How Does the Festival Todaysart in the Hague Contribute to the Goals and Objectives of the European Union’S Creative Europe Programme?

TodaysArt and Creative Europe Sylvia Pen

How does the festival TodaysArt in The Hague contribute to the goals and objectives of the European Union’s Creative Europe programme?

(TodaysArt, Alex Augier & Alba G. Corral – end(O), 2018)

Student name: Sylvia Pen The Hague University of Applied Sciences Student number: 14079011 Faculty of Management and Organisation Class: ES4 European Studies Supervisor: B.C. van der Sluijs Second Marker: G. van Hengel Date of Completion: March 5, 2019 Word count: 17.540 words

TodaysArt and Creative Europe Sylvia Pen

Executive Summary The task of the Creative Europe programme is to promote and support cultural, creative and audio- visual sectors. Funding at EU level for cultural programmes is crucial in supporting creative and cultural industries to grow, build international networks, generate jobs and skills, grow audiences and markets, up-skill, and meet meaningful social objectives. This study provides an answer to whether the goals and objectives of the current mandate, Regulation (EU) No 1295/2013 establishing the Creative Europe Programme (2014 to 2020), have been achieved by one of its subsidized projects: TodaysArt. The central research question of this study is as follows: ‘’How does the festival TodaysArt in The Hague contribute to the goals and objectives of the European Union’s Creative Europe programme?’’. The research design of this study is predominantly qualitative, as most of the data is conducted through interviews. The interviews have been done in the interest of this research as well as for the evaluation report of the We Are Europe programme that has been sent to the European Commission. For secondary data, EU publications, literature, and evaluation reports were gathered. For primary data, six interviews have been conducted with experts in the field of the Creative Europe programme, TodaysArt and in the creative and cultural sectors. The results reveal that the impact on the artists and cultural and creative professionals has been substantial, and the approach of TodaysArt has made a positive contribution to the goals and objectives of the overall programme. The festival has done this by promoting international mobility, internationalising careers and contributing to the content of the work of the artists and professionals. Although the EU is not their main subsidizer, TodaysArt has indirectly contributed to creating more social cohesion, intercultural dialogue, intercultural diversity, personal and career development of its employers, sustainable partnerships and the promotion of transnational circulation of creative and cultural works, thus contributing to a better democracy, one of the main goals of Creative Europe. To conclude, TodaysArt festival has positively contributed to the objectives and goals of the Creative Europe programme, whereas the expectations of the programme have mostly been met, which was that it will encourage the audio-visual, cultural and creative players to operate across Europe, to reach new audiences and to develop the skills needed in the digital age. Since qualitative data such as the impact on artists and creative and cultural professionals is of great importance, this study recommends that the European Union should focus more on improving and researching this impact. Furthermore, TodaysArt should focus more on children, young people, people with disabilities and underrepresented groups. Both recommendations shall contribute to more social cohesion, which is essential in times of European social, economic and political crises.

TodaysArt and Creative Europe Sylvia Pen

Table of Contents

Executive Summary ...... ii Preface & Acknowledgements ...... v Glossary of Terms ...... vi 1. Introduction ...... 7 2. Theoretical framework...... 11 2.1 Introduction ...... 11 2.2 Terminology ...... 11 3. Methodology ...... 15 3.1 About the methodology ...... 15 3.2 Secondary Data ...... 16 3.3 Primary Data ...... 16 3.4 Research Ethics ...... 18 3.5 Limitations ...... 19 4. Results ...... 20 4.1 What is the '’Creative Europe’’ programme? ...... 20 4.1.1 Mission...... 21 4.1.2 Goals and Objectives ...... 21 4.1.3 Partners ...... 23 4.1.4 Funding ...... 23 4.2. What is the ‘’Todays Art’’ festival in the Hague? ...... 24 4.2.1 Mission...... 25 4.2.2 Goals and objectives ...... 25 4.2.3 Activities ...... 26 4.2.4 Partners ...... 27 4.2.5 Funding ...... 28 4.3. How is the impact of the festival ‘’Todays Art’’ measured? ...... 28 4.3.1. European Commission ...... 28 4.3.2 Mid-term evaluation and staff working document Creative Europe programme ...... 29 4.3.3 EACEA ...... 29 4.3.4 TodaysArt ...... 30 4.3.5 External impact measurement ...... 31 4.4. What have been the consequences and impact of the festival ‘’ TodaysArt’’? ...... 32

III

TodaysArt and Creative Europe Sylvia Pen

4.4.1 Survey ...... 32 4.4.2. Interview impact on artists and professionals...... 35 4.4.3. Interview impact organisation TodaysArt ...... 39 4.5 Have the goals and objectives of the programme ‘’Creative Europe’’ been met with regards to the festival ‘’TodaysArt’’? ...... 41 4.5.1 Goals ...... 41 4.5.2 Objectives ...... 42 5. Analysis ...... 45 5.1. Funding ...... 45 5.2 Partners TodaysArt ...... 46 5.3 Impact measurement TodaysArt ...... 47 5.4 Impact TodaysArt ...... 48 5.5. Impact on artists and professionals ...... 49 5.6 Goals and Objectives ...... 49 6. Conclusions ...... 52 6.1 Recommendations ...... 53 6.2 Discussion ...... 55 References ...... 56 Appendix 1: Interview Transcript Maxime Zeef ...... 60 Appendix 2: Questions Arnaud Pasquali ...... 70 Appendix 3: Interview Transcript TodaysArt ...... 71 Appendix 4: Interview Transcript Alba Corral ...... 79 Appendix 5: Interview Transcript Lisa Blanning ...... 83 Appendix 6: Interview Transcript Maxime Faget ...... 85 Appendix 7: Interview Transcript Anastasios Diolatzis ...... 88 Appendix 8: Consent form Olof van Winden ...... 91 Appendix 9: Consent form Karel Feenstra ...... 92 Appendix 10: Consent form Danielle de Hoog...... 93 Appendix 11: Consent form Maxime Zeef ...... 94 Appendix 12: Student ethics form ...... 95

TodaysArt and Creative Europe Sylvia Pen

Preface & Acknowledgements This dissertation has been written as part of the bachelor programme of European Studies at the Hague University of Applied Sciences. The research topic has been chosen as it suits my social, political and cultural interest, which has encouraged me during the whole process of conducting this research.

I would like to thank everyone who supported me and/or contributed to this research. Specially I would like to thank my supervisor, B. van der Sluijs, for his guidance through the process. Mr. van der Sluijs has consistently helped me to continue my research and steer it in the right direction.

Additionally, I would greatly like to thank Olof van Winden, director and founder of TodaysArt, who has given me the opportunity to get in contact with the experts and give me the information that was needed. Without his sincere kindness, honesty and help, this research would have not been at the same level that it is now.

Furthermore, I would like to thank the experts and creative and cultural professionals who were involved in the interviews for this research. Without their participation and input, the interviews could not have been conducted successfully.

Finally, I must express my very profound gratitude to my parents, sister and my partner for providing me with support and continuous encouragement throughout the years of my studies and through the process of the research of this dissertation. This accomplishment would not have been possible without them.

Thank you.

Sylvia Pen

TodaysArt and Creative Europe Sylvia Pen

Glossary of Terms CED Creative Europe Desk

CCIs Cultural and Creative Industries

EACEA Educational, Audio-visual and Culture Executive Agency

EC European Commission

EFTA European Free Trade Association

EU European Union

GDP Gross Domestic Product

SME Micro, Small and Medium-sized Enterprises

UN United Nations

WAE We Are Europe

TodaysArt and Creative Europe Sylvia Pen

1. Introduction ‘’It is not possible to change the world on my own, not even through a festival with a big outreach. But I do believe in the butterfly effect: a small movement can trigger a hurricane. We are living in a vertical world. It is all about brands and branding, profit and ego. We completely went overboard in that. However, that model is now starting to wobble and will soon start to collapse. We should aim for a horizontal model in which everybody is contributing. A horizontal model which is not about ego, brands and profit, but about sharing of knowledge and ideas. The goal should not be to continuously make money, but to try to make a better world’’ (van Winden, 2016).

Culture and creativity are of crucial and vital value to European societies and lives, and according to one of the main festival directors of Europe, Olof van Winden, it is the most important thing that connects us as citizens (van Winden, 2017). One may not always notice, but culture is deeply rooted in everyday life. Culture and creativity are one of the fundamental aspects that can shape the European future positively. As an example, the cultural and creative sectors make an important contribution to the fight against all forms of discrimination, including racism and xenophobia, and are an important platform for freedom of expression and for the promotion of respect for cultural and linguistic diversity (European Union, 2013). According to the European Commission, ‘’EU Member States are going through challenging times. The diversity of Europe, while enriching, brings about challenges as well. In the current context of increased migration toward several Member States, increased mobility of people across the EU, and the fact that various groups need to live side by side, the resulting tensions may put social cohesion and at the same time the European project at risk.’’ They state that ‘’it involves the arts and cultural institutions since the issues at stake are not only social and economic, but also, and often above all, symbolic and cultural. It should therefore be addressed at the individual and collective level’’ (European Commission OMC, 2014).

Europe can be seen as an interconnectedness of culture through its countries. Many European countries share common historical experiences, in which culture was born. Therefore, one could state that Europe exists of a series of overlapping cultures. Culture in Europe has ever since been of great importance. The European Union sees the cultural and creative sectors nowadays as a ‘’stepping stone to preserve the cultural and linguistic diversity of Europe, strengthening the European identities and sustaining social cohesion. Creative and cultural sectors transmit European knowledge and values, which are conditions for healthy democracies and inclusive societies. Thus, culture has helped Europe closer to its citizens particularly in the current political context’’ (European Commission, 2018). The

TodaysArt and Creative Europe Sylvia Pen impacts and effects of European funding programmes which rely on multilateral partnerships go far beyond the funding that supports these. The added value of funding at European level for cultural programmes is crucial in supporting creative and cultural industries to grow, build international networks, generate jobs and skills, grow audiences and markets, experiment, up-skill, and meet meaningful social objectives locally and internationally (Creative Europe Desk UK, 2018).

The cultural and creative industries (CCIs) generate approximately 509 billion euros in value added to the Gross Domestic Product (GDP), representing 5,3% of the EU’s total, and employs more than 12 million full-time jobs, equivalent to 7,5% of Europe’s workforce. Therefore, CCIs play a vital role in fostering economic growth, job creation and innovation and have been identified by the European Commission as a high growth sector generating added value as well as a resilient sector in times of economic crisis. In order to promote creative skills, the study of the Creative Industry Finance conducted in 2016 stresses that the aim should be on stronger partnerships between cultural and creative sectors, social partners and education and training providers (Creative Industry Finance, 2016). This is one of the reasons why the EU has initiated the framework programme Creative Europe. According to a press release from the EU, a proposal was set for an increase in funding for Creative Europe, the programme supporting European cultural and creative sectors in audio-visual works, to €1.85 billion. This amount is higher than the previous amount of funding for the programme. This makes it important to check whether this funding is being outsourced properly, and if this funding is helping to reach the objectives and goals.

The programme Creative Europe funds many European projects concerning culture and creativity. One of them is the project ‘’WE ARE EUROPE’’ (WAE), which was started in 2015 and will end in 2018. Their project aims to develop a prospective vision of electronic culture, technology and entrepreneurship, while contributing to new social and political developments through an interdisciplinary approach ‘’ (We Are Europe, 2018). WAE partnered with different organizations from European countries. The partner organization in the Netherlands is ‘’Stichting The Generator’’, the organization this study will be focused on. Stichting The Generator is also known as TodaysArt, which is ‘’a network organization specialized in the presentation and development of contemporary visual and performing arts and emerging culture’’ (TodaysArt, 2018). TodaysArt organizes and participates in events, exhibitions and presentations throughout the world and organizes an annual festival in The Hague.

TodaysArt and Creative Europe Sylvia Pen

This study shall be focusing on the festival of 2018 TodaysArt. Because of the importance of the cultural and creative sectors in Europe, this study shall deeply investigate whether the program TodaysArt has reached the goals and objectives that it is aiming to achieve, with regards to the Creative Europe program. Since the EU states that culture improves social cohesion, preserves cultural and linguistic diversity and strengthens European identities, the investigation of these projects and festivals that are subsidized is of great importance. Although the Creative Europe programme covers many European countries, the festival TodaysArt is annually hold in the Hague and is therefore close to home and realistically reasonable to investigate.

In addition, the purpose of this study is to research the objectives and goals of the EU’s Creative Europe program and research whether their objectives and goals have been achieved by one of the projects such as ‘’TodaysArt’’ in The Hague in The Netherlands. The main research question is therefore: ‘’How does the festival TodaysArt in the Hague contribute to the goals and objectives of the European Union’s Creative Europe programme?’’

This research question is divided into five sub-questions, each of which answers and supports the main research question. These sub questions are:

(1) ‘’What is the ''Creative Europe’’ programme?’’ (2) ‘’What is the ‘’Todays Art’’ festival in the Hague?’’ (3) ‘’How is the impact of the festival ‘’Todays Art’’ measured?’’ (4) ‘’What have been the consequences and impact of the festival ‘” TodaysArt’’?’’ (5) ‘Have the goals of the programme ‘’Creative Europe’’ been met with regards to the festival ‘’TodaysArt’’?’

In terms of the significance of this research, the outcomes of this study will contribute to an improved understanding of the European Unions’ programme ‘’Creative Europe’’ and the festival ‘’TodaysArt’’ in the area of its objectives, goals and impact. This will in turn, increase the ability of Europeans to critically evaluate the actions of TodaysArt and of the EU, in the field of art, media and culture.

In addition, it will increase the ability of the EU to check whether funding is being spent properly and if their goals and objectives are being achieved through their local projects and programmes. The structure of this research will provide a clear overview of each chapter and section.

The study will begin with a theoretical framework chapter in which a review of the literature shall be given that is relevant to this research and will provide the reader with a better understanding of the

TodaysArt and Creative Europe Sylvia Pen topic. The theoretical framework will be followed by the methodological chapter, in which an overview of the research methods will be given that were used to answer the main question.

Thirdly, the findings that were acquired through desk- and field research are presented in the results chapter. These results are analysed in the following analysis chapter, in which after the conclusion of this study will provide an answer to the main research question. Finally, recommendations on the research shall be given which will be followed by a discussion that includes a personal evaluation of this research.

TodaysArt and Creative Europe Sylvia Pen

2. Theoretical framework

2.1 Introduction The purpose of this theoretical framework is to provide the key definitions of this study and to illustrate the theoretical outline of this research. The Creative Europe programme has been researched and analyzed by various institutions. In 2017, the not-for-profit organization Culture Action Europe researched the Creative Europe program and has made a report on its analysis and recommendations (Culture Action Europe, 2017). In addition, KEA European Affairs, an international policy design research center specialized in culture and creative industry as well as sport, has, on the EC Cult Committee’s request, done a research on the Creative Europe programme that provides recommendations on a more ambitious future Creative Europe programme (KEA, 2018). However, not much research has been conducted on the effectiveness of the Creative Europe programme with regards to the TodaysArt festival in The Hague. Since this study is mainly focused on checking whether goals and objectives have been achieved of the EU, the terminology and definitions that were used shall mostly be from the perspective of the EU.

2.2 Terminology The following paragraphs elaborate on the definitions and general information, the most relevant theories and general assumptions that are used in this study. These aspects are included in order to have a clear overview to conduct the research on whether the goals and objectives of the Creative Europe programme have been achieved and therefore, to answer the main research question of this dissertation.

The Creative Europe programme is described by the EU as the framework programme that aims to support the European audio-visual, cultural and creative sector. By helping European cultural and audio-visual works to reach audiences in other countries, the programme will also contribute to safeguarding cultural and linguistic diversity (European Commission, 2018). In order to understand the programme, the main terms and elements that are included in the programme must be outlined. Therefore, a definition of the terms such as audio-visual, cultural and creative sector shall be given. Followed by an outline of the definitions such as cultural diversity, linguistic diversity, intercultural dialogue et cetera.

TodaysArt and Creative Europe Sylvia Pen

Creative Europe

Throughout this study, the EC’s framework and funding programme that runs from 2014-2020 shall be used to answer the main research question. Following on from the previous Culture and MEDIA programme, Creative Europe, with a budget of 1.46 billion euros will support Europe’s cultural and creative sectors (European Commission, Creative Europe, 2018).

We Are Europe

We Are Europe (WAE) is the association of 8 major European events which is funded by the creative Europe programme. TodaysArt is one of these 8 major events. Many of the artists that have participated the WAE project have participated the TodaysArt festival, and it is therefore that the research’s results can sometimes be overlapping for these two organizations.

Cultural and creative sectors

According to the EU, 'cultural and creative sectors' means ‘’all sectors whose activities are based on cultural values and/or artistic and other creative expressions, whether those activities are market- or non-market-oriented, whatever the type of structure that carries them out, and irrespective of how that structure is financed. Those activities include the development, the creation, the production, the dissemination and the preservation of goods and services which embody cultural, artistic or other creative expressions, as well as related functions such as education or management. The cultural and creative sectors include inter alia architecture, archives, libraries and museums, artistic crafts, audio- visual (including film, television, video games and multimedia), tangible and intangible cultural heritage, design, festivals, music, literature, performing arts, publishing, radio and visual arts’’.

Cultural diversity

Cultural diversity implies the existence of common characteristics of a group of people, such as language, religion, lifestyle, artistic expressions, relations between men and women, young and old, etc. But cultural diversity is also present in the characteristics of each individual in modern society, as explained by the Indian philosopher Amartya Sen: it is a mix that everyone experiences in his life through meetings, travel or migration, reading, projects and examinations. ‘Every culture is a mixture’, said the French philosopher Jean-Luc Nancy. All cultures are hybrid, mixed, infused. This cultural diversity is a source of wealth and renewal in a society (Hatzfeld, 2014).

TodaysArt and Creative Europe Sylvia Pen

Linguistic diversity

Linguistic diversity is ‘’the variety and differences in languages that exist in the world, a society or a country’’ (dictionary.com, 2018). In this study’s case, it is the linguistic variety and differences that exist in the EU and its member states.

Because both the programme as the festival have been analyzed and described including its goals and objectives, a clear definition of what goals and objectives are, will be given.

Goal

A goal is a result that is hoped to be achieved. It is the purpose to which an endeavor is directed. The European Union’s programme Creative Europe holds several goals.

Objective

An objective is a specific result that a person, system or organization/institute aims to achieve with in a time frame and with available resources. They are specific and easier to measure than goals. Objectives serve as the basis for creating policy and evaluating performance.

Social cohesion

The United Nations (UN) describes a cohesive society as ‘’one where people are protected against life risks, trust their neighbours and the institutions of the state and can work towards a better future for themselves and their families. Fostering social cohesion is about striving for greater inclusiveness, more civic participation and creating opportunities for upward mobility. It is the glue that hold society together’’ (United Nations, Perspectives on social cohesion – the glue that holds society together, 2012). In an earlier report, the UN described social cohesion as ‘’the elements that bring and hold people together in society. In a socially cohesive society, all individuals and groups have a sense of belonging, participation, inclusion, recognition and legitimacy. Social cohesive societies are not necessarily demographically homogenous. Rather, by respecting diversity, they harness the potential residing in their societal diversity (in terms of ideas, opinions, skills, etc.). Therefore, they are less prone to slip into destructive patterns of tension and conflict when different interests collide’’ (United Nations, Creating an Inclusive Society: Practical Strategies to promote Social Integration, 2009).

TodaysArt and Creative Europe Sylvia Pen

Healthy democracy

The EU is based on the principles of a democracy. All the member states always have the right to vote and the members of the European Parliament are elected by direct public ballot. The EU’s activities are governed by three democratic principles; equality, representation and participation. According to Robert Parks, ‘’democracy has only one ultimate goal-the well-being of each individual as a distinct and significant item of humanity.' It rests upon the ancient Christian-Jewish belief that each individual human being, however mean his worldly status, as a son of God has a dignity and worth which is equal to that of every other man’’ (Parks, n.d.).

Inclusive society

The UN states that an inclusive society/social inclusion is understood as ‘’a process by which efforts are made to ensure equal opportunities for all, regardless of their background, so that they can achieve their full potential in life. It is a multi-dimensional process aimed at creating conditions which enable full and active participation of every member of the society in all aspects of life, including civic, social, economic, and political activities, as well as participation in decision making processes’’ (United Nations, Creating an Inclusive Society: Practical Strategies to promote Social Integration, 2009).

Intercultural dialogue

Intercultural dialogue aims to create a framework for relations between states, but also between organisations and between people. In a general sense, the objective of intercultural dialogue is to learn to live together peacefully and constructively in a multicultural world and to develop a sense of community and belonging. It is understood as a process that comprises an open and respectful exchange of views between individuals and groups with different ethnic, cultural, religious and linguistic backgrounds and heritage, on the basis of mutual understanding and respect. It requires the freedom and ability to express oneself, as well as the willingness and capacity to listen to the views of others. Intercultural dialogue contributes to political, social, cultural and economic integration and the cohesion of culturally diverse societies. It fosters equality, human dignity and a sense of common purpose. It aims to develop a deeper understanding of diverse world views and practices, to increase co-operation and participation (or the freedom to make choices), to allow personal growth and transformation, and to promote tolerance and respect for the other (Council of Europe, 2008).

TodaysArt and Creative Europe Sylvia Pen

3. Methodology

3.1 About the methodology This study analyses the feasibility of the EU’s framework and funding programme ‘’Creative Europe’’, in the field of its goals and objectives, and checking whether these goals and objectives have been achieved by one of the projects that was funded by the program: TodaysArt in The Hague in The Netherlands. This study is descriptive and explanatory of nature. For this study, it is highly essential and appropriate to outline the research methods that have contributed to its realization. The methodology of this study has closely followed Kallet, who describes the methods section as actions to be taken to investigate a research problem and the rationale for the application of specific procedures or techniques to identify, select, process, and analyse information applied to understanding the problem, thereby, allowing the reader to critically evaluate a study’s overall validity and reliability (Kallet, 2004). His explanation is elaborated on by Schneider, who states that methodology ‘’refers to a discussion of the underlying reasoning why particular methods were used. This discussion includes describing the theoretical concepts that inform the choice of methods to be applied, placing the choice of methods within the more general nature of academic work, and reviewing its relevance to examining the research problem’’ (Schneider, 2014).

The methodological approach that has been applied for researching the main question can be described as predominantly qualitative, since the approach this study holds requires primary and secondary data, which has been examined and analysed thoroughly. In addition, the data used to answer the main research question does not require the use of research instruments or experiments. However, face-to-face interviews and interviews by phone call or skype have been conducted in order to gather information and more insight into the issue whether the TodaysArt project in The Hague has been effective.

The answers to the sub question have been retrieved through desk research and field research, by studying (mostly) legal documents, academic articles, reports, questionnaires and surveys, and by conducting interviews.

For this research, it has been crucial to get in touch with the organization of TodaysArt. Eventually the opportunity was given to work together with Olof van Winden, founder and director of TodaysArt. Olof van Winden has helped taking this research to a higher stage by getting in contact with Pascale Bonniel in Lyon, who manages the research for the evaluation for WAE. As previously explained, the festival TodaysArt partners with WAE. Part of this research was on request by her, as she had an interest on

TodaysArt and Creative Europe Sylvia Pen the impact of the programme on the participating artists and professionals. This has been researched by conducting four interviews. The outcomes have eventually been used in the original evaluation report that has been sent to the European Commission. These interviews have therefore been done in the interest of this research as well as for the evaluation of WAE for the European Commission.

3.2 Secondary Data Secondary data implies second-hand information which is already collected and recorded by any person other than the user for a purpose, not relating to the current research problem. It is the readily available form of data collected from various sources like censuses, government publications, internal records of the organisation, reports, books, journal articles, websites and so on. First and foremost, reports of the EC and regulation No 1295/2013 of the European Parliament and of the Council of 11 December 2013 establishing the Creative Europe Programme (2014 to 2020) have been processed in this study. Additionally, other EU frameworks, directives, reports, publications and legislations were used. These documents have been obtained through desk research conducted on the official website used to access EU law: eur-lex.europa.eu. These legislative documents were considered highly valuable because they served as the foundation of both the central question and central answer of this research. Furthermore, a survey that has been conducted by WAE about the TodaysArt festival has been used. The content of these documents was converted into research findings by analysing and assessing the relevant data contained therein. This data was then applied in turn, to the main- and sub-questions of this study. Lastly, a survey that has been sent out to the audience to measure the festivals impact is an important source of secondary data for this research. However, this source was not made available for this study.

3.3 Primary Data Primary data is data originated for the first time by the researcher through direct efforts and experience, specifically for the purpose of addressing his research problem. Also known as the first hand or raw data. Primary data collection is quite expensive, as the research is conducted by the organisation or agency itself, which requires resources like investment and manpower. The data collection is under direct control and supervision of the investigator (Surbhi, 2016).

TodaysArt and Creative Europe Sylvia Pen

For this research, five professionals in the field of Creative Europe and TodaysArt have been interviewed:

- Maxime Zeef, advisor Creative Europe Desk NL and UK at Dutch Culture in the Netherlands. The CED is the service and information desk that has been appointed by Creative Europe in every partnering country. The desk advises about the subsidy and helps organizations apply. - Olof van Winden, director and founder of TodaysArt. - Karel Feenstra, responsible for the strategy and funding of TodaysArt. Is a speech-writer and owner of Karel.nu. Has a master’s degree in law. - Danielle de Hoog is financial administrator and is responsible for the funding and administration at TodaysArt. Has a master’s degree in Arts and Culture, and Art History. - Arnaud Pasquali is Deputy Head of the Culture unit of the Education, audio-visual and Culture Executive Agency (EACEA) of the European Commission in charge of the EU Creative Europe Programme. Mr Pasquali holds a diploma in business administration of ISC Paris Business School. He started his career as a consultant and joined the EC in 2014 for which he was responsible for several EU MEDIA programme grant schemes in support to the audio-visual and cinema industry (training for professionals, market access, festivals, promotion of European cinema worldwide). He moved to the EACEA Culture unit in 2015 to manage the Creative Europe support mechanisms to European cultural networks and to the publishing sector (ENCATC, 2018).

As has been previously described, a part of this research has been done and used for Pascale Bonniel- Chalier, ‘’founder of La Terre Est Ronde, a support platform for cultural professionals. She is a specialist in cultural policies and teaches at several higher education institutes and conducts studies and research for regional authorities and social partners. In addition, she had a seven-year spell as Deputy Mayor of Lyon. She is an expert in networks and European programmes, sustainable development, intercultural dialogue, and Agenda 21 for culture. Today she is one of the most prominent cultural leaders in these domains across the Rhone-Alps region’’ (European Lab, 2016). In addition, she is responsible for the external evaluation to the EC about the WAE project which is co-funded by Creative Europe. This included several interviews with artists that have joined the WAE festivals under which among those, was TodaysArt. The questions that were asked during these interviews cover the same interests for both studies. For this research and for the research of WAE, four professionals/artists that have participated at TodaysArt and/or at WAE have been interviewed:

TodaysArt and Creative Europe Sylvia Pen

- Anastasios Diolatzis is a Greek co-founder and music director of Reworks festival. He is an important figure of the contemporary electronic scene of Greece. He is also a DJ under the pseudonym Ison, founder of the NON collective, radio host and DJ selector. - Alba Corral is a visual artist and creative coder based in Barcelona. She has a background in computer engineering and has been creating generative art using software and coding for the past decade. Her practice spans across live performance, video, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. She is known for her live audio-visual performances where she integrates real-time coding and drawing in collaboration with musicians. Her work has been exhibited at festivals and events in Europe, Mexico, Japan and the United States. - Maxime Faget is co-founder and director of the SeaNaps Festival, which is an event dedicated to curious music and ideas in Germany. The festival has launched a living experiment using the technologies of BlockChain to improve the fairness and transparency of wealth redistribution within cultural events. - Lisa Blanning is an American writer and editor on music, art and culture. She is a former editor at The Wire Magazine in London and Electronic Beats in Berlin. She is now the editor-in-chief of PLATOON MAGAZINE and the bass editor for Mixmag. She is engaged in movements in contemporary electronic music and digital culture art. She led panel discussions ad artist talks for festivals such as Unsound, CTM, and Atonal, as well as institutions such as University of East London (re:publica, n.d.).

The questions asked during the interviews were aimed at providing different perspectives on the Creative Europe programme, We Are Europe and TodaysArt and its impact, in the field of the objectives and goals. The information obtained from these interviews is of high value to this research as it provided new and relevant information that supplements the acquired secondary data. The information obtained from the interviews has been evaluated and processed in both the results and analysis sections of this study. Furthermore, it has contributed to an elaborated understanding of the research topic.

3.4 Research Ethics This research has been done with the research ethics in mind by obtaining informed consent and respecting the participating interviewees’ confidentiality and privacy. The interviewees have been informed of the possibility to withdraw from the study at any time and the measures that have been

TodaysArt and Creative Europe Sylvia Pen taken to ensure the confidentiality of data. Additionally, the research has been done by following the ethical principles including honesty, objectivity, confidentiality and legality.

3.5 Limitations In hindsight, other relevant data for this research has been limited because of the absence of the WAE evaluation report and the absence of the official evaluation report from the European Commission, which will be available in 2022. Therefore, the most up-to-date findings of this research will presumably be available in the upcoming months and years. As previously described, the survey that has been sent out to the visitors of TodaysArt has not been incorporated in this research as this has been in the possession of the organization that has done the evaluation for WAE.

TodaysArt and Creative Europe Sylvia Pen

4. Results

4.1 What is the '’Creative Europe’’ programme? Creative Europe is the 7-year programme created by the EC to promote and support the cultural and audio-visual sectors. The first edition of the European framework programme ‘’Creative Europe’’ ran from 2007 till 2013 to support projects and activities designed to protect and promote cultural diversity and heritage. According to the EC, ‘’the programme supported multi-annual cooperation projects and measures, as well as a variety of actions and initiatives, as well as cultural organisations, and cont1ributed to policy analysis and dissemination activities.’’ The EC states that ‘’it was needed because of a variety of issues and challenges that the culture sector faces. Some of which are best dealt with at an international level. To tackle some of the issues, the programme provided support to promoting cross-border mobility, encouraging transnational circulation and fostering intercultural dialogue. The programme supported a significant number of activities and initiatives (European Commission, Culture programme (2007-2013), 2018). In 2011, the EC developed a new proposal in order to establish the financial framework for 2014 – 2020.

The programme now exists of two sub-programmes: Culture and MEDIA. Besides that, the programme holds a regulation for cross-sectoral projects. The budget of Creative Europe is 1,46 billion euros for seven years, of which 31% is for Culture, 56% for MEDIA and 13% for cross-sectoral projects (dutchculture.nl, 2014). The different funding schemes encourage the audiovisual, cultural and creative players to operate across Europe, to reach new audiences and to develop the skills needed in the digital age, thus contributing to safeguard cultural and linguistic diversity (European Commission, Creative Europe, 2018). Eleven large scale organizations were chosen and among them is WAE, including Stichting the Generator (TodaysArt), with 2.000.000 euro as a cooperation project. Stated below is a graph including the total budget expenses for the Culture Sub programme of Creative Europe in 2014- 2020. As can be seen, the amount that WAE has received of the overall budget is high. As a small-scale project, Stichting the Generator (TodaysArt) received 199.300 euro from the Creative Europe program. This means that the WAE programme and TodaysArt are obliged to contribute to some extent to the goals and objectives of the Creative Europe programme.

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Culture 2014-2020 Total spent (2014- % of total 2016) budget Cooperation Projects 115,094,654 64.3% (larger- and smaller-scale) Networks & Platforms 38,794,443 21.7% Literary Translation 11,719,337 6.6% (annual; multi-annual; projects; two year projects) Special Actions 13,292,983 7.4% (Cooperation with international organisations; ECOC; European Heritage Label, EU prize in the field of culture) TOTAL 178,901,417 100%

Figure 1 Division of funding for the projects for Culture 2014-2020 programme (European Commission, COMMISSION STAFF WORKING DOCUMENT Mid-term Evaluation of Creative Europe, 2018)

Creative Europe is open to cultural and creative organisations from EU Member States, as well as non- EU Member States. It provides support mainly to SMEs, non-profit organisations as well as public bodies. The Programme allocates funds through annual Work Programmes and promotes simplification of implementation through e-applications, lump sums and rationalisation of procedures. A network of Creative Europe Desks, covering all participating countries, has the mission of reaching out to potential beneficiaries and raising the visibility of the programme in the sector and more widely (European Commission, 2018). According to Creative Europe Projects Overview, 2501 projects/organizations have been funded by the programme (European Commission, Creative Europe and Former Programmes Projects Overview, 2019).

4.1.1 Mission Through its motto ‘Imagine, Create, Share’, Creative Europe supports projects with a European added value. The program was developed out of belief that culture offers an important value to the development of European society and that the cultural sector should therefore be incorporated in European policy making. Creative Europe is focused on stimulating the creativity. Simultaneously, the program has a direct impact on economic growth and job opportunity (dutchculture.nl, 2014).

4.1.2 Goals and Objectives In 2020, the EC wants to achieve through the Creative Europe program:

- Competitive and innovative cultural and creative organizations, that can work transnationally and internationally;

- Dynamic and diverse cultural and creative sectors with strong and sustainable partnerships in Europe;

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- A bigger, diverse, inquisitive and engaged public for European cultural and audiovisual works (dutchculture.nl, 2014)

The main and general objectives of the Creative Europe Programme are (a) to safeguard, develop and promote European cultural and linguistic diversity and to promote cultural heritage; (b) to strengthen the competitiveness of the European cultural and creative sectors, in particular of the audiovisual sector, with a view to promoting smart, sustainable and inclusive growth. It aims to promote cultural diversity and intercultural dialogue, culture as a catalyst for creativity in the framework for growth and jobs and culture as a vital element in the Union's international relations.

The specific objectives of the Programme are:

(a) to support the capacity of the European cultural and creative sectors to operate transnationally and internationally; (b) to promote the transnational circulation of cultural and creative works and transnational mobility of cultural and creative players, in particular artists, as well as to reach new and enlarged audiences and improve access to cultural and creative works in the Union and beyond, with a particular focus on children, young people, people with disabilities and under- represented groups; (c) to strengthen the financial capacity of SMEs and micro, small and medium-sized organisations in the cultural and creative sectors in a sustainable way, while endeavouring to ensure a balanced geographical coverage and sector representation; (d) to foster policy development, innovation, creativity, audience development and new business and management models through support for transnational policy cooperation (European Union, 2013).

In order to achieve these objectives, the action focuses on the following priorities:

- Strengthen audience development as a means of improving access to European cultural and creative works and tangible and intangible cultural heritage and extend access to cultural works to under- represented groups. - Foster capacity building through innovative approaches to creation, develop and test new and innovative models of revenue, management and marketing for the cultural sectors, in particular as regards the digital shift, and developing new skills for cultural professionals.

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- Enhance intercultural dialogue, promote shared EU values and mutual understanding and respect for other cultures, thereby contributing to the social integration of migrants and refugees.

Especially for the Culture Sub programme, the priorities in the field of reinforcing the cultural and creative sectors’ capacity to operate transnationally shall be the following:

(a) supporting actions providing cultural and creative players with skills, competences and know- how that contribute to strengthening the cultural and creative sectors, including encouraging adaptation to digital technologies, testing innovative approaches to audience development and testing new business and management models (b) supporting actions enabling cultural and creative players to cooperate internationally and to internationalise their careers and activities in the Union and beyond, where possible based on long-term strategies (c) providing support to strengthen European cultural and creative organisations and international networking in order to facilitate access to professional opportunities

(European Parliament & European Council, 2013)

4.1.2 Partners In each involved Member State, a Creative Europe Desk (CED) represents the program in the country. They promote European initiatives in the field of audiovisual and culture and facilitate participation in the Creative Europe programme.

The provided services of the CED’s are giving free information and guidance on how to access funding opportunities under the Creative Europe programme, regular updates on audiovisual and culture related issues at European level, networking support facilitating contact between cultural operators in different countries and partner finding opportunities (EACEA, Creative Europe Desks, 2018).

4.1.3. Funding There are four different funding schemes available for the Creative Europe programme. These include;

‘’The cooperation projects: this funding scheme promotes the circulation of cultural and creative works and the mobility of cultural and creative players. It aims to improve access to European cultural and creative works and extend their reach to new and larger audiences

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Networks: network funding aims to support the professionalisation of the cultural and creative sectors in order to operate transnationally and internationally.

European platforms: this measure offers action grants to organisations showcasing and promoting European creators and artists, especially emerging talent, through genuine Europe-wide programming.

Literary translation: Publishers and publishing houses can apply for the translation and the promotion of a "package" of works of fiction from, and into, eligible languages.

An EU grant is a financial contribution intended to help achieve EU policy objectives. The EACEA will award a grant of up to 60% (for small cooperation projects) and up to 50% (for large cooperation projects) of the total eligible project budget. The project organisers must cover the remaining 40% or 50% respectively through other sources of funding.’’ (Creative Europe, 2016).

4.2. What is the ‘’Todays Art’’ festival in the Hague? TodaysArt is the international platform and network organization for innovative multi-disciplinary art and creativity in The Hague. The past eleven years, Todays art has contributed to the development of a worldwide artistic structure with an amount of collaborations with institutes, producers and professionals. Each year in the end of September, the festival offers a programme at 20 venues (in- and outdoor) in the city center of The Hague with more than 200 artist from over 25 countries, all presenting their creative vision about what Art is Today in terms of music, video and visual arts, film, photography, fashion, performing arts, theatre, contemporary dance and other disciplines and crossovers. The platform has continuously and consequently built on a strong connection with the public. The concept of the festival, the subjects that are dealt with and the international network are more often being recognized and embraced by the established art and culture world and has, in the meantime, obtained an imperative position in society and industry (van Winden, TodaysArt Jaarverslag Stichting the Generator 2015, 2015).

‘’The network organization is specialized in the presentation and development of contemporary visual and performing arts and emerging culture. Since 2005, when it organized its first festival in The Hague, TodaysArt has brought local and international artist, thinkers and audiences together. TodaysArt is a transdisciplinary platform for international talent, established creators and pioneers, exploring new possibilities and forms of expression. (TodaysArt, About, 2018). TodaysArt was selected as a smaller scale cooperation project (COOP1) by the Creative Europe Culture Sub-programme ‘Support for European cooperation projects 2018’ EACEA 32/2017 to receive a grant of 199.300,00 €.

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TodaysArt is the name for the public activities organized by ‘’Stichting The Generator’’. The organization Stichting The Generator/TodaysArt is officially classified as a charity and public benefit institution. The organization has around 30 employers. The organization works together with WAE through which they receive funding from the Creative Europe programme as a cooperation project. Cooperation projects aim to:

- Develop skills, competences and know-how, including how to adapt to digital technologies - Test innovative approaches to audience development - Test new business and management models - Enable international cooperation and career development in the EU and beyond - Facilitate access to professional opportunities - Organise international cultural activities, such as touring events, exhibitions, exchanges and festivals - Support the circulation of European literature - Stimulate interest in, and improve access to, European cultural and creative works.

(EACEA, Cooperation projects, 2017).

4.2.1 Mission TodaysArt’s mission is to contribute to the development of an international artistic structure with an amount of collaborations with institutes, producers and professionals. In addition, the platform aims to continuously and consequently built on a strong connection with the public and audience.

4.2.2 Goals and objectives TodaysArt hopes to achieve through its festivals:

- An increased public interest and spread of innovation and creativity within the arts and culture and the society. - Encouraged people that look at the world with a different perspective. - Building a strong connection with the public - Contribute to a development of internationally artistic structure with numerous collaborations and cooperation with institutes, producers and professionals. - Connect producers, professionals and the public in a transdisciplinary environment in which new ways of expression are being researched and enlightened while focusing on the wider audience as well as specific audiences.

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(TodaysArt, 2015).

Inspired by contemporary topics, TodaysArt (a) aspires to promote and foster innovation, creativity and public interest for current developments within arts, culture and society. It developed from a festival organization to a platform committed to (b) creating an environment which facilitates new ideas. Besides the annual festival in The Hague, TodaysArt organizes and participates in events, exhibitions and presentations throughout the world. In addition to presenting festivals and events, TodaysArt is dedicated (c) to research and investigate on new methods of operation and offers a network in which (d) creative entrepreneurs combine forces in order to merge different practices in a creative ecological system. Collaborating with artists, designers, technicians, institutions and companies, TodaysArt operates on the border of creativity and society and (f) aims to reduce the gap between the free, experimental and often abstract world of the arts and daily life’’ (TodaysArt, 2018)

4.2.3 Activities TodaysArt’s main activities are modern dance shows, presentations in public spaces, expositions, concerts and workshops. The night programme shows the latest developments in contemporary electronic music in a versatile club programme.

Figure 1 Example TodaysArt using the public space (Spui in The Hague) (TodaysArt, todaysart.org, 2016)

The annual TodaysArt festival in The Hague is the main activity of the organization. With a nomadic character, TodaysArt discovers exciting collaborations and locations. The festival offers a contemporary and modern program in the field of performance arts, visual arts and e-culture. The programming and producing is adventurous, with a focus on new collaborations and talent innovation and development. TodaysArt connects and brings producers, professionals and the audience together in a

TodaysArt and Creative Europe Sylvia Pen transdisciplinary surrounding in which new ways of expression are being researched and enlightened. They use indoor spaces and public locations to offer the wide ranged programme.

(ICASnetwork, 2018).

TodaysArt described the festival as follows:

‘’Light, smoke, mirrors and live code- TodaysArt immerses 6000 visitors in 72-hour audio-visual spectacle. The 14th edition of TodaysArt, festival of art, electronic music and digital creativity ran from September 21-23 in various venues in the city center of The Hague, featuring more than 150 artists working at the intersection of art, music and technology, the edition showcased life performance, mind blowing audiovisual works, installations, talks and an extensive club program of 72 hours nonstop. 11 venues were temporary home to the festival, which by design settles in different locations each year. The festival lived up to its reputation to programming some of the most exciting acts and artists in contexts that by association form a unique artistic vision – a festival as an art piece in its own right.’’

(TodaysArt, Festivals 2018, 2018)

4.2.4 Partners TodaysArt collaborates with several partners. First, it collaborates with the municipality of the city of The Hague, by which they are represented in the multi-annual policy plan that, from 2017 till 2020, focuses on talent improvement and artistic innovation, audience reach (art for more groups from the Hague) and creating a good climate and environment for producers, artists and creators (Gemeente Den Haag, 2016).

Second, TodaysArt collaborates and is co-funded by the Creative Europe programme of the European Union. Third, it collaborates and is partly funded by Stimulering Fonds Creatieve Industrie, of which it received a funding of 80.000 euros. Fourth, TodaysArt collaborates and is co-funded by the European Union through the project WeAreEurope. Todaysart is part of this European festival collaboration, which is selected by Creative Europe as one of the 16 large-scale cooperationsFifth, TodaysArt collaborates with Shape, a platform for innovative music and audio-visual art from Europe. And lastly, TodaysArt collaborates with ICAS (International Cities of Advanced Sounds).

In addition, TodaysArt works closely together with partners such as Club Transmediale from Berlin, Germany, Mutek from Montreal, Canada, DEAF from Rotterdam, The Netherlands and Wasted festival from Berlin, Germany.

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4.2.5 Funding The festival cooperates with WAE and is therefore part of one of the cooperation projects of the Creative Europe programme. As previously explained, WAE is the association of 8 major European events. Through this association, TodaysArt receives funding from the Creative Europe programme for three years. TodaysArt’s main funding are from The Hague government, Creative Europe, Stimuleringsfonds, Mondriaan Fonds, Fonds 21 and VSB fonds.

4.3. How is the impact of the festival ‘’Todays Art’’ measured? As has been stated by Danielle de Hoog, financial administrator at TodaysArt, the Creative Europe project ask for at least 3 partners in order to receive funding. TodaysArt runs three projects in which of two they are not the lead applicant of the project. However, TodaysArt is the lead applicant of the festival BlockChain My Art, which has been the last festival that they ran, which was held in 2018. When one is the lead applicant, the monitoring and evaluating is mainly done by them. The impact measurement is done by the European Commission, the EACEA, WAE, TodaysArt, and this research focusses on impact measurement as well (see appendix). For the evaluation of the EACEA, there is no specific impact measurements to be found about TodaysArt festival, since it is a general evaluation that has been made of the impact of all the events that fall under the Culture sub programme. However, TodaysArt is part of this as well and it can therefore be taken into account.

4.3.1. European Commission The EC has a specific system to evaluate and monitor the Creative Europe programme in general. The EC includes a list on what they include in their evaluation and monitoring process, including qualitative and quantitative performance indicators for the general objectives of the Creative Europe programme:

(i) the cultural and creative sectors' level, change in and share of employment and share of GDP; (ii) the number of people accessing European cultural and creative works, including, where possible, works from countries other than their own; (iii) the scale of international activities of cultural and creative organisations and the number of transnational partnerships created; (iv) the number of learning experiences and activities supported by the Programme which have improved the competences and increased the employability of cultural and creative players, including audiovisual professionals;

Indicators for the specific objective to the Culture Sub-programme:

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(i) the number of people directly and indirectly reached through projects supported by the Programme; (j) the number of projects addressed to children, young people and under-represented groups and the estimated number of people reached;

In addition to regularly monitor the programme, the Commission shall establish a mid-term evaluation report, based on an external and independent evaluation, which:

(a) includes qualitative and quantitative elements, in order to assess the effectiveness of the programme in achieving its objectives, the efficiency of the Programme, and its European added value;

(b) addresses the scope for simplification of the Programme, its internal and external coherence, the continued relevance of all its objectives and the contribution of the measures to the Union priorities of smart, sustainable and inclusive growth;

The Commission shall submit the final evaluation report to the European Parliament and the Council by 30 June 2022.

(European Union, 2013).

4.3.2 Mid-term evaluation and staff working document Creative Europe programme For the general evaluation of the Creative Europe programme, the evaluation was supported by an external and independent study, together with thematic studies and stakeholder dialogues. The evaluation study combined a variety of data for the evaluation of the impact of the Creative Europe programme: collection and analysis of programme data, contextual data collected by the European Audiovisual Observatory, Eurostat and Federation of European Publisher’s Annual statistics, six focused evaluations, surveys, 20 scoping interviews and 103 informant interviews and an open public consultation on Creative Europe (European Commission, Commission Staff Working Document, 2018).

4.3.3 EACEA The EACEA manages funding for education, culture, audio visual, sport, citizenship and volunteering. It therefore manages the funding for the Creative Europe programme. According to Arnaud Pasquali, Deputy Head of the Culture Unit of the EACEA, ‘’this agency oversees implementing the main parts of the Creative Europe programme (cooperation, network, platform and literary translation schemes), launching calls for proposals, evaluation, contracting and monitoring projects, payment and valorisation of results.

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The agency provides data, qualitative input and advice to the EC which is ultimately in charge of the overall evaluation of the programme. The impact of one funded project is based on a series of quantitative and qualitative indicators. The impact of the Creative Europe programme is a much more complex exercise. In addition, they regularly send members of their staff to the events. However, there are thousands of events that are organised thanks to their support, but it is impossible to visit them all. TodaysArt has, till now, not been visited during the time of funding of the Creative Europe programme yet. In addition, the WAE project has commissioned independent evaluators to conduct the evaluation of the project. During the evaluation at a festival or project, the agency takes several important points into account. Among these are the organisational aspect, collaboration with partners, communication (including the visibility of EU logo which is an obligation considering the fact they use tax-payer money), and more generally that the project is implemented as planned and if not, why changes have been made’’ (Pasquali, 2018). However, Mr Pasquali states that ‘’they have reinforced their statistical data collection system (at project level), so that they can have more information on the overall performance of the programme. In addition, he states that there will always be qualitative results and impact, on for example people, professional development, audience, networking, creativity, exchange of ideas and practice etc., that will be very difficult to quantify, and this is a crucial aspect of the Creative Europe programme. In addition, they compare the final report with the initial proposal and assess to what extent the project has achieved its objectives. They then can give recommendations for the future if relevant’’ (Pasquali, 2018).

4.3.4 TodaysArt Several surveys are filled in to monitor and evaluate the festival, mainly with regards to the evaluation of WAE. TodaysArt writes an annual report on their activities and impact, though not focused on the Creative Europe programme. However, conclusions can be drawn from looking at the different tasks that artists have at the festival and if these artists are also being invited to other festivals, according to Karel Feenstra from TodaysArt (Feenstra, 2019).

A basic survey has been filled in by TodaysArt to measure its impact and its audience reach. Moreover, a survey has been sent out to the audience in order to receive results about basic information, but also about its impact. The EC requires the festivals that have received funding to be very visible and transparent. TodaysArt spends a lot of time on showing its results of their projects on their websites and social media. One of its tactics for measuring impact is counting how many visitors the festival has,

TodaysArt and Creative Europe Sylvia Pen but also how many visitors the website has. The survey that has been set up by WAE, is also shown on the website of TodaysArt.

The audience survey has been sent out by WAE, for an evaluation report from the Creative Europe programme to the EC. However, Danielle de Hoog states that they do have some input for this survey, since it is a long list of questions. She states that it is rather not a good idea to send your audience a survey that takes half an hour. The survey is therefore kept short but asks the main important questions to evaluate the festival.

According to Danielle de Hoog, ‘’the lead applicant must have all the documents, invoices and administration of all its partners. An accountant will check this, and, in the end, the European Commission checks it again, in order to confirm whether the money is spent well. Most of the impact evaluation is done behind the desk, by surveys. The evaluation for the European Commission is mainly financial, especially for TodaysArt, since a lot of funding goes to TodaysArt itself’’ (de Hoog, 2018).

4.3.5 External impact measurement For this research, an external impact measurement has been done in order to research the impact of TodaysArt on the artists and professionals. In addition, these four artists and professionals have joined the WAE programme as well. As previously explained, these interviews have therefore been used in the interest of this study, and for the evaluation report of WAE that will be send to the European Commission. For this external impact measurement, Alba Corral, Lisa Blanning, Maxime Faget and Anastasios Diolatzis were interviewed.

The main questions that were asked during the interviews with the artists and professionals were focused on the impact of WAE and TodaysArt. However, TodaysArt is one of the partnering festivals of WAE and the interviewees have therefore joined both, so the answers count for both interests. The following questions were of exploratory nature and left the interviewees with a lot of freedom to provide an answer. The questions were as following:

1. How has it contributed to the content of your work/art? 2. How has it contributed to your career? 3. Because of attending WAE and TodaysArt, how has your work/art changed? 4. How has your approach changed towards your work/art? 5. Has it created new opportunities for you? (Think of production, diffusion, knowledge-sharing et cetera)

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6. How has it increased your network, in the sense of partnerships and cooperation with other artists, experts and institutions etc.? 7. How has it improved your European and international mobility?

In addition, an interview with Olof van Winden, Danielle de Hoog and Karel Feenstra from TodaysArt has been conducted. Main questions that have been asked during this interview included: how they measure their impact, if people with a migration-background are secluded or included from the festival (under-represented groups), if Creative Europe has created more collaborations and partnerships for TodaysArt and if these collaborations and partnerships will continue after the programme has finished, how they noticed that knowledge-sharing has happened, what they think that could be better about the programme, if they could continue without the Creative Europe subsidy, how the Creative Europe programme has contributed to their festival and how intercultural dialogue and social cohesion is being achieved through the festival.

4.4. What have been the consequences and impact of the festival ‘’ TodaysArt’’?

4.4.1 Survey The questions from the survey that TodaysArt filled in are more general, and not all open questions have been answered. To begin with, it is stated that the festival had around 15000 visitors in 2016, 2017 and 2018. TodaysArt had in 2016 collaborated with C/O Pop and Resonate. In 2017 TodaysArt collaborated with Nuits Sonores and Sonar. In 2018, TodaysArt collaborated with Elevate, Reworks and Insomnia. In addition, they have held 3 other activities in knowledge sharing- conferences, workshops, laboratories and associated events, at which they had 60 participants.

14 Networking activities were held of which the participating countries were Belgium, Switzerland, Canada, Russia, La Reunion (FR), USA, Japan, Mongolia, Uganda, Turkey, Slovakia, Slovenia, Montenegro and Portugal. However, as can be seen on the website of TodaysArt, artists that have participated during the festival were coming from Norway, Iran, Spain, Denmark, France, Sweden, Croatia, Italy, Sri Lanka, Poland, Morocco, Palestine, Ghana, Finland, Mongolia, Servia, Mexico, Russia, Brazil, Estonia and Iceland (TodaysArt, TodaysArt program 2016, 2016), (TodaysArt, TodaysArt Program Guide 2017, 2017), (TodaysArt, TodaysArt Program Guide 2018, 2018).

The survey shows where the artists and professionals have been active in. This is shown in figure 2. As can be stated from figure 2, the participating people were mainly active in technology, digital arts and music.

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Artists and Cultural and Creative Professionals at TodaysArt

Theatre Project management Technology Communication & promotion Digital Arts Dance Music Tangible Culture Creative Writing Architecture

0 200 400 600 800 1000 1200

Artists and Cultural and Creative Professionals at TodaysArt

Figure 2 Fields of artists and cultural and creative professionals that have worked at TodaysArt (TodaysArt, E-report TodaysArt Tromso, 2015-2018)

Additionally, the artists that were involved in TodaysArt have worked in other countries besides the Netherlands.

- 10 cultural and creative professionals, 2 emerging artists and 2 other participants have worked in Austria - 1 cultural or creative professional and 20 emerging artists have worked in Canada - 9 cultural or creative professionals have worked in Japan

TodaysArt has implemented cultural and creative works and/or services as part of their project. These are Festivals (Nuits Sonores) of which there were 400.000 tickets/admissions/visitors and a number of 300.000 of online audience. It has implemented conferences, laboratories and seminars (European Lab), of which they had a number of 7500 tickets/admissions/visitors and a number of 6500 of online audience. TodaysArt has implemented newsletters, journals and periodicals (weareeurope.eu) of which there was an online audience of 20.000.

In addition, TodaysArt has developed new methods/practices/business models as part of their project, which was a pool of experts, internal decision making and curation, collaboration with universities, co-

TodaysArt and Creative Europe Sylvia Pen curational processes and collaborations, programming, use of venues, reporting and evaluation and developing commissioned work.

As to the question whether any of the results of the project will be sustainable and continue after its conclusion, TodaysArt answered ‘’yes’’. As to the question whether the project offered capacity building or learning experiences which have enhanced the skills and improved the employability of the participants, TodaysArt answered ‘’yes’’. In total they had a number of 18 activities of capacity building and learning experiences of which 30 cultural and creative professionals were part of.

TodaysArt answered positively to the question whether Creative Europe support facilitated access to other countries for the supported artists and professionals and their works, including translated works. The transnational circulation of cultural and creative works has been positive for 50 artists in musical work and concerts, as there was offline and online circulation. For 150 cultural and creative professionals there has been offline circulation as well.

TodaysArt participants and audience offered access to cultural and creative works from a country or countries other than their own country of origin. These were speakers, journalists or photographers that have been invited to WAE festivals and forums.

As to the question whether the project has helped the development of their organisation in artistic and business terms, TodaysArt responded positive: ‘’The Project helped us developing our network artistically and business development. It gave us more financial stability and made it possible to present projects which we cannot present without this support’’.

As to the question whether TodaysArt had any unanticipated benefits or deliverables, TodaysArt responded positive: ‘’Collaborations were made beyond the work program and sharing of each other networks’’.

In addition, 90 cultural or creative professionals used advanced or new required skills in their field at TodaysArt festival.

As to the question whether the Creative Europe grant facilitated access to other sources of funding for TodaysArt and their partner organisations, TodaysArt answered ‘’yes’’, and that being supported by Creative Europe and being part of WAE resulted in a strong reputation.

(TodaysArt, E-report TodaysArt Tromso, 2015-2018).

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4.4.2. Interview impact on artists and professionals For the impact on artists and professionals, four interviewees have been conducted. As shown in figure 2 (stated below), one interviewee has responded negatively to two of the questions, which was whether the project and festival have contributed to their work or art and if it has improved European and international mobility. The interviewees have all four responded positively to the questions whether it has contributed to their career, created new opportunities, increased their network and created partnerships. The answers to the other questions that have been asked are more complex and cannot directly be put into a ‘’yes’’ or ‘’no’’ section.

4 4 4

3 3

Yes No

1 1 Amount of artists/professionals of Amount

0 0 0

Contributed to Contributed to their Created new Increased network, Imroved European work/art career opportunities created partnerships and international mobility

Figure 3 Answers interviewees on impact of TodaysArt (Corral, Blanning, Diolatzis, Faget, 2018,2019)

The answers of the artists and professionals will be shown in the next paragraphs.

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Alba Corral, visual artist, responded to question 1 and stated that ‘’it changed the way that I look at things. And for me because I am a visual artist, it is so important to see and look at different landscapes’’ (Corral, 2018). DJ Anastasios Diolatzis said that ‘’thanks to the project, I had the freedom to present a completely different aspect of mine and music that I admire a lot’’ (Diolatzis A. , 2019). Lisa Blanning responded negative to this question, as the work she was asked to do was not new to her.

As to the question whether the festival and project have contributed to their career, Alba Corral stated that she got the opportunity to meet many different people and artists. It is easier for her to prepare another piece of art because she now has the contact information to make that work

Figure 4 Alba Corral (HER BEATS, n.d.) (Corral, 2018). Lisa Blanning stated that it did not completely contributed to her career, since as a freelancer, any work or assignment is beneficial for your career. However, she stated that doing the panel discussions at WAE and TodaysArt reflected well for her (Lisa Blanning, 2018). Maxime Faget responded positively to this question as well, as he stated that ‘’the two projects were matching with what they were doing as an organization and what they were researching on: culture plus politics, plus technology, plus social innovation and taking this approach to a large audience. It had a positive effect on their own festival and indirectly on what he was doing personally: enlarging his network, giving him access to panel discussions and media that he might not have reached before. It helped him crystallizing panel interventions as one of his professional occupations’’ (Maxime Faget, Interview impact artist, 2018). For Anastasios Diolatzis, TodaysArt and WAE were a plus: ‘’Also on personal level it was an unbelievable experience. I had the chance to play something completely different from what I normally play. For example, music which was solely from Greek artists. The Greek scene is not very big, so it was a big challenge for me’’ (Diolatzis A. , 2019).

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As to the question whether it has created new opportunities for them, all of them responded ‘’yes’’. Alba Corral stated that her work is now more international and that she is more confident: ‘’Now I know more about how the organization works and the production et cetera. I have more aspirations and more knowledge’’ (Corral, 2018). Lisa Blanning stated that it created new opportunities for her since they have asked to do different kind of work ‘’it is work that I normally already do, but the fact is that they, as an organization have asked me repeatedly, which Figure 5 Anastasios Diolatzis (Diolatzis, n.d.) has been very beneficial for me’’ (Lisa Blanning, 2018). For Maxime Faget, it was ‘’a good start for networking for my project. I met a lot of interesting people, structures and discovered many projects. Being invited to panels has helped me personally and my project. It was also interesting on personal level, seeing a lot of art, listening to a lot of panels. I got in contact with good working systems, and it probably helped me improving my own professionalism’’ (Maxime Faget, 2018). Anastasios Diolatzis says that it created new opportunities for hem ‘’as it was mostly serving the stage with other artists. I had the opportunity to meet some of them. There was a mutual respective admiration and networking’’ (Diolatzis A. , 2019).

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All four of the interviewees have responded positive to the question whether it has increased their network and created partnerships for them. Alba Corral stated that she played with other artists that she did not know before. She now has a partner that she will create a new project with. She is also planning on continuing with working together with these people, so she has created new partnerships (Corral, 2018). For Lisa Blanning, it has been a significant change for her. Especially WAE has brought her to know a good group of people. She states that that was one of the main things she got out of the association, the congeniality and being amongst a group of peers (Lisa Blanning, 2018). Maxime Faget stated that it has increased his network. He thinks that everybody involved has a strong approach in Figure 6 Lisa Blanning (Siegfriedt, 2018) mixing political commitment and artistic expression, so therefore they easily made new partners (Maxime Faget, 2018). Anastasios Diolatzis states that it has increased his network by meeting more artists, talking to them and inviting them to Greece. He is still in contact with these people, but it did not directly create partnerships for him’’ (Diolatzis A. , 2019).

Three of the interviewees have responded positively to the question whether it has increased their European and/or international mobility. Lisa Blanning stated that, because of WAE she visited festivals which were in places that she had never been before, but that this was something that she already does as a music journalist (Lisa Blanning, 2018). Maxime Faget stated that it has improved his European mobility, because he got booked more for panels and had to go to many European places (Maxime Faget, 2018). Anastasios Diolatzis stated that his European mobility has been improved, as he went to places that he has never been to before and because of that, has been working more internationally.

Additionally, the interviewees stated other side effects that they have experienced because of the festival TodaysArt and of WAE. All the four interviewees have stated that the programme has been very positive on personal level as well. For Alba Corral, it has been very beneficial to work together with TodaysArt: ‘’with Olof from TodaysArt, it was always super funny and cool. During the festivals, in

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these kinds of hours where you are not like a professional, we started talking and I explained him about the creative process and that it was very interesting for me to play with a musician. Olof started to understand the way that I work. After that, he booked me for so many things

Figure 7 Maxime Faget (EUROPEAN LAB, 2016) and provided many collaborations with musicians’’ (Corral, 2018). This shows that TodaysArt has highly contributed to Alba Corral’s career and long-term collaborations. Maxime Faget stated that the overall festival and programme is a very good way to create a sense of belonging to a community as well. In addition, he stated that ‘’it helped me in formulating my own festival and how we relate to the project. I think I learned a lot professionally observing how they were working. My career as a festival director is short. So, the fact that I was in contact with all these people from the start had a positive effect on me personally’’. He states that the panels have been interesting for him, in the sense that ‘’they had a captivating formulation on European struggles and identity. But I also got to know more how business works and European wise, and how rigorous it must be’’ (Maxime Faget, 2018). For Anastasios Diolatzis, it was interesting in the sense that he now has more confidence to present other music than house and techno, enabled through the sets he did via TodaysArt and WAE (Diolatzis A. , 2019).

4.4.3. Interview impact organisation TodaysArt According to Dannielle de Hoog, it is not sure whether their audience has a migrant-background or includes under-represented groups, as they do not directly measure this. However, they do share talented people in music with each other, so artists that are presented at their festival are being included in other festivals as well. In that way, there is some sort of migration difference, she states. As to the question whether collaboration has been improved by Creative Europe, she answered affirmative. If these international collaborations will continue after the subsidy is difficult to say, she states, as she thinks that this will happen with some organisations and with some it will not: ‘’If you notice that there is a connection, then it is obvious that the collaboration will continue’’.

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As to the question whether they notice if knowledge-sharing is happening, she explains: ‘’for example with one of our projects BlockChain My Art, SeaNaps is one of our partners that have their festival for 2 years already. That festival is running on blockchain (an open, distributed ledger that can record transactions between two parties efficiently and in a verifiable and permanent way (Marco Iansiti, 2017)). That knowledge is something that they are sharing with us right now’’ (de Hoog, 2018). Knowledge-sharing is therefore something that is very visible at TodaysArt. As to the question whether TodaysArt is dependent from the Creative Europe programme and if they could continue after its subsidy, Karel Feenstra responded affirmative. However, according to Karel Feenstra, they would do other things and projects then, as they gain much purpose from the European networks. He does not think that the partnerships with other festivals will disappear after the subsidy, as they notice that the significant and substantive dialogue with each other and the artists could be possible with other subsidies as well. However, these partnerships and dialogue have been specifically created by Creative Europe, and the programme has been the key driver behind the close club of festivals and networks they have now (Feenstra, 2018). Karel Feenstra also refers to what Olof van Winden has once stated, that it is more than business cooperation, since new friendships are made. Everyone gets into conversations with kindred spirits because you visit each other, also besides the festivals that are funded by Creative Europe. Feenstra elaborates and states that they inspire and therefore help each other. Therefore, idea exchange and knowledge exchange are on personal level also high (van Winden, Feenstra, 2018). Danielle de Hoog added to this that the whole programme is focused on giving opportunities to the artists, but it is also about the employers of the organization. She states that she has done the administration for TodaysArt, WAE and Shape, so she could do it for Blockchain My art as well (de Hoog, 2018). This shows that its employers are improving their personal and career development.

According to Olof van Winden, what they are doing is interesting to the EU. The angle they take of art and creativity (creative industries, design, technology and music) is one of the things that Europe and the EU finds interesting, since it comes with an interesting audience. It is focused on the European identity. In addition, intercultural dialogue and social cohesion is being achieved since the festival reaches a large audience and they are presenting things they would otherwise not present, according to Olof van Winden (van Winden, Interview impact TodaysArt, 2018). Karel Feenstra elaborates on this with the fact that it is also visible through the context of the programme and its panel discussions and presentations that they organize. They communicate clearly that the stories they tell are put together at their festivals, which will contribute to a more continuous dialogue in different European states that

TodaysArt and Creative Europe Sylvia Pen are being hosted by the festivals from the network. It is noticeable from these panel that there is a deeper thought behind it (Feenstra, 2018). As has been stated on their website, an example of the context of a panel discussion is described as: ‘’in conversation with musicians, composers, artists, and scientists, we explore what the ‘future of music’ can look like and how this emerges through cross- disciplinary projects that operate at the intersection of science, technology, music and art. Our invited panellists are deeply invested in the research, development, and production of work that reshapes and pushes the boundaries of how we understand music, sound-art and audio-visual performances (TodaysArt, Cross disciplinary collaboration and the future of music, 2018). According to van Winden, the moment that they received the subsidy was the moment that Europe was crashing, Brexit was a fact, extreme right was dangerously close, and Greece was economically falling apart. The festival and project were therefore also focused on European identity and positively approached. He states that the festival therefore does hold a solid message, although they claim not to be political (van Winden, Interview impact TodaysArt, 2018). Karel Feenstra adds to this that, according to a research that he has done about European citizenship, a European platform was missing. Now, with Creative Europe, it is possible to share thoughts and objective European news (Feenstra, 2018).

4.5 Have the goals and objectives of the programme ‘’Creative Europe’’ been met with regards to the festival ‘’TodaysArt’’?

4.5.1 Goals One of the first main goals of the programme has been to create competitive and innovative culture and creative organizations, that can work transnationally and internationally (European Union, 2013). Through the Creative Europe network, TodaysArt has collaborated with many different organizations from Europe. As has been stated in the survey, they have collaborated with C/O Pop from Germany, Resonate from Serbia, Nuits Sonores from France, Sonar from Spain, Elevate from Austria, Reworks from Greece and Insomnia from Norway. TodaysArt has visited these festivals, sent artists to these festivals and incorporated international artists in their programme as well. This shows that TodaysArt, as a cultural and creative organization, has worked transnationally and internationally.

The second main goal of Creative Europe is to create dynamic and diverse cultural and creative sectors with strong and sustainable partnerships in Europe (European Union, 2013). In the interviews it has been stated that the partnerships and dialogue have been specifically created by Creative Europe, and it has been the key driver behind the close club of festivals and networks that TodaysArt has now (Feenstra, 2018). In addition to this, Danielle de Hoog from TodaysArt has confirmed this will happen

TodaysArt and Creative Europe Sylvia Pen if they notice that there is a mutual connection with the organization, which they have with a couple of organizations, but also artists (de Hoog, 2018). The survey revealed that collaborations were made beyond the work program and sharing of each other’s networks has been made possible (TodaysArt, E-report TodaysArt Tromso, 2015-2018). In addition, this goal is significantly affirmed when one looks at the impact on the participating artists of TodaysArt and WAE, who have stated in the conducted interviews that it has created a solid network for them and partnerships with other artists. This has been the case for all four of the interviewees (Corral, Blanning, Diolatzis, Faget, 2018,2019).

The third main goal of the programme has been to create a bigger, diverse, inquisitive and engaged public for European cultural and audiovisual works (European Union, 2013). One of TodaysArt’s goals itself is to increase the public interest and build a strong connection with the public (TodaysArt, About, 2018). They have had 15000 visitors in 2016, 2017 and 2018, but in context this is hard to state whether this public was bigger, diverse, inquisitive and engaged. However, TodaysArt tries to engage these 15000 people with European cultural and audiovisual works, as this is what the festival mainly is focused on. In addition, TodaysArt has confirmed to have an online audience of 20.000 people for their newsletters, journals and periodicals, in which many articles are shown about European topics. Therefore, this data confirms that a part of this goal has been achieved by TodaysArt.

4.5.2 Objectives One of the main objectives has been to safeguard, develop and promote European cultural and linguistic diversity and to promote cultural heritage (European Union, 2013). One can state that European cultural this has been done by TodaysArt as they have been working together with artists coming from 17 European countries (TodaysArt, E-report TodaysArt Tromso, 2015-2018). These artists have performed at TodaysArt festival, in which their own cultural background and nationality is considered. Thus, these 17 different cultural backgrounds and nationalities have been presented in an artistic style to the visitors of TodaysArt festival. This reveals that a part of this objective has been achieved.

A second main objective of the Creative Europe’s programme has been to strengthen the competitiveness of the European cultural and creative sectors, in particular of the audiovisual sector, with a view to promoting smart, sustainable and inclusive growth. It aims to promote cultural diversity and intercultural dialogue, culture as a catalyst for creativity in the framework for growth and jobs and culture as a vital element in the Union’s international relations (European Union, 2013). One main aspect has been focused on from this objective, which is promoting cultural diversity and intercultural

TodaysArt and Creative Europe Sylvia Pen dialogue. The interviews with the artists and TodaysArt have revealed that there is a significant result that TodaysArt has promoted cultural diversity and intercultural dialogue through their festival. One first main finding that confirms this objective is that the participating artists at the festival have been coming from countries all over the world. These artists and professionals have participated at the festival by performing or organizing panel discussions, that have created dialogue between them and the public. This has been confirmed by the interview that has been conducted with TodaysArt, as Olof van Winden and Karel Feenstra have both stated that the festival reaches a large audience, and that the intercultural dialogue is especially visible through the context of the programme and the panel discussions and presentations that they organize. These panel discussions are focussed on connecting with the audience in which artists, scientists, professionals, composers and musicians get into conversation to create intercultural dialogue. It can therefore be affirmed that TodaysArt creates intercultural dialogue through these panel discussions and by bringing artists and producers together with different cultural backgrounds.

Another specific part of the objective of the programme: ‘’to promote the transnational circulation of cultural and creative works and transnational mobility of cultural and creative players, in particular artists, as well as to reach new and enlarged audiences and improve access to cultural and creative works in the Union and beyond (European Union, 2013)’’ has been significantly achieved. This objective is in line with the specific objective of the culture sub-programme, under which TodaysArt falls: ‘’supporting actions enabling cultural and creative players to cooperate internationally and to internationalise their careers and activities in the Union and beyond, where possible on the basis of long-term strategies’’. Furthermore, these objectives are in line with one of the main priorities that the action must focus on: ‘’promote the transnational mobility of artists and professionals with a view to enabling them to cooperate internationally and to internationalise their careers (European Union, 2013)’’. Therefore, both this main objective of the Creative Europe programme as the specific objective of the culture sub-programme have been met. This can be revealed from the interviews conducted with the artists, as all four of them have responded that TodaysArt and therefore the Creative Europe programme have increased their international career and increased their international network and collaborations (Corral, Blanning, Diolatzis, Faget, 2018,2019). By increasing their international network and collaborations, the transnational circulation of cultural and creative work and transnational mobility of artists is a direct result. Additionally, three of the four interviewees have responded positive to the question whether their European and international mobility have improved (Corral, Blanning, Diolatzis, Faget, 2018,2019). This shows that the promotion of the transnational mobility of artists and

TodaysArt and Creative Europe Sylvia Pen professionals has been achieved, which is one of the priorities of action of the Creative Europe programme.

Moreover, one other objective of the programme has been met, which is: to foster policy development, innovation, creativity, audience development and new business and management models through support for transnational policy cooperation. This objective is in line with the specific objective for the European cooperation projects, which is applicable for TodaysArt as well. This specific objective is focused on contributing to innovation and creativity in the field of culture, for instance through testing of new business models and promoting innovative spillovers on other sectors (European Union, 2013). As can be revealed from the survey that has been filled in by TodaysArt, the organization responded positive to the question whether they have developed new methods/practices/business models as part of their project. This meets the Creative Europe objective to foster innovation, creativity and new business and management models. TodaysArt has done this by having a pool of experts, internal decision making and curation, collaboration with universities, co-curational processes and collaborations, programming, use of venues, reporting and evaluation and developing commissioned work.

From the goals and objectives that have been described in this chapter, it can be stated that TodaysArt has met these specific goals and objectives of the Creative Europe programme through their festival and work.

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5. Analysis The aim of this research is to provide an answer to the question of how the TodaysArt festival has contributed to the goals and objectives of the European Unions’ Creative Europe programme. Following desk- and field research, namely reading reports and conducting multiple interviews with the related artists and professionals and the organization, the result of the research question and sub- questions were provided in the previous chapter. These results will now be interpreted in this analytical chapter, according to each sub-question. Moreover, this chapter includes the author’s own argumentation on the results that have been previously described. The information in the analysis will provide an overview of the research topic and will serve as a bridge leading to the study’s recommendations and conclusion.

The expectation of the Creative Europe programme was that it will encourage the audio-visual, cultural and creative players to operate across Europe, to reach new audiences and to develop the skills needed in the digital age. By helping European cultural and audiovisual works to reach audiences in other countries, the programme will also expect to contribute to safeguard cultural and linguistic diversity (European Commission, Creative Europe, 2018). Additionally, the European Commission identified several problems throughout Europe that should be addressed at an international level and where culture could be one of the main solutions, as it would help with the development of the European society. Lastly, it is numerously stated that it tries to improve overall social cohesion.

5.1. Funding In line with the expectation, several organizations have received funding to help achieve these goals and objectives. Among them is TodaysArt, which, as described in result section 4.1 and 4.2, has received a specific amount of funding to do this: 199.300 euros of funding, which is 0,11 % of the total budget of the Creative Europe programme. One could state that this is a small percentage of the total budget. However, the impact of an organization as such can have a large impact for the overall goals and objectives, especially since TodaysArt partnered with many other organizations throughout Europe and has cooperated with the WAE project. As Olof van Winden has stated: ‘’a small movement can trigger a hurricane’’ (van Winden, 2016). WAE has received an amount of 2.000.000 euros of funding, which is 1,18 % of the total budget of the Creative Europe programme.

The specific amount of funding that TodaysArt has received through WAE is unknown, however, because WAE partners with 8 different organizations, it can be stated that the budget is divided between these 8 partners. In consideration, TodaysArt, as a small organization, has therefore received

TodaysArt and Creative Europe Sylvia Pen a generous amount of funding from the programme. As Danielle de Hoog from TodaysArt has stated, every expenditure must be able to be explained to the European Commission, and this administration is therefore strictly checked. However, the results do not show how the monitoring of this administration helps with evaluating the goals and objectives. Moreover, Danielle de Hoog has explained that this accounting is a difficult part as the accountants checking the administration are more known with how the administration works within their own country, but this method differs per country. Hence the confusion that could cause for some organisations to not receive the last bit of funding (de Hoog, 2018). Thus, one can state that a majority of the evaluating through this administration loses the focus of contributing to the goals and objectives, as the organizations such as TodaysArt have to spend a lot of time on making sure that the administration is correct. In addition, TodaysArt holds an accountability towards the European Union and is therefore obliged to try to contribute to its goals and objectives. Nonetheless, TodaysArt receives funding from other organizations as well, such as the Hague government, which is their main subsidizer, Stimuleringsfonds, Mondriaan fonds, Fonds 21 and VSB fonds. One could state that the Creative Europe’s goals and objectives are therefore not their main focus, as they exist and operate with other funding as well.

5.2 Partners TodaysArt As has been given in results section 4.2, TodaysArt partnered with the municipality of the city of The Hague, that focuses on talent improvement and artistic innovation, audience reach (art for more groups from the Hague) and creating a good climate and environment for producers, artists and creators (Gemeente Den Haag, 2016). This focus is partly covered by the Creative Europe’s programme, which is to reach new audiences amongst its goals and objectives as well. This is positive for the impact of Creative Europe, as it will strongly contribute to it if other organization’s goals are in line with theirs.

Additionally, TodaysArt works closely with partners such as club Transmediale from Berlin, Germany, Mutek from Montreal, Canada, DEAF from Rotterdam, The Netherlands and Wasted festival from Berlin, Germany. Moreover, as can be seen in results section 4.4, they collaborated with C/O Pop from Germany, Resonate from Servia, Nuits Sonores from France, Sonar from Spain, Elevate from Austria, Reworks from Greece and Insomnia from Norway. This shows that TodaysArt holds a large network of organizations throughout Europe. As TodaysArt has stated in the interview that has been conducted, this network has created long-term partnerships. This large network of festival organizations is a major important aspect for one of the Creative Europe’s goals, which is encouraging audio-visual, cultural and creative players to operate across Europe, since this network makes it easier to exchange ideas,

TodaysArt and Creative Europe Sylvia Pen knowledge but also artists and professionals internationally. This is substantiated by the interviews that have been conducted with the artists and professionals, as all four of the interviewees have answered positively to the question whether it has created partnerships and a network for them. Thus, the results confirm that TodaysArt has encouraged audio-visual, cultural and creative players to operate across Europe, and has substantially made it easier to exchange ideas, knowledge and the exchange of artists and professionals.

5.3 Impact measurement TodaysArt As can be stated from the results in section 4.3, TodaysArt’s impact is measured by the funding expenditure and measured indirectly through the European Commission. Till now, it is only evaluated by the mid-term evaluation report which has not shown the overall impact of the programme. Since there are around 2501 projects/organizations funded by the programme, it is impossible for the European Commission to evaluate each one of these projects. This has been stated as well by Arnaud Pasquali from the EACEA, as he has said that they cannot visit the thousands of events that are organised thanks to their support, and that impact on people, professional development, audience, networking, creativity, exchange of ideas and practice et cetera) is very difficult to quantify, although this is an important aspect of the programme (Pasquali, 2018).

According to the interview that has been conducted with Maxime Zeef from CreativeEurope Desk NL, it is also stated that it is an economical programme, and the impact is mostly measured by numbers and quantitative data, while in fact, culture is hard to measure through this kind of data (Zeef, 2018). When looking at the overall goals and objectives of the programme, such as social cohesion, cultural diversity and intercultural dialogue, these are difficult terms to research through quantitative data. This should mainly be done by qualitative research, and a large amount of this qualitative research has not been done by the European Commission and, until this research, the impact on the artists and professionals has not been measured.

As can be seen in results section 4.3, the impact measurement of the overall Creative Europe programme includes none of researching the impact on artists. However, a major important aspect in considering till what extent TodaysArt has contributed to the goals and objectives, has been by measuring the impact on the artists and professionals that have participated and worked at the festival. This is later exposed through the retrieved data from the interviews and, confirmed by Arnaud Pasquali and Maxime Zeef, both experts on the Creative Europe programme.

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5.4 Impact TodaysArt As has been shown in results section 4.4, TodaysArt has had many different artists and professionals joining their festival. In total they have had more than 11500 artists that were active in different fields, although there is a possibility that these fields were overlapping. In addition, they have had 987 cultural and creative professionals that were active in different fields (TodaysArt, E-report TodaysArt Tromso, 2015-2018). This shows that TodaysArt has a widely varied programme.

In addition, the survey revealed that the artists have worked in Austria, Japan and Canada as well (TodaysArt, E-report TodaysArt Tromso, 2015-2018), and the information given on their website shows that the artists participating at their festival have been coming from Norway, Iran and Tehran, Spain, Denmark, France, Sweden, Croatia, Italy, Sri Lanka, Poland, Morocco, Palestine, Ghana, Finland, Mongolia, Servia, Mexico, Russia, Brazil, Estonia and Iceland (TodaysArt, TodaysArt program 2016, 2016), (TodaysArt, TodaysArt Program Guide 2017, 2017), (TodaysArt, TodaysArt Program Guide 2018, 2018). These results confirm that TodaysArt has an international network including artists and cultural and creative professionals that are active in ten different fields.

Additionally, TodaysArt confirms to have developed new methods, practices and/or business models, which could contribute to an overall better production and innovation within the organization. The organization confirms to the fact that the results will be sustainable, which is an important aspect for the Creative Europe programme, as the programme is aiming to have long-term results. Moreover, TodaysArt has offered capacity building and/or learning experiences which have enhanced the skills and improved the employability of participants, which is an important aspect for the artists and cultural and creative professionals, as this is something they will take with them during the rest of their career.

In addition, the organization experiences knowledge sharing between their organizations and other organizations as well, as this has been confirmed by Danielle de Hoog from TodaysArt. Hence the survey and the interview with the organization of TodaysArt reveals that TodaysArt holds an impressive international network, has improved their knowledge sharing and has had a positive impact on the artists and creative and cultural professionals holding many different nationalities. For TodaysArt employers, the festival has also been extremely positive for their own personal development and experience. Additionally, TodaysArt presents the work of the artists and professionals in public spaces and trying to make it free. This way, the festival reaches a far more bigger public, reaching people who otherwise would not be that involved with the art and music presented at the festival.

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5.5. Impact on artists and professionals As has been given in the results section 4.4, the interviews that have been conducted reveal that the impact of TodaysArt on the artists and professionals has been very positive. The negative answers have been from Lisa Blanning. However, she has not participated directly at TodaysArt but at We Are Europe, and her answers are therefore not that sufficient for the overall impact measurement on the artists of TodaysArt.

Two artists responded positive to the question whether TodaysArt has contributed to the content of their work or art, and explained that participating has positively influenced the inspiration for their work and art. This contribution can be justified by the fact that the artists gained a bigger international network and are therefore booked for more festivals and events in other countries. For Alba Corral, this had an influence on her work since she is a visual artist and seeing a lot of different landscapes has been important for her to change the way she looks at things and getting inspiration (Corral, 2018). For Anastasios Diolatzis it was important since he had the possibility to present other work and a different aspect that he would otherwise not be able to do. This enables him as a DJ to explore and grow as an artist (Diolatzis A. , 2019). A major positive factor that has been revealed from the interviews is that TodaysArt has contributed to their network and partnerships, which has made all the artists able to grow in their (international) career.

This is also confirmed by the answers to the question that it has improved their European and international mobility, as this shows that moving in between different countries has been a significant change for the artists. Both these two factors, an increase in their international career and network and increase in international mobility support each other and strengthen the reliability of each other. Lastly, the festival has been very positive for their personal development as well.

5.6 Goals and Objectives As has been described in results section 4.5, many of the goals and objectives of the Creative Europe’s programme have been met by TodaysArt. The three main goals that TodaysArt has made a positive contribution to working transnationally and internationally, creating strong and sustainable partnerships in Europe and creating a bigger, diverse, inquisitive and engaged public for European cultural and audio-visual works. TodaysArt has also positively contributed to the objectives of Creative Europe, which among them is to safeguard, develop and promote European cultural and linguistic diversity and to promote cultural heritage. However, not every aspect of this objective has been met, though specifically the safeguard, development and promoting of cultural diversity has been done by

TodaysArt and Creative Europe Sylvia Pen the TodaysArt festivals, as they have been intensely working together with artists coming from 17 different European countries (TodaysArt, E-report TodaysArt Tromso, 2015-2018).

Another part of another main objective of Creative Europe has been focused on, which is promoting cultural diversity and intercultural dialogue. As has been given in the results, TodaysArt has promoted cultural diversity and intercultural dialogue through their festival through having artists and organizing panel discussions creating dialogue between them and the public, confirmed by Olof van Winden and Karel Feenstra, who both have stated that it reaches a large audience as well. These panel discussions are focussed on connecting with the audience in which artists, scientists, professionals, composers and musicians get into conversation to create intercultural dialogue. It can therefore be affirmed that TodaysArt creates intercultural dialogue through these panel discussions and by bringing artists and producers together with different cultural backgrounds. This reveals that another major aspect of one of the objectives has been met by TodaysArt.

Another objective that TodaysArt has positively contributed to is the promotion of the transnational circulation of cultural and creative works and transnational mobility of cultural and creative players, in particular artists, as well as to reach new and enlarged audiences and improve access to cultural and creative works in the Union and beyond (European Union, 2013). This objective is in line with the specific objective of the culture sub-programme, under which TodaysArt falls: ‘’supporting actions enabling cultural and creative players to cooperate internationally and to internationalise their careers and activities in the Union and beyond, where possible on the basis of long-term strategies’’. Furthermore, these objectives are in line with one of the main priorities that the action must focus on: ‘’promote the transnational mobility of artists and professionals with a view to enabling them to cooperate internationally and to internationalise their careers (European Union, 2013). This is revealed from the data obtained from the interviews that has shown that the artists’ and professionals’ international careers and networks have been improved, as well as their European and international mobility. Lastly, the objective to contributing to innovation and creativity in the field of culture, for instance through testing of new business models and promoting innovative spill overs on other sectors has been met by TodaysArt. The survey that has been researched reveals that TodaysArt has done this, though this impact has not been researched through the impact on the artists and the reliability of this data should be reconsidered.

In addition, TodaysArt is focused on organizing events and panel discussions, where professionals and artists share opinions and include the public in their discussion. These discussions are focused on

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European topics, which as a direct result improves the overall dialogue. The answers to the interviews that have been conducted have revealed that these panel discussions have been a major important factor in creating intercultural dialogue, as Karel Feenstra, Maxime Faget and Lisa Blanning have confirmed this. The people involved in these discussions have different cultural backgrounds and nationalities, which insures that the dialogue becomes intercultural, since different opinions are shared.

Opinions and knowledge are being shared throughout Europe, because of the increased international mobility of these artists and professionals who are working closely together. TodaysArt has confirmed that it has been doing that as an organization as well. TodaysArt therefore enhances intercultural dialogue and indirectly promotes shared EU values. As culture and art is a way to connect people, they therefore also create a mutual understanding and respect for other cultures, thereby contributing to the social integration of migrants and refugees. TodaysArt shows that it succeeds in this, which is one of the main priorities of action of the creative Europe programmes to achieve the overall objectives.

TodaysArt and Creative Europe Sylvia Pen

6. Conclusions The purpose of this research was to provide an answer to how TodaysArt has contributed to the goals and objectives of the EU’s Creative Europe programme. In the process of providing this explanation, this research question was divided into five sub-questions. The conclusion to the central research question can be provided by explaining what the Creative Europe programme and TodaysArt organization/festival are, how the festival is evaluated and impact is measured, what the impact has been so far on the organization and the artists and professionals involved and checking whether the goals and objectives of the Creative Europe programme have been met by the TodaysArt festival, which will be followed by recommendations.

The Creative Europe programme is the result of the EU that wants to support the cultural and creative sectors, in order to shape the EU’s future positively. The Creative Europe programme does this by subsidizing organizations and projects active in the cultural and creative field. TodaysArt is among them and as an organization received funding, as well as through the We Are Europe project that they are part of. TodaysArt holds an annual festival that offers a programme at 20 venues (in- and outdoor) in the city center of The Hague with more than 200 artist from over 25 countries, all presenting their creative vision about what Art is Today in terms of music, video and visual arts, film, photography, fashion, performing arts, theatre, contemporary dance and other disciplines and crossovers.

After having processed and analysed the findings, it can be concluded that TodaysArt has positively contributed to the goals and objectives of the EU’s Creative Europe programme. Though evaluation and impact measurement has not thoroughly been done by the EC/EACEA on the TodaysArt festival and a lot of focus goes to the financial administration, this research reveals that TodaysArt has contributed to many of the goals and objectives. Even though Creative Europe is not the main subsidizer for TodaysArt, the organization has, through its festivals, particularly made a positive impact on the artists and professionals involved.

Figure 8 process of impact TodaysArt on players and Creative Europe

TodaysArt and Creative Europe Sylvia Pen

Figure 8 shows the impact of TodaysArt on Creative Europe and its indirect impact on social cohesion. From this research it can be concluded that, as shown in figure 8, TodaysArt has an impact on the cultural and creative professionals, the artists and its employers. TodaysArt has done this by promoting their international mobility with a view to enabling them to cooperate internationally and to internationalise their careers and has positively contributed to the content of their work and art, which has been one of the main objectives of Creative Europe.

Many of the essential elements of the main objectives and goals have been achieved, such as creating intercultural diversity, intercultural dialogue, sustainable partnerships and the promotion of transnational circulation of creative and cultural works. This study has revealed that with the results and impact that TodaysArt has made, many side-effects and indirect results come along such as a mutual understanding and respect of other cultures, and thereby contributing to the social integration of migrants and refugees. This has mainly been done by the panel discussions and by using public spaces as much as possible and trying to make it accessible for free, thus reaching a bigger and more diverse public, thus contributing to social cohesion. Additionally, new insights have come along about the impact, which was that the interviewees have all stated that the overall festival has been extremely positive for their personal development.

Through the specific objectives and goals that TodaysArt makes a positive contribution to, the expectation of the Creative Europe programme has been mostly met, which was that the programme will encourage the audio-visual, cultural and creative players to operate across Europe, to reach new audiences and to develop the skills needed in the digital age. By helping European cultural and audio- visual works to reach audiences in other countries, the programme has also contributed to safeguarding cultural and linguistic diversity (European Commission, Creative Europe, 2018). Although there are many organizations and projects involved with Creative Europe, TodaysArt as one of its smaller projects, makes a relatively big impact on the results of the Creative Europe programme, since it has achieved three of its goals, and almost fully met four of its objectives. In turn, the Creative Europe programme makes a positive contribution to TodaysArt, in terms of network expansion and personal and career development of its employers.

6.1 Recommendations The results that have been outlined in this study have led to certain recommendations in the area of this research. Firstly, the findings of this study indicate that the impact on the artists has been paramount to the overall impact of the programme in order to reach the objectives and goals. As has

TodaysArt and Creative Europe Sylvia Pen been stated in the programme, it is of great concern to create social cohesion in order to build a better democracy. One of the primary ingredients to do this, is by reducing the gap between the often abstract world of the arts and daily life, which is one TodaysArt’s fundamental aspirations.

The findings of this study show that the impact evaluation of the European Commission is mainly done through quantitative data. Nonetheless, the qualitative data such as the interviews with artists and professionals have given a more extensive explanation and indication of the impact of TodaysArt, and whether it has contributed to the goals and objectives. The abstract terminology of the goals and objectives, such as social cohesion and cultural and linguistic diversity are now mainly being evaluated through quantitative data, and very specifically how subsidy is being spent. Yet these goals and objectives are difficult to measure through quantitative data. Additionally, the results show that the impact on the artists has been big. For example, their international network has grown significantly, which creates more social cohesion. Thus, it could be a great improvement for TodaysArt to focus more on this impact on the artists and professionals in the future by conducting interviews. Moreover, the findings show that the impact evaluation does not include impact measurement on the public and people, professional development and practice, though they indicate a lot about contributing to the objectives and goals of the programme. For the EACEA and for TodaysArt, it is therefore recommended to improve its efforts in researching the programme’s impact through more in-depth research through these specific factors.

In addition, to create social cohesion and reduce the gap between the abstract world and daily life, TodaysArt’s should focus more on children, young people, people with disabilities and underrepresented groups. This study did not reveal that this has happened. A better focus on this shall increase the overall social cohesion, since social cohesion is about all individuals and groups having a sense of belonging, participation, inclusion, recognition and legitimacy, making it less prone to slip into destructive patterns of tension and conflict when different interests collide (United Nations, Creating an Inclusive Society: Practical Strategies to promote Social Integration, 2009). Something that the European Union and the Creative Europe projects should focus on, especially in times where questions about what European identity is are raised.

Lastly, for improved research on TodaysArt’s impact, its role in the WAE programme could be an interesting topic for future research as this would explain more in detail how it has contributed to the goals and objectives of the programme, hence how it has contributed to Creative Europe. Additionally, the audience survey and evaluation report of the EC will improve future research too.

TodaysArt and Creative Europe Sylvia Pen

6.2 Discussion This study has provided an answer to the research question. However, there are some factors that should be taken into consideration for the validity and justification of the research. The four interviews with the artists and creative and cultural professionals were of great importance to the results of this research and for the overall answer to the research question. Though these interviews have provided positive outcomes that met most of the expectations, it should be taken into consideration that the interviewees might be specifically chosen because it was known they had a positive experience with TodaysArt and Creative Europe. The outcomes could have been slightly different if other artists or professionals were chosen to be interviewed. Although this could provide a different outcome, it does not take the validity away of the positive results of the interviews that have been provided for this research.

Moreover, the answers to the interview questions can be hard to follow, as the We Are Europe project and TodaysArt festival are too interconnected and it is therefore difficult to see which answers are specifically answered for TodaysArt. Although this is the case, one can also state that because both these projects are interconnected and are partners, it would contribute even more to the overall goals and objectives. The expectations of the programme were met, but new insights have come along about the impact of the programme. From the retrieved data through the interviews, answers arose that the festival and programme have been very positive for the personal development and experience of TodaysArt’s employers, as well as for the artists and professionals.

Furthermore, because of the limitation that has previously been described, the results of the survey of the public is not involved in this research, though this survey is important data to complement the overall results and to show an even more realistic outcome of the festival of TodaysArt. The same counts for the final evaluation report of the European Commission, which is available in 2022 and is therefore not included, which could have given a broader answer and more insight to the main research question.

TodaysArt and Creative Europe Sylvia Pen

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Appendices

Appendix 1: Interview Transcript Maxime Zeef Creative Europe Desk NL

Amsterdam, November 21, 2018

‘’Wat is precies jullie rol bij de implementatie van het programma, dus in hoeverre zijn jullie betrokken bij de kleinere projecten en programmas?’’

In principe niet, in feite wordt het in Brussel met de Europese Commissie het programma ingesteld en die hebben daarvoor een uitvoerend agentschap aangesteld, oftwel het EACEA. Zij zijn zeg maar echt voor de uitvoering van de projecten van Creative Europe. Zij hebben in elke landen die meedoen een Desk aangesteld om de organisatie in dat land te helpen.

‘’Zijn jullie veel betrokken bij de organisatie? Jullie geven dan meer door welke organisaties subsidies kunnen krijgen?’’

Dat valt nog mee. Wij voeren meer uit wat zij bedacht hebben in die zin. Nederlandse culturele organisaties komen dan naar ons toe of naar mij toe om een afspraak te maken als ze weten van het programma en ze willen een aanvraag doen maar ze weten niet hoe. Dan komen ze eerst bij ons van hoe moet ik beginnen? En dan geven wij ze advies, uitleg maar ook feedback op hun geschreven plannen et cetera. En als dan de deadline is, dan sturen zij het allemaal online op naar Brussel, en dan gaan daar de experts het weer evalueren. Dus dan zitten wij er in principe niet meer tussen.

‘’Oke, ik dacht eigenlijk wel dat jullie wat meer betrokken waren bij de monitoring van het programma.’’

Nee, daar staan we juist ver vandaan.

‘’Zijn jullie in contact met TodaysArt oftewel The Generator?’’

Nee toevallig helemaal niet, we zijn er ook pas 2 jaar geleden achter gekomen dat The Generator staat voor TodaysArt.

‘’Oh ja klopt, dat is inderdaad ook een beetje vaag.’’

TodaysArt and Creative Europe Sylvia Pen

Maar ik werk hier nu drie jaar en ik heb hen nog niet gesproken of dat ze bij de Desk langs zijn geweest. Misschien mijn eerdere college maar die is nu weg. Dus in die zin ben ik daar niet bij betrokken geweest. Maar je had eigenlijk wat vragen over de..?

‘’Ja om eerlijk te zijn had ik wel over dat agentschap gelezen maar ik dacht omdat er in elk land een desk was, dat die monitoring eventueel wat transparanter was als het werd uitgevoerd in het land zelf. Omdat het op die manier wat ‘’dichter bij huis’’ is. Maar dat is dus eigenlijk niet zo als ik het hoor. Want dat wordt dus alleen gedaan door het agentschap in Brussel.’’

Ja, klopt. In die zin is het dus niet zo transparant en wordt het echt daar geregeld. En ze proberen het wel dichter bij huis te houden door dus die desken zoals dit in te stellen zodat mensen iets dichbij hebben en vragen kunnen stellen, in plaats van via de telefoon ofzo. Dus er is wel iets maar ja het moet wel allemaal daar geevalueerd worden omdat het een soort van onafhankelijk moet zijn. Het wordt dus ook niet letterlijk in Brussel gedaan maar zij hebben een soort van pool van 2000 experts en die worden aangesteld vanuit heel Europa. En je kan je gewoon aanmelden daarvoor.

‘’Oh dat heb ik wel gelezen inderdaad, zo’n heel rapport over de feiten en cijfers en de monitoring. Maar hoe zit dat dan, als zij jou bijvoorbeeld bellen en vragen over hoe het zit en wat meer informatie erover willen, of gebeurt dat niet zo?’’

Ja dan kan ik eigenlijk alleen maar zeggen dat je je kan aanmelden als expert, en dan zullen zij allerlei dingen opvragen over de expertise en dan kom je in een pool terecht en dan kan je opgeroepen worden.

‘’Maar dat is van het agentschap zelf? Die evalueren en houden contact met de Creative Europe Desks?’’

Nee, het agentschap stelt onafhankelijke experts in. Dus zij gaan zelf niet evalueren, zij stellen wel de kaders en aan hoeveel punten het moet voldoen. Maar de mensen die daadwerkelijk de aanvraag gaan lezen en beoordelen dat zijn gewoon normale mensen zeg maar. Ik kan dus eigenlijk ook niet meer doen dan door te sturen, want het wordt ook echt afgeraden om contact te houden met experts en omdat we dan partijdig zouden zijn. Omdat wij natuurlijk die aanvragen lezen en we leven heel erg mee met de organisaties. Nu ook in December is een deadline en ik heb nu ook bij een aantal organisaties waarvan ik weet oke dat zijn zulke toffe projecten, ik hoop dat zij gewoon gehonoreerd worden en het geld krijgen, emaar als ik dan te erg betrokken ben bij experts die dat beoordelen, dan kan ik dat weer gaan beinvloeden. En dat willen ze gewoon echt niet.

TodaysArt and Creative Europe Sylvia Pen

‘’Oke, ja. Ze willen een gewoon zo eerlijk mogelijk proces voor iedereen.’’

En ook gewoon op excellentie van projecten en ook niet kijken naar oh in deze landen hebben wat meer of wat minder.

‘’Ja, dus echt heel eerlijk en zonder iets van individuele beoordeling of iets. Wat vind je daar zelf van? Zou je het anders willen zien?’’

Hmm ja kijk er wordt heel erg overgevraagd voor het programma. Er zijn iets van 500 aanvragen voor een oproep. En waarvan misschien 14 % van gehonoreerd wordt. Dus het is gewoon een heel heftig programma. En dan denk ik, wij hebben zo veel contact met die mensen dat we misschien wel iets meer advies kunnen geven aan de EU.

‘’Ja precies dat kan ik me wel goed voorstelllen, het wordt allemaal heel erg bureaucratisch op die manier.’’

Ja heel erg. Ja daarbij denk ik dan het mag op zich wel allemaal iets toegankelijker en iets menselijker allemaal.

‘’Ja en dat zou je misschien ook juist denken met cultuur en creativiteit, dat dat niet te bureaucratisch geregeld allemaal moet zijn. Cultuur en creativiteit moeten gewoon iets menselijker benaderd worden.’’

Maar in die zin is het natuurlijk ook best een economisch programma. Dat zeggen we ook heel vaak van ja het gaat echt om de resultaten die het oplevert en de aantallen en de kwnatitatieve gegevens. En dat is soms voor cultuur ja gewoon niet echt de bedoeling. En daarom zou ik soms wel eens willen zeggen van jongens kijk ook even naar wat het allemaal ter wereld kan brengen. Bijvoorbeeld wat het betekent om experimenteel bezig te zijn of om ruimte te kunnen geven aan kunst die ze normaal niet zouden kunnen krijgen in nationale context.

‘’Dus het wordt heel erg in hokjes gestopt van hier moet je je aan houden en pas als je dat doet krijg je toegang tot het geld?’’

Ja klopt, en je moet financieel stabiel zijn en je moet heel veel kunnen aantonen. Je moet aan heel veel dingen voldoen waardoor het heel erg afvalt voor kleine organisaties. Die kunnen zich er bijna niet tussen wurmen. Of je moet echt heel erg goed zijn of goede partners hebben. Je ziet het wel dat kleine organisaties gehonoreerd worden maar het is heel moeilijk voor ze en tijdsintensief.

TodaysArt and Creative Europe Sylvia Pen

‘’Oke ja want ik dacht dat het programme ook wel deels SME’s erbij betrekt en daar een focus op heeft.’’

Ja, willen ze wel, maar in praktijk is het gewoon super moeilijk. Zeker in culturele organisaties die werken vaak met ZZP’ers die hebben vaak niet iemand vast op de loonlijst staan en als je dan zo’n vierjarig project aangaat dan moet je gewoon kunnen aantonen dat die mensen bij jou blijven. En als dat bijvoorbeeld bijna alleen maar ZZP’ers zijn dan is dat een heel onzekere basis voor de Europese Commisie, of zo zien zij dat. Dus ze willen het wel en zeker nu dit jaar is er ook voor het eerst binnen de samenwerkingsprojecten geld gereserveerd voor kleinschalige projecten, dus dat je moet samenwerken met iets van 3 landen en dat zijn vaak iets kleinere organisaties die dat doen om een soort van een bedrag te waarborgen van zov eel gaat er in ieder geval naar kleine organisaties. Dat betekent dat er iets van 100 projecten gestart kunnen worden. Dus dan proberen ze wel enigszins dat het wel een mogelijkheid is voor ze. Maar het is lastig.

‘’Ja ik had bijvoorbeeld ook gelezen dat TodaysArt naast hun eigen project geld kregen, ze ook bij We Are Europe zitten en dat is natuurlijk een grootschaliger project, dus dan zullen ze vanwege die redenen ook wat makkelijker binnen zijn gekomen om die subsidie te ontvangen.’’

Ja ik denk dus inderdaad dat omdat ze in zo’n groter consortium zitten dat het dan meer van toegevoegde europese waarde is.

‘’oke, duidelijk. Dus hoe nauw jullie samenwerken met kleinere organisaties en projecten dat is dus eigenlijk haast niet.. Ze komen meer voor informatie voor subside regelingen hoe ze de aanvraag kunnen doen.’’

Ja. Wel overigens denk ik dat ik wel kan zeggen dat we vaker met kleinere ogranisaties adviesgesprekken hebben dan met grotere organisaties. Ik denk ook omdat het allemaal nieuw is voor ze en alle hulp nodig hebben die ze kunnen krijgen.

‘’Oke en even over die objectieven en doelen. Ik denk dus dat een van de voornaamste objectieven is om een grotere publieke interesse te creeren voor kunst en cultuur. Hebben jullie daar iets van gemerkt of wat is jouw visie daarop?’’

Ja, dat is inderdaad een heel groot eikpunt binnen het programma om publieksontwikkleing te bereiken en wat groter en zichtbaarder te maken van kijk eens wat europa voor cultuur heeft en wat voor projecten we kunnen bieden. En omdat dat is want als een project een aanvraag gaat indienen dan

TodaysArt and Creative Europe Sylvia Pen moet je voldoen aan een van de prioriteiten en dat is bijvoorbeeld publieksontwikkeling en dat gaat niet alleen maar om hoe je iets voor je publiek doet maar ook hoe je met je publiek dingen doet. Dat kan heel interactief zijn maar ook van wat voor doelgroep heb ik en wie zit er voor me, en hoe kunnen we samen een bepaald project neerzetten. En dat zie je wel dat dat een van de belangrijkste dingen is van Creative Europe.

‘’Oke en denk je ook dus door het programma dat mensen die niet zo snel betrokken zouden raken met kunst en cultuur dat juist wel gebeurd? En dat daar echt een directe link tussen is? Dus dat bijvoorbeeld minderheidsgroeperingen meer erbij worden betrokken et cetera.’’

Ja. Ik heb niet zo even de cijfers qua impact, maar dat is zeker omdat dat juist bij final reports en dat je moet invullen van wat is er gebeurd en wat is er uit gekomen bij een project, dan moet je juist ook meenemen van nieuwe mensen bereiken of mensen die onrmaal niet naar theater of iets zouden gaan, di ezijn nu gekomen. Veel aantallen ook maar ook veel kwalitatieve gegevens dus ik denk dat dat zeker een heel groot punt is bij Creative Europe en dus ook mensen die misschien niet zo snel met cultuur bezig zijn om die te betrekken en dan inderdaad als een soort van instrument dat cultuur wordt ingezet voor iets anders. Dus bijvoorbeeld de integratie van vluchtelingen was een heel groot thema. Dat die beter geintegreerd worden door middel van cultuur in een bpeaalde samenleving.

‘’Dat echt meer die sociaal maatschappelijke problemen er bij betrokken worden.’’

Ja inderdaad, dat willen ze ook graag want Creative Europe is ook wel echt een cultureel programma echt voor de culturele en creatieve sector, maar de Europese Commissie heeft een soort van overkoepelende doelen gesteld en daar hebben ze allerlei programma’s gemaakt om die doelen te bereiken. Dus er is bijvoorbeeld een wetenschappelijk programma, of een eduactie prgoramma zoals erasmus en dan Creative Europe voor cultuur. Maar al die prgorammas dragen bij aan die overkoepelende doelen zoals sociale cohesie en zorg en welzijn en werkgelegenheid. Dus als Creative Europe daar ook aan bij kan dragen dan vind ik dat alleen maar een win win situatie dat je kan laten zien van kijk eens met onze Europese cultuur creeeren we banen en cohesie tussen bevolkingsgroepen en regio’s.

‘’Ja precies, ik zelf geloof daar ook wel heel erg in, maar cultuur krijgt natuurlijk altijd wat minder geld voor dat soort programma’s, maar denk je bijvoorbeeld zelf dat als dat anders zou zijn, dat dat misschien veel meer invloed zou hebben? Wat is jouw perspectief daarop?’’

TodaysArt and Creative Europe Sylvia Pen

Ik vind het heel goed als het elkaar een soort van kan versterken. Maar het is wel altijd een soort van zorg dat het niet maar een instrument is voor iets anders en dat het atlijd ondergeschikt is aan iets anders. En ik denk inderdaad dat je die artistieke waarden moet waarborgen en ik denk dat ze dat ook doen door zo’n apart programma in te stellen voor culturele en creatieve sector. Dat ze echt daarmee zeggen van nee we erkennen cultuur als een heel erg op zichzelf staand iets en als iets autonoooms en naast wetenschap en educatie is cultuur ook een belangrijke peiler. En ik denk zolang dat nog goed in de wereld gezet wordt van cultuur is ook en serieus iets, dan ben ik wel erachter staan. Want ik denk nu bijvoorbeeld als in 2021 komt er weer een nieuw 7-jarig programma en waarschijnlijk zal er weer gewoon een cultureel programma zijn. Maar stel ze hadden daar bedacht van nou het werkt toch niet zo heel erg goed we doen die oproepen van samenwerkingsprojecten bijvoorbeeld die doen we ergens bij educatie of dat deel doen we bij regionale programmas dat je het dan opplakt bij andere programma’s, waardoor cultuur dan onderdeel wordt van iets anders en niet meer een op zichzelf staand iets.

‘’Ja dat zou wel een riskant iets zijn dan inderdaad.’’

Ja, ja dat denk ik wel echt. Cultuur is gewoon super belangrijk en ook zeg maar de culturele en artistieke uitingen maken cultuur en maken mensen tot elkaar en tot elkaar komen en als je dat alleen maar onderdeel maakt van iets anders dan weet ik niet hoe dat zou uitpakken..

‘’Heb je dat zelf ook wel eens echt gemerkt? Dat bijvoorbeeld die samenhang, die sociale cohesie dat dat echt te zien was bij iets met een bepaald project?’’

Ja ik heb wel een heel tof project wat ik zelf echt heel leuk ivndt en heb begeleid bij de aanvraag en toen hebben ze het geld gekregen. Dat is rootz & rootz uit rotterdam. Het is interdisciplinair, dans, theater, hiphop en urban. Ze hebben een project waarbij ze theater en urban dance willen samenkomen en versterken en daarbij leren van elkaar. Dus ook dansers en choreografen ook samen te laten werken. Met oog ook op publieksontwikkeling. Bijvoorbeeld naar het theater gaan is voor veel mensen best een ding, maar urban dance daar is gewoon bijna geen plek voor en heel niche. Door die twee te combineren willen ze dan een breder publiek en aandacht daarvoor geven. Dat is natuurlijk leuk want naar urban dance zijn andere mensen dan die bijvoorbeeld naar de schouwburg gaan. Die mix is leuk om te zien en je brengt daardoor mensen samen die normaal niet samen zouden komen, maar ook met die inhoud van het project laat je zien dat er echt een wereld van toffe dingen is die je

TodaysArt and Creative Europe Sylvia Pen nog niet kent. Dat gebeurt op een hele open en speelse manier, met internationale mensen en laten ze workshops doen.

‘’Oke ja dat is inderaad echt een duidelijk voorbeeld. Een van de doelen en objectieven van Creative Europe is dat er een sterkere en duurzamere samenwerking komt tussen de creative en culturele sectoren, zie je dat daar echt, merk je dat dat een verschil in is gekomen? Is er echt een scheiding tussen deze twee sectoren of merk je dat ze meer samen proberen te werken?’’

Tussen cultuur en creatief bedoel je? Ja dat vind ik zelf een beetje lastig om die scheidslijn te zien. Creatief is toch wel vaak meer design, fashion, architectuur. Het is net een iets commercielere wereld dan puur de cultuur, wat meer erfgoed en theater en dat soort dingen is. Ik denk dat zekeer de creatieve sector die doet het al best wel goed en kunnen wat beter de broek omhoog houden. Maar ja vind ik wel moeilijk om te zeggen. Ik denk wel dat dit soort projecten bijdragen aan de duurzaamheid. En dat willen ze ook graag zien bij creative europe projecten, van of die projecten na de subsidie ook door kunnen gaan. Je ziet wel vaak dat organisaties of samenwerkingen steviger staan omdat ze dat geld hebben gehad omdat ze zo lan g hebben samengwerkt met elkaar en toffe dingen hebben neergezet, dus zie je dat ze wel in die zin steviger staan en toekomstplannen maken voor weer nieuwe projecten samen. Dat komt wel heel erg denk ik omdat het zo’n vreselijke aanvraag is die je moet doen. Het is zo uitgebreid en je moet zo strategisch nadenken en alles goed verwoorden. Maar vaak komt het wel atlijd neer op is er wel geld om verder te gaan. Sommige projecten hebben dat niet en als het geld op is is het klaar. Sommige lukt het wel die hebben business modellen gebruikt of gecreeerd en die kunnen dat meenemen naar de toekomst. Het is maar waar het project op focust en wat het nodig heeft en of dat duurzaam is voor de toekomst. Ik denk dat de creatieve sector daarin wat makkelijker opereert dan dat de culturele sector dat doet.

‘’Hoezo dan precies?’’

Ja omdat ik denk dat dat wat commecieler is. Media gaat veel meer geld naartoe en is veel groter en commercieler. Films zijn natuurlijk wat meer toegankelijk.

‘’Ja en voor het grotere publiek. Terwijl je zou denken dat die interesse bij het andere publiek ook op zou moeten worden gewekt, dus dat is eigenlijk een beetje tegenstrijdig’’

Ja, klopt, het is soms best wel lastig om daar mee te schipperen. Eerst was het ook apart, Media en cultuur. Ik denk dat ze dat hebben gedaan zodat cultuur dan een beetje mee kan liften op het media programma. Ze zien ook heel graag cross sectorale projecten. Media gaat wat meer geld in en gaat wat

TodaysArt and Creative Europe Sylvia Pen soepeler. Soms is dat jammer want bepaalde projecten kunnen heel belangirjk zijn binnen de culturele sector, maar is niet echt toegankelijk voor het grotere publiek en als dat niet duidelijk is dat dat belangrijk is, en groot publiek trekt, dan is dat natuurlijk ook moeilijk om aan de Europese Commissie te laten zien dat het belangrijk is.

‘’Ja eigenlijk is dat best wel interessant, ze willen dat het meer publiek meeneemt, maar toch stoppen ze dan meer geld in het gene waar ook de meeste interesse al is.’’

Ja precies, om dat een soort van te verstekren en te laten zien van kijk eens hoe goed we zijn en hoe goed we meedoen naast amerika enzo. Je hebt bijvoorbeeld ook creatieve top sectoren, dus de top tien sector creatieve industrie, dat is vanuit de nederlandse overheid waar veel interessante dingen mee worden gedaan. Dat zit ook vaak bij de economische kant, dat zit vaak bij economische zaken. Ik heb ook stage gelopen bij de ambassade in het buitenland. Creatieve industrie is altijd een soort grensgebied wat ook vaak bij de economische afdeling terechtkomt omdat daar toch wat meer geld in omgaat. Cultuur is dus wat anders en heeft een hele andere aanpak.

‘’Maar je gelooft wel dat het er komt uiteindelijk, dat culturele sector niet hoeft mee te liften met de creatieve sector?’’

Lastig, ik weet niet zeker of je moet willen dat het zo groot wordt als media. Dan verlies je ook wat aan de intrinsieke waarde van wat cultuur is. Het is super individueel en geen massa iets.

‘’Ja, precies. En met die objectieven en doelen, dat bespreken jullie ook altijd met de organisaties die de aanvragen doen?’’

Ja, we geven informatiebijeenkomsten en dan refereren we daar heel erg aan. Bij de aanvragen refereren we meer aan de speciefieke doelen. En het gaat dan ook om de kwaliteit van het project, van de partners, communicatie strategie, de urgentie of relevantie nu.

‘’En wie controleert of checkt of dat haalbaar is?’’

Ja in die zin is het heel erg menselijk werk. Nu ik het een paar keer heb gedaan weet ik wat werkt. Ik vind ook niet dat het heel erg aan mij is om te beoordelen of het haalbaar is. Wat vaak zitten die mensen er veel beter in of in dat vakgebied. Ik vertrouw er dus ook op dat de artistieke kwaliteiten er zijn. Dan kijk ik mee hoe ze die grote ideeen hoe dat in een bepaald kader komt. Het moet heel concreet en alles moet opgeschreven worden, dat is wel lastig soms. Organisaties moeten zich ook houden aan wat ze hebben ingediend, anders krijgen ze natuurlijk ook niet de rest van dat geld als ze dat niet doen.

TodaysArt and Creative Europe Sylvia Pen

‘’Denk je dat de focus op de doelen en objectieven soms te sterk is, en creativiteit niet echt de virjheid heeft daardoor?’’

Nee hoeft niet per se. Juist door doelen te stellen en te refereren aan de objectieven kan je daar goed gericht naar toe werken en daar binnen kan je heel creatief zijn en innovatieve dingen te bedenken. Door het juist zo concreet op te schrijven helpt dat juist bij je doelen te behalen. Dus dat hoeft niet beperkend te werken.

‘’Denk je dat de doelen en objectieven nog steeds relevant zijn?’’

Ik vind dat programma’s wel lang duren (7 jaar). In 7 jaar gebeurt er gewoon super veel. Dus die drie priortietien waar ik het over had zijn voor elk jaar voor 7 jaar voor elke oproep hetzelfde. Het zijn hele brede prioriteiten waar van alles onder kan hangen zoals publieksontwikkeling, mobiliteit, capaciteitsopbouw etc. voor 7 jaar lang dezeflde priporiteiten vind ik te lang. Maar ik snap het aan de ene kant ook el want het is gewoon een super loch systeem en het moet door zo veel dingen worden goedgekeurd. Duurt ook gewoon heel lang. Voor mezelf vind ik gewoon dat er in europa gewoon te veel gebeurd om voor 7 jaar dezeflde doelstellingen te hebben.

‘’Heb je zelf ook gemerkt dat dat niet meer heel erg past?’’

Omdat het zo breed en overkoepelend is denk ik ewl dat het nog past. In 2016 hebben ze een pilotoproep gedaan voor de vluchtelingen integratie. Was een conceptorale oproep. Het was best toegankelijk om mee te gaan doen. Toen hebben ze redelijk snel gereageerd op die vluchteingencrisis en hebben ze daar op gereageerd door iets met cultuur te doen en geld te geven aan cultuurprojecten. Je ziet wel dat projecten die iets doen met maatschappelijke problemen enzo meer een plek krijgt en dat wordt extra benadurkt als projecten daar iets mee doen. Je ziet wel dat ze er op in proberen te spelen. Het zou goed zijn als er wat meer pilotprojecten zijn die wat meer inspelen op de acutaliteit. Kunstenaars reageren ook op de omgeving waarin ze leven. Als dat niet past binnen de subsidie structuur dan loop je ook een beetje achter de feiten aan. Dus het zou heel goed zijn om wat meer pilotprojecten te maken. Maar ik sta er ook weer te ver vanaf van de eu om te kijken of dat geld bijvoorbeeld goed terechtkomt.

‘’Zijn er dingen die je misschien veranderd zou willen zien binnen het programma?’’

Het is misschien niet heel transparant. Wij helpen de organisaties bijvoorbeeld die we helpen. Maar we weten van heel veel organisaties dat ze ook niet naar ons toe komen en een aanvrag doen. Dus dan

TodaysArt and Creative Europe Sylvia Pen weten we eigenlijk niet wie er eigenlijk een aanvraag willen doen en daar komen we ook niet achter. Op het moment dat de resultaten bekend zijn voor de selectie, dat laat alleen zien welke projecten geld hebben gekregen. Het laat niet zien welke projecten geen geld hebben gerkegen. We hebben al vaak genoeg gezezgd tegen de commissie of het agentschap van het zou handig zijn als we weten wie er af vallen bij de selectie. Dan kunnen wij die partij benaderen en helpen voor de volgende deadline.

‘’Dus dat is wel eens gevraagd aan het agentschap, maar er is nooit iets mee gedaan?’’

Nee, meer uit een soort van, volgens mij was het argument over de privacy. Dat konden ze niet delen.

‘’Op zich vreemd, want je zou denken dat die organisaties hulp al helemaal nodig hebben.’’

Ja en ik kan me ook voorstellen dat het naar buiten wordt gebracht dat dat ook niet leuk is voor die organisaties.

‘’Denk je soms dat het onduidelijk is waar projecten aan moeten voldoen?’’

Nee op zich is het altijd wel duidelijk, maar omdat er zo veel aanvragen zijn gaan ze puur kijken naar de allerbeste projecten. Als er dan een aanvraag is die ongeveer over het zelfde onderwerp is, maar de ene organisatie heeft meer in te leggen qua geld dan de ander. Dan neigt de EU meer naar de ogranisatie die het meest stabiel is.

‘’Koppel je dingen ook terug als je merkt dat er iets misschien niet helemaal klopt qua de regeling of als je feedback hebt op het programma?’’

Uhm nou dat is wel lastig, want in pirncipe is het niet de bedoeling dat wij als desk inhoudelijk betrokken zijn. Dus een organisatie moet dat meer zelf regelen als iets niet klopt en het terugkoppelen naar het agentschap toe. Maar wij meeten 2 x per jaar met het agentschap en alle andere desken. In juni was het in Sofia in Bulgarije. Dan krijg je twee of drie dagen heel onspirerend met een powerpoint wat het agetnschap belangrijk vindt en hoe het agetnschap het probeert uit te voeren. Dan krijg je in die zin van bovenaf te horen wat belangrijk is en wat zwakke en serke punten zijn in aanvragen. Ze geven ook tips van wat zij belangrijk vinden.

‘’Als je het zo zegt komt het inderdaad echt over alsof het alleen info is die wordt doorgegeven vanuit de Eu, maar dat er niet echt ruimte is om feedback te geven.’’

Ja, ze staan er wel voor open hoor. Het agentschap kan bijvoorbeeld ook niet overal heen. Ze reizen veel om die projecten te zien en te kijken wat er dan terechtkomt. Ze stimuleren het dus wel om

TodaysArt and Creative Europe Sylvia Pen succesverhalen te delen et cetera. Ik vind het zelf nog best wel moeilijk want ik zou elk project wel willen doorgeven.

‘’Zij kiezen dus eigenlijk welk project bezoeken, maar ze bezoeken niet elk project in NL bijvoorbeeld?’’

Nee, als er bijvoorbeeld een festival als Eurosonic in groningen is, dan zijn er mensen van de commissie. Dan is er iemand die het festival meemaakt en hebben ze waarschijnlijk afspraken met mensen van het festival. Soms zit iemand van de commissie ook in het panel bij een project. Maar er gebeurt te veel om overal bij te kunnen zijn.

‘’En hoe zit het met die feedback verder, als er iets wordt teruggekoppeld naar de EU heb je dan het idee dat ze er iets mee doen?’’

Ja soms sturen ze wel eens surveys uit, en dat wordt dan op hun website gepubliceerd maar of er iets mee wordt gedaan.. weet ik niet. Het is ook meer een gevoel dat het van twee kanten beter op kan. Ik snap dat het lastig is hoor, als alle desken hun feedback toe stuurt naar de Eurepoese Unie, dan zullen zij ook wel overspoeld worden.

‘’Ja opzich, dan zouden ze gewoon een soort evaluatiecommissie moeten opstellen.’’

Er is wel een mid-term evaluatie gedaan een tijd geleden.

‘’Werken jullie daar ook aan mee?’’

Nou we hebben wel surveys die we heel breed uitzetten en we hebben een meeting georganiseerd met verschillende branches en toen zijn we wel er doorheen gegaan van is het programma wel bij jullie terechtgekomen en met vragen van wat houdt jullie tegen om een aanvraag in te dienen. Dat was heel interessant om te faciliteren.

Appendix 2: Questions Arnaud Pasquali ‘’What is EACEA’s role in the implementation of the Creative Europe programme?’’

The Agency is in charge of implementing the main parts of the Creative Europe programme (cooperation, network, platform and literary translation schemes), launching calls for proposals, evaluation, contracting and monitoring projects, payment and valorisation of results.

‘’What is EACEA’s role in the evaluation and monitoring of the programme?’’

TodaysArt and Creative Europe Sylvia Pen

We provide data, qualitative input and advice. This advice is mainly based on our own monitoring of projects. This advice goes to the European Commission which is ultimately in charge of the overall evaluation of the programme.

‘’How is the impact measured of the programme?’’

The impact of one funded project is based on a series of quantitative and qualitative indicators. The impact of the Creative Europe programme is a much more complex exercise. You can also find a lot of info by reading the report produced by the independent evaluators and the commission’s response to the report (mid-term evaluation of the creative Europe programme (2014-2020) and staff working document.

‘’Besides these final reports that are written and evaluated, are there any people evaluating the projects/festivals by physically attending them?’’

We regularly send members of our staff to events. We cannot however, visit the thousands of events that are organised thanks to our support. However, I would like to draw your attention to the fact that We Are Europe project has commissioned an independent evaluator staff to conduct the evaluation of the project.

‘’And during the evaluation at a festival or project, what important points are noticed in order to evaluate it and see what is successful?’’

We take into account the organisational aspect, collaboration with partners, communication (including the visibility of EU logo which is an obligation considering that we are using tax- payer money), and more generally that the project is implemented as planned and if not why there are changes.

‘’Do you think there should be any improvements made regarding the monitoring and evaluating of the programme?’’

We have reinforced our statistical data collection system (at project level), so that we can have more information on the overall performance of the programme. However, there will always be qualitative results and impact (on people, professional development, audience, networking, creativity, exchange of ideas and practice et cetera), that will be very difficult to quantify, and this is a crucial aspect of the programme.

‘’How do you think the smaller projects contribute to the goals and objectives of the program?’’

They can be as impactful as larger ones, especially if we connect them.

‘’How are final reports assessed and evaluated?’’

We compare the final report with the initial proposal and assess to what extent the project has achieved its objectives. We can give recommendation for the future if this is relevant or needed.

Appendix 3: Interview Transcript TodaysArt Danielle Hoog, Karel Feenstra en Olof van Winden

TodaysArt and Creative Europe Sylvia Pen

November 26, 2018

TodaysArt

Zijn jullie veel in contact met Creative Europe?

Danielle de Hoog: Voorheen niet. Die creative Europe projecten lopen zo dat je minstens drie partners moet hebben om de aanvraag te kunnen doen. Wij zitten in 3 projecten waarvan we bij twee niet de hoofdaanvrager zijn. Het is alleen de hoofdaanvrager die contact heeft met de EC. Bij de laatste editie, BlockChain My Art zijn wij wel de hoofdaanvrager. Dus ik ben nu net in oktober naar brussel geweest om een introductie te krijgen van de commissie.

Dus dan kan er daarna een afspraak voor de evaluatie en de monitoring?

Danielle de Hoog: Ja ze hebben een soort systeem waarbij wij onze rapporten moeten bijhouden en schrijven.

Dat is waar je nu oa ook mee bezig bent? Is dat nu van die voor 2018?

Danielle de Hog: Uhm nou ja WeAreEurope en Shape zijn allebei drie-jarige projecten. Dus die zijn nu in de eindfase. Ze hebben ook allebei geld gekregen voor een nieuwe periode. Dus dat is weer drie jaar. Blockchain my art is een een jarig project.

Dat was het hoofdthema van het festival?

Danielle de Hoog: Ja digital innovation is bijna altijd het thema van ons festival. Dit jaar was het thema bubblevisions. Als ik me er zelf in verdiep dan snap ik t wel. Dat kan Karel wel heel goed uitleggen.

En hoe meten jullie de impact?

Danielle de Hoog: We moeten sowieso het project heel zichtbaar maken. We zijn continu bezig om de resultaten van die projecten op websites en social media te delen met bezoekers een meetbaar resultaat is ook hoeveel bezoekers je hebt. En hoeveel website bezoekers je hebt. Daarnaast is er nu een vragenlijst voor de bezoekers die ze moeten invullen.

O ja, en dat is dan vanuit Brussel of die stellen jullie op?

Danielle de Hoog: Ja die is wel vanuit brussel gemaakt maar daar kunnen wij wel input voor geven want het is een virj lagne lijst. Je wilt natuurlijk niet dat je bezoeker een half uur een vragenlijst moet invullen.

Is het misschien mogelijk om die vragenlijst te zien?

Danielle de Hoog: Ja dat denk ik wel, volgens mij gaan wij hem ook uitzenden.

Dus voornamelijk impact meten is door middel van vragnelijsten en het meetbare resultaat qua bezoekers. Weten jullie dan ook van de bezoekers zelf, wat een van de key objectives ook is van Creative Europe, dat minderheidsgroeperingen meer betrokken zijn, dus mensen met een migratie achtergrond etc? Is dat dmv van die vragnelijst achterkomen?

Danielle de Hog: Volgens mij niet nee, ik weet dat ons publiek heel intenrationaal is. Maar ik weet per se of die mensen een migratie-achtergrond heeft. Dat wordt niet direct bij ons naar gekeken. Wat wij wel doen is talenten in muziek met elkaar delen. Dus de kunstenaars of artiesten die bij ons staan en

TodaysArt and Creative Europe Sylvia Pen goed zijn en in dat netwerk naar voren worden geschoven worden wel opgenomen door andere festivals. Op die manier heb je ook een soort migratie-verschil.

Ja precies, dat was ook een van mijn vragen. Want door Creative Europe is die samenwerking wel vergroot?

Danielle de Hoog; Ja zeker.

Dus er zijn meer internationale samenwerkingen gekomen. Denk je ook dat die samenwerkingen doorlopen nadat de subsidie van de Europese Unie is afgelopen?

Danielle de Hoog: Ik denk dat dat wel met de een is en met de ander niet. Bij shape werkt het wat anders dat is binnen Creative Europe een ander subsidie, dat is een platform. Daar zitten 16 festivals bij. We werken niet direct met andere festivals samen. Ieder festival schuift een lijstje met artiesten naar voren en daar worden er drie van gekozen. Dat zijn de shape artiesten van dat jaar en daar moet elk festival een aantal artiesten van uitnodigen. Dus daar heb je wat minder directe samenwerkingen dan met andere festivals. Bij WeAreEurope was het systeem dat elk festival 2 andere festivals uitnodigt op zijn festival en daarmee gaan ze een prgoramma makne. Als je merkt dat er een klik is dan merk je dat dat blijft. Bijvoorbeeld met Elevate hebben we ervaren dat dat in Gratz heel goed is. Dus ik kan met zekerheid zeggen dat dat wel blijft.

En waar ligt dat dan aan? Wat houdt die klik in?

Danielle de Hoog: Ze zijn een vergelijkbaar festival qua grootte. Ze hebben ook een beetje dezelfde visie. Bijvoorbeeld sonar is ook een van onze partners. Die zijn een stuk groter dus daar zal het WeAreEurope aandeel ook minder zijn dan wat het voor de kleinere festivals betekent.

Dus dat was oa ook in Tromso toch? Dat gaat veranderen?

Danielle de Hoog: Ja de aanvraag voor WeAreEurope 2 gaat veranderen en wordt meer zoals het Shape idee. Dus ene lijst met artiesten, sprekers of personen die interessant zijn wordt gemaakt. Dan kan je binnen dat lijstje weer samenwerking creeren en mensen uitnodigen. Daarnaast moet ieder festival elke week een inhoudelijk stuk inleveren op een van de media platforms.

Waarom hebben ze dat gedaan denk je?

Danielle de Hoog: Omdat ze wat meer verdieping willen. Maar er wordt nu nog wat over gedebatteerd. Dat wij elke week een media stuk of artikel moeten leveren is niet onze core business dus dat is best wel lastig.

Maar jullie hebben dus een aantal projecten die onder creative europe vallen. En van 1 zijn jullie hoofdaanvraag?

Danielle de Hoog: Ja, dat is blockchain my art. Maar daar hebben we dus wel 2 andere partners bij.

Dat is een van de eisen?

Danielle de Hoog: Ja je moet minstens met drie organisaties partners worden of iets opzetten. Want het idee is dat je binnen europa kennis uiwisselt.

Hoe merk je dat die kennisuitwisseling gebeurt?

TodaysArt and Creative Europe Sylvia Pen

Danielle de Hoog: Bij blockchain my art bijvoorbeeld heeft SeaNaps onze partner daar die hebben hun festival bestaat 2 jaar. Het hele festival wordt door blockchain gerund. Die kennis die zijn zij nu met ons aan het delen. Dus wij proberen op die manier bij verschillende festivals het uit te testen en we hopen dat dan wordt opgepakt. Op die manier creeer je meer openheid en waar bezoekers hun geld naartoe gaat en op die manier wat meer commitment krijgt van de bezoeker.

Denk je dat er iets beter zou kunnen worden gedaan of iets zou moeten veranderd aan het programma?

Danielle de Hoog: Ja ik denk dat het rapporteren wel zou kunnen veranderen of beter kan. Daar wordt nu wel tegenaan gelopen.

Dat komt omdat het hele grote documenten zijn?

Danielle de Hoog: Ja zeker, als hoofdaanvrager moet je alle documenten en facturen en administratie van partners controleren. Dan komt daar nog een accounant bij en dan kan het zijn dat de europese commissie er nog een controle op doet.

Dat is tot nu toe altijd wel goed gegaan?

Danielle de Hoog: Wat ik tot nu toe heb begrepen is dat het nog wel lastig kan zijn. De accountants die kennen wel het systeem binnen hun eigen land maar niet van andere landen. Dus als ze dan facturen moeten controleren van een ander land dan is dat lastig. Dan krijg je een controle van de Eurpoese Commissie en dan blijken dingen niet goed te zijn waarvan je wel dacht dat ze goed waren. Dus wat ik begrepen heb is dat er best veel van dat soort projecten niet het laatste deel van de subsidie krijgen hierdoor.

Maar dat hebben julli enog niet ervaren?

Danielle de Hoog: Nee, wij zijn nog niet zo ver.

Van wie ontvangen jullie allemaal subsidie?

Danielle de Hoog: Ja dat verschilt per festival. Onze voornaamste subsidie gever is de gemeente. En stimuleringsfonds, mondriaan fonds en fonds 21 VSB fonds soms en dan nog wat kleinere fondsjes.

Creative Europe is dus niet het grootste?

Danielle de Hoog: Nee creative begint wel te komen en het is een groot bedrag, maar het wordt verspreid over drie jaar.

Hoe zijn jullie precies op jullie doelen en objectieven gekomen?

Danielle de Hoog: Je bedoelt onze eigen?

Ja jullie eigen doelen en objectieven.

Danielle de Hoog: Ik denk dat dat meer een vraag voor Karel is.

Dan ga ik verder met de volgende vraag. Dus het contact met het agentschap is er niet echt.

TodaysArt and Creative Europe Sylvia Pen

Danielle de Hoog: Ja als hoofdaanvrager wel. Als er iets veranderd binnen het project dan moeten we direct contact opnemen of als we vragen hebben.

Komen zij ook wel eens hier heen om het festival te bekijken?

Danielle de Hoog: Ja, zij is wel eens hier geweest op het festival zelf. Dat was nog wel een onofficieel bezoek. Op dat moment was de subsidei nog niet toegekend. Dus ze kon er nog niks van vinden. Het was een heel enthousiaste vrouw wel verder. Blockchain my art is wel een uniek project binnen Creative Europe en daar is zij een enorm voorstander van. Ze heeft hoge verwachtingen van ons.

Dus dat is ook wel in jullie voordeel.

Danielle de Hoog: Aan de ene kant wel, want dat zorgt wel voor een hoop vertrouwen. Maar je komt daardoor ook onder extra controle te staan.

Karel Feenstra: Maar die controle heeft er natuurlijk ook mee te maken omdat we al in twee andere samenwerkingsprojecten zitten ook. Dus als een heel klein team snoep je toch wel uit verschillende subsidiestromen mee. Wat allemaal heel goed uit te leggen is en het is ook heel complementair maar Europa ziet natuurlijk wel nou dat is een kleine organisatie waar relatief best veel geld naartoe gaat.

Danielle de Hoog: ze werken op basis van matching. Dus wat je op basis van subsidie krijgt dat moet je zelf ook het zelfde bedrag op tafel kunnen leggen.

Karel Feenstra: Dat kunnen wij ook wel, geen probleem.

Danielle: ja zeker, maar daardoor gaan zij wel denken van oke daar moeten we even extra op gaan letten.

Karel Feenstra: Wat ik ook goed vind trouwens.

Ja dus jullie zijn niet afhankelijk verder van het creative Europe programma? Jullie zouden wel door kunnen gaan zonder de subsidie van creative europe?

Karel Feenstra: ja zeker. Ja dan zouden we wel andere dingen gaan doen denk ik. We halen ook heel veel uit het europese netwerk. Ik denk niet dat het partnerschap met de andree festivals zouden omvallen als het europese subsidie niet meer zou zijn.

Ja die partnerschaps zouden wel echt blijven?

Karel Feenstra: Ja omdat we ook merken dat inhoudelijk de dialoog die we met elkaar voeren en de artiesten die we bij elkaar neerzetten dat zou je ook door middel van andere financieringsmiddelen mogelijk kunnen maken.

Ja, maar het is wel echt onstaan door Creative Europe?

Karel Feenstra: Ja, zeker. Dat is wel een belangrijke motor geweest achter de vrij hechte club van festivals. Wat olof in tromso laatst zei op een podium, vrij afsluitend verhaal, hij zei dat het ook meer is dan alleen gewoon een zakelijk samenwerkingsverband. Er ontstaan ook echt nieuwe vrienschappen en dat is heel interessant dat je met gelijkgestemden in Europa in gesprek raakt en elkaar opzoekt en ook buiten de festivals opzoekt en elkaar inspireert en verder helpt. Dus die ideeenwisseling is ook op persoonlijk niveau heel goed.

TodaysArt and Creative Europe Sylvia Pen

Dus het verbreed je horizon voor jezelf ook heel erg?

Karel Feenstral: Ja, absoluut.

Danielle de Hoog: Een van de vragen uit het rapport is ook hoe bepaalde mensen in het netwerk gegroeid zijn. In eerste instantie gaat die vraag over de artiesten die via zo’n netwerk een kans krijgen om op meerdere plekken te staan. Eigenlijk gaat het ook over het personeel. Dat ik bijvoorbeeld de administratie heb gedaan voor WeAreEurope en Shape dan kan ik dus ook bij blockchain my art ook iets doen. Zo zijn er meerdere organisaties die op die manier dingen leren.

Ja, dus het is echt een heel positief punt die internationale samenwerking.

Kare Feenstral: Ja en wij zijn ook wel echt in het Europese samenwerkingsverband betrokken maar olof is natuurlijk ook in veel meer relaties over heel de wereld.

En nog even een vraag over het evalueren. Hoe evalueren jullie het festival? Hoe doen jullie dat zelf voor de final reports?

Karel Feenstra: Naja kijk aan het eind van het festival hebben we een hoop cijfers. We weten precies hoeveel mensen er zijn geweest, welke artiesten er hebben gestaan. Dat gaan we dan allemaal netjes onder elkaar zetten. Dus met het hele team hebben we bij elkaar gezeten en het festival doorgenomen. Wat er goed ging, wat er beter ging. Dat is een hele procedure.

Ja, best wel taai werk lijkt me.

Olof van Winden: ja en er zijn verschillende manieren van evalueren. Voor elk fonds moeten we apart evealueren. Elk fonds heeft aparte criteria en daar moet je ook naar antwoorden. Veel zijn financieel. De eu aanvragen moeten heel specifiek financieel. Dus er is heel veel evaluatie, voormamelijk achter het bureau.

Vinden jullie dat belangrijk?

Karel Feenstra: wat mij betreft zou het handiger zijn, maar die gesprekken lopen ook al zeker op nederlands niveau, om die reportage verplichtingen met alle fondsen helemaal gelijk te trekken. Zodat je met 1 verhaal, met 1 reportage meteen aan iedereen uitlegt wat er gebeurd is en je verantwoording kan afleggen. Dat scheelt administratief veel tijd bij ons.

Olof van Winden: het is ook wel logisch. Er gaan miljoenen in om en dat gaat naar 28 landen en overal wordt dat geld verspreid en er moet ergens wel een manier zijn om het te controleren. Maar ik denk dat je voor die 10 % creatieve output, heb je 90% adminstratief nodig in aanvraag en verslaggeving.

Karel Feenstra: ja kijk en als we het slim organiseren dan leggen we die adminstratieve shit gewoon bij andere mensen, zodat je zelf veel creatief bezig kan zijn.

Dus iedereen werkt eigenlijk wel mee aan die rapporten?

Karel Feenstra: ja klopt, wij schrijven wel de bulk van het verhaal maar ik haal iedereen er wel bij en ik benieuwd naar andere mensen hun bevindingen. Wij nemen zelf een hoop baar maar zo’n festival is natuurlijk heel druk we zien allemaal 90 % niet.

- Filmpje festival wordt laten zien.

TodaysArt and Creative Europe Sylvia Pen

Het voelt ook echt wel heel internationaal met alle artiesten en kunstenaars uit het buitelnand. Dat is wel echt te zien aan het filmpje. Was dat altijd al zo?

Olof van Winden: ja altijd wel. Het is best wel een internationale scene ook wel. En het is wel een ontmoetingsplaats geworden voor die scene. Ik kom net uit sint petersburg, hele interessante scene en in juli gaan we samen iets organiseren. We proberen ook waar we komen iets nieuws te vinden. Dus met die technologie daar is ook iedereen mee bezig en komt veel innovatie uit voort.

Die technologie dat dat een groot ijkpunt is alitjd geweest?

Karel Feenstra: Ja eigenijk wel. Daar komt wel een fascinatie vandaan. De techcultuur, stedelijke omgeving dat zijn wel de factoren en ik denk dat het ook belangrijke onderwerpen zijn binnen de samenleving. Het gaat veel over inspiratie, hoe gebruik je ruimte.

Olof van Winden: we hebben ook wel goed contact met Creative Europe. We hebben WeAreEurope, Shape en BlockChain projecten met drie europese festivals. WeareEUrope zijn de wat grotere projecten en festivals. Shape is meer met de internationale artiesten. Blockchain creatives is veel meer gefocused als een project van een jaar. Er is nu weer een call voor de volgende Creative Europe. Iedereen is nu aan het kijken van wat is er mogelijk, wat kunnen we nog meer aanvragen. In december is er weer een deadline voor samenwerkingsprojecten voor 2019. Je ziet dat deze hoek van kunst en creativiteit, dus creative industries, design en technologie en muziek, dat vindt europa ook wel interessant want ze zien dat er een interessante doelgroep aanhangt. Het gaat bij de projecten ook heel erg om de europese identiteit van waar staan we voor en daarom is europa er heel erg op gebrandt dat we het heel erg branden en dat het projecten zijn die gefinancieerd zijn door de EU. Wij halen er bijna meer geld vandaan dan nationaal. En er zijn steeds meer mogelijkheden. In december is er een call voor een project in 2019. En voor de venetie biennale is het ook heel interessant voor ons, want dan kunnen we kijken hoe we met lokale kunstenaars eventueel zouden kunnen samenwerken. Elke organisatie komt met twee of drie artiesten en daar maken we een tentoonstelling van.

Een van de objectieven bijvoorbeeld interculturele dialoog, sociale cohesie. Hoe vinden jullie dat dat wordt bereikt?

Olof van Winden: Ja dat wordt zeker bereikt. We bereiken best wel veel publiek. We presenteren dingen die we anders niet zouden kunnen presenteren. We maken ook wel duidelijk dat het in dit soort projecten zit.

Karel Feenstra: het is natuurlijk ook al zichtbaar in het context programma dat de penal discussies die we organiseren en de presentaties. Die kubussen van we Are Europe geeft dan licht, dus dan zie je dat het in die context wordt gepresenteerd. Maar we communiceren ook heel duidelijk erover dat de gesrpekken en verhalen die worden gevoerd, die zetten we beij elkaar op de festivals. Dus dan ontstaat er een soort doorlopend gesprek, een doorlopende dialoog in verschillende lidstaten die gehosted worden door de festivals die in dat netwerk zitten. Het is interssant voor ons omdat we meerdere partners hebben dus meerdere festivals bezoeken en dus pik je een aantal van die gesprekken op, en ook begin je een beetje het doorlopende verhaal te doorgronden. In de meeste gevallen zit er daar een publiek en die krijgen daar een kleinere hap uit. Maar ik ben ervan overtuigd dat ook als je als publiek daar zit, en je maakt een zon panel discussie mee, dat je ook wel de diepte voelt dat het ergens vandaan

TodaysArt and Creative Europe Sylvia Pen komt. Dat zo’n panel gesrpek niet zomaar een toevalligheid is maar dat daar een gedachte achter zit en verder gaat en dat merk je ook aan de mensen die op zo’n podium met elkaar gesprek gaan.

Hoe merk je dat dan?

Karel Feenstra:Ja ze hebben al een gesprek met elkaar en ze verwijzen ook naar andere evenementen die ze hebben gehad. Het is ook een beetje abstract misschien. Ik bedoel, wat is kunst nou precies. Als je naar goede kunst kijkt dan zie je dat er diepte achter zit, dat er een laag onder zit wat zich onderscheidt van iets wat zonder al te veel aandacht merkbaar is.

Olof van Winden: Toen ik begon, toen we te horen kregen dat we geld kregen voor het project. Dat was ongeveer het moment dat europa in elkaar stortte. Dat brexit er doorheen was, extreem rechts gevaarlijk dichtbij kwam. We hadden dit project ook heel erg gericht op europese identiteit en positief benaderd. Het was ook het moment dat griekenland economisch in elkaar stortte. Een van de partners zit ook in griekenladn heeft het doorstaan. Vanaf het begin hebben we gezegd dat we niet politiek zijn maar dit is toch degelijk een boodschap. We nodigen bijvoorbeeld filosofen uit et cetera.

Karel Feenstra: ja en juist dat hele kritische geluid en dat we daar een europees platform voor hebben, dit, we are europe met ook een website waarop we ook die verhalen vertellen en reportages laten zien, dat is interassant. Ik ben bijvoorbeeld afgestudeerd in rechten en heb mijn scriptie geschreven over Europees burgerschap en ik was me heel erg aan het afvragen in hoeverre is dat nou een instituteet naar iets wat we moeten streven om die onderlinge eenwording te versterken. Ik heb dat juridisch, sociologisch en meer filosofisch bekeken en een van mijn conclusies was, aan het begin van de eeuw ontbrak het van een europees platform waarop we deze gedachtes konden delen en een soort ojbectief europees nieuws konden delen.

Olof van Winden: maar ik denk ook geopolitiek. Bijvoorbeeld de VS die zijn meer een united state, veel meer een soort american above all. Wij zijn niet EU above all, er is veel meer diversiteit in Europa.

Karel Feenstra: Ja, maar ervaar jij dat dan niet, als jij in Japan bent of in Mexico etc en je komt daar, dan ben je een Europeaan en zit je opeens met een Zweed en een Duitser.

Olof van Winden: Ja maar ze komen dan wel met welk land en dan krijg ik meteen alle voetballers om mn hoofd. Ja en qua mentaliteit des te meer. En juist die diversiteit en dat we hier gezamenlijk kiezen om belasting te heffen en daarvan onderwijs van te geven en health care etcetera, ik verbaas me over hoe een wel ontwikkeld land zoals vs zo erg achterloopt vanuit een europees perspectief. En de mate van vrijheid van denken en doen die we hebben, dat is ongekend. Dat we geld krijgen ook van de EU om dingen te presenteren is ook bijzonder en ik denk dat we daar ook wel heel trots op zijn en hele vette dingen van kunnen maken. Ja dus het is een super interessant netwerk, we ontmoeten de collega festivals 5 a 6 keer per jaar. Het is een heel tof netwerk waar heel veel kennis in zit.

Ja, toch wel positief, die Europese Unie.

Karel Feenstra: haha, ja zeker.

Danielle de Hoog: ja en daarom is die verslaggeving ook zo belangrijk om dat binnen de Europese Unie en voor Creative Europe om te laten zien dat ze subsidie moeten blijven kunnen krijgen. Dus de resultaten zijn heel belangrijk.

TodaysArt and Creative Europe Sylvia Pen

Olof van Winden: we waren 3 a 4 weken geleden in tromso. Daar is ook iemand van de EU aanwezig. Het is natuurlijk een mega apparaat. Maar er zijn natuurlijk ook gedreven mensen achter dat, die zien wat interessant is.

Danielle de Hoog: ja zij moeten ook binnen de commissie dat verdedigen en laten zien wat geld moet krijgen.

Is dat het agentschap die de festivals bezoekt?

Olof van Winden: ja je hebt het EACEA, en daar zit een controlemechanisme in en ook denk ik dat het belangrijk is om een soort betrokkenheid te hebben. Video’s zijn ook heel wat, voor de rest is het heel veel papier.

Wat je zei over de europese crisis? Is dat nog steeds aan de hand en gelinkt aan Creative Europe?

Olof van Winden: Ja ik denk dat met kunst en cultuur, mensen hebben er altijd wel behoefte aan. Hoe zuidelijker je komt, hoe gunstiger het klimaat ervoor. In tijden dat Griekenland in crisis zat, zaten mensen alsnog in hun mooiste kleren in de avond naar buiten te gaan. Ze lieten hun armoede daar niet in zien. Dat is denk ik ook wel het positieve aan de mensen en aan de waardes die we hebben in Europa. En ik denk ook, we werken veel in landen, we zien vershcil in publiek. Er is veel overdaad en er zijn veel contenten. Appendix 4: Interview Transcript Alba Corral December 17, 2018

Sylvia: Could you firstly tell me a bit about what you do?

Alba: I am a visual artist and I am a coder, because I create visuals with code. I am a teacher too. I teach this kind of workflow to use the code in a creative way. In the beginning I started as a programmer, like a normal traditional programmer in a studio. I was born in Madrid, but after that I moved to Barcelona. During that time in Barcelona there were very good people and studios using code in a creative way. I started to learn the tool that I use now (processing > http://www.processing.org ). Step by step I changed my work, my normal office work, to becoming an artist. Now I am a freelancer and all my time is filled with these kind of things, like teaching and content with visual arts.

Sylvia: That is really cool. I have seen your work and I really like it. So you did not actually start as an artist, but you kind of rolled into it?

Alba: Yes, it all happened later. Because when I studied computer sciences in the 90’s in this kind of career, in that time, all the artist in that way were already super advanced and far.

Sylvia: So you mean there were not a lot of opportunities to do something in that area as well?

Alba: Yes. It was cool because I have debates in my language, which can be the code. And with the code I program the tools to draw online or to make an installation or a video. For me a good point was when I moved to Barcelona, where I started to learn more. Especially with the art tools, because I did not know anything before about the painters. I am very patient, but I did not know anything about the theory. I started to study and buy books and read etc. My studies was a really good point to have all this kind of artistic basis. It was very important to pass this process in this scene.

TodaysArt and Creative Europe Sylvia Pen

Sylvia: And how did you get in touch with We Are Europe?

Alba: I got in touch with WAE because I played at Sonar. I played three times at Sonar but the last time was in 2016 I believe. I played with Bruna and Wooky, who are two Spanish/Catalan artists. And then I started to be in the rooster of Sonar with them. So in the beginning I played with them. After, I started to play with different artists from We Are Europe. I travelled a lot in 2017 and I met Daniel from Elevate and it was very important to me, because when I met Daniel I started thinking about the fulldome that I created and all this other stuff. He introduced me to a lot of other artists, festivals and other places. We started to make like a little family in We Are Europe.

Sylvia: I hear that often actually, from the people I speak to about We Are Europe. Everybody tells me that the people that work with We Are Europe are nice and kind and that it is also on personal level really good and interesting.

Alba: Yes, for me the best was also on personal level. Of course, with Olof from TodaysArt it was always super funny and cool . We start to meet in other festivals like Sonar, enjoying the concerts and events . In these kind of hours where you are not like a professional. At that moment we were just talking and suddenly I talked to him about the creative process and that it was very interesting for me to play with a musician. Olof started to understand the way that I work. After that, he booked me for so many things and also for many collaborations with musicians. I think what comes first with We Are Europe is the professional part, but for me one of the most important things was the personal feeling with all of them. And everybody travels to every city and festival, so we go to different parts of Europe. Then you are not alone in these festivals, it is super cool to have your family with you wherever you go.

Sylvia: Yes it sounds really nice. So for example what you said about Olof and that you can talk to each other in an informal way, also helps with getting inspiration?

Alba: Yes definitely, I have so much freedom. And with the full dome, it was because he knew Daniel and I were super patient. After that I started to prepare, and I went to Montreal (SAT) and prepared my piece

Sylvia: So everybody is equal and can say what they want and think what they want. I can definitely imagine that it contributes to coming up with creative ways to do something and getting a lot of inspiration.

Alba: Yes it is so important. For me, I am a creative artist, so I create things. But I need the support as well. If I create a full dome piece, but I do not have the dome in the festivals, it is impossible to exhibit.

Sylvia: And for that you worked a lot with Daniel?

Alba: Yes, he support me with my creation production, and we went together to different fulldome festival like fans and friends.

Sylvia: Yes so that was also one of my questions actually. You already kind of said it but how has We Are Europe and TodaysArt contributed to the content of your art?

Alba: It is super important because there is one part that We Are Europe does so well. Of course there are many things they do well but the most important part is that I can focus on my work. They prepare

TodaysArt and Creative Europe Sylvia Pen a lot, from the first e-mail for the booking, for the diffusion or for the press etc. And then the only thing that I need to do is work for my business and content of my art.

Sylvia: So you mean you have more time to focus on your art and work?

Alba: Yes. For me for example, it is impossible to have a manager. Because in Spain the artists does not ear so much money, and I do not have a manager or a booker. I prefer not to have a booker because I have so many projects. But there is a lot of time and work that goes into these kind of things as writing e-mails etc.

And with we are Europe it is super easy because I want to go to different festivals and I know that they are of high of quality, because we are Europe works throughout the whole year with all their content. They proposed me to work with some musicians and I trust them because I know that they do their best.

Sylvia: Yes, I can imagine. And for you, you said that you started a bit in Barcelona but has WeAreEurope and TodaysArt also made you become more international? Did it also have an influence on your work or art?

Alba: Yes of course, because I can see so many different pieces, and different artists and cities too. And I also see different ways to organize a festival because I am part of a little festival too in Catalonia, the name is Eufonic. It is tiny but super cool. In Barcelona I can play, but not all the time. It changed the way that I look at things. And for me because I am a visual artist it is so important to see and look at different landscapes. When I was in Tromso, there was such a different landscape, with different colours etc. Or for example Graz, a very inspirational city. I like to walk around in these cities to see everything, this gives me inspiration. And for example, when I met Daniel, who is a very open source, political and democratic person and with the talks of WAE, because WAE is super important with these talks and panels. I think that this contributes to the way that I work. Because I think about the tools that I use.

Sylva: so you mean that the programme is important, so it is also important how you present your work to these visitors?

Alba: it is more like imagining the tools that I use to make my work, I try to use open sources and re- use more for example.

Sylvia: And how has WAE and TodaysArt contributed to your career? You got to meet more people, got to do more work etc. Can you tell me a bit about this?

Alba: Yes of course, because to get the opportunity to go to these beautiful festivals, I also meet so many different people and artists.And Live like an artist. Earn Money. And after that, because now I am not with WAE, I still have the connections. For example if I now want to prepare another piece for the next year, it is super easy because I have the contact information of the people to make that work.

Sylvia: In that sense it improved your network. You have everybody close to you that you need in order to do something?

Alba: Yes definitely.

Sylvia: and you attended a lot of festivals with we are Europe and TodaysArgt?

TodaysArt and Creative Europe Sylvia Pen

Alba: Yes so many. Some many festival in WAE were booking me. And that is really nice.

Sylvia: Yes that is nice and good indeed. Did you have any expectations like that?

Alba: No I didn’t. I think that it is important in WAE to have visual artists as well, because it is not only about the music. They put the visual artists in there in a clever way, like the musicians. And it was very important. And then you have a visual artist that can work with so many different musicians, so you have a good flow. Especially when I talk to you about all these years that passed and what I done, I think it is super cool.

Sylvia: So it is only a couple of years but you have done a lot.

Alba: Yes and now my work is more international. I can go to Los Angeles with another project and I am more secure now. It is a different city that has never seen my work, but now I know how to deal with the new festival and with the promoters etc., because I learned this at WAE.

Sylvia: so you have experienced those kind of things before, and have the knowledge for future projects and new opportunities.

Alba; Yes before I worked but not from the inside of such festivals. There is another network with WAE, ICAS, but at that time I did not take part from the inside. I just took part in it as an artist. But now I know more about the organization and the production etc. I have more aspirations and know more.

Sylvia: that is good, I am happy for you. So did you have more collaborations with other artists as well?

Alba: Yes for sure, I played with other artists that I did not know before. Now I start to work in half a year with a full dome partner, but it is independent from WAE, because we were inside with the dome in WAE. And it is super cool because these people know me in WAE.

Sylvia: so you are planning on continuing with working together with the people that you have met at WAE and TodaysArt?

Alba: Yes, definitely.

Sylvia: And has it improved your European and international mobility?

Alba: Yes. For example I am going to Los Angeles, and in January I am going to Munich with another artist. These next six months I will be focusing more on teaching and studying and to have residencies etc. Maybe this is one of the things that WAE does not have, residencies for artists to stay for a longer time at a place to work. I think this is very important for artists, to have a place to work. So when I go to a WAE festival I do not have a residency, but maybe it could be a very good idea to have a residency for artists and for people that work there to stay longer.

Sylvia: That is a good idea indeed, because that way you can get more engaged with everything and do more things.

Alba: Yes and it is also important in different cities to know the local artists and galleries that are there. I talked a lot about this with Olof.

TodaysArt and Creative Europe Sylvia Pen

Sylvia: And is there maybe something else you would like to say about WAE or TodaysArt, maybe if it has changed you or anything?

Alba: Yes I think that I changed. I miss WAE, and the people that I am friends with. But it is also this kind of support for us that I miss. Especially in Spain where it is a little difficult. We do not have the same subsidies and here as an artist it can be quite complicated. But now I am happy, because I have different projects and work. I do not know my future, but it is okay because I am now in the present. And although WAE is not in my career now, other things happened and are happening and that is cool. Appendix 5: Interview Transcript Lisa Blanning December 18th, 2018

Sylvia: Could you tell me a bit first about what you do?

Lisa: I do not really work for We Are Europe but I have done work for them. I am a freelance music journalist and I am also a booking agent. Part of my work as a music journalist is doing a lot of panel moderation. I do this for all sorts of different organizations. When I first got involved with We Are Europe was when I met Loic from Arty Farty at Sonar a few years ago. I did not know about the project until he told me about it. He then invited me to review one of the WAE festivals, which was Reworks in Thessaloniki. I believe that was the first one. I went to Thessaloniki and I wrote about the festival for one of the publications that I regularly write for. After that, Loic mentioned that WAE runs their own publication online, a web magazine. He asked me to do several interviews on behalf of that publication, which I did. After that, I do not think they knew at first that I did panel discussions, but I was asked to do panel discussions at WAE festivals. So yes, I have done several kinds of different works for them. I consider myself to be a freelance journalist who has worked with them in that regard, but I do not really think of myself as part of the organization. I work with the organization regularly and I like the people there very much, and I think that the festivals are very interesting and that its an interesting project as a result of that.

Sylvia: And how do you feel that it contributed to your own career?

Lisa: When you work freelance, any work or assignment is beneficial for your career. And as to whether or not people noticed it, I think that people were certainly aware of the panel discussions I moderated on behalf of WAE. These were especially interesting topics or specific topics. For instance at Nuits Sonores 2018 the discussion was about Blockchain and I had actually done a couple of interviews about BlockChain for them. The reason they asked me to do that was that I had done an interview for a different organization about Blockchain. They knew I was familiar with the topic and at the time there were not that much music journalists that knew anything about that. For Sonar this year 2018, the topic was the new internet, another good and interesting topic that is outside the role of just the normal of what might happen at a music festival. I think that those have probably reflected well for me.

Sylvia: So there were new subjects or topics for you as well? In the sense that you learned something new at these panel discussions?

Lisa: There was one new subject, I believe. However, it was related to work that I had done in the past which is why they asked me to do it. The blockchain was not a new topic for me, but because they

TodaysArt and Creative Europe Sylvia Pen asked me to do multiple different small projects related to that, it made me more established as a music journalist to be able to speak about that topic.

Sylvia: And you said you lived in Berlin, so you grew up in Europe as well?

Lisa: No, my father was in the air force, so we moved every three years as I grew up, so I did spend three years of my childhood living in England. More recently I spend ten years living in London. And now I have been living in Germany for about 7 years. So I have been living in Europe for almost 17 years.

Sylvia: And did you sense that the whole festival was international, or did you also meet people from outside of Europe?

Lisa: Everybody who I have met from the organization was from Europe, but the only people that I have met from the organization are people from the various festivals that make up the organization. And all the festivals are European festivals of course.

Sylvia: Do you feel that WAE has created many different opportunities for you? Since you started working a bit together with them?

Lisa: Yes, because they have asked me to do different kind of work for them. When they invited me to review the reworks festival for example, that is completely normal. All the work that they have asked me to do is the work I get regularly. But the fact is that they, as an organization, have asked me repeatedly. That has been very beneficial for me. It is nice to be asked to do the work, but one of the reasons that it is nice is that the work that they want is of a level that I really appreciate. They are asking interesting questions and it’s not fluffy stuff, it is actual real questions. Its intelligent and they are not trying to dumb anything down which I really appreciate.

Sylvia: Was it in that sense different from the work you normally do?

Lisa: No not really, because that is what I am known for. So it is the kind of work I gravitate towards. But I would not keep working with them if I thought what they were doing was dumb.

Sylvia: And how has it increased your network, maybe in the sense of partnerships of cooperation with other people in your working career?

Lisa: That has been a really significant change. It is a network of 8 festivals, whereas I already knew the people of one of the festivals before meeting them all at reworks. Now I know people from all those festivals. I think they were a really good group of people. We all get along in terms of friendliness and being able to hang out. I think it is a smart group of people who have the same values and who care about the same things. That was really one of the things I get out of the association, this congeniality and being amongst a group of peers. Not just in the sense that we all work in similar industries, but also in the shared values and being able to have fun at these events together. That has been really special.

Sylvia: Yes everybody tells me that it is not only on career level but it is also on personal level really interesting and nice.

Lisa: Yes, I think from a career perspective, it is the main thing that the work that they have asked me do has been interesting, and they were quality stuff. I especially thought that the recent panel

TodaysArt and Creative Europe Sylvia Pen discussions were good and I really liked the topic at Sonar, which was ‘’The new internet’’. That one was also special because Sonar is such a big festival, so there was a big audience and it was a good panel line up which I really appreciated. However, I do panel discussions and interviews all the time, so the actual bits involved of what I am doing for them is not that different of what I am doing for anybody else. But it’s a high level of quality which is good.

Sylvia: And also the international aspect is not really new for you?

Lisa: No.

Sylvia: But has it improved you international or European mobility?

Lisa: Yes, in the sense that I visited some of these festivals which were in places that I have never been before. But as a music journalist you are doing that every year anyway.

Appendix 6: Interview Transcript Maxime Faget December 17th, 2018

Sylvia: I was wondering if you could tell me a bit first about what you do?

Maxime: I am a festival director. I am running the Seanaps festival in Leipzig for two years now. From there on, the reason I started talking sometimes during We Are Europe is because we created one payment system for festivals or for cultural events relying on blockchain technology. We use it to enhance fairness and transparency within the cultural segment. It looks like a cashless solution, but the worth resides elsewhere: it’s a decentralized, self-adjusted, independent alternative to cashless monopolistic solutions. Behind it is a lot political, economical aspect. From the first experiment at SeaNaps, we created a bigger project with other festivals and NGOs, called “Blockchain My Art”. Since then I have been touring a lot in Europe lately to talk about this project. That’s why I’ve been a lot to We Are Europe events.

Sylvia: So that is how you got in contact with We Are Europe?

Maxime: Yes.

Sylvia: Did they contact you or did you contact them?

Maxime: I cannot really say. I think it was more a bit of mix. I contacted some persons who were in relation with We Are Europe. I think it was the streaming platform resonate for example. And then I got in contact with Olof van Winden from TodaysArt and Daniel Erlacher from the Elevate festival. All of this before the first edition of Seanaps. They were supposed to come to our festival in Leipzig in 2017 and to give a talk about blockchain. Eventually they invited me to theirs. In between the first and second editions of Seanaps I went to TodaysArt, Elevate, Nuits Sonores, C/O Pop and I think that’s it, to mainly talk about the project we are doing.

Sylvia: And how has We Are Europe and TodaysArt contributed to your career?

Maxime: Well for me it has been important from the start. From the beginning of SeaNaps, we always thought we wanted to work on European topics and scales. So we were prospecting from the start for

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European festivals networks. And We Are Europe was really matching what we were searching for. It was positive news when I got contacted by them. I knew we are Europe before we got in contact with Elevate and Todaysart and I was actually planning on writing to them because I was interested in the approach. So for me it was matching with what I am doing and researching on: culture plus politics plus technology plus social innovation. They take this approach to a large audience and that makes them interesting and important in today’s debates. That is the approach we also want to have, to be broad minded and committed politically. It directly matched with what we were doing, and I think it has been helping us in many ways. Be it only the reporting sometimes through social media information about us and us having articles I can really say that it has had positive effects for our festival, our project and indirectly on what I am doing personally: by enlarging my network for example, giving me access to panels and medias I might not have reached before. It helped me crystallizing panel interventions as one of my professional occupations.

Sylvia: So what kind of positive effects were it on your career, and why were you interested in having a European approach/work European wise/wide?

Maxime: Well because I basically identify as European, I think it is a good moment to take a stand for it and to try to give some sense. I think culture is a good way of proceeding and to create a sense of belonging to a community. A community which is not only 1. economical or 2. political but also 3.cultural. I think it is a good way to address the sort of problems encountered in the first two categories. I basically think that some professional communities have to create economical togetherness. For example, the music sector, I think there is a need to create unity and fight for all the rights and I think these systems are still very different from one another. Some systems are more protective, some more or less social than others. There is work to be done at the transnational level for the European music ecosystem to be generally fairer to its actors. So, I think it’s important to create this sort of belonging feeling to a community. And it is not only national but transnational. People start fighting for their rights on international level. Music is just one of them. And basically, where I work I try to make a change.

Sylvia: So you fully agree with the objectives of the whole program?

Maxime: I did not really read all of it, but I would guess so yes.

Sylvia: How has WAE and TodaysArt created new opportunities for you?

Maxime: For me, or when it comes to the projects it was a good start for networking for the project: meeting a lot of interesting people, structures, discovering projects. Also being invited to these panels has been helping a lot, personally and in my project. So it was also interesting on personal level, seeing a lot of art, listening to a lot of panels. I got in contact with good working systems, and it probably helped me improving my own professionalism.

Sylvia: and increasing your network was a big part of it?

Maxime: Yeah definitely, I think it is a strong point of the program. Clearly, We Are Europe is putting lots of people in contact, like developers, artists, activists and others. Everybody has a strong approach in mixing political commitment and artistic expression. The best example of that for me is the Elevate festival. They had a manner of presenting activism aside to art in their program which was very inspiring

TodaysArt and Creative Europe Sylvia Pen for me. That is also what we try to do as a festival here in Leipzig. So seeing it was a good inspiration. Seeing these very advanced festivals and the different ways behind it to form a community.

Sylvia: And are you still in contact with the people that you met at We Are Europe and TodaysArt? Did you make any partnerships for example?

Maxime: Yes we did a lot actually. We actually started a new European project which is called BlockChain my Art. And it co-started with TodaysArt (member of We Are Europe and Shape) and Les Siestes Electroniques (member of the Shape platform). This project aims at disseminating the solution that we created plus leading some research work about local cultural and complementary economies in relation to new technologies and the music sector.

So we are in very good relations to We Are Europe because we come across each other a lot, we have goals in common, and we made new partners thanks to their network. As I said, when I got in contact with them for the 1st time, we were prospecting among the European ecosystem of music festivals, to see if there was some response or interest for our work. In this way it sure helped. So somehow, indirectly, We Are Europe did contribute to the start of another European project.’’

Sylvia: And you also said that on personal level it has helped you or that it gave you new perspectives? Can you elaborate on that? How did you experience it yourself besides organisation- wise?

Maxime: It helped in formulating my own festival and how we relate to the project. I think I learned a lot professionally observing how they were working. I have a short career as a festival director. So the fact that I was in contact with all these people from the start had a positive effect on me personally.

Sylvia: That is good to hear. And has it also helped your European and international mobility?

Maxime: Yes, I spend a lot of time in trains and plains in between Europe. Which is of course absolutely not ecological but yes, I have been moving a lot, and I was already doing that for my project. But I got booked for panels, so it has increased my European mobility. But I guess you are more focused on the artists mobility of course.

Sylvia: Yes, you’re right and I think it is also interesting to take your perspective on that into account. Anyway, do you think your approach on Europe has changed by attending We Are Europe or TodaysArt?

Maxime: On political level, I would say sometimes the talks that I saw were inspiring. Some gave me knowledge I did not have before. Some panels at elevate or Les Nuits Sonores were really interesting. They had a captivating formulation on European struggles and identity. But I also got to know more how business works and European wise and how rigorous it must be. I have been in contact with them during the writing of our own application. They helped us a bit on how to construct ours, not directly but more like telling what their experiences were. I would say that it resonated with what I was working on for some years. There were a lot of things we had in common. It helped bringing it to a level of professionalism that I was aiming for. I think it is a very interesting project. I think it does good work on many different aspects and it helps a lot of different people as well.

Sylvia: And it helped you meet people that you otherwise would not have met maybe?

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Maxime: Yeah as I said it is a good network platform. It is well made, and it is doing a great job. Appendix 7: Interview Transcript Anastasios Diolatzis January 15, 2019

Anastasios: We are a festival from Thessaloniki, that is called Reworks. It has been going on for fourteen years, in 2019 it will be our fifteenth edition. It is regarded as the longest leading electronic and contemporary music festival in Greece and the only one that has not stopped a single year even during the economic crisis years. Our involvement with We Are Europe actually came from an invitation from Nuits Sonores. They invited us to be part of it and of course we were very happy and honoured to be part of it.

Sylvia: Yes because you are the festival director right?

Anastasios: Yes

Sylvia: So I am actually also interested in your answers to these questions from your own perspective, so more how it was for you. I was therefore also wondering how We Are Europe and TodaysArt has contributed to the content of your work. Because if I am correct you are also a DJ right?

Anastasios: Yes so what I do is not necessarily an order but I am one of the two founders of Reworks and I am also the music director of the festival. At the same time, I am one of the two founders of NON Aesthetics, which is a collective that we do that includes various events, which one of them is Reworks. I am also the music director of that as well. I also DJ, produce music under the name Ison and Actor One. I am going to start a new project, but that is going to happen after the festival of 2019. Then at the same time I also have a radio show, which airs here nationwide, weekly.

Sylvia: Nice, that is a lot of things that you do. And for the WAE programme and TodaysArt, what exactly was it that you did during the time? Was it organizing the festival of Reworks or also playing as a DJ?

Anastasios: yes from one side I am the director of Reworks so I am involved in whatever is necessary for the implementation of the project of We Are Europe, when it comes to our part if Reworks. On the same time I was very happy and honoured to be invited to play at some of the festivals it was an amazing experience.

Sylvia: Yes so you played at several festivals that were part of We Are Europe?

Anastasios: I have played at Nuits Sonores, Sonar, TodaysArt and Elevate.

Sylvia: And how do you feel that We Are Europe and TodaysArt contributed to your career?

Anastasios: It definitely is a plus. Also, on a personal level it was an unbelievable experience. Some of those festivals were a dream for me to play at. I was extremely honoured to play, and I also took the change to play something completely different from what I normally play. That was the case at the Sonar festival, there I presented music which was solely from Greek artists. The Greek scene is not very big, its quite small, so it was a big challenge for me. I went through music from the last three decades from Greek electronic music. It was also a lot of different genres and styles too that I was searching through. All that was compiled in a two-hour set. For me it was like a project within a project, I was

TodaysArt and Creative Europe Sylvia Pen working on it for about two months, trying to find the music and sometimes I had to contact the artists directly and to obtain the music. So that was for example the first time I had done something like that, and I do not think that someone else had done something like that from Greece, as far as I know. And then for Nuits Sonores I presented an ambient set as well, but normally here in Greece I play more up tempo, so more house and techno music. I do not have the chances to play that much ambient, post classical and downtempo even though I am collecting this music for 23 years now. So thanks to the project I had the freedom to present a completely different aspect of mine and music that I admire a lot.

Sylvia: So you were able to explore more and try new things. Before that, the music you used was more international?

Anastasios: Yes at Sonar it was solely Greek music. Normally I play music form artists from all over the world, and then I would have maybe one or two tracks from Greek artists or myself. Another challenge was playing many different genres on a 120 min frame. Starting from zero bpm and it went up to 127 bpm and going down again, aiming all that in a smooth way.

Sylvia: so you had a lot of good feedback on it?

Anastasios: Yes very. Here in Greece we also try to present what happens outside the country as well. I usually play house and techno but I am now more into presenting these other things and that was enabled through those sets I did via WAE.

Sylvia: Has WAE and TodaysArt created new opportunities for you?

Anastasios: Yes, I would say that. It was mostly by serving the stage with other artists as well. I had the opportunity to meet some of them. There was a mutual respective admiration and networking too.

Sylvia: and did it create any partnerships?

Anastasios: not in the direct way, but nevertheless it created some opportunities.

Sylvia: But has it increased your network?

Anastasios: Yes, by meeting more artists, talking to them and by inviting them to Greece. And I am still in contact with these people.

Sylvia: Has it improved your international and European mobility?

Anastasios: Yes, I had the opportunity to go to Gratz for the first time. The same thing happened with The Hague, and I had never played before in these places so that was great. I also played in Norway, and there were people that heard me play in Spain, so these same people were there because they heard me at Sonar in Spain.

Sylvia: So from there on you were working more internationally? Is that now still the same?

Anastasios: the majority is always in Greece but there is an international aspect. I do international appearances, minimum of once a month. We Are Europe contributed to that international aspect. We are Europe has been very important to us. Here in Greece we are a bit isolated, we do not have a lot of chances to show what we do and especially outside the Greek borders. During the festival here at Thessaloniki (reworks) is not an easy task itself, but especially when it comes to connection with the

TodaysArt and Creative Europe Sylvia Pen rest of Europe it is even more difficult. But our involvement in WAE has helped with that. Throughout the projects that we have collaborated with, the audience of those festivals had the chance to meet us. When they liked some things from what they saw, they obviously looked up what Reworks is about. So what we identified is that people that went to those festivals went to Reworks as well, so we saw an increase in people from France, Norway, Germany. Not in crazy numbers, but it got more popular.

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Appendix 8: Consent form Olof van Winden

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Appendix 9: Consent form Karel Feenstra

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Appendix 10: Consent form Danielle de Hoog

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Appendix 11: Consent form Maxime Zeef

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Appendix 12: Student ethics form

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