Description of main EU programmes related with EU funding with special attention to Creative Europe - Culture - Cooperation projects.

1. What are we
talking about when
we talk about
European Union
funding for culture
@juanpedregosa
jj@e-­‐itd.com
Trànsit
Projectes
-­‐
Barcelona

3. Objectives of the (double) session
• To
provide
an
overview
about
what
is
the
European
Union
and
which
are
the
most
important
programmes
to
fund
culture
and
arts
• To
give
prac@cal
tools/@ps/advices
on
what
to
do
and
how
to
do
to
start
a
process
of
EU
funding

4. • The
Contents/methodology
labyrinth
of
Europe,
the
European
Union,
the
European
Commission,
the
DGs
and
the
cultural
oriented
programmes
• Descrip@on
of
main
programmes
for
culture:
Crea@ve
Europe,
Erasmus
+,
horizon,
SME
instrument
• Applying
for
EC
in
prac@ce:
workshop
with
two
groups

18. EUROPEAN COMMISION
DIRECTORATES-GENERAL
(DG)

19. EUROPEAN BUDGET
MANAGEMENT
Expenditure
Na@onal
and
regional
76%
European
Commission
22%
Other
agencies
2%

20. 2014-­‐2020
budget
Crea@ve
Europe
• 1.460
M€
• (0,14%)
2014-2020 BUDGET
Erasmus
+
• 14.700
M€
• (1,47%)
H2020
• 77.028
M€
• (7,72%)
Structural
funds
• 325.149
M€
• (32.61%)

21. The European “stability” and
• Managed
the programmes
from
Brussels
or
decentralized
agencies
• Programmes
come
from
the
different
sectorial
policies
• Transna@onality
is
compulsory
• Provide
EU
added
value
• In
general
focused
in
mobility,
pilots,
demonstra@on,
innova@on,
training,
dissemina@on,
visibility
• Programmes
are
foreseeable,
public
and
widely
publicized
• Programming
period
is
nowadays
2014-­‐20120

22. Participating or not, that is
Advantadges
• Access
to
extra
funding
• Unexpected
impact
locally
• European
Added
Value
• Training
process
• Innova@on:
visibility
and
changing
of
networks
• Access
to
EU
mainstreaming
• Making
new
things
happen
Disadvantages
• To
find
and
keep
partners
• Diversity,
always
diversity:
legal,
context,
geographical,
poli@cal,
organisa@onal
• Difficul@es
of
understanding
more
than
communica@on
• Investment
of
resources
• Administra@ve
burden
the question

23. HORIZON 2020
EU
programme
for
Research
and
Innova@on
(2014-­‐2020).
• 3
key
objec@ves:
Excellence
Science,
Compe@@ve
Industries,
Beger
Society.
• 7
societal
challenges:
1 Health,
demographic
change
and
wellbeing;
2 Food
security,
sustainable
agriculture
and
forestry,
marine
and
mari@me
and
inland
water
research,
and
the
Bioeconomy;
3 Secure,
clean
and
efficient
energy;
4 Smart,
green
and
integrated
transport;
5 Climate
ac@on,
environment,
resource
efficiency
and
raw
materials;
6 Europe
in
a
changing
world
-­‐
inclusive,
innova@ve
and
reflec@ve
socie@es;
7 Secure
socie@es
-­‐
protec@ng
freedom
and
security
of
Europe
and
its
ci@zens.
SPECIAL
ATTENTION
TO
Challenge
6
/
2014-­‐2015
to
Work
Programme:
• hgp://ec.europa.eu/research/par@cipants/data/ref/h2020/wp/2014_2015/main/h2020-­‐wp1415-­‐
socie@es_en.pdf
• Call-­‐Reflec@ve
Socie@es:
Cultural
Heritage
and
European
Iden@@es

24. • Erasmus+
ERASMUS +
is
the
EU
Programme
in
the
fields
of
educa@on,
training,
youth
and
sport
• Divided
in
3
key
ac@ons:
– KA1:
Mobility
of
learners
and
staff
– KA2:
Strategic
Partnerships,
Knowledge
Alliances,
Sector
Skills
alliances
– KA3:
Suport
for
policy
reforms
• More
info
at:
hgp://ec.europa.eu/programmes/erasmus-­‐plus/
documents/erasmus-­‐plus-­‐programme-­‐guide_en.pdf

25. CREATIVE EUROPE
Framework
programme
for
the
cultural
and
crea@ve
sectors
(2014-­‐2020)
General
objec@ve:
– Safeguard
and
promote
European
cultural
and
linguis@c
diversity,
and
fosters
Europe’s
cultural
richness.
– Contribute
to
Europe’s
goals
for
smart,
sustainable
and
inclusive
economic
growth.
– Help
the
cultural
and
crea@ve
sectors
to
adapt
to
the
digital
age
and
globaliza@on.
– Open
up
new
internaMonal
opportuniMes,
markets
and
audiences.
• Sub-­‐programmes:
CULTURE
(31%
of
the
budget).
• hgp://ec.europa.eu/culture/opportuni@es/culture-­‐support/index_en.htm
MEDIA
(56%
of
the
budget).
• hgp://ec.europa.eu/culture/opportuni@es/audiovisual-­‐support/index_en.htm

26. CRE
CREATIVE EUROPE
SUB-­‐PROGRAMME
CULTURE:
– Cross-­‐border
cooperaMon
projects
between
cultural
and
crea@ve
organisa@ons
within
the
EU
and
beyond.
– Networks
helping
the
cultural
and
crea@ve
sectors
to
operate
transna@onally
and
to
strengthen
their
compe@@veness.
– Transla@on
and
promo@on
of
literary
works
across
EU
markets.
– PlaQorms
of
cultural
operators
promo@ng
emerging
ar@sts
and
s@mula@ng
a
truly
European
– Programming
of
cultural
and
ar@s@c
works.
SUB-­‐PROGRAMME
MEDIA:
– Capacity
building
and
professional
training
for
audiovisual
professionals.
– Development
of
ficMon,
animaMons,
creaMve
documentaries
and
video
games
for
European
cinema,
television
markets
and
other
plaoorms.
– DistribuMon
and
sales
of
audiovisual
works
in
and
outside
Europe.
– Film
fesMvals
that
promote
European
films.
– Funds
for
the
internaMonal
co-­‐
producMon
of
films.
– Audience
development
to
foster
film
literacy
and
to
raise
interest
in
Europe’s
films
through
a
wide
range
of
events.
– Grants
for
PRODUCTION,
BROADCASTING,
DISTRIBUTION,
FILMS
FESTIVALS,
ACCESS
TO
MARTKETS,
TRAINING,
EXHIBITION,
VIDEOGAMES
DEVELOPMENT,
INTERNATIONAL
COPRODUCTIONS

27. CREATIVE EUROPE
• Sub-­‐programme
culture
– Coopera@on
projects
– transna@onal
coopera@on
projects
bringing
together
cultural
and
crea@ve
organisa@ons
from
different
countries
to
undertake
sectoral
or
cross-­‐sectoral
ac@vi@es
– European
networks
– ac@vi@es
by
European
networks
of
cultural
and
crea@ve
organisa@ons
from
different
countries
– European
Plaoorms
– ac@vi@es
by
European
networks
of
cultural
and
crea@ve
organisa@ons
from
different
countries
– Literary
transla@ons
– and
its
further
promo@on
• DATABASE
OF
FUNDED
PROJECTS:
hgp://ec.europa.eu/programmes/crea@ve-­‐europe/projects/

28. FORTHCOMING DEADLINES
• Coopera@on
Projects:
7
October
2015*
(then
early
October
annually)
• Literary
Transla@on
(Category
1
–
two
year
projects):
3
February
2015*
(then
early
February
annually)
• European
Networks:
5
October
2016
• European
Plaoorms:
25
February
2015

29. CREATIVE EUROPE: who can
Crea@ve
Europe:
who
can
par@cipate?
• EU
participate?
organisa@ons
(public,
profit
or
not-­‐for-­‐
profit)working
in
the
field
of
crea@ve
culture
industries
• Legally
established
• 2
years
of
existence
• Finan@al
capacity
only
need
when
claiming
for
more
than
60000
€

30. CREATIVE EUROPE: priorities for reinforcing
the capacity of cultural actors
• suppor@ng
ac@ons
providing
cultural
and
crea@ve
players
with
skills,
competences
and
know-­‐how
that
contribute
to
strengthening
the
cultural
and
crea@ve
sectors,
including
encouraging
adaptaMon
to
digital
technologies,
tesMng
innovaMve
approaches
to
audience
development
and
tes@ng
of
new
business
and
management
models;
•
suppor@ng
ac@ons
enabling
cultural
and
creaMve
players
to
cooperate
internaMonally
and
to
internaMonalise
their
careers
and
ac@vi@es
in
the
Union
and
beyond,
when
possible
on
the
basis
of
long-­‐term
strategies;
• providing
support
to
strengthen
European
cultural
and
crea@ve
organisa@ons
and
interna@onal
networking
in
order
to
facilitate
access
to
professional
opportuniMes.

31. CREATIVE EUROPE:
priorities for mobility
• suppor@ng
interna@onal
cultural
ac@vi@es,
such
as
for
instance
exhibiMons,
exchanges
and
fesMvals;
• suppor@ng
the
circula@on
of
European
literature
with
a
view
to
ensuring
the
widest
possible
accessibility;
• supporMng
audience
development
as
a
means
of
s@mula@ng
interest
in
and
improving
access
to
European
cultural
and
crea@ve
works
and
tangible
and
intangible
cultural
heritage.
Audience
development
seeks
to
help
European
ar@sts/
cultural
professionals
and
their
works
reach
as
many
people
as
possible
across
Europe
and
extend
access
to
cultural
works
to
under-­‐represented
groups.
It
also
seeks
to
help
cultural
organisa@ons
adapt
to
the
need
to
engage
in
new
and
innova@ve
ways
with
audiences
both
to
retain
them,
to
build
new
audiences,
diversify
audiences
including
reaching
current
"non-­‐audiences",
and
to
improve
the
experience
for
both
exis@ng
and
future
audiences
and
deepen
the
rela@onship
with
them.
• REFERENCE:
EUROPEAN
AUDIENCES
2020
AND
BEYOND
hgp://www.ccp.ie/files/p_20140327111649European%20Audiences%202020%20and
%20beyond.pdf

32. • Small
Current calls
scale
project
(3+)
– One
project
leader
and
two
partners
– Max.200000
€
.
60
%
of
elegible
costs
• Big
scale
projects
(6+)
– One
project
leader
and
5
partners
(minimum)
– Max.
2000000/500.000
year.
50
%
of
elegible
costs

33. Eligibility criteria
• Relevance
– how
the
project
will
contribute
to
reinforcing
the
sector's
professionalizaMon
and
capacity
to
operate
trans-­‐
na@onally,
to
promo@ng
transnaMonal
circulaMon
of
cultural
and
crea@ve
works
and
mobility
of
ar@sts
and
to
improving
access
to
cultural
and
crea@ve
works.
• Quality
of
content
and
ac@vi@es
– how
the
project
will
be
implemented
in
pracMce
(quality
of
the
ac@vi@es
and
deliverables,
the
experience
of
the
staff
in
charge
of
the
projects
and
working
arrangements),
with
a
par@cular
focus
on
how
such
ac@vi@es
can
help
to
effec@vely
implement
an
audience
development
strategy

34. Eligibility criteria
• Communica@on
and
dissemina@on
– The
aim
is
to
maximise
the
impact
of
the
project
results
by
making
them
available
as
widely
as
possible
at
local,
regional,
na@onal
and
European
levels.
• Quality
of
partnership
– the
extent
to
which
the
general
organisa@on
and
co-­‐ordina@on
of
the
project
will
ensure
the
effec@ve
implementa@on
of
the
ac@vi@es
and
will
contribute
to
their
sustainability.

35. Examples of European
cooperation projects
• Exchange
of
professionals
amongst
organisa@ons
of
different
countries
• Co-­‐produc@ons
of
interna@onal
ac@vi@es
• Exchanges
of
cultural
products
• Ad
hoc
training
ac@ons
• Networks
crea@on

36. • Mobility
KEY WORDS
of
professionals
and
works
• Transectoriality,
hybrida@on,
transdisciplinariety
• Innova@on
• Crea@on
of
audiences
• Link
to
2020
strategy
• Crea@ve/culture
sector
as
a
factor
for
development