Sexual and Reproductive Health and Rights: The EU’s failure on violence against women and abortion

By Agnese Olmati

Last January (2019) I had the opportunity to get in contact with the European Women’s Lobby in Brussels. There, I discussed the current situation of women’s right in the European Union, focusing on sexual and reproductive health and rights (SRHR).
The EWL, which is the biggest European network of women’s associations, aims at influencing the general public and the EU decision-makers in support of women’s human rights. It is continuously working to ensure every woman’s dignity and the respect of SRHR in the Union.
Here are some reflections following my contact with them.

Looking back at the events and debates that occurred across Europe in 2018, we are likely to notice that, on some issues, the European puzzle is rapidly falling apart. For several decades, the different puzzle pieces have been struggling to get closer through a long and demanding process of integration, but recently many of them have started to outdistance and even to crumble. Brexit was just the most evident expression of breach and disagreement, yet the EU appears quite fragmented also in other domains, including women’s rights – and especially SRHR.

Gender-based violence, surrogacy, pornography, abortion – the facets of SRHR are numerous and intricate and thus require a deep analysis. This article will concentrate on violence against women and right to abortion in Europe, as these topics have been in the limelight during the past year and have caused great disagreement among the member states, contributing to the breakdown of the puzzle.

First of all, it is important to recall the strong commitment of the EU to women’s rights. The Treaty on the European Union (TEU) upholds the principle of gender equality and non-discrimination (Article 2), whereas the Treaty on the Functioning of the European Union (TFEU) confirms the political commitment of member states to fight against all forms of domestic violence (Declaration 19 on Article 8). The Charter of Fundamental Rights warrants people’s right to dignity (Title I) and equality (Title III) and includes specific provisions on people’s right to physical and mental integrity, outlawing any form of discrimination on the grounds of sex.
These (founding) documents present concepts and positions in a dreamlike manner – but do the reality of the EU and the actions of its decision-makers correspond to them? Continue reading “Sexual and Reproductive Health and Rights: The EU’s failure on violence against women and abortion”

The Rebirth of European TV

By Nemanja Milosevic

For a very long time the original programming of European TV stations had suffered from the dominance of US made TV content, and the discrepancy was mostly caused by the differences in budget. For a very long time, TV shows were seen as being of lesser quality in comparison to movies, and more successful actors would usually avoid appearing on a regular TV show. That recently changed, as several TV shows from the US got acclaim from critics and general praise by the audience, thus the status of TV shows slowly evolved. There has been more creativity involved in making a show and at the same time the level of production and artistic direction of some TV shows improved so much that they could compare to those of movies that usually appear in film festivals. There have been several established movie directors who directed shows and some award-winning actresses and actors who had major roles in some shows (the latest example being Nicole Kidman and Meryl Streep in Big Little Lies).

While all this was happening in the US, Europe started catching up, now that TV shows had a better reputation and an established market among a much wider audience. The European television program was traditionally based on imported content (films and sit-coms), adapted reality and game shows; and the only difference would be whether this content would be presented in a dubbed or original version.[1] The original programming was usually national, it would rarely cross borders and every country had its own type of shows they specialized in. Except for football matches and reality show adaptions (a reality show Big Brother started in the Netherlands, but has experienced a worldwide success, as the rights for the production of the show were sold in many other countries, resulting in the show airing in almost every European country), there was no other content that was ‘pan-European’. That recently changed with the emergence of streaming platforms, such as Netflix and Amazon Prime. These services bought rights for many European original shows and for the first time made them available with subtitles in English and other languages, all across the globe. Continue reading “The Rebirth of European TV”

My Third Semester: Internship at the European Commission Representation in Scotland

Interview conducted by Ivana Putri

Mathilde Soubeyran (2017-2019, FR) spent her first and second semesters at Uppsala and Udine. She has a background in Applied Foreign Languages with Law and Economics.  Mathilde has been studying, working, and traveling around Europe for three years. She embarked on the Euroculture adventure after her first try at a different European Studies Master’s programme did not go as she expected. She wanted to focus more on the cultural aspect and politics, which led her to an unregrettable decision of giving Euroculture a go.
During her third semester, she did an internship at the Representation of the European Commission in Edinburgh, Scotland. Thanks Mathilde for taking the time to share your experience!

1. Why did you decide to do an internship?

Before starting Euroculture, I was sure I wanted to follow the research track, and go spend a semester outside Europe. After the first year, I had to be honest with myself: I really am not made for research. Not only am I bad at it, but I also found that I do not enjoy it. In a way, this programme made one thing really clear for me: I need action, I need the real world and I need to see results. I understand that research is really important and valuable, but I will leave that in the competent hands of fellow students.
Two years ago (before starting the programme), I traveled in Scotland with my family, and I fell in love with the country, particularly with the city of Edinburgh, despite the 17°C in August. Sitting on top of Salisbury’s Crags, overlooking the city, I remember thinking that I wanted to live there for at least a few months of my life. Therefore, when the time to make a decision regarding my third semester arrived, it was clear: I needed to do something to experience working life, and do this in Scotland.

2. Can you tell us what you were doing in your internship? Continue reading “My Third Semester: Internship at the European Commission Representation in Scotland”

My Third Semester: Research Track at Osaka University, Japan (2017-2019)

Interviews conducted by Ivana Putri

Elisabeth Stursberg (DE, Strasbourg-Groningen), or also known by her classmates as Lizzie,  studied Cultural History and Theory & Economics during her Bachelor’s. After she took interest in the selection of partner universities and cities Euroculture offers, she started her Euroculture life with the intention to learn more about European history, culture, and politics and the EU in particular, and find out if she could see herself working for the EU or another IO afterwards.
Inès Roy (FR/MA, Udine-Strasbourg) has a background in Languages and International Business. Her decision to study Euroculture stems from her desire to travel and study at the same time. She has always been interested in the concept of cultures and how they are perceived from different standpoints.
Both have returned from their research semester at Osaka University, Japan, and are their final semester at Université de Strasbourg. Thanks Inès and Lizzie, for taking the time to share your experiences!

1. How did you come to the decision of doing a research track at Osaka?

Elisabeth Stursberg (ES): The choice between internship and research track was not too easy, since both sounded like a great option. What influenced my choice most though was the possibility to spend a semester in Japan, a country I had not visited before but was so curious about! I actually don’t think I would have done the research track if I hadn’t been accepted for Osaka. Another reason was that I had already done several internships during my Bachelor’s (it’s pretty common in Germany and often even implicitly, or explicitly, required by employers) and will probably do at least one more after finishing this MA. Time flew by so quickly already in the first semester, and I just liked the idea of studying for another semester as long as I had the chance. Japan as the destination was also a major factor, since I was going to take the research seminar on Integration Processes in East Asia and in Europe during the second semester – so it just seemed like a perfect fit.
Inès Roy (IR): As far as I can remember, I always wanted to go to Japan to see the beautiful landscapes, as well as to see how the ultra-modern and the traditional interact. However, traveling to and living in a country for a few months are two very different experiences. So the possibility to go there was actually another reason for me to apply for Euroculture! As I don’t speak Japanese and wouldn’t be able to find an internship there, I believed this research semester was a once-in-a-lifetime opportunity.

2. What was the research semester like? Continue reading “My Third Semester: Research Track at Osaka University, Japan (2017-2019)”

My Third Semester: Research Track at UNAM, Mexico (2017-2019)

Interviews conducted by Ivana Putri

Ashanti Collavini (IT, Udine-Groningen) has a background in English and Spanish Languages and Literatures. Her undergraduate Erasmus experiences made her realize that she wanted to do MA studies abroad, where she could broaden her scope of studies to include global and contemporary issues; and challenge herself by experiencing different cultures and academic systems in various countries, all the while living and studying in an international environment.
Sabina Mešić (SI, Uppsala-Groningen) also studied English and Spanish Language and Literature during her Bachelor’s. She enrolled to Euroculture because she is interested in the programme’s interdisciplinarity, and she wanted to change the focus of her studies as well as study in various countries.
Both just finished their research semester at the National Autonomous University of Mexico (UNAM) in Mexico City. Thank you Ashanti and Sabina for taking the time to share your experiences! Continue reading “My Third Semester: Research Track at UNAM, Mexico (2017-2019)”

European Film Awards: What makes them European?

By Nemanja Milosevic

The period between late November and early March is generally known as a film award period, during which we have the opportunity to follow several national European ceremonies (most notably the BAFTA in the United Kingdom, the Goya Awards in Spain, the Deutscher Filmpreis in Germany and the Cérémonie des Césars in France). However, there is only one ceremony that helps us recapitulate all the movies produced and made in Europe during the year: the European Film Awards (EFA). The annual award ceremony started in 1988 and it changes the host city every other year, while during the year in between the event takes place in Berlin; this system was introduced in order to give equal representation to all parts of Europe. This year the award was given in Seville, Spain on December 15, 2018.

The main award, the European Film of the Year, was given to the Polish film Zimna Wojna (Cold War). The movie got 5 awards overall, just one less than the all-time record holder, The Ghost Writer, by Roman Polanski. Besides the awards at the EFA, its director Paweł Pawlikowski previously got an award at the Cannes Film Festival. The movie set in the 1950s tells us about a love story intertwined with the political and social landscape of the time, about love torn between identity, longing, and ambition. Continue reading “European Film Awards: What makes them European?”

Student Profiles: Joyce Pepe (IT/NL, Göttingen-Udine)

Interview conducted by Ivana Putri

Joyce Pepe (2018-2020) is half-Dutch and half-Italian. After studying European Languages and Cultures in the University of Groningen for her Bachelor’s degree, she embarked on the Euroculture adventure -one of the main reasons she chose to apply for Euroculture was the interdisciplinarity of the programme. Unlike other studies, it does not limit itself to study Europe from just a political point of view but rather allows you to broaden your perspective by giving space to social and cultural aspects too. She believes that this is of fundamental importance to function as an intermediary in a world increasingly characterized by different cultural groups and regional settings.
Joyce is close to finishing her first semester in Georg-August-Universität Göttingen, Germany, and she will be going to the University of Udine in Italy next semester.
Thank you Joyce, for taking the time to answer these questions!

1. What was the most difficult thing that you had to adjust to when you started the programme?

I believe that my previous studies–which, like Euroculture, were quite interdisciplinary–have overall prepared me well to face difficulties that may arise when undertaking new subjects. So, from an educational point of view, I would say that I haven’t had to face a lot of hardships. Nevertheless, it is fair to say that compared to my Bachelor studies, my workload has increased. Considering that the semester in Göttingen only started in October, I have had and still have a lot of work to do in very little time. Continue reading “Student Profiles: Joyce Pepe (IT/NL, Göttingen-Udine)”

Lampedusa: A Tragedy with a Plot Twist

By Agnese Olmati

A small strip of land in the middle of the Mediterranean, 205 km off the Sicilian coast and 113 km away from Tunisia. Lampedusa, the southernmost point of Italy, has become popular in the recent years as the symbol of the humanitarian crisis in the Mediterranean. Today, even if its name is no longer on the front pages, the island is still at the core of migration flows through the Central Mediterranean route and still serves as lifebuoy for many. According to statistics, the death tolls and number of arrivals have decreased in the past couple of years, but people continue to land in Lampedusa – and die in its surrounding sea. Estimations show that 2016 was the deadliest year, with 4,587 dead or missing at sea[1] and 500 arriving in Italy by sea per day, compared to only 61 since June 2018 till today.

However, this is not a positive signal meaning that the Italian and European migration policies are giving the expected results. In fact, 19% of those who have tried to leave Africa last September died or went missing, a percentage that has never been registered before[2]. Past scenarios in which the island, with its 6,000 Lampedusani, was hosting 10,000 people on its small territory[3] are not likely to happen again. Lampedusa is not facing any serious problem in welcoming and hosting migrants in its hotspot, where their process for seeking international protection starts and where they normally spend just two days before being transferred to the mainland.
However, the migratory phenomenon is still profoundly affecting Lampedusa and those who live there. Different people and places around the isle can show what living on an island on the European border means, with all its peculiarities and paradoxes. Continue reading “Lampedusa: A Tragedy with a Plot Twist”

Euroculture: The Hidden Gems

By Maeva Chargros

Applying for a master programme is not an easy task; applying for an Erasmus Mundus Master’s programme such as Euroculture, offering eight universities in eight different countries… can be even more complicated. Indeed, during the application process, candidates have to pick three universities they are interested in for the first semester. Of course, the courses taught there, as well as the specialisations of each university or the monthly budget are important; but sometimes, one needs something more personal to be convinced.
This first edition of universities’ presentations is focusing on what we could call the “hidden gems” of Euroculture: the universities you might not think of at first, some cities you could not even place on a map before going there, but they turn out to be life-changing decisions you’ll never regret.

Creativity: a keyword for all three cities

Why would you study in Central Europe? Life there is affordable (or even cheap), with many options to travel. This is what every Erasmus student answers during their first week here. A few weeks later, they still consider the place to be affordable and practical for trips, but the list of good reasons to study here extended slightly. The very dynamic cultural life, for instance, shows up suddenly. Continue reading “Euroculture: The Hidden Gems”

The Future of Creative Europe

Towards a new generation of cultural funding

by Marje Brütt

The cultural and creative sector is the third biggest employer in the European Union being only excelled by the construction and the food sectors.[1] Besides their rather underestimated economic importance, culture and creativity build bridges between people and positively influence various areas, e.g. education, well-being or democracy. Consequently, culture contributes to the objectives of the European integration. Therefore, it is necessary to foster our cultural and political identity, to preserve our diversity and increase the intercultural dialogue as it is mentioned in Article 167 of the Treaty of Lisbon.[2]

In order to give credit to the cultural sector and to support its further development, the European Union launched Creative Europe in 2014 as the EU’s funding programme for the cultural, creative and audiovisual sectors.[3] As such it is in place for seven years (2014-2020) and consists of two sub-programmes that used to exist independently before: MEDIA and CULTURE. While MEDIA[4] is dedicated to the audiovisual sector and helps promoting audiovisual works, CULTURE covers funding for all other cultural and creative areas including amongst others performing and visual arts, literature, music, street art and cultural heritage. In total, 1,46 billion Euros are foreseen for the whole programme meaning for the whole seven years and all participating countries.[5] Related to the amount of participating countries, this amount can change throughout the years. In addition to the 28 EU Member States, interested European countries can associate with Creative Europe and thereby increase the programme’s budget. In the past years, the list of participating countries grew continuously up to 41 countries in 2018, including amongst others Tunisia, Georgia, Ukraine, Albania and Armenia, boosting the intercultural exchange in the European neighbourhood.[6] Simultaneously, countries can also leave the group as it was the case with Turkey in autumn 2016 and could be happening again with the upcoming Brexit in 2019. Continue reading “The Future of Creative Europe”