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”

The Mariinsky Theatre – My Personal Tiffany & Co.

Ting-jung Chen

When I first walked into this renowned theatre, it was to enjoy a ballet called “La Bayadère”. It turned out to be more than a mere pilgrimage for a Russian major come to check what she had learnt in her classes about the importance of “Marinka” as an illustrious national cultural heritage. It was indeed an overwhelmingly sensational experience that revealed how aesthetic perfection can inspire strength. The concordance of the legendary corps de ballet, the charm of soloists, the harmony with the orchestra and the terpsichorean magnificence all transcended the grandeur of the theatre’s frescos and chandeliers. Since then, the Mariinsky theatre has become my magical sapphire house, akin to Tiffany & Co. for Holly Golightly. The theatre is not unlike a Fabergé egg; although it is lavishly decorated and stunning from the outside, its true mesmerising beauty lies within.

Through this testimony I would thus like to share how I was inspired by my personal Tiffany & Co. Continue reading “The Mariinsky Theatre – My Personal Tiffany & Co.”