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Crossing Borders – Connecting Cultures

The EU Culture Programme (2007–2013)


Crossing Borders –
Connecting Cultures
I am particularly happy to present to you this brochure on outstanding
cultural projects that illustrate the priorities of the new Culture Programme,
which is of fundamental importance to cultural operators across Europe.

The new Culture Programme was adopted in December 2006. This new
Programme is ambitious and is the main European instrument supporting
cross-border cultural cooperation in Europe. With EUR 400 million allocated
for the period 2007–2013, its budget has increased significantly compared Ján Figel’
to its predecessor, the Culture 2000 Programme. Member of the European
Commission in charge of
I am confident that this new Programme will bring new impetus to transna- education, training, culture
tional cultural cooperation. The Programme will help thousands of cultural and youth
organisations – theatres, museums, professional associations, research
centres, universities, cultural institutes, public authorities, etc. – to work
together to create and implement cultural and artistic projects. I very
much hope it will facilitate mutual understanding, stimulate creativity, and
contribute to the mutual enrichment of all our cultures, for the benefit of all
European citizens.

The new Programme introduces certain improvements; it is more innovative


and flexible than its predecessor, with new policy measures and orienta-
tions, responding to the needs expressed by cultural operators.

The Programme is also more open to the participation of our neighbours,


particularly the countries of the Western Balkans, which are welcome to
join the Programme as part of their stabilisation and EU association efforts.

In this brochure we present landmark projects from our Culture Pro-


gramme, selected with the assistance of our Cultural Contact Points across
the continent, and I am very grateful to them for their contribution. These
projects highlight the main priorities of the Culture Programme, namely
the transnational circulation of works of art, the mobility of artists across
national borders, and intercultural dialogue. I hope that they will serve as
examples and inspiration for future project promoters.

I hope you find the brochure interesting and I would like to thank all those
who have contributed to making this Programme a success.


Contents
Basic information on the new Culture Programme 04 A multicultural extravaganza of contemporary art 28
Culture in action 06 Promoting the place of lace in Europe’s cultural heritage 29
The first Jewish theatre in the world returns 30
Promoting the culture of Europe’s lesser-used languages 07 Classic European tales for a new audience 31
Archaeological records of Europe: networked access 08 All that jazz 32
Promoting disabled artists in Europe 09 An added dimension to Baltic art 33
Writing and translation in the north of Europe 10 Manifesta’s manifesto for contemporary art 34
Defining a European Identity 11 Giving music an edge 35
Shining lights 12 Combining new and old 36
Building bridges between divided communities 13 European history as child’s play 37
Visual Culture in Europe 14 Preserving and promoting Europe’s ethnic music heritage 38
Circus art for a new generation 15 Highlighting ancient heritage through modern 39
Understanding cultural interchange in the Mediterranean Basin 16 communication technology
Opening a fascinating window on Europe’s past 17 Art across continental borders 40
Art on the street 18 SEAS sets sail 41
A multimedia tour through Europe’s rich literary tradition 19 Setting the stage for multicultural development 42
Dancing across Europe 20 Exploring intercultural exchange in contemporary dance 43
Giving a boost to contemporary European urban art 21 A helping hand for Tartu 44
Crossing European time and space through sculpture 22 Varna Summer International Music Festival – 45
Connecting journalists from the culture sector 23 meeting point for young talent
Deaf culture makes an impact 24 Restoring and protecting exceptional Balkan heritage 46
History Lost: the looting of European heritage 25 In the theatre of war 47
Challenging geographical and cultural stereotypes through art 26
Promoting Roma culture in Europe 27 Further information 48

 
The Culture Programme
(2007–2013):
a few facts and figures
What is the general objective? Which kinds of co-operation can be funded under the programme?

To contribute to the emergence of a European citizenship through the Three strands of action:
promotion of cultural co-operation in Europe, by bringing to the fore the
cultural area Europeans have in common, with its shared heritage and 1st strand:
rich cultural diversity. Support for cultural actions (approximately 77 % of the programme budget)

• Multi-annual co-operation projects: 6 partners from 6 countries –


What are the main priorities?
Duration: 3–5 years
• Promoting trans-national mobility of cultural players • Co-operation measures: 3 partners from 3 countries –
• Promoting trans-national circulation of works of art, as well as cultural Duration: up to 2 years
and artistic products • Special actions: prizes, European Capitals of Culture, etc.
• Promoting intercultural dialogue
2nd strand:
Which are the participating countries? Support for European cultural bodies and networks (approximately 10 % of
the programme budget)
• The Member States of the European Union
• The EFTA/EEA countries, the candidate countries and the countries of the
3rd strand:
Western Balkans; providing that some conditions are met
Support for activities maximising the impact of projects, collection of
statistics as well as studies on cultural co-operation and cultural policy
development (approximately 5 % of the programme budget)

In most cases, the selection process is based on annual open calls for
proposals launched by the Directorate-General for Education and Culture of
the European Commission and managed by the Education, Audiovisual and
Culture Agency Executive Agency (EACEA).

Budget: 400 million Euros for the period 2007–2013

 
Promoting the culture of
Europe’s lesser-used languages
There is a great wealth of talent In addition to these performances,
amongst authors writing in Europe‘s the partner theatres organised
lesser-used languages. Unfortunate- a series of question and answer
ly, linguistic barriers can prevent sessions with the authors, discus-
mainstream European audiences sion forums, workshops for theatre
from becoming aware of the qual- students and conferences (all with
ity of this work. The Act-In project interpreters) all aimed at enriching
specifically promoted recognition intercultural dialogue on modern
of playwrights from these language theatre. The meetings built new and
areas for performing their plays lasting contacts between authors,
translated in various other coun- theatres and the audiences from
tries in Europe. different European countries and
language groups.
Act-In staged a special festival of
contemporary European theatre The project extended the geographi-
with plays written by exceptional cal and regular scope of some of
authors in one of nine different the best contemporary European
lesser-used languages, including plays, and raised the profile of
Catalan, Estonian and Icelandic. exciting authors writing in lesser-
The plays were translated into used-languages. This recognition of
French and German and were the quality of the drama produced
performed by new and apprecia- in these languages can help to
tive audiences in Luxembourg and preserve and promote regional and
the adjoining regions in Belgium, minority languages as important
France and Germany. ways of cultural expression in a
linguistically and culturally diverse
Europe.

Culture in Action
Project Act-In, Lead Organiser
Festival européen Association pour la Promotion du Theatre
de la creation théâtre Contemporain (Aptc), Luxemburg
Co-Organisers
Start Date 01/05/2001 Maison De La Culture D‘Arlon, Belgium
End Date 01/05/2002 Theater Trier, Germany

 
Archaeological Records
of Europe: Networked Access Promoting disabled artists in Europe
Europe’s archaeological heritage In addition, the project offered Art unites people and encour- The German and Danish visitors
is rich: it results from thousands workshops on digital protection ages them to surprise themselves brought a new dynamism to the
of years of human activity across and access issues to develop a by using their own abilities and host centre in Ireland and helped to
the continent. The ARENA project shared understanding. These in- creating. Art Reach Europe used maximise the potential and con-
set out to increase understanding cluded awareness-raising activities this power to bring disabled artists fidence of all the disabled artists
of and accessibility to this heri­ around the launch of the ARENA from Ireland, Germany and Den- in expressing themselves. One
tage using the latest online tech- archives in April 2003. The part- mark together. By giving them the participant, Adrian Forde, said:
nologies. Experts from Denmark, ners involved in ARENA continue to opportunity to practise, learn and “I’m really proud of my paintings
Poland, Norway, Romania, Iceland build towards the long-term aim of exhibit their work, the project con- and photo­graphy. It was great to
and the United Kingdom linked developing a full European network tributed to social as well as creative be able to work alongside artists
their archaeological data archives of archaeological archives with exchange. from abroad, to get to know them,
by establishing a single point of maximum accessibility. to make friends and even to learn
access via an Internet portal. The participants enjoyed a month- their language.”
The ARENA portal can be found long artist-in-residency programme
An interactive map-based search here: http://ads.ahds.ac.uk/arena in Co. Longford, Ireland. Expert The participants’ works were ex-
engine allows both inexperienced tuition was provided to small hibited in all three countries and
and professional users to cross- groups, enabling the artists to work published in an exhibition cata-
search the archives of the partners, together on skills and techniques, logue. The exhibitions promoted
based on search criteria (for exam- promoting mutual encouragement the artwork of disabled people
ple period, theme or place). Part- and the exchange of thoughts and and increased understanding and
ners cooperated to open up their experiences. acceptance of disabled citizens
ar­chi­­­ves to new visitors throughout amongst the wider public.
Europe. By doing so they’ve created
a valuable research tool. Some further information about Art
Reach can be found at
www.crawfordartgallery.com/
PressArchive/art_reach_3.html

Project ARENA Lead Organiser


Archaeology Data Service,
University Of York, United Kingdom
Start Date 01/08/2001 Co-Organisers
End Date 31/07/2004 Cimec Institutul de Memoire Culturala, Romania
Fornleifastofnun Islands, Iceland
Museumsprosjektet (Museum Project), Norway
Poznan Archaeological Museum, Poland
Surrey Institute Of Art And Design, United Kingdom Project Art Reach Europe Lead Organiser
The Danish National Record Of Cultural History At The National The Rehab Group, Ireland
Museum, Denmark Co-Organisers
University Of Glasgow, Department Of Theatre Film And Television Start Date 01/06/2002 Durchblick e. V., Germany
Studies, United Kingdom End Date 01/06/2003 Kulturkaelderen, Denmark

 
Writing and translation in the
north of Europe Defining a European Identity
Writing and translating in the north­­­ In addition to individual writers Europe has always been enriched Other aspects of the project provid-
ernmost corner of Europe can be a and translators, the programme through the movement of people; ed striking messages about modern
lonely affair. That is why the Baltic partners included promoters of migration between countries has migration in Europe: a photo exhibi-
Ring project worked to en­­­­­cour­­age reading and writing, literary cen- brought a variety of ideas and tion on the bitter reality of refugees
exchange between writers and tres, research institutes, publish- cultures into contact and has thus attempting to enter Europe, a video
translators from this part of Europe, ers, writers, professional bodies provided a basis for intercultural on tough migrant life in the suburbs
as well as to stimulate the use of and public organisations formulat- dialogue. of Paris, and a surprising register
modern technologies in the Baltic ing regional and cultural policy. of European cultural identities from
region. It increased access to and The Born in Europe programme star­ Bratislava. Alongside the exhibi-
participation in literary culture for Baltic Ring began in 2001. The ted with the evocative theme tions, debates encouraged visitors
people living and creating on the project has received two sub- of ‘birth’ for a thought-provok- to explore new aspects of Europe’s
fringe of Europe. sequent rounds of Culture 2000 ing pro­­­­­ject on what it means to cultural diversity.
support for further work, including feel European, particularly for the
Covering the German South Baltic promoting translation, exploring chil­­­­dren of migrant families. In a Born in Europe delved deep into
Sea Region via the Baltic States new media and technologies in powerful photo exhibition, the pro­­­ the emotions of people from dif-
and Finland all the way up to the literature, and promoting children’s ject illustrated the everyday reality ferent cultural backgrounds, and
Barents Sea, the project organ- and young adults’ literature. The of migrant families as well as the generated an important intercul-
ised seminars, workshops and exchange programmes for writers reality of contemporary migration tural debate with discussions on
exchange programmes for writers and translators continue to increase in Europe. immigration, integration, cultural
and translators. It also developed the mobility of these professionals (self-)identity, mutual understand-
the use of the Internet as a tool for in the region. Pictures of migrant families with ing and acceptance. The project
networking and for the promotion newly born babies generated also embraced key themes such as
of literature. See the website: www.balticring.org real intercultural dialogue on the European citizenship, the role of
complex identities of second- women in society, family structures
generation migrants. It looked at and reproductive behaviour.
how one’s birthplace affects one’s
sense of cultural identity, and used Visit the website at
birth as a metaphor for hope and http://www.born-in-europe.de/
new beginnings.

Project Born in Europe Lead Organiser


Heimatmuseum Neukölln, Germany
Co-Organisers
Start Date 01/08/2001 Associacao Portuguesa De Empresas Com Museu, Portugal
End Date 31/03/2004 Kvindemuseet, Denmark
Project Baltic Ring Lead Organiser Museum Europäischer Kulturen, Germany
Jyvaskyla Public Library, Finland Museumspädagogischer Dienst Berlin, Germany
Co-Organisers Muzeum Narodowe W Poznaniu, Poland
Start Date 01/10/2001 Barents Litteratircentrum, Overkalix, Sweden Österreichisches Museum für Volkskunde, Austria
End Date 30/09/2001 Deutsche Auslandsgesellschaft, Lübeck, Germany The National Museum Denmark, Denmark
Regional Council Of Northern Ostrobothnia, Finland The National Museum Of World Cultures, Sweden

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Building bridges between
Shining lights divided communities
Borrowed Light was a stunning The project highlighted the benefits The 1993 Srebrenica massacre in Discussion evenings in a literary
contemporary dance performance of intercultural cooperation and Bosnia was perhaps the great- café and a four-day symposium in
demonstrating the huge potential gave the performers the chance to est tragedy in post-Second World Sarajevo allowed intercultural hu-
of European collaboration in this present their work in different coun- War Europe. As a reflection on the manistic reflections on the Bosnian
exciting and passionate form of tries throughout Europe. On top of tragedy, art has an important role experiences. The meetings of art-
art. Its world premiere marked the the planned six perfor­mances of to play. The project “Bosnian Trip- ists, writers, intellectuals and local
starting point for a valuable in- Borrowed Light in France, Sweden tych” was an evocative project that people stressed that the horrors of
tercultural seminar on developing and Finland, high demand led to set out to reflect on the past, with Srebrenica did not take place ‘else-
European co-productions in con- another six shows in Italy, Germany three independent but cooperat- where’, and that for the peaceful
temporary dance. and the UK. ing strands of artistic and cultural future development of Europe’s mul-
activities that also addressed some ticultural society lessons urgently
The co-production put together Company managers, promoters, of the challenges of contemporary must be drawn from the tragedy.
by the project team featured eight agents and festival directors from multiculturalism in Europe.
dancers and eight singers. In one all over Europe took part in the The combination of art, intellect
review it was described as a “stylish seminar at the premiere in Le Havre, A theatre workshop brought and cultural animation in Bosnian
and visually attractive experience, France. The intercultural dialogue together children from different Triptych drew attention to the role
in which all the elements – dance, focused on the possibilities for national and religious groups in that cultural dialogue and exchange
music, lighting, sound, costumes future European co-productions and Bosnia and the partner countries can play in uniting people of differ-
and set – integrate brilliantly.” funding structures to promote the for activities around the idea of ent religions, nationalities and eth-
mobility of dance professionals and (re)building (metaphorical) bridges. nic origins. The projects’ activities
their art. A report from the seminar The children explored together the encouraged openness and mutual
aims to nourish new and creative diversity of their cultural back- respect, and spread a message of
ways of developing European dance grounds, and worked to develop hope for the future of Europe.
collaboration into the future. mutual acceptance.
Some further information can be
http://www.terosaarinen.com/ found at www.pogranicze.sejny.pl

Project Borrowed Light Lead Organiser


Tero Saarinen Company (Into Liikkeessa Ry),
Finland Project Bosnian Triptych Lead Organiser
Start Date 01/07/2004 Co-Organisers Fundacja Pogranicze, Poland
End Date 30/06/2005 Festival Octobre En Normandie, France Co-Organisers
Kuopio Dance Festival (Kuopio Tanssii Ja Soi), Finland Start Date 01/06/2005 Fondazione Alexander Langer, Italy
Stiftelsen Dansens Hus, Sweden End Date 30/05/2006 The Public, United Kingdom

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Visual Culture in Europe Circus art for a new generation
Graphic design shapes the visual A conference was held alongside Curiosity, openness, creativity and The transnational Cirque Nouveau
culture of European citizens’ every- the exhibition. It examined, through artistic courage were key concepts summer school created a cauldron
day lives, delivering messages and intercultural dialogue, the role de- of the Cirque Nouveau Project. of excitement, exchange, invention
ideas in attractive and appealing signers play in shaping identities. Through this project, about 200 and discovery as performers in
ways. Socially responsible work by The discussions focused on so- young people from different cul- disciplines as diverse as the tra-
European designers is essential; cially responsible design in Europe tural backgrounds had the unique peze, fire-eating, dance and music
equally citizens should be aware of around the slogan: “It’s time for opportunity to develop stimulat- met to train together. The young
Europe’s rich visual communication ethics to join aesthetics. It’s time ing new performance acts for the artists met like-minded people,
culture and graphic design herit- for integrity to balance identity.” modern circus, and thus to enthrall and helped each other learn new
age. The Identity/Integrity project Particular attention was paid to trans­­national audiences with their techniques and skills under the
furthered both of these ambitions the situation facing Eastern Euro- spectacular shows. guidance of experts.
by producing an international exhi- pean designers in rapidly changing    
bition emphasising design as a cultures where respect for identities Groups of 40 adventurous young The culmination of this ambitious
tool to tackle social issues and is crucial. people from each of the five partner project was a transnational tour of
promote intercultural exchange countries throughout Europe were Cirque Nouveau giving mobility and
between designers. Materials created included exhibi- given guidance and training from visibility to the young performers
tion catalogues and a CD-ROM to both music and circus schools and their art, to the advantage of
The exhibition highlighted the encourage the wider circulation in their home country in order to both. The project succeeded in cre-
most progressive trends in graphic of the works on display and the develop their skills and confidence ating links between different forms
design from Europe and beyond, project’s messages. in this most demanding area of of performance art related to the
and was held on the 20th an- performance arts. Following tours modern circus, and between young
niversary of the renowned Brno http://brno.icograda.org in their home country, the young performers from varied cultural
Biennial (Czech Republic) in 2002. people were ready to engage in the backgrounds in Europe.
This significant location in Eastern next stage of their development –
Europe hosted leading designers the international exchange. http://www.kulturskoleradet.no
as well as companies and public
institutions linked to the field for
an exciting week of design events
and exchange.

Project Cirque Nouveau Project Lead Organiser


Norsk Kulturskolerad, Norway
Co-Organisers
Start Date 01/11/2001 Arhus Musikskole, Denmark
End Date 31/10/2004 Centrum Voor De Kunsten Parnas, Netherlands
Circusschool De Hoogte, Netherlands
Project Identity/Integrity: Lead Organiser Cirkus Cirkör, Sweden
Brno, Capital of Visual Moravian Gallery In Brno, Czech Republic Ecole De Cirque De Bruxelles, Belgium
Communication in Co-Organisers Institut De Rythmique Jacques-Dalcroze, Belgium
2002 Design Austria, Austria Lillehammer Kulturskole, Norway
Start Date 01/04/2002 Icograda, Belgium Orebro Kulturskola, Sweden
End Date 31/03/2003 Porsgrunn Kulturetaten, Norway

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Understanding cultural
exchange in the Opening a fascinating window
Mediterranean Basin on Europe’s past
People have travelled back and Meanwhile, an international histori- Immigration and emigration are hot Selected examples and materials
forth across the Mediterranean cal conference gathered more than political topics in modern Europe – were copied and translated into the
Basin for centuries, making it one 250 academics from 13 countries, but have equally been important five languages of the partners, and
of the world’s key cultural exchange to create a dynamic forum for issues throughout the past two used in a captivating exhibition
points. The “CROSSINGS: Move- inter-cultural dialogue and mutual centuries. During the period 1840 (and catalogue) touring simultane-
ments of peoples and movement exchange of ideas. Other activi- to 1920 there was mass emigration ously in each country. The exhibi-
of cultures” project consisted of a ties, including public lectures and from Europe to America as people tion highlighted linguistic and
series of unique exhibitions and educational programmes, created fled poverty and oppression, and cultural changes over time. Thanks
discussion groups looking at the awareness of how cultural ele- looked for opportunities in the New to the digitalisation, the material
impact of historical interaction ments were exchanged between World. The EMILE project has devel- could be preserved and rendered
in the Mediterranean region on the eastern and western areas of oped understanding of this crucial accessible: the EMILE website hosts
today’s society at a local and Euro- the Mediterranean region, and what period of Europe’s common history a virtual exhibition with examples
pean level. material changes occurred as a through a coordinated examination and analyses of letters.
result of this. of EMIgrants’ LEtters sent home.
One part of the project saw more Through the letters, emigrants
than 80 people collect 100 objects These events led to improved Professionals from culture and reveal a lot about their thoughts,
from 20 museums and private col- mutual understanding of both the heritage organisations in the five fears and practical details of their
lections for a touring exhibition on cultural diversity and the common participating countries analysed everyday lives and thus tell us
the influence of the Crusades on heritage of Mediterranean peoples. emigrants’ letters from this period much about Europe’s common his-
Mediterranean cultures. The exhibi- CROSSINGS demonstrated that mo- to identify common themes and tory at that time in a very personal
tion attracted about 45,000 visi- bility and interaction promote cul- styles. They not only shared good and moving way. Moreover, the
tors. To complement this historical tural diversity, but also contribute practice in conserving the records audience learns a lot about the
perspective, a second travelling to the development of new forms but furthermore, they revealed lived experience of those who are
exhibition used works by 50 artists of cultural expression. The project both a common European history immigrants in today’s Europe.
to present a contemporary view of published exhibition catalogues in the letters as well as fascinating
cultural interaction, with a focus on and contributed to the foundation national differences. www.emigrantletters.com
the artists’ own experiences and of a permanent Mediterranean Cen-
understandings. tre for Cultural Heritage, in Cyprus.

For more information, see


http://www.pieridesfoundation.com.cy

Project CROSSINGS: Lead Organiser


Movements of peoples Pierides Foundation/Pf, Cyprus Project EMILE: Leaving Europe Lead Organiser
and movement of Co-Organisers for America – early The Foundation Östergötland
cultures – Changes in Centre de Recherche En Arts, Universite de Picardie EMIgrants LEtter Regional Museum, Sweden
the Mediterranean from Jules Verne, France stories Co-Organisers
ancient to modern times Foundation of The Hellenic World, Greece Mayo County Council Library, Ireland
Instituto Per Le Technologie Applicate Ai Beni Culturali, Italy Start Date 05/09/2004 Provincia Autonoma di Trento, Italy
Start Date 01/06/2004 Superintendence of Cultural Heritage, Malta End Date 04/09/2005 Rozmberk Society, Czech Republic
End Date 31/05/2007 The State Archive of The Capital City of Warsaw, Poland

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A multimedia tour through
Art on the street Europe’s rich literary tradition
Street art can be dynamic, experi- The network carried out qualitative Europe’s literary heritage is unpar- EuRoLiteraTur promoted under-
mental, provocative and contro- research into festival audiences to alleled and spans many centuries standing of Europe’s shared
versial. It is also one of the most better understand public prefer- as well as the entire continent. The heritage by highlighting the com-
under-appreciated forms of per- ences and to allow for the devel- “EuRoLiteraTur” project created a mon roots of European literature.
formance art in Europe. “Eunetstar” opment of increasingly popular modern, dynamic presentation of Furthermore, by traveling through
(EUropean NETwork of STreet ARts) performances. The support given the history and diversity of Euro- the continent, the great diversity of
was established to promote higher to (co-)productions was thus better pean literature using the latest literary works of different countries
quality street, open-air and site- targeted towards shows that would technologies, and was aimed at and eras could be explored.
specific theatre productions, and to generate maximum public apprecia- reaching and encouraging reading
increase the popularity of this rich tion of the network’s festivals and amongst a wide audience. A permanent exhibition was set up
vein of artistic expression. to help their on-going development. in Bucharest, and a virtual exhibi-
The project developed a chronologi- tion on the Internet continues to
Eunetstar was launched by nine in- To complement the work on the pro- cally ordered electronic exhibition present a detailed online encyclo-
ternational street art festivals from duction side, the project also tar- of European literature as an innova- pedia of European literary history.
Ireland to Romania, which com- geted the public, to increase aware- tive alternative to classical styles of Pictures of authors and fragments
bined their forces in a spirit of mu- ness of the quality and variety of presentation. A touch-screen system of works in e-book, audio and video
tual support and development. The European street art. It publicised provided interactive access to in- format are supplied. The project
aim was to create new approaches street art through the creation of formation, complemented by video thus promotes the reading of
to co-production involving festivals websites and the production and projections and plasma displays. In Europe’s great works and demon-
from different countries. Cross- distribution of promotional DVDs. 2005, the project toured six coun- strates the potential of well-
border workshops, professional tries: Romania, Greece, Spain, Italy, designed, interactive and accessi-
mentoring, and the translation Poland and the Czech Republic. ble cultural information.
and adaptation of existing works
provided inspiration for new forms See more at:
of expression, and maximised the http://www.euroliteratur.ro/
potential of some of Europe’s best
street artists.

Project Eunetstar Lead Organiser


International Straattheaterfestival Project EuRoLiteraTur – Lead Organiser
Gent, Belgium Interactive and The Romanian Literature Museum, Romania
Start Date 01/05/2003 Co-Organisers multimedia exhibition Co-Organiser
End Date 30/04/2006 Stockton International Riverside Festival, United Kingdom Academy of Humanities And Ecomomics in Lodz (Ahe), Poland
Namur en Mai – Festival international des Arts forains, Belgium Start Date 01/05/2004 Colline Romane Turismo Spa, Italy
L’Avant-scène Coup de Chauffe, France End Date 30/04/2005 Magister Software, Romania
Galway Arts Festival, Ireland Mt Formacion Y Educacion, Spain
Oerol Festival, Netherlands Tempo Centre, Czech Republic
Festival Teatralny Malta, Poland The Prefecture of Athens, Greece

18 19
Giving a boost to contemporary
Dancing across Europe European urban art
Dance is one of the liveliest and The travelling show respected all Contemporary European urban art Artists from different countries
most participatory art forms, and it aspects of different folk traditions, demonstrates a high level of di- were able to discuss and exchange
constitutes a major element in the including the music and colour- versity and dynamism. The project ideas to enhance the development
folk traditions of many European ful costumes, whether in older or “European Identity: style versus of their work. The aesthetic and
countries and minority cultures. contemporary forms of expression. artists” sought to increase under- technical comparisons of the dif-
The European Dance Caravan was a A unified orchestral piece was one standing of the quality and signifi- ferent works of art at exhibitions
travelling dance extravaganza tak- of several highlights of each perfor­ cance of this important means of encouraged artists and the public
ing the best of traditional music and mance, once again demonstrating artistic expression. It compared the to consider the cultural merits of
dance from eight European nations the powerful effects of successful work of current artists and engaged the work.
on a tour to all their territories. intercultural mixing. the public in a consideration of its
cultural relevance. Furthermore, the project encour-
Dance troupes from Cyprus, Fin- This spectacular project raised aged a better understanding and
land, Greece, Italy, Poland, Roma- awareness of the common cultural The project worked in an urban set- control of the urban art phenom-
nia, and Spain joined the Hungarian heritage shared by performers and ting to examine different interpreta- enon and has contributed towards
Duna Art Ensemble to bring to- audiences alike – from countries as tions of everyday life in the modern the possible creation of an eventual
gether almost two hundred dancers diverse as Finland and Cyprus – city by artists from various Euro- European Centre of Urban Art.
and musicians, many from ethnic as it travelled around Europe. It pean urban milieus. Aesthetic and
minorities, into the same perform- also promoted respect for the technical studies of the work were
ance. The diversity of the dance folklore heritage of the different conducted, leading up to a series of
styles and traditions of eight coun­­­­ nations and communities in Europe, workshops and exhibitions in large
tries were harmonised into a lively regardless of the social differences metropolitan areas. These events
and original artistic composition. present in any given society. engaged both young and experi-
enced urban artists and highlighted
See the website at their work for the public.
www.eudancecaravan.com

Project European Lead Organiser


Dance Caravan Bm Duna Art Ensemble General Kht of
The Interior, Hungary
Start Date 23/10/2004 Co-Organisers
End Date 23/10/2005 Akragas Folk Dance Group, Italy
Folk Music Festival Kaustinen, Finland Project European Identity: Lead Organiser
Haromszek Tancegyüttes, Romania style versus artists Comune Di Rozzano, Italy
Hellenic Centre For Folk Studies, Greece Co-Organisers
Instituto Europeo Para La Promocion del Folklore Y La Danza, Spain Start Date 01/04/2002 Stadt Wolfsburg, Germany
Pissouri Folklore Association, Cyprus End Date 30/03/2003 Techno, Czech Republic
Uniwersytet Marii Curie-Sklodowskiej, Poland Werkstätte für bildende Künstler, Austria

20 21
Crossing European time and Connecting journalists from the
space through sculpture culture sector
The project “European Space” used The exhibition was supported by a Cultural journals represent Europe’s Eurozine is thus a new doorway
sculptures as the starting point for conference “Colonised Space”, as self-image like no other medium, to European culture, literature
a fascinating exploration of both well as by five seminars in each of reflecting the latest trends in cul- and politics. By putting Europe‘s
European common heritage as well the co-organising countries, and an tural, aesthetic, philosophical and cultural discourse on-line, it gives
as historical and cultural differ- Internet discussion forum for par- political thought. Traditional print- greater access to the variety of
ences. Comparing the sculptures ticipants and the wider public. Each ed cultural journals are high quality views and insight provided in the
of the past with those of contem- of these generated high quality dis- publications, which are, however, journals covered by the network.
porary artists from across Europe, cussions on professional issues in circulated to a limited audience. It also allows for greater exchange
the project highlighted the diversity sculpture, and on cultural develop- The Eurozine project was designed and critical debate, including those
of European sculptures between ment and diversity in Europe. to reach a greater audience by us- amongst authors and publishers.
Eastern and Western styles. ing new media technologies.
An educational programme Furthermore, Eurozine hosts the an-
The 2004 European Space exhibi- “n space” and an international Eurozine emerged from an informal nual European Meeting of Cultural
tion at the Riga Sculpture Quad- sculpture workshop in Latvia also network of cultural journals dating Journals, a platform for partner
rennial was the centerpiece of the involved professionals in a dia- back to 1983. Today, Eurozine is a magazines, intellectuals and au-
project, showcasing 25 European logue on Europe’s contemporary network of Europe’s leading cultural thors to build collaborative rela-
countries’ sculptures from two cultural space. The project not only journals and a portal for authors tionships and share knowledge on
symbolic moments in Europe’s his- showcased the evolving Central and publishers. It promotes more management and ideas on content.
tory: the time when the EU political and Eastern European scene and than 50 partner journals and has
project started in the 1950s, and provide the public with access to in- links to many associated maga- Visit the website at
the moment when the first Central formation on this artistic discipline, zines and institutions from across www.eurozine.com
and Eastern European countries but also helped to create sustaina- Europe. Eurozine is also an online
entered the EU in 2004. ble networks, especially in support magazine in its own right, publish-
of young sculptors in Europe. ing the best articles from the part-
ner journals, including translations
The project website can be visited alongside original texts.
at: www.sculpturequadrennial.lv

Project Eurozine – Lead Organiser


an alliance between Eurozine-Verein zur Vernetzung von
old and new media Kulturmedien, Austria
Project European Space – Lead Organiser Co-Organisers
Start Date 01/11/2003
Sculpture Quadrennial Center For Art Management And Information, Centro De Estudos Sociais, Portugal
End Date 31/10/2004
Riga 2004 Latvia Fund For Central And East European Book Projects, Netherlands
Co-Organisers Kritika & Kontext, Slovakia
Start Date 01/10/2003 Association Of Finnish Sculptors, Finland Ord & Bild, Sweden
End Date 30/09/2004 British Council Latvia, United Kingdom Transit Europäische Revue, Austria
Contemporary Art Centre Of The Lithuanian Art Museum, Lithuania Vikerkaar Perioodika Aktsiaselts, Estonia
Estonian Sculptors Union, Estonia wespennest zeitschrift für brauchbare texte und bilder, Austria
Riksutstallningar, Sweden Zeitschrift des Hamburger Instituts für Sozialforschung, Germany

22 23
Culture unites the hearing History Lost –
with the deaf Saving our Cultural Heritage
This festival launched the process “Co-organisers brought an interna- “You have been robbed.” – A large The exhibition took place at a time
of breaking down the barriers that tional aspect into the project nature. banner outside the Cyprus mu- when the ethics of Western mu-
isolate the hearing impaired from They realised particular project seum articulates the multimedia seums were being intensely de-
the hearing. Why was the Interna- sections and activities and brought exhibition’s provocative stance: bated, together with the measures
tional Festival of the Deaf of St. plenty of new information in the looting and trade of world heritage. necessary for the preservation of
Francis of Sales in Nitra (Slovakia) field of culture and art of the deaf.” Cyprus was chosen carefully as the the world’s cultural heritage. The
initiated? Anna Šmehilová sn., the project’s home country: alone in the project aims to tell the story of the
project leader, answers: How did the community of Nitra project’s home country more than antiquities trade from the creation
benefit from the project? 100 of its archaeological sites have of the Louvre, the British and Met-
“The dominant aim of the Interna- been looted and tens of thousands ropolitan Museums to the destruc-
tional Culture Festival of the Deaf of “The town of Nitra became the of its Byzantine icons, mosaics and tion of the National Museum of Iraq
St. Francis of Sales in Nitra was to centre of the deaf culture, and thus paintings have been stolen over the in 2003.
highlight the fact that culture can introduced itself in Slovakia and centuries.
be the mean of joint. We focused on abroad. Public institutions were Reaching out to a diverse public,
enhancing culture mobility of deaf involved in the social and public life Housed in three European ar- HISTORY LOST gave evidence of
artists in Europe”. of the deaf and the offer of educa- chaeological museums from June one of the most destructive attacks
tion methods were enhanced suit- to October 2006 (Athens, Nicosia, on world heritage taking place in
Partners from four countries able for the deaf.” Nemea), the project comprised an our times.
organised a series of activities for exhibition with texts and illustra-
the festival. Drama and painting The project thus opened hearing- tions, multimedia presentations on The project website can be visited
workshops, a seminar on deaf cul- impaired culture to new audiences, touch-screen surfaces, interactive at: www.anemon.gr
ture, and art and theatrical exhibi- and hosted an exchange and dis- games and video screenings.
tions gave evidence of the rich deaf cussions on new forms of expres-
culture and the artistic diversity of sion in deaf minority fine arts. The project also documents the
the deaf population. How has the efforts which are being made to
cooperation with co-organisers restore damaged artefacts. The
from other European states influ- statue of Septimus Severus, which
enced your project? was found in 1928, had been torn
apart by looters to sell the gold in
its interior. The Cyprus Museum has
restored the statue, which is one
of the few surviving bronze statues
worldwide.

Project History Lost – Saving Lead Organiser


Project 4th International Lead Organiser our Cultural Heritage Anemon Productions, Greece
Festival of the Deaf of Effeta - Stredisko Sv. F. Saleského, Slovakia Co-Organisers
St. Francis of Sales Co-Organisers Start Date 01/06/2005 4th Ephorate of Classical Antiquities,
in Nitra A.C.T.I.S., France End Date 31/05/2006 Corinth (Min. of Culture), Greece
Janackova Akademie Muzickych Umeni, Czech Republic Department of Antiquities, Cyprus
Start Date 01/10/2005 Scholengemeenshap Effatha, Netherlands Mcdonald Institute, University of Cambridge,
End Date 30/09/2006 United Kingdom

24 25
Challenging geographical and Promoting Roma culture
cultural stereotypes through art in Europe
The project “How to Do Things? in The artists were invited to work on Roma culture has a special place in Around the festival, a large me-
the middle of (no)Where …” playfully the theme of social utopias in order the mosaic of European cultures. dia campaign and a parade of the
approached the breaking down of to stimulate reflection on diverse However, intolerance and a lack of performers in Prague’s Old Town
European borders and preconcep- European realities and contexts. common understanding have gener- helped to reach out to the wider
tions. A random circle was drawn in The resulting work was exhibited in ated what many see as a “Roma public who might not have consid-
the middle of a map of Europe and each of the five cities. A final exhibi- problem”, particularly in Eastern ered attending such a festival.
artists from inside the circle were tion in Berlin united all the work and Europe. The sixth World Roma Fes-
invited to create artworks in cities was accompanied by a catalogue tival, KHAMORO tackled this issue A four-day series of seminars
they did not previously know. The and a two-day conference to explore head on by promoting a celebration generated discussion on key topics
resulting work generated intercultur- the experience of the project. of Roma culture involving artists of concern for Roma culture and
al discussion on issues of identity, from various countries. Roma rights. Prominent politicians,
traditions and culture in Europe. The artworks produced ranged from activists, intellectuals and artists
personal observations of cultural The festival in Prague in May 2004 from both the Roma and non-Roma
The project covered 14 countries traditions and different European showcased the richness and variety communities met at these open
and 28 artists to participate in realities to more abstract reflec- of Roma culture and traditions. meetings, where translation was
month-long residencies in one of tions on identity and representa- Bringing together top Roma and provided in Romanes, Czech and
Budapest, Bucharest, Kiev, Copen- tion. The open working method and Sinti artists from across Europe, English to ensure maximum inter-
hagen or Berlin. The artists came theme ensured that notions of mod- the festival organisers fought to cultural exchange.
from a wide range of countries, ern day Europe and what it means improve the image of Roma groups,
from Holland in the west to the to be European were challenged in to combat racism, to challenge pre- www.khamoro.cz
Ukraine in the east, ensuring a full a novel way, whilst the mobility of conceptions and to promote respect
diversity of European viewpoints artists was increased. for the rights of minorities.
from both inside and outside the EU.
See the website: In order to show the diversity of
www.howtodothings.net Roma art the festival included film,
theatre, dance, literature, photogra-
phy and plastic art. Traditional mu-
sic and jazz concerts were staged,
including a gala concert combining
all participating Roma ensembles.

Project How to Do Things? Lead Organiser


in the middle of Uqbar- Gesellschaft für
(no) Where? Repräsentationsforschung e. V., Germany Project The World Roma Lead Organiser
Co-Organisers Festival The Ngo Word 21 (Slovo 21), Czech Republic
Start Date 01/08/2005
Icca – International Centre For Contemporary Art, Romania KHAMORO 2004 Co-Organisers
End Date 31/07/2006
Kunstraum Kreuzberg, Germany Alfa Stiftung, Netherlands
Nikolaj – Ccac, Denmark Start Date 16/04/2004 Council of Polish Roma, Poland
Trafo-House of Contemporary Arts, Hungary End Date 15/04/2005

26 27
A multicultural extravaganza
of contemporary art
Each year in May, Brussels hosts In 2002, funding from Culture 2000
the KunstenFESTIVALdesArts – enabled two theatre groups – one
a three-week long multicultural from the north of Europe and one Putting lace in its place in
extravaganza of contemporary art from the south – to participate
that unites the city’s French and in the festival, thus providing a Europe’s cultural heritage
Flemish speakers, as well as its platform for artists and their works
large international population. to be seen by audiences outside “Lace”, said a 17th century observ- ported with a brochure and guide
their home countries. From the er, “is a fine web, which feeds the and an international workshop
The festival has been running since Netherlands, ZT Hollandia (Zuidelijk pride of the whole globe; which sur- was held during the Lace Festival
1994 and has at its heart the idea Toneel Hollandia) brought a produc- rounds with its fine border cloaks to promote intercultural exchange.
of crossing borders and bringing tion of Euripides’s ‘Bacchanten’ and tuckers, and shows grandly Participants discussed new ways of
different language communities to- (The Bacchae), whilst from Italy, the round the throats and hands of representing lace within Europe’s
gether. Around 30 different shows festival welcomed Teatrino Clandes- kings.” Lace has been produced cultural heritage and developing
are staged in some 15 venues tino’s performance of Homer’s Iliad. over centuries in a number of Eu- this in relation to tourism, educa-
throughout Brussels. Performances ropean countries, and its manufac- tion and contemporary design.
include theatre, dance, musical The project thus combined with the ture reveals both striking regional
theatre, cinema, visual arts, multi- KunstenFESTIVALdesArts to bridge differences and a strong common The project has made a unique col-
media and multidisciplinary arts. both linguistic and national divides, heritage. The “Land of Lace” project lection of hand-made bobbin lace
bringing two of Europe’s ancient aimed to preserve and promote the accessible to the public and devel-
literary treasures into the con- traditional and contemporary posi- oped links between professional
text of the modern-day European tions of lace in Europe. centres for an on-going dialogue on
Union, and opening them up to new the preservation and promotion of
audiences. Four organisations in Slovenia, Italy lace in Europe.
and Finland jointly researched the
Visit the festival website at origins of lace and its development Visit the website at
www.kfda.be. over time, comparing styles from www.landoflace.com
different European hand-made lace
centres. This was done in prepara-
tion for a permanent museum ex-
hibition, for temporary exhibitions
during a Lace Festival that was
organised and a Lace Development
and Research Centre, all in Idrija,
Slovenia. The exhibitions were sup-

Project KunstenFESTIVALdesArts Lead Organiser


2002 Festival International Des Project Land of Lace Lead Organiser
Arts-Bruxelles, Belgium Obcina Idrija, Slovenia
Start Date 01/01/2002 Co-Organisers Co-Organisers
End Date 31/12/2002 Le Maillon - Strasbourg, France Start Date 01/08/2005 Mestni Muzej Idrija, Slovenia
Teatrino Clandestino, Italy End Date 31/07/2006 Musei Provincia di Gorizia, Italy
Zt Hollandia, Netherlands Rauman Museo, Finland

28 29
The first Jewish theatre in the Classic European tales for a
world returns new audience
Europe’s first Jewish theatre was The festival was given an inter- Europe has a diverse and unique their own artistic abilities and to
created back in 1876. Despite these national profile by the President theatrical heritage, with a rich develop an understanding of people
long-standing roots, the place of of Romania launching on its eve variety of classic European tales from other European countries.
Jewish theatre and culture in Eu- a commission to study the con- that can also be reinterpreted for
rope’s cultural heritage is still not sequences of the Holocaust. This new audiences. Magic-Net aims to Magic-Net supports the transna-
fully understood or appreciated. attracted extensive television cov- do just this. The project spreads tional mobility of professionals at
The project “Le premier théâtre juif erage, including of the Iasi festival awareness of Europe’s cultural all levels of the performing arts,
du monde” tackled this anomaly by intercultural seminar on Jewish traditions, whilst breaking down from costume designers to actors,
creating a travelling festival of Jew- History in Central Europe between barriers and promoting professional helping them to develop skills by
ish culture. academic specialists and the development in the arts. learning from the talent and experi-
public. The festival was thus at the ence available in other European
The five co-organisers based the heart of promoting serious reflec- Magic-Net brings together theatre countries. European co-operation
travelling theatre on the Jewish tion on the place of Jewish culture companies from Western and East- and exchange takes place in that
communities of Central Europe. and traditions in modern European ern Europe to co-produce works of individuals spend time at a thea-
Through it, the project retraced the societies. performance art aimed primarily at tre abroad and groups of similar
steps of the first travelling theatre, the age group of 16-25. the works professionals meet for training and
crossing national, linguistic and are based on myths, legends, sagas workshops. Each participant has
cultural borders by visiting 14 Euro- and classic drama that make up the something to teach and something
pean cities from Vilnius to Paris. impressive literary traditions of the to learn from the others in this
partner countries and their regions. intercultural dialogue.
Artists from different European
countries presented the diversity Each co-production tours European The project partners are planning to
and quality of Jewish culture to cities and festivals, with shows maintain Magic-Net as a permanent
new audiences, including theatre, complemented by workshops in network:
music, cinema, art, literature and which foreign artists present their
even food. Each city visited enjoyed artistic traditions. Young partici- www.magic-net.org
a true celebration of Jewish culture. pants are encouraged to explore
The showpiece festival in Iasi,
Ro­­­mania, exceeded all expecta-
tions by at­­­trac­­­ting more than 5000
spectators. Project Magic-Net – Lead Organiser
A European Theatre Mecklenburgisches Staatstheater
Network Schwerin GmbH, Germany
Co-Organisers
Start Date 01/06/2005
Project Le premier théâtre juif Lead Organiser Divadlo Astorka Korzo‚ 90, Slovakia
End Date 31/05/2008
du monde et les Centre Culturel Francais de Iasi, France Het Met Theater, Netherlands
communautés juives Co-Organisers Pilot Theatre Company, United Kingdom
d‘Europe centrale: Institut Polonais de Bucarest, Poland Regionteatret I More Og Romsdal – Teatret Vart, Norway
circulation des artistes Mairie de Iasi, Romania Teatr Jeleniogorski, Poland
et des idées Rocktheater Dresden, Germany Teatro Guirigai, Spain
Theatre Juif D‘Etat Tes, Romania Teatro O Bando, Portugal
Start Date 15/04/2003 Theater der Jungen Welt, Germany
End Date 20/03/2004 Vat Theatre, Estonia

30 31
All that jazz An added dimension to Baltic art
The mixing and cross-fertilisation The performances were comple- “Network Baltic” offered an exten- From this combined demonstration
of cultures is not a new phenom- mented by discussion events and sion of traditional opportunities in of the wealth of talent and ideas
enon in Europe. Nowhere is this workshops, creating opportunities national art academies by launching in the Baltic Region, one laureate
truer than in the world of jazz. for new encounters, challenging a sustainable and dynamic network artist was chosen per country. The
Influences from different countries preconceived ideas and inspiring of artists and art institutions from combined work of the 10 laureates
and regions have fused and evolved new ways of thinking. The positive EU and non-EU countries around was used in the creation of a joint
to form an extraordinarily rich experience of jazz encouraged a the Baltic Sea. The project created physical exhibition that toured the
diversity of styles. “Moving Music” more widely held appreciation of a kind of virtual international aca­ Baltic region. The 10 selected art-
seized on the example of jazz to the enriching impact of migration demy, developing the best young ists also received a week’s stay as
demonstrate the positive impact on European culture in general. talent from the region and promot- artists-in-residence with the lead
of migration patterns on Europe’s ing the geographical mobility of the partner, Grafikens Hus, providing
culture, and to provide opportuni- More than 6,000 people partici- artists and their work. a unique experience of artistic and
ties for international cooperation pated in the project as audience personal development.
on new jazz performances. members or musical contributors. The project linked art institutions
Feedback showed that the experi- from 10 Baltic countries under Baltic Network looked at the oppor-
The project team invited legendary ence was rewarding for everyone Swedish coordination and organ- tunities and challenges of graphic
jazz personalities to cooperate involved and contributed to spread- ised a series of workshops and fine art in the commercial and dig-
with a new generation of European- ing the message that “jazz is what seminars to promote exchange ital age and at questions of identity
based artists. The mixed cultural a UN session really could and and intercultural contacts between amongst young artists at a time of
backgrounds of these personalities should be.” young artists. Annual workshops changing geo-political landscape
were reminders that artists and mu- and exhibitions involving artists in Europe. The project produced a
sic do not confine themselves within www.europejazz.net from all 10 countries looked at new portfolio of the ten laureate artists’
geographical, linguistic or cultural possibilities in graphic art through- graphics, an extensive catalogue of
boundaries. The musical collabora- out the three-year project. all works and a vibrant and durable
tion unleashed by the project led to network.
eighteen events involving more than Each national partner staged a vir-
50 artists from London, Seine-Saint- tual exhibition of 10 of their young Summary information:
Denis and Budapest. artists on the project’s website. www.grafikenshus.se/00179/00182/

Project Network Baltic – Lead Organiser


a new dimension Grafikens Hus Gripsholms Kungsladugard Ab,
Sweden
Start Date 01/05/2002 Co-Organisers
End Date 30/04/2005 Academy Of Fine Arts Aarhus, Denmark
Academy Of Fine Arts, Helsinki, Finland
Akademia Sztuk Pieknych Warsaw, Poland
Art Academy Of Latvia, Latvia
Estonian Academy Of Arts, Estonia
Project Moving Music et Lead Organiser Hochschule für Kunst und Design, Germany
des idées Serious Events Ltd, United Kingdom Information Centre For Contemporary Art (Icca), Lithuania
Co-Organisers Interdisciplinary Centre Of Advanced Professional Education
Start Date 31/08/2005 A38 Kulturalis Kozhasznu Tarsasag, Hungary Of St. Petersburg, Russia*
End Date 30/08/2006 Banlieues Bleues, France Trondheim Academy Of Fine Art, Norway

32 33
Manifesta’s manifesto for
contemporary art Giving music an edge
The Manifesta biennial is an impor- An impressive book documenting Towns situated on the edge of capi- Experts provided video-linked
tant and fascinating contemporary 10 years of Manifesta exhibitions, tal cities often feel overshadowed, master-classes on electronic
art event. It is itinerant, taking “The Manifesta Decade: Debates with their artistic talent drawn away music composition, integrating
place each time in a different Euro- on Contemporary Art Exhibitions by the opportunities offered in the both traditional and contemporary
pean city, and has been a platform and Biennials in Post-Wall Europe” big city next door. “Edge cities” as instruments. The project also used
for new and emerging art forms was published. The book is a they are known, however, can also video-conferencing as an original
since 1996, stimulating dialogue thought-provoking examination of be lively and vibrant. “New Media means of allowing the young artists
between artists and audiences. The the cultural, curatorial, and politi- Edge” worked with young upcom- to develop their common project.
project ‘New European Contempo- cal terrain of the Europe from which ing artists from four ‘edge cities’ Divided into four teams, the musi-
rary Art Network’ supported two Manifesta sprang. participating in the European Edge cians composed music and images
editions of Manifesta in Frankfurt Cities Network: Croydon (England), at home and shared their ideas
and San Sebastian. Manifesta’s exhibitions were al- Nacka (Sweden), Kifissia (Greece) through monthly virtual meetings.
ready based on open and dynamic and Ballerup (Denmark). The project
The project made a significant con- processes of intercultural coopera- aimed at acquainting young artists The teams eventually met in
tribution to Manifesta’s strategic tion between curators of different with new technology to be used as Ballerup to merge and combine their
goals of increasing the transpar- nationalities. These principles were a tool for creatively fusing audio respective pieces. The result was a
ency of the network and reaching further promoted at the 2004 Mani- and video concepts. breathtaking performance of their
out to new audiences by supporting festa summer school in Liverpool, unique joint composition involving
the digitalisation of its extensive which encouraged exchange be- Focusing on composition and 10 computers and 18 different in-
archive of 10 years of contemporary tween visual arts organisers from performance of original music, struments. The multicultural concert
European art. The on-line publica- across Europe on original approach- the project promoted intercultural combined a variety of musical gen-
tion of the archive and thematic es to working with the public. exchange and the mobility of young res and visual art, including space
journals generated broader aware- musicians. It involved around 30 for improvisations and pre-recorded
ness and debate on issues of con- Visit the website: artists from the participating towns videos. It was broadcast via video
temporary art. www.manifesta.org and demonstrated the fantastic link to other members of their Euro-
artistic potential of cross-border pean network – a truly grand finale
cooperation in Europe. to an exciting project.

For more information see


www.edgecities.com

Project The New Europea Lead Organiser


Contemporary Art International Foundation Manifesta, Netherlands
Network Co-Organisers
Aica - Association Internationale Des Critiques D‘Art, France
Start Date 31/08/2005 Ayuntamiento De Donostia San Sebastian, Spain Project New Media Edge Lead Organiser
End Date 30/08/2006 Basis Wien, Austria Ballerup Kommune, Denmark
Künstlerhaus Mousonturm, Germany Co-Organisers
Liverpool Biennial Of Contemporary Art, United Kingdom Start Date 01/06/2002 Croydon Council Cultural Services, United Kingdom
Moderna Galerija Di Lublijana, Slovenia End Date 01/06/2003 Municipality Of Kifissia – Cultural Centre, Greece
Roomade Vzw, Belgium Nacka Kommun, Sweden

34 35
Combining old and new European history as child’s play
Wooden buildings, constructed by Both activities were used as dem- For many children and adults alike, Children themselves were central to
using traditional techniques and onstration workshops about how to history is seen as a collection of the project, providing their par-
tools, are part of the landscape of apply new technologies to tradi- wars, revolutions and the comings ticular viewpoint on the games of
many Northern European countries. tional woodcrafts. The workshops and goings of political leaders. the past. They developed descrip-
However, in our modern societies, provided specific opportunities for However, European history is also tions and copies of their games,
the traditions and skills of the disadvantaged groups, including fundamentally linked to ordinary which were then shared throughout
craftsmen builders run the risk of disabled people, to learn these people and their daily activities. the network. The participation of
being forgotten, and the buildings skills. The exceptional nature of “Playing with History” raised schools enabled children to play
themselves are very fragile and the work attracted significant awareness that games represent a games from other countries, allow-
easily damaged. The New Space public attention. significant part of Europe’s cultural ing the discovery of both the com-
in the Old Roof project set out to heritage, and allowed children to be mon heritage and national particu-
tackle both of these concerns by Furthermore, the project promoted the main actors in the conservation larities of Europe’s play traditions.
promoting the conservation of old intercultural exchange through the of their own social history.
buildings, and by opening an arti- preparation of six scientific studies Five itinerant exhibitions on his-
san teaching centre. and the organisation of numerous The project partnership was started torical traditions and games of
exhibitions, seminars and confer- by six organisations involved in different countries were put to-
The teaching centre, focusing on ences. These activities, which in- promoting and studying historical gether from combined research
alternative business education and cluded a major scientific conference games and traditions. The partner- and presentations of professionals
ethno-cultural activities, was estab- in Poland, focused on the preser- ship then developed a network cov- and children alike. A major final
lished in a 200-year-old wooden vation of the traditions of wooden ering 11 countries to research the European exhibition and conference
barn that was transferred, piece by architecture in Europe. common roots and differences of promoted full intercultural dialogue
piece, from a village to the town of Europe’s games throughout history. around this important aspect of
Alytus in Lithuania. A second activ- www.amatai.lt Information was gathered on the every European’s life, and promoted
ity involved the installation of a importance of games in local and the planning of future collaborative
modern bathroom in an old wooden national traditions, their origins, projects of the network.
building in the centre of the town of rules and photographic records, and
Eksjo, Sweden. which games are still played today.

Project PLAYING WITH HISTORY Lead Organiser


Fondazione Pianura Bresciana Territori
E Tradizione (Fpb), Italy
Start Date 01/09/2005 Co-Organiser
Project New Space in Lead Organiser End Date 30/08/2006 Concello de Mazaricos, Spain
the Old Roof Alytus Handy Craft School, Lithuania Monte Desenvolvimiento Alenteo Central A.C.E., Portugal
Co-Organisers Okresni Museum Klatovy, Czech Republic
Start Date 01/04/2002 Qvarnarp Preservation School And Centre, Sweden Stichting Bedrijfsregio Kop Van Noord-Holland, Netherlands
End Date 01/04/2003 Zespot Panstwowych Placowek Ksztalcenia Plastycznego, Poland Vara Kommun, Sweden

36 37
Highlighting ancient heritage
Preserving and promoting through modern
Europe’s ethnic music heritage communication technology
Europe has an extraordinary his- The digitalisation of a selection Each year, thousands of Europe- Intercultural dialogue and partner-
tory of ethnic, folk and traditional of the identified tapes, discs and ans travel the pilgrimage routes to ship around the history, art and
music. Unfortunately, much of this records (shellac and vinyl) was ac- the shrine of St James the Great at culture of the routes was fostered
is in danger of disappearing as companied by the establishment of Santiago de Compostela, discover- at an International Conference in
traditional analogue recordings a highly technical web interface to ing both aspects of themselves Bragança, Portugal, which also
become obsolete and only main- allow on-line collaboration on the and the regions they pass through inspired new partnerships. Mean-
stream music is re-recorded for the consultation and editing of music. on their way. The Romanic Routes while, the creation of a communica-
market. ‘Preservation and On-line Through joint work, a user-friendly for St. James Pilgrims project used tion network along the routes has
Fruition of the Audio Documents system for searching the archive new communication technologies to increased regional cooperation
from the European Archives of Eth- was developed, providing an acces- highlight the great cultural impor- and exchange, driving the tourist
nic Music’ is an innovative project sible database of folk and tradi- tance of these ancient routes, and economy in the relevant areas.
using the latest digital technology tional repertoires. to promote the development of the
to protect and promote this rich regions through which they pass. Travelling exhibitions, seminars,
music culture. Aspects from different cultures debates and public readings raised
expressed through the music were Modern ‘pilgrims’ come from the awareness of local people
The project partners from four Euro- studied and analysed. This work diverse backgrounds and coun- about the cultural heritage on their
pean countries shared their exper- contributed to the organisation of col- tries; the project addressed them own doorsteps. Their engagement,
tise to draw up a catalogue of lectors’ meetings and public events, through an informative website in together with the cooperation of lo-
collections of ethnic music in Eu- such as scientific confer­ences to Portuguese, Spanish and English, cal authorities and tourist agencies,
rope and to develop both a method- promote the work and its diversity. containing a virtual cultural itiner- offers great possibilities for contin-
ology and standards for the resto- The works were performed in public ary and gallery. Together with ac- ued promotion of the routes.
ration and preservation of audio concerts and re-recordings promoted companying CD-ROMs and videos,
recordings. by all partners to radio broadcasters these modern tools link new audi- http://www.turismocastillayleon.com
and record companies, to ensure that ences with the history and beauty
the music reached as wide an audi- of the ancient pilgrim pathways.
ence as possible.

Project Romanic Routes for Lead Organiser


St. James Pilgrims Instituto de Desenvolvimento Social, Portugal
Co-Organisers
Start Date 01/05/2002 Adata Asociacion Para El Desarrollo De Aliste, Tabara Y Alba, Spain
Project Preservation and Lead Organiser End Date 01/05/2002 Centre de Culture Europeenne Saint Jacques de Compostelle, France
On-line fruition of the University of Udine (Uniud), Italy Centro de Estudos Jacobeus Caminhos Portugueses a Santiago
Audio Documents from Co-Organisers De Compos, Portugal
the European Archives Institute for Psychoacoustics and Electronic Music Ghent Citta di Mazara Del Vallo, Italy
of Ethnic Music University, Belgium Confraternity of Saint James, United Kingdom
Institute of Ethnomusicology Slovenian Academy of Arts, Slovenia Fundacion Santa Maria La Real – Centro de Estudios
Start Date 15/05/2005 Universidade Nova de Lisboa, Portugal Del Romanico, Spain
End Date 14/05/2006 Proder – Sayago, Spain

38 39
Art across continental borders SEAS sets sail
An historic power generating plant In doing so, the project promoted The ports of Europe are its gate- The project concluded in a series
in Istanbul is playing a central intercultural exchange by creating ways to the world. Consequently, of events and seminars which ac-
role in generating new currents an international cultural venue that they should be celebrated as places companied the process. Finally,
of cultural energy in the city. The draws in influences from both sides where different cultures meet. How- the artists and their producers met
Silahtarağa Power Plant, opened in of this border. The objective was ever, in the post-industrial era they in Ljubljana, Slovenia, to discuss
1911, was the Ottoman Empire’s first to build a dynamic, accessible and often face neglect and degradation. the results and to exchange their
power station. With assistance from youthful artistic environment that SEAS is an on-going project aimed impressions. As well as exploring
Culture 2000, it has been trans- will revitalise the local area and be- at revitalising and connecting vari- cross-cultural artistic cooperation,
formed into a heritage and contem- come a hub for artistic production ous European port cities by using the project raised awareness about
porary arts complex, in one of Istan- in Turkey. It will also play a key part art installations and performances regeneration of ports, and explored
bul’s oldest industrial quarters, at in 2010, when Istanbul will become by intercultural groups of artists. the role contemporary art can play
the heart of the Golden Horn. one of Europe’s Capitals of Culture. in redefining public spaces.
Five groups of artists from around
The power plant, built on 118,000 The completed site will also offer the Baltic and Adriatic seas were Initiated in 2001, SEAS now in-
square metres, closed in 1983. a library and documentation centre, sent to different harbours in the volves more than 70 artists from
Twenty years later, the ambitious artists-in-residence programmes, region and faced an exciting chal- different contemporary art disci-
Santralistanbul renovation project recreational areas, and an “arts lenge. At an unknown dockside plines, along with more than 20
began to transform the site, into a street” – a place alongside the location they were to produce an European institutions and organisa-
museum of contemporary arts, a Silahtarağa Power Plant where on-the-spot performance or instal- tions. The network plans to con-
museum of energy and a cultural artists, architects, designers and lation. The works were inspired by tinue its work, with artistic projects
and educational facility on the junc- craftsmen from Turkey and Europe this unique premise and the inter- in new places and towns, involving
ture between Europe and Asia. will work side by side, developing cultural exchange artists had among notably the Black Sea ports of East-
programmes involving the local each other and with the natural ern Europe.
community. inhabitants of this environment.
http://nck-kultura.webpark.pl

Project SANTRAL ISTANBUL – Lead Organiser


Public Arts for New Istanbul Bilgi University, Santral Istanbul,
Cultural Practices and Turkey Project SEAS: Lead Organiser
Trans-European Co-Organisers Phase II – Production Baltic Sea Culture Centre (Bscc), Poland
Dialogue University of art and design Helsinki, Finland Co-Organisers
Planete emergences, France Start Date 15/04/2004 Flota, Slovenia
Start Date 01/11/2006 Artbox, Greece End Date 30/08/2005 Hotel Pro Forma, Denmark
End Date 31/10/2007 Intercult, Sweden

40 41
Setting the stage for Exploring intercultural
multicultural development exchange in contemporary dance
Performance art has the power to Workshop activities enabled a Contemporary dance is a form of Through the cooperation of seven
cross cultural, linguistic and na- number of disadvantaged young artistic expression, where actions dance companies from across Eu-
tional boundaries. Stages for Devel- people and minority groups to take speak louder than words, and rope, young performers were given
opment used this potential to bring part. Ninety young people from on-stage performance translates the opportunity to network, learn
together professional performers three European cities were involved itself immediately into a universal from one another and inspire each
from different countries to create in workshops resulting in perfor­ language. Trans Danse Europe 2000 other, and perfect their skills with
a travelling multi-racial spectacle mances fusing together a range exploited this potential for interna- experts during joint workshops and
combating xenophobic attitudes. of traditional and modern styles, tional cooperation and transnation- rehearsals. How have the organisa-
This central activity was supported from different countries and ethnic al performance to run a travel­l­ing tions involved benefited?
by an arts education programme backgrounds. contemporary dance festival in the
engaging disadvantaged and minor- European Capitals of Culture. Each “In Poland, for example, we helped
ity groups with artistic expression. Both the main performance and the company had three years to travel the local groups to create the the-
workshops used the power of creat- and schedule additional perform- atrical environment needed for con-
Collaborative work between young ing new multicultural performance ances. To the question temporary dance. This resulted in
professional performers from four art and the mobility of performers the MALTA festival in Poznan, a new
European countries was the inspira- and the artistic work to combat “Why did you embark on this ambi- platform for contemporary dance.”
tion for a large-scale multicultural racism, xenophobia and intolerance tious project?”, Ms. Céline Bréant
performance. The group then took in different countries. The project (project leader of “Les Hivernales”) From 2003-06 a second round
their positive message of multicul- promoted networks and collabora- answered “We had the first idea with three new partners from
tural creation and cooperation out tive initiatives between cultural for the project in 1997. At that time Poland, Denmark and Slovenia was
onto the street with performances groups and festivals beyond the Avignon was proclaimed, together launched. And the reason for suc-
at three popular international festi- duration of the project. A multilat- with eight other cities, European cess? “It is very important to work
vals in the UK, France and Portugal. eral arts exchange was developed Capital of Culture 2000. We had an with the same spirit. I don’t believe
for 2004 to extend the benefits of utopian idea: promoting contem- in artificial networks. You have to
the programme to new groups. porary dance in all of those cities, get to know people - how they work
one company per city. The plan was and think.”
crazy but it worked.”
www.tanecpha.cz

Project Trans Danse Europe Lead Organiser


2000 Les Hivernales, France
Co-Organisers
Start Date 01/02/2000 Bellone-Brigitinnes, Belgium
Project Stages for Lead Organiser End Date 01/02/2001 Carte Blanche As Bergen, Norway
Development Brouhaha International, United Kingdom City Theatre-Helsinki, Finland
Co-Organisers Iceland Dance Company, Iceland
Start Date 15/04/2003 Association Toca Rufar, Portugal Tanec Praha, Czech Republic
End Date 15/12/2003 City of Marseille, France Teatri di Vita, Italy

42 43
Varna Summer International
Music Festival – Meeting Point
A helping hand for Tartu for Young Talents
Tartu, a city in Estonia, had a big Seminars were held in each city, Europe is home to a host of new This work culminated in 34 young
cultural problem. As a student with the organisers introducing classical musical talents. This soloists and 400 young orchestra
city far from the coast, it became their working methods and experi- resource, however, needs nurtur- members and choir singers perform-
uninteresting during the summer ences. The aim was not to provide ing if it is to fulfil its potential and ing live at the prestigious Varna
months with no headline cultural new ideas for festival artistic provide the next generation of stars Summer International Music Festi-
event to enthuse locals or tourists. content; rather participants shared to take Europe’s world-famous clas- val. The young musicians thus bene-
The project “Transforming a local information about how to organise sical music tradition forward. The fited from an invaluable “big stage”
festival into international” set out more ambitious events. A book Varna Young Talents project aimed experience, whilst the extraordinary
to change this by teaching Tartu was published analysing European to encourage these young musicians young musical talent in Europe was
how to create its own image-build- festivals from several perspectives, by giving them the chance to learn highlighted to the audience.
ing city festival. In this, the project in order to increase understand- and perform together at a prestig-
developed European exchange and ing of the main issues facing their ious music festival in Bulgaria. The project has led to the devel-
mutual support between festival survival and development. opment of stable collaboration
organisers, who came together in The project invited young solo- between some of the participants
support of Tartu. The project produced a CD-ROM ists and ensembles who had won and organisers for subsequent
presenting all the festivals involved prizes in national and international festivals. Many young participants
The project established a network of in the network. Following the competitions to meet in a unique have also built on this first experi-
festival managers and city authority project, Tartu combined many of its atmosphere of intercultural artis- ence by performing on other stages
employees involved in the fund- diverse but small cultural events tic communication and exchange. across Europe. Varna continues to
ing of local festivals. Over the year covering music, theatre and dance 120 young musicians from eight offer opportunities each year to
of the project, 18 people from five into an ambitious programme: countries participated in practice fresh young musical talent emerg-
countries (including 11 from Estonia) “Tartu Summer 2005”. sessions, lectures and training pro- ing in Europe.
visited six festivals in five differ- grammes to support them in mas-
ent cities to learn how to organise More information on “Tartu Sum- tering their instruments and style. www.varnasummerfest.org
large-scale performing arts events mer 2005” (PDF file) can be found
to attract the public’s attention. at http://www.tartu.ee/kultuur/
suvi05_eng.pdf

Project Transforming a local Lead Organiser


Festival into Interna- Tartu City Government, Estonia Project Varna Summer Lead Organiser
tional: How to Produce Co-Organisers International Music Varna Municipality, Culture Department,
a Professional, Image Associazione Ferrara Buskers Festival, Italy Festival – Meeting Bulgaria
Building City Festival Turku City, Finland Point for Young Talents Co-Organisers
Uppsala Kommun, Sweden Gaudeamus Foundation, Netherlands
Start Date 15/05/2003 Start Date 24/06/2001 The British Council (Bg), Bulgaria
End Date 14/05/2004 End Date 18/07/2001

44 45
Restoring and protecting
exceptional Balkan heritage In the theatre of war
In the seventeenth and eighteenth “a multidisciplinary workshop, with For centuries, the Mediterranean The network performed their newly
centuries, Voskopojë in south-east- among others, archaeological dig- Sea and the surrounding countries created pieces in symbolic places
ern Albania was one of the most gings and a summer-field workshop have been marked by divisions, war in each country with selected young
prosperous cities in the Balkans, for the restoration of mural paint- and the acceptance of conflict as actors and musicians. The works
becoming an intellectual, artistic ings with Albanian, Greek, French, an almost natural condition. The proved highly evocative for per-
and scientific centre. However, tur- German, Italian and Dutch profes- project “War Theatres and Practices formers and audiences alike, touch-
moil in the region around Voskopojë sional restorers, students and art for Peace” explored the possibility ing on the continued relevance
saw it razed to the ground in 1916, historians. Culture 2000 funding for intercultural exchange in art and of tragedy in the contemporary
leaving its rich architecture in ruins. helped immensely in furthering theatre as an instrument for friend- Mediterranean context.
the project. The gathered expertise ship and peace in this region.
Mireille Smeets of the French was then publicised as part of a The project promoted the mobility
organisation and project leader publication”. A network of writers, professors, of several artists, scholars, thea-
“Patrimoine sans Frontieres” said: artists and intellectuals from five tre professionals and theatrical
And where lay the profits for the lo- Mediterranean countries formed a works, and provided the basis for
“Only six of originally 26 of the cal community? “We created aware- nomadic theatre company. Work- continued networking in the field. It
town’s churches have survived. ness for the richness of Voskopojë’s shops involving young regional demonstrated the power of coop-
Paintings are in a state of decay. own heritage. During communism actors and relevant international eration across national and linguis-
Still, Voskopojë owns a beautiful all religious heritage was disre- experts explored artistic exchange tic boundaries in the Mediterranean
cultural and natural heritage. We garded. People forgot what they and joint development on the area and the potential for theatre
were asked to give advice on the had. Thanks to the Culture 2000 themes of conflict and tragedy. to be an instrument for peace and
preservation of the monuments of programme, we were able to attract The meetings were documented on understanding.
the city.” potent sponsors and develop a video to raise awareness of both
strategic plan with the community the issues covered and the richness Further project information
The project brought together tech- embracing the idea of sustainable of artistic expression in the multi- can be found at
nical and cultural heritage institu- development and cultural tourism.” cultural workshops. http://www.cyprus-theatre-iti.org/
tions and associations from six html/astragali.htm
countries. The project included www.patrimsf.org/English/pdf/
Albania.pdf

Project War Theatres and Lead Organiser


Practices for Peace Eufonia S.C.R.L., Italy
International Foundation Manifesta, Netherlands
Start Date 15/05/2005 Co-Organisers
End Date 15/01/2006 Centro International de Cultural Contemporanea,
Project Voskopoje sans Lead Organiser San Sebastian, Spain
Frontières Patrimoine Sans Frontières, France Chamber of Commerce of Zakynthos, Greece
Co-Organisers Municipality of Limassol, Cyprus
Start Date 15/04/2004 Institut National Du Patrimoine, France Municipality of Nicosia, Cyprus
End Date 15/04/2005 Philipps Universität Marburg, Germany Province of Lecce, Italy
Tei D‘Athènes, Greece Teatro Pubblico Pugliese, Italy
World Monuments Fund, United Kingdom University of Malta, Malta

46 47
More information on the
programme:
• The Cultural Contact Points in participating countries:
http://ec.europa.eu/culture/eac/culture2007/
contacts/national_pts_en.html

• The website of the Commission related to Culture:


http://ec.europa.eu/culture/eac/index_en.html

• For technical questions, the website of the EACEA:


http://eacea.cec.eu.int/index.htm

48
Publisher
European Commission Design, Text & Layout:
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1049 Brussels – Belgium Wassergasse 3
10179 Berlin – Germany

Print:
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Erfurt – Germany

http://ec.europa.eu/culture

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