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INTERNATIONAL COOPERATION OPPORTUNITIES FOR STORYTELLING

INTERNATIONAL COOPERATION OPPORTUNITIES FOR STORYTELLING. FEST CONFERENCE ROME 16 - 19 JUNE 2013. Guy Tilkin, Alden Biesen. European funding programmes. Creative Europe Erasmus Plus Citizenship Youth Interreg EFS Transition year towards 2014 - 2020. Creative Europe.

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INTERNATIONAL COOPERATION OPPORTUNITIES FOR STORYTELLING

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  1. INTERNATIONAL COOPERATION OPPORTUNITIES FOR STORYTELLING FEST CONFERENCE ROME 16 - 19 JUNE 2013 Guy Tilkin, Alden Biesen

  2. European funding programmes • Creative Europe • Erasmus Plus • Citizenship • Youth • Interreg • EFS • Transition year towards 2014 - 2020

  3. Creative Europe • An EU programme for the cultural and creative sectors for 2014-2020 (ex Culture 2007) • Publication of calls for proposals for Creative Europe: expected in autumn 2013 ? • Actions relatively stable, budget still to be negotiated as part of the general negotiations.

  4. Why invest more in these sectors? • Jobs, growth and social inclusion • • Individual creativity • • Spill-overs for innovation, tourism, etc. • • Sectors of the future: creative industries

  5. Which new priorities for which new challenges? 1. A fragmented cultural space • Many small, fragmented markets • Europe’s linguistic diversity • The difficulties for artists and their works to cross borders • Few Europeans access “non-national” European cultural works • Cultural and linguistic diversity is a challenge, but also an EU commitment

  6. Which new priorities for which new challenges? 2. The digital shift • Profound impact on the sector in terms of creation, distribution, consumption and remuneration • Change in relations between cultural organisations and the public/audiences • Challenges, but also opportunities • Excellent practices exists, but know-how is geographically fragmented and under-developed across Europe

  7. Which new priorities for which new challenges? 3. Lack of data • The shortage of comparable cultural data • More difficult to design policy and programmes at national and European levels • More difficult to advocate for funding for culture if no evidence

  8. Creative Europe: objectives • To safeguard and promote Europe’s cultural and linguistic diversity. • To strengthen the competitiveness of the cultural and creative sectors to foster smart, sustainable and inclusive growth. • To realise an added value (social, economic, cultural, pedagogical, ecological,…) in answer to the EU 2020 strategy.

  9. Creative Europe: priorities • Support to develop skills and knowhow to facilitate adjustment to the digital shift, new business models • Strengthen European and international networks to facilitate access to new professional opportunities • Support artists/cultural professionals to internationalize their careers • Support international touring, events and exhibitions • Support literary translation • Support for audience development and building a long-term audience for European cultural works

  10. Audience development as a concept • Cultural, social and economic dimensions • Developing, deepening and diversifying • The need to reach the "non-audience" • Growing importance of participatory art & co-creation • Need for new skills, interdisciplinary partnerships, collaborative ventures

  11. Funding actions • Transnational cooperation projects • European networks & platforms with a structuring effect • Literary translation • Full participation of certain third countries: • NEW: European neighbourhood countries • NEW: Bilateral “windows” with certain third countries • NOT: 3rd country call, ambassadors, festivals

  12. Erasmus for All(ex Lifelong Learning Programme) • Comenius • Schools and teacher training • Erasmus • Higher education • Grundtvig • Adult education • Leonardo • Vocational sector, professional development • Cross sectoral cooperation with non-ed. org.

  13. Europe for Citizens • Culture & identity • Intercultural and multicultural aspects • Participation

  14. Youth in Action • Exchange of ‘non-formal education related’ groups: youth, sport, culture • Citizenship • Participation • Cultural diversity • Inclusion of youngsters with fewer opportunities • Exchanges, Initiatives, Democracy projects

  15. Interreg • Regional development • Interregional cooperation

  16. Professionalism of the storyteller • What type of professionalism can a storyteller offer? • On stage • In an educational setting • In a socio-cultural setting • In an economical setting • Professional development of an artist with a very important cultural and social role. • Choice of the artist

  17. SHEHERZADE1001 Stories for Adult Learning • Gathering good practice in Europe • Gathering theory and background knowledge • Piloting small projects • Creating manual • Target groups: • Adult educators • Teacher training • Storytellers

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