Difference between revisions of "Creative Europe in Slovenia"

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{{DISPLAYTITLE:Creative Europe and Slovenia in 2017: yet another success!}}
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{{DISPLAYTITLE:Creative Slovenia in 2017: a fascinating success!}}
  
 
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{{image|Creative Europe Desk 2017 Ljubljana Puppet Theatre CE project.jpg}}
 
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- cultural and creative sectors between the years.
 
- and the especially
 
- the painstaking process of writing the application
 
- suddenly become rather busy (even more so than usual anyway). Bound to significantly turn their international fortunes
 
- Each year in October
 
- suddenly become very busy
 
- That is when due date for applications for the Creative Europe Cooperation Projects starts nearing,
 
  
 
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Every year since roughly the second half oh the 1990s* hundreds of cultural organisations from across Europe get to be temporarily united in a joint enterprise. This is when one or another deadline for obtaining European funds for culture is due and when everyone is adding the final polishing touches to their respective, painstakingly compiled project propositions.  
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Ever since the year 2000 hundreds of different cultural organisations from across Europe get to be annually united in a rather particular set of discursive rituals and administrative protocols. After adding the final touches to their respective, often painstakingly compiled project propositions, they apply for funds from the European Union's cultural programme. As of 2014 this programme is known as ''Creative Europe'', covering the period of 2014&ndasH;2020. It is a continuation of the relatively similar ''Culture 2007'' and ''Culture 2000''schemes, further preceded by some smaller programmes. All of them are based on the Treaty of Maastricht (1992), with which the EU was actually granted its (still somewhat limited) legitimacy to act in the cultural domain.
  
As of 2014 the name of the game is ''Creative Europe'', the main EU programme of cultural funding, covering the period of 2014&ndasH;2020. Worth about 1.46 billion euros, it is intended to foster cross-border cooperation, ease the mobility of cultural producers and encourage the circulation of creative works; all in all, to support the creation of a shared European cultural space. The programme is divided into two parts &ndash; the (mainly) film focused MEDIA and the more diverse CULTURE, further partitioned into ''Cooperation Projects'', ''Literary translations'', ''European Platforms'' and ''European Networks''.  
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Worth about a billion and a half euros, Creative Europe is &ndash; in short &ndash; intended to support the creation of a shared European cultural space (and identity). It is divided into two parts &ndash; the film focused MEDIA part (up until 2014 a separate entity), and the more diverse CULTURE part. This one is further partitioned into ''Literary Translations'', ''European Platforms'', ''European Networks'' and ''Cooperation Projects'' sub-programmes. It is through this latter one that Slovene cultural producers have been recently managing to continuously excel with quite some ''panache''.  
  
The ''Cooperation Projects'' endorsed in 2017 (they can last up to 48 months, yet are typically shorter) got unveiled in May and in a stunning performance of their application-genius, Slovene cultural organisations managed to claim no less than 1,2 million of the roughly 35 million euros at stake this year.
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In a stunning performance of their application-genius, Slovene cultural organisations managed to claim no less than 1,2 million of the roughly 35 million euros at stake for ''Cooperation Projects'' in 2017.  
  
==The case of Slovenia==
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==The creative Slovenia==
  
Such a performance was, in a way, but a minor surprise. When analysing the results between 2014 and 2016, Peter Inkei from the ''Budapest observatory'' already wrote back in 2016: »Slovenia is the incontestable east-central European champion in the Creative Europe programme« (taking into account the size of the cultural budget in Slovenia, one could probably also categorise it as the EU-wide relative winner). Anyhow, in 2017 Inkei reiterated himself, saying "the champion is again Slovenia with a 35% success rate"
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It must nevertheless be said that even such a performance was really only a minor surprise. Last year, when analysing the results between 2014 and 2016, Peter Inkei from the ''Budapest observatory'' already stated that »Slovenia is the incontestable east-central European champion in the Creative Europe programme«. He thus only reiterated himself when he recently (in May 2017) wrote that »the champion is again Slovenia with a 35% success rate«. 
  
Sports metaphors aside, what does this success rate stand for? Basically it means that out of 20 projects applied with a Slovene 'leader', 7 managed to be successful. They joined the other 74 chosen projects (out of 548 sent in), out of which 9 others also feature 10 Slovene organisation as partners (which, between us, is often the preferable position in terms of the funds/responsibility trade-off). With all this in mind, in his recent observations Inkei rhetorically wonders if Slovenes are "born cultural managers".
+
Sports metaphors aside, what he is referring to is that out of 20 projects with a Slovene 'leader' (the projects are always comprised of one leading organisation and several partner ones), 7 managed to be successful. Additionally, the other 74 endorsed projects (chosen out of the 548 sent in) further feature 10 more Slovene organisation as partners (which, between us, is often the preferable position in terms of the funds/responsibility trade-off). With all this in mind, Inkei rhetorically wonders if Slovenes are "born cultural managers".
  
Genetics aside as well, the specific historic composition of the Slovene cultural NGO scene certainly plays a role here, though it is much to complex to outline here. One factor that nevertheless does seem to stand out fairly obviously (as also testified by the cultural managers themselves) is the [[Creative Europe Desk Slovenia]], a small NGO helping out the applicants with advice, support and organised networking. Out of the many things they do is also a data mining and interoperability project done together with our portal, resulting in the interactive infographic presented bellow.
+
We'll obviously leave genetics to others, as we'll also do with the complex historic composition of the Slovene cultural NGO scene. However, there is one possibly quite crucial factor that seems to stand out &ndash; it is the [[Creative Europe Desk Slovenia]], a small NGO helping out the applicants with workshops, advice, networking, lectures and other matters of general support. Out of the many things they do is also a curious data mining and interoperability project, done together with our portal and resulting in the interactive infographic presented bellow.
  
 
{{MediaWiki:Infografics EUProjects}}
 
{{MediaWiki:Infografics EUProjects}}
  
==The EU funding infographic==
+
The visualisation above represents the data related to the EU funding for culture as a whole, also encompassing the filed of film and audiovisual media. You can see the distribution of projects by art field, by the organisation's role in the project (leader/partner) and &ndash; interestingly &ndash; by the organisation's status as either a public or a private entity. Each square represents one participant, linking to his profile on our portal (the profile itself includes a complete list of one's European projects).  
 
 
The visualisation above represents the data related to the EU funding for culture, film and audiovisual media raised by Slovene organisations in the period 2000&ndash;2017. The programmes have been called different names (Culture 2000, MEDIA Plus, Culture, MEDIA and Creative Europe programmes) and Creative Europe is a fairly recent creation.  
 
 
 
You can see the distribution by art field, by the role in the project (leader/partner) and &ndash; interestingly &ndash; if the organisation is a public one or a private one. Each square representS one participant, linking to his profile on our portal (the profile itself includes a complete list of one's European projects).  
 
  
==List of Creative Europe 2017 recepients==
+
==List of ''Cooperation Projects'' recipients in 2017==
  
Currently, the 2017 only has the results for Cooperation Projects, but what can already be discerned is that 2017 is the year when public institutes have almost caught up with the previously much more industrious NGO sector. What are the reasons for this and if the still reigning policies of public austerity can be of any guide here is a speculation better left to others.
+
At the moment only the results of the ''Cooperation Projects'' call are known for 2017. However, what is somewhat striking and can already be discerned is that public institutions have significantly boosted their Creative Europe profile, and have almost caught up with the previously much more industrious NGO sector. What are the reasons for this and if the still reigning policies of public austerity can be of any guide in this regard is a speculation better left to others.  
  
However, here bellow is the list of the organisations that were successful in the Creative Europe Cooperation Projects call, as unveiled in May 2017.
+
Here bellow is a list of the organisations that were successful in the Creative Europe Cooperation Projects call, as unveiled in May 2017.
  
 
* [[Aksioma Institute]]
 
* [[Aksioma Institute]]
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* [http://www.culture.si/blog/2014/10/eu-funding-for-culture-4-observations-from-slovenia/ EU funding for culture? 4 observations from Slovenia], a blog post by Culture.si and [[Creative Europe Desk Slovenia]]
 
* [http://www.culture.si/blog/2014/10/eu-funding-for-culture-4-observations-from-slovenia/ EU funding for culture? 4 observations from Slovenia], a blog post by Culture.si and [[Creative Europe Desk Slovenia]]
  
* Signed in 1992, the Treaty of Maastricht gave the EU (a relatively limited) legitimacy to act in the cultural domain for the first time. This newly acquired Treaty basis led to the establishment of the first generation of EU wide cultural support programmes in 1996, called Kaleidoscope, Ariane and Raphael. However, EU's MEDIA programme &ndash; mainly supporting film production &ndash; started as early as in 1991.
 
  
 
[[Category:EU_Creative_Europe,_Culture_funding_recipient]]
 
[[Category:EU_Creative_Europe,_Culture_funding_recipient]]
 
[[Category:Culture.si infographics]]
 
[[Category:Culture.si infographics]]
 
[[Category:Editorial]]
 
[[Category:Editorial]]

Revision as of 18:09, 20 June 2017




Creative Europe Desk 2017 Ljubljana Puppet Theatre CE project.jpgNumeric's Art Puppetry Project supported by the Creative Europe programme is led by the Centre de la Marionnette de la Communauté Française de Belgique (BE), the Ljubljana Puppet Theatre being among the 3 partner organisations, 2017–2019.


Ever since the year 2000 hundreds of different cultural organisations from across Europe get to be annually united in a rather particular set of discursive rituals and administrative protocols. After adding the final touches to their respective, often painstakingly compiled project propositions, they apply for funds from the European Union's cultural programme. As of 2014 this programme is known as Creative Europe, covering the period of 2014&ndasH;2020. It is a continuation of the relatively similar Culture 2007 and Culture 2000schemes, further preceded by some smaller programmes. All of them are based on the Treaty of Maastricht (1992), with which the EU was actually granted its (still somewhat limited) legitimacy to act in the cultural domain.

Worth about a billion and a half euros, Creative Europe is – in short – intended to support the creation of a shared European cultural space (and identity). It is divided into two parts – the film focused MEDIA part (up until 2014 a separate entity), and the more diverse CULTURE part. This one is further partitioned into Literary Translations, European Platforms, European Networks and Cooperation Projects sub-programmes. It is through this latter one that Slovene cultural producers have been recently managing to continuously excel with quite some panache.

In a stunning performance of their application-genius, Slovene cultural organisations managed to claim no less than 1,2 million of the roughly 35 million euros at stake for Cooperation Projects in 2017.

The creative Slovenia

It must nevertheless be said that even such a performance was really only a minor surprise. Last year, when analysing the results between 2014 and 2016, Peter Inkei from the Budapest observatory already stated that »Slovenia is the incontestable east-central European champion in the Creative Europe programme«. He thus only reiterated himself when he recently (in May 2017) wrote that »the champion is again Slovenia with a 35% success rate«.

Sports metaphors aside, what he is referring to is that out of 20 projects with a Slovene 'leader' (the projects are always comprised of one leading organisation and several partner ones), 7 managed to be successful. Additionally, the other 74 endorsed projects (chosen out of the 548 sent in) further feature 10 more Slovene organisation as partners (which, between us, is often the preferable position in terms of the funds/responsibility trade-off). With all this in mind, Inkei rhetorically wonders if Slovenes are "born cultural managers".

We'll obviously leave genetics to others, as we'll also do with the complex historic composition of the Slovene cultural NGO scene. However, there is one possibly quite crucial factor that seems to stand out – it is the Creative Europe Desk Slovenia, a small NGO helping out the applicants with workshops, advice, networking, lectures and other matters of general support. Out of the many things they do is also a curious data mining and interoperability project, done together with our portal and resulting in the interactive infographic presented bellow.

21 years ● 271 organisations ● 1033 projects
    Organisations by status
  • Public
  • Private
    Projects by field
  • film and audiovisual projects
  • interdisciplinary projects
  • multimedia and new technologies
  • books and reading / literary translation
  • cultural heritage
  • architecture, design and applied arts
  • performing arts (theatre, dance, music)
  • visual arts
    Organisation's role in the project
  • beneficiary
  • co-beneficiary

The visualisation above represents the data related to the EU funding for culture as a whole, also encompassing the filed of film and audiovisual media. You can see the distribution of projects by art field, by the organisation's role in the project (leader/partner) and – interestingly – by the organisation's status as either a public or a private entity. Each square represents one participant, linking to his profile on our portal (the profile itself includes a complete list of one's European projects).

List of Cooperation Projects recipients in 2017

At the moment only the results of the Cooperation Projects call are known for 2017. However, what is somewhat striking and can already be discerned is that public institutions have significantly boosted their Creative Europe profile, and have almost caught up with the previously much more industrious NGO sector. What are the reasons for this and if the still reigning policies of public austerity can be of any guide in this regard is a speculation better left to others.

Here bellow is a list of the organisations that were successful in the Creative Europe Cooperation Projects call, as unveiled in May 2017.

See also

External links

[[Image:Motovila Institute 2020 Results EUMotovila Institute 2020 Results EU Coop Projects.png<small class="imgdesc">The infographic featuring the international impact of 18 successful producers from Slovenia who have received the Creative Europe funds in 2020 for cooperation with 94 partners from 24 countries!ration with 94 partners from 24 countries! +
The infographic featuring the international impact of 18 successful producers from Slovenia who have received the Creative Europe funds in 2020 for cooperation with 94 partners from 24 countries! +