdisciplinary understanding of art, an integral component of programme design and development is the theoretical knowledge of dance and performance, which the TQW has played a decisive role in extending since its foundation. The advanced and continuous development of theory will continue to be related to historical concepts and the interest will continue to focus on linking the articulated and the unarticulated in artistic and theoretical practice and on questioning.

INSTITUTONAL VISION AND POLICY The (TQW) is also envisioned as an open house which is simultaneously the location and the act of encounter with contemporary choreographic art and actively seeks to create openings and motivations that facilitate a differentiated analysis of dance and performance. Due to its international orientation and the internationality of the contemporary dance scene as such the relevance of different cultural background is determinant to the self-understanding of the TQW. Different cultural backgrounds are part of the daily work, of the staff and the artists as well as persons who use the TQW to train dancing. Thereby, the TQW specifically attempts to look at asymmetries in work by taking on gaps and sense experiences that are opening up as a challenge for an enthusiastic exchange of art and theory, audience and artists.

VISITORS / AUDIENCES Due to this institutional vision, the TQW promotes a rather participatory approach to visitors and audiences. The artistic conception of dance in the TQW goes beyond frontal performances and breaks the traditional structure of the stage by going into the space of the audience. In some of the production the audience is also directly included into the performance. Also the theoretical part of the TQW programme gives emphasis to difference, asymmetries and their interchange. Specific projects directly broach intercultural issues or reach out to audiences with migrant background. For instance, lectures regularly organized by the TQW have recently looked at the issue of “Generating bodies – intercultural picture performance” (“Vom Aufstand der Körper – Interkulturelle Bildperformanzen”). Also specific performances have broached the issue of intercultural dialogue or migration and involved audiences. In these projects aimed specifically at migrant cultural participation, the TQW cooperates with specific partner organisation with expertise in the field of migrant cultural participation, such as the Brunnenpassage Wien. The general focus in terms of migrant cultural participation of audiences is also at the TQW to lower the barrier of entering the TQW for its audiences in general. To this end the TQW is also part of the “Hunger auf Kunst und Kultur” programme which promotes the usage of cultural offers to audiences with weak social and economic background.

In general, the representatives of the TQW emphasise the importance of cultural education as well as social and economic factors which also determine the work on migrant cultural participation. Apart from the “Hunger auf Kunst und Kultur” programme, the TQW made good experience in cooperating with cultural institutions in its neighbourhood during the advent period, offering a free tour to the participating institutions. At the same time, the TQW itself is under pressure in selling enough tickets and generating an increasing number of visitors. The result is a discrepancy between the attempts of generating new audiences by lower economic barriers and at the same time accomplishing own economic goals set by public funders of the TQW. Furthermore, the TQW has important experiences with dedicated teacher. Yet, the success of cooperation with schools often depends on the dedication of individuals who at the same time are not specifically and structurally compensated for their efforts. To sum up, a main challenge in cultural participation of audiences with migrant background are mainly identified in the sphere of educational, social and economic factors.

PARTNERS / COLLABORATORS Partners and collaborators are identified individually according to necessity of a specific project. As mentioned earlier the TQW cooperates with schools as well as institutions such as the Brunnenpassage. Due to the fact that the TQW also aims being a platform of contemporary dance in Austria, it is an inherent objective to include all various initiatives related to dance into its work. Apart from that, migrant organisations are approached directly in the framework of specific productions and identifies according to overview-knowledge on existing initiatives.

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PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIV The programme of the TQW is mainly characterized by its international and contemporary orientation. Already this emphasis brings a range of performances to the house which – also due to the background of artists – broaches issues of migration, integration and intercultural dialogue. At the same time the issues of intercultural dialogue are understood as inherent to the programming and the repertoire of the international orientation of the TQW and therefore, no specific emphasis is given to these narratives.

STAFF / BOARDS / GOVERNING BODIES / SUPPLIERS The TQW does not have a governing board since it is a company bot an association, with two people leading the management – the artistic management as well as the business management. Apart from that the TQW is a 100 percent owned by the city of Vienna. In addition the TQW however has a board of trustees for artistic supporting the festival in content-related issues. In terms of personnel the TQW staff includes people with various backgrounds, which from the perspective of the leadership of the house is also a direct consequence of the diversity the dance scene is characterized by.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Steirischer Herbst

SHORT DESCRIPTION OF THE INSTITUTION Steirischer Herbst is a festival of contemporary art taking place every autuum in and around the city of Graz. The self-description of the website characterizes the festival as follows: “Paradoxically (and with some self-irony), steirischer herbst can be referred to as an avant- garde festival with tradition: For forty years now, steirischer herbst has been one of the world‟s few festivals of contemporary art that is by nature truly multidisciplinary.” As an avant-garde- festival it regularly broaches current and critical societal issues and thereby, regularly touches upon questions of equality as well as inclusion/exclusion. For instance the 2014 Leitmotif “I prefer not to…share” was about “inclusion and exclusion, about constantly drawing borders. After all, the geographical map of Europe is different to one drawn up on the basis of economic, social criteria. Not to mention Europe‟s demarcation and increasing isolation from the rest of the world. “I prefer not to share!” may be the majority of those who indulge in growing nationalism – as long as they don‟t belong to the economically weak member states.

INSTITUTONAL VISION AND POLICY The approach of the festival steirischer herbst is a politically one which looks at issues of discrimination, inclusion, exclusion, etc. However, thereby it does not attempt to divide the society into specific groups but in general attempts to offer access to culture to all people. At the same time specific attention is given to persons who are confronted with obstacles in their cultural participation. In this way a critical debate of current societal developments may also include issues of migration and have been reflected in a range of productions of the festival during the last years.

VISITORS / AUDIENCES The programmes of the education department are characterized by an active understanding of education. Thereby, visitors are encouraged to participate in the outreach activities of the festival. Due to the avant-garde character of the festival the programme mainly appeals to a well-educated part of society. Therefore, the education department gives emphasis to the need to include also other groups of society to visit the festival. The attempts to include unusual target audiences are by these means rather looking at groups characterized by lower levels of education and income, including persons with migrant background. On this basis the representative of the festival also argues in of a radical new definition of arts education

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(Vermittlung) in order to include all groups into arts and culture who are until now excluded from it.

PARTNERS / COLLABORATORS Contracting during the festival attempts to employ persons/groups who are rather unusual audiences and suppliers of the festival. Furthermore, cooperation with minority organisations is also fostered in the framework of an artistic focus of the programme or a specific focus of the education department.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIV The programme of the festival is defined by the mandate of the publicly financed festival to bring international art to Graz and provide a platform for Austrian artists. Thereby, the quality of the art is the main criteria in programming the festival, yet with a specific focus on critical narratives and societal necessities.

STAFF /BOARDS / GOVERNING BODIES / SUPPLIERS Due to specific requirements and only a very small team, which is active during the whole year, the festival is in need of specialists. This is the main criteria in terms of personnel. In the framework programme of the festival there are however attempts to apply the principles of the festival and the education department. As mentioned above, the contracting during the festival tries to employ also persons/groups who are rather unusual audiences and suppliers of the festival. In the board or governing bodies no persons with migrant background are represented.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Büchereien Wien

SHORT DESCRIPTION OF THE INSTITUTION In Vienna, 39 public city-libraries with more than 1,5 million media are available to the residents of the city. The libraries are not only places of literature but above all places of education, communication and exchange.

INSTITUTONAL VISION AND POLICY In general, the vision of the Büchereien Wien is one of an institution which per definition is open to everybody. Firstly, this is a result of the fact that the libraries are financed by tax-payers money. Secondly, the openness of the institution is a consequence of its attempt to reach people with lower levels of education. This openness is also related to changes in the character of libraries in the 21st century in terms of media, since lending out books becomes less important than the usage of other media directly at the library premises. Therefore, more and more emphasis is given to the premises of libraries and ways

VISITORS / AUDIENCES In attempting to reach out to everybody, people with migrant background are one of the specific target groups of the libraries. Although the representative of the institution emphasised that not all migrants had lower access to education, factors of cultural belonging and level of education can go hand in hand when promoting the inclusion of various target audiences. The main efforts to reach as many different persons as possible relate to low levels of obstacles in entering the institution. That means that the obstacles in entering and using the offers of the library are held low in terms of library pass, prices and accessibility. These general efforts go along specific ways to foster diversity management and cultural participation of migrants. The most prominent being the formation of a working group inside the Büchereien Wien seven years ago which specifically looks at forms and ways, projects and cooperation‟s to foster migrant participation. By these means also focus-branches of the

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libraries have been defined in which specific media in other languages are available. To this end some libraries have been identified which according to its location and the demographic composition of the district are interesting for a stock of foreign-language media. Yet, that does not mean that these libraries are then created to be “ghetto-branches” but, on the contrary, are also attempted to be places of exchange. Furthermore, also guided tours through the libraries in various languages are offered. Another attempt to reach target groups with various cultural background are sessions of multilingual story telling in which parents of children using the library are called to read a story in their own language. The working group for migrants as a specific target groups also helped to coordinate the structural questions in terms of financing and evaluation which come up when implementing education programmes. That means that the local branch with a specific foreign language stock was not left alone in terms of financing but the issue was coordinate among the whole organisation. However, in terms of evaluation it was emphasised by the library representative that some aspects can be evaluated qualitatively, but specifically efforts to foster migrant cultural participation cannot always be measured.

PARTNERS / COLLABORATORS In terms of planning and collaborations the libraries have a specific department which is responsible for events. This department coordinates between the branches of libraries and helps in the work with external collaborators. For specific projects, specific partners are looked for also regarding migrant cultural participation. The have a great list and overview on partners from different branches which they coordinate with according to occasion, with some strategic partnerships characterizing different outreach efforts.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIV In terms of programming, the stock and the narrative regarding migrant cultural participation, the libraries structurally rely on the mentioned working group as well as individual initiatives from the various library branches.

STAFF /BOARDS / GOVERNING BODIES / SUPPLIERS In general, knowledge of foreign languages is regarded as a great asset in the staff selection of the library. In the past, the Büchereien Wien have already specifically looked for Turkish (or other languages) speaking staff. Yet, a main obstacle in employing persons with non-German mother tongue is the entry test everybody has to pass when attempting to work for the city of Vienna (the Büchereien Wien is lead by the city of Vienna). Although the city of Vienna implements equality measures in its staff regulations, no specific regulations are defined for the Büchereien Wien and the mentioned entry tests represents a challenge in employing persons with migrant background.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

WUK

SHORT DESCRIPTION OF THE INSTITUTION The WUK is a 12000-square-metre space of culture, workshops, and social gathering. Located in one of the biggest cultural centres of Europe, it is also at the intersection of artistic practice, labour, and political engagement. WUK offers a cultural space where one can contemplate, discuss, and explore. The former locomotive factory is now home to four main program areas (music, performing arts, children's culture, arts at Kunsthalle Exnergasse:), 150 independent cultural groups and initiatives, and 13 educational and advisory projects for 4.000 women and men. WUK provides a venue as well as organizational support to those interested in art, politics, and social engagement.

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INSTITUTONAL VISION AND POLICY The nature of the WUK is very participatory one, specifically due to its history as a squat. It offers various opportunities to get involved, including the use of the venue and organization support for social, artistic, or political projects. Active participation, self-management, and grassroots democracy form the basic philosophy of WUK. The association is driven by our employees, friends, sponsors, artists, and visitors. From its beginnings also different migrant organizations have been involved which now even form an own specific field of the WUK. In general the WUK is divided in three branched – the sociocultural censer where most migrant initiatives find space; the cultural industry branch and the education and counselling branch. In all three branches the institutional vision of the WUK is an open one.

VISITORS / AUDIENCES Due to its open definition, the differentiation between audience and participants is not very clear at the WUK. For instance, there are transversal issues which are initiated throughout the three branches and in which all three branches can take part. These issues – such as recently events broaching the issue of the current position of Kurds in Austria and other parts of the world – can be broached by outside organizations.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE The programming of the WUK is in the sociocultural branch defined by the autonomy of the initiatives. The cultural industry branch has a board which helps to define programming and in which principles of equality are held high. However, in none of the branches diversity measures are specifically taken but are rather a result of the existing diversity in the WUK.

PARTNERS / COLLABORATORS There has been a range of initiatives who have found place in the premises of the WUK in the course of time. Important cultural institutions, such as the Tanzquartier Wien have their origin in the WUK. In terms of migrant cultural participation also migrant organizations and helpdesks for migrants were firstly located in the WUK and moved to own spaces once they were well- established. The specificity and advantage of the WUK is that it is a protected space and thereby provides a secure surrounding for minority initiatives. Who will find place in the WUK depends on open spaces in the house. In addition, the sociocultural branch in which different initiatives find space is organized according to the principle of autonomy. That means that every section inside the sociocultural branch can democratically decide by its own which to whom it will give its space to; who will be the next organisation/initiative to find place at the premises. The board of the WUK cannot influence this decision only appeal.

STAFF /BOARDS / GOVERNING BODIES / SUPPLIERS There is a sensibility among the boards on political issues and issues of equality. The main principle inside the WUK is however the democratic principle. Due to the WUKs character and positioning during its existence it is unlikely that undemocratic or even xenophobic organisations will find place in the WUK. However, there is no specific regulative defining Also in terms of staff, history and time plays an important role since persons who came to Vienna 30 years ago or even before, are now an integral part of the WUK. As such the WUK has various staff members with migrant background. Specific branches of the WUK, especially the education and advisory area are also in need of people with specific expertise and knowledge of languages, therefore the character and history of the WUK are the main ground of promoting diversity among the staff members and suppliers.

BENCHMARKING

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

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Anton Bruckner Private University (Institute of Jazz and Improvisation Music)

SHORT DESCRIPTION OF THE INSTITUTION The Anton Bruckner University is one of five Austrian Universities for Music, Drama and Dance, and one of four universities in Linz. 850 students from all over the world study here. They are taught by 200 Professors and teaching staff, who are internationally recognised artists, academics and teachers. According to the website the artistic work of the university is focussed on performing, pedagogy and research in each of these fields, with an equal emphasis on artistic communication, development and outreach. Following branches of study can be studies at the Bruckner University: Early Music; Brass and Percussion Instruments; Conducting, Composition and Music Theory; Elementary Music Education; Voice; Woodwind Instruments; Jazz and Improvised Music: String Instruments; Plucked Instruments; Drama; Dance; Keyboard Instruments.

INSTITUTONAL VISION AND POLICY In terms of institutional policy the Anton Bruckner University emphasises the principles of innovation and tradition. Furthermore, the university favours and promotes a concentration on individual artistic disciplines but also promotes a range of cross-disciplinary activities. Along these lines the university also emphasises its international as well as regional orientation.

VISITORS / AUDIENCES In terms of diversity management the university has an international orientation with students from all over the world, with German and English as teaching languages and with low entry thresholds (no general qualification for university entrance needed, although students coming to Linz have to be able to afford living there of course). The main obstacle for entering the university is the entrance examination which is purely based on musical standards. The diverse composition of the students is therefore a result of the openness as well as reputation of the school and specifically in the Master Programmes there is great variety of background among the students of the school. Apart from that the school offers workshops to various target groups, although there is no specific mission statement regarding the outreach of the university. But it happens that the international character reflects on the communities in Linz. For instance Turkish students formed a music ensemble which became renowned among the Turkish community in Linz.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE The international orientation of the university as well as the internationality of music as such is the basis for teaching at the Bruckner Private University. The curricula and the self-requirement of the university to provide international education therefore provide the grounds for a diverse education of music.

PARTNERS / COLLABORATORS In terms of partners and collaborators there have been cooperation‟s between the university and other stakeholders on issues of diversity and intercultural dialogues. For instance the Bruckner University was recently co-organizer of a conference of the music education platform (Tagung der Plattform Musikvermittlung Österreich) broaching the issue of intercultural dialogue and integration in music education. Again, however, there is no specific concept or mission statement defining the efforts to foster cooperation‟s in this sphere.

STAFF /BOARDS / GOVERNING BODIES / SUPPLIERS Personnel are selected according to musical expertise and standards.

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II. Analysis of institutions: Belgium

BOZAR (Brussels)

The following profile is based on interviews with the institution‟s director, Paul Dujardin (30th April 2014), its performing arts manager, Gerd Van Loy (9th May 2014), as well as its Human Resource Director, Marleen Spileers (11 June 2014) and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

BOZAR is an interdisciplinary fine arts centre located in a prestigious building in the centre of Brussels. It is one of only three cultural institutions in Belgium which receive financial support from the federal government. As such it serves both linguistic communities of the country and operates in French and Dutch.

Because of its international outlook, and the international character of Brussels, it additionally operates in English. The name „BOZAR‟ was created as a shorthand for a long name, which always comes in a linguistic double-pack: Palais des Beaux-Arts de Bruxelles/Paleis voor Schone Kunsten Brussels.

BOZAR‟s history is embedded in the national positioning of Belgium in the 1920s – the building by renowned Art Nouveau architect Victor Horta, inaugurated in 1928, was the starting point for giving Belgian a high standing in the international arts scene. Violinist Yehudi Menuhin and painter René Margritte were associated with these original aspirations. Several associations (e.g. La Société Philharmonique) filled the building with cultural programmes. Only in 2002 did BOZAR become a public interest company, which brought building and programming together. BOZAR still has it in its statutes to make its spaces available to others besides using them for its own artistic programme (a third strand is the commercial exploitation of BOZAR‟s spaces and services). BOZAR has an annual budget for cultural activities of 27 Million € (up from 3 million € in 2012). It has a total budget of 40 million € of which 12 million € in subsidies from the Belgian state. https://www.bozar.be

INSTITUTIONAL VISION AND POLICY

BOZAR comes under the authority of the Belgian prime minister‟s office rather than that of a cultural ministry. As such it face demands from policy-makers to observe gender equality and equality between Belgium‟s two big official language communities (Dutch and French speakers), but not to attend to the cultural participation of migrants, however, BOZAR‟s Director, Paul Dujardin considers “it is our moral obligation to play a role in migrants' cultural participation”. Dujardin, who has been BOZAR‟s Director since 2002 prides himself in having started to programme for and about European communities outside of the EU (e.g. Russians, Armenians, Georgians), and also for non-European communities, “when most other cultural institutions were still in a purely European reality”. Creation, artistic quality and artistic diversity are the core mission of BOZAR. Yet BOZAR emphasizes that art must be part of culture in a society and that audiences must therefore be able to access it naturally and find pleasure in doing so.

Budget

That third of BOZAR‟s budget, which is made up of state subsidies, is only allocated to broad categories of activity (exhibitions, architecture, music, cinema, theatre & dance, literature). Socio-artistic aims are not reflected in its budget structure; there are therefore no specific allocations to projects promoting the cultural participation of migrants. The two thirds of BOZAR‟s budget which are raised in fact as commercial revenue by staging closed or semi-public events for clients such as companies, embassies, the European Commission, EU Presidencies, and non-EU governments, partly cross-subsidise BOZAR‟s own programming, but, again, are not used to promote particular policy objectives.

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All in all, it could be said that BOZAR does not use its budget as a governance tool, i.e. as a tool to help implement a policy based on artistic and social values.

VISITORS / AUDIENCES

Ticket pricing and sales

BOZAR addresses not just individuals as audiences, but also families, groups, young people, old people, and fan groups for particular art forms. BOZAR prides itself in a „democratic entry price policy‟. Artistic Director, Paul Dujardin: “Even for Cecilia Bartoli, we have 50 tickets on the second balcony for 5 €. This policy has been applied when Brussels was still less diverse, and now serves well in bringing in migrant communities.”

Tickets are sold centrally through the BOZAR ticket office, but batches of tickets are also sold through partner organisations. In order to reach certain communities, BOZAR discounts tickets or even gives them away for free.

Communicating with audiences

Communication via social media has gained vastly in significance compared to print materials. Performing Arts Manager, Gerd van Looy: “Social media are a very important factor. This is symptomatic of the multiplication of formats and of a much more dispersed audience.” Each BOZAR sub-brand has its own Facebook page. The general BOZAR Facebook page had around 55 thousand “likes” in July 2014.

Targeting migrant communities

For particular cultural programmes, it targets particular national/ethnic communities in Brussels. Brussels has 185 language communities in a population of 1.2 million. BOZAR does not carry out formal audience research, e.g. it does not run audience consultation groups. Referring to the Anglo-Saxon tradition, Paul Dujardin said “we are much better at cultural diversity and integration without a lot of studies.”

BOZAR, however, faces the difficulty of animosities between different ethno-cultural groups or different factions amongst them. Paul Dujardin: “If we have Algerians and Tunisians in the same building, they don‟t speak to each other.” Religious divides between different Mediterranean communities come in too; so do gender issues. Dujardin: “In a Turkey related event, you see many more men than women.” Different ethnic groups from one region might also have problems with each other, e.g. Arabs looking down on Berbers.

Moreover, the cultural interests vary between the different social groups within one linguistic community. BOZAR also distinguishes between different generations of migrant groups. It sees how long certain groups have been living in Belgium. Generally it finds the second and third generations of migrants easier to reach than the first, who tends to be preoccupied with their survival.

In terms of programming for particular migrant communities, Van Looy considers, “the biggest challenge for us at BOZAR is the Maghreb, Arab communities, and the Turkish community. … They are mostly made up of people from rural traditions with only folkloric or popular cultural consumption habits. … The first generation of migrants from these groups were disconnected from our cultural institutions, and while we have the third generations now, there is still not much of a cultural offer specifically addressed to them. … If you were to take the view that 20 per cent of the Brussels population is Muslim and therefore 20 per cent of our cultural offer should be for them – not that this is a sensible approach – it would make apparent that there is a difficult reality. The Muslim population of Brussels is largely not familiar with classical Arab cultural traditions, such as the Maqam system of music, but this would be the equivalent of what a house like BOZAR would traditionally programme. Of course we have peddled in folk music, rap, hip-hop and street dance, but there is a limit to how we can build up audiences from the young Brussels Muslim population with that. The so called „horizontal mobility‟ between

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audiences is so difficult to achieve: you need to think in a matrix of disciplines and styles on the one hand and the diverse competences, needs, expectations of audiences on the other hand.”

BOZAR targets communities with different guided exhibition tours. It employs over 100 guides on a freelance basis and offers over 3000 guided tours per year. Tours are adapted in style (academic, interactive etc) and content (historical contextualizing, contemporary contextualizing etc) according to target group. A social housing project, for example, might request (and pay for) a visit to an exhibition at BOZAR. According to Gerd van Looy, the doubtful question remains “Even if we have created a meaningful experience for people who have not previously come to an exhibition, will they come back alone? When will they find their way to BOZAR without mediation? How do we communicate to them that a particular exhibition might be of interest to them?” One way in which BOZAR tackles this question is by taking different intellectual standards into account in exhibition texts (hall texts, visitors‟ guides, audio guides, catalogues), i.e. the text that allow a visitor to enjoy an exhibition without a personal guide. “After two guided tours, an unaccustomed visitor should be able to come on his or her own initiative and visit an exhibition, reading at least the hall texts”, so Van Looy. The linguistic adaptations that BOZAR makes in this domain are limited. To operate in three languages, French, Dutch and English, is already a strain on resources. Occasionally an extra language is added; for the 2014 exhibition on the Spanish Baroque painter Francisco de Zurbarán, for example, guided tours in Spanish were offered. However, unless an exhibition has an explicit link to a particular language community, how do you decide for which one to put on guided tours and materials in extra languages? Van Looy: “Imagine we had Arabic speaking guides, which of our exhibitions would we teach them? And would they just be giving the tour in Arabic or also present the content of an exhibition differently? … We would still be inviting the perspective of people with non-European backgrounds on our Western heritage. I think we rather need to find content for people with other cultural backgrounds.”

To win migrant populations is in the first instance a challenge of general educational attainment because the appreciation of the arts through the mediation of cultural institutions is a preserve of the educated. With regard to migrant populations from ex-colonies, previous colonial policies have their effect to the present day. Van Looy: “The Belgian colonial system never considered that blacks would go to university. The British at least partly empowered its colonial subjects to step into professional roles in the British system; they could assume some functions of responsibility. The Belgians did not make that investment and this heritage is still an obstacle to the integration of Congolese people in Belgium today.”

Building up audiences through educational activities

BOZAR engages in music education in Brussels schools. Teaching materials on classical music repertoire are made available, teachers trained, school rehearsals supported by BOZAR staff, joint performances organized in BOZAR. Pupils with a migration background and their families are being reached that way, and joint projects with schools have been very successful in themselves. However, the challenge of compensating for a lack of musical education in schools is overwhelming and the sustained effect of BOZAR‟s efforts in this domain is doubtful. Gerd Van Looy: “The choice of music we bring to schools raises the question what cultural references we bring to pupils and their families. Our school project on Rimski-Korsakov‟s orchestral suite Scheherazade, for example, might be seen to suggest that oriental heritage is good when seen through European eyes. Moreover, even when pupils with their families have enjoyed taking part in a project with BOZAR, they still mostly don‟t see it as a place to go to on their own afterwards. And what for should they come back next time? And how can we let them know what their next time could be? We don‟t even have their contact data.”

Knowing actual audiences

BOZAR has made enormous efforts to grow its audiences in the decade up to 2014: in ten years is has achieved a growth from 300 thousand visitors per year, to 1 million visitors per year.

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Paul Dujardin nevertheless acknowledges: “This building will always be a problem in terms of going beyond traditional audiences. Even for Belgo-Belgians it is associated with prestige and the establishment.”

Gerd Van Looy “I don‟t really know who the audience is. … we have become more hesitant in talking about an audience which we know to have certain preferences, such as „a classical music audience‟. We are faced with a multitude of communities, be it „youngsters‟ or „Iranian people living in Brussels‟, with a multitude of cultural interests.”

BOZAR‟s current ticketing system is by BOZAR‟s own admission poor for collecting data, which would be useful for audience research and development. However, a new ticketing system is being prepared and due to be introduced in 2015. BOZAR will then in a first step be able to check its assumptions about who its audiences are. On-line booking as opposed to buying tickets at the counter will then also be further encouraged.

BOZAR prides itself in offering cultural formats – such as Sufi Night or Digital Night – which allow for the integration of artistic contributions from a broad range of ethnic or geographical origins and therefore attract mixed, if not hybrid audiences.

The concept of „communities‟, especially ethnic or migrant communities is used by BOZAR, but nevertheless treated with caution. Even when to all accounts BOZAR successfully staged a play by Belgian director Grupov about the 1994 genocide in Rwanda (on the occasion of the 15th anniversary of the tragedy) and the many Rwandans watching the play testified to having found it a meaningful experience, Gerd van Looy wondered “who I am to say, they are the Rwandan community. Is this the community? Or is it just part of the Rwandan community that feels attracted to this way of representation?”

Creating intercultural engagement/helping reduce tensions between different population groups

This is currently beyond BOZAR‟s capacity. Its focus is rather on “making sure that everybody has a good experience, receives some inspiration and material for reflection. … The essence of the artistic act is self-expression - the urgency of a line of words or a musical note in the here and now, an invitation to relate to that. … Relating to art, taking one‟s own position in relation to art is cultural participation.” (Gerd van Looy)

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

BOZAR relies on the expertise of its staff but also outside specialist to engage with different migrant communities in Brussels. 12 BOZAR staff have specialist knowledge of particular world regions and develop strategic relationships with external partners for programming purposes.

Gerd Van Looy: “You read about the culture and recent history of a country from which you are considering to programme something; you find out what the migration population from that country in Belgium or Brussels is. You talk to some individuals, to an academic, to officials from the embassy; there are also always some 'friends of' this or that community. So all together you make yourself a picture - how do they feel about what has been proposed to you for programming? What do they want? And how could you relate to that? … Programming should mean, and increasingly does mean at BOZAR, knowing what meets the requirements or expectations of different communities. It should almost mean „programming with communities‟. … The days are nearly over when we were a unique reference point and effectively said to our audience „this is what we have selected for you‟.”

Despite a greater emphasis on „programming with audiences‟, programmers at BOZAR still have choices to make. They consult on and scan for art which to programme, but are also confronted with many offers. Particularly where a programmer deals with art from outside his or her own reference system, he or she needs a way to interpret claims that artworks represent quality or are important. When considering non-European art for inclusion in BOZAR‟s programme, Gerd van Looy, for one, considers that “the choice can only be about values, never about content. … My standard for selecting art from non-European cultures for presentation at BOZAR is whether the art is alive and produced out of an artistic necessity. Whether it‟s the

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2000-year old Indian dance tradition of Bharata Natyam, whether it‟s Jazz or Ragas, an artist must convince me of his or her compulsion to create something new within an established system. … Art must not be contrived to please others. … „Encounter projects‟ of art forms from different cultures are often contrived – why bring together a Tchaikovsky ballet with Bharata Natyam dance, for example, when it is much more interesting for dancers from different Indian classical dance styles to experiment together? … National ballets are a particular case of questionable artistic authenticity. While the dancers tend to be top-notch, the productions often serve both commercial purposes – with regard to tourism, for example - and political window dressing.”

Moreover, however inclusive the programming of particular events is, i.e. even when representatives from communities concerned are around the table, “the one that signs the order slip is finally the one that decides. So in all of BOZAR‟S initiatives it's still we who decide. … Cultural institutions are mediators between audiences or communities, and artists – match makers in fact; as a programmer you hope to make a happy match.” (Gerd van Looy)

Ethnic labeling

Ethnic labeling of art poses challenges. On the one hand, it can be promotional or redress discrimination or neglect; on the other hand it carries the risk of sidelining artistic quality. Gerd van Looy experienced that a show by Congolese choreographer Faustin Linyekula received enthusiastic applause at the Festival d‟Avignon by virtue of being “African”, despite not at all living up to the quality the artist had produced previously (which is not to say that Linyekula‟s work in general is appreciated for the wrong reasons). Conversely, an „Indian photographer‟ declined to be programmed as part of BOZAR‟s India Festival for fear of not being recognized first and foremost as a photographer. In some cases, foreign artists are being promoted by intermediaries because of their nationality or cultural identity, and with insufficient regard for choosing a good time and context for introducing them to audiences in Europe or for helping develop their careers. Sometimes, their key motivation is to make a point about, say, the Arab world „producing important artists‟, rather than choosing the artists for the quality of their work.

Programming foreign artists in the field of music offers many more options to an institution like BOZAR than in (contemporary) dance and theatre. Foreign musicians, Marcel Kahlife from Lebanon, for example, can be programmed one off with a good chance of filling the halls whereas audiences for the performing arts would need to be built up carefully. Gerd van Looy: “let's say we bring a contemporary dance group from Morocco to Brussels. In Casablanca, they play for 60 people, in Brussels they would play for six. They would not attract the people of Moroccan origins here - but neither the contemporary dance audience.” BOZAR sees the need for long-term development work to introduce Arab performing artists to Brussels but has itself not yet ventured into this direction. It comes up against being „bourgois‟ in the sense of programming what tends to be already recognized as good, rather than playing the role of artistic trendsetter. Artistic excellence, especially in classical music, is still a higher principle for BOZAR‟s programming than staging experiences, which are touching for other reasons.

Here are some examples of BOZAR‟s programming for migrant communities:

 During the 2010 Football world cup in South Africa, BOZAR put up an „African tent‟ and screened the matches. It also put on events to commemorate the 50th anniversary of the independence of Congo and other African countries: “Because of the difficulty of getting rid of your colonial view, we decided to have African people around the table that could judge our development of the programme.” (Van Looy)  BOZAR has made a cultural offer for Brussels inhabitants of Armenian descent (the first Armenians arrived in Belgium after the Ottoman genocide of Armenian in 1915, the latest during the 2013/2014 Syrian war).  BOZAR has engaged with the different Balkan communities in Brussels. It organizes the Balkan Traffic festival. However, Paul Dujardin admits: “It‟s always difficult to put on an „ethnic‟ event which does not just appeal to Belgians and EU expats with an interest in the exotic, but also to the respective ethnic communities who live in Belgium.”

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 BOZAR programmes for the Turkish community of Brussels in cooperation with Turkish community associations. If it stages popular Turkish singers such as Sezen Aksu or puts on films in Turkish only, it has a full house (Salle Henry Le Boeuf seats 2200 people).  BOZAR has staged Ethiopian music events.  BOZAR has “full hall with all the Chinese communities” (Dujardin), when it programmes, for example, for the Chinese New Year.  BOZAR is unique in Brussels for programming traditional dance from Asia, such as Thai classical dance drama Khon. This addresses Thai expats in Brussels amongst others.  At the beginning of 2014, BOZAR presented a festival on Georgia in connection with the conclusion of the EU-Georgia Association Agreement. A play in Georgian was staged. It brought in an unexpected 250 Georgian speakers – it is however not clear, whether these were all Belgian residents or also Georgians who had flown in for the occasion.

When BOZAR programmes for non-European communities, it often also offers ethnic food.

PARTNERS / COLLABORATORS

BOZAR approaches the different migrant communities through three different channels: informal networks, community organisations (cultural centres, churches, clubs), and embassies. These collaborations enable programmes, which profile arts from specific countries and cultures, and help address specific migrant (or „expatriate‟) communities in Brussels. According to Gerd Van Looy, “For nearly all programmes you need partnerships for at least two reasons: We cannot rely only on our own communications anymore, and we can gain credibility through partnerships.”

Thai dance performance, for example, come about through collaboration with the Thai Embassy in Brussels. Van Looy: “The Thai Embassy is well connected with its community. There are established communication structures. You feel they want to do something for the Thai community here. That is not always the case with embassies.”

Whether collaboration with an embassy makes sense in order to connect with local communities, depends on the respective political situation. In many cases, embassies represent governments to whom the local communities are in opposition or because of whom they left their country. This applies, for example, to communities from the Caucasus and from Africa.

STAFF

BOZAR‟s permanent staff has grown from 100 to nearly 400 in the span of the last 12 years. This expansion has, however, not lead to a notable staff diversification in terms of nationality (on which data are collected) or ethnic origins (which are only known informally). In 2013, above 87% of BOZAR staff was of Belgian nationality. The small number of non-EU citizens amongst its permanent staff (under 2%), have usually been resident in Belgium before being employed, so their employment posed no administrative challenge. Employees of non-EU origin so far don‟t feature among the staff charged with programming or strategic work, but primarily amongst cleaning and security personnel. BOZAR‟s employment policy highlights talent and enthusiasm as key personnel qualities; there is no reference to diversity of cultural background or any equality principles. BOZAR is obliged to advertise its vacancies in a gender neutral way. It also has to demonstrate that it encourages the employment of people over the age of 45 and that it enables people to work beyond the formal retirement age of 65. It is, however, under no legal obligations to be an employer providing equal opportunities to people of different ethnic origins.

When advertising posts, BOZAR also draws on the vast number of unsolicited applications it receives due to being a well-known brand. However, both amongst the solicited and the unsolicited applications, the profiles are not diverse enough. “It currently is not easy to hire staff with a migration background of the right qualifications”, according to Dujardin. “The diversity of the population of Brussels is not fully reflected in the permanent staff of Bozar, because although Brussels is cosmopolitan, the different migrant communities tend not to have the critical mass (compared to London, Marseille or Berlin, for example) to make it into the

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institutions of the country, or the newcomers don‟t have the required formal status to reach such positions.”

BOZAR‟s director of human resources, Marleen Spileers, admits that special efforts to diversify BOZAR‟s staff haven‟t yet been made either: “We demonstrate our social responsibility in other domains so far. Some of our staff has very low schooling levels and we offer them language courses, for example. All staff need to at least understand both national languages. … We also have a mentoring programme, which allows technicians, who have a physically demanding job, to work into their sixties while training younger colleagues and reduce the amount of their own physical work. … We are also working on a salary policy. … Next year we will be offering advanced IT training to our staff. Eventually we will work on a diversity plan. I have experience with this from my previous job and will do it properly when the time is ripe.”

The diversity picture is different when considering BOZAR‟S temporary, artistic staff. Paul Dujardin: “We are the ones who give the most platforms to artists from beyond the EU 28 and that for me is labour. I don't need to have this cultural diversity in my house on the programming side - cultural diversity is in the globality of BOZAR.”

BOZAR also temporarily hires staff from particular ethnic communities to promote special events. In 2010, for example, „an African lady‟ was hired to promote the African tent for the Football world cup.

Lessons from a single employment experience

When BOZAR gets to the point of elaborating a diversity plan, it will be able to draw on the lessons of a particular employment experience – that of employing a Muslim woman of Moroccan origins: She was recruited as an audience developer (for theatre, dance and cinema). Because of her background and the relative novelty of somebody like her working for an institution like BOZAR, she is said to have felt herself under particular pressure to do well, but also took any criticism of her work as personal criticism. Therefore a situation arose where she couldn‟t cope with her work anymore and negative interpretations of the situation stood in the way of her developing coping mechanisms. She was finally made redundant. Yet some elements of her „otherness‟ did also play a role in the discomfort of her employment situation: The fact that she wore a headscarf raised a discussion about the display of religious symbols in public institutions. Some staff members thought that the wearing of a headscarf by BOZAR staff should not be allowed.

This single case illustrates that staff diversity cannot be experimented with by „bringing the odd one in‟. The woman in question was “completely lost in the house”, according to Paul Dujardin. The example “shows the need for special programmes to better protect and accompany these kinds of first introductions”, so Gerd Van Looy. “Existing staff have to be trained out of their prejudices about people with unusual profiles”, so Marleen Spileers.

Intercultural training of staff

Besides preparing the ground for greater diversity amongst BOZAR staff, their training for greater tolerance of diversity of BOZAR audiences is also required: Programming for people of non-European origins requires certain adaptations to the rules of behaviour in BOZAR and therefore adaptations to the expectations of BOZAR staff. For example, traditionally, performances would be expected to start on time, audiences to arrive well in advance, and latecomers would have to wait until the interval to be admitted. Yet in some cultures, late arrivals are expected to be accommodated, and BOZAR staff can meet with impassioned responses if they insist on old-fashioned rules. According to Gerd van Looy “BOZAR can‟t be a defender of some „high standards‟, when the rest of the city behaves in a different way.” So the behavioural codes need to be subject to discussion, and staff, such as ticket controllers, need training in the cultural differences between behavioural codes.

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BOARDS / GOVERNING BODIES

The members of BOZAR‟s Board of Directors are appointed by Royal Decree. They are drawn from the white Belgo-Belgian population. No diversity principles have been applied so far to their recruitment.

SUPPLIERS

No equality or diversity principles have been applied so far to BOZAR‟s supplier relations.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Lower Basic Lower N/A N/A N/A Intermediate Intermediate

MIAT (Ghent)

The following profile is based on an interview with the institution‟s director, Ann Van Nieuwenhuyse, on 6 May 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

MIAT (Museum over Industrie, Arbeid en Textiel) is a museum of industry, work and textiles, dedicated to documenting and presenting 250 years of industrial society. While its origins are earlier, it has been housed since 1991 in the former Desmet-Guequier cotton mill (close down in 1975) on the bank of the river Leie just to the south of the city centre of Ghent. Over four floors it presents the first Industrial Revolution, the testimony of six generations about working and living, a printing department and a textile department. MIAT considers itself to be a service provider in the industrial heritage sector. Besides the exhibition spaces, it offers a library and documentation centre, a quarterly museum journal (MIAT-krant), a retro movie theatre for Sunday screenings (Ciné Palace), a museum shop (with work by contemporary designers on sale) and a café. It also comprises a fairly large garden of dye plants amongst others with recreational spaces and facilities for learning activities. About 3% of MIAT‟s collection is on display. Taking care of its collection is a large part of MIAT‟s work. Besides its permanent exhibition, it puts on temporary exhibitions. It privileges an oral history approach, i.e. the testimony of individuals features strongly in its exhibitions. www.miat.be - the website is in Dutch and also offers information in FR, EN, DE

View on MIAT from the opposite river bank, MIAT close up with its dye plant garden, a 19th century exhibit

INSTITUTIONAL VISION AND POLICY

MIAT is funded by the City of Ghent and the Government of Flanders. Both funders stipulate that cultural institutions need to address diversity – in the broadest sense, covering gender, disability, cultural and ethnic minorities etc.

MIAT operates under a 5-year policy plan20.Working with diversity is a thematic focus of this plan. Ethnic and cultural minorities are one of several special target groups of MIAT (the others being schools, families, and young people, especially those in vocational training).

20 http://miat.gent.be/nl/nieuws/infografiek-beleidsplan Página 50 de 147

MIAT has, however, no statement regarding diversity on its website or in its publicity material. The importance of reaching out to visitors with a migration background is not explicit.

Ann Van Nieuwenhuyse, MIAT‟s Director since 2010, professes that her commitment to diversity does not stem from governmental encouragement alone. Rather, it corresponds to her very own convictions, and under her management the museum has taken up work on diversity.

VISITORS / AUDIENCES

MIAT uses the population data of the City of Ghent to inform its activities.

MIAT asks birthdates and postcodes of its museum visitors. Postcodes reveal something about the likely socio-economic profiles of visitors, but the ethnic origin of visitors is largely garnered from observation.

MIAT cannot afford more extensive research on its current and potential visitors. For specific activities it can sometimes employ students to research visitors.

MIAT reaches out to the Turkish community with its own staff of Turkish origins: “It is very important for us to have Turkish and other people among our staff; they make the connection with the communities more easily; you can‟t come into a Turkish community with no knowledge of it. … It is not easy to get people from ethnic minorities into the museum, but because of our relationship building with their organisations they are beginning to come. When I walk through the museum at the weekend now, I see a lot of them in our special exhibition. I hope they will come again to the permanent exhibition.” (Ann Van Nieuwenhuyse)

MIAT participates in as many activities outside the museum as possible, for example it put time into contributing to an event in Ghent‟s old harbour in 2012, which attracted 300 visitors.

School classes mostly come to MIAT, but its pedagogical work is now being complemented by “MIAT on Tour” whereby workshops are given in schools. MIAT is, for example involved in a literacy programme for low achievers, many of them of foreign origins, and contributes an activity, which involves its collection of rare large wooden letters from its printing department.

MIAT receives visitor groups from Kompas (http://www.kompasgent.be/), the city of Ghent‟s integration service for newcomers.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

In 2014 MIAT presents a special exhibition entitled “Straffe Gasten” (literally meaning „penalty guests‟, but rendered as “Chasing Dreams” in English) which focuses on the Turks and Moroccans who came to Ghent from 1964 to work in the textile industry in the context of agreements between the Belgian government and the Turkish and Moroccan governments respectively. The exhibition has been mounted in the framework of the programme “50 years of labour migration” sponsored by the government of the Flanders region of Belgium. MIAT director, Ann Van Nieuwenhuyse: “Presenting this history is important because a lot of people, especially young people, don‟t know why there are so many Turkish people in Ghent and why so many of them are unemployed. Foreigners had to be hired because local people didn‟t want to work in the textile industry any more – they preferred to work in the harbour companies that offered better pay. But even the influx of cheaper labour couldn‟t save the local textile industry in the long run – the textile industry is nearly completely gone from Ghent.” This temporary exhibition will later be integrated in the permanent exhibition of MIAT.

“With all projects we do at least one activity that is especially interesting to people of another origin, for example when we do something about the tile industry, we will have one evening about Moroccan tiles” (Ann Van Nieuwenhuyse).

MIAT starts every project with a reflection group of 10 to 12 people. For the exhibition “Straffe Gasten”, this group included people of Turkish and Moroccan origins. It is Ann Van

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Nieuwenhuyse‟s conviction that “from behind your desk you can‟t make an exhibition nowadays. You must reflect on it with people from other walks of life.”

Van Nieuwenhuyse sees MIAT‟s mission both in local cultural heritage education and in raising awareness for the role of people of different origins within that heritage: “If we can instil understanding in our visitors, be they local or tourists, that all migrants, wherever they came from, were simply seeking a better future, that is one of the most important things we can do.”

MIAT attributes great importance to oral history besides its collection of machinery and other artefacts, yet Van Nieuwenhuyse concedes: “The voices of migrants are not yet sufficiently present in our collection. But we are working on that.”

The starting point of the “Straffe Gasten” exhibition; exhibited lodgings of Turkish “guest workers” in the 1970s/80s; the special cafeteria menu on the occasion of “Straffe Gasten”

PARTNERS / COLLABORATORS

MIAT recently started to collaborate informally with organisations of ethnic communities, the Turkish Union and the Moroccan Federation of Ghent. MIAT‟s own staff of the corresponding origins builds the bridges to them. MIAT is now in a position to mail or phone people spontaneously for advice.

STAFF

Four out of 25 of MIAT‟s permanent staff are of foreign origins – three of Turkish and one of Colombian origins. One of them is head of the textile department and of security, two work in visitor relations, the fourth in the café.

Having these four staff members has not required any special adaptations or training measures on either side. Native speakers of Dutch only have to give non-native speakers of Dutch a little help at times. Frontline staff is trained annually in their conduct with visitors; this is general and does not cover any cultural differences between visitors.

MIAT became a community company (“Gemeenschap bedrijf”) at the beginning of 2014. As a consequence it does no longer carry out its own recruitments, but recruitments take place through the services of the city administration of Ghent, and MIAT has no influence on the channels used to advertise jobs. The procedure for such recruitments must be non- discriminatory. Positive discrimination, i.e. favouring applicants from underrepresented groups is not possible. However, due to budget cuts, no new post will become available for the time being.

Nevertheless, it is MIAT‟s stated aim to diversify its staff, although „diversity‟ is understood as all-encompassing and no numerical targets have been set.

MIAT has a little scope to realize this ambition with its temporary staff: It utilizes a scheme whereby unemployed people can work for a certain number of hours and be paid with service cheques. Under this scheme, MIAT searched particularly for Turkish people as demonstrators in its textile department.

BOARDS / GOVERNING BODIES

MIAT has a joint governance body with two other institutions in the same field: Huis van Alijn (Museum of Everyday Life; www.huisvanalijn.be) and STAM - Stadsmuseum Gent (the city museum of Ghent, http://www.stamgent.be). This body (Raad van Bestuur) is made up of 10 city councillors, i.e. appointees of the city council, and corresponds to the political composition of the city council. A couple of members of the governing members have a migration background.

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SUPPLIERS

MIAT‟s supplier relations are governed by public procurement rules, e.g. services above € 80 000 have to be tendered. Price is the key factor in all its purchases. No equality or diversity principles are applied to its supplier relations. Migrant-owned businesses can be amongst MIAT‟s suppliers by coincidence.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Lower Lower Lower Basic Basic N/A Intermediate Intermediate Intermediate Intermediate

WIELS (Brussels)

The following profile is based on an interview with the institution‟s director, Dirk Snauwaert, on 7 May 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

Wiels is a contemporary visual arts centre, which opened its doors in 2007. It is housed in a previous brewery. The modernist building designed by Adrien Blomme in 1930, had fallen into disuse in 1988 and several plans for a new use of the building fell through until the Brussels capital region appropriated the building in 2002 and the idea of using it for a contemporary arts centre caught wind. Wiels is situated prominently at an important crossroads very close to Brussels‟ South main railway station. It is, however, also at the borderline between two of the poorer Brussels‟ districts („communes‟), the St. Anthony borough in Vorst/Forest and Sint-Gillis/Saint Gilles. http://www.wiels.org - website in English only

INSTITUTIONAL VISION AND POLICY

Wiels‟ mission is in the first instance artistic: It wants to be an international laboratory for the creation and distribution of contemporary art – visual art in the first place, but with an eye on cross-overs to other disciplines. It wants to present contemporary art in all its diversity and expose visitors to most recent developments and debates in the art world. It considers „difference‟ and „otherness‟ as a central themes in art and sees it as the responsibility of arts institutions to connect with their local surroundings.

Projects which could be considered to serve “migrants‟ cultural participation”, fall under Wiels‟ socio-artistic work strand, and this is financed separately from Wiels‟ core activity, e.g. from a five-year “Sustainable Neighbourhood Contract” (Contrat de Quartier Durable) Saint-Antoine- Forest. Additional funds for this work have to be found year after year, which does not allow an altogether „strategic approach‟.

Evaluation of WIELS‟ socio-cultural work is mostly informal and internal. However, a local artists‟ collective has recently been commissioned to create a publication which presents the 10 socio-cultural projects, which WIELS has undertaken with the participation of its neighbours in the past 5 years.

VISITORS / AUDIENCES

Wiels does not collect data on the characteristics of its visitors, but from their observation it knows that its largest audience are people who are interested in and follow the development or

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wish to be associated with contemporary visual arts. The people living in Wiels‟ multicultural neighbourhood, by contrast, are not necessarily its natural visitors, but one important group of „users‟ and partners of the services Wiels provides.

The entrance hall of Wiels, which contains the old copper brewing vats – visible from the streets through huge windows, serves as a café open to all, not just exhibition visitors. Nevertheless, people from the surrounding neighbourhoods don‟t normally or still underuse the facilities of Wiels‟ lobby, be it the café, the Wifi or just the meeting place. Wiels‟ Director, Dirk Snauwaerts, puts this down to the fact that “the building is not ethnicised whereas most other facilities in the area are marked as religious or socio-cultural spaces for a certain ethnic group.”

However, Wiels attracts visitors from the migrant population in its neighbourhood through other activities than contemporary visual arts exhibitions: It collaborates in literacy programmes and helps illiterate people find their way to written language and to confidence in expressing themselves through drawing, painting, engraving, etc. (continuously since 2007). Wiels also helped create a pedagogical, communal garden (“Le Jardin Mille Semences- Ceuppens”) right next to its building, and this included the creation of some sculptures. Such initiatives help Wiels to be recognized and accepted in its neighbourhood. Indeed Wiels is credited with having lifted the area out of rubbish dumping, rough sleeping and drug fixing. Such activities might also very slowly bring the core activities of the organization closer to the people living around it (the discovery of WIELS‟ exhibitions is always part of its socio-cultural activities). However, Dirk Snauwaerts has no illusions about the impact an art institution can have on the socio-economic problems around it: “the unemployed people in our neighbourhood have been solicited by public agencies with arts and education projects for years, but this does not solve the fundamental problem that there simply are not enough jobs for the low-skilled.”21

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

Wiels is not a museum and does not have a collection. It presents around seven large exhibitions per year, both exhibitions dedicated to national or international artists, to groundbreaking artists from non-Western backgrounds, and to thematic exhibitions focusing on post-colonial, feminist, queer, ecological or progressive issues. The artists and topics are selected with the intellectual and artistic judgment of the staff team. Besides presentation of contemporary visual art, WIELS promotes the production of contemporary art and ideas: it offers residencies to international artists with special attention to bringing in artists from non- Western backgrounds. A third strand of WIELS‟ work is pedagogical workshops addressed to children, young people, schools, adults and the neighbourhood population.

PARTNERS / COLLABORATORS

WIELS has been cooperating with the association “Lire et Ecrire” (Read and Write) of Brussels South regularly since 2008 among many others. Some of WIELS‟ partners in the communal garden project are BliB (the Dutch-language borough library) and the local youth house (Maison de Jeunesse).

STAFF

Wiels has no stated employment policy. While its small core staff is ethnically, linguistically, and in terms of nationality mixed by intention, it does not fully reflect the mixity of the population of Brussels. Wiels, however, collaborates with the local employment agencies Actiris and Forem, has adopted a Diversity Plan, and makes efforts in particular to diversify its ancillary staff, e.g. attendants in the exhibition halls – these are drawn mainly from the neighbourhood‟s immigrant population.

BOARDS / GOVERNING BODIES

Wiels is a not-for profit association; its five-strong governing body („conseil d‟administration‟:‟raad van bestuur‟) is made up of elected members of the association

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(„assemblée générale‟/„algemene vergadering‟), which has 12 individuals as members. As such, the governing body is still mono-cultural (representing only two of three main and official linguistic communities of Belgium).

SUPPLIERS

The caterer on Wiels‟ premises is a “migrant owned” business. People with a migration background also dominate in the cleaning and surveillance staff employed on a temporary (not contractual) basis. Wiels has, however, no explicit policy of applying diversity and equality principles to its suppliers.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Basic Basic Basic Basic N/A N/A Intermediate

KVS - Koninklijke Vlaamse Schouwburg (Brussels)

The following profile is based on an interview with the institution‟s assistant artistic director, An Van der Donckt, its assistant business manager, Karel Dombrecht, its Africa project office, Paul Kerstens, as well as its business manager, Danny Op de Beeck, on 13 May 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION KVS describes itself as “The Brussels City Theatre”, which would like to make each inhabitant of Brussels, who is interested in Brussels, want to come at least once per year. Given the original Flemish national mission of this theatre and the hyperdiversity of Brussels, this is no mean feat. The transformation of KVS is closely linked to its buildings. A removal to temporary premises during the renovation in the 1990s of the 19th century Flemish neo-Rennaissance building (itself a transformation of an 18th century warehouse) provided an important fillip for a review of KVS‟ artistic practices. The renovation itself served the purpose of adapting the theatre spaces to new practices. An entirely different new building complex was added, and the experience of temporary premises established a new tradition of taking the theatre outside of its buildings. http://www.kvs.be - website in NL, FR, EN

INSTITUTIONAL VISION AND POLICY

KVS‟ mission statement describes the theatre as a “platform for a range of voices and stories from the multilingual and extremely diverse capital of Belgium and Europe.” It declares the theatre‟s purpose as helping satisfy the need for a city as fragmentary as Brussels, “for shared experiences and for projects that bridge linguistic, cultural and socio-economic divides.”

KVS‟ declared commitment to diversity is so fundamental and all encompassing that no target groups are singled out, that no distinction is made between any population segments which might be more „original‟ and others which are „newer‟. Terms such as „migrant‟, „immigrant‟, or „people with a migration background‟ do not feature in the language of KVS (although „migrations‟ have been a theme in KVS‟ work).

Reaching out to the different communities of Brussels is central to the identity of KVS. Its cultural projects thrive on both “strong local artistic and community connections and a vibrant international dimension.”

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KVS‟ funding is not earmarked for different target groups. Its core funding is applied to fulfilling a diversity agenda.

Evaluation of KVS‟ diversity work is informal but built into its dialogical way of working. It is very open to sharing its insights.

VISITORS / AUDIENCES

KVS‟ audience development policy is cross-cutting. It has no particular targeting policies and takes the diversity of its audience as given. Different productions create different degrees of audience mixity; most productions draw hybrid audiences. The composition of audiences is primarily observed by staff. Although about 60% of ticketing is carried out on-line, very little audience data is collected.

KVS‟ capacity to engage with the societal complexity of Brussels rests primarily on the knowledge and skill of its staff. Academics such as Eric Corijn (Professor of Social and Cultural Geography at Vrije Universiteit Brussel) are draw in to close any knowledge gaps of the social and demographic characteristics of the city.

KVS‟ productions are “owned” by a wide range of people in each case due to its inclusive methodologies.

KVS‟ productions are performed not only in Dutch, but also in French (the other official language of Brussels), English (the lingua franca of much of Brussels), Arabic (the most spoken non-European language in Brussels) and others. Surtitling into other languages is always provided.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

KVS does not buy in any productions, it produces what is in its programme. As such it certainly doesn‟t import anything in order to cater for any particular community.

While KVS has two geographical themes, Congo and Palestine, and uses its artistic engagements with these locations to make links22 with people of Congolese or Arab origin (Palestine being of high significance to Arabs of all origins) in Brussels, ethnic identity does not determine the selection of artists for collaboration. Some of KVS‟ artistic collaborators, be they local or international, insist on being seen only for their art; others also accept the additional role of representing certain ethnicities.

KVS has a highly diversified programme dedicated to intercultural innovation and to bringing diversity together.

PARTNERS / COLLABORATORS

KVS has multiple collaborative relationships with artists and community based organisations. It is aware of the different representational natures of associations linked to ethnic communities. Moroccan and Turkish associations in Brussels, for example, tend to be truly community based, with significant followings, whereas African associations tend to be more the stages for individuals. KVS also has strong collaborative relationships with schools.

KVS‟ collaborations also enable it to be active outside its core institutional locations. An example of this is the TocTockKnock Festival of 2013.

STAFF

KVS has a 60 strong permanent staff. Data on staff‟s ethno-cultural background are not formally collected; their background is simply known because the staff size allows everybody to know

22 KVS‟ “Green Light” think-tank, for example, is intended to reinforce its ties with Brussels artists of African origin. Página 56 de 147

everybody. Ethno cultural diversity is lower amongst KVS managerial staff than amongst its service personnel. KVS staff on the whole does not yet fully reflect the diversity of Brussels.

Ethno-cultural diversity amongst KVS contractual staff, e.g. artist engaged for specific productions, is extremely high.

KVS has been elaborating a “Diversity Plan” with the help of the employment agency Actiris, which involved a stock-take of diversity within KVS and the identification of improvements to its recruitment procedures. Diversity was looked at holistically in this context, i.e. gender, age, ethnic background and ability/disability were considered. Ethno-cultural diversity was identified as less of a challenge than age diversity – especially amongst KVS technical staff, the average age is fairly high.

KVS employment policy now states, “KVS attaches importance to provide equal chances. Qualities are more important then age, ethnicity, gender, nationality or handicap” (translation). This could at least potentially mean that given comparable competences, candidates from ethno-cultural backgrounds not yet sufficiently represented in KVS will be given preference.

As a result or its work with Actiris, KVS now also advertises vacancies through a greater variety of channels so as to get a range of applicants broader in ethno-cultural profile than hitherto.

KVS staff has had the possibility to attend an intercultural training workshop. One outcome of this was the agreement on a principal internal language, Flemish, despite the multilingual operation of KVS.

BOARDS / GOVERNING BODIES

KVS‟ board of directors is constituted of appointees representing the public authorities which provide the theatre‟s structural funding, i.e. the Flemish community and the City of Brussels. The composition of the board of directors therefore changes after each election; in practice, the directors‟ personal characteristics, e.g. their affinity to the arts, can be more significant than their party political colour. KVS has no formal influence on the composition of its governing body and cannot apply any diversification policies.

SUPPLIERS

KVS accords service contracts on the basis of quality and price. Only in the field of catering has the choice of the ethno-cultural background of the supplier ever played a role – for certain events, the cuisine had to correspond and it made sense to use suppliers from certain localities. For other services (e.g. elevator maintenance or building security), the choice of suppliers isn‟t even big enough to apply diversity and equality principles, and the availability of a service provider can be an overriding criterion.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Upper Advanced Lower Upper N/A N/A Intermediate Intermediate Intermediate Intermediate

Cultuur Centrum Sint-Niklaas (Sint-Niklaas)

The following profile is based on an interview with the institution‟s participation officer, Patricia Maas, its director, Rik van Daele, as well as Karina Kiekens, from the integration service of the city of Sint Niklaas, on 19 May 2014, and on desk research.

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SHORT DESCRIPTION OF THE INSTITUTION

Cultuur Centrum Sint-Niklaas is the independent cultural service of the city of Sint-Niklaas23 in the Belgian region of East Flanders. The city counts around 73000 inhabitants of which 6,6 % are foreign nationals (Moroccans with 0,9% and Turks with 0,5% being amongst the top five nationalities) and 20,4% foreign born (including foreign nationals; with 15,4% on non-EU origins)24. Despite the name „cultural centre‟, CC Sint-Niklaas does not actually dispose of a building of its own. Rather it programmes cultural event for a host of cultural venues across the city, principally the Stadsschouwburg (municipal theatre – see photo below) and the Museumtheater. The programme of CC Sint-Niklaas is interdisciplinary and broad but centres on performing arts and film.

Sint-Niklaas made international headlines in 2007, when several Flemish couples refused to be married by the black registry officer Wouter van Bellingen (who was born in Rwanda and adopted at birth by white Belgian parents). Van Bellingen responded to the “primitive racism” which he had experienced by staging a symbolic mass wedding on the town square to coincide with International Day Against Racism. http://www.ccsint-niklaas.be/ - the website is in NL only

INSTITUTIONAL VISION AND POLICY

CC Sint-Niklaas is a case where the written commitments in particular lag behind the practice of the organization. It seems that CC Sint-Niklaas has been so much in the doing, that its communications do not yet fully reflect its work. Its mission statement contains a commitment to “the development of the individual to critical and meaningful citizenship and pluralistic and democratic thinking” and to “community building”. There is no explicit reference to the migrant population of Sint-Niklaas although CC Sint-Niklaas has been programming with this population in mind since 2008. CC Sint-Niklaas‟ intercultural „Kultour‟ programmes (see below), including its 2014 edition, which is contextualized in the celebration of 50 years of migration to Belgium from Turkey and Morocco in 2014 do not feature on its own website either.25

An overhaul of the mission statement is, however, foreseen soon. A current draft includes “customer-friendliness, programming for a broad audience, promoting tolerance, involving hard- to-reach groups and encouraging them into active and passive participation.”

CC Sint-Niklaas has a permanent budget line for its „Kultour‟ programme (see below), which relates to migrants‟ cultural participation. However, this budget line depends on project funding which has to be raised year after year. The budget allocation for „Kultour‟ has ranged from 300 € to 18.260 € between 2008 and 2014, with ups and downs. The centre‟s budget for audience development is divided by target group, and „other cultures‟ is one of five. In 2013, about 20% was spent on targeting this group; in 2014 about 45% (this is highly variable depending on the different income sources).

CC Sint-Niklaas evaluates „Kultour‟ internally by collecting basic figures (number of activities, locations, participation of minorities as artists or volunteers, visitors, etc). The qualitative assessment is anecdotal.

VISITORS / AUDIENCES

CC Sint-Niklaas still tends to perceive migrants, including the “second generation” as culturally distinct groups, although it is conscious that the notion of otherness is no longer fully appropriate. It is on CC Sint-Niklaas‟ horizon that it could treat people with a migration

23 Sint-Niklaas made international headlines in 2007, when several Flemish couples refused to be married by the black registry officer Wouter van Bellingen (who was born in Rwanda and adopted at birth by white Belgian parents). Van Bellingen responded to the “primitive racism” which he had experienced by staging a symbolic mass wedding on the town square to coincide with International Day Against Racism. 24 Lokale Inburgerings- en Integratiemonitor Sint-Niklaas 2013 25 Only „Kultour12‟ feature on a rudimentary, separate website: www.kultoursintniklaas.be; the activities of „Kultour14‟ feature on: www.uitinvlaanderen.be/50-jaar-migratie Página 58 de 147

background on an equal footing with those of autochthonous people. It is at a threshold between catering for its traditional audiences while targeting migrant audiences „on the side‟, and an all-encompassing programming for all. The courage to cross this threshold is there but not yet acted upon.

CC Sint-Niklaas cooperates systematically with the integration service of the city and uses the population statistics available as well as the knowhow and contacts of this service.

CC Sint-Niklaas looks to migrants for their passive and active participation. It aims to help develop the relational skills and dialogic identities of its audiences.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

In 2008, CC Sint-Niklaas developed its first intercultural project: a one-month festival called “Kultour08”. The programme was an eclectic mix ranging from Chinese cooking workshops to an exhibition on Georgian culture, to Indian storytelling, to an African dance evening. The uniting theme was „identity‟. In subsequent festivals, the universal human theme that was explored across cultures, was perhaps more prominent: “Kultour10”, for example, explored the theme „love‟ and featured, for example, a multicultural show of bridal gowns and an exhibition of love letters from different cultures. “Kultour11” explored the theme „dreams and nature‟. The festival literature pronounced: “Cultural Center Sint-Niklaas believes that getting to know the beauty of other cultures can lead to better understanding and more tolerance.”

„Kultour14‟ is embedded in the Belgian anniversary programme ‟50 years of migration‟ (50 years since Belgian concluded „guest worker‟ agreements with Turkey and Morocco). CC Sint-Niklaas‟ participation involves 15 key activities throughout the year (visits, exhibitions, readings, festivals, workshops etc).

In 2012, CC Sint-Niklaas departed from the festival formula, and began to organize intercultural activities throughout the year. Important principles continued to be observed: to highlight diverse people‟s commonalities through the exploration of central themes, to bring art and culture to the people by using public places and buildings (parks, railway station, mosques etc) rather than traditional arts venues, to collaborate with the integration service of the city and with local cultural associations in creating cultural activities. However, the activities remained in the framework of the “Kultour” programme, which is separate from the centre‟s core programme.

For the future, CC Sint-Niklaas intends to adapt its entire programme to the city population and to change its communications accordingly. It will have to do so in a political scene, which is dominated by Flemish Nationalist who emphasise that the onus of integration rests on immigrants more than on the receiving society.

PARTNERS / COLLABORATORS

CC Sint-Niklaas has been cooperating with up to 15 partners in the course of its annual „Kultour‟ programmes. It has an established set of strategic collaborative relationships.

STAFF

CC Sint-Niklaas has a core staff of eight, who are employees of the city administration and were recruited through a recruitment procedure, which was not service specific. The staff is all- Flemish with Flemish roots and have all been in their post for a very long time except for the director, who moved to the cultural centre from the city library in 2013. No new post will be created for the foreseeable future. Should a current staff member leave, any successor would be recruited through the general procedure of the city administration, which observes nondiscrimination principles, but no affirmative action measures.

However, in the context of the “Kultour” programme, CC Sint-Niklaas has the possibility of employing temporary staff from the cultural associations with which it collaborates and can so draw on professionals from more diverse backgrounds.

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BOARDS / GOVERNING BODIES

The board of directors of CC Sint-Niklaas (Raad van bestuur) is made up of political appointees and reflects the political composition of the city council. Apart from the odd French name, only Flemish names can be found on the list of members.

SUPPLIERS

CC Sint-Niklaas is bound by public procurement rules. It can only favour migrant-owned businesses for very small contracts in specific programming context, e.g. a caterer of Moroccan food in the context of a Moroccan cultural event.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Upper Lower Lower Basic N/A N/A Intermediate Intermediate Intermediate Intermediate

Werk Plaats Zimmer (Antwerp)

The following profile is based on an interview with the institution‟s director, Patrick Sterckx, on 21 May 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

Werk Plaats Zimmer is a space for mentoring emerging talents in the field of dance and physical theatre. Since 1993, the organisation has been using a building, which previously served as a vegetable warehouse, in northern Antwerp to host promising artists for the development of their productions. The building comprises a studio with theatre-technical equipment, a workshop, a depot, offices, a foyer, lodging facilities and a courtyard. The resident artists (up to five at a time) receive both artistic coaching as well as assistance with their administrative establishment. Some of the productions developed at WP Zimmer then go on stage in cultural venues across Europe. Occasionally a production gets staged at WP Zimmer itself. http://www.wpzimmer.be/ - the website is in NL and EN

INSTITUTIONAL VISION AND POLICY

WP Zimmer‟s central mission is to select promising contemporary dancers and to help launch them - after having shown first merit - into longer-term success. The contemporary dance field is by its very nature multicultural and international. WP Zimmer therefore considers it unnecessary to include any commitment to diversity in society in its public presentations. According to WP Zimmer‟s director, Patrick Sterckx, social relevance is important in contemporary dance, yet WP Zimmer does not consider that it has a particular role in brokering migrants‟ cultural participation. Therefore, migrants‟ cultural participation is not a goal, which is reflected in the organisation‟s budgeting or evaluation either.

VISITORS / AUDIENCES

WP Zimmer has no audience policy because it is not regularly a venue for the productions created on its premises. The audiences of the institutions to which its productions tour can be a factor in deciding whether an art centre or festival is “the right spot”, but that does not mean a systematic orientation towards migrant audiences. WP Zimmer is, however, aware that working class migrant populations – such as those in the highly multicultural neighbourhood where it is

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located – do not feature in contemporary dance audiences, already for the fact that the entry tickets would be too expensive for them.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

WP Zimmer not being a regular cultural venue, it does not programme. Its productions are chosen by artistic promise and with complete openness to the diversity of artists and the themes they wish to feature.

PARTNERS / COLLABORATORS

WP Zimmer collaborates in both local (e.g. “Open Noord”) and transnational networks such as “N.O.W. – New Open Working process”, which is concerned with “building a European artistic environment that is diverse, creative and socially rooted”.

STAFF

WP Zimmer only has a permanent staff of four. The artists in residence are not employees. WP Zimmer has no formal, stated recruitment policy.

As part of its notion of social responsibility, WP Zimmer takes recipients of social benefit on work placement and commits to providing them with experience, which could help their integration into the labour market. People of foreign origins (or even nationality) are often amongst such interns.

The assistance, which resident artists, who are often foreign (including non-EU nationals) receive at WP Zimmer, also includes help with regularizing their administrative situation, e.g. resolving issues around visas, residence and work permits. WP works under the motto “no artistic development without administrative basis”.

BOARDS / GOVERNING BODIES

WP Zimmer has the legal form of a not-for profit association with individual members. The association‟s members are largely identical to its staff. There seems to be no separate governing body.

SUPPLIERS

Although WP Zimmer considers that its artistic activities are not relevant to the multicultural neighbourhood in which it is situated, it is keen to “be a good neighbour”. This entails making use as much as possible of the local economy; i.e. employing local cleaning personnel and buying in local shops. By the nature of the neighbourhood, this means supporting migrant- owned businesses.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic N/A N/A N/A N/A N/A Lower Intermediate

Bibliotheek Gent (Ghent)

The following profile is based on an interview with the institution‟s director, Krist Biebauw, on 3 June 2014, and on desk research.

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SHORT DESCRIPTION OF THE INSTITUTION

Bibliotheek Gent serves a city of about 250 thousand inhabitants, including 60 thousand students. Bibliotheek Gent is due to open on new premises, as part of the multi-media site De Krook in 2016. This move will come with a radical overhaul of its team, its work processes and services. Besides its main site, the library has 14 small branches spread across the city. The library is considered the most accessible cultural institution in the city. https://www.gent.be/bibliotheek – the website is part of the city of Ghent‟s and in NL only

INSTITUTIONAL VISION AND POLICY

Bibliotheek Gent – Bib Gent for short – has no explicit policies about serving people with a migration background or newcomers, but it understands it as its duty to provide information resources, which can help them orientate themselves in society. This can include directing people to other public services. This function is more relevant to some of the library‟s branches than to the main library. The indicators by which the performance of the library is assessed do, however, not take account of the provision of orientation to newcomers.

Bib Gent is aware of the challenges it faces like any other classical library: people read less, they read more online and interact online about what they read. Digital technologies will therefore play a greater role in the new library. However, the shift to digital reading brings with it the danger of lowering the accessibility of the library‟s offer because digital technologies present extra hurdles to some.

Bib Gent does informally consider that it has the function of bringing people of different origins together; it is aware that this can‟t be achieved through singular activities, but through constant effort.

VISITORS / AUDIENCES

Bibliotheek Gent receives about 2000 visitors per day; 75000 single users who use the library at least once per year. It collects birth dates and address data of its users, but not individual borrowing profiles – the latter would go against the traditional commitment of Flemish libraries to guarding the privacy of their users. The addresses though can be related to the socio-economic profiles of the different parts of the city. Bib Gent currently focuses on welcoming those people who come to the library – it offers introductions to the facilities of the library. It considers working with people its strength and its essential raison d‟être. However, it does not yet actively try to bring people to the library. Therefore it does not target people with a migration background yet either, although this would be well imaginable given that the library is a city service and the city sends out special communications to newcomers. However, generally the city tries not to emphasise the differences between the inhabitants of the city. In February 2013, the city decided to drop the term „allochtoon‟ („originating from another country‟) in its official communications, and to refer as „Gentenaars‟ („people of Ghent‟) to all inhabitants of the city regardless of their origins. Bib Gent‟s policy towards visitors‟ needs is reactive so far. The challenge ahead, according to Krist Biebauw, is “to ask people much more what they need; not to answer their questions with what is on the shelves, but to find out about their questions and equip the library accordingly.” A population group, which Bib Gent does specifically target is children, especially the 50% of the city‟s children frequenting Kindergarden who do not speak Dutch at home (or speak it in parallel to another language), and through the children Bib Gent addresses their parents. The library runs a project for example which dispatches volunteers to read to children in their homes. One hundred families in the city per year benefit from this project. The families are identified in collaboration with primary schools.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

Bib Gent has a specific section in its collection with materials for learning Dutch as a foreign language. It has foreign language books and newspapers such as Turkish ones – Turks representing the largest immigrant group in Ghent.

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With the move to new premises, Bib Gent intends to step up its programming approach. Currently programming means to invite a few authors and to programme some activities for children. In future, the library wants to take a leaf out the book of museums and use its collection to mount exhibition, for example on current crises in the world: “Take Syria, we‟ve got everything that's needed to help people understand what is happening there, and we could make the link to Syrian refugees in the city”, said Krist Biebauw. “The question is are these books in the right spots? Are they where interested people would find them? May be this is not in the main library, but in the library‟s branches.”

Where fiction is concerned, Bib Gent buys more or less anything that is published in Dutch, so there needs to be no specific policy on buying literature in Dutch translation from the countries of origin of migrants or on buying the literature of Belgians of foreign origins. Yet, “buying is one thing, getting acquisitions into use is quite something else”, according to Krist Biebauw.

This kind of programming could be guided by making better use of the library‟s user statistics. It could use its data on what people are searching for in the library catalogue and on what they are borrowing to programme activities.

PARTNERS / COLLABORATORS

Bib Gent‟s collaborations to date with migrants‟ organisations are incidental. “It just happens from time to time. Like with other organisations in general, we do not yet ask, „Who do we want to work with? Who is the most relevant partner in pursuing a particular aim?‟ We just respond to good ideas at present”, explained Krist Biebauw.

Bib Gent will share its new premises with the Huis van het Nederlands, an organization offering Dutch language tuition. It envisages developing a more structured approach to the collaboration between the two institutions. Krist Biebauw considers “there are many organisations who could bring people to us”. In future, he intends to conceive work jointly with organisations which enhance the library‟s mission, rather than just pick up and accommodate interesting work by third parties.

STAFF

Bibliotheek Gent counts 123 staff, more of half of which are 50+ of age, and who are looking to a last phase of their working lives. The cultural make up of the staff is homogenous and women outweigh men considerably. Staff is not trained to provide orientation to newcomers to the city, but nevertheless tries to respond to such needs. The majority “wants change, but does not want to change themselves.” They are preoccupied with the working conditions they will face after the move to new premises. Staff will also all go through an internal procedure of reapplying for their post, the intention being to get people into positions, which truly correspond to their competences.

The library has not been able to recruit for some time because of budget cuts. In fact retiring staff have not been replaced, so fewer and fewer staff has been sustaining the main library‟s 50 hours of opening time per week. However, from 2016 the library will deal with a large wave of retirements, which will bring with it the opportunity to diversify the staff and to bring in competences in dealing with the diverse inhabitants of the city. Traditional library training will not be a requirement in the process because traditional librarian skills, such as mastering book classification systems, will be less relevant, and the requirement of such training would also narrow the pool of applicants because the intake of library training institutions is not yet diverse.

With its new building, the library will focus on communicating openness and this will extend to openness in attracting new staff. Recruitment will be managed through the city‟s recruitment process and will have to confirm to city rules, yet Bib Gent will be able to add its own initiative to advertising widely and making the opportunities known to non-traditional candidates.

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BOARDS / GOVERNING BODIES

Bibliotheek Gent‟s board (raad van bestuur) is made up of city council representatives plus a few extra advisers. It holds 3-4 meetings per year. While reflecting the party political composition of the city council, party political differences are hardly at play in the library‟s board. The city‟ politicians are ethnically diverse. The president of the library‟s board is of Turkish descent. Yet nobody puts the library‟s promotion of diversity explicitly on the agenda. “Everybody thinks it is obvious that our library should take a role in integrating migrants”, maintains Krist Biebauw.

SUPPLIERS

Bib Gent is only in charge of contracting suppliers of goods and services that are specific to the library, e.g. book covering. All general supplies are contracted by the city services. The city observes public procurement rules, but can favour social enterprises instead of merely contracting the cheapest bidder. The library also prioritises relations in the social economy. Equality and diversity principles as such are not applied to supplier relations.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards etc. Suppliers vision & repertoire collaborator policy Lower Basic Basic Lower N/A Lower N/A intermediate Intermediate Intermediate

T’Arsenaal (Mechelen)

The following profile is based on an interview with the institution‟s director, Michael de Cock, on 12 June 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

't Arsenaal is a theatre in the Flemish city of Mechelen (with about 83 000 inhabitants) which celebrated its 60th year in 2013. It emerged with its current name from the Miniatuur Teater in the 2002-2003 season. Its main auditorium has 220 seats. Since 2006 its artistic director has been Michael De Cock, who is renowned for striking productions. http://www.tarsenaal.be – the website is in Dutch only

INSTITUTIONAL VISION AND POLICY

There is no mission statement on the website of the theatre, but according to director Michael de Cock, t‟Arsenaal‟s mission is “to tell stories of the world – of Mechelen, of Flanders, of Belgium of the rest of the world – with plays be they written three hundred years ago or today, and with actors from all kinds of places.”

De Cock both rejects „art for art‟s sake‟ and the label „socio-cultural‟ which critics often want to stick to his work: “When ill-meaning white people see lots of black guys on stage, they say „it‟s socio-cultural otherwise they wouldn‟t be playing‟. That‟s a very strange way of thinking. It‟s sick in a way. … I engage with diversity first of all out of artistic necessity, not out of preoccupation with social aims. Of course I want to make diversity tangible. I‟d also like my art to have a positive impact and I‟m always wondering through what art form a story can have the biggest impact, but I‟m not trying to predict or plan that impact – that would be futile. That‟s the difference perhaps with political theatre in the seventies and eighties and the way we make it right now.”

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De Cock explained further: “The democratic legitimacy of a theatre nowadays is contingent on a mixed group of people on stage, in the audience and in the work force. A theatre is a place to reflect on the world and you can‟t reflect on that world in a mono-cultural environment. … Many cultural institutions have conservative reflexes – often for the fake reason of wanting to maintain artistic quality – and have been looking at the same cultural references for the past twenty years.”

T‟Arsenaal receives funding from the Flemish government, the province of Antwerp and the city of Mechelen. Funding from these sources is connected with expectations of serving diversity in society, but their fulfilment is not a true condition of funding: “The politically correct world demands to see a „natural mix‟ in theatres, but it doesn‟t follow-up and punish you if you don‟t deliver. If a theatre director is not him- or herself committed to working with diversity, it is easy for them to present excuses and get away with it. And from an artistic – as opposed to a political or governmental point of view – I‟m fine with that. I work on diversity because I want to do it. If you don‟t want to do it, don‟t do it. It should be an adventure and a free adventure” (Michael de Cock). t‟Arsenaal‟s key funding is not ear-marked for particular projects, so migrants‟ cultural participation is not specifically financially supported either. It might, however, apply for extra funding to support particular diversity projects. T‟Arsenaal has, for example, initiated the project GEN2020, which helps to promote talented immigrant actors and theatre-makers to the centre of the Flemish theatre field and also questions the traditional theatre canon and the roles it offers.

VISITORS / AUDIENCES

T‟Arsenaal still has a significant, but shrinking, number (about 400) of season ticket subscribers. The trend, however, is that people do not want to be part of a particular theatre community, but choose ad hoc from a very large cultural offer in a varied landscape of providers. Besides adjusting its communications to this trend, t‟Arsenaal has been actively seeking to diversify its audiences, albeit without neglecting its traditional public. Michael de Cock explains: “Sometimes we have a very mixed audience, but sometimes a segregated audience, but that‟s no problem. Segregation is not always a problem. You shouldn‟t want that everybody comes to the same. ”

The visitors of t‟Arsenaal‟s café on the day of the interview exemplify the variety in its audience: there was a group of elderly Mechelse women with a long history of coming to the theatre as well as group of people in their twenties, visibly of different origins in the world. De Cock: “You shouldn‟t go for a „correct social mix‟ from the left or the right, or from a niche. You should go for it from the centre. Confront those traditionally theatre-going women with the Moroccan-Flemish actress, and you can have very interesting encounters in theatre.”

What is harder though than enticing traditional theatre goers to go to plays with actors of other origins or about the stories of others, is to get „the others‟ into the theatre. Especially in order to reach first generation immigrants, t‟Arsenaal has to use very specific channels of communication and work through intermediaries. For the in-house produced play “De handen van Fatma”, for example (the story of a Moroccan woman who followed her husband to Belgium in the 1960s), it successfully took up the challenge of getting first generation Moroccan women to come, who normally never go to the theatre.

Knowing audiences

The season ticket holder are the audience who t‟Arsenaal staff know best of all, both through „data in the system‟ and through personal contact. T‟Arsenaal offers introductions to each new season and this is an important opportunity to find out what people like or dislike. Around 80% of the ad hoc visitors book their tickets online, which gives the theatre an opportunity to collect a limited amount of data – people who register in the on-line booking system reveal their postcode and age. Yet, this does not amount to audience research, and knowing the audience of a particular performance or of the theatre as a whole therefore remains a matter of the staff observing it. However, these observations remain in the intuitive knowledge of the staff, rather than being noted down. Likewise, for knowledge about those inhabitants of

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Mechelen who are not yet amongst the audience of the theatre, especially those of Moroccan origins, the theatre relies on the personal knowledge of its head of communications. Michael de Cock: “I could decide not to worry about those audiences we are not yet reaching because our performances are mostly full, but I would like to do more to achieve an organic, ethnic mix in the audience.”

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

T‟Arsenaal stages own productions and guest production. Its own productions also tour other theatres. Director Michael de Cock has a particular concern for the evolution of the theatrical canon: “We can‟t expect that the people who arrived during the past ten years are interested in a Flemish playwright of the thirties. They might be, but we shouldn‟t make paternalistic prescriptions. A theatre is a place for story-telling, and every kind of story should be represented on the theatre stage. Our canon needs to grow and change with the people.”

De Cock also takes a very flexible approach to the casting of actors: “I have done Chekhov, Ayckborn or Shakespeare plays with multi-ethnic actors. On the other hand, I have also had a Flemish actress play a Moroccan woman. But neither do I think that there‟s something wrong with a Moroccan guy playing an illegal immigrant. Good actors have the ability and empathy to play roles that don‟t necessarily correspond to their looks. And there is nothing wrong with identity-claiming.”

Although t‟Arsenaal is interested in the theatrical tastes of its audiences, it has no set methodology for involving audiences in its programming. This remains the prerogative of the director, who however considers himself in a “dialogue without words”. There is a cluster of reason behind each choice of play: timeliness of a topic, the audience‟s expectation of balance between repertoire and new plays, the availability of suitable actors, the audience‟s love of particular actors etc. “My choices are built on a give and take although not on an exchange of ideas”, says de Cock.

PARTNERS / COLLABORATORS

T‟Arsenaal collaborates with associations which facilitate access to migrant audiences or the touring of t‟Arsenaal‟s productions in other countries, such as Morocco, or which help bring foreign productions to the theatre. One such association is Moussem. Another is the local association Sharaf. T‟Arsenaal also offers local cultural groupings and associations the use of its facilities (for or without payment) and exercises a choice in that.

STAFF

T‟Arsenaal had its employed 20-strong theatre troupe for many years; a last couple of actors are still employees, but the majority of the actors involved in productions nowadays are freelancers, who enjoy privileged relations. The theatre‟s administrative and technical teams still consist of employees.

The actors and other artistic staff listed on t‟Arsenaal‟s website make for a very multicultural team. The technical and administrative team (16-strong together) are still more monocultural.

T‟Arsenaal has no stated employment policy and doesn‟t explicitly welcome applications from people with a minority ethnic background. Director Michael de Cock is however sure that “everybody knows that we won‟t be reluctant to take in other ethnic people. On the contrary, I would give them an advantage if I had the choice because we still have some diversifying to do amongst the off-stage staff as the opportunities arise.”

Not everybody at t‟Arsenaal carried the diversification which Michael de Cock has been pursuing, with enthusiasm, but neither have there been any racist undertones in any opposition. Formal intercultural trainings of staff have not taken place, but the director has taken time to explain his convictions to staff.

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BOARDS / GOVERNING BODIES

T‟Arsenaal is constituted as a vereniging zonder winstoogmerk (vzw), a not-for-profit association. It has a „raad van bestuur‟, a board, made up of ten people. Traditionally these were chosen from amongst the city councillors – such a connection to the administration of the city was seen as advantageous in maintaining the city‟s financial support. However, t‟Arsenaal‟s statutes do not prescribe such a composition, and Michael de Cock has been proposing appointments of relevant people from other walks of life to the effect that the board members are now more diverse than in the past.

SUPPLIERS

T‟Arsenaal chooses service providers or suppliers with a different background when the opportunity arises and in line with the general diversity policy of the house, but not based on any formal rules or with any rigidity. T‟Arsenaal has the freedom to choose its suppliers; it does not need to tender.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Lower Lower Lower Basic Advanced Lower Intermediate Intermediate Intermediate Intermediate Intermediate

M HKA (Antwerp)

The following profile is based on an interview with the institution‟s director, Bart de Baere, on 19 June 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

M HKA (Museum van Hedendaagse Kunst) is a contemporary visual art museum in the city of Antwerp, Belgium, established in 1985. Its permanent collection contains works by both Belgian and international artists from the 1970s to the present day. It disposes over 4000 square metres of exhibition space in a converted grain silo close to the river Schelde in the city‟s southern district. It is considered one of the most important art museums in Belgium. It sums up its activities with “Shows, reflects, collects, welcomes”. Bart de Baere has been the director of M HKA since 2002. www.muhka.be/- the website is in NL / FR / EN

INSTITUTIONAL VISION AND POLICY

M HKA‟s director, Bart de Baere, takes the view that “in order to allow for a real integration of migrants in the fabric of society, they have to be integrated in a really major way in the cultural field.” Because culture, in contrast to the economy, is the field where “you can be an individual and where relationships matter; where things are specific and unique rather than interchangeable”, it is important that migrants have a position. The canon of art in the sense of art which society considered agreed upon as a shared reference 20 years ago, needs renegotiating in the face of migration. Contemporary art museums are the “places where it is possible to change the canon and the current hegemony.” M HKA‟s mission is therefore to “construct a profoundly different reference field” in which artists of any origins can receive recognition.

According to de Baere, M HKA is about “understanding what our visual culture is and looking at its reflective capacity, where it says more than only 'buy me', or 'I love you'”. Together with its

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European partner museums – the network L‟Internationale - M HKA tries to develop a new form of internationalism, which focuses on the local, but attempts to take the local to the rest of the world. This also means being selective, engaging with specific positions, “rather than being encyclopaedic in our approach to collecting and exhibiting.”

M HKA also considers itself a Eurasian Museum. As such it counteracts “the horizon of fear which is the east, which is Asia” and plays with the “fact that we are only a peninsula of a huge continent.” M HKA therefore has a significant number of works from the former Soviet sphere; it also has an important collection from the Shanghai arts scene. In contrast to the east, which Europe fears, Bart de Baere considers that Europe “denies the south” – important cultures such as Yoruba culture are nearly unknown in Europe.

M HKA‟s approach to diversity does not narrowly focus on people with a migration background; it is more of an artistic philosophy. Bart de Baere contends: “Visual art museums are about specificity and therefore about diversity. Society comes from utter diversity, which has nothing to do with migrants. If you limit it to migrants, you make a very, very bad thing: homogenous blocks on different sides. People who come from what are considered minorities don't want to be seen as part of a homogenous block, but as persons doing something unique.”

M HKA steers a course based on the principle of “needing diversity”; it is a course which leaves the conservative, exclusive focus on artistic quality on one side, and sociological concerns for representation with its penchant for quotas on the other. What M HKA seeks out is the “reflexive capacity of visual arts”; it considers “openness to communicate” part of the quality of visual arts. Bart de Baere: “We look at what makes artists tick and how that might make others tick, not at the colour of their skin.”

M HKA is core funded by the Flemish community of Belgium. As such it formally has to satisfy diversity criteria. However, according to Bart de Baere, the ultimate measure of the museum‟s success is what impression it makes, what image it has in the media. Decisions on M HKA‟s public funding are “not propelled by the system of diversity criteria”. De Baer also considers the public funding awarded is insufficient to satisfy the system of criteria: “In real terms what you need to be is harshly managerial. And if you are still sticking to diversity, it's because you think it's the project.”

VISITORS / AUDIENCES

M HKA counts around 100 000 visitors per year. Since most museum visitors don‟t book their tickets online – unlike in performing arts institutions – the collection of their data is largely limited to the postcode of their place of residence. Moreover, Bart de Baere deplores the focus on quantitative data in the reporting which cultural institutions are subjected to – qualitative data should be considered: “We should ask, what does the audience experience? What does the audience take along? But no, it's just numbers!”

M HKA‟s visitor policy does not particularly address people with a migration background: “We have to address all the people who engage with contemporary art on the one hand, and all the people around us on the other hand. We have to make them understand that we are there. And when they come, they need to feel welcome.” However simple that sounded, Bart de Baere admitted to still be “failing horribly” in reaching people. Reaching people means reaching out to people proactively, and this is a matter of resources.

Nevertheless, MuHKA prides itself in the way its visitor guides work: Rather than presenting to them, guides first invite comments from visitors and then develop a conversation with them around exhibits. This approach to visitors as individuals with their specificity would also respect the needs of people with a migration background.

Despite rejecting the notion that artists could or should represent certain ethnicities or nationalities, Bart de Baere acknowledges that there is a connection between the ethnicity or nationality of an exhibiting artist and that of the visitors who might come to the museum: “A Turkish artist could add a little bit of possibility that people of Turkish origins living here will

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come to the museum. A little bit of themselves in our museum signals them that they are „allowed‟ and „part of the museum‟s offer‟.”

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

According to Bart de Baere, “everything that is representation is evil. You always need to have presence. Great artists in visual culture don‟t want to have to represent anything. A work of art has to work for and with society, so it has to be about presence; never about representation. Artists only accept representational roles in closed systems while they are denied a better place. As soon as they have a better destiny, they abandon representation.”

Rather than setting some rules for the diversity of the artists which MuHKA presents, Bart de Baere considers that the museum as a scene for artists needs to be set right: The scene needs to be about “enhancing and cultivating diversity at large.”

MuHKA is intent on avoiding the commodification of art. Its exhibitions neither offer categories of art and artists nor fixed routes for looking at them. The museum invites “the presence of artists and visitors” and offers them “experiences” rather than programmes. For Bart de Baere, the challenge in museum mediation lies in making individuals feel welcome rather than groups – individuals with their very variable interests and expectations. To this end MuHKA has developed a webtool called „Ensembles‟, which allows visitors to access different kinds and different depths of information about art works, depending on their interests. A QR code placed next to works in the museum allows them to access the software with their smartphones.

At the time of interview, MuHKA was presenting an exhibition called “Don‟t you know who I am?”, which contends that younger artists no longer make their path in a globalized scene by playing with their identity (see photos below).

PARTNERS / COLLABORATORS

M HKA‟s most prominent collaborator in reaching visitor groups with a migration background, is the NGO Moussem, which collaborates with cultural institutions in either presenting artist of Maghreb origins or in reaching audiences of Maghreb descent. In a first collaboration in 2007, a group of volunteers from Moussem worked with M HKA‟s collection and put together the exhibition „Ontmoeting‟ („Encounter‟) of little videos in which individuals explained why a particular work of art is important to them. Responding to Moussem‟s claim „we consider all the cultural institutions of this country ours', M HKA was effectively handed over to the NGO for several months in the context of the festival „Zonder Titel‟ („Untitled‟), which also offered stage activities, movies, discussions etc besides the exhibition.

M HKA has been building on this experience by seeking two or three serious engagements per year with non-traditional visitors from different localities, who are given the opportunity to put together their own exhibition after a process of work in small groups with M HKA‟s collection. M HKA collaborates with Locus, an expert centre for local cultural policy on these projects under the name “Visite”. The projects make M HKA first leave its premises behind in order to finally welcome new people to its premises. This work is the more important given that MUHKA is housed in a building – a converted grain silo - , which in the words of its own director, says to people “stay out!”. It carries out such localized work despite political expectations that M HKA be “ internationally radiant”.

STAFF

MuHKA has a formal plan for diversifying its staff. It reports on its implementation in its annual report. Nevertheless, diversity in terms of ethnic origin is rudimentary in M HKA‟s staff. Its two key curators could be considered to have a migration background: Nav Haq is of English- Pakistani origins; Anders Kreuger is of Swedish-Lithuanian origins. Otherwise only staff brought in under a government-sponsored, low-income scheme are of non-Belgian origins.

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M HKA does not want to be „representational‟, but considers it important to have diversity in its staff. However, it feels hampered in this aspiration by being under-resourced. In fact it feels so under-resourced that it can‟t take any risks with its hires. Bart de Baere explained: “We don‟t have the capacity to say, „this is a really interesting person, but he or she will take some time to train‟” – as might be the case with people from unusual backgrounds.

BOARDS / GOVERNING BODIES

M HKA‟s board needs to satisfy several diversity requirements - gender balance, business representation, party political diversity – but none relating to geographical origins.

SUPPLIERS

For goods and technical services, M HKA applies strictly economic principles to the choice of suppliers. Where content providers are concerned, it consciously applies diversity principles, i.e. tries to bring in different perspectives. It commissioned Russian curator Viktor Misiano, for example, to write an article for an exhibition on the Antwerp artist Panamarenko.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Lower Upper Basic Basic N/A Lower Intermediate Intermediate Intermediate

Beursschouwburg (Brussels)

The following profile is based on an interview with the institution‟s director, Tom Bonte, on 30 June 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

Beursschouwburg calls itself a “multidisciplinary art centre in the heart of Brussels”. It takes its name after the near-by „beurs‟ (stock market – no longer in use as such). The building it occupies dates back to 1885 and was originally a shop cum café with banqueting facilities owned by the Flemish brewery Walckiers. In 1947 it was first converted into a theatre; in 1965 the theatre opened its doors to the public.

In 1983 it was handed over to the Flemish Community, but was only imbued with fresh life as a cultural centre in 2004. In 2015 therefore, Beursschouwburg will celebrate both its 50 years as an arts centre and its 10th anniversary of re-opening in a renovated building.

http://www.beursschouwburg.be – the website is in NL/FR/EN

INSTITUTIONAL VISION AND POLICY

Despite being under the authority of a Flemish government, Beursschouwburg doesn‟t serve the promotion of Flemish arts, or arts in Flemish, in particular. It mostly stages art, which is not language based; it communicates in Dutch, French and mainly in English. Flemish is, however, its internal operating language.

Beursschouwburg‟s mission statement highlights its avant-garde character: “Beursschouwburg is … principally an inspiring platform for between-the-arts. Here, artists reflect, show, scrap and start again in an ongoing dialogue with thinking and creative Bruselèèrs. The

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Beurssschouwburg is a melting pot and a thorn in the side, where art is served while it‟s still hot …”

Migrants‟ cultural participation does not feature specifically in Beursschouwburg‟s vision and policy. Director, Tom Bonte, explained “We work with the notion of opening up to as many people as possible and migrants are implicit to that.”

The guidelines to the subsidies from the Flemish government, which Beursschouwburg receives contain stipulations on diversity – but also on other values such as environmental sustainability. Tom Bonte said “We wrote in the application that we are working on diversity implicitly, not explicitly; it would be a lie if we wrote something different. The problem is, all these expectations come on top of putting on a good artistic programme, with good communications – with no extra money. Nevertheless it's good that the government puts this in the guidelines because it makes us aware.”

VISITORS / AUDIENCES

Beursschouwburg‟s main target audience is young people in the city of Brussels (late teens and twenties). Director Tom Bonte sees “a lot of diversity in these young people, but they don't question it anymore. They grew up in it. The mix happens in Brussels‟ schools – if not in all its schools.”

Beursschouwburg has only been working on developing audience participation since 2011. It knows its audience through social media and its online booking system set up in 2011. Director Tom Bonte: “Facebook statistics are our best insight - they confirm who we think our audience is. Facebook tells us the mother tongue of our audience, their place of residence, age, etc.“ (Beursschouwburg Facebook page: 7154 likes on 14/7/‟14)

Tom Bonte further: “What is very, very clear is that we don't reach people with a migration background living in the poorer parts of the city. It has nothing to do with price – although we have a low entry price policy. They don't come here because they don't associate Beursschouwburg as a venue to go to. The avant-garde cultural field is focused on that part of the public that is educated - this has been and always will be the case. As long as those people in Molenbeek don't have any proper education and don't escape from their own background which is often very conservative, they will only come if their brother is on stage.”

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

Beursschouwburg does “three-speed programming”: It leaves space for spontaneous programming to respond to current affairs; it has three-month focus programmes under the umbrella of a theme which emerges from several artists‟ work; and it associates selected artists for periods of four years, showing all their work.

Beursschouwburg is strong on performing arts, film, concerts, visual arts; it offers convivial spaces with its ground floor and roof top cafes, it maintains its own radio station, where “people talk about good stuff”, it holds a monthly breakfast lecture series …

Director Tom Bonte: “I would never choose an artist for his or her background. The project an artist has matters in the first place, and that the project does not create any language barriers. In that sense a Flemish theatre maker has a harder job convincing me to perform here than an African performance artist.”

PARTNERS / COLLABORATORS

In order to connect to the city and to local issues, Beursschouwburg works with partners of specific expertise such as De Buren26, Flemish-Dutch House in Brussels for “debate about culture, science, politics and the society in Flanders, The Netherlands and Europe”, and Globe Aroma27, an association, which amongst many things wanted to be “a model of the

26 http://www.deburen.eu/en 27 http://www.globearoma.be Página 71 de 147

relationships which can develop between Belgians and people with a migration background: face-to-face cooperation in contrast to exclusion, contempt, prejudices and racism.” It offers socio-cultural projects to refugees and asylum seekers in particular, as well as artistic workshops to refugees and asylum seekers who bring artistic experience with them. Globa Roma also explains the upcoming programmes of the cultural institutions to refugees and asylum seekers – highlighting in particular what is on offer for free or with a very low entrance fee - and organises trips to performances. Some bands that have come together through Globe Arome, mostly central African musicians from amongst the undocumented migrants, have already performed at Beursschouwburg – as part of the warm-up to other concerts.

Beursschouwburg has to date no collaboration with any schools, but does not exclude it for the future.

STAFF

Beursschouwburg has a permanent staff of 23 – bar one exception, all with Flemish names. In order to diversify their personnel, Beursschouwburg has worked on a „diversity plan‟ with the Brussels employment agency Actiris.

As a result, Beursschouwburg job adverts now carry the mention “Beursschouwburg is open to diversity: interested parties can apply regardless of their ethnic, religious or cultural background.” According to Tom Bonte, “This is a small step, meant to prevent the self-de- selection of people with a migration background. They think „the arts are for whites‟, so explicitly inviting their applications is important on a psychological level.”

Moreover, Beursschouwburg now advertises its jobs through a wider range of channels and gets far more applications than in the past, and from a greater variety of applicants. Tom Bonte: “However, vacancies don't arise so frequently as to achieve change quickly. But if we have two equal candidates now, we would give the job to that candidate for whom it would represent more of an opportunity given his/her cultural background.”

BOARDS / GOVERNING BODIES

Beursschouwburg is set up as a not-for-profit association (vereniging zonder winstoogmerk - vzw). As such it has a general assembly (made up of 20 individuals) and a board of directors (10 individuals). Only Flemish names are on the members‟ lists of these bodies. The diversification of the board of directors depends also on vacancies arising. Such an opportunity has arisen recently and “we are now discussing how to find somebody from a diversity background. We need somebody who can push the discussion on our role in diversity a step further” (Tom Bonte).

SUPPLIERS

Beursschouwburg has to date not considered any diversity or equality principles in its supplier relations. While it buys fair trade products for its café and sources merchandise such as the Beursschouwburg bag from non-exploitative companies, “we have never considered whether the business we buy from is owned by somebody with a migration background” (Tom Bonte).

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutiona Audience Programming Partners, Staff Boards etc. Supplier l vision & s , repertoire collaborator s policy Basic Basic Lower Lower Lower Lower N/A Intermediate Intermediat Intermediat Intermediat e e e

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Erfgoedbibliotheek Hendrik Conscience (Antwerp)

The following profile is based on an interview with the institution‟s director, An Renard, on 10 July 2014, and on desk research.

SHORT DESCRIPTION OF THE INSTITUTION

The Erfgoedbibliotheek Hendrik Conscience (Heritage Library Hendrik Conscience) is the archive and research library of the city of Antwerp. Its collection centres on works printed before 1830, Dutch literature, the history and cultural heritage of Flanders and of Antwerp in particular. It has existed in various forms and guises, with many ups and downs for over 500 years. It has been a public library since 1805 and has had a published library catalogue since 1834. It has been occupying its current premises (but expanding since) since 1883, when the city of Antwerp acquired a two-storey building, which used to house Jesuit fraternities, opposite the Charles Borromeo Church in the city centre. The library is named after Hendrik Conscience (1812-1883) a writer who played an important role in the Flemish national movement, championing the Dutch language, when it was deemed unfit for literature compared to French, the language of the ruling class of the time.

The Erfgoedbibliotheek is not a lending library, but its entire collection is in an online catalogue and materials can be consulted in the library. Besides a modern reading room, the library contains the Notteboomzaal, a two-storey repository of old masterpieces, as well as of showpieces such as 17th century heaven and earth globes. The Notteboomzaal serves for exhibitions and lectures.

Website: www.consciencebibliotheek.be – the website is in NL, with limited versions in FR/EN/DE

INSTITUTIONAL VISION AND POLICY

The Erfgoedbibliotheek Hendrik Conscience has a policy for its collection and a user policy. Migrants‟ cultural participation does not feature explicitly in either. In as far as migrants are part of the (contemporary) history of Flanders and Antwerp, publications by them or featuring them are, however, of concern to the library. The institution does not reach out in particular to migrants, and accordingly it neither allocates specific resources to migrants‟ cultural participation.

VISITORS / AUDIENCES

The Erfgoedbibliotheek serves primarily a university population; students and academics with a migration background are not considered a distinct user group. Beside its website and on-line catalogue, Erfgoedbibliotheek feeds a Facebook page with posts that relate items in its collection to current affairs (1034 likes on 14 July 2014, 250 visits). On the occasion of the beginning of Ramadan, for example, Erfgoedbibliotheek posted about a Koran from the Indonesian province of Atjeh, which has been in its collection for a hundred years. It invited its Facebook community to leaf through this Koran online and so get a foretaste its upcoming exhibition „Heilige Boeken‟ (holy books), in which this Koran issue will feature. It could therefore be said that Erfgoedbibliotheek uses at least random opportunities to catch the interest of people from migrant communities.

PROGRAMMES, REPERTOIRE, COLLECTIONS, NARRATIVE

Erfgoedbibliotheek has a collection of over 1.5 million books and periodicals. It also produces about one exhibition and a small lecture series per year. Given its focus on Dutch language and Flemish history and culture, its collection and programmme are not addressed to migrant communities in particular.

On 19th September 2014 Erfgoedbibliotheek will open its exhibition “Heilige Boeken” (holy books) – a large exhibition by its standards. This exhibition could be said to be drawing on

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migrants‟ cultures or at least on the culture of Muslims and Jews amongst them. However, migrant groups are not drawn into the production.

PARTNERS / COLLABORATORS

Erfgoedbibliotheek collaborate with MAS (Museum aan de Stroom)28 in staging the exhibition “Heilige Boeken”. It is also via MAS that Erfgoedbibliotheek hopes to attract relevant migrant or religious communities in Flanders to its exhibition. This is an example of a one-off collaboration in order to enhance migrants‟ cultural participation.

STAFF

Staff diversification plays no formal role in Erfgoedbibliotheek‟s employment policy. Among its permanent staff of 30, there are a few non Belgian nationals, but no non-EU citizens. Given that Erfgoedbibliotheek is part of the administration of the city of Antwerp, the current recruitment moratorium (savings‟ policy) applies. Recruitment is limited to replacing leaving staff and must in the first instance be internal recruitment.

Amongst its temporary staff, Erfgoedbibliotheek currently counts six non-EU nationals (an Afghan, a Syrian, a Sudanes etc) on a work placement scheme of the OCMW – Openbare Centrum voor Maatschapelijke Welzijn (Public Centre for Social Welfare). All of these foreign nationals encounter difficulties with the recognition of their qualifications from their countries of origin.

Erfgoedbibliotheek practices a policy of “equal rules for all employees”. The common staff language is Dutch, despite English or French being languages which some permanent and temporary staff have in common. Accommodations such as days of for religious holidays which are not Belgian public holidays are made.

Staff team building activities have included activities to enhance mutual knowledge and tolerance of different cultural and religious backgrounds. In the context of the preparations for Erfgoedbibliotheek‟s “Heilige Boeken” exhibition, its staff visited a synagogue, a church and a mosque.

BOARDS / GOVERNING BODIES

Being part of Antwerp city administration, Erfgoedbibliotheek has no governing body of its own but is formally under the control of the democratically elected city council.

SUPPLIERS

Erfgoedbibliotheek applies no diversity principles to its suppliers. This has never seemed pertinent to it.

BENCHMARKING (weighted mean performance indicator – the higher the better)

Institutional Audience Programming Partners, Staff Boards Suppliers vision & s , repertoire collaborators etc. policy Basic Basic N/A Basic Basic N/A N/A

28 “A ground-breaking museum that tells the story of people with diverse mentalities who came from a multitude of backgrounds.” http://www.mas.be/Museum_MAS_EN/MASEN/About-the-MAS/Mission-statement.html Página 74 de 147

III. Analysis of institutions: Italy

BRERA NATIONAL GALLERY (Milan, Italy)29

SHORT DESCRIPTION OF THE INSTITUTION

Brera National Gallery (www.brera.beniculturali.it) is a major art museum based in Milan. Its collections, mainly devoted to Italian painting from the 14th to the 20th century, include masterpieces by artists such as Mantegna, Piero della Francesca, Raffaello and Caravaggio. The gallery was established in the late 18th century as a teaching resource for the Academy of Fine Arts, located in the same building. Under Napoleon‟s rule, however, it was turned into a national museum displaying the most significant artworks seized by the French army in different areas of Italy; this makes it an example of “state”/political collecting, as opposed to many other Italian national museums, whose roots lie in the private collecting of princes, scholars and the aristocracy. Moreover, as most of Brera‟s artworks come from the suppression of religious orders in the early 19th century, its collections are by and large formed by (often large-scale) religious paintings, which is another peculiar feature of the museum – and represents quite a challenge in terms of developing MCP policies.

INSTITUTIONAL VISION AND POLICY

Although repeated public statements (in speeches, press conferences etc.) have been made over time by the museum‟s directors about the importance of reaching out to “new citizens”, there are no policy documents explicitly mentioning this commitment, let alone identifying MCP as a component of the museum‟s institutional mission.

Like most state museums in Italy, also Brera National Gallery has no autonomous status, but is managed by the local Soprintendenza, entrusted with the preservation of the cultural heritage of Milan and other provinces in Lombardy. As a consequence, the curatorial and educational work of Brera‟s staff overlap with preservation tasks, which means that no one is employed full time in the management of the museum.

In spite of these constraints, over the past ten years Brera National Gallery has developed an expertise in designing and implementing ground-breaking intercultural projects, by relying on the personal commitment and passion of the two curators in charge of the Education Service, rather than on a firm support from upper management.

No budget line dedicated to MCP work is in place.

“A Brera anch‟io” (see below) was conceived and planned by an interdisciplinary working group on a voluntary basis; the project is made possible every year by a combination of private funding and a small fee paid by the schools taking part in the project. “Brera: another story” (see below) was funded by the Ministry for Cultural Heritage – DG for the Valorisation of Cultural Heritage as part of its efforts to promote innovative forms of cultural participation in Italian state museums; funding from Cariplo banking Foundation is currently enabling the museum to offer guided tours with mediators on a regular basis throughout 2014.

Evaluation is a crucial component of the museum‟s intercultural projects, and is carried out at all stages: front-end, formative and summative evaluation.

VISITORS / AUDIENCES

Although the commitment to open the museum to a currently under-represented audience (adults with an immigrant background in the case of “Brera: another story” project) is clearly a

29 Sources: interview with Emanuela Daffra and Paola Strada, curators and educators at Brera National Gallery; project descriptions published on the website “Patrimonio e Intercultura” (English version): “A Brera anch‟io” (http://www.patrimonioeintercultura.ismu.org/index.php?page=esperienze-show.php&id=6) and “Brera: another story” (http://patrimonioeintercultura.ismu.org/index.php?page=esperienze-show.php&id=98). Página 75 de 147

key goal of Brera‟s intercultural projects, these are not based on a perception of migrants as culturally distinct groups whose differences from the autochthonous population are to be accommodated. They rather aim to:

 promote new ways of looking at the collections in a cross-cultural audience (whether regular or potential, “native” or “migrant” visitors);  tap into the intercultural potential of collections;  help young citizens develop intercultural attitudes and skills (e.g. cognitive mobility, the ability to question one‟s own points of views, the awareness of one‟s own multiple identities, an openness to individuals and groups with different cultural, ethnic, religious backgrounds) that may be applied in contexts other than the museum (“A Brera anch‟io” project);  acknowledge museum mediators as key actors in the reinterpretation of the museum‟s heritage in an intercultural perspective (“Brera: another story” project).

In fact, the social relevance of Brera‟s intercultural projects lies in the promotion of different levels of accessibility, by fostering a new familiarity between the museum and “new citizens”, by encouraging the participation of Italian non-visitors (with particular reference to youths), by promoting in regular museum-goers new ways of looking at the collections, and ultimately by going beyond policies targeting individuals and groups according to their racial origin and ethnicity.

Brera National Gallery never carried out audience surveys specifically aimed at addressing the issue of MCP. However, it was included in a study commissioned by the Ministry for Cultural Heritage to survey the communication strategies of a number of Italian state museums (L. Solima, ed., “Il museo in ascolto”. Nuove strategie di comunicazione per i musei statali, 2012), whose results, pointing to a persisting perception of the museum as a “temple”, inaccessible for many social groups and often irrelevant to the life experiences of the local community, partly informed the approach underpinning “Brera: another story” project (i.e. the use of storytelling to shed new light on the richness of potential “narratives” hidden in the museum collections, and to create new resonances between the biography of artworks and personal biographies).

Permanent multilingual aids are currently being developed as part of the “Brera: another story” project (narrative trails in French, Spanish, Portuguese, Arabic, Bosnian, Hungarian and Tagalog).

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

“A Brera anch’io” (http://www.patrimonioeintercultura.ismu.org/index.php?page=esperienze-show.php&id=6) “A Brera anch‟io” is an education project addressed to primary and secondary school pupils (aged 9-12) and their families, which has become an integral part of the museum‟s educational offer and takes place every year since 2005. The project was developed by an interdisciplinary working group composed by museum curators/educators, researchers in cultural diversity and social inclusion policies and school teachers, who went through a joint training course, and subsequently planned the itineraries addressed to primary and secondary schools. From a methodological point of view, the project results from the combination of an autobiographical and a thematic approach. The former was chosen because it has some key features in common with intercultural education practices (e.g. crossbreeding of different perspectives, promoting cognitive mobility, questioning one‟s own points of views, working on representations and stereotypes), the latter allowed the project team to exploit museum collections from an intercultural viewpoint, embrace multiple forms of diversity and create a resonance with the personal and emotional life of young people. “A Brera anch‟io” includes a range of activities to be carried out throughout the whole school year both in class and at the Gallery around a small number of paintings (4 for each itinerary). All school disciplines are involved (literature, history, geography, sciences, arts education etc.), albeit at different levels. One of the key features of “Brera anch‟io” is that it is not meant as an extra-curricular option for teachers to take on, but rather as a tool to rethink and to support their

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own professional practice as well as the school‟s educational offer. For this reason, teachers are actively engaged from the outset of the project, through an ad hoc training course at the beginning of each school year and two meetings with the project team devoted to front-end and summative evaluation.

“Brera: another story” (http://www.patrimonioeintercultura.ismu.org/index.php?page=esperienze-show.php&id=98 ) “Brera: another story” is an education project aimed at an adult audience, jointly promoted by Brera National Gallery and the Ministry for Cultural Heritage and Activities (DG for the Valorisation of Cultural Heritage). The policies recently (albeit briefly) adopted by the Ministry with a view to promoting innovative forms of cultural participation, the intercultural expertise and sensibility developed in the past ten years by the museum, and the active involvement of a group of mediators with an immigrant background (from Bosnia, Brazil, Egypt, Italy, Peru, Philippines, Senegal and Hungary) in the development of new, shared narratives around museum collections, are all crucial ingredients of this highly experimental project. The planning process was based on a participatory approach, which allowed working group members (museum educators, mediators, external experts in storytelling techniques and in intercultural heritage education) to bring into dialogue their different perspectives, experiences and knowledge bases. This resulted in the development of intercultural trails in which the essential cognitive and art- historical contents are interwoven with a strong narrative and autobiographical dimension; they are intended to help all visitors to explore the collections from unusual perspectives, to acknowledge their different layers of meaning, and to appreciate their potential “resonance” with personal life experiences. Following an experimental phase with guided tours addressed to mixed groups, the project team is currently finalising multi-lingual aids (i.e. audio-guides available in the museum and MP3 files downloadable from Brera‟s website) addressed to all visitors as an alternative trail across the collections, which will leave a permanent trace in the exhibition spaces. In parallel with the development of these aids, funding from Cariplo Foundation is enabling the museum to offer guided tours with mediators on a regular basis throughout 2014.

PARTNERS / COLLABORATORS

Brera Education Service has a good track record in planning its projects in close partnership with schools, and this was also the case with “A Brera anch‟io” project. As for “Brera: another story”, the museum was approached by a number of language schools for migrants and refugee centres to organise ad hoc narrative trails, but it is still far from establishing strategic collaborative relationships with other organisations/networks belonging to different sectors of civil society in order to enhance MCP.

STAFF

Programmes for training of staff in diversity management are not in place. However, training in issues such as intercultural education and storytelling techniques was a vital component of the museum‟s intercultural projects, providing the staff of the Education Service (2 curators) with a vital opportunity for professional development and growth.

Intercultural projects (“Brera: another story” in particular) would not have been possible without a considerable involvement of external experts. Any museum with features similar to those of Brera National Gallery (i.e. a state museum lacking autonomous status), or without a structured education service, wishing to promote similar projects should take this into account, and determine whether resources are available to involve external experts, and with what roles and responsibilities.

Museum mediators with an immigrant background were actively involved in the planning and development of “Brera: another story” narrative trails. The input of this external expertise turned out to be a crucial factor to enhance the institution‟s intercultural competence.

BOARDS, GOVERNING BODIES n.a.

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SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Lower Upper Advanced Lower Lower n.a. n.a. intermediate intermediate intermediate intermediate

MUSEUM OF PEOPLES AND CULTURES (Milan, Italy)30

SHORT DESCRIPTION OF THE INSTITUTION

The Museum of Peoples and Culture (www.museopopolieculture.it) is a small museum whose collections come from across Asia, Oceania, Africa and America. The Museum is owned by PIME, the Pontifical Institute for Foreign Missions, and managed by the PIME Foundation, which by nature has always been working in an extra-European perspective, in dialogue with “other” cultures. The Foundation works in the field of international cooperation and development; in Italy, it runs an extensive programme of “global education” (also through the Museum and a Library).

INSTITUTIONAL VISION AND POLICY

The Museum‟s Regulation (2010) explicitly mentions among in its goals:

 “the knowledge of extra-European cultures, in order to help visitors develop a better and more critical participation in civil society‟s growth”  “heritage education in an intercultural perspective”  “enhancing the creative component of migrant communities and making it visible”.

At the moment, the Museum does not have a Director. Its 2 members of staff (with both curatorial and education responsibilities) directly report to the Chair of PIME Foundation, who leaves them a high degree of autonomy in devising cultural and educational programmes. However, this also implies a lack of clear mandate and “institutional validation” from the Foundation‟s upper management, and as a consequence a complete reliance on the two curators‟ personal commitment and passion. Until recently, the Museum‟s programmes, for the most part addressed to school groups, were aimed at promoting the recognition and celebration of cultural diversity. The “TAM TAM” project (see below) changed this perspective, by:

 triggering a museologic and museographic reflection which substantially changed the way the Museum conceives its educational work and, more in general, its role in society  offering the museum staff and its freelance educators an important opportunity for professional growth and development  introducing innovative interpretation and mediation methodologies (storytelling in particular)  recognising museum mediators with an immigrant background as key “interpreters” of the collections

30 Sources: interview with Lara Fornasini and Paola Rampoldi, curators and educators at the Museum of Peoples and Cultures; project descriptions (2011 and 2012 editions) published on the website “Patrimonio e Intercultura” (English version: http://www.ismu.org/patrimonioeintercultura/index.php?page=esperienze-show.php&id=83 and http://www.ismu.org/patrimonioeintercultura/index.php?page=esperienze-show.php&id=95 ). Página 78 de 147

 establishing participatory planning as the cornerstone of the Museum‟s work with audiences.

In this sense, intercultural work represented a crucial tool for internal change.

Funding: ad hoc resources are earmarked for individual MCP projects (e.g. “TAM TAM” was co- funded by the Museum and Regione Lombardia). Evaluation is carried out at all stages: front-end, formative and summative evaluation.

VISITORS / AUDIENCES

Although the impact of education programmes with schools, temporary exhibitions and the “TAM TAM” project itself has so far been limited in terms of increasing visitors with a migrant background, the Museum‟s commitment to address a cross-cultural audience is gradually changing the make-up of its users. Thanks to the experience of the “TAM TAM” project, the Museum‟s focus is now on including the voices of participants (whether “natives” or migrants) in interpretation, documentation, exhibition spaces. Permanent multilingual aids are currently being developed as part of the “TAM TAM” project (narrative trails in Portuguese and Tagalog).

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

The experience of the Museum of Peoples and Cultures shows how a single pilot project, “TAM TAM – The Museum for All”, may bring about a substantial change in the vision and policy of the museum as a whole. “TAM TAM” exemplifies one of the most interesting experimental strands of MCP practice currently being explored by Italian museums. One of the most significant features of its narrative trails (developed by museum educators and mediators with an immigrant background, and subsequently by project participants) is their ability to go against the grain of traditional museum-visiting patterns, often hasty and superficial, by promoting a gradual acquaintance between participants and collections, initiating a dialogue between museum objects and personal objects, and creating a shared heritage of stories and life experiences of individuals (not only project participants, but also museum staff, educators and mediators) with different cultural and social backgrounds. A detailed description of the project may be found at the following links: http://www.ismu.org/patrimonioeintercultura/index.php?page=esperienze-show.php&id=83 http://www.ismu.org/patrimonioeintercultura/index.php?page=esperienze-show.php&id=95

Offshoots of the “TAM TAM experience”:

 a partnership was developed with four public libraries based in the same neighbourhood, aimed at establishing new connections between the heritage preserved in libraries and museum collections through the involvement of cultural mediators with an immigrant background (readings and creative workshops cycle “Come to the library ... See you at the museum!”)  a contact was established with “La cordata” association, working with refugee minors: the Museum was asked to develop workshop activities aimed at promoting their cultural participation as well as language learning.

Future projects:  new editions of the “TAM TAM” project  continued cooperation with the local libraries  a more structured cooperation with “La cordata” association.

The Museum‟s current programmes and future plans, therefore, seem to be informed by three main goals:

Página 79 de 147

 to increase levels of use and awareness of the collections, with a particular attention to “new citizens”  to increase the cultural, educational and social impact of museum programmes and activities on the surrounding territory and community  to further explore the potential of new approaches to the interpretation and mediation of collections in an intercultural perspective.

PARTNERS / COLLABORATORS

The Museum has engaged in one-off partnerships with other institutions (e.g. ISMU Foundation, local libraries) in order to explore how it might promote MCP more effectively. However, time constraints and lack of human/economic resources are likely to hinder the Museum from establishing a more structured network of collaborative relationships.

STAFF

Programmes for training of staff in diversity management are not in place. However, training was a vital component of the “TAM TAM” project, providing museum staff, educators and mediators with a vital opportunity for professional development and growth. This was made possible by the expertise of ISMU Foundation (Initiatives and Studies on Multiethnicity), partner in the project. Museum mediators with an immigrant background were actively involved in the planning and development of narrative trails alongside the Museum‟s freelance educators, with a view to exploring a more dialogical, multi-vocal interpretation of collections. The input of this external expertise turned out to be a crucial factor to enhance the institution‟s intercultural competence.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programmin Partners, Staff Board Supplier vision & g, repertoire collaborato s etc. s policy r

Lower Upper Upper Lower Lower n.a. n.a. intermediat intermediat intermediate intermediat intermediat e e e e

MAXXI – National Museum of the Arts of the XXI century (Rome, Italy)31

SHORT DESCRIPTION OF THE INSTITUTION

Conceived as a broad cultural campus, MAXXI is managed by a Foundation constituted in the July of 2009 by the Ministry for Cultural Heritage and Activities and houses two museums: MAXXI Arte and MAXXI Architettura.

The programming of the activities – exhibitions, workshops, conferences, shows, projections, educational projects – reflects MAXXI‟s vocation as a place for the conservation and exhibition

31 Sources: interview with Stefania Vannini, Responsible of the Education Department of MAXXI (April 2014); http://www.fondazionemaxxi.it

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of its collections but also, and above all, a laboratory for cultural experimentation and innovation, for the study, research and production of the aesthetic contents of out time. The MAXXI building is a major architectural work designed by Zaha Hadid, featuring innovative and spectacular forms.

INSTITUTIONAL VISION AND POLICY

MAXXI represents an awareness of the importance of promoting the current creative expressions of a nation such as Italy, characterised by centuries of primacy in the artistic and architectural fields. MAXXI intends not only to be a container for the exhibition of the works of art of our century, but also a place for cultural innovation and the overlapping of languages, a laboratory for artistic experimentation, a machine for the production of aesthetic materials of our time. Its institutional policy reflects the fact that MAXXI aims to be a centre of excellence, an interactive hub in which the most diverse forms of expression, productivity and creation may converge, combine and reproduce. In policy documents a general attention to all kinds of public is clearly enhanced but there is no mention of a specific attention to brokering migrants participation. The Education Department, which is extremely active and committed to the inclusion of all sorts of audiences, does not have a staff member dedicated to migrants participation, but it has to be considered that the Museum is quite recent and the staff number quite limited.

VISITORS / AUDIENCES

The Museum privileges activities addressed to schools, which are strictly related to its mission and are important also in economic terms, since they are payment services. Other activities are considered secondary: among them, there are activities for migrant communities which are for free and take place during the week-end. Nevertheless, it has to be underlined that the attention to migrant communities dates back to 2009 and had its momentum in 2011, during the exhibition of Michelangelo Pistoletto‟s “Tavolo del Mediterraneo” (“Mediterranean table”), which was suitable for intercultural dialogue and discussions: in that period, MAXXI started having contacts with associations and communities‟ representatives, inviting them to visit the exhibition (which was free of charge) and meet around the table. The initiative consisted in 26 meetings organised in co-operation with many associations, among which there was the association Asinitas (http://www.asinitas.org/) and Comunità Sant‟Egidio: participants were artists and common people but – since there was no dedicated budget for it – there wasn‟t the chance of documenting and communicating it. It was anyway an occasion for the museum to start having fruitful and long-lasting contacts with other kinds of organisations. The project “Narrazioni” (“Narrations”) represents the continuity of this relationship: it is based on the link between objects of the museum‟s permanent collection with other cultural places in the city and on the idea of telling stories about these objects, involving also people with different backgrounds and cultures, such as the young refugees of the association “Civico Zero” and the migrants studying Italian language in the Centro Territoriale Permanente Esquilino. In all these cases, migrants are mixed with other visitors, there are no special or “dedicated” activities. The goal now is to change the relationship with these migrants associations from a passive one (the museum invites and they respond) to a more interactive one, implementing different forms of involvement. MAXXI does not carry out visitor studies on a regular basis.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

In terms of collection and exhibitions, intercultural dialogue and involvement of other cultures have not been pursued in a structured and systematic way until now: the new artistic director, the Chinese Hanru, will probably change this attitude. In terms of museum educational activities, new initiatives to be realised with secondary schools and migrant communities have already been planned by the Education Department.

Página 81 de 147

PARTNERS / COLLABORATORS

The museum has established fruitful and long-lasting partnerships with migrants associations, communities representatives and other museums interested in specific kinds of narratives (such as Museo della Mente, which tackles the issue of psychic disadvantage, the Museo di Arte Orientale, which provides narratives related to eastern cultures), parishes, schools, elderly centers.

STAFF n.a.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Basic Lower Basic Lower n.a. n.a. n.a. intermediate intermediate

CITY MUSEUM OF ZoologY (Rome, Italy)32

SHORT DESCRIPTION OF THE INSTITUTION

The City Museum of Zoology (MCZ) belongs to “Musei in Comune”, the museum system run by Rome City Council which comprises an extremely diverse group of museums and archaeological sites of undoubted artistic and historic value. Numerous events and temporary exhibitions help make the system of Municipal Museums unique amongst other museum networks in Italy, providing a constant stream of initiatives that are always original and guaranteed to appeal to all sections of the public. The MCZ can rightly be described as a true repository for all biodiversity as well as a valuable legacy for the community. The common thread that binds the new exhibition trail is biodiversity in the animal world. Thanks to the use of various techniques including multi-media and multi- sensory tools, visitors are able to find out about all sorts of animal species, understand their origins and how they have adapted to survive in a multitude of different habitats.

INSTITUTIONAL VISION AND POLICY

The MCZ – as well as all the museums belonging to the System – doesn‟t have any programmatic document33. The MCZ itself has developed an institutional policy which has been shared by all the museum departments and staff.

There are no departments or museum staff specifically dedicated to the issue of migrants‟ participation: one member of staff has been involved in the inter-departmental training programme ORCHESTRA, during which different issues have been addressed and that of migrants‟ participation was one of them.

32 Sources: interview with Elisabetta Falchetti, former Responsible of the Education Department of MCZ (April 2014); http://www.museodizoologia.it/it; http://en.museiincomuneroma.it/ 33 The Municipal System “Musei in Comune” has developed a Carta dei Servizi (Museum Services Document): http://www.museiincomuneroma.it/musei_in_comune/carta_dei_servizi Página 82 de 147

The main problem is the lack of an institutional policy not only of MCZ itself but at the level of the Municipality (see also the Intercultural Department of the Libraries belonging to the Municipality of Rome)34: cultural heritage is perceived mainly as an economic resource linked to tourism exploitation or as an educational resource for schools, but there is little focus on other groups of citizens. There is also a strongly perceived lack of training by museum staff, who feel themselves not adequate to address diversified audiences. MCZ evaluation activity is mainly based on the collection of quantitative data by the municipal museum System through the ticket office. Quite seldom and not on a regular basis also qualitative evaluations have been carried out.

VISITORS / AUDIENCES

The MCZ has implemented during the years free programmes and projects addressed to migrants and the number of this kind of visitors has increased: also in terms of relationships with associations and organisations of migrants or dealing with migrants communities a big effort has been made by MCZ. Nothing has been done in terms of collections and exhibitions, in order to make them more accessible and intercultural: this would require a much stronger involvement of all museum staff (from the director to the curators etc.). The MCZ does not realize visitors studies at an institutional level, but also small activities such as limited survey and interviews for special projects, as those addressed to migrants.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

MCZ has realised activities addressed to people of other cultures, such as workshops, visits, meetings outside the museum itself. These activities have been based not on a structured analysis of visitors needs but rather on a reflection about the social role of the museum. Active participation of migrants has been fostered by the museum in the phases of preparation/planning of the activities and restitution on the territory itself. There are no specific informative or didactic materials for migrants. MCZ tried to integrate the migrants visitors with other groups of visitors but without success (also because this effort was not supported at an institutional level). Pilot and experimental project are evaluated using mainly qualitative indicators (such as GLOs and GSOs): the results are shared externally among museum professionals. One of the most interesting project recently realized by MCZ is DIAMOND (www.diamondmuseums.eu), a two-year LLP-Grundtvig funded project aimed at realizing museum activities addressed to marginalized groups. It intends to do so by exploiting the enormous potential of museums as tools of empowerment and social inclusion and that of Digital Storytelling (DS) within the cultural and social domain by training museum professionals in the DS methodology and by using it in the implementation and evaluation of the project‟s activities: telling stories is indeed an activity embedded in human being‟s way of making sense of reality, shared by all cultures no matter where they come from and what sort of environment they live in. MCZ developed the project with 5 different target groups among which there were adult immigrants, political refugees and young offenders (most of them had had a foreign provenance).

PARTNERS / COLLABORATORS

During special projects, such as DIAMOND for example, contacts have been made with institutions and organizations dealing with migrants and refugees, schools, prisons, etc. (such as Civico Zero, Baobab, IPM Casal del Marmo, etc.). The process has always started thanks to MCZ staff, who invited these institutions/organisations to collaborate in the development of common activities. Long-lasting relationships have been established with Civico Zero (refugees centre) and Save the Children. MCZ is bringing the debate about interculture and the social role of museums also within ANMS (National Association of Scientific Museums), RESINA (Regional Network of Naturalistic Museums).

34 See profile n. 10. Página 83 de 147

STAFF

The Municipality of Rome could not by law have as employees citizens of non EU countries until 2013 (see page 9). No staff members are dedicated to promoting and implementing migrants‟ participation and no training initiatives have been carried out by the MCZ (some members of staff went through self- training experiences).

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Basic Upper Lower Upper Basic n.a. n.a. intermediate intermediate intermediate

Museum of natural history and archeology of Montebelluna (Treviso, Italy)35

SHORT DESCRIPTION OF THE INSTITUTION

The Museo di Storia Naturale e Archeologia di Montebelluna is divided into 2 sections:

1. A naturalistic one 2. An archaeological one.

In 1998 the museum became an Institution of the Municipality, which means that – although it depends financially and from an administrative point of view from the Municipality itself – it is autonomous from a managerial and programmatic point of view. It is also partially funded by Region Veneto and other public and private institutions. Since 2010, the institution of the museum includes the public library.

INSTITUTIONAL VISION AND POLICY

The museum publishes its Social Report on a regular basis36 and it has a Museum Rules and Regulations, a Visitor Bill of Rights and Museum Services where its mission and aims are clearly stated37: “The museum considers itself as a contact zone among different cultures, as a product of a dynamic vision which reflects the continuous changing of nature, of mankind and of its history”38.

It also produces an Executive Management Plan (PEG) which contains its operational goals and tools: the PEG is evaluated by the Municipality on a regular basis (only by quantitative indicators).

35 Sources: interview with Monica Celi, director of the museum (April 2014); http://www.museomontebelluna.it/home.aspx; Social Report of the Museum 2007-2010 http://www.museomontebelluna.it/media/30144/bilancio%20sociale%202007-2010.pdf 36 The Museum has been the first one in Italy to publish a Social Report in 2006. 37 All the above mentioned documents are downloadable from http://www.museomontebelluna.it/il-museo/download.aspx 38 Social report 2007-2010, p. 10. Página 84 de 147

One of the museum strengths is the continuity over the years of certain kinds of activities/projects and its capacity of building processes and creating exchanges with all the different components of society. There is among the staff a profound awareness of the need for an integrated planning which takes into consideration old and new audiences as equal parts of society.

There is no specific budget for intercultural activities, but the funds which the Lion‟s club donates each year (500 euros) and those donated by the CTP-Centri Territoriali Permanenti39 (200 euros) are earmarked by the museum for these activities.

There is no structured evaluation of intercultural activities but the museum staff regularly carries out discussions groups about the activities before, during and after their implementation.

VISITORS / AUDIENCES

Socio-demographic analysis are carried out by local institutions (Municipality, Province and Region) and the museum uses to them to implement its activities. It also collects information on visitors needs through the different associations spread on the area (adult education centres, migrants associations, etc.).

The planning phase of the activities is always shared with the partner associations/organizations: the target visitors are involved only at the final stage.

The number of visitors of other cultures increased during the years, also because the activities addressed to migrants are free of charge.

The museum is very active also in implementing intercultural activities with schools.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

The museum has realised activities addressed to people of other cultures, such as workshops, visits, meetings outside the museum itself. These activities have been based not only on structured analysis of population (carried out by local and regional institutions) but also on a reflection about the social role of the museum. Active participation of migrants has been fostered by the museum in the phases of preparation/planning of the activities and restitution on the territory itself. There are no specific informative or didactic materials specifically designed for migrants.

PARTNERS / COLLABORATORS

The Museum sees itself as a producer of culture: for this reason, it prioritizes having relationships with other cultural institutions, such as universities, territorial offices of the Ministry of Culture, Region Veneto, Province of Treviso, museum networks, cultural associations of the area and the municipal library. It has established long-lasting partnerships with the local Lion‟s club and with the adult education centres (CTP).

STAFF

The Municipality of could not by law have as employees citizens of non EU countries until 2013 (see page 9).

There are two persons, who belong to the museum staff, who are in charge of all the activities addressed to migrants.

In order to implement migrants projects the museum has hired cultural mediators with project- based contracts.

39 Adult education centres. Página 85 de 147

Museum staff goes through training and self-training activities on a regular basis.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Board Suppliers vision & repertoire collaborator s etc. policy

Upper Upper Lower Upper Lower n.a. n.a. intermediate intermediate intermediate intermediate intermediate

6. OPERA THEATRE (Rome, Italy)40

SHORT DESCRIPTION OF THE INSTITUTION

The Foundation Teatro dell‟Opera was founded in 2000: its founders are the Italian State, the Municipality of Rome, Region Lazio. It communicates and promotes the great heritage of Italian Opera but at the same time it fosters contemporary cultural production. It has more than 22.000 subscribers and 200.000 spectators per year.

INSTITUTIONAL VISION AND POLICY

The policy documents mention explicitely the fact that it “promotes social, economic and occupational development, respecting international standards and rules in terms of fundamental rights, discrimination,…” Its aims are the dissemination of music, the professional training of artists and technicians as well as musical education of the whole society. Within its policy documents there is no mention of people with different cultural backgrounds. The promotion of migrants participation is not mentioned in any documents.

VISITORS / AUDIENCES

No mention in the official documents of migrants as a peculiar target group.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

The programming of the Foundation presents also performances which migrants would experience in their countries of origin, focused on traditional cultural expressions.

PARTNERS / COLLABORATORS

In the official documents there is a generic mention of a no discrimination policy in establishing relationships with partners/collaborators.

40 Sources: http://www.operaroma.it/ita/index.php; Statute of the Fondazione Teatro dell’Opera di Roma (http://www.operaroma.it/ita/fondazione-statuto.php); (http://www.operaroma.it/ita/fondazione-codice-etico.php) Code of Ethics of the Fondazione Teatro dell’Opera di Roma Página 86 de 147

STAFF

In the official documents there is a generic mention of a no discrimination policy in the staff recruiting process.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Basic n.a Basic Basic Basic n.a n.a.

AUDITORIUM MUSIC PARK (Rome, Italy)41

SHORT DESCRIPTION OF THE INSTITUTION

The Foundation Musica per Roma has been founded in 2004: its founders are the Municipality of Rome, the Commerce Chamber, the Province of Rome and Region Lazio. The Foundations organizes cultural/musical events; manages the new Auditorium of Rome; produces and distributes audiovisual and editorial material related to its activities. With audiences of over a million, two million visitors and 1,300 shows and cultural events offered in 2011, this multipurpose centre has confirmed its place not only as the leading cultural centre in Italy but one of the most important at a world level. These results are clearly shown in the profitability figures for 2011: the gross oper-ating profit was 551,900 euros; the EBITDA showed an increase of 36% compared to 2010; the percentage of self-financing reached a record level of 68.52%.

INSTITUTIONAL VISION AND POLICY

Within its policy documents there is no mention at all of people with different cultural backgrounds. The promotion of migrants participation is not mentioned in any documents. The documents contain generic statements against discrimination.

VISITORS / AUDIENCES

No mention in the official documents of migrants as a peculiar target group.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

The programming of the Foundation presents also performances which migrants would experience in their countries of origin, focused on traditional cultural expressions.

PARTNERS / COLLABORATORS

In the official documents there is a generic mention of a no discrimination policy in establishing relationships with partners/collaborators.

41 Sources: http://www.auditorium.com/it/auditorium/chi-siamo/; Code of Ethics of the Fondazione Musica per Roma (http://www.auditorium.com/download/view/2013/Codice_Etico_Musica_per_Roma_agg_2013_final.pdf); Carta dei Servizi (http://www.auditorium.com/download/view/CartaDeiServizi.pdf); Annual Reports (http://www.auditorium.com/it/auditorium/rapportiannuali/index) Página 87 de 147

STAFF

In the official documents there is a generic mention of a no discrimination policy in the staff recruiting process.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Basic n.a Basic Basic Basic n.a n.a.

TEATRO DELL’ARGINE (San Lazzaro di Savena, Bologna, Italy)42

SHORT DESCRIPTION OF THE INSTITUTION

Teatro dell‟Argine (TdA) (www.teatrodellargine.org ) is a theatre company based in San Lazzaro di Savena (where it manages the local theatre) and working extensively also in Bologna. Its activities include the production of performances, educational activities, theatre workshops, international and intercultural projects, training and research for young theatre professionals, with a strong focus on cultural/social inclusion and intercultural dialogue.

INSTITUTIONAL VISION AND POLICY

TdA‟s statute incorporates socio-cultural goals. More specifically, it refers to the involvement of migrants, asylum seekers and political refugees in theatre workshops, productions and performances to give them “an opportunity of self- expression and communication” .

Over time, MCP became an integral part of TdA‟s institutional policies, so much so that the very juridical nature of the theatre (formerly an association, since 2012 a social cooperative) was changed to sustain this kind of work. TdA also regularly publishes a Social Report, where the goal of intercultural dialogue is clearly stated as one of the theatre‟s priorities.

TdA‟s commitment to promoting MCP has been entrusted to an ad hoc unit initially called “Intercultural sector”, and more recently renamed “Special projects” (international and intercultural projects).

The goal of these activities, in fact, is twofold:

 to promote the cultural participation of migrants  to encourage in Italian audiences a new vision of the contemporary phenomenon of migrations, one of the key issue of our times.

42 Sources: interview with Micaela Casalboni, trustee, coordinator of intercultural and international projects, coordinator of theatre workshops, coordinator of PR and Press Office (April 2014); Teatro dell‟Argine, Bilancio Sociale 2011 (2011 Social Report); Teatro dell‟Argine, “Who we are and some intercultural projects” (October 2012). Página 88 de 147

Initially, working with migrants was problematic because of language differences, the lack of assiduity on the part of participants, a high turnover of the refugees involved, the low quality of the final artistic product. Today, intercultural work (from working with migrants only, the theatre started to work with mixed groups, see below) is one of the main strengths of TdA‟s artistic direction; it reinforced the mission of the institution as a vehicle of cultural and social inclusion, and transformed its way of “making theatre”.

Funding is earmarked by TdA for “Special projects” every year, but most resources come from fundraising (local sponsorships, European projects).

Evaluation is still by and large anecdotal.

Results are shared internally, but seldom disseminated.

VISITORS / AUDIENCES

Although the initial focus was on the cultural engagement of migrants and refugees, the groups involved in “special projects” gradually became cross-cultural (migrants, students of the TdA‟s theatre courses, social workers...).

TdA never carried out audience surveys specifically aimed at addressing the issue of MCP. Next year, the theatre is planning to introduce some ad hoc questions in a questionnaire to be addressed to the general public of its performances.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

Impact on repertoire: Refugees Company, Multicultural Company, performances and workshops on the contemporary theme of migrations.

The two main MCP projects of the TdA are:

Refugees Company (RC) Since 2005 TdA has been organising and leading theatre workshops for intercultural groups involving asylum seekers and refugees along with other migrants and with Italian students of Teatro dell‟Argine. Refugees and asylum seekers are recruited thanks to the partnership with two Bologna-based Centres for Refugees and in cooperation with “L‟Arca di Noè” Cooperative, in the framework of the regional project “Emilia-Romagna Terra d‟Asilo” – “Emilia-Romagna Land of Asylum”) (funding from the “SPRAR - Sistema di Protezione per Richiedenti Asilo e Rifugiati” project of the City of Bologna). The Refugees Company was renewed every year, welcoming new members but maintaining a core of “old regulars” whose involvement, sense of responsibility and theatre skills increased over time. This led to the creation of the Multicultural Company (see below).

Multicultural Company (MC) The MC was created in 2007 to welcome the most skilled migrants and refugees working with the RC. The two Companies co-existed for several years – the RC working with socio-cultural goals through the involvement of newly arrived participants (“recruitment” is open throughout the year), the MC working at a more advanced level. In 2013 the two Companies were merged on the occasion of the performance “The violin of the Titanic” (part of the “Acting Diversity” project, see below). In 2014, the MC group decided to establish an independent cultural association called “Cantieri Meticci”; one of the TdA‟s directors is temporarily “on secondment” with the MC.

Other projects:

“Acting Diversity” (2012-2013) http://teatrodellargine.org/site/data/downloads/files/52c8809d0cb33.pdf

Página 89 de 147

A project of intercultural theatre for political refugees and students/youths, co-funded by the Anna Lindh Foundation and in partnership with Badac Theatre Company (UK) and Al-Harah Theater (Palestine). The project comprised:

 two intercultural theatre workshops lead by TdA‟s directors and playwrights in Italy: one with Italian and second-generation migrant students and youths aged from 18 to 25; the other with migrants, asylum seekers, political refugees and youths aged from 18 to 35 years;  international exchange of artistic methods;  two final performances on the theme of refugees;  documentary and guidelines (see hhttp://teatrodellargine.org/site/data/downloads/files/52c8809d0d8b0.pdf).

“The Scene of Meeting” Festival A festival devoted to interculture and the arts: shows, films, meetings and workshops + performances of the RC and MC.

“Rifugio Europa” (2011-2012) A project by TdA and the Swedish association NBV (Skelleftea) in the frame work of the “Youth in Action” programme, addressed to two intercultural groups of Italian and Swedish youths (including several political refugees)

Crossing Paths (2010-2011) A project by TdA, Taastrup Teater (Denmark) and Badac Theatre (United Kingdom) funded by the Culture Programme of the EU and addressed to young people, on the themes of poverty, social inclusion and interculture. http://teatrodellargine.org/site/data/downloads/files/52c8809d0b9b0.pdf

Future projects:

 “Intrecciando culture a Teatro” with second-generation migrants (next year)  Project in partnership with Tunisa on the island of Lampedusa

PARTNERS / COLLABORATORS

TdA has a an expanding network of strategic collaborative relationships with other organisations, from local administrations and different sectors of civil society to international networks:

 At a local level: Network Project “Cultura Libera Tutti”, “Teatri Solidali”, Inbox Award, “Scenario” Association , Network of the Department of Education of Bologna and San Marino Universities...  At an international level: Anna Lindh Foundation, Platform for Intercultural Europe, Network Project “Europe‟s Footprints”.

Originally, partnerships were started with a very practical objective, i.e. to reach target groups (in particular refugees) more easily. Over time, the goals and objectives of TdA‟s partnerships developed so as “to optimise the diversity of its productions and its reach of the population and furthermore to be active outside of its core institutional locations” (see MCP Benchmark).

In the case of partnerships with local administrations, ITC Studio became a sort of “decentralised” venue for the social services of the City of San Lazzaro, where TdA‟s staff works not only with migrants, but also with children, teenagers and adults with physical/mental /social difficulties.

STAFF

5 people work part-time (they also have other responsibilities in TdA) in the “Special projects” unit: two are in charge of the artistic-educational work, two are entrusted with organisational

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work (working with at least two-three assistants), one is in charge of promotion and dissemination.

Programmes for training of staff in diversity management are not in place. All the staff involved went through some form of “self-training” (work with RC and MC, European projects, etc.). Networks always are a crucial opportunity for ongoing professional development.

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Upper Upper Advanced Advanced Basic n.a. n.a. intermediate intermediate

BERIO LIBRARY (Genoa, Italy)43

SHORT DESCRIPTION OF THE INSTITUTION

Biblioteca Berio (www.bibliotechedigenova.it/content/biblioteca-berio) is part of the Urban Libraries System of the City of Genoa. Alongside more traditional library services, it offers a wide range of educational activities, exhibitions, seminars and conferences. Since the mid 1990s, it has been developing a strong commitment to promoting the cultural participation of migrants, thereby becoming a key cultural space for interaction and participation.

INSTITUTIONAL VISION AND POLICY

The Library‟s institutional vision and policy are informed by IFLA (International Federation of Library Associations and Institutions) guidelines,44 which the Library helped disseminating at a national level by taking part in the working group of the Italian Libraries Association (AIB) devoted to “multicultural library services”.

However, there are no policy documents explicitly stating the importance of reaching out to readers with a migration background as a component of the Library‟s institutional mission.

The first multicultural services of the Library were developed in response to the socio-cultural needs of “new citizens” (e.g. by removing linguistic barriers through the creation of an Arabic section); over time, however, Biblioteca Berio‟s institutional vision shifted from the notion of “multicultural services” to the concept of “multicultural library”, i.e. a library with a strong public vocation and a comprehensive, wide-ranging cultural offer, along the following guidelines:

 multicultural services and contest are a resource for all readers  a public library is by its nature “multicultural”, as it shapes its services around the diverse needs of the local community

43 Sources: interview with Alberta Dellepiane, former coordinator of “multicultural” services and activities, currently responsible for “social integration services” (May 2014); Library statistics on foreign readers, 2012 and 2013. 44 Including Ten Reasons to Offer Multicultural Library Services (http://www.ifla.org/publications/raison-d-tre-for- multicultural-library-services), IFLA/Unesco Multicultural Manifesto (http://www.ifla.org/publications/iflaunesco- multicultural-library-manifesto), IFLA Multicultural Communities: Guidelines for Library Services (http://www.ifla.org/publications/multicultural-communities-guidelines-for-library-services-3rd-edition). Página 91 de 147

 in a library organised as an open space where individuals, rather than “cultures”, meet, there is no need for a “multicultural section”.

Although the local administration did recognise Biblioteca Berio as well as other city libraries‟ effort to promote MCP, its institutional support over the years was discontinuous, and it was mostly left to individual libraries and their staff to develop organic policies on this front. More in general, the Library‟s commitment to providing multicultural services suffered a significant setback in the past 3-4 years, due to severe cuts to the City‟s cultural budget. However, thanks to a memorandum of understanding signed by the local administration with “Agorà” (a non-profit organisation working with migrants, and more in particular with refugees and asylum seekers) in June 2014, and aimed at promoting easier access to the Urban Libraries System‟s services as well as at providing more structured opportunities for language learning, Biblioteca Berio should be able to organise activities on a continued basis in collaboration with Agora‟s volunteers.

From the mid 1990s to 2008-2009, resources were regularly allocated to the enhancement of the Library‟s collections in foreign languages (5% of the total budget devoted to new acquisitions); as for the purchase of books in Italian, particular attention was devoted to publications addressed to foreign learners of Italian as a second language. No resources were specifically earmarked for the other MCP activities run by the Library.

As far as evaluation is concerned, in the early 2000s quantitative indicators were introduced in the Library‟s Executive Management Plan (PEG) with reference to audiences with a migrant background. Every year Biblioteca Berio is subject to an external quality audit, for which the Library has always included documentation on “activities and services to promote access and use”; now all activities are grouped under the more generic heading “library‟s promotion”.

No qualitative evaluation is carried out, with the exception of projects run in cooperation with the National Civil Service.

VISITORS / AUDIENCES

Although the initial focus was on the cultural engagement of migrants, the readers involved in the Library‟s services gradually became cross-cultural (e.g. mixed Reading Groups). More recently, as labour migration flows to Genoa started to slow down, new issues and needs emerged due to the growing inflow of political refugees and asylum seekers from North Africa and the Middle East; this meant a new focus on socio-political goals for the Library (see above the memorandum of understanding with Agorà).

The Library regularly monitors the participation of foreign users by analysing data on loan service subscribers; in 2012, 10.68% of total subscribers were foreign readers, 10.79% in 2013.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

Developing the library’s collections – toward a multilingual library The development of the Library‟s collections gained momentum in 1998, when Biblioteca Berio was moved to a new, bigger venue. “Phase one” involved: an expansion of the bibliography devoted to intercultural and migration issues, mainly conceived as a service for Italian readers; an enlargement of foreign literature collections in response to the requests expressed by Italian readers (i.e. the “Multicultural Bookshelf”, comprising best sellers in English, French, Spanish, Portuguese and German); the creation of the Arabic section (fiction and literary essays). Over time, the “Multicultural Bookshelf” was expanded to include publications in Albanian, Rumanian, Ukrainian, Russian and Chinese. This choice was meant to reflect the areas of origin of the most important migrant communities in Genoa, and to help these groups retain a vital link with their original language.

The Linguistic Lab

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The Lab, endowed with computers and CD-Rom readers, was created to provide the Library‟s users with opportunities for self-training and lifelong learning. By offering courses in foreign languages for Italians and in Italian language for foreigners, this service enhanced Biblioteca Berio‟s potential as a place for interaction and sharing, regardless of users‟ cultural background. In recent years, demand for this service slowed down due to the easier access to the internet at home.

Reading and Conversation Groups Since 2003, Biblioteca Berio has been organising reading groups (RGs). The first one was the RG in Italian, followed by the RGs in Spanish and Portuguese45 (and subsequently in German, Arabic and Russian), all of them addressed to all library users with the following goals:

 to create a privileged meeting space for native readers in a variety of languages  to help “new citizens” keep their original language alive through reading and conversation on the most popular authors of their countries of origin, as an opportunity for both cultural and emotional exchange  to promote intercultural dialogue through reading, by highlighting the knowledge systems, competencies, critical skills and life experiences of all participants  to provide Italian readers with a unique opportunity to read and speak in other languages through a direct interaction with native speakers  to enhance the Library‟s heritage and to increase its collections following the advice of readers  to promote mutual knowledge between the Library‟s staff and readers.

Another RG was started to help “new citizens” learn Italian as a second language by focussing on aspects of everyday life in Genoa and by familiarising with the local cultural heritage and institutions. The project “Cultures in a suitcase” (2009-2010) is one example of this effort, based on the partnership between 9 city libraries (Biblioteca Berio included) and museums.

PARTNERS / COLLABORATORS

Over the years, the Library has started a number of collaborative relationships with schools and centres for adult training and education, consulates (especially of Ecuador and Albania) and other organisations belonging to different sectors of civil society (e.g. Medì Research Centre, Auxilium Caritas, Suq Festival) in order to enhance the cultural participation of migrants, thereby implementing an internal commitment to address diversity in society. With the exception of the recent memorandum of understanding with Agorà (see above), however, these partnerships were mostly based on interpersonal, rather than inter-institutional, relationships. The cooperation with other City‟s units such as “Laboratorio Migrazioni”, a division of the Department for Education Services and School Institutions working with the local school system, was particularly fruitful; but also projects like “Cultures in a suitcase”, in partnership with other city libraries and museums, are worth mentioning (see above).

STAFF

One member of staff responsible for the Library‟s “multicultural” offer (now more generically coordinating “social integration services”) helped by 2 assistants, one of whom with a migration background, but with no specific expertise neither in library services, nor in intercultural education issues. These assistants, who were at first enrolled as part of a local scheme aimed at bringing disadvantaged people into the job market, were later on employed by a cooperative for social services working with the Library. MCP activities and programmes have always been carried out with the help of the National Civil Service, trainees from the local University of Foreign Languages and Literatures, and now the volunteers of the non-profit organisation Agorà (see above).

Programmes for training of staff in diversity management are not in place.

45 See the Groups‟ blogs: http://blog.libero.it/GrupodeLectura/ and http://grupodeleituraberio.blogspot.com/ Página 93 de 147

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Lower Upper Advanced Upper Basic n.a. n.a. intermediate intermediate intermediate

LIBRARIES OF ROME INSTITUTION – INTERCULTURAL SERVICE (Rome, Italy)46

SHORT DESCRIPTION OF THE INSTITUTION

The Istituzione Biblioteche di Roma is an instrumental institution of the Municipality of Rome, which means that – although it depends financially and from an administrative point of view from the Municipality itself, it is autonomous from a managerial and programmatic point of view. It is formed by 37 libraries situated all over the city. Founded in 1996, it encompasses also an Intercultural Service which is engaged in promoting social inclusion of new citizens and in supporting active citizenship and cross-cultural dialogue.

INSTITUTIONAL VISION AND POLICY

Initially, its main aim was to provide Italian citizens the opportunity of knowing other cultures also through literature; it then developed multicultural and multilinguistic services. The libraries are conceived as:

 learning centers: libraries provide access to learning materials, language programmes, and other relevant materials for lifelong learning

 cultural centres: libraries preserve, promote, highlight and give voice to different cultures, including their heritage, traditions, literature, art and music;

 information centres: libraries acquire, produce,organize, preserve and make accessible information that addresses the needs of all communities, as well as disseminating information on the culturally diverse communities.

Since 2013 there is no board and the Director has temporary contracts, which are renovated every 3 months: this implies a lack of strategy and of ongoing decision making processes. The Intercultural Service has a yearly budget, but the one related to the current year has not been approved yet: in 2013 they had 8,000 euros to carry out intercultural acrtivities within the schools and 15,000 euros for other kinds of intercultural activities.

The Institution does not carry out evaluation on a regular basis: it has an internal statistic service which provides limited quantitative data (for example, it is known wether the users are Italian or not, but there is no information about other nationalities).

46 Sources: interview with Gabriella Sanna, director of the Intercultural Service of the Istituzione Biblioteche di Roma (April 2014); Statute of Roma Capitale; www.romamultietnica.it Página 94 de 147

VISITORS / AUDIENCES

All the libraries work with and for migrants, but particularly the 10 largest ones: they address specific communities and their work is based on the socio-demographic data provided by the Comune di Roma. This year they have also implemented specific activities for refugees or asylum seekers.

PROGRAMMING, REPERTOIRE, COLLECTIONS, NARRATIVE

Libraries in foreign languages This project sees bilingualism and multilingualism as a richness and aims at preserving common heritage languages of first generation migrants, and at encouraging second generation children and kids to read in their parents‟ languages. In total, 8.742 books have been acquired so far in migrant communities languages. Collections in the following languages have been opened and constantly updated: Albanian, Arabic, Bengali, Chinese, Farsi, Hindi, Polish, Portuguese, Romanian, Russian, Spanish, Ukrainian, Urdu. The project aims at:

 implementing collections of books in foreign languages with the help of intercultural mediators;

 promoting the collections in the districts and communities;

 opening parties and events in which migrants and Italians take part, with a common interest for languages and literature.

Intervention strategies follow these paths:

 encouraging the appreciation of heritage languages and cultures

 granting migrants the right to read in their mother tongue

 encouraging language learning in second generations;

Italian language courses in the libraries The project “L‟Italiano in biblioteca” is the first educational project in Italy offering Italian language courses for foreigners within public libraries. Expected outcomes of the project are: • encouraging inclusion processes for new citizens • promoting an active citizenship This project offers courses of Italian for all migrants and courses for users with special linguistic needs or at risk of inadequate socio-cultural integration, such as the Chinese community, Muslim women, refugees and asylum seekers. In the year 2012 -2013 20 Italian language classes have been activated in 9 libraries and they have been attended by 350 students. Since 2010, thanks to an agreement with the University of Perugia, the libraries have become examination centres for CELI certification, the Certificate of knowledge of Italian Language acknowledged by the University of Perugia. At the end of the corse, all students have the chance to take the exam in the libraries in order to receive the certificate. Teachers work on a voluntary basis.

Intercultural events The libraries organize events in collaboration with the communities and the intercultural associations of the city (for instance, the Persian Noruz, the Chinese New Year, “Afriche in movimento” (Africas on the move), “Identità in movimento” (Identities on the move), events of Fiera Più Libri Più Liberi (Books Festival), the Festival della Letteratura di Viaggio (Travel Literature Festival), “Bosnia o cara” (Dearest Bosnia), “One Billion Rising”). In 2013 they also organized 4 events “Roma come Lampedusa” (Rome as Lampedusa) dedicated to illegal migration, which in Italy is increasing dramatically.

Communication campaigns

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To inform a wide number of foreign users about the new intercultural services the Campaign “Benvenuti in biblioteca” (“Welcome to the library”) was organized in libraries, with posters, flyers and brochures handed out in the municipalities and in migrant communities‟ meeting places. The Intercultural service also has a website, Roma multietnica (www.romamultietnica.it), which has 1400 users per day and it publishes a newsletter with 6000 subscribers; the website also offers information about all the world communities in Rome: Africa, Latin America, Arab countries, Iran, Indian subcontinent, China, Japan, Philippines, Poland, Albania, Ukraine, Romania, Moldavia, and sections for Intercultural Rome, Jewish Rome and Rom culture. The website also features bibliographic information about literature from all over the world and the latest published books, with up-to-date introductions to upcoming books.

PARTNERS / COLLABORATORS

They have esatbilshed long-lasting and fruitful partnerships with many migrants associations, schools, territorial centres and other kinds of social and educational organisations. They are now in the process of creating a network with other cultural institutions of the city, as for example the MAXXI – Museum of the XXI century.

STAFF

The staff working in the Intercultural Service includes 5 people: the director and 4 assistants who have competences in different languages: some of them are Italian and others have different non EU nationalities and they are employees of a private company which provides service to the municipality of Rome (Zétema Progetto Cultura). The Municipality of Rome could not by law have as employees citizens of non EU countries until 2013 (see page 9).

BOARDS, GOVERNING BODIES n.a.

SUPPLIERS n.a.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy

Lower Upper Advanced Upper Basic n.a. n.a. intermediate intermediate intermediate

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IV. Analysis of institutions: Spain

RED DE BIBLIOTECAS ANDALUZAS – INTERCULTURAL LIBRARIES (Andalucía, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Regional Ministry of Culture of Andalucía launched the project “Intercultural Libraries in Andalucía I” within the 2001-2004 Integral Plan for Immigration with the aim of making public libraries the privileged places where the population can access information and cultural records on equal conditions and with a democratic spirit and solidarity. The project's success also allowed the inclusion of this project in the Comprehensive Plan II, launched in 2005.

Intercultural Libraries were created in Andalucía to provide and ensure the access of immigrants and cultural minorities to library services, at the same level as the rest of the citizenry by providing appropriate materials and services, promoting the knowledge of their culture with other users of public libraries and encouraging the use of public libraries as a meeting place of cultural exchange. 37 libraries are part of the Intercultural Libraries of Andalucía program.

INSTITUTONAL VISION AND POLICY

The region of Andalucía was the first in Spain to introduce an Integral Plan for Immigration, an initiative of the Consejería de Cultura, and specifically of the Dirección del Libro e Industrias Creativas. The plan is focused on giving equal access opportunities to immigrants and impulse their pariticipation in cultural activities. The vision of the institution (through the Integral Plan) is basically concerned with cultural and linguistic diversity, considering it as the common heritage of humanity that should be preserved and maintained for the benefit of all. The libraries serve diverse interests and communities; function as learning, cultural and information centers. In addressing cultural and linguistic diversity, library services are governed by their commitment to the principles of fundamental liberties and equal access to information and knowledge for all, respect for cultural identity and values.

The Integral Plan and the program Intercultural Libraries raised awareness on the issue of immigration as well as on the access to libraries for people with different ethnic origins. The Dirección General Del Libro has specific funding lines to promote interculturality through support to external projects such as intercultural programs, purchase of books, signaling system for libraries, web development or payments for external staff. The program is evaluated each year, on the basis of guides and standards: an evaluation form is sent by the program coordinator to all the librarians participating in the program, and their feedback enables the definition of further acting. A special unit or department in the coordination office is in charge of developing the Intercultural program.

VISITORS / AUDIENCES

The program‟s coordination office ensures that full access to materials and services in all the libraries is provided thus fostering the use of libraries as intercultural spaces. Furthermore, the program is aimed at achieving multicultural audiences. The targeted visitors are identified through demographic studies carried out by the municipalities, as well as through police and social security census. Nevertheless, these studies are always approximate, since it is very hard to address all the migrant community in Andalucía. When the migrants are identified, a profile is developed, including residence, occupation, origin, etc. Also, the programs are disseminated via migrant associations, NGOs and in neighborhoods with high migrant population, and are aimed at providing and ensuring that immigrants and ethnic / linguistic minorities have access to library services just as the rest of the population.

The main objective of the program is to improve respect for immigrants and mutual awareness between cultures. Bibliotecas Andaluzas carries out a focused communication strategy, promoting the respect to immigrants and dialogical identities. Moreover the migrant community is engaged in intercultural processes through activities such as community meals, or “cultural weeks” focused on a specific culture (Moroccan, Russian, Colombian week, etc.).

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PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The program Intercultural Libraries includes the development of intercultural activities, access to cultural services by immigrants, intercultural mediation by specifically trained professionals, and targeted education initiatives for librarians on issues related to interculturality, support for intercultural initiatives (theater) and performances by artists with a migrant background. Furthermore, the libraries have a diverse catalog of books in different languages to impulse intercultural processes through libraries, a webpage in different languages, and visual signals to help immigrants identify books (non-verbal). The books in the libraries are available in several languages: Arabic, Russian, Romanian, Polish, Lithuanian, English, French, Italian, German, Portuguese, Lithuanian, Ukrainian, Chinese and Bulgarian.

The activities offered promote interaction by the local population with migrants. The presence of mediators is very significant; these are staff properly trained to interact with different cultures, being experts of at least two cultures. The activities are addressed to the population in general and, in particular, to library members. The cultural activities are also focused on a cultural background or country, with actions aimed to a specific culture (Colombia, Morocco, Russia, etc.). All the activities are free of charge. Spaces for intercultural activities are offered by the libraries taking part in the Intercultural Libraries program.

PARTNERS / COLLABORATORS

The participant libraries engage in collaborations with diverse organizations, such as migrant associations, schools – workshops -, neighborhood associations, city halls, etc. The Coordination Office of the program believes that libraries are cultural places where intercultural processes happen, unlike some years ago when the libraries where perceived as something completely different. The objective of the collaborations is to improve intercultural dialogue and reaching out to as wide a range of diverse population as possible.

STAFF

The management of the Intercultural Libraries program does not contract staff directly. Instead the staff is hired under the responsibility of the regional Administration. However, the regional administration –through FORINTER – has a specific program for training staff in interculturality. The intercultural mediators are trained as well, to reach a level of understanding of at least two cultures.

BOARDS / GOVERNING BODIES

The regional Administration is responsible for hiring the board; therefore the network of public libraries of Andalucía does not have any competence in developing diversity management actions regarding the governing bodies. As with staff, the board is trained in intercultural issues. The board of the Intercultural Libraries program is composed by one person.

SUPPLIERS

Since the Intercultural Libraries plan was first implemented in Andalucía – Spanish pioneer in this program – it has contributed to interculturality regarding suppliers. The main suppliers are publishers and bookstores, and the products ordered are basically books in different languages, but also cds, music, cultural dvds, etc. Furthermore films screening with cultural diversity issues are organized as well with the help of suppliers.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Advanced Advanced Advanced Advanced N/A N/A N/A

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CONSERVATORIO MUNICIPAL DE BARCELONA (Barcelona, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The mission of the Municipal Conservatory of Barcelona, as a public center, is to facilitate, through its educational, cultural and service offer citizens a natural and participatory relationship with music.

As a public center the Conservatory provides training for students both as amateurs and professionals, an artistic programming open to the public and also a space for debate on educational activities between professionals in the cultural and educational field, promoted by the Municipal Institute of Education.

The offer is structured and managed in four main areas: professional grade, area of lifelong learning, cultural area, and administration and service area. The Institution has approximately 550 pupils.

INSTITUTONAL VISION AND POLICY

The cultural institution does not include MCP issues in its institutional vision and policies; nevertheless, it has a policy of equal opportunities for all members of society. The institution is devoted to teaching music to citizens, regardless of their origin. Until recently, the CI had a teaching program which covered all the levels of music teaching, but due to recent changes it now offers a teaching program only for mid-level students (neither basic nor advanced). The requirements for music studies are fixed by the government (Generalitat), and there are no MCP specifications. However, music serves as a tool for interaction between people of different countries, and the CI considers that nationality or origin is not a barrier to access. There is no funding or evaluation of MCP programs. The CI has a general ethical commitment toward society and public.

VISITORS / AUDIENCES

The institution considers the audience as a generic entity or, in other words, the CI does not consider that people with immigrant background should be the recipients of a differentiated treatment. The CI is open to all types of activities and organizes, for instance, concerts in its main hall. These concerts are organized internally (by teachers and pupils) or by different external organizations (for example Hindu music). The public attending these concerts is multicultural, although mainly composed by residents in the area where the institution is located (Eixample neighborhood), and social groups related to the organizers. Migrants are not targeted by the activities of the CI since, as stated, the needs of migrants are seen as being the same as those of the rest of the population.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The activity most related to migrant cultural participation is Escuelas Tandem, an initiative of Fundación La Pedrera, where schools from areas with a high rate of immigration participate in music activities. This activity aims at attracting students from different cultural backgrounds. The results of the project are very positive, with an impact in the behavior of problematic and socially excluded students. As stated above, the teaching program Escuelas Tandem is not influenced by the cultural institution; the education requirements are set by the government. However, specific events attract different nationalities. The public concerts held each Thursday (Concerts del dijous) are organized through agreements with external institutions (for example Casa Asia). Other initiatives that involve a social aspect are the choral activities organized for parents of students.

PARTNERS / COLLABORATORS

Collaborations are carried out with different institutions to organize events; migrant cultural participation is not undertaken. Social aspects are touched upon in specific activities.

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STAFF

The staff is composed of civil servants; therefore the CI cannot implement MCP initiatives. Teachers are contracted following a practical test (another requirement is that they speak Catalan). Some of the social activities involve having a certain number of disabled teachers.

BOARDS / GOVERNING BODIES

The board is appointed by the Municipal Institute of Education.

SUPPLIERS

The Ci does not decide the hiring of suppliers. This is done by the Municipal Institute of Education and the Districte del Eixample (the district where the conservatory is located).

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Lower Lower Basic N/A N/A N/A Intermediate Intermediate

MUSEO DE AMÉRICA (Madrid, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Museo de América (Museum of America) is a public institution, owned and managed by the Ministry of Education, Culture and Sports (Department of Fine Arts, Cultural Heritage and Archives and Libraries). This museum is located in Madrid, and it was inaugurated in 1965. The main mission of the museum is to display American culture, and to study, preserve, and document the cultural diversity of the American continent, through the permanent exhibition and the organization of activities. The goal of the museum is to facilitate the understanding and appreciation of American cultural dynamics, and to foster intercultural dialogue.

The permanent exhibition promotes the knowledge of American cultural and social diversity. Furthermore, temporary exhibitions are scheduled throughout the year. These temporary exhibitions are either self-produced by the Museum or set up in collaboration with other institutions. Cultural and educational activities include lectures, seminars, concerts, film projections and public reading sessions, etc.

INSTITUTONAL VISION AND POLICY

The Museum of America believes that cultural participation of immigrants is a socio-political objective of the organization, and also supports a dynamic understanding of culture. The organization is a vehicle to support cultural diversity.

The Museum of America is striving to familiarize itself with the institution‟s environment in order to have a better understanding of it. There have been contacts with Spanish local immigrant associations, such as for the celebration of the Día de Muertos, during which Mexican citizens‟ associations perform the traditional celebration. The institution made public statements about the importance of attracting immigrants, primarily through its vision and institutional policy. Some social barriers have been identified. On the one hand, particular groups with a distinct origin visit for punctual activities, but they do not when the activities are focused on a different ethnic group. On the other hand, local population visit regardless the ethnic origin of the activities proposed. No economic barriers have been identified, since the entrance fee is very low (3€)

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The institution has not implemented consultation groups, special units, specific departments or working groups to ensure its commitment to the immigrant participation. Nevertheless, the entire structure of departments of the museum is focused in designing activities aimed to show the cultural diversity of American migrants. The institution will not implement special units or departments dedicated to immigrant participation.

The Spanish government funds the Museum for general expenses towards maintenance and operations through the State Budget. For each project, specific funding is requested to the Ministry of Culture by the Museum, so that resources are allocated to key projects or pilot projects of cultural participation.

Data collection on program attendance and its evaluation is done randomly, not following any standard of evaluation. Regarding public participation, the Ministry collects information on the number of visitors through its Laboratorio de Público Permanente, but not specifically on cultural participation of immigrants. For financial reasons, the institution does not perform evaluations throughout all the phases of the project, only every now and then; the reports are not necessarily disseminated. The results of collecting audience information are used by the Ministry of Culture to elaborate statistics and for internal evaluation purposes.

VISITORS / AUDIENCES

The institution works on the development of hybrid and multicultural audiences, inviting immigrant groups (from Latin America) to participate in projects and programming. The second generation of immigrants is not taken into account, except on rare occasions and for specific projects (Conoce mi Cultura program, with children born in Spain, but of immigrant parents). Activities aimed at engaging immigrants are carried out, and the institution identifies groups of migrants, occasionally conducting surveys, basically aimed to find out the origin and background of the audience.

The institution generally considers migrants as “passive” consumers, but there is also a direct participation of immigrants in the activities and projects of the museum, enabling for an adjustment in the cultural offer. For instance, the celebration of the Día de Muertos, where an interaction between the Mexican and local population occurs, facilitates mutual understanding of the two cultures. Moreover, the program Conoce mi Cultura and Tu Viaje a Perú are focused on showing different cultural profiles: children present their countries of origin and cultures to the general public, and the collections are interpreted through the eyes of the participants to this sort of initiative. Specific actions are targeted to facilitate immigrants‟ participation and ownership of the different projects proposed. For example, within the Colombia se Toma el museo de América project migrants are encouraged to design the activities foreseen. The program Migrar es Cultura, based on collecting and displaying cultural diversity in a participatory way, also encourages migrants to participate in the ownership of the project.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

Since the mission of the museum is to highlight the characteristics of American culture, the exhibitions and activities could be experienced in any American country, or in other words, the migrants could experience the same exhibitions and activities in their own countries of origin (only for citizens of the Americas). The museum also programs locally produced exhibitions and displays the work of artists based in Spain but of immigrant background (e.g. photo exhibitions of Mexican artists). Sometimes the exact origin of the artist / works is not highlighted although it is always an artwork originating from America. Furthermore, activities are performed to engage citizens with immigrant origin, and to raise the awareness of the local public as to their cultures of origin (the above-mentioned programs are all about facilitating the general local public‟s interaction with public of immigrant origin). For each of the projects carried out the methodology is very important: immigrants play a key role in the cultural production, generating interpretations and facilitating learning processes. Internally, the organization challenges stereotypes and creates programs and specific projects where immigrants tell about their experiences of migration, with the aim of training newcomers and local people as well as of generating intercultural processes.

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The programming combines internal organizational decisions and initiatives of immigrant groups. Thus, spaces are available for immigrants to carry out meetings and activities. Cultural innovation is based on the co-production of content.

PARTNERS / COLLABORATORS

The institution sees itself as an umbrella organization through which diverse groups or immigrant associations relate to each other, and where meetings are organized between various social actors (institutional, public and private, NGOs, immigrant associations, individuals, etc.). The institution fights against racism and acts as a concentrator for communities of different ethnic origin.

Due to the internal commitment and the goals of the organization, activities and collaborations are performed to deal with cultural diversity.

STAFF

The organization does not have sufficient power to influence recruitment policies, which are under the direct supervision of the Ministry of Education, Culture and Sports. Each position published has a set of requirements, but the issue of cultural diversity is not addressed.

BOARDS / GOVERNING BODIES

SUPPLIERS

Suppliers are selected through tenders, and cultural diversity is not contemplated in these tenders. The variable taken into account in awarding contracts is the economic factor (the provider that offers the best economic conditions and meets the requirements set forth by the tender is contracted).

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Advanced Advanced Advanced N/A N/A N/A Intermediate

MUSEU D’HISTÒRIA DE LA IMMIGRACIÓ DE CATALUÑA (Barcelona, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The MhiC is open to the public since 2004. It is an equipment managed by the City of Sant Adrià del Besòs and part of the Network of Local Museums, as well as of the Barcelona Provincial Museum Network of the Generalitat of Catalonia. It has a permanent exhibition space that offers the public an overview of the history of human migration from prehistoric times and up to the twenty-first century.

The program of regional activities and temporary exhibitions presents the phenomenon of migration from various subject areas, all through the lens of multiculturalism understood as the key element of dialogue between the museum and its users.

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INSTITUTONAL VISION AND POLICY

The institution includes in its vision the management of cultural diversity as a socio-political goal. Still, the recent political change in the City Hall of Sant Adriá has implied a change in the perception of the museum‟s role by the authorities, and nowadays the museum is mostly devoted to technical tasks such as studies and reception of activities from migrant associations. The collection of the museum is generated by the users, always reflecting diversity and issues related to migration. As a result, interculturality is present reflecting issues as ethnic origin and gender. The cultural institution displays an understanding and acknowledgment of migration, and reveals Cataluña as a diverse region regarding culture with capacity to welcome migrants in a natural and spontaneous way.

The public is an active agent for the institution, since the collection and activities are entirely co- produced. Through testimonies from different ethnic groups during activities, linguistic barriers have been identified by the institution. The institutions tried to overcome these barriers offering Catalan courses to migrants in order to improve their integration in local society. The structure of the museum‟s funding has changed recently; all the funding that the museum used to receive from the local government has been diverted to social assistance of citizens at risk of social exclusion. Although the museum does not have a specific funding line for cultural diversity, the entire budget can be considered as a tool for boosting migrant integration and interculturality. The evaluation of the activities carried out in the museum is performed once in a while, not following any pattern or formal structure.

VISITORS / AUDIENCES

The museum is committed to develop hybrid and intercultural audiences, enhancing mutual awareness and understanding between communities, as well as participation of all public and citizens with different ethnic background, highlighting the difficulties and experiences of migrants when they reach a foreign country. Furthermore, the institution is engaged in collaborations to bring schools and associations of disabled people to the museum. The audience is identified by direct questions and questionnaires to find out the visitants‟ profile. The visits are planned according to the needs of visitants, adapting the collection‟s language, and the activities and the collection are designed by migrant communities in order to boost the migrants‟ participation. Although the users hold the property of the collection (for example with donations of traditional utensils or clothes), it is produced and managed by the museum. The museum is in contact with Centers of Immigration Detention (CIES for its acronym in Spanish), mainly to give advice about registration in the census and absorb knowledge from the migrants‟ situation when crossing borders (the borders issue is very present in the museum collection).

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The museum‟s activities are very diverse and always focused in cultural diversity and migrant integration. For example, the museum organizes Ecuadorian music festivals, exhibitions about Berber / Amasic community (very present in the museum neighborhood), as well as guided visits / tours for disabled people and schools. The collection aims to highlight the migrant reality through ordinary and daily items, as well as the interculturality in contemporary world. The objective of the collection and activities is to eliminate the stereotype of migrant culture perceived as something exotic. Although the ethnic origin of the objects or activities is underlined, the museum‟s production addresses intercultural processes and cultural diversity, as well as social cohesion, injustice and prejudice (for instance through showing border issues). The activities are aimed to transfer knowledge and co-produce activities, offering a space for intercultural participation.

PARTNERS / COLLABORATORS

The collaborations of the cultural institution include, besides the local and regional government, universities, school, migrants‟ associations, collectives of artist with migrant background, and NGOs. Furthermore the collaborations also involve public campaigns to raise awareness in the migrant matter, for instance with the society SOS Racismo. The museum‟s discourse is focused in diversity regarding identity terms, underlining inequality and injustice with migrants. Therefore

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the aim of collaborations with other entities is optimizing the results of the museum activities and purposes.

STAFF

The staff consists of three persons at the moment. Two of them are members of an external company. Moreover, the museum offers opportunities to master students and volunteers. The museum is managed by the regional City Council, and in consequence it cannot apply diversity actions regarding employees, and the ethnic origin is not taken into consideration for hiring activities. Nevertheless the municipal criteria recruitment includes reservation of places for disabled people.

BOARDS / GOVERNING BODIES

The board comprises one general manager, and cultural diversity is not represented in the governing bodies. Diversity data is not used to monitor the institution leadership, and the hiring of board members is controlled by the Regional Administration.

SUPPLIERS

The museum does not buy pieces for its collection, since it is formed by pieces donated via visitors, audience and participants in the activities (all with a migrant background). No contracts are produced from the purchase of pieces for the museum. General suppliers (cleaning services, security, etc.) are hired from the City of Sant Adrià del Besòs, without any cultural diversity standard or requirement.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Advanced Advanced Advanced Upper N/A N/A N/A Intermediate

MUSEO ARQUEOLÓGICO DE BADAJOZ (Badajoz, Spain)

SHORT DESCRIPTION OF THE INSTITUTION The Archaeological Museum of Badajoz is hosted in the Palacio de los Duques de la Roca, within the city‟s Islamic citadel.. The Museum was founded in 1867 by the Provincial Monuments Commission, an institution dedicated to the safeguarding of the historical and artistic heritage from its secularization. The museum is owned by the Spanish Ministry of Education, Culture and Sports (Department of Fine Arts, Cultural Heritage and Archives and Libraries). The museum‟s permanent exhibition is organized in chronological sequence following the evolution of cultures settled in the territory of the present province of Badajoz. Therefore, the institution has collected, preserved and presented a general sample of the archaeological remains of the province, with over 20,000 pieces representing human presence in the province‟s territory (Lower and Middle Paleolithic, Chalcolithic period, Bronze Age, Orientalizing Period, Iron Age, Roman remains, late Roman and early Christian period, decorative architecture of the Visigoth period, Islamic period, and Christian Middle Ages).

The museum has three floors, with three rooms on the top, a mezzanine and four spaces in the central courtyard of the ground floor. The services of the museum include a library and a department for educational activities.

INSTITUTONAL VISION AND POLICY The institution‟s vision does not include issues regarding cultural diversity. The Cultural Institution does not implement cultural diversity projects; therefore the institutional policy is not influenced by cultural diversity. The institutional vision and the perception of the public do not include anything specific about immigration or cultural diversity. The province of Badajoz has a

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small percentage of immigrants (less than 2% of the population), and that is the main reason for not focusing in cultural diversity matters. Although the institution has not yet identified specific immigrant target groups, it has nevertheless, supported a dynamic understanding of culture as a strategic goal.

The institution clearly defines itself as a place where interaction and cooperation are fostered; however cultural diversity is not represented in a direct way. Cultural diversity is highlighted through archaeology, as is reflected in the statutes. No issues relating to cultural diversity are shown in contracts with third parties.

Since the museum do not have a public with an immigrant origin, cultural participation of migrants is not addressed. There have been no public statements about cultural diversity in the past. Still, in the last years the museum has had several contacts with local associations to familiarize itself with the communities living around the institution (contacts and participation in activities of the Imam of Badajoz). Potential barriers for immigrants have thus been identified, but have not been directly addressed. Also, tensions between communities have been identified, but not specifically relating to immigrants (only regarding the high presence of Roma population, especially in the old quarter of Badajoz). The museum‟s philosophy is to position itself as an open for everyone, as an instrument to fight against racism. There is no commitment in reflecting cultural diversity through programs or projects.

The museum receives funding for running expenses (maintenance and operations) from the Junta de Extremadura (regional government). Since there are no specific projects for immigrant participation, there is no permanent budget line for such purposes.

Data is collected sporadically through surveys. The museum has an entry check which enables data collection regarding visitors. This data is collected in internal forms, but is not even shared internally. Since cultural diversity programs are not implemented, there is no evaluation for these. The museum is an administrative body of the Junta de Extremadura and, therefore, its margin of decision is very limited. The museum‟s decisions are limited to internal management; all other decisions are taken by the Ministry and the regional administration.

VISITORS / AUDIENCES

The migrants are treated as equal citizens, with no distinction on the country of origin. The museum is dedicated to a scientific discipline (archaeology), however the public is perceived as a target for culture dissemination. The second generation of immigrants is not taken into account, thus this public is not perceived as a different cultural group. Although the museum is the most visited in the region, there is no capacity of developing hybrid and multicultural audiences. However, the institution assumes that all visitors and citizens must be treated in the same way, and the needs and cultural preferences are equal for all population, regardless of their geographic origin.

The participation of migrants and social groups at risk of social exclusion has been promoted through contacts in schools, but more focused on Gypsy population (no specific programs for migrants; therefore their participation is not promoted). The reason why the museum does not implement programs for migrants is the lack of migrant public, and the low percentage of migrants in the region. The participation of migrants is not fostered since the institution perceives that all citizens are equal and are entitled to the same level of access to culture.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The mission of the institution is to transmit knowledge through the archaeological collection; consequently no programs for cultural diversity are carried out. The pieces shown in the museum could be experience in the migrants‟ countries of origin, for instance, the type of archaeology present in the institution is culturally homogenous with North African and South American Archaeology (especially regarding some history phases).

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PARTNERS / COLLABORATORS

Although the museum does not promote the participation of migrants in its activities on a regular basis nor does it apply specific tools to promote visits of migrants to the museum, any specific activities targeted to migrants are promoted with the Imam of the city, although no information is disseminated in the local mosque). The mission of the museum and the aim of the collaborations are to reach out to society, in general.

STAFF

The employment policy of the institution is managed by the regional administration; therefore the museum does not have enough competences to decide about recruitment policies. The recruitment process is based on public competitions, where the candidates with the best score obtain the post. The Regional administration has requested the museum to apply internal guidelines on nondiscrimination policies.

BOARDS / GOVERNING BODIES

The governing body is composed of one person, the director. The fact that Guillermo Kurtz has a migrant origin does not influence the institution‟s policy. There are no explicit policies regarding the selection of members with a migrant background.

SUPPLIERS

Suppliers are selected through tenders, and cultural diversity is not contemplated in these tenders. The hiring of suppliers is regulated by administrative rules, so that if more than 300 € are spent, a particular procedure must be followed as set out by the Regional administration, namely that compliance with the law and payment of Social Security taxes. Therefore the system of procurement is centralized. The variable taken into account in awarding contracts is the economic factor (the provider that offers the best economic conditions and meets the requirements of the tender is contracted).

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Upper Basic Upper Basic N/A N/A intermediate Intermediate

MUSEO Y CENTRO DE INVESTIGACIÓN DE ALTAMIRA (Santillana del Mar, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The National Museum and Research Centre of Altamira was created in 1979 for the conservation, study, dissemination and enjoyment of the knowledge it contains. It is an institution devoted to discovering everything about Altamira, a masterpiece in universal art history and our most remote past.

The museum offers all its visitors a permanent exhibition, guided tours of the Neocave, children‟s workshops and experimental archaeology activities for those over twelve as well as unique temporary activities. A parking area, cafeteria, museum, shop, customized visits and events for companies, etc. complete this offer.

INSTITUTONAL VISION AND POLICY

The CI is a museum which depends on the Culture Ministry (Dirección de Bellas Artes), and regarding MCP the Ministry has started a program to tackle accessibility, sustainability and

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intercultural processes in museums. This program aims to impulse the Spanish network of museums as an integrating space for all members of society, boosting and maximizing the education and divulgation. The CI has the vision of being an inclusive organization, creating a structure where all citizens are welcome to visit. The social activities of the organization include actions for handicapped people. The CI does not implement direct actions for migrants, unless specific and punctual activities, such as the participation of Paraguayans in several projects in 2010, including allowing all migrants from Paraguay to enter the museum for free. The CI does not give public statements about the importance of attracting migrants, however the CI make efforts to promote integrative activities to reach mutual respect, equality, multiculturalism, and cooperation. Since the museum is focused in ancient art (in antiquity –Paleolithic- all humans were alike), the message is transmitted in a conciliatory language. There are no specific funding line or evaluation methods for MCP, seeing that no MCP programs are developed. All funding comes from the General Budget of the museum. The situation in Cantabria is different compared to other regions of the country; the situation regarding immigration is normalized. Therefore, there are not a high number of associations of immigrants, and a significant number of visitors with a migrant background. Nonetheless the value of integrate is always present in the organization, with activities for students, groups of disabled people, with transversal values where all the public is invited to participate.

VISITORS / AUDIENCES

The CI sees the audience as equal visitors, with no distinction about nationality. The strategy for identifying and approach the public does not involve a special method for immigrants. The museum recognizes that there are not barriers for accessibility, since the tickets are very cheap (3 €) and the entrance is for free on the weekends. The line of activities is wide: focused on elderly people and families, and above all there is a strong diffusion of the projects to reach all the society.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The collection of the CI presents a moment in common history; cave painting as a common language all over the world. Therefore the CI perceives the collections and activities –for instance the workshops, which are always costless for the public - as a conciliatory tool. Unfortunately there is no interaction between local people and migrants around the collection; the approach is the same for all visitors. The main visitors to the collection are local residents, because the region has a low quantity of migrant population. An initiative from the museum with a positive result in local population is the night of the museums, where there are different activities for the public. Local people attend this event, and also immigrants. The CI conducts researches among visitor with surveys to learn the origin of the audience. However these surveys have not produced any result.

PARTNERS / COLLABORATORS

The CI is engaged in several collaborations with art schools and performing arts institutes, and to engage students in the cultural narrative. Regarding MCP, the collaboration with the Paraguayan association has been especially important. The CI has collaboration with social groups and associations such as deaf people -with representation of collections in sign language- and disabled. Collaboration with migrants associations are not developed mainly because of the low presence of these kinds of associations in the region.

STAFF

Regarding recruitment of staff, all members of the team are civil servants. The CI lacks room for maneuver in applying MCP policies in hiring personnel. In terms of temporal recruitment, the staff is selected by INEM, and the employment agency reserve spaces in the tenders for handicapped, women or immigrants. This can happen in rare cases. One member of the cafeteria staff is an immigrant, but the hiring of this person is not promoted by a specific MCP objective.

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BOARDS / GOVERNING BODIES

The CI does not have a board of directors, only a director. Also there is an advisory board in the form of a council.

SUPPLIERS

No measures or clauses about MCP in procurement documents. The recruitment of suppliers is made by the bodies of governance in by the Ministry.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Basic Basic Basic N/A N/A N/A

MUSEU MARÍTIM BARCELONA (Barcelona, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Consorci de les Drassanes Reials i Museo Marítim de Barcelona was created in 1993, and is a public institution with local nature dedicated to the conservation and rehabilitation of heritage, and provision of services related to the museum. The mission of the museum is to preserve, to study and to promote the maritime heritage of the country, one of the richest in the Mediterranean. It is located in the building of Atarazanas Reales, on the seafront of the city and at the foot of the mountain of Montjuïc.

INSTITUTONAL VISION AND POLICY

The museum aims to reach and approximate towards the society, with an eye on the surrounding areas (the Raval is a neighborhood with a high presence of immigrants). Nevertheless, the institution does not include a specific vision or actions for immigrants. The vision of the institution is based in the idea of having a plural society represented in the museum, with no specific actions of positive discrimination, which is something opposed to the institutional vision. The MCP vision of the CI is characterized by the cooperation and the social responsibility, where they frame all the interaction with social groups. In consequence, there are efforts to understand and approximate to the surrounding communities. The CI did not create any advisory group to tackle MCP projects.

The CI does not have a specific funding line for MCP, and neither an evaluation process.

VISITORS / AUDIENCES

The audience is seen as a group of people with no difference of origin or race. The visitants are seen as equals when they cross the doors of the museum. Thus the approximation and identification of the public is in an equal level for all the audience or potential public. The CI considers that migrants‟ needs and preferences are the same compared to local people. The participation of migrants is not impulse since it is not a separate domain of the policy of the institution. Indirectly the CI promotes the participation of migrants, for example with programs for associations and activities for women.

Nevertheless, there have been collaborations with Pakistani collectives for developing activities in the museum, for instance lending spaces for associations activities. The CI recognize that migrants can provide knowledge and a different interpretation of the collections, for instance with the vision of the pirates, which meaning is different for Europeans and immigrants (this is taken into account when designing the programs).

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PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The CI does not develop specific actions for immigrant population. The artworks, focused in maritime heritage, could be shown in the countries of origin of migrants, such as fishing boats. An important part of the social projects developed by the museum are focused in women and young people. These programs basically involve the participation of women in activities, as the one that occurred in the Nit de los Museos. Since the museum is opened to the society and neighborhoods nearby, a strong number of the participants have an immigrant origin. Besides, the museum tries to integrate the population at risk of social exclusion, giving them the opportunity of working in the restaurant and cafe. Therefore, a high number of the people working in the restaurant are immigrants, although the program is not specifically focused in immigration.

Some activities show works by immigrant people, such as a boat used to cross the Gibraltar strait, without remarking the origin of the people who sailed it. In this way, other activities regarding migrant issues could be the Bienal al Mar, in a Mediterranean scale.

PARTNERS / COLLABORATORS

The CI engages in collaborations with different institutions such as associations and groups of immigrants. The collaborations with Pakistani associations is especially important, since these organizations has loaned spaces in the museum for developing activities, for instance in the assembly hall.

The goal of the CI performing collaborations with groups of immigrants is a moral obligation, and also an internal commitment trough the strategy of social responsibility.

STAFF

The museum carries out programs to hire and educate persons at risk of social exclusion from the Raval (where immigrants can be included), and in fact nowadays some people with a migrant origin are working in the restaurant, being rescued from a situation of exclusion, and even getting residence and work permits.

BOARDS / GOVERNING BODIES

The policies for hiring staff for the governing bodies of the CI are subject to the Ley de Contratos (Contracts Law) of the Generalitat. Although the legal figure of the CI is a consortium, there are no MCP requirements in contracting staff.

SUPPLIERS

The policies for hiring suppliers of the CI are subject to the Ley de Contratos (Contracts Law) of the Generalitat. Although the legal figure of the CI is a consortium, there are no MCP requirements in contracting suppliers. Tender are developed to find the proper suppliers.

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Upper Upper Upper Upper N/A N/A Intermediate Intermediate Intermediate Intermediate

MUSEU D’HISTÒRIA DE BARCELONA (Barcelona Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Museum was formally created in April 1940, and it was originally called the Museum of the History of the City. The Museum‟s initial nucleus was comprised of both the municipal collections on the history of Barcelona that had been compiled since the 19th century, and the

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heritage spaces at the monumental site of Plaça del Rei. In 2007 the museum was re-named Museu d‟Història de Barcelona (Museum of the History of Barcelona) with the acronym MUHBA. With respect to its heritage spaces and permanent exhibitions, the Museum is currently renovating the archaeological subsoil at Plaça del Rei as part of “Plan Barcino” (the Barcino Plan), and enlarging the museography of the Museum at the Call (the Jewish quarter), and the new heritage spaces devoted to the metropolis in the 19th and 20th centuries, including the buildings of Fabra i Coats, Oliva Artés, Casa de l‟Aigua de la Trinitat and Turó de la Rovira. Moreover, the museum is renovating the heritage space is Vil·la Joana, and has worked in the Park Güell as an advisory agent.

MUHBA‟s objective is to create coherent historical narratives in multiple formats and making it available to both citizens and tourists (paying special attention to education). Also, the institution aims to conceptualize the museum as an R&D+i center, to introduce innovation into history and heritage, and to provide technical services to other heritage projects, as well as to get the city's universities and local research centers involved in the Museum project, and to promote citizen participation. The Museum intention is to be consolidated as a portal and a mirror of Barcelona, introducing an active overall policy on collections that take into account the systematization of the archaeological archives and the need to create a contemporary collection.

INSTITUTONAL VISION AND POLICY

The vision of the institution does not contain multicultural policies to stimulate the migrant‟s inclusion and participation. No specific activities or approaches are carried out by the museum regarding migrants; the institution prefers to address all citizens with the same attitude and messages. The MUHBA considers that by addressing migrants directly, or designing specific activities and approaches to migrant issues, the differences in race of the public would be underlined, and therefore the problem of migrants would be aggravated, or in other words, stressing the ethnic origin of the audience motivates discrimination and segregation. According to MUHBA, the institution does not identify its policy towards migration with the European tendency of drawing attention to the ethnic origin of the audience. However, the museum boasts specific policies and activities to approach social groups and collectives. The museum also is focused in analyzing, displaying and explaining the social practices and the urban life in Barcelona (through studies and programming containing efforts to get familiar with communities) to secure more fluid barriers between communities. Barcelona‟s history is showed, and the cultural and linguistic pact present in Catalan society is emphasized, as well as the historical contrast and structure in the migration rhythm towards the region. Since there is a lack of programs aimed at cultural diversity and migrant participation, the institution does not have a specific funding line or evaluation standards about programs of migrants‟ cultural participation.

VISITORS / AUDIENCES

The visitors are perceived as a single entity, with no differences in ethnic origin or nationality. This vision is complemented by highlighting the practical life in the city, and the link with cultural and social policies. The institution aims to search for polarities in the practical life of communities, and to avoid separating the urban life by cataloging the members of communities by ethnic origin. Nevertheless, the institution has a big knowledge about the city‟s social and intercultural reality through researches and investigations.

MUHBA conducts surveys among its visitors, containing questions regarding the origin of users. The data collected is used to determine the nationality of visitors in order to organize the languages displayed in the exhibitions. No cultural diversity actions are implemented from the survey‟s findings and conclusions.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

Different activities that MUHBA carries out apply to cultural diversity; however those activities are not especially designed for migrants, anyhow, intercultural processes are developed in an organic manner. MUHBA is one of the most important institutions in the city of Barcelona dedicated to organize summer camps for children. The summer camps (Casal d‟Estiu del

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Muhba) receive children (between 9 and 12 years old) with different ethnic origin, and the activities endure a rupture in the migrants‟ cultural frame (or culturalist molds) enhancing intercultural processes by a practical interpretation of the city. The institution has faced some problems in the past to convince parents and relatives to allow children to participate in the summer camps, due the lack of confidence from migrant parents to these kinds of programs; however the results have shown that children from different ethnicities benefit from interaction and education techniques carried out in the summer camps. There are no distinctions about the treatment to children in regards to their ethnic origin, enabling an integrated program of activities that include intercultural activities. For MUHBA, intercultural issues are already integrated in the programs by including contemporary urban practices, which reflect the reigning intercultural reality in the city of Barcelona; and in consequence there are no special adaptations in the summer camps directed to impulse migrant integration.

The MUHBA collection brings together the material culture that can help explain the city past, always taking into account that the ethnic variable is present in the development processes of the city‟s practical life. Therefore, MUHBA has developed activities showing the history of the city, for example the exhibition about Ildelfonso Cerdá (“Cerdá y Barcelona, la primera metropolis, 1853-1897”), one of the founders of modern urbanism, responsible for Barcelona‟s urban transformation in the second half of the XIX century, and in charge of the creation of the Eixample neighborhood. The exhibition emphasized the similarity of this neighborhood compared with other cities‟ urban planning around the world. The exhibition was successful showing the resemblance of the neighborhood to different ethnic groups and areas of their home cities. For this purpose migrant collectives (Chinese, South Americans, etc.) from different areas of the city were invited to visit the exhibition.

Another important project developed by MUHBA was the study regarding the ownership of enterprises (“Indianas, 1736-1847, los orígenes de la Barcelona industrial”) in different regions of Barcelona with high presence of immigrants, for instance Chinese and Bengali communities. The project aimed to show the different ethnic composition of Barcelona‟s business network, challenging the stereotypes about entrepreneurs‟ origin. The results of the analysis showed the cultural diversity of Barcelona‟s business sector and the real provenance of the business man (Pakistani people coming from the UK, Chinese from Italy, etc.). MUHBA also organized the exhibition “Barracas, la ciudad informal” under the program “Barcelona Diálogo Intercultural” (Barcelona Intercultural Dialogue program). This exhibition was focused in showing Barcelona‟s conflict between the planned city and the informal city, with the emergence of shacks‟ areas in the XX century. The exhibition showed therefore the consequences of migration from other countries and regions of Spain, and its importance in relation to the formation of the actual Barcelona.

Moreover, MUHBA participated in the “Fiesta de la Diversidad” during 3 years, until the organizers had to move the event to a bigger venue. This event took place in the museum‟s facilities, and included lectures, exhibitions, music shows, games, etc. Punctual activities within the event were produced by MUHBA. The goal of the event was to generate spaces of coexistence for cultural diversity reflection.

PARTNERS / COLLABORATORS

The main collaborators of the museum regarding the issue of cultural diversity are schools located in Barcelona neighborhoods with high rates of migrant population (Ciutat Vella and outskirts of the city), neighborhood associations, or public and private entities. Although the museum does not interact with NGOs, collaboration with Peruvian and Cuban institutions had taken place in the past. The objective of the collaborations is to spread and the knowledge about the city and the citizens‟ habits.

STAFF

No policies about cultural diversity in hiring employees. Besides, the team of the museum did not experience any change in recent years, therefore recruitment has not been necessary during the last few years. Nevertheless the museum‟s recruitment is in charge of the City of

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Barcelona government, which does not implement any policy about interculturality and migrant participation in staff‟s selection processes.

BOARDS / GOVERNING BODIES

Same situation applies to recruitment of governing bodies; since the board‟s cultural diverse composition is not boosted by the city of Barcelona government.

SUPPLIERS

The museum does not have enough power to determine the characteristics of the suppliers. The City Council decides about contracting suppliers, and the decisions are mainly based in economic conditions (the lowest offers win the tenders). Limited companies with migrant presence have participated in the museum activities, and without a specific arrangement coming from cultural diversity incentives. These cultural diverse suppliers (for instance GNOs with Moroccan staff) were in charge of organizing special events and managing certain exhibitions.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Advanced Upper Lower N/A N/A N/A Intermediate Intermediate

MUSEU ETNOLÓGIC DE BARCELONA (Barcelona, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Ethnological Museum of Barcelona is a place of understanding between cultures and the people from cities, towns and villages as early benchmarks for the study of society in all its complexity. The objects of everyday life and at the same time the most extraordinary of the cultures are represented and can be found in the museum. Therefore, the museum mixes scientific knowledge and culture aesthetics. The 50,000 images, the footage and audio records of fieldwork constitute an important audiovisual collection.

INSTITUTONAL VISION AND POLICY

This museum, with 70 years of history, considers itself as a cultural space for interaction and cooperation. The function of the museum is to connect with the communities through activities and programs. The museum works with immigrants, on an equal basis compared to local population. The visitors are mainly members of social groups; therefore the museum is not focused on tourists. The collections are diverse regarding themes, showing the multidisciplinary capacity of the museum and the social reality. The institution sees itself as a fellow traveler for migrants.

Multiple public statements about the importance of attracting migrants to the museum, or in other words, using the museum as a too, to approach culture to migrants and give them the chance of representing their cultures. Barriers have been identified, and measures as free tickets were implemented. The CI wants to cause emotion throughout scientific and aesthetic knowledge.

All the funding of the museum is destined to activities to promote cultural diversity. Evaluations are made in all the stages of the projects. Since all the projects are focused in cultural diversity, there are guidelines for evaluation. The evaluation is shared internally and externally.

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VISITORS / AUDIENCES

All visitors are perceived as depositaries of culture, and the institution invite all visitors to engage in the production of the museum, depending on the specific activities. The institution works in developing a multicultural and hybrid audience, because each activity attracts migrants with diverse origins.

Specific activities to engage participation of migrants, letting migrants share their experiences in the museum and organizing events for them. There is a deep understanding about intercultural dynamic and integration policies, as well as the needs of the migrants‟ communities.

The participation and interaction in the museum is organized through projects where migrants participate in the activities, for instance, the project AFRICA involved people from Barcelona with a migrant origin bringing objects to the museum, and filling the exhibition space with those objects.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

Activities to promote migrant participation are carried out, as the exhibition Africa, where the mission was to show Africa for the eyes of Europeans. Collection focused in showing cultural practices from all over the world. Because of political issues the museum could change in the near future. It is planned to open a new museum focused on cultures from around the world, which would leave the Ethnological Museum with the only objective of showing the Catalan culture. Nonetheless, the activities with communities would not stop, and they will try to keep objects from different cultures. They try to show the Catalan exoticism, in contrast with other cultures, showing the points in contact.

The repertoire shows the social reality of the city, representing all the cultures in the city: Latin Americans and Africa. Activities for Arabic population, they even participated with conferences and activities in Damascus, in the event Arab Capital of Culture in 2008. They have travelling exhibitions in different parts of the country.

PARTNERS / COLLABORATORS

The museum collaborates with different migrant associations and other activities, as the Xarxa de Casas de la Festa, Barcelona carnival, fiesta mayor de Gracia, etc. The museum is embedded in the migrant society, serving as a location for migrant‟s activities. There are collaborations with universities of Colombia as well, in order to promote interaction between cultures.

The museum tries to bring migrant organizations of the city and the neighborhoods in the museum, in order to offer spaces and create interaction in communities, and processes of mutual understanding, and give back to society tangent results.

STAFF

For permanent staff, the recruitment competences belong to the Barcelona Council. Nevertheless, for temporary positions the museum applies diversity measures. The administration does not implement specific cultural diversity actions in hiring.

BOARDS / GOVERNING BODIES

The city council possesses all the competences to contract and to change members of the governing body of the institution.

SUPPLIERS

There is no discrimination or cultural diversity requirements for suppliers.

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BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Advanced Advanced Advanced Advanced Basic N/A N/A

MACBA (Barcelona, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

The Contemporary Art Museum of Barcelona (MACBA) is a museum located in Barcelona‟s Raval neighborhood, and dedicated to program and display contemporary culture as an expression of social, economic and political dynamics.

The Museu d‟Art Contemporani de Barcelona Foundation was created in 1987, with the purpose of establishing a new center for contemporary art in Barcelona. In 1988, the new museum was born with the creation of the Consortium of the Museu d‟Art Contemporani de Barcelona, which was comprised of the Government of Catalonia, Barcelona City Council and the Museu d‟Art Contemporani de Barcelona Foundation. Its official opening took place on 28 November 1995. In 2007, the Ministry of Culture joined the Consortium, and on 14 April 2008 the Council Board approved new statutes that defined its structure. The three public administrations that form the Consortium contribute the funding required for the day-to-day running of the Museum, while the MACBA Foundation is responsible for generating the capital required to build up the permanent collection, with the main theme of the understanding and experience of contemporary works of art, influenced by globalization, digital media and changing patterns of migration.

INSTITUTONAL VISION AND POLICY

MACBA‟s institutional vision includes the achievement of a diverse audience as a main objective, and the philosophy of being an open institution where citizens can find a space of public representation where education and innovation prioritizes. This vision shows the cultural commitment of the institution with the surrounding communities, as shown with the researches about the participation of citizens in the urban space around the museum.

VISITORS / AUDIENCES

As cited in the previous paragraph, the institution perceives its public as a diverse entity. However, no specific policies are developed to target and address migrants. When migrant issues such as displacement or identity are displayed through an exhibition, migrants are included in the interpretation and exhibition spaces as potential audiences or visitors. MACBA has performed researches to understand the local situation and local migration patterns.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

MACBA has addressed migrants‟ cultural participation in several projects that promote mutual understanding and between autochthonous audiences and migrant groups, with special significance for particular migrant groups or communities. "MeLa – Museums in an Age of Migrations: Reinterpreting Europe‟s Cultural Heritage in the 21st Century" is a research project that aims to reflect on the role of museums (with a special focus on specific areas such as museum libraries) in the construction and dissemination of European cultural heritage, and to identify the new paths that are opening up to museums and libraries in today‟s context of mobility and change. MACBA‟s main role in the project is using exhibitions as discursive artefacts, and developing guidelines for archives and documentation. Within the framework of the project, the exhibition “Transfigurations: Curatorial and artistic research in an age of migrations” took place in the institution.

Regarding MACBA‟s collection, one of the main topics of debate is post-identitary theory: Gender, race and class. This course of work analyzes the narratives that appear on the

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borderline and in the hybrid spaces of the notion of identity, be it sexual, gender, race or nationality, teaching citizens about immigrant issues.

The project “Participatory Analysis of Urban Space in the Raval neighborhood” is a multidisciplinary and participatory educational program that aims to analyze the uses of public space in the neighborhood of Raval, especially in the areas around the Museum, where there is a high presence of migrant communities. Therefore the project collects evidence of the interaction and participation of local and migrant communities in the public spaces in the neighborhood.

The institution also participates in the project Apropa Cultura (Closer to Culture), a program supported by the main Catalan public institutions and aimed at increasing the participation in culture of people at risk of social exclusion. Therefore the migrant community is included in the groups targeted by the program. MACBA offers free visits, guided tours, and workshops to different groups at very accessible prices.

PARTNERS / COLLABORATORS

Several institutions and foundations collaborate regularly and fund MACBA, for instance Axa Foundation, Banco Santander Foundation, Daniel y Nina Foundation Carraso or Estrella Damm, as well as multiple private companies. Nevertheless, none of them are directly involved in migration issues or migrant cultural participation. The purpose of the collaborations is not related to enhancing migrant cultural participation, but to increase the diversity of the productions and audiences.

STAFF

The institution does not implement specific cultural diversity measures in hiring staff, since the recruitment is regulated by the laws of public sector contracts.

BOARDS / GOVERNING BODIES

According to the institution‟s statutes, the belonging to the Consortium has a voluntary character, and members must be public entities or non-profit organizations. The Consortium, as explained in the short description of the institution, is formed by the Government of Catalonia, Barcelona City Council, Museu d‟Art Contemporani de Barcelona Foundation, and the Ministry of Culture. The belonging to the Consortium does not imply a commitment with migrant cultural participation. The same principle applies to the institution‟s governing bodies.

SUPPLIERS

In accordance with the provisions of public sector contracting Law 30/2011, dated 14th of November, MACBA publicly advertises its current tenders and lists all contracts awarded, in order to ensure transparency and public access to information regarding its contracting activities. The suppliers are contracted depending upon the price and the adequacy of technical proposals to the tender‟s requirements, with no regards to the migrant participation in the services or companies (tenderers). However, MACBA tenders prioritize the suppliers‟ obligation of promoting social integration of disabled people, as well as gender equality.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Basic Lower Lower Basic N/A N/A N/A Intermediate Intermediate

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CENTRO DRAMÁTICO NACIONAL (Madrid, Spain)

SHORT DESCRIPTION OF THE INSTITUTION

CDN is the abbreviation of Centro Dramático Nacional (National Drama Center), Spain‟s first theatre production unit, created by the Instituto Nacional de las Artes Escénicas y de la Música (INAEM, or National Institute for the Performing Arts and Music), and attached to the Ministry of Education, Culture and Sport. Since its creation, the institution has offered more than three hundred theatrical productions. The CDN has two facilities for its activities: the María Guerrero Theatre and the Valle-Inclán Theatre. The institution‟s management and production capacity allows it to schedule performances in these two permanent spaces simultaneously while sending its productions out on tour, both in Spain and abroad.

INSTITUTONAL VISION AND POLICY

CDN‟s primary mission is to disseminate and consolidate the various schools and trends in contemporary dramaturgy, with a special focus on the work of current Spanish playwrights. The institutional vision and policy does not include a specific perspective on migrant cultural participation, however the Director Plan includes in its strategic goals the creation of programs and the design of activities focused on social integration and intercultural dialogue, collecting the reality of different communities and reflecting society‟s diversity. In addition, the institution is committed to organize performances specially designed for the foreign audiences. There is no specific funding line for migrants‟ participation or evaluation programs.

VISITORS / AUDIENCES

There is no indication of a special treatment or vision to migrant visitors; therefore the migrant audience is perceived as a group with no special needs. However, random opportunities such as specific exhibitions are used to target and approach migrants as passive consumers of cultural productions.

PROGRAMMING / REPERTOIRE / COLLECTIONS / NARRATIVE

The institution exhibits pieces that draw on migrants‟ cultures and ethno-cultural traditions, focusing on the migrants‟ cultures of origin. As an example of this kind of piece it is worth mentioning the exhibition “Akhyan: exhibition of puppets, masks and scrolls of the oral tradition of India”, focused on the culture of the marionette not as an art object, but as a general cultural manifestation of oral and intangible heritage, as well as a form of transmission of knowledge and traditions. The institution programs international plays developed by foreign creators, which are suitable to attract citizens with migrant background. Some of this plays are About Ram47, Tears by the river48, and Adentro49. CDN participates in the Conference on Social Inclusion and Education in the Performing Arts organized by INAEM annually. The workshops aim to encourage the sharing of experiences and the implementation of policies and projects that promote social inclusion and integration of communities at risk of exclusion.

CDN also organizes each year the festival Una Mirada Diferente, focused on performing arts and disabilities and with the stated goal of improving the visibility and inclusion of artists with disabilities in cultural life. Therefore, the festival enables the general public to understand diversity matters, and also trains performing arts professionals to work with different artists.

PARTNERS / COLLABORATORS

The institution engages in collaborations with Spanish and foreign dramatic arts institutions and agencies, as well as Spanish creators abroad, as a strategic objective stated in the institutional statutes. Accordingly, CDN has a program of collaboration in Latin America to develop

47 See: cdn.mcu.es/espectaculo/about-ram-titerescena/ 48 See: cdn.mcu.es/espectaculo/lagrimas-junto-al-rio-titerescena/ 49 See: cdn.mcu.es/espectaculo/adentro/ Página 116 de 147

workshops, courses, exchange of professional, etc. The objective of the collaborations is not regarded as a method to enhance migrant cultural participation.

STAFF

INAEM is the agency responsible for hiring staff, and therefore CDN cannot influence the decisions of hiring personnel. INAEM does not apply diversity policies when contracting personnel.

BOARDS / GOVERNING BODIES

The boards and governing bodies of CDN are not selected or recruited with a migration background criterion, since INAEM is in charge of choosing the director and the board.

SUPPLIERS

CDN does not promote diversity and equality in its dealings with suppliers. INAEM chooses and contracts the suppliers with no regards to cultural diversity, and equality data is not gathered.

BENCHMARK LEVEL

Institutional Audiences Programming, Partners, Staff Boards Suppliers vision & repertoire collaborator etc. policy Lower Basic Lower Basic N/A N/A N/A Intermediate Intermediate

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V. Analysis of institutions: Sweden

MALMÖ MUSEER (MALMÖ MUSEUMS). MALMÖ, SWEDEN www.malmo.se

INFORMANTS Eva Hansen, Deputy director of the museum and strategic manager Birgitta Petrén, Head of Education

BRIEF BACKGROUND

Malmö Museum was founded in 1841. In 1984 the name was changed to Malmö Museer and today exhibitions are held in several buildings in Malmö. The museum was private until 1891, when it passed into the possession of Malmö city. Malmö Museums is one of several regional museums in the county Skåne. The museum is currently prioritizing renovation of its permanent exhibitions, increased access to collections, development work in the area of teaching and learning, and multicultural issues. The museum consists of six units divided in exhibition, education, photography, heritage, public activities, and city. The allocation of funding is approximately 40% regionally and 60% municipal. The museum's management team consists of the museum director, assistant director, unit managers and communicators. The museum has around 30,000 visitors a year.

VISION AND POLICY

Malmö is a city where about 31% of the population is bor in another country and 177 different nations are represented. Since Malmö Museums operate in a multicultural society, diversity is a key priority for the entire organization. Welfare is not evenly distributed across the population of the city and according to the informants; a lot of work remains to achieve a more equal society.

The museum's vision is that all people should be welcome and benefit from the welfare, the informants argue that they are not there yet. Malmö Museum currently has no specific diversity policy. The museum has previously tried to draft policy documents relating to diversity, but the documents have never really become alive and implemented in the organization, so in the end, it was important that the organization's work regarding diversity is reflected in the company's vision and goals. The organization is strict to emphasize their vision in all their documents and reports so that diversity gets more foothold in the operational work.

The organization produces thorough project plans for each project. The project plan must recognize the target groups and how they want to carry out the dialogue with together with them, as well as the expected outcome. The organization's aim is to never do a show or an educational project without doing it in dialogue with those whom it affects. This work has not always been successful, but the very best projects start when Malmö Museums are approached with ideas, according to the informants.

Overall, the museum has no special funds allocated for work with diversity, so most diversity work is carried out with external financing. External funding has led to the museum being able to widen participation, but they also use their own funds within the ordinary activities to align the projects with diversity efforts.

VISITORS / AUDIENCE

According to the informants, the typical Malmö Museums visitor is a white middle class family. The museum conducts visitor surveys divided into men/women -girls/boys. The breakdown is about 50/50%.

The museum is often approached by people/visitors who want to collaborate or carry out a project.

Malmö Museums communicate in English, Swedish, sign language and simplified Swedish. Because of Malmö's proximity to Denmark, the informants wish that they could work more with

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Danish. There is also a wish to work with Braille and Arabic, since Arabic it the main foreign language in Malmö.

PROGRAMMING /OUTREACH

Malmö Museums has since 2004 worked on the project Language, Culture and Identity in different constellations. During the program, they have worked together with libraries to make museums into a place for language development. Participants have come from language pre schools up to adult education.

Prior to the exhibition Women Making History, which opened in May 2014, Malmö Museums were approached by a journalist and author who had an idea to start a project about immigrant women's lives and history during the last 100 years. In addition to help with executing the idea, she came in with a large network which is the reason the project was a success- "We had not been able to create such a network ourselves, not even if all 100 of us in the organization had tried." According to the informants.

Malmö Museums have for many years worked with different projects in cooperation with Romani people, for example Muri Romani Familja / My Romani Family from 2012, when young activists, musicians, artists and photographers from Malmö and the world gave their view of contemporary Romani culture. The informants believe that the work has helped welcome Romani as a target group for the museum.

The swedish multiculture year 2006, aimed to permanently increase all residents opportunities to participate in cultural life. During the year the study Diversity in Malmö‟s Cultural life was carried out. Malmö Museums had a large role in the development of the study.

PARTNERS

Malmö Museums has many collaborations, ranging from local to regional, national and international. The informants welcome collaborations. The museum has to constantly interact with others and their goal is to cooperate with at least ten partners, locally, regionally and nationally, as a way to increase participation.

Malmö Museums are a part of several social engagement projects internationally. The museum is for example since 1996, members of the network Swedish African Museum Network. With funding from Sida and Kulturbryggan they implemented a joint project with Cape Town and Johannesburg. Together with The District Six Museum in Cape Town they work to educate young people, so-called museum ambassadors. The informants emphasize that the museum's visionary work might not have developed in the way that it has, if it had not been for the South African cooperation.

STAFF

Malmö Museums has over 100 employees. The museum's HR department and the recruitment policy is part of the Cultural Department. A new recruitment policy is in developmet. The Cultural department welcomes diversity and has begun to encourage language skills in their job advertisements. Malmö Museums has a hiring freeze tfor he whole of 2014, due to economic restraints. The result is that employees are moved around within the organization. The organization has also reworked their hourly positions system and created a pool in which employees can search and register their interest for working during weekends. Previously, the museum has had problems with hourly employees and summer staff being family members of the staff, but they have managed to get rid of that and now everyone have to apply for jobs on equal terms. Almost 70% of the permanent employees enter through hourly positions.

BOARD

Malmö Museums does not have a board but is linked to the cultural committee. The informants do not have the insight needed to answer whether the cultural committee recieves capacity building regarding diversity.

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SUBCONTRACTORS

All Malmö Museums large procurements are done by the city of Malmö‟s procurement unit, so the informants have no insight into the process. The informants have however previously responded to a survey about social sustainability in procurement, where diversity was included.

BENCHMARK LEVEL

Vision/poli Visitors/audi Programming/outr Partners Staff Board Subcontract cy ence each ors Advanced Upper Upper intermediete Upper Lower N/A N/A intermediete intermedie interme te diete

STOCKHOLMS STADSMUEUM (STOCKHOLM CITY MUSEUM). STOCKHOLM, SWEDEN www.stadsmuseet.stockholm.se

INFORMANT Hans Öjmyr, Head of the exhibition unit and the space the City Museum.

BRIEF BACKGROUND

Stockholm City Museum is a museum in Stockholm, which was founded in 1937 and opened to the public in 1942. The Stockholm City Museum documents, collects and present smaterial related to the history of Stockholm. The museum is located in Södermalm and shows both permanent and temporary exhibitions. Since January 1, 2007 the Stockholm City Museum is a part of the Stockholm Cultural Administration. In January 2015, the entire Stockholm City Museum will close for renovation. After the renovation there will be a new exhibition space and coherent chronological exhibition. The museum's vision is that the new city museum will be a place for everyone.

VISION AND POLICY

A diversity plan was developed in 2010 by the Stockholms cultural administration‟s diversity management group. However, it is not in use at the moment and Stockholm City Museum has no direct policy for how the organization should work with diversity. The informant emphasizes that there is a lot within the organization that is being reworked, and the idea is that a new diversity policy will be developed in the future. Implementation of the policy documents are relevant only when they are updated. The organization does hold regular workplace meetings during which the museum's vision of diversity work is discussed. The informant points out, however, that not much action is taken. The information is heavy and abstract, and most employees are not interested. All documents are located on the organization's intranet for download, and it is the individual employee's own responsibility to absorb the infromation. The documents are not communicated externally.

The informant says that within the organization there is a confusion about multiculture and diversity. Many people are afraid of saying the wrong thing. Among many employees there is a vibrant and strong interest in diversity, however, this is not reflected well in the diversity of the museums workforce. The informant says that it is about the individual recruitment. Currently about 80% of the emplyees are women of ethnic Swedish background.

Stockholm‟s Culture Administration and Botkyrka Municipality carried out a large capacity building project called "Culture for all" from 2011-2014. All employees attended and the informant says that it was good in many ways but they now have gone back to the starting position and not much has happened.

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Stockholm City Museum is in a phase where they have begun to measure effects. They conduct audience surveys regarding for example women/men. There is an ongoing collaboration with Alma Folk High School, where long-term unemployed people get introduced to the employment market again. Every day 1-2 people from Alma conduct audience surveys in the entrance. The questions differ a little, however, there are no specific questions about diversity. Evaluation questions are based on the method Generic Learning Outcomes, developed by the consultant Emily Johnson. Staff have received training in the factors, which are based on GLO. It is a continuous process in the organization to adapt the questions and find out more about visitor behavior. The management recently got the compilation from spring 2014 and will review it and use the results for spring 2015.

Stockholm City Museum does not spread the results externally, other than in their annual report.

VISITORS / AUDIENCE

According to the informant, the typical visitor at the Stockholm City Museum is 60% female, 50+, including families with children. In between there exists a gap. Stockholm City Museum wants to reach more men. The museum has a small marketing and advertising budget. They use social media such as Facebook and Twitter to reach their audience. The larger part of the budget, however goes into two subway campaigns, but these also provide the greatest impact.

On the website the museum communicates in Swedish and English, but the informant says that Swedish is the common and primary language. In exeptional cases they work with an interpreter. A lot of communication is spread through word of mouth. When it comes to the entrance staff and reception, it is highlighted in the job description that a third language is an advantage. The museum has to some extent succeeded in employing an entrance staff with different language skills.

Within the museum's various projects, it is important to be able to communicate with all people that are involved, this is something that the informant can experience difficult times. One example mentioned is a project in which it was planned that 25 women from Tensta and Rinkeby would participate, and instead there came 75 women, they came 2 hours early. The staff were not able to communicate in Somali, which is the language most of the women spoke. They solved the situation by calling around within their network and found a Somali-speaking backup. The informant believes that the museum should prioritize Swedish and English, and especially Swedish as it is the shared language. As for the Swedish minority languages such as Sami and Finnish, there is much work left to do. The museum, however, has one unit at Skogskyrkogården Cemetery in Stockholm, where they have a Finnish-speaking guide.

When it comes to capacity building and visitors, most employees have participated in the program "Culture for All" and diversity is a living issue that often is discussed. Culture for All also encouraged the staff to go on external courses and seminars and to share their knowledge and experiences with their colleagues, but there is no strategic system for this.

Evaluation is done primarily through the partnership with Alma Folk High School and their collection of material. There is much work to do when it comes to spreading of results.

PROGRAMMING /OUTREACH

Most projects focused on diversity must be carried out using external funds since there is no money allocated for this. The museum has for example done smaller projects where they worked with language development for children in the Stockholm area Tensta. Children and families are a major focus area for the museum.

One of the museum's projects is "Somali Square", an educational project with the target audience Somalia Swedes. During the project the museum worked with Somali educators, and the informant felt that it was a successfull project although it was difficult to implement and there existed social thresholds. The aim was that the target audience would feel proud to be Somali.

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The museum has also received funding from the Arts Council to target unaccompanied refugee children.

Diversity issues are currently not incorporated into the planning and decision-making processes of the museum, but Stockholm City Museum is for all residents and should reflect this, so it is an important issue.

PARTNERS

Collaborations are necessary for practical and economic reasons. From a diversity perspective, the museum has a partnership with the Foundation Hotel Homes where a lot of immigrants live. The museum also has good contacts with the Mexican Embassy. In 2013 they made an Ofrenda altar during the All Saints weekend, which attracted many Mexicans whom had never been to the museum. It is also in the Stockholm City Museum's mission to seek partners but they currently don‟t evaluate and measure the impact.

STAFF

The museum is trying to broaden diversity within its workforce. Regarding entrance staff, it's easier to find diversity. During a recruitment recently they tested competency-based performance management. The informant feels that the tool they use in this method takes diversity into account, at least when it comes to language. The museum does not have a human resources department so all managers have received training in HR, however staff is mostly moved around internally.

Within the workforce there are individuals with different levels of openness to different kinds of people. The entrance staff is used, but other parts of the organization have a difficulty with diversity, for example if a person does not speak perfect Swedish. There is generally a curiosity throughout the museum, but none or little experience.

Stockholm city‟s job adverstisment channel is used to place vacancies. The museum has a long collaboration with the Stockholm areas Kista and Rinkeby, and every summer ten young people from these areas come to work at the museum.

BOARD

Stockholm City Museum has no board. They are a part of Stockholm‟s Cultural Administration.

SUBCONTRACTORS

Stockholm City Museum falls under Stockholm City‟s procurements. The informant has hence no insight and believes that this is a sore point that they need to work on to get more control. The few contracts that takes place in-house are something that the organization must work on to review in regards to the supplier's diversity policy.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Basic Basic Basic Basic Basi N/A N/A c

BOHUSLÄNS MUSEUM (THE MUSEUM OF BOHUSLÄN)UDDEVALLA, SWEDEN www.bohuslansmuseum.se

INFORMANT Mari Trollvik, Head of operations

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BRIEF BACKGROUND

Bohuslän Museum was established in 1977 and is a regional museum with its registered office and main building in central Uddevalla on the west coast of Sweden. The museum collects, documents, preserves and tells about the county Bohusläns history, nature and culture. In addition, Bohusläns museum is a living cultural center with a wide range of programs, lectures, music evenings, theme days and exciting exhibitions. There is also an art gallery, a shop and a restaurant specializing in culinary traditions. Since 2006 Bohuslän Museum is included in the administration Västarvet, which is part of the region Västra Götaland.

VISION AND POLICY

The policy documents in Bohusläns Museum are the same as in Västarvet, these documents will be revised in the near future.

The Rights Committee's Office is working to develop and systematize human rights work in the Västra Götaland. A few years ago they initiated a project called the MR project(Human Rights project). It is a pilot project that runs 2011- 2014. Bohuslän Museum is one of three pilot activities together with a local hospital and psychosis care center. Within the project they have been working with a human rights plan, where diversity is included. The participants from Bohusläns Museum is a working group of six people whom have received a lot of education and will spread human rights knowledge within the management so it gets anchored among all employees. When the money from the project is finished the museum will continue to work with these subjects within its regular operations. In the long term, the idea is that the entire region integrates this perspective into their regular activities.

Capacity building and evaluation is undertaken as a part of the MR- project. The evaluation is done by a consultant involved in the project.

VISITORS /AUDIENCE

The average visitor is a middle-aged woman with a civil servant bakground. The museum has 60% female visitors. Audience research has been done, through the web, by staff in the entrance, there are also computer screens with evaluations outside the exhibition halls. Bohuslän Museum is more of a cultural center. They have more than 500 program items per year, and are closed only three days per year. Most activities are open and free of admission. The museum works with social media, in terms of program activities. The permanent exhibitions translates to English, they also have audio guides in different languages.

PROGRAMMING/ OUTREACH

Bohusläns Museum has in recent years continuously worked with the exhibition "Meet the traveling community", which is Sweden's first permanent exhibition about traveling people. In preparation of this exhibition, the organization has developed good relationships with travelling communities. They have, among other things, developed a visit map of settlements for travelling communities. The theme is part of the exhibition and around the projects in "Meet the Travelling People." In 2013 they also had an exhibition called "Finding Home" which was about children who have lived in orphanages. In connection with that the museum added to the collections of "Meet the traveling community”, since many travelling people have lived in orphanages.

Bohusläns Museum works extensively with debate evenings and children activities. The goal is that 30% of program activities should target children and young people. The museum is also part of the project Venue Dalaberg. Dalaberg is a residential area in the north of Uddevalla with a lot of newly arrived immigrants.

The museum holds a public dialogue which affects the design of programming /outreach activities. Ideas come from organizations, associations or individuals. The work is not evaluated, since it is not fully developed. The spread occurs organically.

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PARTNERS

For Bohusläns Museum, it is important to cooperate. Partnerships strengthen up their own work. The museum has long term relationships with organizations related to travelling people. All partners are highlighted and communicated. Bohusläns Museum also has an ongoing collaboration with SFI (Swedish for Immigrants) and organizes screenings and other types of events. The museum does not evaluate work with partners at the moment.

STAFF

Bohusläns Museum has no specific recruitment policy. According to the informant mostly ethnic Swedes apply to their advertised positions, and this is a major obstacle.

When someone is looking for employment at Bohusläns museum skills and competencies are important. The museum doesn‟t employ often though, but would like to find employees of different backgrounds. If it would stand between two people with the right skills, the museum would choose the person who can bring cultural diversity.

The museum tries in different ways, an example is during an exhibition, when the museum wanted to employ exhibition hosts. The museum informed the Swedish Employment Service, which handled the recruitment, that they welcomed people with different background. The museum still ended up with Swedish middle-aged women as exhibition hosts.

They discuss withing the organization that it is difficult to find diversity among the traditional museum professions such as archaeologists, while it is easier when it comes to work in the reception.

BOARD

Bohuslän Museum is a foundation with a board which is appointed and consists of representatives from the region and Uddevalla Municipality. Operations are conducted by the managers of the museum and Västvarvet‟s administration which is politically appointed.

SUBCONTRACTORS

Bohuslän Museum follows region Västra Götaland‟s procurements. Several of the museum's departments are also centralised such as economics and communication. The processes are very controlled by Västra Götaland‟s region and the informant has no insight.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outr Partners Staf Boar Subcontract cy nce each f d ors Upper Upper Lower intermediate Lower Basi N/A N/A intermediat intermediate intermedi c e ate

VÄSTERBOTTENS MUSEUM(THE MUSEUM OF VÄSTERBOTTEN). UMEÅ, SWEDEN www.vbm.se

INFORMANTS Ulrica Grubbström, CEO and Museum Head Britta Lindgren Hyvönen, project manager and archeologist, member of the museum diversity group. Maine Wallentinson, museum teacher, member of the museum diversity group.

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BRIEF BACKGROUND

Västerbotten Museum has responsibility for the entire county Västerbotten‟s cultural history. The museum's tasks is to preserve, nurture and bring the cultural heritage to life, for present and future generations. The museum is working to keep the knowledge accessible to all through the archives, collections, publications, exhibitions, program activities, advice, views and information. The museum consists of the managing company Västerbotten Museum AB, and the Foundation Västerbotten Museum's collections. The museum works with the traditional missions to collect, preserve and exhibit. The museum's ambition is to be a county museum in time, with increased participation and dialogue with its citizens. This for example includes working actively throughout the county with "local offices", extensive museum education and cultural touristic projects.

VISION AND POLICY

Västerbotten Museum has an organization covering issues of diversity, a diversity group, and a diversity plan. At a higher level, the museum has a collaboration group where all executives, including the CEO and the unions are included. All decisions go through them, they also ensure that the plans are maintained. Västerbottens Museum has a focus on the Sami people and has reference group which highlights Sami issues.

Västerbotten Museum's Diversity Plan is being revised, as it was written in 2008 and adopted in 2009. Among other things, the plan has been a policy without measurable goals and now checklists Will be integrated so that the plan can be implemented at all levels. The new diversity plan will take effect from 2015. The diversity group is responsible for the development, and ultimately responsible for implementation is the collaboration group.

Regarding funds, diversity efforts need to be a part of regular operations, since there is no special diversity pot.

The implementation of the policy documents was during a monthly meeting. Since then the museum has had some training modules related to diversity. The organization has plans to hold more educational elements. The new policy documents will be available on the intranet.

The evaluations based on the current diversity plan are carried out within the cooperation group. The results are not spread externally, but they hope it will be visible in the operations.

Västerbotten Museum is a part of the network Museums for diversity, which goes through all members' diversity plans. Museums for diversity is a new group and they will have their first meeting with representatives of other museums in the autumn of 2014. The museum has developed keywords where diversity is one of them, the keywords appear throughout their checklists and permeate their work. During the past six years, the museum has worked a lot with diversity through the help of collaborations. The informants believe that they must have documents and checklists, because the questions are easily forgotten and not always alive.

VISITORS /AUDIENCE

According to the informants, the most common visitor is the "culture lady". There is an over- representation of older people and families with children. The museum, however, tries to focus their events such as the Swedishn National Day at increasing diversity. The museum uses the web and social media intensively with various types of subgroups. At all major events, they have a checklist and try to think of increasing diversity.

The museum communicates in Swedish and English and they use Sami both in writing and sound. The Museum has published a book in South Sami.

Participation is one of the museum's keywords, and they try to build interactive exhibits where they meet with the audience. There should be an arena to meet and create dialogue. The

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museum wants the audience to participate and they want to develop the museum as a meeting place. They have built in a narrative perspective by story cafes.

Evaluation is done sporadically, including quantitatively by measuring the number of visitors. The only qualitative measurement is the ongoing investigations when they measure the museum and exhibitions, with the help of a consulting firm. Spread occurs internally at monthly meetings.

PROGRAMMING /OUTREACH

Västerbottens Museums goal is to be a museum for all. The museum works with a broad spectrum and niche programming. The key words affect programming, a different perspective highlighted is that the economy affects.

Diversity is incorporated into checklists for communication, exhibitions, education and archaeologists. The museum has realized that people often think along the same track and need to be reminded.

Evaluation and spread of results occur mainly at internal monthly meetings.

PARTNERS

For Västerbottens Museum it is necessary to develop projects in cooperation with partners. The best results occur during collaborations. Västerbotten Museum collaborates with PREI (Project for the Integration) since 2006. PREI is a cultural organization that began as a shelter and has developed into a center where 50-60 ethnic groups gather. Personal contacts led to cooperation. The museum collaborates for example with PREI around different activities.

STAFF

Västerbottens Museum has about 60 employees and no recruitment policy. The museum uses traditional recruitment ways such as the Employment Service and trade magazines. Sometimes they headhunt staff with specific skills. They do not often advertise vacancies. When it comes to performers and artists, it is done through their network for the most part. The museum does not write anything about diversity being encouraged in their postings but they have an introductory text on the museums visions. The museum gets few applicants from different backgrounds, for some reason, they don‟t find them. The informants sometimes wonder how many museum trained people of different backgrounds there are and whether this could be an obstacle.

The museum world is very specific when it comes to knowledge. Recently they searched for a person to an economy post and it still there was not a single person with a different background whom applied. The informants believe that it may be easier to understand if when it comes to narrow cultural heritage positions.

The museum has worked with hospitality. All of the staff should know that they have the same responsibilities when it comes to hospitality issues and deliver quality, regardless of what they work within the organization.

The museum has no HR department; the managers handle recruitment issues.

BOARD

Västerbottens Museum‟s board is politically appointed with representatives from Umeå Municipality, Västerbotten Region and Västerbotten County native enviroment associations. Diversity issues raised by the diversity plan and policy are raised by the Board. The Board is invited to capacity building but rarely have the opportunity to join.

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SUBCONTRACTORS

Västerbotten Museum is a part of the municipality's general agreement, so 99% of the procurements go through them.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Upper Basic Basic Basic Basi N/A N/A intermediat c e

RIKSTEATERN (THE NATIONAL THEATRE). STOCKHOLM, SWEDEN www.riksteatern.se

INFORMANT Jessica Lindberg Dik, interim chief the internationel mission, producer with a background in classical music.

BRIEF BACKGROUND

Riksteatern was founded in 1933 and is a movement that owns a touring national stage. Riksteatern is owned by its members whom are more than 40 000 members, 230 national theatre associations, 21 regional associations and 50 connected organizations throughout Sweden are part of the National Theatre, which organizes, mediates, produces and develops the Performing Arts. Riksteaterns vision is performing arts that put thoughts and feelings in motion - for everyone, everywhere. Riksteatern contributes to more than one million performing arts visits per year and also has extensive international operations, including a multi-year collaboration with theaters in Finland. Riksteaterns Silent Theatre has since 1977 been playing theater for deaf and hearing children, youth and adults. Every four years Riksteaterns congress is held and hundreds of representatives from Riksteatern‟s associations and affiliated organizations among other things, map out the future and appoint directors. Members of Riksteaterns theatre associations organize events locally. Riksteatern selects and purchase theater, dance productions and performing arts. They can buy from Riksteaterns own associations or performances from other producers.

VISION AND POLICY

The informant believes that the work that Riksteatern does regarding diversity is very personally linked to certain key employees. There is no rooted way of working throughout the organization. Riksteatern has an international mission that often becomes the bearer of diversity tasks and aspects. Within the international mission operations works with the major language groups in Sweden. Riksteatern does not use ethnic groups, instead they use language groups and work with Finnish, Bosnian, Kurdish, Persian, Arabic and more. The goal is to get people who come to Sweden into society through culture. There is no specific model they operate through because the target group is heterogeneous. Some are highly educated and motivated while others are not. They adapt their work based on the target audience. Since Riksteatern is a national organization, they want the local associations to look at their local communities. Riksteatern has to reach out to all citizens in Sweden. The international mission a lot with diversity, more than the rest of the organization.

The international mission has policy documents. Riksteatern however, doesn‟t have a diversity policy in the large organization. Individuals try to raise the issue, but it is not prioritized.

When it comes to diversity issues there is no responsible person and no special funds.

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VISITORS / AUDIENCE

All of Riksteaterns theatre associations have their own audiences. Riksteatern as an organisation does not arrange public events. The average visitor lives in a small town in Sweden. Riksteatern‟s goal is to reach everyone in Sweden and more work needs to be done to reach this. Riksteatern support their theatre associations in identifying potential new audiences but also to maintain the visitors they already have.

Riksteatern communicates in different languages to reach different groups, depending on the performance or projects. They also have a communications officer specifically for the international mission. It's about adapted communication to different groups. In this way, the international assignment has a freedom compared to the rest of the organization. They work with communication in different ways, find key people who are respected and tie them to the organization. An important aspect is their own networks. Project managers in the international mission are recruited based on their expertise but also based on their networks.

To encourage audience participation Riksteatern works with focus groups, public talks and try to keep an open dialogue with their audience, members and trustees. The informant states the following areas for improvement: training, evaluation and spread of results.

PROGRAMMING/OUTREACH

The international mission spreads information about language groups, increase knowledge about them and their background, similarities and differences- the ultimate goal is for Riksteatern‟s organization to be relevant for more people and reach out to more citizens. They believe in creating a meeting place and knowledge which can reduce racism.

Riksteatern tries to find themes that are relevant in Europe and the conflicts that are spilling over in Sweden, for example in the form of refugees. The themes offered must also contain an element of entertainment. Children are an important target group for programming.

They have realized that a lot is tied into the premises and that there are obstacles regarding participation in fancy premises, so they try to find new places. A person should feel welcome to a cultural institution. The informant sees obstacles in infrastructure and codes.

The audience is an important factor that influences the design of Riksteatern‟s program, it starts with which type of audience Riksteatern wants to reach and their needs.

The informant believes that diversity is incorporated too little, or not at all in Riksteatern as a whole. Diversity is always a separate track and the entire organization leans on the international mission when it comes these questions.

Before the international mission makes a decision, they always go consult with the target audience. They have, for example, children's theater in Arabic, where they use Arabic but also mix in Swedish so that everyone can understand. For the collaborative celebration event Eldfesten, they do comprehensive preparations, with sales support, marketing plans, budget etc- there is always a producer, an engineer and a communication project manager whom review the project so that they create a balanced repertoire.

Riksteatern always carries out evaluations. What is measurable is the audience quantity and they send questionnaires to their theatre associations each year. The questionnaires are then compiled and presented once a year. When it comes to Eldfesten, they compile how many organizations cooperated and who the organizers were- the majority of organizers must be associations, according to Riksteaterns letter of regulation.They are not allowed to compete with concert promoters or private theater actors.The informant wishes the organization could measure more.

In the internal work they present marketing results once per season to the entire organization. Results are also presented at Riksteatern‟s congress every 4 years. However, there is no public spread of resultrs. They also report annually to the Ministry of Culture.

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PARTNERS

Riksteatern‟s operations would never work without partners. Everything they do is cooperation and it is needed because the municipality does not have the skills. Riksteatern has many international partners in their home countries, for example in Finland. They also work with local multicultural cultural associations, NGOs, and other interest groups. Local partners are crucial for the credibility in the local community.

The objective of cooperation is to strengthen Riksteatern‟s network, credibility and competence. Riksteatern is part of a long-term cooperation with their theatre associations around the country. From a diversity perspective international mission works with a method where they find key individuals within language groups whom the build a relationship with and make ambassadors for Riksteatern. They have also established networks with specific theatre associations.

Riksteatern has not developed an evaluation system for their collaborations. They need tips on how to evaluate the impact of their partnerships.

STAFF

Riksteatern has about 300 employees in the organization. They recruit both internally and externally when vacancies occur. According to a local agreement, all vacancies that are longer than 3 months shall primarily be advertised internally. Within the performing arts there are a number of official and informal recruitment channels they can use. In cases where a vacancy is advertised externally, this is done in consultation with the HR department, and usually goes out to daily press. The HR department has developed a template for the Riksteatern‟s recruitment, but HR 's role in the process is supportive, and it is owned and operated by the accountable manager.

Riksteatern‟s organization has begun to competency-based recruitment, ie a process in which they identify and define the competencies required for the position, then these form the basis for the requirement profile and interview questions. The international mission, as mentioned before, recruits staff with networks which are relevant for the position.

Riksteatern has started to work with a method called the KIV process, which aims at systematic capacity building for the individual and the organization. Riksteatern‟s hope is that the KIV- process will highlight diversity, and spot under-representation for future workforce planning. The objectives of KIV process include the empowerment of Riksteatern‟s employees in operational planning and competence planning, safeguarding employees' expertise in operational planning and competence planning process, as well as a greater understanding of the their mission, vision and goals. In this way, Riksteatern wants to create a heightened sense of belonging, pride, shared identity, better working environment as well as an open and tolerant climate.

Riksteatern annually has 1-2 staff days where topics such as community values and increased understanding of each other's differences are the theme. Challenges are for example that they have a big house with many different professions, creating distance between functions and groups with different cultures. Sometimes there is a low understanding and acceptance of differences and needs.

BOARD

Riksteatern‟s congress appoints a nominating committee who in turn appoints the board. Intercultural competence is discussed in their work, as well as a variety of other skills. The informant insists, however, that the board has never managed incorporate a diversity perspective. There is a need for capacity building for the board.

SUBCONTRACTORS

As an institution Riksteatern has to use public procurement. The international mission though, has emphasized that they have other needs in forms of skills and broader competencies, so in

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some cases they may use other subcontractors, mostly marketing. Within the organization there is not a deep understanding of why the internatioal mission needs for example marketing in different languages. The unions also play a role since they protect the permanent employment. The effects of procurment is measured primarily in terms of price

BENCHMARK LEVEL

Vision/po Visitors/audi Programming/out Partners Staff Boa Subcontrac licy ence reach rd tors Basic Upper Lower Upper Lower Basi Basic intermediate intermediate intermedi intermedi c ate ate

VÄSTERBOTTENTEATERN (THE THEATRE OF VÄSTERBOTTEN). SKELLEFTEÅ, SWEDEN www.vasterbottensteatern.se

INFORMANT Fransesca Quartey, CEO and artistic leader

BRIEF BACKGROUND

Västerbotten Theatre is a county theater based in Skellefteå in the north of Sweden. The theatre produces 6-8 new productions per year and plays about 400 performances in Skellefteå, Umeå and on tour in the region Västerbotten. In recent years the theatre has profiled itself increasingly as a storytelling theater. Västerbotten Theatres vision is to become the leading storytelling theater and strive to a new theater to be built. Every summer since 1987 has Västerbottensteatern played summer theater in Skellefteå. These beliefs are built on commitment from community-based amateur actors who complimented the theater's permanent ensemble and created opportunities to make big, generous, productions. Västerbottensteatern is a limited company where the owners consists of Region Västerbotten and Skellefteå municipality. The annual turnover is around 30 million. Västerbottensteatern is a regional theater that tours with all performances in and outside the county, apart from our summer theater. The theater works with income statements, management by objectives and establishes scorecard.

VISION AND POLICY

The informant accounts for the period, 2013-2014.

Västerbotten theater has an equal treatment plan, but they have not in the past year specifically worked with it. The equal treatment plan is to be revised, it was developed by an equality group that is directly under the theater. The group consists of representatives from all levels: artistic side, marketing, technology and trade, and shall have regular meetings. Unfortunately, the group has not had time to meet the last year. The informant highlights 2015 will Västerbottensteatern to work with a repertoire that shows more diversity.

VISITORS / AUDIENCE

The average visitor is a white middle-aged woman. Västerbottensteatern has recently appointed a public worker which will expand the audience base. They need to reach more men, young adults and people with foreign backgrounds. Currently they don‟t address this audience, but now that they have appointed a public worker they hope that it will get better. Västerbottensteatern‟s only project right now that promotes audience participation is linked to young people and drama. The measurement is done only in the form of audience surveys. There is no training or evaluation.

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PROGRAMMING/OUTREACH

The goal is for as many as possible to identify with the theatre. The idea is that diversity will be more visible in 2015. An important factor that influences the design of programming is that they want to create attractive stories. The theatre head, a dramaturge, technicians and actors put together the repertoire.

PARTNERS

The theatre has discussed cooperation with the education SFI, (Swedish for Immigrants). In the coming year, they‟ll see how they can work together and evaluate.

STAFF

Västerbotten theatre has 40 employees.

Västerbotten theatre is always open to diversity, although they find it difficult to increase their own diversity. The theatre's job descriptions are always encouraging, but fail to attract candidates of different backgrounds. For the latest job advertisement they received 32 applications of which two were of foreign origin.

The informant asks signal "Where do you find promises? There is no experience of knocking on doors and finding promising creators or workes in culture. They could find them, but do not have the time. We need a broker who will find producers, technicians, stagehands, lighting designer. "

The theatre has no recruitment policy that emphasizes diversity. The staff is aware of the lack of diversity, but it is generally not discussed.

BOARD

Västerbotten theatre has a board of directors, which consists of politically appointed representatives. Diversity is not discussed in general and there is no organized capacity building specific to the Board.

SUBCONTRACTORS

Diversity is not considered.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Basic Basic Basic Basic Basi N/A N/A c

KULTURHUSET/STADSTEATERN (Culture House City Theatre). STOCKHOLM, SWEDEN www.kulturhusetstadsteatern.se

INFORMANTS Linda Zachrisson, Head of Parkteatern (Park Theatre) Åsa Lassfolk, Head of Production, Kulturhuset/Stadsteatern (Culture House City Theatre)

BRIEF BACKGROUND

Since July 1, 2013, Kulturhuset/Stadsteatern is a merged public cultural institution in Stockholm. It consists of the previous Kulturhuset and Stockholms Stadsteater. Stadsteatern was founded in 1960 as a municipal entity and has been running its operations in Kulturhuset‟s premises at Sergels Torg in central Stockholm since 1990. Kulturhuset was founded in 1974 has been its

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own operation within the City of Stockholm's cultural administration. The space is about 36,000 square meters. When the two organizations merged in 2013, they became a common institution that is part of the company Stockholms Stadsteater AB. The joint areas consists of theater, dance, music, literature, art and design, as well as debate, with 8 artistic managers withinin these focus areas. Kulturhuset/Stadsteatern also runs a child and youth scene in the area Skärholmen, south of Stockholm. In the summertime they run Parkteatern and play shows in the parks of Stockholm. Stockholms Stadsteater AB, which owns the operations, has over 300 permanent employees with about 150 actors and dancers. Turnover is around 450 million SEK.

Explanation: Kulturhuset/Stadsteatern: Merged organisazion Stockholms Stadsteater: The old theatre with activities around Stockholm and its base in the old Kulturhuset building. Kulturhuset: The old culture house and with activities and a building. Parkteatern: department of the merged organization

VISION AND POLICY

Before the merge in 2013 Kulturhuset worked a lot with issues concerning diversity. Since Kulturhuset/Stadsteatern as an organization is new, many of the processes are under development.

Kulturhuset had a diversity plan and there is a current plan for Stockholm City Theatre, but the organizations are bringing them together. Stadsteatern‟s diversity plan has not been updated since 2010.

The city of Stockholm also has policy documents which are not regulatory documents in detail, but diversity is highlighted in them, even they are not used regularly.

The informants believe that artistic work often is mystified. There could exist policy documents for the artistic level, but many of the decisions at those levels are not affected by regulatory documents. "A policy document can lie unread by directors for 20 years." Policy documents have no relevance where the real decisions are made.

Kulturhuset/Stadsteatern has no special funds allocated for their diversity work, so everything takes place within the framework of their regular activities. When it comes to budget, the distribution of funds between projects vary, but the organization always uses some of its own resources.

When it comes to implementing the policy, it is under development. New employees however, get a presentation of the organization's policy. All documents are also availible on their intranet, so it is up to each department head how they want to implement the it, since there is an operational stategy at the moment.

The cultural administration which Kulturhuset used to be a part of, worked much more strategically. The informants believe that the merge has resulted in some work culture clashes. Strategies are needed and asked for in the organization. However, there is a strong driving force in much of the ensemble and among the artistic managers. In recent years the ensemble for example has recruited in a standards-critical way, when it comes to age.

Diversity work is driven by those who work with it, and those who are part of the network. Thoughts on who gets access to the room are brought up. According to yhe informants, it is interesting how it looks throughout the various art forms.

Each department produces its own objectives, because they want to, not because they have to. However, there is dialogue between departments since they work in different ways. For example the department in Skärholmen work more consistently with recruitment and encounter diversity every day.

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In the old Kulturhuset there always was capacity building covering hospitality and recruitment. Stockholm City Theatre was not on the same level, but It depends on how one chooses to look at the staff group. Some have a lot of knowledge and great expertise in diversity, such as the Stadsteatern Skärholmen. The organization's vision is to be a theatre for all and the merge has led to Kulturhuset taking a step back the City Theatre takinf one step forward when it come sto diversity.

Kulturhuset was also stronger when it came to evaluation and followed up their audience surveys and reviewed recruitment results. Few things in the organization are measured and evaluated other than ticket sales.

According the diversity plan, the organization shall annually spread the results internally. It is a large organization with a constant flow of information so the employees follow what they want to follow. The annual report shows repertoire and there is much data as well as a measurement tool for gender.

VISITORS / AUDIENCE

Kulturhuset/Stadsteatern‟s average visitor is a white woman in her 50s, who lives in a southern suburb. However, there are exceptions if they look at the different departments of the organization, such as Forum debate, Stadsteatern Skärholmen and Parkteatern.

When it comes to Parkteatern, they develop project and communication plans and then strategies accordingly. Parkteatern works to identify stakeholders and is increasingly working in partnerships locally. One example is the 127-festival, which has contacts with people who live in Bredäng and Skärholmen. Parkteatern delves deeper into people's everyday lives, by showing up in their homes and areas. The work is very hands on.

During the end of summer 2014, there was a multilingual guest appearance , where the show is partly in Arabic. They work closely with the areas Tensta, Rinkeby, Skärholmen and Bredäng. In the program paper they mark all show which you do not need to be swedish speaking to appreciate.

Parkteatern works a lot with participation when they are in daily dialogue with their audience, ifor example through social media. Parkteatern also get‟t a lot of emails with requests to bring back shows. Participation and influence affect, however, the organization's resources are affected and it is costly.

Kulturhuset/Stadsteatern has created a new hospitality department where language skills is a key competence. They see the department Stadsteatern Skärholmen as a role model in his work with the entrance staff, ticket sales, tour guides and the rest of the services that are linked to performances operations. There is also a newly appointed hospitality manager within the organization.

Parkteatern measures their venues and keeps statistics of the number of visitors from every show. The informant believes that Parkteateatern hasn‟t found a method for measurement that works well yet. Stadsteatern has made detailed studies on gender, but this work is resource intensive. 10 years ago they had discussions on issues like, can we count heads? Is it possible to look and see a difference between people? How do we count heads when it comes to diversity? – Their conclusion was that they can not. Measurements are controversial, which is a shame when you lose experience. The organization reports audience statistics to the media and Stockholm City, but also internally on the intranet.

PROGRAMMING/ OUTREACH N/A

PARTNERS

Kulturhuset/Stadsteatern views collaborations as very important. As an example, they can find artists that they don‟t have in their network and give them space.

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Parkteatern collaborates extensively with associations and in the area Skärholmen they work with schools, local churches and basketball clubs. The partnerships are a part of a long-term strategy. They need people who recommend the organization. One example is Kidzone, in Tensta, where educators from the activity Room for Kids want to show children who do not live in the inner city that they are welcome to Kulturhuset/Stadsteatern.

The work with partnerships is generally not evaluated according to the informants. The impact is measured primarily by the audience statistics.

STAFF

Stockholms Stadsteater AB, has over 300 permanent employees. Kulturhuset was always more active and set clear goals when it came to recruitment and staff. Parkteatern has outsourced recruitment to a firm which hires seasonal workes at their directives. The informants say that with the Parktetearn staff, they have succeeded with some representation and diversity.

When it comes to creating a greater understanding and fellowship within the workforce, there is much work to do. The informants believe that it is different depending on the department. A big question is the artistic work culture here where people find themselves is an authority in itself.

BOARD

Kulturhuset/Stadsteatern has a democratically politically appointed board which reflects the City Hall representation seats, the spots are distributed propotionally according to the election results.

SUBCONTRACTORS

Kulturhuset/Stadsteatern follows Stockholm city's contracts and all public procurement is done through them. Therefore, the informants have no insight when it comes to the majority of the subcontractors. Within the Parkteateatern a lot of work is performed in-house.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Basic Lower N/A Basic Basi N/A Basic intermediate c

FOLKOPERAN (THE PEOPLE’S OPERA). STOCKHOLM, SWEDEN www.folkoperan.se

INFORMANTS Pia Kronkvist, CEO Gunnel Erlich, Communication

BRIEF BACKGROUND

Folkoperan is an opera house in Stockholm, which was founded in 1976. In 1993 Folkoperan went from being a free musical theater group to become an institutional theater. The organization receives annual funding from the Arts Council, Stockholm County Council and Stockholm City. Folkoperan is organized as a limited liability company with the Foundation Folkoperan as sole shareholder. Folkoperans goal is to constantly innovate the art of opera and reach new audiences. In the house they play everything from classic works to newly composed operas and children's opera. The performances are sung in Swedish instead of the original language, which makes the plot understandable in a Swedish context. Folkoperan also wants to be close to the audience so the orchestra pit has been removed. Children and young people

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has always been a priority target group and many productions focus on children's opera and children's participation. Folkoperans goal is to renew the art of opera and crush barriers.

VISION AND POLICY

Within Folkoperan there is a strong desire to work with diversity and recruit broader.

Folkoperans new artistic director has a great knowledge and experience of working with cultural diversity. She has also held training with the staff of Folkoperan on norm-critical work. The training has led to an increased awareness among staff, regarding one's own position and how homogeneous the working place is in reality.

Folkoperan has developed an action plan for 2014-2015. One of the target objectives is for the diversity and equality perspective permeates the entire organization. In its action plan Folkoperan strives for a high awareness of diversity issues among staff and must therefore be continually invite external lecturers in diversity issues, as well as holding seminars and discussions. They also want to increase diversity in both management and administrative staff group as well as the artistic staff. The informants emphasize that so far they have only managed to increase diversity among staff in the lobby, and there is much work left to do to reach their goals of diversity.

The content of the action plan is developed by the safety committee with employee surveys as a basis. The CEO has the responsibility to anchor the policy.

The implementation of the policy documents occur at the start of each new production and introduction of new employees and orchestra. They get an introduction by the CEO and a copy of Folkoperan‟s staff guide.

Internal communication is done primarily through the introduction by the CEO.

Folkoperans diversity work has meant a lot and the awareness among their staff is constantly growing. The organization wants more though, but doesn‟t know how to reach there. They are aware that they are at a "conscious incompetent stage" and need to find the right tools to move all the policy fully into use in their daily work.

Folkoperan doesn‟t currently evaluate their work with diversity, but they want to get better at this.

VISITORS / AUDIENCE

According to surveys, the average visitor at Folkoperan is a highly educated woman of 59 years, and at times she brings her family to the opera.

Since opera often is "long" and "demanding" to new and unfamiliar audiences, Folkoperan has started working with a concept where they leave the stage and runs shows in everything from the foyer to outside of the house.

Folkoperan‟s communication department has also discussed how they can reach new audiences and have realized that it apply to the whole chain from the program. It is difficult to promote an opera as anything other than what it is. They have ideas of following a focus group for a year and letting them see different operas and discuss afterwards how they perceive the opera and marketing. The challenge for Folkoperan is to find participants that they want to be included in the focus group.

Folkoperan works with classic marketing to reach their visitors. Currently, they have not developed a strategy to reach new audiences. Even though they have the will, they do not feel that they have the skills, networks or channels to communicate wider.

Folkoperan has not developed a strategical evaluation system, which is something they have to work with.

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PROGRAMMING/ OUTREACH

The new artistic director is a driving force when it comes to using stories from previous unheard voices. Folkoperan, for example, set up a performance with women from Egypt, who were a part of the events in Tahrir Square in 2011 and talked aabout their experiences. It was emotional and two of the musicians began to cry while they played.

The opera Shit had a diversity focus, it was a new opera where they worked with young people in the area Rinkeby and used their stories. It was a successful and Folkoperan worked on the project for a few years. It resulted in some relationships in Rinkeby, but no lasting impression in the organization.

After Shit, Folkoperan continued their diversity work and created a new method for its children and youth work. They worked with Botkyrka Municipality in a so-called six-step method where kids got to experience and co-create Opera. Folkoperan also wants to further develop their diversity efforts relating to children and young people, for example by working together with parents.

An example of when Folkoperan didn‟t succeed with diversity is in the performance Matthew Passion, which is about when Jesus dies on the cross. The singers, orchestra musicians and choir got to tell the director about their own experiences as the basis for the performance. Diversity failed becauuse there were only white people whom talked about their experiences. Within Folkoperan this was perceived as problematic, however the audience did not react.

For the last 3 years Folkoperan has been running the project Opera Showroom, where they want to move opera into the art room. The idea is to explore what happens if opera is put in an art space where the concept is that the visitor can enter and leave as they like. They review formats and use the foyer for simple casual performances.

PARTNERS

Folkoperan looks to partners as a way to connect with new audiences and boost up their own skills. Examples include collaborations with Rinkeby Academy, Botkyrka municipality. Folkoperan offers its premises and may account for the rent under the agreement that the partner can cover their variable costs.

Folkoperan currently doesn‟t evaluate their work with partners, a form of evaluation does though takes place when they write responses to financial applications, where diversity and intersectionality comes in. The organization is looking at how they can evaluate better and faster so that can spread the results.

STAFF

Folkoperan has 20 permanent employees of which 17 are full-time positions. Folkoperan only works with freelancers when it comes to singers and musicians. They have 70 people in the choir, 20 people in the children's choir, 25 in the orchestra.

Folkoperan has no strategic recruitment policy regarding diversity, it all takes place from a desire to increase diversity, which according to the informants unfortunately isn‟t successful for the most part.

They test new ways to recruit and increase diversity in the staff composition. With regard to the permanent staff, they have failed to broaden diversity. To address this, the management has tried a method were they decode all applications, but in the end, "there still sits a white woman from the middle class in the interview." This has happened several times when decoding applications. Now, however, they try to set quotas and bring at least one person to the interview, who possess formal qualifications but also contributes to diversity. One example highlighted is when they wsnted to hire an executive assistant, where a competent candidate fell on the finish line because of poor knowledge of the Swedish language. The informants point

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out that the only part of the organization where they have succeeded in creating diversity is in the foyer, where they have freelancers from all over the world working.

The informants perceive both the classically trained musicians and singers in opera and classical music as art forms, as very "white" and the whole area to be a western art form. It can be difficult to recruit from a diversity perspective, and they point out that it could be their own inability to find employees with a different background. Then there's the aspect that there is a are few opera singers to begin with.

The informants emphasize the need to take expensive special classes if you want to become an opera. One must also begin practicing the art form at a young age to develop. When it comes to singing opera, language is no obstacle though, since a good singer can intone the song.

When it comes to the available selection of opera singers, the informants view it as that the recruitment starts at the Opera school. They have spoken with the Opera school in Stockholm to find out if they have a strategy and if they are trying to broaden recruitment. Folkoperan does not feel that the Opera school looks at diversity as an important factor in their recruitment. Folkoperan realizes that they need to change this by requesting diversity. In an even earlier stage, they look at the culture school and what children choose when applying there. The informants do not feel that Opera is the first thing that kids choose in the culture school.

The informants believe that there are barriers in opera and that the whole opera as an art form has to work on the patriarchal structures. Many people who practice opera believe it is a special form of art and exclusive. The audience is not always open to new people coming in and experiencing opera.

BOARD

Since Folkoperan is a part of one foundation and one limited company AB, they have two boards which affect them. The Folkoperan Foundation owns Folkoperan AB, which in turn owns their cafe and restaurant. The company's board discusses issues related to cultural diversity, cultural policy and how the culture of the school is being eroded leading to a lack of diversity. Diversity is a priority, even if it is not the most important question. According the informants diversity is not considered when recruiting board members.

SUBCONTRACTORS

Diversity is not a factor considered when it comes to subcontractors.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outr Partners Staf Boar Subcontract cy nce each f d ors Advanced Basic Basic Upper Basi Basi Basic intermedi c c ate

VARA KONSERTHUS (VARA CONCERT HOUSE). VARA, SWEDEN www.varakonserthus.se

INFORMANTS Staffan Becker, head and CEO Elin Svensson, Temporarly appointed head of production, producer, theatre & dance

BRIEF BACKGROUND

Vara Concert House is a municipal concert venue and conference center in the city of Vara on the Swedish west coast. The Concert Hall is run with the support of Vara Municipality and

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Region Västra Götaland. Each year, approximately 60 000 people of all ages visit a show at Vara Concert House. At a total around 180 performances are shown each year. Vara Concert House is designed by Kjell Hadin and opened in September 2003. The building is connected to Lagmans High School and the two buildings have a total area of about 4000 square meters. The concert houses‟s biggest hall has 517 seats and the small hall has 67 seats. They make their own productions, but they also rent out their space to other event producers and operate different conference activities. The building is also used by the municipal music school.

VISION AND POLICY

Vara Concert House works with diversity with the goal of becoming an inclusive institution. They have not yet developed any policy documents, but there is a profound thought regarding the operations of the concert hall that they should ”take the world to Vara”. They should be a window to the outside world where they can show the performing arts expressions from their cultural sphere. Vara municipality, however, has policy documents, but they are not in use in the concert house. Vara concert house was in the municipal administration until 2012.

Since Vara concert house currenty doesn‟t have any policy documents, there is no training, evaluation and spread of any results relating to diversity.

VISITORS /AUDIENCE

According to the informants, Vara concert house‟s audience has a high average age, are married couples and has Swedish background. There is an even gender distribution. The organization has conducted audience surveys. The informants are not sure that there are large immigrant communities in Vara and its surrounding areas.

For the show "I'm call my brothers" by Jonas Hassen Khemiri, Vara Concert Hall translated a text into Arabic. It was an Arabic-speaking entrance staff who translated the text for them.

Vara concert house promotes audience participation through schools. They have held a major creative school projects across all grade levels. The schoolchildren were taught songs and got the opportunity to try write songs, which resulted in an album. The concert house also holds family days. They also have a youth big band under mentorship of the concert house‟s big band. The concert house did a audience survey in 2013, where they asked what the audience would like to see.

Every four years, Vara Municipality organizes capacity building. In 2013 the entire municipality participated in seminars and development in Vara, as well as a one week trip to Estonia which covered attitude and "customers".

Vara Concert House does audience surveys and spreads information internally. They have a mission from both the municipality and the region. The organization is living in an economic reality that they are struggling with. They a high self-financing rate of 20-25%, which sets limits to what they can do. Evaluation and spread is costly, which is why they spread results internally and to the board.

PROGRAMMING/OUTREACH

Vara concert house‟s goal is to present a wide variety of offers and have a high artistic apex. They have missions in all genres including dance, theater and music in all of its forms. They don‟t work with theme‟s as a whole, and have not thought it, but it could happen. Sometimes, they can organize festivals with themes though. During their 10th anniversary in 2013, there was a theme about the culture of the countryside.

Vara concert house's mission controls much of their work, even if the assignment is openly formulated. They have a responsibility to preserve big band music. In their Artist in Residence program, they have a lot of artistic freedom. There is an opportunity to do things that aren‟t mainstream. Vara concert house needs to bring more women into the residence program. One

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of the advantages of the residences are that they are dynamic and they can focus on projects that relate to diversity, some projects don‟t even need to have economic bearing.

Vara concert house is working with a project called the International Women's Choir. The project creates meetings between different types of women. They have worked on the project for 1.5 years. The women of Swedish descent who are members of the choir think it is exciting to be involved in, and take part of other cultures.

A new project that they are working on is the project is the Best of Sweden, people whom are famous artists in their homelands, but live in Sweden and don‟t get the same opportunities are highlighted.

Evaluation is done internally and it mainly covres the economy and the budget. They do not use any checklist. When it comes to diversity the informants mean that it depends on who is working, since the questions are person bound, therefore it is good if it is written down so that it can live on in the organization.

The organization has changed its marketing strategy. From adverts to work with the more cost effective and relationship-based social media.

PARTNERS

Collaboration is important for Vara concert house to be able to operate successfully. They have partnerships with institutions such as the Malmö Symphony Orchestra and Gothenburg Symphony Orchestra. The Gothenburg Symphony Orchestra, for example, have their second stage at Vara concert house and work there four days a year.

Audience hosts who work prior to and during the arrangements are called agents and volunteers. They are dedicated and well-anchored in the organization. In the wardrobe is different associations work each evening and they keep the money they earn from the wardrobe. Vara concert house gets a lot from the agents and associations in the wardrobe. These partnerships create informal relationships and networks. Vara concert house arranges intro sessions for its agents, trips and dinners. They view their agents as ambassadors.

In Vara concert house‟s assignments their activity and how they collaborate with the civil society and the free field is measured.

STAFF

Vara concert house has 34 employees. Half work in their big band Bohuslän Big Band and about half are management, administrators, marketing, finance, stage managers and technicians. They follow the labor laws that are in place. There is no specific recruitment policy regarding diversity. The informants emphasize that Vara is located some distance from metropolitan areas, so it is hard to get diverese potential employees, from the area or who can to move there or are willing to commute. The organization also, has to be rooted in the local community, which further coplicates it if they have to hire people from outside with no local knowledge of Vara.

BOARD

The board are the three politicians and some business representatives. There is no explicit diversity strategy. The Board has recently begun to discuss diversity though.

SUBCONTRACTORS

Vara Concert Hall is controlled by public procurement. The informants believe that this prevents diversity regarding subcontractors. They argue that it is difficult for subcontractors to participate in procurment, due to information, knowledge and skills.

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BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Basic Basic Basic Basic Basi Basic Basic c

LÄNSBIBLIOTEKEN I VÄSTERBOTTEN (THE COUNTY LIBRARY IN VÄSTERBOTTEN). UMEÅ, SWEDEN www.regionvasterbotten.se

INFORMANTS Susanne Ljungström, county library head Pia Brinkfeldt, library advisor

BRIEF BACKGROUND

The county library in Västerbotten has the whole county of Västerbotten in the north of Sweden as its work field. They are a part of the national library network. The county library works for the development of the overall library operations in the county and to strengthen the role of libraries as a force for democracy, inclusiveness and diversity. The county library is also responsible for the county's three hospital libraries.

The county library promotes the development of libraries in the county by: • Coordination, support, stimulation and enthusiasm • Continuous discussions about local and regional development in collaboration with municipal libraries. • Initiating and supporting projects related to promoting reading and library development

They contribute through additional media supply, access to literature and information in the county. They also make Västerbotten‟s local literature available through a county bibliography (Bothnica) and information materials, such ”Storytelling County” and literary sites in Västerbotten and Norrbotten.

The county library in Västerbotten in itself however, holds no public activities, making it difficult to answer some of the questions in covered in MCP Broker.

VISION AND POLICY

The county library has no diversity policy but believes that diversity is everyone's business. They have a mission against the libraries, however no explicit focus on diversity. Västerbotten County has small municipalities when it comes to resideltial counts, but there are 2-3 large refugee quarters which affect Västerbotten. Umeå is also a major student city with students from all over the world.

The informants emphasize that for Västerbotten, they gained a lot from having a multicultural advisor for many years who supported them in their diversity work. The ambition at the regional level has meant a lot to the department. The informants believe that Västerbotten has shown their ambition by investing in the multicultural advisor.

Capacity building is sometimes done, but not strategically or structured. If they find some form of external professional development related their activities, the informants would sign up for it.

VISITORS / AUDIENCE

As mentioned the county library in itself does not work with public activities but visitors is an important issue, since they work with municipal libraries, which in turn have visitors.

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The county library assists the Umeå City Library with the mission to provide literature in about 65 different languages. The county library also constantly develops its database of newspapers in many languages.

They hold no identification, communicaton, promotion of participation, capacity building, evaluation and spread of results when it comes to visitors.

PROGRAMMING/ OUTREACH

The County Library's mission is to ensure that all municipal libraries can serve all those seeking the library, either physically or online. It's very "Swedish", "Swedish" websites, "Swedish" directories. There are some directories in English, but if you live in a municipality, you should regardless of language and background have access to library resources. When it comes to other languages, they haven‟t come far. They have on occasions, translated some leaflets.

The County Library's is holding a current digital inclusion project is in collaboration with educational associations. One example activity is a course for a for a phillipino association on how to navigate government websites.

The county has a lot of people from all over the world, so they look to have literature available in current and in-demand languages.

PARTNERS

The county library has a number of different partners. They work in close collaboration with the libraries in the county municipalities, which in turn has their network of partners.

Since there is a law that states that all citizens have the right to access to democratic information, the libraries need to deliver this information. With immigrants and refugees, the library sees that their role has to develop in partnership with schools so that they can provide information to all citizens.

Projects are evaluated before the final stage. They keep statistical information on which languages are lent out. These statistics are reported to the state.

STAFF

The county library works under Region Västerbotten‟s directive and use their channels, but they know what they need- staff with different skills and bakgrounds other than Swedish middle class. The informants see some challanges though, since you need to fully master the Swedish language to work with libraries. When they post job ads, diversity is not highlighted in the ad according to their directives. The need of diversity is more of an internal discussion. In a current job advert that for a library advisor they got 24 applicants of which half were formally qualified. There were only two whose names indicated a different background, and one application in English. One obstacle is the language requirement, but above all the internal incompetence of how they approach other cultures, competence is needed.

The county library discusses diversity issues. Region Västerbotten is currently developing a action plan. However, there is currently no strategy or evaluation of their work with recruitment.

BOARD

The county library has no board, but is linked to culture preparation which is a political body within the Region of Västerbotten, appointed by the regional council.

Within the steering groups of thr county libraries projects, they don‟t talk about about diversity, however, the they do talk about equality between the sexes. These questions are mainly discussed in the operating activities.

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There is no specific capacity building for the cultural preparation. However, when training in diversity is organized, the politicians are invited. For example, the seminar series "To do the same but in different ways", lasted for a year and was organized by the Legal Centre Västerbotten, with the support of the Regional Council of Västerbotten.

SUBCONTRACTORS

When it comes to subcontractors, equality and accessibility is primarly considered, but not diversity. The county libraries use the the Region of Västerbotten‟s established channels, but they are aware that they have a responsibility to extend and supplement it. One example is by ads with information about procurement in different languages.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors N/A N/A N/A N/A Basi N/A N/A c

FINSPÅNGS BIBLIOTEK (THE LIBRARY OF FINSPÅNG). FINSPÅNG, SWEDEN www.finspang.se

INFORMANT Marie Sääf, head of the library

BRIEF BACKGROUND

Finspång Municipality is a municipality in the northern part of the county Östergörland, with a population of approximately 21 000. In Finspång there is one main library with branches in Hällestad and Rejmyre. The original library in Finspång has been around since the early located in the same building. It was an old houses which in the end didn‟t agree with the demands of a future library. Finspång‟s library is currently developing into more of a meeting place and as part of this, they have moved into new premises together with two high schools. The physical books have had to stand back a bit to develop new types of meetings and areas of work for the librarians. The library has 13 employees and plans to grow, they are also responsible for library operations at Bergska school, the local high school.

VISION AND POLICY

The library of Finspångs diversity work is mostly done by ensuring that there is media(different forms of reading and viewing material) and the opportunity for newspapers, in the languages that are relevant in the municipality. The library has plans and discussions together with the churches which operates languages cafes. They also run activities with lectures, and plan to make them wider available through interpreters.

In Östergötland five library representatives from the cities Norrköping, Finspång, Linköping, Motala and the County libraries in Östergötland, are organised in a diversity group. The group began as a group to review and purchase foreign language material, but has evolved to deal with diversity on the basis that the representatives felt that material was not the biggest issue. They try to review activities, but the steering group would rather see that they just buy material. The diversity group has held a lecture. The idea is that they will work with the professional development of the whole of Östergötland. According to the informant, there is a perspective that is often missed when purchasing foreign material. It is important to get Swedish literature in Swedish, written by other backgrounds, instead of just focusing on literature in other languages. The literature portfolio must reflect the rest of the world.

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The library has no policy documents, but is developing a new library plan which will include diversity. Hence, there is no communication, professional development, evaluation, and spread of results.

VISITORS / AUDIENCE

The informant believes that the average visitor is a middle-aged swedish woman.

The library tries to identify everybody as their target audience, and this is a challenge. They communicate thorugh marketing, social media, preschools and schools. They also work together with the schools that are located in the same premises and SFI (Swedish for Immigrants).

Diversity is not strategicaly incorporated at the moment. The library however, hold showings with people whom have newly arrived in Sweden and Finspång. The library also has signs in English, Swedish and Finnish, since Finspang is located in a Finnish administrative area. There are books and media in 15 languages and if anyone is looking for a language, they can always order media from other libraries in Östergötland or buy it.

Visitors have the opportunity to submit proposals at the library. The library has held focus groups and a questionnaire survey. Via social media visitors can leave suggestions. The library also holds groups with community information for new arrivals with an interpreter. During these activities the informant takes the opportunity to learn more about diversity by asking questions.

At the county level, the library has participated in a professional development project that includes hospitality. The informant is trying to get through a new capacity building course for all staff, she would like to the high schools in the same building is included, since the whole house must have a shared vision whenit comes to this.

The library measures the number of visitors, quantity and during events. They have not evaluated diversity. The quantitative results are spread, so that they have an understanding of how many visitors the library has.

PROGRAMMING/ OUTREACH

The library's goal is that as many as possible realize the value of libraries. They shall increase the level of education among the residents of the municipality. Everyone should have the opportunity to get more education and knowledge, regardless of whom you are.

The library‟s partners have a lof of influence on programming. The library does not have a lot of resources, so they join what their partners are planning and their current themes.

According to the informant diversity is not incorporated enough in the planning of their programming, when it comes to literature diversity is a though. The library receives statistics regarding the different language groups in the municipality. They also have contact with the refugee coordinator in the municipality and get information on when large groups of refugees will arrive. Finspång opened a new refugee camp in late 2013, and many Syrians came there so the library ordered and sent them Arabic literature.

SFI(Swedish for Immigrants) is a good of focus group for the library, they have a dialogue, with much curiosity and questions.

The library measures only the quantitative, not qualitative effect.

PARTNERS

Collaborations are a very important part of developing the library. In particular, in collaboration with organizations who do not belong to the traditional cultural sector. The informant believes that it is as interesting to talk to other industries. One of the high schools that the library shares premises with, is a private technical school, which provides a lot of contacts with industries in

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the municipality. The library also collaborates extensively with the other libraries in Östergötland and associations that develop the library's mindset. Youth unions think differently and give new perspective. The only cooperation that is fully strategic currently is with the schools, the rest of the collaborations are under development. As for the business community the informant would like to see a way for the library to access resources. Finspång has an international industry, many people work there for a while and then move on. There is a possibility to hold a discussion group with these people and transfer knowledge about how people in other cultures think, an intercultural competence.

From a diversity perspective the library‟s collaborations include with SFI, the refugee coordinator and the church's language café. The informant says that it is good that the church is working with language, but that there should be an option that is not religiously tied.

The library does not evaluate this work.

STAFF

The library has 13 employees and plans to grow, then they are also responsible for library operations at Bergska school, the local high school.

The library is restricted by municipal rules and advertise vacancies through the Internet‟s public job sites and sometimes through unions. When it comes to internships, they sometimes use the Employment Service. The library is controlled by the Human Resources department at the municipality.

BOARD

The board is politically appointed and the informant has no insight into whether they discuss diversity issues or receive training.

SUBCONTRACTORS

The libraries have recently procured material for Enköping, Norrköping and Finspång, the informant believes that diversity is there, in a corner, because the range consists of books, movies, magazines and licenses from several countries and in different languages.

The informant has identified barriers to increasing diversity when it comes to procurement and purchasing. Since Finspång is a small municipality, the organization economic department has difficulties to pay foreign invoices,which affects for example the procurement of certain foreign media which does not have an intermediary for distribution in Sweden. The library is therefore dependent on the Swedish subcontractors stock the material that they need.

The result is evaluated before doing the next procurement.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outre Partne Staf Boar Subcontract cy nce ach rs f d ors Basic Lower Lower intermediate Basic Basi N/A Basic intermediate c

BOTKYRKA KULTURSKOLA (BOTKYRKA CULTURE SCHOOL). BOTKYRKA MUNICIPALITY, STOCKHOLM, SWEDEN www.botkyrka.se

INFORMANT Uno Karlsson, Head of Botkyrka Culture School

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BRIEF BACKGROUND

Botkyrka is a municipality in the south of Stockholm. Botkyrka culture school offers courses in music, dance, theater, animation and video. The foundation of what they do is that students should be able to discover their full potential. The teaching is tailored to students interests and ambitions. In the course offerings, their goal is growing, learning, development with increased participation and democracy. The culture school operated for all children and young people in the community. Everyone should know that they are exist and why. The fee for Botkyrka culture school has recently been reduced to 350 SEK/semester, which is among the lowest costs in Sweden.

VISION AND POLICY

Botkyrka Culture School‟s policy document is an action plan directly based on the municipal goals. Every culture school teacher then make their own activity plan based on the culture school‟s commitments. In addition to the action plan, the municipality has formulated and adopted an intercultural approach. Each department then breaks it down and formulates it so that it becomes adapted for their operations. The school works with the entire administration as a resource to manage the cultural policy objectives. In a way, the culture school works with great freedom, since the politicians trust them and they have good communication with the board. The school has to relate to a municipality with many cultures with an intercultural approach. Each department is responsible for its own work with diversity. There are no special funds for diversity work, it has to be included in the regular budget.

The implementation of the culture school‟s intercultural action plan is an ongoing project. The major focus is on hospitality issues. The informant believes the staff feel that they have come a long way regarding diversity, but that they have to try to build a unity. The socio-economic issue is important since 75-80% of the enrolled children and young people come from a white middle class.

The governing documents are communicated internally through workshops and workplace meetings. Externally, there is no communication. The informant says that it is Botkyrka Municipality who handles most of the external communication.

When it comes to capacity building all the staff have recently completed the 2.5-year project "Culture for All" together with Stockholm's Culture Administration. The basis of the project was hospitality issues and intercultural issues were an important part.

The culture school measures how many of their enrolled students are registered in the various municipal districts and the number of participants in their open activities, school and youth partnerships.

VISITORS /AUDIENCE

According to the informant the culture school has students and pupils, but also visitors in the form of parents who come and watch their children's shows. They try to mix different activities, courses and genres to achieve diversity in the audience. In the programming phase they already think about the audience composition. For example, at their dance performances, they have a completely different vitality since they began with courses in Indian dance.

According to the informant, the cultural school has deficiencies in their communication, since Botkyrka Municipality has an old policy that all information to the public has to be in Swedish. They must also use the their web tool, which comes with a lot of constraints, in the form of translation among others. They are trying to get an outside web platform specifically for the cultural school. Therefore, they work mostly with outreach activities, with for example guides and events where parents can get help to enroll their children.

The informant believes that on the one hand, each student has great potential for influence, but on the other hand, the scool hasn‟t come far when it comes to inclusion. The informant would like a clearer communication, planning, course descriptions, support and follow-up with parents,

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who should know to expect from the school. The informant draws a lot of inspiration from Stockholm‟s culture school and how far they have come. Parents and children need to know what they can expect when they sign up, and the school has to be flexible with the students and have a clear dialouge.

Capacity building took place within the project "Culture for All" which was conducted together with Stockholm's Culture Administration. As part of the project, the staff received a course in the evaluation method Generic Learning Outcomes (GLO) with the consultant Emily Johnson. They are trying to learn more about GLO and how to understand needs, desires and motivations before and during a project.

The culture school is also involved in the project "Breaking Down stereotypes- building trust and hope" that they own together with Ukraine, and which is financed by the Swedish Institute.

The informant has identified an obstacle in the form of the school having a difficulty collecting surnames and contact details of many participants from the area Fittja in Botkyrka. They do not know why and it does not apply to the areas Hallunda and Norsborg, but precisely Fittja. The informant believes that some form of El Sistema could help this.

The school has previously been running the project Drive, which was about searching for young people with a drive, for example they hired summer workers who compiled what young people thought about their motivations. The goal was that every teacher should think about it in each interaction with the students.

Spread of results occurs mostly internally within the administration with annual follow-ups. The school is trying to expose themselves outside of the municipality by marketing particularly exciting events and projects in the local and national press. They also have a network of culture schools where they work with these kinds of issues.

When the school has implemented a project they evaluate it. The informant believes that they are quite unaware of what they are evaluating. They just count how many people came, but when they start using GLO more strategically, it will get better.

PROGRAMMING/OUTREACH

The culture school follows the administrations theme regarding cultural objectives.

Examples of projects include "Culture on the farms" and "Culture School Festival" in the area Hallunda.

The culture school has a special focus on language development with activities for newly arrived. They also arrange open ”try out ” activities.

One factor that influences the design of programming is how they relate to socio-economic realities, gender aspects and the large segregation in Botkyrka. It's a matter of economics, but money is far from the most difficult issue according to the informant. The culture school tries to develop courses that are simple. They try to meet the socio-economic realities of the participants lives in and try to get include these aspects in their action plan with clear commitments. There is also a continued effort to change and develop their own approach with these issues, not at least the question of how and whom they recruit into their teaching staff.

The informant believes that the organization is much grounded in a western mindset. There is plenty of work to do, since they have certain awareness but it has to be made clear. The activities are very dependent on individuals. "There could be someone who is great, and then they go on paternal leave.”

The work is currently not evaluated and spread, they want to find ways to work with GLO first.

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PARTNERS

Partnerships are very important for the cultural school. They usually seek project funding in collaboration with external parties, to learn more, reach new groups and develop their own methods simultaneously. The culture school has partnerships with other schools, recreational and secondary education. Other administrations are also very important to keep devekoping. High school is a base for meeting new types of people.

The culture chool is also looking for partners with other networks than their own. Examples are the Farhang, Reorient and associations in the municipality.

STAFF

Botkyrka culture school has about 50 employees including management and teachers. They use the Municipality of Botkyrka‟s website, employment offices and networks to advertise vacancies. Botkyrka Municipality has a policy to follow, and employees should reflect those living in the municipality. This is far from how it looks today.

There is a curiosity but also a great fear when it comes to new people with other skills and competencies. In order to work in music schools, a long specialized training is required. The pay is low. There is a broad requirement whilst traditional music education trains experts on their instruments. This issue is constantly put against the relevant training. They have started a discussion with Human Recources that the school could take responsibility for pedagogic capacity building for employees who have music skills. It may be that they are looking for an expert in one instrument but that the person does not have the teaching skills. This is a consequence of the schools no longer having an education for culture school teachers. "We can add a competence" "We'll never get new demographics if we hire people who have attended Swedish music courses."

BOARD

Botkyrka culture school has a governing body, which is politically appointed and consists of elected politicians. Diversity is discussed but the informant is unsure of the outcome. The informant does not know if there is capacity building of the board.

SUBCONTRACTORS

Botkyrka culture school has to follow the municipality of Botkyrka‟s procurement rules. Despite the procurement rules, they have much freedom to control purchases themselves. The municipality has an active procurement department and they have good communication and help out with how to formulate the objective before purchasing.

BENCHMARK LEVEL

Vision/poli Visitors/audie Programming/outr Partners Staf Boar Subcontract cy nce each f d ors Advanced Lower Basic Lower Basi N/A N/A intermediate intermedi c ate

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