Le nuove priorità del bando Progetti di cooperazione, Cultura, Europa Creativa, in scadenza nel 2015

Il nuovo bando uscito pochi giorni fa ha modificato le priorità rispetto al bando scaduto nel 2014, in particolare le ha semplificate e descritte in miglior dettaglio. Vedi Guidelines p.3-6.

2.1 Programme priorities

According to the framework referred to under section 1 of these guidelines, the programme seeks to support projects mainly working on transnational mobility, audience development (accessible and inclusive culture) and capacity building (notably digitisation, new business models and education and training). These programme priorities are spelt out here below, in 5 groups (A, B, C1, C2 and C3). The short description of capacity building under C is only for illustrative and background purposes.

Supported projects shall therefore include a substantiated strategy and detailed description of how they plan to implement one or more of these programme priorities. When submitting their applications through the online application system referred to in section 14.3, applicants must tick a maximum of 3 of these 5 priorities, which are the most relevant to their project, and rank these 3 priorities by order of relevance.

On top of the specific features of the scheme and in compliance with the principle of subsidiarity, the supported projects shall contribute to create European added value as defined in Article 5 of Regulation No 1295/2013 establishing the Creative Europe Programme.

A) Transnational mobility

What is entailed here is the transnational mobility of artists and professionals, as well as the transnational circulation of cultural and creative works, the aim of which is to promote cultural exchanges, intercultural dialogue, understanding for cultural diversity and social inclusion.

Transnational mobility is embedded in the cooperation projects. However, it must be         aimed at more than the mere coordination, administration and implementation of the project. Mobility is about results, not just a matter of travelling across borders.

Projects addressing this priority must conceive and describe a real cross-border mobility strategy, which might be aimed at, amongst others:

  • capacity building for cultural operators involved in the project to work transnationally and internationally,
  • creation, production,
  • improving professional skills, peer learning, education/training,
  • career opportunities for artists and professionals to work transnationally and internationally,
  • accessing new markets,
  • creating network possibilities, building partnerships and contacts,
  • reaching new and wider audiences,
  • triggering intercultural dialogue and respect for diverse cultures and cultural expressions.

Partnerships with operators from outside the EU should reflect the concept of the role of culture in the EU’s external relations, as spelt out in the European Agenda for Culture referred to in section 1.

B) Audience development

Audience development means bringing people and culture closer together. It aims to directly engage people and communities in experiencing, enjoying and valuing arts and culture. Audience development is about doing something together with audiences, rather than doing something for them.

Audience development is an important new priority in Creative Europe which helps European artists/cultural professionals and their works reach as many people as possible across Europe and extend access to cultural works to under-represented groups.

In developing a strategy for audience development, the goal could be to widen audiences, to diversify them or to deepen the relationship with existing audiences (or a combination of these). The applicants are supposed to know who their current audiences are and what target groups they want to reach. Audience development should be an integral part of the project – through involving audiences in the programming, production, participatory art, physical dialogue, social media interaction, volunteering or creative partnerships with other sectors (health, education, retail, etc.).

The implementation of an audience development strategy will typically require that staff members are trained and assigned specifically to audience development tasks. Training should be an essential part of any such strategy. Applicants should also do research prior to establishing a strategy and they should seek to apply segmentation models. Monitoring progress and success of the audience development activities, amongst others by collecting audience feedback (in a formal or informal way), is a good practice.

Possible directions to be taken:

  • projects focusing on creating audience development skills for cultural operators/artists as one of their main goals;
  • projects involving co-creations, co-productions, touring, etc. having a clear strategy for audience development to accompany the project, so that they do not focus solely on the “supply side” but also on the “demand side”, ensuring that the activities have the largest possible impact;
  • requiring that projects involving residences or exchange schemes for artists seek to interact with local communities and audiences, rather than confining their mobility experience to their immediate peers.

C) Capacity building

  • Capacity building means helping cultural operators to further develop their skills and internationalise their careers in order to facilitate access to professional opportunities as well as to create the conditions for greater transnational circulation of cultural and creative works and for cross-border networking. This can happen in manifold ways. The main 3 are spelt out here below, and each of them constitutes a programme priority in its own right.       C.1) DigitisationThe digital shift is having a massive impact on how cultural and creative goods are made, disseminated, accessed, consumed and monetised. These changes offer wide opportunities for the cultural and creative sectors. In order to use those opportunities, the cultural and creative sectors need to develop new skills allowing for new production and distribution methods and new business models.The Creative Europe Culture Sub-programme therefore supports projects of a transnational nature that will allow the actors of the cultural and creative sector to adapt to the digital shift, encouraging the use of digital technologies from production to distribution and consumption. Activities might include the organisation of workshops, the testing of new delivery channels via digital means or the development of tools for digitisation of cultural content. These – and other – activities will in most cases be closely linked to audience development or new business models, and the applicants should acknowledge these links and explain what the main objective of the action is.Projects that seek to address this priority should have an innovative approach and go beyond the mere digitisation of contents.            C.2) New business models

    The opportunities offered by the new technologies make it necessary to develop and test new models of revenue, management and marketing for the cultural sectors. At the same time, the cultural and creative operators should enhance their financial and business skills, to allow them to better perform at the market and to take full advantage of the funding opportunities that are changing along with the financial context.

    The Creative Europe Culture Sub-programme supports transnational projects that enhance the business skills of the cultural and creative actors, to allow them to better understand the changing economic context and find new sources of revenue or new management models allowing for better performance and lower costs. These might include (not exhaustively) the organisation of workshops, the setting up of co-working and co-creation spaces, the development and testing of new business and management approaches and other activities linked to entrepreneurial skills for the cultural and creative sectors.

    Applicants should keep in mind the close links between this priority and the other priorities (digitisation, audience development) and define their primary objective and the effects of the action on the other priorities.

C.3) Training and education

Enabling people to gain new skills which will enrich their professional life and embrace their chances on the labour market is one of the overarching priorities of EU action. Obviously, artistic and cultural education and training are an integral part of this effort.

The Creative Europe Culture Sub-programme supports transnational projects which offer to the participants the opportunity to acquire new skills and improve their employability, be it through formal learning at recognised schools which participate in projects or through non-formal activities focused on artistic learning or on soft skills in the culture and art sector.

Logical combining of this priority with the others is a good practice and needs to be well explained.

 

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