issue # 4 // WINTER 2008–2009

PUBLISHED BY THE EUROPEAN MUSIC COUNCIL // a regional group of the International Music Council

in Europe

Creativity & Innovation m EU Year 2009 m ExTra! Exchange Traditions – first results m Rainbow Paper m EU Culture Platforms m How creative are you?

A Regional Group of the

The European Music Council (EMC) is a platform for representatives of National Music Councils and organisations involved in various fields of music from many European countries. As a European umbrella organisation, it gathers the European members of the International Music Council (IMC). The European Music Council contributes to a better mutual understanding among peoples and their different cultures and promotes the right for all musical cultures to coexist. Therefore it provides exceptional value to its members by building knowledge, creating networking opportunities as well as supporting and enhancing the visibility of initiatives that help sustain people’s participation in music and cultural life.

IMPRINT Editor: European Music Council Haus der Kultur Weberstr. 59a 53113 Bonn Germany www.emc-imc.org [email protected] Tel.: +49 228 96699664 Fax: +49 228 96699665 CHAIRman: Timo Klemettinen Vice-CHAIR: Christian Höppner Treasurer: Stef Coninx Board Members: Erling Aksdal, Harald Huber, Petra Mohorčič, Uģis Prauliņš, Daphne Wassink Secretary General: Ruth Jakobi (rj)

Project assistant: Isabelle Metrope (im) Assistant: Nina Westerhoff Editing: Simone Dudt, Rebekka Leibbrand Proof reading: Juliette Powell, Anne Thomas Layout: kominform, Hamburg (www.kominform.net) Printing: Druckpartner Moser, Rheinbach Drawing on front page by Timm Lotz, Hamburg ([email protected]) on the basis of a picture by EMC (occasion: ExTra! project activity in Slovakia by IYMF) Photographers as credited The European Music Council is supported by:

Deputy Secretary General: Simone Dudt (sd) Secretary General Assistant: Rebekka Leibbrand (rl)

© 2008 European Music Council. All rights reserved. The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this publication may be reproduced in any format without permission of the European Music Council.

CONTENT PROLOGUE 6



Creativity between Arts and Business by Ján Figel’

EMC News 8

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ExTra! Final Event and EMC Annual Conference ExTra! Final Straight and First Results

FOCUS: Creativity and Innovation 14

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Creativity and Innovation by Yudhishthir Raj Isar From Music to Creativity – and Back? by Michael Wimmer Creativity and Innovation: Tools for Development by Daphne Wassink

CULTURAL POLICY 20 22

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From a Colourful Rainbow to a Privileged EU Advocacy Body Is there a European Cultural Policy? Ineffective Visa Systems Damage the Music Industry and Contrast Greatly With the Principles of the UNESCO Convention on Cultural Diversity IMC and EMC Participate in the Process towards the Implementation of the UNESCO Convention on Cultural Diversity

FOR INSPIRATION 26 27

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Launching of the European Musical Exchange Platform The Creative Cities Network – Glasgow as UNESCO City of Music DaCapo - Braille Music Notes Creativity as an Approach to Life The Dance House Movement in Hungary DIVERSIDAD! – The Definitive European Urban Experience The Independents, Drivers of Creativity and Innovation in Music Arts Festivals: Laboratories of Creativity – Promoters of Innovation Music in Library: Entering the Digital age for a Better Education of Audiences Bring-a-dish Party for Creative New Music Music Promotion in Italy

FOR FUN 37

How Creative Are You? The EMC Creativity Self-Assessment

EMC/IMC REVIEW 38

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Access to Music – New perspectives in Education, Distribution and Politics Access! Connecting Youth in Music Music on Troubled Soils Imprint Editorial Pinboard Coming Next Acknowledgements

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EDITORIAL

The Year of Creativity and Innovation 2009 Luovuuden ja innovaation teemavuosi 2009 The Czech Presidency of the EU and the European Commission launched the European Year of Creativity and Innovation 2009 under the slogan “Imagine. Create. Innovate.” With the global economy in a downward spiral, the year began under challenging circumstances. Only the coming years will reveal the impact of this global recession on culture and the creative sector. Yet at the same time, the need for creative and innovative solutions has never been greater. But what, indeed, is creativity? Often, it is associated only with the arts and sciences, but in a broader sense, creativity is both an attitude and way of life that informs our daily activities. Everyone has talent and creativity, but the genetic potential for creativity is merely a possibility and a starting point that, without hard work, will not lead to anything. We should seek a wide range of experiences in everything we do. A question of more direct relevance to the European Year of Creativity and Innovation than the nature of creativity is how we can best foster creativity and what kind of environment makes creative activity and thinking possible. One key issue is to understand to what extent this European Year will attempt to harness creativity for economic ends, as opposed to seeking to promote creativity and to construct environments in which creativity can come alive. According to Kari Uusikylä, a professor of education who specialises in creativity research, creativity is about challenging preconceived notions, about mulling over new ideas, about trial and error. This means, of course, that some of the ways in which creativity is expressed can be out of place in our competitive and results-driven world. International studies refer to the uncaring values, so typical of

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our times, as ‘creativity killers’. Values and decisions should be aligned so as not to create a situation where people face conflicting demands to be both creative and hard-charging at the same time. Creativity is a word that politicians like to throw around, but when we see what society has done to promote creativity, we are often left disappointed. It is paradoxical that even as we celebrate this European Year of Creativity and Innovation, arts subjects have, in the majority of European schools, been devalued in status, and funding for culture is often the first to be cut in times of budgetary constraints. Clearly, music and music education have much to offer this European Year, but what does the year have to offer interested parties in the music sector? Society should help everyone discover their giftedness and create an educational system that cultivates children’s personal growth, support artists whose work cannot be readily turned into euros, and – with the help of public funding – put in place structures that ensure the availability of cultural services. In the end, this is a question of values and of the kind of world in which we want our children to grow up and people to live. Political values are manifested most concretely in budgets. According to C.G. Jung, the creative process is a mystery. May this European Year of Creativity and Innovation be a success for all concerned (and perhaps be just a little bit mysterious as well)! // Timo Klemettinen Chairperson, European Music Council

EDITORIAL

We should seek a wide range of experiences in everything we do. Ihmisen pitää elää, harrastaa ja kokea monipuolisesti.

EU:n puheenjohtajamaa Tsekin tasavalta  ja Euroopan komissio avasivat luovuuden ja innovaation teemavuoden 2009 iskulauseella “Imagine. Create. Innovate” - “Kuvittele. Luo. Innovoi”. Teemavuosi alkoi haasteellisessa tilanteessa, jossa maailmantalous on luisunut syöksykierteeseen. Vasta tulevat vuodet näyttävät meille miten maailmantalouden taantuma vaikuttaa kulttuuriin ja luovan alan toimijoihin. Toisaalta nyt jos koskaan tarvitsemme luovuutta ja uusia innovaatioita. Mutta mitä luovuus oikeastaan tarkoittaa? Usein luovuus liitetään taiteisiin ja tieteisiin, mutta laajemman käsityksen mukaan luovuus on asenne ja tapa elää, joka ilmenee arkipäivän toiminnoissakin. Kaikissa ihmisissä löytyy lahjakkuutta ja luovuutta. Yksilön geeneissä oleva lahjakkuuspotentiaali on vasta mahdollisuus, lähtökohta, joka ei ilman kovaa työtä johda mihinkään. Ihmisen pitää elää, harrastaa ja kokea monipuolisesti. EU:n teemavuoden kannalta tärkeämpi kysymys kuin mitä luovuus on, on kysmys siitä miten luovuutta voidaan edistää ja millainen ympäristö mahdollistaa luovan toiminnan ja ajattelun. Yksi keskeinen kysymys on, kuinka paljon teemavuosi keskittyy valjastamaan luovuutta talouden palvelijaksi ja kuinka paljon pyritään edistämään itse luovuutta ja toimintaympäristöjä, joissa luova toiminta on mahdollista. Kasvatustieteen professorin ja luovuustutkija Kari Uusikylän mukaan luovuuteen kuuluu asioiden kyseenalaistaminen, hautominen ja kypsyttely, yrittäminen ja erehtyminen. Luovuuteen kuuluun siis toimintatapoja jotka eivät sovi muodin mukaiseen tulosvastuulliseen ja kilpailuhenkiseen tuottamiseen. Kansainväliset tutkimustulokset puhuvat luovuuden tappajista, creative killers, – joita ovat aikamme kovat arvot. Arvot ja päätökset pitäisivät olla linjassa, ettei tulisi

tilannetta, jossa ihmiset elävät ristiriitaisten vaatimusten paineissa, samanaikaisesti pitäisi olla luova ja kilpailukykyinen. Luovuus on sana jota poliitikot mielellään käyttävät puheissaan, mutta kun katsomme mitä yhteiskunta on tehnyt luovuuden edistämiseksi, joudumme usein pettymään. On paradoksaalista, että viettäessämme luovuuden teemavuotta, on taideaineiden asema useimmissa Euroopan kouluissa ajettu alas ja säästökohteena ovat ensimmäisenä usein kulttuurimäärärahat. On selvää, että musiikki ja musiikkikasvatus voivat antaa paljon teemavuodelle, mutta mitä teemavuosi voi tarjota musiikin alan toimijoille. Yhteiskunnan tulisi auttaa jokaista lahjakkuutensa löytämisessä ja luoda koulujärjestelmä joka tukee lasten persoonallisuuden kasvua, tukea taiteilijoita, joiden työntulokset eivät ole suoraan muunnettavissa Euroiksi sekä luoda julkisen rahoituksen avulla rakenteet, jotka mahdollistavat kulttuuripalveluiden saatavuuden. Loppujen lopuksi kysymys on arvoista ja siitä millaisessa maailmassa haluamme lastemme kasvavan ja ihmisten elävän. Parhaiten poliittiset arvot ja arvostukset näkyvät talousarvioissa. Jungin mukaan luova prosessi on mystinen. Menestyksellistä ja mystistä EU:n teemavuotta toivottaen! // Timo Klemettinen Euroopan musiikkineuvoston puheenjohtaja

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PROLOGUE

Ideas and expectations of the European Year of Creativity and Innovation

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PROLOGUE

“Imagination is more important than knowledge”. Albert Einstein. In springtime 2006, the Austrian Minister for Education and Culture, Mrs Gehrer, wrote to me to suggest that we have a European Year of Music Education. My initial reaction was that, if we were to have such a year, it would be better to broaden it to include all forms of artistic expression. As this was further considered, the idea emerged of focusing on creativity, the vital common thread to all artistic expression. Enjoying art as a listener or viewer is a rewarding experience, but we thought it important to highlight that everyone has some capacity for creative expression, and that this capacity should be developed through lifelong learning, starting from early childhood. It was when I brought this idea to the College of Commissioners that President Barroso said talking about creativity, we should also promote also innovation: The two go hand-in-hand. I fully agreed because the innovation agenda is very important for Europe’s future. At the time, nobody could predict the present crisis, but it is just as well that we are celebrating this European Year at a time when creativity and innovative capacity are more necessary than ever. It has been remarked that if the Year had been just about creativity, the focus would have been on art; and if it had been about innovation, the focus would have been mainly on technology and the economy. Our innovation has been to combine both. By bringing the two together, we have more than the sum of those two parts. The link between the two is the human factor, the potential within us: We can be creative in tackling economic and social issues, and we can innovate in artistic expression. So the concept of creativity and innovation that we are promoting this year is a continuum, covering many forms of human endeavour, from culture and the arts to entrepreneurship. Human and economic factors go well together: Either they both flourish together, or they will languish together. And even if the current climate means that there will be frequent references to the role of innovation in tackling the economic crisis, I want to be quite clear that the artistic and cultural end of this spectrum remains close to my heart and will also be one of the goals of the year. As regards music, we have got off to a very good start. The media presentation of the Year last December included a performance by the Vienna Vegetable Orchestra: I can assure you, it was quite innovative! Of course, this was in no way a performance of classical music. But on 20 January 2009 the European Association of Conservatoires (AEC) and European League of Institutes of the Arts (ELIA) organised the artistic launch of the European Year of Creativity and Innovation in a very appropriate musical way in Brussels.

In Prague, the formal launch of the Year was linked to the launch of the Czech presidency, and included a musical gala evening which also featured some novel and humorous elements. Creativity can be a major driving force towards knowledge creation and social and economic progress. Educational institutions and systems must do their best to give pupils and students the necessary means to develop creative skills. Arts education is fundamental to developing these means, and should therefore be promoted in a lifelong learning perspective. Nonformal and informal education should not be overlooked either. The modern literature on creativity reveals that, although luck or chance play a role, creativity in education may be enhanced by the right environment as well as cultural factors. The worst part of the story is that in some cases education can in fact even stifle creativity. Favourable conditions include teamwork, cross-cultural exchange, inter-disciplinarity (with a special focus on arts education) and a risktaking culture that tolerates and in some way encourages failure as a learning opportunity. The arts, by encouraging learners to experiment, self-express, cooperate, overcome problems and take initiatives, favour the development of their creative abilities. In this perspective, developing our creative and innovative potential is a key factor for economic competitiveness as well as social cohesion and individual well-being. I believe that fostering creativity in education will be needed for Europe to develop into a truly knowledge-based society and economy. The European Agenda for Culture, which was adopted in 2007, establishes a well developed policy dialogue within the cultural sector. Two new platforms for dialogue and exchange have been set up; one on the cultural and creative industries themselves, and another on access to culture. These groups will help us identify best practices; propose cooperation initiatives; and develop ways to evaluate progress. The activities and conclusions of these groups will also provide food for thought for the 2009 European Year for Creativity and Innovation. The cultural dimension is and will remain a strong element of our vision for 2009 and beyond. 3 Ján Figel’ EU Commissioner for Education, Training, Culture and Youth

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ExTra! Final Event and EMC Annual Conference ExTra! Τελική Δράση και Ετήσιο Συνέδριο του EMC 8

WINTER 2008–2009 // SOUNDS IN EUROPE

ExTra! Final Event and EMC Annual Conference // EMC-NEWS

Από τις 23 έως τις 25 Απριλίου, θα λάβει χώρα η τελική δράση του έργου ExTra! στην Αθήνα. Θα διοργανωθεί από κοινού από τον Πολιτιστικό Οργανισμό Εν Χορδαίς, εταίρο του έργου, και το EMC. Όπως αρμόζει σε ένα έργο που έχει ερευνήσει τις ποικίλες παραδόσεις που συνθέτουν το μουσικό τοπίο της Ευρώπης, η τελική αυτή δράση, με τη μορφή ενός συμποσίού, θα εξετάσει τον εν δυνάμει ρόλο της μουσικής ως στοιχείο συνοχής στις πολυπολιτισμικές μας κοινωνίες. Το σχολείο είναι ο βασικός φορέας κοινωνικοποίησης για τα νεότερα μέλη της κοινωνίας, αλλά συχνά δυσκολεύονται να αντιμετωπίσουν τις συνθήκες που δημιουργούνται από την παρουσία τόσο διαφορετικών κοινωνικών ομάδων, δεδομένου ότι σε πολλές χώρες οι θεμελιώδεις αρχές της εκπαίδευσης αναπτύχθηκαν στις περισσότερο ομογενείς κοινωνίες παλαιότερων εποχών, και, σε ορισμένες περιπτώσεις, διακατέχονται ακόμη από το άγχος της δημιουργίας ή / και διατήρησης μίας «εθνικής ταυτότητας». ΟΙ βασικές ερωτήσεις που θα τεθούν και θα συζητηθούν κατά τη διάρκεια του συμποσίου θα σχετίζονται με τον εν δυνάμει ρόλο της μουσικής που στοχεύει να βοηθήσει στην προσαρμογή στη νέα κοινωνική και πολιτισμική πραγματικότητα εντός του εκπαιδευτικού συστήματος. Η μουσική, λέγεται ότι είναι μία οικουμενική γλώσσα και σαφώς σήμερα, τόσο η «ελαφρά» όσο η «ελιτίστικη» μουσική είναι ανοιχτές σε μία πληθώρα ιδιωμάτων, πολλά από τα οποία έχουν μη-δυτικές ρίζες. Δεν υπάρχει αμφιβολία ότι η μουσική προσφέρει έναν άμεσο και διασκεδαστικό τρόπο να αξιοποιηθούν οι παραδόσεις και οι σύγχρονοι πολιτισμοί διαφόρων εθνικοτήτων μέσα από το τραγούδι, τον χορό, την απλή οργανική πρακτική κλπ., και να δημιουργηθούν ευκαιρίες για μία διάδραστικότητα μεταξύ των μαθητών που αναδεικνύει την πολιτιστική ποικιλότητα σε θετικό φως. Ωστόσο αυτή η, φαινομενικά απλή, ιδέα είναι πολύ πιο σύνθετη, διότι προϋποθέτει ότι έχει καταλήξει κανείς σε μία ισορροπημένη θέση σχετικά με τη συζήτηση για τα υπέρ και τα κατά των προσεγγίσεων που βασίζονται στην πολυπολιτισμικότητα (που αντιπροσωπεύονται για παράδειγμα από την Μεγάλη Βρεττανία) και σε εκείνων που στοχεύουν στην ενσωμάτωση (για παράδειγμα στην Γαλλία). Πρόκειται για μία από τις πλέον σημαντικές στρατηγικές συζητήσεις που πρέπει να αντιμετωπίσουν όσοι διαμορφώνουν τις κοινωνικές και πολιτιστικές πολιτικές σήμερα. Συνεπώς το συμπόσιο θα διαιρεθεί σε θεματικές ενότητες που θα προσπαθήσουν να φωτίσουν τα θεμελιώδη αυτά ζητήματα μέσα από τις κύριες παρεμβάσεις και τις συζητήσεις. Οι ομιλητές προέρχονται από διαφορετικά επαγγελματικά περιβάλλοντα: την εκπαίδευση, ομάδες διαμόρφωσης στρατηγικής, διεθνείς θεσμούςί, τα ΜΜΕ, την μουσική πρακτική κλπ. Ταυτόχρονα, η συνάντηση στην Αθήνα θα είναι μία ευκαιρία για τους εταίρους του έργου ExTra! να συνοψίσουν και να συζητήσουν για τα γενικότερα αποτελέσματα του έργου και να παρουσιάσουν την έκδοση που προέκυψε ως ένα βασικό του παραδοτέο. Το συμπόσιο θα συμπεριλάβει και μία σύντομη συναυλία με μουσικούς προερχόμενοι από τις κοινότητες των μεταναστών όπως επίσης και τη διανομή ενός CD του οποίου το περιεχόμενο θα προσφέρει ένα πανόραμα του μουσικού κόσμου της Μεσογείου. Το συμπόσιο θα διοργανωθεί υπό την αιγίδα της Εθνικής Επιτροπής UNESCO της Ελλάδας, και με την υποστήριξη του Ινστιτούτου Μεταναστευτικής Πολιτικής (ΙΜΕΠΟ). Θα λάβει χώρα στο αμφιθέατρο του Ιδρύματος Εικαστικών Τεχνών και Μουσικής Β και Μ Θεοχαράκη, ενός μη κερδοσκοπικού φορέα που στοχεύει στη διάδοση μίας διεπιστημονικής προσέγγισης των τεχνών του 20ου και 21ου αιώνα. Το έργο ExTra! χρηματοδοτείται από την Ευρωπαϊκή Επιτροπή στα πλαίσια του προγράμματος Πολιτισμός 2000. Είστε όλοι ευπρόσδεκτοι! //

Χρήστος Καρράς Ίδρυμα Εικαστικών Τεχνών και Μουσικής Β & Μ Θεοχαράκη

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Η εγγραφή είναι δυνατή μέχρι τις 31.03.2009 στο www.extra-project.eu   ή απευθείας στο EMC, τηλ:  +49 228 96 69 96 64 ή email: [email protected]

From 23 to 25 April, the closing event of the ExTra! Project will take place in Athens, Greece. It will be co-organised by ExTra! partner En Chordais and the EMC. Fittingly, for a fascinating project that has researched the myriad traditions that make up the musical landscape of Europe, this final event in the form of an international symposium will examine the potential role of music as a binding force in our multicultural European societies. Schools are the fundamental socialising institution for the younger members of the community, but they are often hard-pushed to cope with new conditions created by the presence of diverse cultural groups, since in many countries the fundamental approach to education is still derived from the relatively homogeneous societies of several decades ago as well as, in some cases, an Angst for the preservation of a ‘national identity’. The fundamental questions that will be posed and discussed during the symposium will relate to the potential role of music to help adapt to new social and cultural realities within the educational system. Music, it is said, is a universal language, and today, popular and ‘elite’ music are certainly both more open than ever before to a variety of idioms, many of them non-Western. Music certainly offers an instinctive and playful way to valorise the traditions and contemporary cultures of different nationalities, through song, dance, basic instrumental practice, etc., and create opportunities for interaction between pupils that shows cultural diversity in a positive light. However, this simple sounding idea is much more complex since it presupposes that one has reached a balanced position on the debate concerning the pros and cons of approaches based on the ideal of multiculturalism (as represented for example by the United Kingdom) and those that aim for integration (as exemplified by France). This is one of the most important strategic debates facing those who shape social and cultural policies today. Accordingly, the symposium will be divided into thematic units that will try to shed light on these fundamental issues through the presentation of keynote addresses and discussions. The speakers come from a variety of professional backgrounds: education, policy think tanks, international media institutions, performance, etc. At the same time, the Athens meeting will be an opportunity for the ExTra! partners to summarise and discuss the overall results of the project as well as to present the ExTra! publication, which is one of its basic outcomes. The symposium will also feature a small concert by immigrant musicians based in Greece and the distribution of a music CD whose content provides a panorama of the Mediterranean musical universe. Additionally to the comprehensive programme, the EMC will hold its Annual Meeting within the framework of the conference. The symposium will be organised under the aegis of the National UNESCO Committee of Greece and with the support of the Hellenic Foundation for Immigration Policy, an independent advisory body. It will take place in the amphitheatre of the B & M Theocharakis Foundation for the Fine Arts and Music, a private, nonprofit organisation whose mission is to promote an interdisciplinary approach to the arts in the 20th and 21st centuries. The ExTra! project is co-funded by the European Commission within the framework of the Culture 2000 Programme. You are all welcome! // 3

Christos Carras B&M Theocharakis Foundation Registration is possible until 31 March 2009 at www.extra-project.eu or contact directly the EMC at: phone: +49 228 96 69 96 64 or email: [email protected]

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EMC-NEWS // Artikel

Urban music workshop in Slovakia by IYMF © EMC

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ExTra! Final Straight and First Results // EMC-NEWS

ExTra! Final Straight and First Results ExTra! Exchange Traditions has given impetus to cultural dialogue for two years already through international artistic meetings across Europe.

Although it also affects large entities (states or communities), following the example of broad human, social and societal changes, intercultural dialogue can be efficient and perennial only if it is the fruit of interpersonal dialogue. In 2006, the ExTra! project was launched and implemented its first activities in France and Italy. The objective of these activities was to stimulate intercultural dialogue through the exchange of what constitutes the daily life of European citizens as well as their ancestral heritage: Musical traditions. Since then, other activities have followed, in Austria, Finland or Slovakia, and reached several thousands of people through various concerts, workshops, conferences and a summer academy. A publication, theorising these exchanges and presenting innovative projects sharing the objectives of the ExTra! project is in the pipeline. Men shape traditions, and traditions shape men On the basis of this premise, ExTra! makes it a point of honour to organise practical activities by going in search of the Europeans, as during the urban music workshop in November 2008 (report available on www.extra-project.eu). The International Yehudi Menuhin Foundation invited four Brazilian artists to the city of Banská Bystrica (Slovakia) in order to exchange their traditions – in this case, capoeira and its music – with those of Slovakian and/or Roma participants. The spontaneous encounter between these populations (with only limited access to music education) provided the opportunity to discover unexpected similarities in artistic practices of everyone. According to the same principle, the Association Nationale Cultures & Traditions organised an international symposium on how to stage traditions in a show. This one-day conference, organised within the framework of its Festival des Cultures du Monde, studied the difficulties of a musical staging of a show connected to a specific rite that belongs to everyday life. Is tradition respected when a piece of it is ‘extracted’ to be presented to an audience? Can this element, subjected to the requirements of a show or a concert, retain its authenticity? Several of these dilemmas have been lively debated. One of them, spontaneously mentioned by the participants and discussed at length, had to do with terminology: What is tradition? The question remained unanswered, and for many people had no real answer. In the words of Jean Pachot, President of the Committee of the Festival des Cultures

du Monde, “tradition is permanent – but it accepts variations. As for the stage, it is a world in its own right, whose ultimate aim is to beat boredom”. How then reconcile the preservation of traditions and the expectations of the audience? This was the last question raised and highlighted during the closure of the symposium by Jean Pachot, through the qualification of the term tradition as a “polyphony of concepts”, a “waltz of definitions”. Interdisciplinarity as source of creation In July 2008, ExTra! gathered young Finnish musicians in Kaustinen (Finland) during a green music workshop initiated by the International Yehudi Menuhin Foundation in the framework of the Kaustinen Folk Music Festival (report available on www.extra-project. eu). The discovery of local musical traditions through, among others, the creation of musical instruments from natural elements, brought together two essential components of the Finnish culture: Music and a privileged relationship with nature. Participants in the workshop, from five different countries, brought their own musical habits as well as a definite openness to cultural mix. During the seminar, diverse original works were born from the exchange of competencies and imagination of everyone. The compositions performed with traditional Finnish instruments, classical western instruments, ‘green’ instruments and computers were presented to the press and then to the participants of the Kaustinen Folk Music Festival. Some of these works will be made available in the coming months on the ExTra! download platform (www.manymusics. org/extra). For the closure of the seminar, the guest artists organised an exceptional workshop where children were invited to participate by dancing and playing several ‘green’ instruments. Then again, traditions have been mingled when one participant in the seminar taught the children a traditional dance from Auvergne accompanied by improvised and computer-assisted music. In order to investigate the theoretical processes brought into play by these activities as well as to advertise other innovating projects, the European Music Council (EMC) is preparing a publication entitled “Music in Motion. Diversity and Dialogue in Europe,” which will be released in spring 2009 and available from the General Secretariat and transcript publishing (details see p. 46). This publication is being carried out thanks to an Editorial Board composed of Bernd Clausen (Hochschule für Musik Würzburg), Eva Saether (University of Malmö) and Ursula Hemetek (University of Vienna), and will

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EMC-NEWS // ExTra! Final Straight and First Results

Green music workshop in Finland by IYMF © EMC

include sociological, historical or ethnomusicological articles relating to the presence of different types of musical traditions in Europe. One part of this book will be dedicated to the presentation of innovative projects focused on the exchange of musical traditions, and more especially to the role that this exchange can play in education. ExTra! after 2009 While the activities organised by the ExTra! project partners were specifically created for this project, their success has given an impulse, and a repeat is already scheduled for some of them. Other activities, whose repetition in a similar form will not be possible, will have initiated a reflection that will certainly lead to the implementation of other forms of events stimulating intercultural dialogue through musical practices. The download platform www.manymusic.org/extra will be maintained after the closure of the project, and the recordings of some ExTra! activities will progressively be made available for download. Athens ExTra! Exchange Traditions will be closed in April 2009 by the conference organised by the EMC (project coordinator), and En Chordais (one of the seven project partners). This event will take place within the framework of the EMC Annual Conference (details see p. 8) and will deal with the challenges of the whole project, the outcomes

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of these three years of exchange and, of course, the continuity of the project. Experts in ethnomusicology and partners will attend several interactive sessions. The publication “Music in Motion. Diversity and Dialogue in Europe” will be officially announced during the closing conference attended by the Editorial Board and some of the published authors. 3 ExTra! Exchange Traditions project partners: Association Nationale Cultures et Traditions, France | Cité de la Musique, Paris, France | En Chordais, Greece | International Yehudi Menuhin Foundation, Belgium | Fondazione Adkins Chiti: Donne in Musica, Italy | mica, Music Information Center Austria | European Music Council // im Translation by Juliette Powel

FOCUS // Creativity and Innovation

FOCUS // Creativity and Innovation

Creativity and Innovation Musicians, like all those who practice an art, have good reason to be bemused by the ways in which the notions of ‘creativity’ and ‘innovation’ have become so popular these days – and so generously attributed to many different categories of endeavour. Some artists might in fact regret that the centre of gravity of these concepts, once firmly rooted in the arts, is now only secondarily located there, despite the continuing popular veneration of the artist as a demiurge. In the cultural field, as in other domains, people have long asked questions about the precise meaning and scope of both terms. Throughout my own career as a cultural professional I’ve had to attend to such questions too. In my case, however, these questions have recently been folded into a wider concern with the interplay between cultural change and globalisation  – the topic that led me to join forces with the sociologist Helmut Anheier in founding the Cultures and Globalization Series of publications. And this is the perspective in which I now write. The specific interest and the wider focus converged in our work for the recently published 2008 volume of the series – entitled “The Cultural Economy” – which is all about what many people now like to call the creative industries. The creative industries paradigm certainly turns artistic creativity to its own devices and, concomitantly, all sorts of claims are now being made

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by (but mostly for) artists – these claims centre on the role both ‘creators’ and performers can play in contributing to the Lisbon Agenda. The claims have been foregrounded rhetorically by the European Commission, both in its language designating 2009 as the European Year of Creativity and Innovation and in its earlier 2007 Communication which sets out the goal of “promoting culture as a catalyst for creativity”. The story is wellknown of how the ‘cultural’ industries became ‘creative’ as a result of the Blair government’s activism in the UK and how this new paradigm for the cultural sector was given a decisive push forward transatlantically by Richard Florida’s 2002 bestseller “The Rise of the Creative Class and How it’s Transforming Work, Leisure, Community and Everyday Life”. Florida’s theses were taken up enthusiastically by many government officials, politicians and cultural activists the world over. This occurred despite the fact that his ‘creative class’ stretches across a very broad range of professions to include scientists, engineers and educators, not just artists, architects, entertainers and writers. Florida’s thesis presented the cultivation and/or implantation of this hugely expansive ‘creative class’ as the socio-economic panacea for cities and regions. Hence the wide and often unquestioning acceptance it encountered. I won’t argue that this kind of thinking is necessarily a bad thing for the arts. For one thing, semantic confusion is so rife these days that it has become fruitless to object to it. Besides, there is no reason for

Creativity and Innovation // FOCuS

the arts to have a monopoly on ‘creativity’; this has long been obvious. institutions, organisations and professions as well as artistic, political After all, Arthur Koestler’s classic work, “The Act of Creation”, written or economic interests are behind these new formations, and how are in 1964, deals as much with scientific faculties – and laughter – as they intertwined? with artistic gifts. Subsequent research on creativity has ranged from In relation specifically to the cultural industries, what kinds of innovations are taking place in artistic production, dissemination the natural sciences through to psychology, other cognitive sciences and consumption? Issues of agency and dominance arise. How do and the humanities; most of this recent research has analysed the importance of creativity at the individual and societal levels in a broad certain actors encourage, control or discourage creativity? Is cultural range of task domains other than and beyond the arts (Sternberg expression becoming homogenised across the world as a result of globalisation? What countervailing forces are challenging hegemonic 1999). More than a decade ago, “Our Creative Diversity”, the report tendencies? Who are the cultural-political entrepreneurs, institutions of the World Commission on Culture and Development, argued for a reading of culture as the cultivation of human creativity in general, and organisations who are now doing so? Finally, as the landscape of creative work shifts, many established observing that in our world of rapid change: forms of cultural expression may be threatened, while new opportunities ...individuals, communities and societies can adapt to the new for others open up. Who are the ‘winners’ and the ‘losers’? How and transform their reality only through creative imagination does this pattern of winners and losers relate to other globalisation and initiative... Hence the notion of creativity must be broadly patterns and processes? Are some expressive forms and genres being used, not just to refer to the production of a new artistic object or form but to problem-solving in every imaginable field. marginalised, or even excluded, while others move to the Far from being germane to the arts alone, creativity centre of attention? There are no simple or single answers to such is vital to industry and business, to education Creativity and and to social and community development questions. There has to be a plurality of responses. innovation, in (1996: 78). And a range of policy recommendations. Some of But if this is so, the arts sector needs to think these have been advocated by the Working Group cultural expression as more deeply and in more focused ways about on the interface between artistic practice and the in many other domains, creativity and innovation in artistic practice, as cultural and creative industries that is part of emerge at the crossroads well as to look closely at how they are both the civil society Platform on the Potential of the of social, cultural and impacted by globalisation. For this purpose, Cultural and Creative Industries1. For example, political forces creativity may be defined to mean the generation the issue of how best individual artistic practice can of new and appropriate forms, ideas and artifacts, be better recognised as a basic resource for the new innovation being the process whereby which these new economy and how public policy can best nurture this ideas and artifacts lead to new genres, new ways of doing resource. Or the matter of ensuring that artistic creativity and organising, new conventions, new models, etc. flourishes in the cultural industries environment, together with full It is particularly important to recognise here how creativity is artistic independence and integrity. Or, even more importantly, the sorts of public policy initiatives that can bolster the status of the artist embedded in social, cultural, and political phenomena and is related and serve as catalysts for artistic creation work in Europe. to specific configurations of power and meaning. Particularly in the Western intellectual tradition, there has been a tendency to think 1 Chaired by the author. The Culture Platforms were installed by the EU of creativity and innovation as things ineffable, embodied only in Commission in order to enhance the structured dialogue with the culture the individual, as the emanation of an inner vision and inspiration. sector. But recent thinking, particularly the work of psychologist Mihaly Csikszentmihalyi (1999), opens up the analytical frame to include 3 References the socio-cultural context, interpreting creativity in conjunction with - Anheier, H.K. and Isar, Y.R. (2008). The Cultural Economy. London: collective action and defining it as a collective process in which novelty SAGE Publications. is recognised and acknowledged. Creativity and innovation, in cultural - Csikszentmihalyi, M. (1999). ‘Implications of a Systems Perspective for the Study of Creativity’. In: Sternberg, R. J. (eds), Handbook of Creativity. expression as in many other domains, emerge at the crossroads of Cambridge: Cambridge University Press. social, cultural and political forces, and more frequently at the margins and boundaries rather than at the centre of systems, be they political - Koestler, A. (1964) The Act of Creation. - Sternberg, R.J. (ed.) (1999) Handbook of Creativity. New York: entities, organisations or professions. Cambridge University Press. This may well be the right point of departure for artists to make - World Commission on Culture and Development. (1996) Our Creative their case, at a time when many analysts of creativity in general Diversity. Paris: UNESCO Publishing. recognise the ways in which artistic practice is often the stimulus, // Yudhishthir Raj Isar or even the direct input for the creativity of others, by nurturing Independent cultural advisor, author and public speaker.  Professor skills and dispositions that enrich all areas of endeavour, is itself an of Cultural Policy Studies at The American University of Paris; Maître attractor of people and institutions that are creative in other domains de Conférence at Sciences Po, Paris;   co-founder and co-editor of The and whose organisational models can be used to develop creativity Cultures and Globalization Series.  President of Culture Action Europe and innovation elsewhere in the economy and society. And in the (2004-08), he is a board member of various cultural non-profits organisacontext of globalisation, there are particular sorts of questions we tions in Europe and elsewhere.  Consultant to foundations, and regional ought to address. What is happening to the kinds of configurations and international organisations.      and relationships between artistic practice and society that we have mentioned so far? Are they changing? For the better or for the worse? How is creativity manifesting itself in a globalising economic and cultural artistic landscape? What factors contribute to variations in creativity across genres, fields, regions, periods and societies? Are transnational milieus and clusters of creativity emerging? If so, what

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FOCUS // From Music to Creativity – and Back?

From Music Some  remarks  on the European Year of Creativity and Innovation

and Back?

As one of the outcomes of the 250th anniversary of Mozart’s birthday in 2006, some representatives of the Austrian music business proposed the proclamation of a European Year of Music Education in 2009. The main objective of the initiative at that time was to raise awareness of the importance of music for both the individual and social development of young people throughout Europe. The negotiations with representatives of the European Union soon made clear that  – at least in their conception  – the promotion of music education was regarded as too limited to one aspect. Consequently, a process of ‘enlargement’ started, during which the European Year of Music Education developed first into a European Year of Creativity and Innovation through Education and Culture and finally into a European Year of Creativity and Innovation. This did not happen accidentally. To explain this process it might be helpful to remember that the European Union started as an economic union based on heavy industries. The Lisbon strategy – starting in 2000 with the objective to make Europe the most advanced economy in the world – was then a respective political document to

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change from the production of tangible goods within the framework of the traditional industrial infrastructure to the production of goods of intangible character within the new concepts of the now so-called knowledge societies. Not coal and steel but information and creativity were to become the basic materials of the European economy in the 21st century. By that, it was quite clear that the cultural sector was supposed to play an outstanding role in this transformation process, even more so because there was increasing empirical evidence that it is mainly the creative industries which contribute above-average to economic prosperity. Yet it also became clear that this strategy created major challenges for traditional national education systems up to now not really prepared to stimulate creativity, flexibility and mobility of young people. In this context, the official declaration of the European Year of Creativity and Innovation refers to the Recommendations for Lifelong Learning introduced in 2006, which propose the advancement of education from academic achievement to the acquisition of key competences (encompassing the ability to learn, the acquisition of language, science, social and entrepreneurial skills as well as cultural awareness). This kind of economic instrumentalisation has not been received positively everywhere. In particular, representatives of the cultural sector have pointed out that artistic autonomy is, in their eyes, not sufficiently acknowledged by the authorities of the European Union. Nevertheless, after a long period of negotiations, the Council of the

From Music to Creativity – and Back? // FOCuS

to Creativity European Union adopted the decision proclaiming the year 2009 European Year of Creativity and Innovation in November 2008. The main aim of the year is to support “the efforts of the member states to promote creativity through lifelong learning, as a driver for innovation and a key factor for the development of occupational and entrepreneurial competences”. The good message that might emerge from the final decision to develop the initial idea of a European Year of Music Education into a European Year of Creativity and Innovation lies in the fact that there are new chances to escape from a narrow and sometimes rather hermetic scene of music production and reproduction. Instead of that, the theme now allows a broader public to actively take part in a discussion about what creativity and innovation are about. In this context, a new quality of debate about creativity can be observed. It starts with the assumption that the traditional education system – structured according to the interests of the (old) industrial system  – has succumbed to a one-sided form of education and in doing so has wasted, and even destroyed, a great deal of peoples’ potentials because the value of it could not be seen. To overcome this increasingly unproductive social selection, new concepts are going to enlarge creativity not only as an attribute for some artists but as a core element of human resources relevant for all members of society. Consequently, this would mean to make creativity a fundamental prerequisite of the current ecological turn. This enlarged concept of creativity still has its point of reference in the professional art scene. At the same time creativity is seen as a function of human intelligence which fosters social inclusion by overcoming the artificial separation between those people who are allegedly equipped with creativity and those who are not. Thus, this concept necessarily refers to the development of education not only in terms of music or fine arts education. Instead, it envisions a comprehensive concept of implementing new strategies of teaching and learning in all aspects of schooling that bring the individuality of the learner at the forefront of all education efforts. Creativity seen as balance between freedom, authority, skill and speculation can be taught to everybody when it is clear that there is no creative learning without creative teaching. And, of course, creativity embraces aspects of diversity in democratic societies when it can be defined as the freedom to constantly see things from different perspectives. There is a lot of evidence that the inclusion of music and other art forms in education can considerably contribute to the realisation of this new concept of creativity. Partnerships between schools and

cultural institutions can have numerous benefits: They can be effective in developing students’ attributes to become creative people; they offer new chances for the development of personal and social skills, which are widely ignored in traditional schooling; they can improve students’ advancement in other areas such as literacy, numeracy and information and communication technology; they can stimulate students’ motivation to actively take part in community life and, last but not least, they can motivate young people to start a career in the creative industries. Besides all organisational and financial objections, the European Year of Creativity and Innovation can contribute to a comprehensive advancement when creativity is regarded as a core and not any longer as a peripheral issue. It should be clear that creativity is not just about feeling but also about thinking – and by that enabling new ways of combining observation, envision, expression and reflection. Creativity is no longer considered as a natural gift for very few but as another way of understanding the world for all, by that as important as the scientific way. And creativity is more than craft; it cultivates habits of mind. The political decision makers of the European Union have set up – by proclaiming this year  – a framework for redefining traditional conceptions of creativity. It will be up to us to feed this framework with new, refreshing and – yes – creative content. We will see if there is virgin soil in Europe providing ground to realise concepts of creativity appropriate for stimulating and influencing the enhancement of our democratic societies. This would be the real success story of this year. // Michael Wimmer (Austria) Founder and General Manager of EDUCULT, an independent institute for cultural policy & cultural management located in Vienna, Austria (www.educult.at). Associate professor for cultural policy at the University of Vienna. Consultant to the European Council, the UNESCO and the European Commission in cultural and educational issues.

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FOCUS // Artikel

Creativity and Innovation: tools for development Creative destruction and recombination in the music sector

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Creativity and Innovation: tools for development // FOCuS

Innovation and creativity: Nowadays, these words are real buzz words. We tend to use the words ‘innovation’ for everything that is new, and ‘creativity’ for everything that is different. In our fastchanging world, these words reflect the ability to act and react in a flexible way and turn challenges in opportunities. The value of creativity and innovation is recognised for both social and economic work, as is reflected in the European Year of Creativity and Innovation 2009. For the music sector, this year will offer opportunities to promote their contribution to society through the development of inovative and creative skills. After all creativity is one of the basic skills in the arts and arts education. But how can we use innovation to put the music sector in a sustainable position? And what exactly is innovative and creative about our authentic values? The number of definitions for innovation is unlimited. But using innovation is not about the exact definition of the word, it is about the awareness of possibilities that are hidden in our structures. Using “creative destruction and recombination”, we can unlock these possibilities and make innovation a tool for development. In innovation management literature, these concepts are offered as theoretical instruments, but it is not as complicated as I have just introduced it. Let me explain this and illustrate it with two examples. Creative Destruction and Recombination – the theory Creative destruction has an aggressive connotation, and actually it is sort of aggressive. It is about dividing processes and products in small elements (destruction) in a way that forces you to look at it from a different (innovative) perspective and perhaps even to leave certain values connected to the process or product. These elements can be recombined in a different (creative) order and/or be combined with elements from other processes or products. The music sector is full of processes (e.g. in education or federations) and products (e.g. compositions or concerts) that represent perspectives and values and consist of routines and qualities. Both the values and qualities make the contribution of the music sector to society valuable. But it also sometimes makes the music sector not as visible or effective as we want it to be. Innovation should not weaken the qualities, but it could help to develop the sector by including and combining strong qualities with new qualities. To make the idea of creative destruction and recombination a little less theoretical it will be illustrated with two examples from the choral world. In both examples, basic values have been observed from a different perspective and partly replaced by technological (example 1) or social (example 2) elements.

Example 1: The first steps in making music As most first steps, children make their first musical-making steps at home: Together with mum and dad. These basic steps are the ‘starting’ level for the development of individual music skills and for the interest in (making) music. But what if the parents do not feel very comfortable with music and prefer to turn on the television instead of singing with their kids? This, and the little attention to music in primary schools, is considered to be a threat for the musical development of children. Creative destruction, here, means to replace the ‘first’ teacher (mum and dad) by something else. At the University of Twente ‘Panze’ was developed for this purpose. Panze1 is an animated kangaroo on a screen and a kangaroo-shaped doll as ‘input device’. The combination of these two kangaroos creates a system that teaches the child to sing and dance, while interacting with the system. And of course the parents can join in. Incorporating this into the process of music teaching helps develop the music skills and interest at a very young and important age. Example 2: Hearts in Harmony: Singing with deaf people Another example is the Hearts in Harmony project of the Norwegian youth an children choir organisation NOBU in 2008. The event focussed on the social strength of music: Making music together and through this integrating a group into society in a positive way. In this event, NOBU included deaf children. To do so they needed to step over one of the most important artistic elements of (choral) music: The possibility to listen to the choral sound (destruction). At the same time, another element was added: Sign language (recombination). Playing around with the elements of listening and watching, artistic and social contribution, music and language it opened doors to the social strengths of choral music, and placed the ‘product’ choral music in a different, less artistic, and more social context. Creativity and Innovation as a tool Probably you can think of similar examples in your own work. Most of the time we are not aware of the opportunities that are hidden in our own products and processes or perhaps we even lack the courage to drop some of our ‘darlings’. Creativity and innovation need an open mind to be a tool for development. // Daphne Wassink (The Netherlands) Co-opted member of the EMC Board, Chairperson of the Working Group Youth, Member of the Europa Cantat Youth Committee. Policy Advisor of the Ministry of Economic Affairs - The Hague (NL). 1 L. Jansen, B. van Dijk, J. Retra (2008), A Music Education Entertainment Environment for Preschoolers

Hearts in Harmony project in Trondheim, Norway © Kristin Daehli

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a l m u f o r r F u o d l e w Co nbo ileg i v i y a r c R aP a c to Advo EU y d o B

From a Colourful Rainbow to a Privileged EU Advocacy Body // Cultural Policy

2008 was proclaimed the European Year of Intercultural Dialogue. the legacy of the year, such guidelines must nevertheless be developed Put forward by the Directorate-General for Education and Culture in the years to come through a commitment to joint monitoring. Public authorities and civil society forces need to collaborate in (DG EAC), this year invited all sectors and all political fields to closing the learning cycle between practice and policy. The European encourage Intercultural Dialogue. Intercultural Dialogue concerns every policy field, not just Commission and the Council of Europe have a leading role to play. culture and not just for a few years: “No civilisation and no culture is monolithic as both are the results of millennia of contacts and IV. Mobilising Across Boundaries exchanges. They are constantly taking different forms and expressions Intercultural Dialogue is an endeavour, which can only succeed depending on the memory and aspirations of each society revealing if different sectors and different levels of government collaborate. its boundless cultural diversity” (Declaration made by Heads of States Cross-sectoral cooperation by civil society organisations is thereby participating in a regional summit held in Athens in June 2008). the counterpart to the promotion of Intercultural Dialogue across European societies are becoming more and more pluricultural and policies, and to the cooperation between governmental departments the replies to the new challenges that arise are multiple, be it on the at EU and Member State level. European, national or local level. However, European societies have been hesitating a long time to recognise themselves as pluralistic. V. Resourcing Intercultural Dialogue Culture and the arts can help face these challenges, but political No investment, no visible results. Significant financial resources guidelines are needed for a profound change in our society. must be made available for Intercultural Dialogue across all policy In November 2006, Culture Action Europe (at that time the areas. This is a core challenge for the European Union, as well as for European Forum for the Arts and Heritage) and the European Cultural national, regional and local governments. Companies and grant-giving foundations are also called upon to unlock resources. Commitment is Foundation launched the Civil Society Platform for Intercultural Dialogue with a view to the EU Year of Intercultural Dialogue. The needed on the basis of transparent aims and procedures. initiative offered civil society organisations from various sectors For the full text of the Rainbow Paper go to: http:// a platform to meet, exchange ideas and discuss different rainbowpaper.labforculture.org. approaches to Intercultural Dialogue. An important No investment, aim was to open up to a wide range of stakeholders By the end of 2008, 216 organisations and who, so far, did not necessarily sit at the same 159 individuals had signed the Rainbow Paper no visible results. and the Platform is now formally acknowledged table. Social organisations, for instance, reflected Significant financial by the EU as an interlocutor when it comes to on issues directly emerging from social exclusion, resources must be made Intercultural Dialogue. The Rainbow Platform, whereas representatives of professional artists available for Intercultural now named Platform for Intercultural Europe, brought in aspects of market globalisation and Dialogue across all online distribution. is one of the three platforms set up to enhance Throughout 2008, the Platform for Intercultural structured dialogue with the cultural sector by the policy areas. Dialogue, also called the Rainbow Platform, monitored DG EAC of the EU Commission. What started as a huge consultation process in order to draft a “Rainbow an informal encounter of representatives from different organisations across various sectors has been legally Paper” – a policy statement and a road map for future actions. The EMC was involved in the consultation process from the established as association, which will open up to members in the very beginning. The final version, “The Rainbow Paper: Intercultural near future. Dialogue  ‒ From Practice to Policy and Back”, puts forward the The Platform for Intercultural Europe was invited to present the following recommendations (summary points): Rainbow Paper to the public and to the EU Council at the closing event of the European Year of Intercultural Dialogue on 18 November 2008 in Paris. EU Commissioner Ján Figel’ and Director-General I. Educating Education is the first and foremost place to encourage and practice Odile Quintin expressed their sincere support to the platform. They Intercultural Dialogue. Formal, non-formal and informal education applauded not only the impressive results but also the huge effort can contribute to Intercultural Dialogue. Intercultural learning should taken to guarantee a thorough consultation process. But as it says be promoted in every age group and across the spectrum of educational on the Website of the Platform for Intercultural Europe itself (www. provision. intercultural-europe.org): “Now begins the grinding work of reiterating [the] recommendations [of the Rainbow Paper] in the fine motions of [EU cultural policyII. Capacity Building by Organisations Intercultural Dialogue is essentially the activity of individuals. Yet making]. The European Year of Creativity and Innovation will offer its individuals largely live in and through organisations, predominantly own hooks to advance our agenda: Interculturalism, as the principle in their places of work. Be they public institutions, enterprises or civil of focusing on what people with different ethnic, cultural, religious society organisations – their structures, and the rules by which they and linguistic backgrounds and heritage can become together, is after function, determine how much they help foster and valorise cultural all about social innovation. Hybrid city populations can be hotbeds of artistic creativity and also represent markets, which are approached diversity in society. They define their capacity to enable Intercultural Dialogue. Capacity building for Intercultural Dialogue in and between with great entrepreneurial creativity…” organisations and institution must be supported. III. Monitoring for Sustained Policies The European Year of Intercultural Dialogue 2008 is not based on common legal instruments for the promotion of Intercultural Dialogue. And neither is a legally binding commitment of Member States to any guidelines on Intercultural Dialogue expected. In order to guarantee

// rj

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Cultural Policy // Is there a European Cultural Policy?

Is there a European cultural policy? The European Union, and especially the Commission, is often regarded as a mindless regulatory machine for standardising the curves of cucumbers, the make-up of apple wine or the size of coffee packaging. Even if many of these unnecessary directives have now been withdrawn, the bad reputation remains – the EU meddles in matters that are none of its business. Given this, how can the EU promote a European cultural policy following the principle of subsidiarity and is thus a core competency of Member States? In federal systems such as Germany or Austria culture is a matter of the federal land. Can and should there even be a European cultural policy at all? In the search for a European identity, culture is often referred to as a connecting factor; more precisely, it is said that Europe’s cultural diversity is a connecting factor, in accordance with the EU motto ‘united in diversity’. The President of the European Commission, José Manuel Barroso, also promotes culture’s important role for Europe: In his opening speech at the first Berlin Conference he said that “the EU has reached a stage in its history where its cultural dimension can no longer be ignored.”

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Article 151 of the Amsterdam Treaty enshrines culture as a European Union activity: “the Community shall take cultural aspects into account in its action [...], in particular in order to respect and to promote the diversity of its cultures.” The EU Commission now even has its own cultural promotion programme and, in Barroso, a president who is an advocate for the arts and culture. Yet, it was only in May 2007 that the first strategy for a European cultural policy was adopted by the European Commission in its Communication entitled: “A European agenda for culture in a globalising world”. Although the Communication avoids the words ‘cultural policy’, this is its central concern: What can, and should, a European cultural policy look like? The three major objectives that a European cultural agenda should encompass are: - The promotion of cultural diversity and intercultural dialogue - The promotion of culture as a catalyst for creativity in the framework of the Lisbon Strategy - The promotion of culture as a vital element in the Union’s international relations

Is there a European Cultural Policy? // Cultural Policy

When the Resolution was adopted by the Council of the European Union (Council of Ministers) in November 2007, the Council agreed on a three-year work plan for implementing the agenda. The following specific objectives were put forward for the period from 2008 to 2010: - Improving the conditions for the mobility of artists and other professionals in the cultural field; - Promoting access to culture, in particular through the promotion of cultural heritage, multilingualism, digitisation, cultural tourism, synergies with education, especially art education, and greater mobility of collections; - Developing data, statistics and methodologies in the cultural sector and improve their comparability; - Maximising the potential of cultural and creative industries, - in particular that of small and medium-sized enterprises (SME); - Promoting and implementing the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions.

Furthermore, different working methods and instruments are to be further developed. What is especially welcomed is that artists, cultural professionals and civil society are to be explicitly involved in the development of an external cultural policy. Potential funding instruments are also expected to gear themselves to the conditions of the cultural sector, proposal procedures are to be made easier and long-term support is to be made possible. The Council wants to make use of the experience of the Member States, especially in terms of synergy formation. One instrument to implement the European Agenda for Culture is the ‘structured dialogue’ with the culture sector. Inspired by the Rainbow Platform for Intercultural Dialogue (started in 2006 by the European Cultural Foundation and EFAH), the European Commission has initiated two more platforms (Access to Culture and Potential of the Culture and Creative Industries) to enhance the structured dialogue between the culture sector and the political field (EU institutions and member states). The European Music Council takes part in all three platforms; one of the main tasks of the platforms is to formulate recommendations addressing the political institutions. Parallel to the culture sector platforms, the Member States At its last sitting on 20. November 2008, the Council of Ministers adopted conclusions on the “promotion of cultural diversity and have installed working groups on “mobility of artists”, “mobility of intercultural dialogue in the external relations of the Union and its collections”, “potential of creative industries” and “synergies between Member States”. In these conclusions, the Council appeals to Member culture and education”. States to strengthen the role of culture within the framework of foreign The recommendations of the platforms will be presented at the policy. Cooperation with third countries in the field of culture should “Culture Forum 2009”, taking place from 28 to 30 September in also be promoted and strengthened, as should collaboration with Brussels. On this occasion, the dialogue between the culture sector UNESCO and the European Council – international organisations and the political field will be put into practice. Within the framework of the Lisbon Strategy, culture is given with cultural core competencies. The Council refers explicitly to the 2005 UNESCO a high status in the whole political process both in and Convention on Cultural Diversity, whose ratification and outside of the EU. This is also clear from the expression implementation continue to be a central concern. What ‘culture mainstreaming’ that promotes the consistent Cultural should especially be underlined is the appeal to Member involvement of culture in other political areas. activities, goods States to recognise the specific character of culture – A European cultural policy that is developed and services in close coordination with Member States and in cultural activities, goods and services always have a always have a dual accordance with the principle of subsidiarity is dual nature, economic and cultural. This is especially nature: economic essential if Europe is to preserve its cultural wealth. significant in bi- or multilateral agreements, in which This should not be the task of the Member States the special character of culture is to be protected, as and cultural alone but should be a common, complementary and opposed to in the GATS framework, where culture can be considered as a conventional commodity. Only those who collaborative undertaking. The European Union was first promote and protect their own cultural heritage can preserve its founded as an economic community but Europe is above all a cultural diversity. In these conclusions, the European Council also cultural community. To quote one of the founding fathers of the EU, highlights the fact that culture can be a driving force in development Jean Monnet: “If I could seize a fresh opportunity for the political work. To promote the implementation of the agenda, the Council integration of Europe, I would start from culture and not from the proposes that the following activities be strengthened: economy.” - Cooperative cultural activities undertaken with third // sd countries; - The international promotion of European cultural activities, Council of the European Union/EU Council of Ministers: The EU Council goods and services (the audiovisual sector and the mobility of Ministers is composed of representatives from Member States at of European artists and cultural professionals outside the ministerial level, who meet regularly and therefore it is the principle Union are highlighted); decision-making institution in the EU. - Multilingualism (language learning, translation and inter­­- Lisbon Strategy: The aim is to make the European Union one of the most cultural skills) competitive and dynamic knowledge-based economic areas in the world by 2010. - the mobility of young people (cultural and artistic education, access to artistic expressions in all their diversity); First published in “Musikforum 01/2009” - The protection of copyright and related rights and the Courtesy of Schott Musik, Mainz prevention of and the fight against counterfeiting and piracy at an international level; - The protection, preservation and promotion of cultural heritage, both tangible and intangible.

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Cultural Policy // Ineffective visa Systems Damage the Music Industry

Ineffective visa Systems Damage the Music Industry and Contrast Greatly with the Principles of the UNESCO Convention on Cultural Diversity

“Visa application procedures have huge human costs. Artists are subject to pointless queuing, often in disgraceful conditions and subject to disrespectful treatment by embassy staff.” The above statement is unfortunately not an exception in “VISAS The Discordant Note”, a ‘white paper’ that presents some of the problems, challenges and difficulties faced by those who bring international artists to tour in Europe. In a unique collaboration artists’ organisations, managers, artists and festivals from all over Europe have documented the problems they face when they present great artistic events and performances to downloaded from www.freemuse.org. European audiences. In order to highlight how current procedures are particularly “European countries need to actively make visa and work permit disadvantageous for touring artists, tour organisers, concert promoters, procedures and access to the European market more flexible, transparent festivals and many other businesses in the field of music, the ‘white and homogenous for artists”, says Freemuse programme manager, Ole paper’ quotes a few case stories. Let us choose one example: Reitov, ’white paper’ co-author and initiator. Co-author Hans Hjorth, Executive Manager European of Live Music Forum (ELMF) adds: “Several European countries wish to improve Case B – File reference VQ002 their cultural and public diplomacy, but many artists are treated with A group of Sufi musicians and dancers from Gujarat in Western India were scheduled to perform in Germany, the Czech Republic and a lack of respect. They experience the paradox of being invited by the France in October 2007. The group had previously toured Europe mayors of European city councils, government-financed cultural bodies extensively in 2004, the US and Canada in 2005 and the UK in the EU and respected cultural organisations and the contrast in 2006. As the first concert on the scheduled tour was on the ground reality once they enter our embassies and are They to take place in Paderborn, Germany visa applications looked upon as potential illegal immigrants.” experience the The absence of harmonisation and accurate were submitted to the German Embassy in Mumbai, information and the cost of the current, grossly India. The German Embassy however would not paradox of being ineffective system damage the European music invited by cultural bodies issue Schengen visas because of France requiring industry and are in great contrast to the principles of work permits, therefore offered the group to in the EU and the contrast issue Germany-only (non-Schengen) visas valid the UNESCO Convention on the Protection and on the ground reality Promotion of the Diversity of Cultural Expressions for German date only, and referred to the French ratified by the EU and the European countries. Embassy for Schengen visa applications. once they enter our The French Embassy, on the other hand, refused embassies. to issue Schengen visas because Germany was the Recommendations first country of entry. The UK-based tour organiser One of the recommendations of the white paper is managed, after numerous contact with the various embassies, that ‘one stop entry points’ should be introduced, so that including three personal visits to the German Embassy, to secure organisers and artists can apply to one office instead of being sent Schengen visas valid for the German and Czech dates only, while the ‘from Herod to Pilate’. The ‘white paper’ also suggests that the EU concerts in France had to be cancelled. should launch a Web-platform where all relevant information can be found and updated. 3 Freemuse “If the political will is there, it should not be difficult for the Nytorv 17, 3rd floor • DK-1450 Copenhagen K • Denmark EU countries to change complex administrative procedures”, says Tel: (+45) 33 32 10 27 Reitov, who adds “but unfortunately several ministries involved [email protected] in visa issues and work permits do not collaborate very well, so this issue has to be raised at national as well as international level.” The report was published by Freemuse, European Life Music Forum (ELMF) and the European Council of Artists (ECA) and can be

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the implementation of the UNESCO Convention on Cultural Diversity // Cultural Policy

The IMC and EMC participate in the process towards the implementation of the UNESCO Convention on Cultural Diversity

The year 2008 saw important steps towards the effective Regarding the Fund, the Committee was informed that so far USD implementation of the UNESCO Convention on the Promotion 946,600 of voluntary contributions had been received. It should be noted that 60% of these funds have come from Canada and Québec. The IGC and Protection of Diversity of Cultural Expressions. By the end of the year, the Convention counted 93 State Parties, agreed that NGOs should be able to submit funding requests but not in plus the European Community. In addition to this significant ratification the pilot phase though. rate, the effective implementation of the Convention worldwide also The key issue on the Committee’s agenda for the March 2009 meeting will be the development of operational guidelines for Article 16 depends on operational guidelines, the elaboration of which on preferential treatment: This article obligates developed is in the hands of an Intergovernmental Committee (IGC). This Committee, elected at the first Conference countries to provide preferential access to their markets The IMC of Parties in June 2007, will conclude its work on for artists and cultural productions from developing welcomed the the guidelines at a meeting in Paris in March 2009, countries. The IGC agreed that international NGOs consideration of flexible could participate in a questionnaire process, which after which they will be forwarded for approval to the June 2009 Conference of Parties. short-term visa regimes was launched by the Secretariat to solicit ideas on The IGC held two meetings in 2008, the first in how to give effect to this key article. NGO input is in both developed June and the second in December. The International being coordinated by the UNESCO NGO Liaison and developing Music Council participated in both as an observer, Committee. countries. represented by Ms Silja Fischer, Executive Officer and, Related to this is another unresolved matter, i.e. that of the relationship between the Convention and trade in the case of the June meeting, two representatives of and investment agreements. Operational guidelines have not the EMC Board, Mr Christian Höppner (German Music yet been developed for Articles 20 and 21 of the Convention, which Council) and Mr Harald Huber (Austrian Music Council). The Convention is the first normative instrument to strongly deal with the relationship to other instruments, but the Conference will acknowledge the ‘fundamental role’ of civil society. On 23 June 2008, consider the issue in June 2009. The debate on Article 16 at the December IGC meeting led to a vigorous exchange on whether this Convention parties to the Convention and NGOs active in the field, 200 delegates in total, met in Paris to exchange views on how the parties should relates to trade agreements and how. Brazil took the strongest position encourage that role. This approach also transpired during the debates and even suggested it would sponsor a seminar at the WTO to ensure of the IGC. Thus, the NGOs present were exceptionally given the right that trade officials understand the new Convention. India then insisted to address the plenary with a joint communication, and this before the that the Convention was not a trade instrument. In a joint statement, debate related to civil society participation, a novelty in the history of NGOs recalled that “the genesis of our Convention lies precisely in the such a Committee. The draft operational guidelines adopted by the issue of how to protect cultural policies against erosion by the trade IGC include an encouraging list of areas in which civil society could and investment agreements. That’s why parties reached agreement on contribute to the implementation of the Convention. In addition, the Articles 20 and 21, which establish a mechanism to tackle these complex NGOs were granted the right to actively participate in the Conference issues…” of Parties and the IGC. The IGC also adopted a draft set of criteria The working papers and decisions of the meetings are available on the UNESCO website, www.unesco.org. Statements made by NGOs can for admission of civil society representatives at the meetings of the be obtained from the IMC Secretariat: [email protected] organs of the Convention. In addition, the IGC adopted draft operational guidelines // Silja Fischer concerning the following issues: Executive Officer - Measures to promote and protect cultural expressions, including International Music Council international cooperation in situations where cultural expressions Maison de l’UNESCO, 1 rue Miollis, 75732 Paris cedex 15, France. are facing extreme danger; Tel. +33 1 45 68 48 50, Email: [email protected], Web: www.imc-cim.org - Concepts and modalities of partnerships; - Integration of culture in sustainable development; - Cooperation for development; - Use of the resources of the International Fund for Cultural Diversity. The IMC welcomed the consideration of flexible short-term visa regimes in both developed and developing countries.

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For Inspiration // Launching of the European Musical Exchange Platform

Launching of the European Musical Exchange Platform Under the auspices of the German Music Council Project Company, the year 2009 saw the launching of the internet portal known as the European Musical Exchange Platform – an interactive information and exchange platform for recognised non-profit musicians in the regions of Europe. As a European information exchange platform for music, the Website provides up-to-date details on what’s happening on the music scene in several European countries, and it offers opportunities for mutual exchanges. Under www.musikrat.de/musikboerse, musicians, ensembles, music groups and event organisers can publicise their own music profile far beyond their own regional borders. It is possible to flag international events, to introduce organisations, to publish information on cooperation projects and to get in touch with each other. It is the aim of this platform to link up as many European regions as possible over the next few years and thus promote musical exchanges and cooperation in Europe. The European Musical Exchage Platform is a further development of the bilateral “German-Polish Music Exchange”. Since 2006, this forum has been supplying information in two languages on the music culture and developments in the 16 German federal states and the 16 Polish voivodeships. The success of this portal encouraged the German Music Council to include more partners from the young EU Member States in this system in addition to Poland. In a first step, it was decided to add the states of Estonia, Latvia, Lithuania and the Czech Republic. So, are you planning a trip with your choir to Latvia and looking for Latvian artists? Or thinking of starting an exchange project with

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an orchestra from the Czech Republic? Are you looking for Polish musicians for an international youth ensemble? Would you like to find information about the traditional Estonian music scene? Or are you merely interested in contacting musicians from other European countries? Then join the European Musical Exchange Platform! You will find ideas, events, institutions, contact partners and a lot more. All those active in the music scene are called to help give digital shape to the European Musical Exchange Platform and get involved interactively and creatively in developing the network. You can enter data about events, partnerships and profiles onto the site yourself. Information is offered in German, English, as well as in the national languages. The European Musical Exchange Platform supplies multilingual information on music culture and development in the countries and regions of the European Union. As an interactive communication platform, it offers new ways of exchange and communication. The Web portal publicises a wide range of events in an easily accessible way. In cooperation with the Goethe Institute and the European Music Council, the German Music Council wants to make a significant contribution to regional cultural exchange and understanding in Europe. // Ariane Hannus German Music Council Non-Profit Project Company European Musical Exchange Platform, Weberstr. 59, 53113 Bonn, Germany [email protected] www.europaeische-musikboerse.eu

The Creative Cities Network – Glasgow as UNESCO City of Music // For Inspiration

The Creative Cities Network – Glasgow as UNESCO City of Music In Glasgow last August, enthusiastic cheers greeted UNESCO’s announcement that the city was to join its Creative Cities Network as UNESCO City of Music. Mostly the media applauded too, sensing in this new title yet another opportunity for the city to demonstrate its energy, enterprise and ambition – not unlike the celebrated Glasgow City of Culture triumph of 1990. Yet, a note of scepticism was inescapable. “I think of Vienna or Paris or Berlin, London or New York as ‘cities of music’” said one radio journalist, “but, Glasgow?” Clearly, he asked from a position of ignorance both of Glasgow and the aims of UNESCO’s network, but he was not alone. So here I offer my own understanding of what it is that makes Glasgow the perfect city for this opportunity, at this time. Creative Cities UNESCO’s network is arguably the most prestigious of a myriad of organisations to emerge recently in response to the thinking of such theorists as Richard Florida (“The Creative Class”) and, above all, Charles Landry (“The Art of City Making”). Arguing that culture and creativity, far from being the dispensable icing on the cake of urban life, actually lie at the heart of what makes urban life desirable, or even possible, swiftly fired the imaginations of city authorities and regeneration planners around the globe. (We should, of course, despair that our short memories require a Landry or a Florida to say these things, when Babylon, Rome, Alexandria, or Athens all stand as well tested examples of ‘creative cities’ with more than a little to teach us about how culture enriches civic life.) Nonetheless, by grouping behind the banner of what Landry has called the “Creative Cities movement”, the new champions of the cause aim to nurture the creative industries and enjoy the impressive benefits they bring. To quote the four core beliefs listed in a Memorandum of Understanding recently signed by four of UNESCO’s cities: -

culture and creative industries as indispensable for the attractiveness of cities today and in the future.

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cultural diversity as an important factor for creativity and for intercultural exchange and cooperation.

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the generation of cultural content as an important source for the creative industries, which should be analysed, supported and utilised.

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the wealth of inherited cultural content, tradition and infrastructure as an everlasting reservoir and as a reference point for the creative production.

Glasgow, Scotland’s Musical Capital Glasgow’s bid was written long before these ‘beliefs’ were formulated but chimes so well with them that it is easy to understand why UNESCO’s assessors required a mere twelve weeks to make a favourable decision rather than the expected six to nine months. Across the musical genres it has a “wealth of inherited cultural content”, and its current levels of musical activity make it indisputably the musical capital of Scotland. In a typical week, an impressive 127 music events are presented in Glasgow. Five of the six biggest Scottish employers in the music industry are based there, as are five of Scotland’s six national companies and other national organisations including BBC Scotland (and its orchestra), the National Youth Orchestra of Scotland, the Royal Scottish Academy of Music and Drama and the Scottish Ensemble. The city has the largest population of music students in Scotland. Glasgow’s music businesses add an estimated £74.6 million worth of output to Glasgow’s economy annually. Best of all: Glasgow’s music scene is growing and has been steadily expanding since 1999. And there is more: Way back into the 19th century one can find examples of Glaswegians putting the arts to the service of civic improvement. So, in the late 20th century, it is unsurprising to find that the city was a very early adopter of the idea of deploying it as a tool for much needed urban regeneration. As heavy industry ailed, inward investment from new industry was attracted partly by the city’s thriving and vibrant cultural scene. At the other end of the scale, music was a weapon against social exclusion and a means of integrating the richly multicultural society – not least the many asylum seekers accommodated in the city. Since the 1990s it has inspired and advised other cities seeking to harness culture to their regeneration plans. Are there many cities more likely to surpass the aspirations of UNESCO’s network? // Svend Brown Bid Director Glasgow UNESCO City of Music www.glasgowcityofmusic.com

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For Inspiration // DaCapo – Braille Music Notes

DaCapo – Braille Music Notes

Blind musicians need a special notation system that they can

read with their fingers. These special notes printed in specific paper are produced in Leipzig (Germany).

© DZB Leipzig

The profession of the musician is one of the oldest professions for blind people. We even know of blind singers in ancient Egypt. Francesco Landini, Antonio de Cabézon, and Francisco Salinas were famous musicians in the Middle Ages and Renaissance. Since the invention of notation systems and especially the duplication of notes in print since the 15th century, blind musicians have worked with notation signs that could be perceived by them. The oldest records of a musical notation system for the blind date back to 1732. In 1825, Louis Braille invented palpable characters, the famous six-dot-system, that blind people all over the world now read and write nowadays. Beside his invention to represent letters and numbers by several dot combinations, Louis Braille, who was himself an organ player and teacher, also invented a musical notation system for the blind. The most complex structures, all performance terms, fingerings, instrumental and vocal instructions etc., can be represented in this special musical notation system. Louis Braille’s musical notation system gained acceptance and has been standardised internationally since 1954, so that the exchange of printed music is possible between different musicians and producers from all over the world. In order to improve the career prospects of blind musicians and to help spread the word about Braille music notation, the DaCapo project was started in 2003 by the German Central Library for the Blind in Leipzig and the Blind Self-Help with the support of the Federal Ministry of Labour and Social Affairs. The DaCapo service is unique in Germany. Music can be transcribed adequately and effectively into Braille by a newly-invented computer software programme. DaCapo offers professional and shortterm transcriptions of all kinds of music, even of arrangements or individual works. Since 2005, it has also become possible to transcribe Braille notation into notation for sighted people. Braille music books can be purchased or borrowed for free from all over the world.

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Furthermore, Braille notation classes are offered for children and adults. The aims are to help blind amateur and professional musicians, to support educators and to interest researchers in this special notation system. The International Symposium on Braille Music Notes was held in Leipzig on 13/14 November 2008 to achieve this. Conference participants from 16 countries came to Leipzig to present and discuss pedagogical possibilities and new developments of Braille notation. The result was to cultivate an intensive international network between the different libraries and schools in Europe and worldwide in order to help each other with new concepts of Braille music notation. // Juliane Bally Team DaCapo, DZB Leipzig Tel. +49-341-7113-173, Fax +49-341-7113-125, www.dzb.de

© DZB Leipzig

Artikel // For Inspiration

Creativity as an Approach to Life Some project examples from the Czech Republic

Spalicek project © Dragan Dragin

The need to express yourself is a basic human need, like the need to be accepted. The oppression of this fundamental need can have unwanted consequences. In our knowledge-based society, there has been an increase in the number of children with problems of spontaneity and openness. Psychologist A. Ellis pointed out that the biggest problem is a ‘perfectionist anxious attitude’ which occurs when we are afraid to make a mistake and not to be accepted as a consequence. Creative blocks are connected with an uneasy feeling named ‘creative anguish’ and with the fear of stultification. The encouragement of personal expression often unleashes unexpected creativity, as is proven by a Czech project for children from infant homes with various levels of physical and social handicap. Small musical instruments made from natural materials with a soft sound are specially produced for them. The expression of these children, who are under three years of age, is impressive, as is their interaction with the therapist. Children with often limited verbal and motor expression show significant progress in the quality of mental exertion, concentration and the ability to communicate after some time. The project is supported by the section of music therapy department of the psychotherapy society of the Czech Medical Society. The experience with psychic constraints is confirmed by another Czech project called “To hear another way” presented partly at the EMC conference in The Hague 2004 by Prof. I. Medek. Some university students have big problems with free improvisation within the organisational structure of higher music education. The focus on perfect interpretation raises their anxiety. Improvisation lessons can highly improve their achievement. Another Czech dance-music project called “Špalíček” and with music by B. Martinů was inspired by the German project “Rhythm is it!” by the Berlin Philharmonic. In cooperation with the Duncan

Centre Conservatoire, several Prague schools with a high percentage of so-called ‘problem children’ without special artistic training, were involved. It was reconfirmed that these children, who are used to situations of non-acceptance and refusal, were able to burst into spontaneous creativity, in properly directed motion activities. Similar to “Rhythm is it!”, this project was one of a number of pilot projects started by the largest Czech initiative “Dance for Schools”, introducing dancing in schools. The first performance will take place in the Congress Palace in Prague on 14 and 15 May 2009 in collaboration with dancers from the Duncan Centre Conservatoire, the Prague Chamber Philharmonic and the Prague Kühn Children Choir. The project is part of the annual project “Martinů revisited” and is also part of an official Czech EU presidency supporting programme. Olga Sommerová, a famous director of film documentaries, has initiated this “Špalíček” project. Anyone interested is invited to come to the performance and exchange similar experiences! 3 Further information: Infant homes project: Mgr. Zdeneˇk Sˇimanovsk´y, music therapist, [email protected] Slysˇet jinak (To Hear Another Way): Prof. Ing. Ivo Medek, Ph.D., composer, teacher at JAMU, [email protected]; Sˇpalícˇek project: www.spalicek.eu. // Lenka Dohnalová Secretary Czech Music Council c/o Theatre Institute, Celetná 17, 110 00 Praha 1 tel/fax: +420 222 540 809, mail: [email protected]

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For Inspiration // Artikel

Teaching Dance at the National Dance House Photo by Zsuzsanna Kárpáti

The Dance House Movement in Hungary In the past, owing to the lack of other possibilities, dance events were almost the only means of entertainment for village communities. Common dance is a very important element of the folk customs, closely connected to the milestones in a human life (name day, conscription, wedding), and significant days of the year (Carnival, Easter, Christmas) or to work (sheep measuring in springtime, harvesting, wine making). A band would be engaged for each season and an appropriate house would be rented – a “dance house”. Therefore, the dance house ‘táncház’ did not mean simply a place but also the event itself. In the táncház solo, couple and often round dances follow each other, accompanied by appropriate music, according to the type of dance. Despite the fixed style, improvisation, the variation of musical elements and dance figures, plays an important role. The Carpathian Basin – resulting from the differing development of the individual regions and the co-existence of peoples from different cultures – boasts uniquely rich and varied folklore treasures. Luckily for us, the people in our region have preserved and still use the majority of customs of village life in their original forms. The experience of the still living táncház has triggered the imagination of urban youth, interested in their own roots. The tunes, known only from books, were filled with emotion and the dance steps, strengthened by choreographs, were filled with life. So, a kind of re-learning has started, not as some dull subject, but directly from the living sources. Our masters, who have become our personal friends – the tradition preserving singers, musicians and dancers – are still frequent guests in our urban táncház clubs, at our festivals and in our summer camps.

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In this way, the work of scholars, such as Béla Bartók, Zoltán Kodály, György Martin and their followers, has gained new meaning in the practice of the táncház revival, since the early 70s. Folk traditions have not remained a pile of museological facts and figures, folk music and folk dance are not solely the base for composers’ and choreographers’ works, but they live on, preserving the original function, constantly changing and adding to our souls. The táncház method – learning while having fun – which provides an example all around the world, is very simple. It needs a good acoustic ensemble, to whose music the teaching couple can present the steps. Anybody can join the students’ circle and can soon dance ‘freely’, even with the variation of some figures. This does not mean total freedom, but the individual use of the already known styles. The National Táncház Festival and Fair (Táncháztalálkozó) is the biggest Hungarian dance house event. It has been hold in each spring since 1982. It is a multifaceted and colourful programme which includes performances by groups presenting their own local traditions, traditional folk artists and musicians, dance groups, professional and amateur folk dancers, dance house bands and dance training from all over the Carpathian Basin. It also sells traditional crafts, publications and recordings. // Hungarian Music Council Pály u. 4-6, 1012 Budapest , Ungarn Tel./fax. +36 1 318 42 43, E-mail: [email protected] Dance House Guild Táncház Egyesület, H-1255 Budapest, POB 153, Hungary Tel/fax: +36 1 214 5321, E-mail: [email protected] Web: www.tanchaz.hu, www.tanchaztalalkozo.hu

DIVERSIDAD! // For Inspiration

DIVERSIDAD!

The Definitive European Urban Experience A flagship project of the European Year of Intercultural Dialogue, Diversidad opened up the world of urban culture to a wider audience, highlighting how Europe’s cultural diversity represents a great opportunity. In recent years, urban culture has received little attention, often due to negative stereotypes associated with the urban environment as a whole. However, urban culture is rich and present in Europe, encompassing many art forms and drawn from a pool of young and ambitious talent. Diversidad set out to enlighten and showcase the impact, values and evolution of urban culture. Within the framework of the European Year of Intercultural Dialogue, the European Commission (EC) announced funding for projects in line with the goals of the EC culture programme. Recognising both the political and cultural relevance of promoting European urban culture, the European Music Office (EMO), Diversités and MICA have developed and secured funding for the Diversidad project. The importance of Diversidad at the European level is particularly relevant to the EC as it underscores the goals of its culture programme; notably, “the mobility of artists and cultural actors, the circulation of art works and intercultural dialogue”. The importance of fostering urban culture goes far beyond the realm of art; it raises questions about the integration of minorities, the disadvantaged and the wider social problems facing urban youth as a whole. In light of this, Diversidad has organised youth workshops, panel discussions and speeches which encapsulated the ambitions and drive of the urban youth population.

The most audible expression of European joint creativity has been the production of a multilingual free-to-download track featuring artists from across Europe. The Diversidad-Single [www.myspace.com/ diversidadexperience] has become a major Internet phenomenon as the track has been downloaded over 100,000 times since its release. Aspiring urban artists are encouraged to participate by remixing the core track and developing their own unique sound. Although Diversidad events took place in many European cities, the project culminated on the weekend of June 23-25 2008 in Vienna. The threeday event of urban culture highlighted the best of urban talent in a range of forms; from live concerts (featuring artists from the Diversidad single, notably, Promoe, Curse, Noora Noor and Sam the Kid), graffiti exhibitions, DJ contests to panel debates and discussions. In light of the success of Diversidad, EMO has sent an application to the EC to extend the project for a further three years, in the hope that spirit of intercultural dialogue and mutual understanding can be maintained in the long term. //

Paul Quinn European Music Office (EMO), Rue du Trône 51, 1050 Brussels, Belgium Tel. +32 2 21 31 400, fax +32 2 21 31 401 Web: www.emo.org, email: [email protected]

Akhenaton & Crew

Photo by Thomas Unterberger

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The independents, drivers of creativity and innovation in music

2009 will be the European Year of Creativity and Innovation and when it comes to record labels the core of creativity and innovation lies in the independent sector. Some of the world’s most exciting artists are signed to independent companies. So, what are the specificities of the independents which make them so creative and innovative? Fostering Europe’s economy of culture and diversity is one of the EU’s top priorities in becoming the world’s leading knowledge economy - it is perhaps no surprise then that 2009 is the European year of creativity and innovation. What we mustn’t forget is that every year is a Year of Creativity and Innovation for the independents and that this needs to be supported on an ongoing basis. Early in 2008 the French Presidency of the EU held a vital event in Paris, which led to the adoption of the European Independence Declaration. The EU and its member states are now expected to put in place key investment, market access, and digital measures, as well as new policies to give Small and Medium Enterprises (SME) preferential treatment. One EC Commissioner previously described such preferential treatment as “economically and politically justifiable”. It is vital for such support to be delivered across Europe in a coherent and speedy fashion. Independent record labels are organised on a pan-European basis through IMPALA (Independent Music Companies Association) which represents over 4,000 record companies and national trade associations. IMPALA is a non-profit organisation with an artistic and scientific purpose. To promote the expansion and competitiveness of independent music, in the interests of entrepreneurial and cultural diversity. Independent labels are micro, which are mainly SMEs, represent 99% of Europe’s music companies. They are known as the ‘independents’ because they are independent of four multinationals, known as the ‘majors’ (Universal, Sony, Warner and EMI). They are world leaders in terms of innovation and discovering new music and talents. Independents are recognised as drivers of innovation and creativity in the music sector because they take risks to develop new musical genres and artists, producing over 80% of all new releases. They ensure cultural diversity with their eclectic repertoire and are credited with having a long term vision for artist careers. Independent labels tend to be owner/manager operations and do not suffer in the same way from typical shareholder pressures. Independents have a reputation for working more closely with artists, often offering more flexibility, longer careers and artistic

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integrity or ‘synergy’. It is also said that more equitable deals for artists are found in the independent sector. This approach and broad range of artists and genres and new musical styles is a guarantee of greater musical diversity and consumer choice. Cultural and creative SMEs are now officially recognised by the EU as “the drivers of growth, job creation and innovation”. SMEs provide over 80% of Europe’s jobs1. As a result of their size and highly specific skill sets (such as discovering new music) independent music companies create further job opportunities through the development of symbiotic relationships, often with other SMEs, for areas such as marketing, graphic design, legal services, tour promotions etc. This is another example of the broader sense of cultural entrepreneurship linked to the SMEs of the music sector, whereby music is not the only creation. The independents are surrounded by other cultural and creative SMEs, which offer complementary services to the music sector. The potential of the independents is enormous but IMPALA’s experience has identified complex barriers to trade and severe market access problems. The impact on diversity, consumer choice and pluralism is clear. Over 95% of what most people hear and see, whether on radio, retail or the Internet, is concentrated in the hands of the four majors. IMPALA has also developed its own award scheme to help promote cultural diversity and new talent and highlight the artistic contribution of independent music. IMPALA award-winning artists include Radiohead, the Arctic Monkeys, Carla Bruni, Manu Chao, Corneille, Katie Melua, Franz Ferdinand, Basement Jaxx, The Prodigy, Jose Gonzalez and Andrea Bocelli. For more information on IMPALA, its awards and the European Independence Declaration, see www.impalamusic.org. 1

The Small Business Act for Europe adopted by the Commission on the 25th of June 2008 underlined that SMEs produce over 80% of Europe’s jobs.

// Vivien Blot Independent Music Companies Association (IMPALA) Coudenberg 70, 1000 Brussels, Belgium Phone : +32 2 503 31 38, Fax : +32 2 503 23 91 e-mail : [email protected]

Arts Festivals: Laboratories of creativity - Promoters of innovation // For Inspiration

Arts Festivals: Laboratories of creativity –– Promoters of innovation

Festival de Barcelona Grec, God is a DJ

Festival de Barcelona Grec, Hip Hop al Teatre Grec Photos by Ros Ribas

“….the festival concept should be reserved for cultural events promoting creativity and international innovation, as it is the true role of a festival to allow artists to initiate projects and activities that would not be performed in the context of ordinary institutions…”  – there is no better way than these few words by Bernard Faivre d’Arcier to highlight the important role of a festival today! Festivals are carriers of innovation. It is one of the main missions of festivals to give space to new, innovative, experimental pieces of art and art forms. Festivals serve as laboratories for new ideas and experimental works. An artist is constantly looking for new ways of

communication and expression – he tries out, he undertakes research, he experiments. This laboratory-scale work often takes place within alternative, avant-garde frameworks: in ateliers, small theatres, artists working spaces… At a certain point, the work of art is ready to be tested with a large public: In the seat of a festival! Offering a platform for this type of experimental work is a responsibility a festival has vis-à-vis the artist  – and vis-à-vis its public: Festivals play a precious role in involving audiences in the process of creation and innovation. Individuals who gather to attend a festival’s event are often faced with the challenge of interpreting and understanding works of art that use new languages, expressions, concepts and perspectives, often tightly-connected to contemporary history and society. It is part of the educational mission of the festival to open up audiences for artistic, cultural and societal alertness. Fringe events, education schemes and training programmes for young artists and managers, interactive performances, experimentation of arts and technologies and contemporary expression provide thousands of people who come in touch with the world of festivals as professionals, amateurs or as part of the audience with appropriate competences. Despite the enormous pressures that have been brought to bear on festivals and their makers  − side agendas driven by economic interests, by city authorities looking for new ‘tourist destinations’, by marketing issues or political interests − the very essence of a festival remains an artistic one! By supporting festivals in their mission, offering them an international environment and a platform for the development of creative, innovative, international projects, risk-taking when commissioning, the European Festivals Association (EFA) creates an opportunity for the artistic and professional development of festivals. On the occasion of the European Year of Creativity and Innovation, festivals are strengthening their collective forces to highlight the outstanding excellence of festivals as laboratories for creation and creativity through the “FestLab for Innovation and Creativity”. EFA is initiating an ongoing process that eventually aims to stimulate festivals to further get involved in the creation of new artistic projects. During the European Year 2009 we look forward to joining forces and making the voice of the artistic and cultural sector heard! // Kathrin Deventer Secretary General European Festivals Association (EFA) Kleine Gentstraat 46, 9051 Gent – Belgium T: +32 9 241 8082 - F: +32 9 241 8089 [email protected], www.efa-aef.eu In collaboration with Salvatore Marra (CEMAT)

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Music in library: entering the digital age for a better education of audiences Renewing the role of the music library Gaining access to music with a computer and the Internet is today becoming common at home or in a library. Given the extensive expansion of information and communication technologies, combined with the CD market crisis, music libraries have to thoroughly renew the way they play their role as cultural mediators between music collections and audiences. One possible orientation is to build closer relations between cultural activities and uses in the digital world. A bridge between cultural activities and digital uses The Cité de la musique’s media library has an active role in this movement. As part of a national public institution dedicated to the dissemination of music (through two concert halls within the Parc de La Villette and the Salle Pleyel in downtown Paris), music heritage (through the Museum of Music) and music education and documentation, the library can take advantage of this resources of the venue, such as the artistic programming of concert halls and a rich experience in music education. The model is also transposable to a regional or town library, which can top in on local potential. Since 2003, the library has run an intensive digitisation programme of recordings of the concerts given in the halls and the ancient instruments kept by the museum. It offers the audiences the possibility to listen to and watch very diverse and unpublished music (classical, jazz, traditional and world music) and creates new relationships with consumers beyond selling and buying tickets for a performance. Listening and understanding Giving online access to concerts is a first step towards encouraging audiences to develop a comprehensive reception of music, which supposes both skilled listening and background knowledge for a deeper understanding of artistic expressions. That is why a large choice of educational tools comes with the musical recordings. Ultimately, beyond the discovery of the works and collections themselves, what the Cité de la musique aims to do is to arouse curiosity and to educate and accompany all music lovers in the development of their tastes and culture. Cultivating one’s ability to appreciate music Encouraging listeners to appropriate a musical work as a whole implies that they associate sensory discovery with an exploration of the aesthetic, cultural and historical contexts underpinning the work; therefore, we systematically provide listening tools that combine a musical stream with additional comments on the music. Two complementary types of activities are offered: The reading of texts on music punctuated by sound illustrations, or, inversely, the listening of music punctuated by comments.

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The listening guides: an interactive way to learn about music The listening guides are interactive tools based on digitally recorded concerts. They combine sound and video materials with comments, scores, explanatory schemes, etc., that can be used freely by listeners, thus avoiding any predefined, linear way of presenting things and providing in a playful way all the necessary keys to a personalised, step-by-step approach to music.

Fig. Listening guide – Texts, score, images and audio file are synchronised.

The Cité de la musique’s associated libraries While music is generally partly accessible through excerpts (or fully accessible but on a restricted period of time), integral online access is authorised within the library of the Cité de la musique, but also on the network of associated libraries throughout France. This network federates today over 40 libraries and music schools and is intended to grow, allowing for a better dissemination of this digital enhanced access to music and culture. // Marie-Hélène Serra, Directrice de la Pédagogie et de la Médiathèque, Cité de la musique, Paris, France [email protected] http://mediatheque.cite-musique.fr

Bring-a-dish party for creative new music // For Inspiration

Bring-a-dish party for creative new music Just imagine being invited to a party where you need to bring along some of your favourite candies. At the party, you can taste all the candies the others have to offer and then you can choose at least ten of your favourite candies to recommend further to your best friends. Roughly, that is what the International Rostrum of Composers (IRC) has been doing with new music for over 55 years. Delegates from many countries and continents meet every year to listen to the recordings of recently composed music and return home with lists of recommended works and recordings to present to the listeners of their respective radio companies. No other annual international event gathers every year so many representatives, i.e. producers and people working for new music radio programmes, to share a listening experience and to discuss contemporary music. For most of its history ,the IRC has taken place in Paris, but since the beginning of this millennium, the Rostrum has also travelled to Amsterdam, Dublin and Vienna. In 2009, the session will be hosted by Radio France in Paris from June 8th to 12th. The listening sessions always conclude with a vote on selected and recommended works in the general category and another one dedicated to composers under 30. In both categories, a list of one selected work and several recommended works is produced. This

brings some competitive aspects to the event although it is not really designed to be just one more composition competition. There are no actual prizes except for a minor grant offered to the composer whose work selected in the young composers’ category. In this respect, the IRC differs from all the ordinary composition competitions and has remained truly unique ever since its inception. And if you look back in the history, you will notice that almost every major composer of the past 55 years is to be found in the list of selected and recommended works. Nonetheless, the real and tangible IRC award is the number of broadcasts that a work receives by different radios all around the world after its presentation at the Rostrum. To appeal to other delegates and their taste, however, you need to bring along some of your favourite candies: your best creative new music. // Heikki Valsta Chairman of the IRC & Executive Producer of the YLE (Finnish Broadcasting Co.) International Music Council Maison de l’UNESCO, 1 rue Miollis, 75732 Paris Cedex 15, France [email protected], www.imc-cim.org

The results of the International Rostrum of Composers 2008 were announced during a press conference that was broadcast live on radio from the National Concert Hall in Dublin.

Listening sessions, International Rostrum of Composers 2008 Photos by IMC

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For Inspiration // Music Promotion in Italy

Music Promotion in Italy Book Publication of CIDIM – National Music Council of Italy and Federazione CEMAT

© CEMAT

It is now about acknowledging the role that music plays at social and individual level

The publication by the National Music Council of Italy (CIDIM) and Federazione CEMAT (an institution promoting Italian contemporary music): “Music promotion in Italy. Paths and prospects in comparison with international institutions” will be released in January 2009. The publication includes information about the state of the art of music promotion in Italy and also devotes its attention to the international context of music promotion and advocacy for culture and music in Europe. The first part of the publication is dedicated to the international institutions advocating for music in the world and in Europe: The International Music Council (IMC) and the European Music Council (EMC). Information is provided about their functions, their structure and their advocacy works for musical heritage throughout the world. The volume also includes information about the history of music promotion in Italy from the foundation of the CIDIM  and of the Institutions for Music Promotion (Enti di Promozione) to date, including the latest piece of legislation in this sector, the decree of the Minister of Culture n° 22/2007, that states that only one body devoted to music promotion will be funded with state funds from 2010. This volume is both a retrospective of the past activities of the CIDIM and Federazione CEMAT, as it relates about the activities carried out over the past 30 plus years, but it also looks at the future. This is why a whole chapter has been dedicated to the German Music Council (DMR). The German experience of a National Music Council is very interesting for the Italian context, not just from the point of view of its structure and functions – which is in any case a rare example at international level both for the quality and for the quantity of activities carried out in many music fields  – but also because it operates in a federal country, while in Italy there is a defined political path leading to a federal reform also for cultural policies. It is now about acknowledging the role that music plays at social and individual level and setting up a project that makes it possible for everybody to access music with the best instruments available. This is why the activity carried out by the Institution for Music Promotion in Italy has a particular value that national politics should recognise and support with the necessary resources. // Salvatore Marra Federazione CEMAT Via Boezio, 33 00193 Roma Italy tel + 39 06 68809222, fax + 39 06 68809340 [email protected], www.cematitalia.it

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How creative are you? // For FUN

How creative are you? The EMC Creativity self-assessment

1. On a typical workday, do you consider yourself to be a person ... a) ... who enjoys working in a group with people from different disciplines and with different skills? b) ... who prefers working only with people from the same discipline? c) ... who doesn’t want to be disturbed by other people and prefers to work alone? 2. Your desk in the office is ... a) ... always full of bits and papers. b) ... usually tidy and clean. c) ... I do not have a desk as I have a laptop and an iPhone. 3. Your attitude towards rules & instructions at work: a) Sometimes, I get a kick out of breaking the rules and doing things that I am not supposed to. b) I always stick to the rules and fulfil the expectations of my colleagues. c) I only stick to the rules if they seem to be useful to me. 4. If you had to pick one, which one of the following sounds do you prefer? a) Whistling b) Clapping c) Shouting d) Breaking glass

8. Your computer stops reacting for no obvious reason. a) You get angry and hit the table. b) You check every kind of cable, trying to understand what the problem is. c) You go and make yourself a cup of tea – creativity doesn’t solve IT problems. 9. Tonight is your husband/wife/boyfriend/girlfriend’s birthday: a) You take him/her to his/her favourite restaurant. b) You emptied the swimming pool while he/she was away and set up a Taj Mahal-looking birthday tent at the bottom of the pool where an oriental meal is going to be served. c) Oops, you forgot his/her birthday again… 10. You are sitting in a cinema, watching a very moving (touching) scene. a) You think it is totally silly and state this by commenting loudly. b) You start sobbing and use up all your neighbours’ tissues. c) You look at the face of the people sitting next to you. 11. Take a piece of paper and pen, close your eyes and let your pen do something on the piece of paper for five seconds. Open your eyes again. How many pictures are you able to identify? a) None b) One to four c) Five or more

5. What is your favourite animal? a) Parrot b) Tiger c) Dog d) Dinosaurs

7. Sitting in a boring meeting, you want to leave the room without attracting attention a) You pretend to pick something up from the floor and try to reach the door by creeping under the table. b) You pretend to fall asleep and leave the room sleepwalking. c) You pretend to go to the bathroom and don’t come back.

1. 2. 3. 4. 5. 6.

a 3 2 3 3 3 3

b 2 1 1 1 2 1

c 1 3 2 2 1 2

d ø ø ø 4 4 ø

7. 8. 9. 10. 11.

a 3 1 2 2 0

b 2 2 3 1 2

c 1 3 1 3 3

d ø ø ø ø ø

0-11 Uninspired. Maybe you are too sleepy for this test! 12-18 Budding creator. Keep trying – you can exercise your mind just like your body! 18-25 Imagination master! You used your originality to think up many answers that weren’t obvious! Keep up the good work! Over 25 Creativity wizard! Wow! You are on your way to changing the world!

6. A television team across the street and wants to make an interview: a) You always have something to say, whatever the subject. b) You pretend to be in a hurry and pass by. c) You only answer if you feel the subject concerns you personally.

Creativity Score Count up the total amount of points you had for all the questions. If your score was:

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EMC/IMC Review // Artikel

Welcome Evening by the Working Group Youth All Photos by Radovan Tesar

Access to Music – New perspectives in Education, Distribution and Politics EMC Annual Conference 2008, 17 to 20 April in Brno, Czech Republic Organised in cooperation with the Czech Music Council and the JanáCEk Academy for Music and Performing Arts

“The right for all children and adults to have access to musical involvement through participation, listening, creation and information” is one of the five musical rights that are honoured and supported by the International and European Music Council. Aimed at fostering the process of building up the essential social and political framework for a broad access to music the EMC Annual Conference 2008 investigated specific needs regarding the different objectives and interests of education, distribution and politics. More than 90 representatives from 24 European countries, Israel, Venezuela and Australia came to Brno, Czech Republic, to exchange their visions on musical life in the 21st century. The Janáček Academy for Music and Performing Arts provided an inspiring environment for the event. Vladimir Šucha, Director for Culture, Multilingualism and Communication at the EU Commission, presented the European

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Agenda for Culture in his conference keynote speech. He exposed two aspects: First, in particular the importance of culture mainstreaming, which stands for the inclusion of culture in various other fields of politics; and secondly the importance of arts education for the learning of intercultural competences as well as the enhancement of skills and creativity. Furthermore, Šucha reported on the EU Commission’s plan to build up a mobility fund for the culture sector. With this idea, the Commission is following the good example of the Erasmus programme in the educational sector, which has been very successful in enhancing student exchanges between European countries. Inspired by this keynote, the conference offered its participants the opportunity to discuss new perspectives in music education, music distribution and music politics. Each discussion forum was opened with speeches by three experts on the particular topic. Amongst

Access to Music – New perspectives in Education, Distribution and Politics // EMC/IMC Review

others Richard Letts, President of the International Music Council, talked about new perspectives on international music policy. In his speech, he stressed the importance of alliances and collaborations between small organisations in advocacy work. Janet Ritterman, VicePresident of the Royal College of Music London, said in her speech about new perspectives on music education that it was absolutely imperative to make sure that access to music offered opportunities for lifelong purposeful involvement and not just occasional treats. Likewise, Peter Röbke noted in his presentation about music schools in Austria that music schools needed a lifelong perspective. In his opinion, a music school should be a school “which transforms itself more and more into a centre of music education competence for all generations, all styles, all levels of excellence”. Aage Hagen reflected on young people’s access to music in terms of conservatoire education. He stated that it was important to better incorporate contemporary music into the curriculum and to build up neutral programmes in terms of genre and style to be able to keep up with developments in the music world surrounding us. Peter Rantasa, Executive Director of the music information center Austria (mica) and IMC Vice President, emphasised the need for a new ‘social contract’ between artists and the rest of society to find a fair system for music distribution in the age of digitisation. The performance of a variety of project presentations gave a desirable practical input to theoretical discussions. Several concerts by local artists and students from the Academy showcased musical diversity in Czech Republic. The consensus of the discussions and conclusion of the conference was clear: The European Agenda for Culture and the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions are significant documents that announce the importance of cultural diversity, participation and artistic education. Both papers offer a legal basis for the right to have access to music. The shortcoming of these documents is the lack of concrete answers on how to finance and implement such plans. As Richard Letts said in the last Sounds issue, “The task is not mainly about defending against breaches of these rights, even though in some countries this certainly must be a priority. It is about creating the circumstances in which the rights can be positively exercised.” (Richard Letts, Sounds #3, 19) Therefore, the EMC is continuously enhancing dialogue between acting musicians, music educators, music organisations, stakeholders and politicians. An important objective of this dialogue is to create a political, economic and cultural framework to enable the maintenance and continuation of the present richness and diversity of European and international music life.

3

Interactive Round Table

Board Election The EMC Annual Meeting took place within the conference framework and a new Board was elected. The EMC is happy to introduce Timo Klemettinen (President of the Finnish Music Council) as new Chairman and Christian Höppner (Secretary General of the German Music Council) as Vice-chair. Further Board members are Stef Coninx as treasurer (Secretary of the International Association of Music Information centres), Petra Mohorcic (Chairperson of Jeunesses Musicales Slovenia), Harald Huber (President of the Austrian Music Council), Erling Aksdal (Candidate for the AEC/ Leader, Faculty of Jazz, Norwegian University, Trondheim, Norway), Ug´is Praulin, s (President of the Latvian composer‘s Union). An eighth member, Daphne Wassink, was coopted by the Board; she is Policy Advisor of the Dutch Ministry of Economic Affairs and chairperson of the EMC Working Group Youth.

You will find more information on the event such as lecture scripts, presentations and a photo gallery on the EMC homepage at www.emc-imc.org/brno.

// rl

New elected Board

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EMC/IMC Review // Access! Connecting Youth in Music

Access! Connecting Youth in Music by the Working Group Youth of the European Music Council Since 2002, the Working Group Youth (WGY) of the European Music Council has been studying and working on the involvement of young people in our organisations. The last WGY meeting took place in rainy Cologne in early December. Since our previous encounter in Brno in spring 2008, the group had grown and this was the first meeting for some of the new members, which included young people from ten European countries who represented both national and international music organisations. The weekend was filled with fruitful, lively discussions which resulted in some new and improved organisational and structural ideas for achieving our aim: Enhancing the participation of young people in European musical life. ‘Access’ will be the key for the next two years: Access to music organisations for youth, but also access to youth for music organisations, as well as access to intercultural dialogue for young Europeans through active participation in music life. The meeting covered a number of aspects including external and internal communication, structure, guidelines for youth participation and plans for the future. The group decided on a number of immediate actions:

Working Group Youth meeting, December 2008 © WGY

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- - -

A fresh edition of the WGY newsletter, An update about the group on the EMC website, The creation of a blog on LabforCulture.org to provide young people with more information about opportunities in the European music sector. Another outcome of the meeting was the election and formation of a new WGY committee for 2008-2010. Each member has his or her own remit, which they will coordinate. The new committee members are: Chairperson Daphne Wassink (The Netherlands), Burak Ozgen (Turkey/Belgium), Kiril Aas (Norway), Rebecca Gale Hayes (United Kingdom/Spain), Daina Svabe (Latvia), Claire Goddard (United Kingdom/Germany) and Maiju Kopra (Finland). The members are from and chosen by the WGY network. We hope with your help this network will grow to be visible, dynamic and accessible in the coming years. // Working Group youth 3

For updated information, visit the Working Group Youth section on the EMC homepage www.emc-imc.org/wgy and subscribe to the WGY newsletter.

Artikel // EMC/IMC Review

MUSIC ON TROUBLED SOiLS

© EMC

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EMC/IMC Review // Music on Troubled Soils

Sawa Choir © EMC

Music on Troubled Soils, an international conference recently hosted by the Israeli Music Council in Jerusalem under the guidance of Avishai Y’aar and in cooperation with the European Music Council, brought together music performers, composers, teachers, administrators, politicians and experts from Europe, the United States, the Middle East and Africa to discuss the role of music in troubled regions of the world.   The conference was the first of its kind, and a good step in developing the support, visibility, increased funding, and research needed to improve and expand the important work of bringing the healing and regenerative power of music where it is needed most. The diversity of the groups participating in the meeting was noteworthy. Among those organisations represented were Music in ME (Middle East), which organises programmes in Israel and the Palestinian Territories; Spiritus Mundi, a Swedish NGO actively working to bring together Swedish and Arabic young people and musicians in and around Malmö, Sweden, and regularly tours the Middle East; the Netherlands-based Musicians Without Borders; and various smaller groups and individuals working with programmes in places from Israel to Cyprus to South Africa. The groups vary in focus  – from using music-making to bring communities in conflict together, to offering traumatised populations the therapeutic and creative strengths of music, and to simply providing music education to under-served schools in troubled areas. I say simply with more than a grain of salt – because nothing is simple when you work in these troubled places. Things we take for granted elsewhere are major obstacles: safety of participants, difficulty of access to the programme site, suspicion from the community and cultural misunderstandings are issues that absorb much time and energy and must be dealt with daily. The conference left me with three main thoughts regarding the current situation with “Music on Troubled Soils” and what needs to be done to foster these important programmes: 1. Many of the impressive teachers and facilitators working in these troubled regions are young, creative, idealistic, recent graduates of music and music education programmes. They do incredible work, but need guidance, mentoring and support to overcome the imposing obstacles that stand in the way of bringing music education into the areas in which they work, and in using music to bring together individuals and communities who are in conflict. They are, however, very isolated by the nature of their work, and need to use all available technology to form an international

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community and support system for themselves. This takes a lot of time and resources – two things in short supply when working in the trenches. We, as a music community, must assist in developing systems that will enable the exchange of experiences and publish best practices for working with individuals, communities, and governments in these difficult situations. I urge those readers who have expertise in this area to get involved. 2. Recognition of the amazing work that these individuals do also needs to be promoted in the media to bring it to the attention of the general public. So often we hear only of the horror in areas of conflict. It is useful, I think, to promote the pockets of hope that are brought by these wonderful programmes. It gives a sense that there is actually something the average citizen can do to help improve the situation in troubled regions, and if done effectively, it will draw support for the programmes themselves. We must get better at working with the press to accomplish this. We also must be careful in the process, however, not to whitewash the real problems of the conflicted region and use the programme publicity as a ‘feel-good piece’. There are always legitimate, hard-to-solve problems and grievances in these areas, and these issues must be solved by other means – but to start with, music can help peel away the covering of acquired hate, fear, and misunderstanding among the communities in conflict. This is a necessary part of any lasting resolution to conflict. 3. It is clear on an anecdotal level that these music programmes do much good. But there is insufficient hard data for their importance or success. Monitoring and research studies must be undertaken in order to quantify their value and garner the respect and funding that they deserve. I believe that it is only through such research that the new patrons and sponsors needed for these programmes will be obtained, and I urge the researchers reading these lines to consider the possibilities for formal studies on the outcomes of music programmes working on ‘Troubled Soil’. As I stated at the conclusion of this most impressive gathering, we cannot save the world through music, and we cannot solve all of the world’s problems through music, but we can use music to bring beauty and hope where there is only suffering... and we can use it to help remove obstacles to peace such as acquired hate, fear and misunderstanding. // David Sanders Director, National Music Council of the United States

Workshops/Trainings/Academies // Pinboard

PINBOARD

A selection of European and international music events in the upcoming year This list does not claim to be exhaustive.

Workshops/Trainings/Academies m April International competition ‘Young musician’ 2009 2-6 April, Tallinn, Estonia International competition for pianists, cellolists and violinists Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org 8th International Competition for Young Pianists in memory of Vladimir Horowitz 11-25 April 2009, Ukraine Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org International Gaudeamus Interpreters Competition 2009 18-26 April, Amsterdam, Netherlands Competition for young interpreters of contemporary music Contact: MCN; Rokin 111; 1012 KN Asterdam; Netherlands; T: +31 (0)20-3446060; F: + 31 (0)20-6733588; [email protected]; www.muziekcentrumnederland.nl/ Polifonia International programme for professional development and collaboration between teachers in music academies and conservatoires 19- 23 April, Villecroze, France Together with the workshop in September this workshop will function as a pilot seminar Contact: AEC; PO Box 805; NL-3500 AV Utrecht; The Netherlands; T: + 3130 2361242; F: + 3130 2361290; [email protected]; www.aecinfo.org/ Opera Forum 17 - 19 April 2009, Barcelona, Spain Workshops and Screenings on Opera in the Media Contact: IMZ/Opera Europa; Stiftgasse; 291070 Wien; Austria; T: + 43 1 889 03 15; F; + 43 1 889 03 15 77 European Atelier for Young Festival Managers 26 April- 3 May, Varna, Bulgaria Contact: EFA; Kleine Gentstraat 46; B- 9051 Gent; Belgium; T: + 32 9 241 8080; F: + 32 9 241 8089; [email protected]; http://www.efa-aef.eu m June ITF Golden Prague 13 - 17 June 2009, Prague, Czech Republic Workshop and Pitching Session for music and dance in the media Contact: IMZ; Stiftgasse 29; 1070 Wien; Austria; T: + 43 1 889 03 15; F: + 43 1 889 03 15 77

European Union of Music Competitions for Youth (EMCY) International Chamber Music Tour 20 - 30 June 2009 Tuesday 23.06-09 Neubeuern (Germany); Thursday 25.06.09 Bad Ischl (Austria); Friday 26.06.09 Eggenfelden (Germany); Saturday 27.06.09 Passau (Germany); Sunday 28.06.09 München (Germany); Monday 29.06.09 Seefeld (Germany) Prize winners from EMCY Member Competitions come together in a workshop and then present their programme in concerts throughout Bavaria, Germany and Austria Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org m July Youth Event Management Programme 11-27 July, Utrecht, the Netherlands Contact: Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected]; http://www.europacantat.org/ International Youth Wind Orchestra Contest 2009 17-19 July, Schladming, Germany International Competition for Youth Wind Bands Contact: CISM; Bahnhofmatte 20; CH-3232 Ins; Switzerland; T: + 41 - 32 - 313 73 66; F: + 41 - 32 - 842 45 59; [email protected]; www.cism.de or www.mideurope.com m September 16th International Leoš Janácek Competition 7-12 September, Brno, Czech Republic For young singers under the age of 29 Contact: Faculty of Music, Janácek Academy of Performing Arts; Komenského nám. 6; 662 15 Brno; Czech Republic; T: + 420 542 591 606; F: + 420 542 591 633; [email protected] or [email protected]; www.emcy.org or http://hf.jamu.cz/english/ leos-janacek-international-competition/ European Academy for Young Conductors 20-27 September 2009, Graz, Austria Contact: Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected]; http://www.europacantat.org/ Polifonia International programme for professional development and collaboration between teachers in music academies and conservatoires 28 September- 1 October Together with the workshop in April, these workshops will function as a pilot seminar Contact: AEC; PO Box 805; NL-3500 AV Utrecht; The Netherlands; T: + 3130 2361242; F: + 3130 2361290; [email protected]; www.aecinfo.org

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Pinboard // Conferences/Symposia/Meetings/Seminars

Conferences/Symposia/ Meetings/Seminars m April Colloquium: „Culture and Creativity, vectors for development” 2-3 April Brussels, Belgium Debate between artists, culture and development professionals and political decision-makers. Contact: European Commission; Directorate General for Development and relations with African, Caribbean and Pacific States, Unit B3; [email protected]; http://www.culture-dev.eu/website.php European Music Council (EMC) Annual Conference 23- 26 April, Athens, Greece The final event of the three-year cooperation project ExTra! Exchange Traditions will take along side. Contact: EMC, Haus der Kultur; Weberstraße 59a, 53113 Bonn, T: + 49 228 96699664, F: + 49 228 96699665; [email protected]; www.emc-imc.org m May Opening event of the 1st European Small and Micro Enterprises (SME) week 6 May, Brussels, Belgium Consists of two parts: The Panel discussion “Entrepreneurship on TV” and the Award Ceremony for the European Entrepreneurship Video Award. Contact: European Commission; DG “Enterprise and Industry”, Unit E.1.; B-1049 Brussels; Belgium; [email protected]; http://ec.europa.eu/ enterprise/policies/entrepreneurship/sme-week/events/ belgium/20090506_b_en.htm 1st European Small and Micro Enterprises (SME) week 6-14 May, Brussels, Belgium Contact: European Commission; [email protected]; http://ec.europa.eu/enterprise/policies/entrepreneurship/ sme-week/about/index_en.htm European Festivals Association (EFA) General Assembly 2009 14-17 May, Vilnius, Latvia The motto of the assembly will be: “Artistic trends in Festivals“ Contact: EFA; Kleine Gentstraat 46; B- 9051 Gent; Belgium; T: + 32 9 241 8080; F: + 32 9 241 8089; [email protected]; http://www.efa-aef.eu

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m June International Association of Music Information Centres (IAMIC) Annual Conference & General Assembly 4-10 June, Toronto/Vancouver Canada Contact: IAMIC; Steenstraat 25; BE-1000 Brussels; Belgium; T: + 32 2 502 81 03; F: + 32 2 502 81 03; [email protected]; www.iamic.net Meeting for National European Union of Music Competitions For Youth (EMCY) Competitions 26 - 28 June 2009, Barcelona, Spain Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org 19th Annual International Association of Schools of Jazz (IASJ) Jazz Meeting 2009 27 June - 4 July 2009, Lucerne, Switzerland Playing, teaching, discussing jazz and jazz education on a worldwide level Contact: IASJ; Zentralstrasse 18; CH-6003 Luzern; Switzerland; T: + 41 41 412 20 56; [email protected]; www.iasj.com m July European Association for Music at School (EAS) Conference, International Society for Music Education (ISME) European Regional Conference 1-5 July, Tallinn, Estonia Different forms of activity (workshops, presentations etc.) with the motto: Music Inside and Outside the School Contact: Ene Kangron, Estonian Academy of Music and Theatre; Rävala 16; Tallinn 10143; Estonia; [email protected]; http://eas.punkt.at Conference on Music Education and Singing 2-7 July, Vilnius, Lithuania Contact: Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected]; www.europacantat.org m September Culture Forum 28-30 September, Brussels, Belgium With around 600 participants from the culture sector and civil society, Member States and EU institutions Contact: European Commission Culture; [email protected], http://ec.europa.eu/culture/news/news1904_en.htm

General Assembly 2009 of the European Association of Youth Orchestras 21 May, Hogeveen, Netherlands Contact: EAYO; Otterswijk 13; NL-7701 PC Dedemsvaart; Netherlands; T: + 31 523 638435, F: + 31 523 638437; [email protected]; www.eayo.org

m October European Conference of Promoters of New Music (ECPNM) assembly 3 October, Gothenburg, Sweden Contact: ECPNM; c/o Music Center the Netherlands, Rokin 111; 1012 KN Amsterdam; Netherlands; T: + 31-20-3446060, F: + 31 (0)20-6733588 [email protected]; www.ecpnm.com

European Music School Union (EMU) General Assembly and Conference ‘Music Education in South European Countries’ 19-22 May, Linz, Austria With delegates from all 26 member countries Contact: EMU, Postbus 365; 3500 AJ Utrecht; Netherlands; T: + 31 30 2303740, F : + 31 30 2303749 ; [email protected]; http://musicschoolunion.eu/

m November European Association of Conservatoires (AEC) Annual Congress 05- 08 November 2009, Maastricht, Netherlands Contact: AEC; PO Box 805; NL-3500 AV Utrecht; The Netherlands; T: + 3130 2361242; F: + 3130 2361290; [email protected]; www.aecinfo.org/

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Festivals/ Concerts // Pinboard

Europa Cantat General Assembly 2009 13-15 November, Sofia, Bulgaria Contact: Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected]; http://www.europacantat.org/

Festivals/ Concerts m April EuroRadio Youth Concert 2 April 2009, Oslo, Norway Prize winners from EMCY Member Competitions perform with the Norwegian Radio Orchestra (in cooperation with the European Broadcasting Union) Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org Cantemus Open Weekend 23-26 April, Nyíregyháza, Hungary For conductors and music teachers Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected]; http://www.europacantat.org/ m May Norbusang 2009 20-24 May, Jakobstad, Finland The annual choir festival for young choirs in the Nordic countries Contact: JMI; c/o Palais des Beaux-Arts 10; rue Royale; B - 1000 Bruxelles; Belgium; T: + 32 - 2- 513 97 74; F: + 32 - 2 - 514 47 55, [email protected]; www.JMI.net or http://www.norbusang.fi/start/ 10th European Youth Music Festival “megahertz” 19-24 May, Linz, Austria Gathering of thousands of young music enthusiasts from all over Europe Contact: EMU/Upper Austrian Regional Music office (Christine Winner; Postbus 366; 3501 AJ Utrecht; Netherlands; T: + 32 30 2303740; F: + 32 30 2303749; [email protected]; http://musicschoolunion.eu or http://megahertz.at/en/home International Orchestra Festival 21-24 May, Hoogeveen, Netherlands Contact: EAYO; Otterswijk 13; NL-7701 PC Dedemsvaart; Netherlands; T: + 31 523 638435; F: + 31 523 638437; [email protected]; www.eayo.org Festival ‘Moscow meets Friends’ 25 May- 2 June, Moscow, Russia Contact: EMCY; Trimburgstr. 2/V; 81249 München; Germany; T: + 49 89 871 002 42; F: + 49 89 871 002 42; [email protected]; www.emcy.org

m July European Urban Music Days 1-4 July, Stockholm, Sweden Contact: EU Music Days; [email protected]; http://www.eumusicdays.com/ International Singing Week 5-12 July 2009, Nevers, France For mixed choirs, children’s choirs and individual singers Contact: Association Europa Cantat Nevers; Impasse des Ursulines; 58000 Nevers; France; T + 336 77 44 53 83; F : + 33 3 86 68 48 84; [email protected]; www.europa-cantat-nevers.com World Youth Choir Summer Session 2009 8 July- 1 August, Gent, Belgium Includes a rehearsal camp in Gent and a tour of Belgium, France, Germany and the Netherlands Contact: IFCM; Avenue Jean 1er, 2; 5000 Namur – Belgium; T: + 32-81-711600; F: + 32-81-711609; [email protected]; http://www.ifcm.net/ EUROPA CANTAT XVII festival 17-26 July, Utrecht, Netherlands International festival for amateur singers, that takes place every three years Contact: Europa Cantat, Haus der Kultur; Weberstraße 59a; 53113 Bonn; Germany; T: + 49 228 912 56 63; F: + 49 228 912 56 58; [email protected] or [email protected]; www.europacantat.org/ or www.ecu2009.nl Film Festival on Vienna Town Hall Square July - September 2009, Vienna, Austria Public screenings of music and dance films IMZ; Stiftgasse 29; 1070 Wien; Austria; T: + 43 1 889 03 15; F: + 43 1 889 03 15 77; [email protected]; http://www.imz.at/imz/ m August Alpe Adria Cantat International Singing Week 30 August- 6 September, Lignano Sabbiadoro (UD), Italy Singing week for mixed choirs, children’s choirs and individual singers Contact: FENIARCO; Via Altan 39; 33078 San Vito al Tagliamento (PN); Italy; T: + 39 0434 87 67 24; F: + 39 0434 87 75 54; [email protected]; www.feniarco.it Vienna Music Film Festival Bucharest August 2009, Bucharest, Romania Five days of public screenings of classical music films on Enescu Square in Bucharest Contact: IMZ; Stiftgasse 29; 1070 Wien; Austria; T: + 43 1 889 03 15; F: + 43 1 889 03 15 77; [email protected]; http://www.imz.at/imz/ m September Sweden International Society for Contemporary Music (ISCM) World New Music Days 2009 24 September- 4 October, Visby, Växjö, Gothenburg, Sweden Contact: ISCM; c/o Music Center the Netherlands, Rokin 111; 1012 KN Amsterdam; Netherlands; T: +31 (0)20-3446060; [email protected]; www.iscm.org

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COMING NEXT

COMING NEXT ... Access to Musical Diversity – 3rd IMC World Forum on Music The International Music Council (IMC) invites you to attend its 3 rd IMC World Forum on Music and 33rd General Assembly to be held in Tunis, 17–22 October 2009 under the title Access to Musical Diversity. It will be organised in collaboration with the Ministry of Culture and Heritage Preservation of the Tunisian Republic. The IMC presents its World Forum on Music as a global knowledge-building platform on music and society in the 21st century, which explores a variety of topics from diverse perspectives: Cultural, political and economical. The IMC World Forum on Music is considered one of the IMC’s main contributions to setting the stage for the free celebration of music in the world. The 2009 World Forum on Music will focus on five areas which the IMC considers of crucial importance to the world of music: - Cultural diversity: Where do we stand? - Music as a vector for dialogue - Creativity and innovation in music distribution - New approaches to music education - Changing audiences: challenges for art music around the world By seeking synergies across different sectors, this high-level forum will provide unprecedented opportunities for scholars, government officials, private sector executives, professionals from civil society, artists and students to engage in serious debates on current key issues. The Forum will also include a session specifically dedicated to Arab music, presenting local traditions as well as contemporary production. Workshops will be organised to make participants better equipped to act proactively as advocates for music in their own environments and within their special fields of interest. Furthermore, participants will be offered an exciting artistic and social programme generously organised by the Tunisian hosts. SAVE THE DATES: 17-22 October 2009! 3

Contact: International Music Council, Maison de l’UNESCO, 1 rue Miollis, 75732 Paris cedex 15, France. Tel. +33 1 45 68 48 50 Email: [email protected]; Website: www.imc-cim.org

Reach out, Open up, Take in Develop your skills in advocacy, networking and international cooperation Pomáz, Hungary, 27 February – 1 March 2009 The seminar Reach out, Open Up, Take In addresses national music organisations (e.g. national music councils) in North, Central and South-eastern Europe, from Albania to Slovakia to Ukraine and Estonia. The seminar will provide an insight on how to be recognised as a cultural advocacy body in your country and how to put into practice the 2005 UNESCO Convention on Cultural Diversity. The following questions will be investigated: How to become and remain a representative umbrella organisation? How to open up to

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different musical genres and how to cooperate with organisations from other art forms? What are the chances and challenges of European and international partnerships? How to apply a fair system of intellectual property rights? These and further questions will be discussed in diverse presentations and panel discussions by experts from the national and international music sector in dialogue with all the participants. The seminar is organised jointly by the International and European Music Council (IMC/EMC), the Hungarian Music Council, Europa Cantat, the Europa Cantat Central Eastern European Centre (ECCEEC) and the Choral Castle Pomáz. 3 For further information and online registration please visit www.emc-imc.org.

ExTra! project publication will be available in April 2009! The ExTra! study Music in Motion. Diversity and Dialogue in Europe will be officially launched during the ExTra! final event in Athens from 23-26 April 2008. The publication is a comparative research study on music traditions present in today’s multicultural Europe. It was prepared by an Editorial Board of experts (Prof. Bernd Clausen – University of Würzburg, Ursula Hemetek – University of Vienna, Eva Sæther – University of Malmö), in cooperation with the ExTra! Scientific Committee and the European Music Council. Diverse musical cultures of migrant and minority communities have existed in Europe for centuries and shaped its countries significantly. This volume deals with the musical activities of minorities and their impact on musical traditions in Europe. It also raises questions such as: How are musical traditions of minorities integrated in education and the public music life? Can music facilitate transcultural dialogue? And to what extent do musical practice and performance reassert the own cultural tradition in a foreign environment? Answers to those and similar questions as well as a review on what can be observed in the 21st century Europe are gathered in various thematic approaches. The book also provides model projects with a practical insight into the life and work with music of migrant and minority cultures across Europe. 3

440 pages, 34,80 € ISBN 978-3-8376-1074-1

Acknowledgments We would like to thank all the authors for their valuable input to the magazine and all of those who provided us with texts, photographs, editorial advice or other help. Without their cooperation and extensive efforts, the publication of this magazine would not have been possible.

Federal Government Commissioner for Culture and the Media, Germany Culture Programme of the European Union City of Bonn

Juliane Bally Vivien Blot David Brown Christos Carras Kathrin Deventer Lenka Dohnalová Ján Figel’ Silja Fischer Freemuse Ariane Hannus Hungarian Music Council Raj Isar Timo Klemettinen Markus Koehler Timm Lotz Salvatore Marra Kathrin Matzen Juliette Powell Paul Quinn David Sanders Marie-Hélène Serra Anne Thomas Heikki Valsta Daphne Wassink Michael Wimmer Working Group Youth

Members of the European Music Council: National Music Councils: Albania // Armenia // Austria // Azerbaijan // Belgium (Flemish & French) // Cyprus // Czech Republic // Denmark // Estonia // Finland // France // Germany // Hungary // Israel // Italy // Latvia // Luxembourg // Monaco // Norway // Poland // Portugal // Spain // Sweden // SwiTZERLAND // Ukraine // music ORGANISATIONS: Arbeitsgemeinschaft Europäischer Chorverbände // Artchild // Arthur Rubinstein International Music Society // Association pour le développement de la chanson du rock et des musiques actuelles en Seine-Saint-Denis // Borusan Center for Culture and Arts // Catalan Music Council // Cité de la musique // Continental Art Centre // Europa Cantat // European Association for Music in Schools // European Association of Amateur Orchestras // European Association of Conservatoires // European Association of Youth Orchestras // European Broadcasting Union // European Composers Forum // European Conference of Promoters of New Music // European Federation of National Youth Orchestras // European Festival Association // European Modern Music Network // European Music Schools Union // European Society for Ethnomusicology // European String Teachers Association // European Union of Music Competitions for Youth // Fondation Calouste Gulbenkian // Fondazione Adkins Chiti: Donne in Musica // Greek Music Council // Institute for Music Theatre Research // International Association of Music Information Centres // International Association of Schools of Jazz // International Confederation of Accordionists // International Confederation of Electroacoustic Music // International Council of Organisations of Festivals of Folk and Traditional Art // International Federation for Choral Music // International Federation of Chopin Societies // International Federation of Musicians // International Holland Music Sessions // International Music and Media Centre // International Society for Contemporary Music // Internationales Forum Junge Chormusik // Jeunesses Musicales International // Le Parnasse // Moviment Coral Català // Music and Friends // Music Information Center Austria // Opus Centrum // Presse musicale internationale // Scottish Music Centre // Spiritus Mundi // Verband der Gemeinschaften der Künstlerinnen und Künstförderer // World Federation of International Music Competitions