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Trust in political systems, media and NGOs is decreasing, destabilising our model of society. Some state that culture and the arts are said to be able to fill that void. But are we not being used to 'pacify' citizens? And is distrust not a positive sign of emancipation?

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  • I think the networks and connections built by artists and cultural organisations in Europe and EU are a good infrastructure that already works I do not want to say in parallel with the economical and political cooperation because the two realities intersect each other. However culture as translation of tradition, custom, common language remains still at political level a "State" (as political organisation and not as public) prerogative. A lot has been done to bring culture into the European prerogatives but we have to acknowledge the resistance of Member States and work (beside the European Commission and the European Parliament) on our National Governments (and Parliaments).

    • New report from King's College London, "Towards cultural democracy: Promoting cultural capabilities for everyone" at http://encatc.us11.list-manage.com/track/click?u=6f5972ce536767d137...; Summary Findings from page 55.

      This is part of that I have been talking about and believe you/we are discussing here as well.

      Publication findings call for a radical, but pragmatic new approach to supporting the UK’s arts and culture in all its diversity and richness. UK, which is not the least culture-developed (i.e., has funds and strategy...) EU member.

      Publication is promoted by ENCATC, European network on cultural management and policy, which is supported by the Creative Europe programme of the European Commission.

      However, the European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

      This to say: there are a lot of resources, many programs, surely involving quite generous budgets and yet, discussing separately, or is there any representative of ENCAT in any of the 4 forums here??

    • I find that the cultural field is now so much interlinked also on European level, that this subsidiarity principle as regards culture may need to be reassessed- or if that requires treaty change- adapted in practice. What is supporting our European Identity? Naturally Member States may not like it, but if reality shows that in many fields (such as music and dance) there is no such thing as national contemporary performance art- then MS would need to accept that other forms of support are given as well. (not sure about the HOW though)

    • Ioana: So we accept the reality of subsidiarity in the field of culture and promote the strength of networks to create these links between the Members States and their citizens? It might be interesting to take the role of networks and organisations into account when evaluating the scenarios and the non-existance of culture in a selected version of the scenarios- and keep culture there if necessary?

    • We acknowledge the reality of subsidiarity and work on changing it: advocate with local and national governments that the European level is a relevant one for culture (and I do think we have already the data to do it) and, in the same time, work with European Commission and Parliament to be ready to work at a different level: include arts and culture along heritage in  Structural Funds, take the art.4th to its full dimension (in innovation programmes, small entreprises support, Rural development), reinstate cross sectorial programmes linking education and culture, social development and culture, enforcing citizenship and culture. And yes promote the strengthening of networks that offer, in my view, a guarantee of sustainability and legacy.

    • I find extremely interesting the idea of including arts and culture along heritage in Structural Funds (even though this would need to define "arts! and "culture" more clearly). Cultural Heritage has acquired over the years a great deal of importance in Europe (and outside of Europe), and it's protection is used in political discourses (at both European and national level) to evaluate the level of countries' "civilization". Managing to get culture in other forms and the arts in the same category might force to take pragmatic actions in that direction.

    • Culture and heritage are strongly funded via Structural funds.  Much more than via Creative Europe. Though of course, the attribution of Structural Funds are decided by the member states and regions.

      I'm worried about the idea of measuring 'civilisation' by heritage protection levels. It may be linked to touristic interest, for example, rather than moral issues. And what of the past should be protected is a very subjective thing- and also perceived as linked to feelings of colonial superiority...

      The same might count for culture.

    • I agree, it is extremely worrying the idea of measuring countries' "civilization" by heritage protection levels. But this is what happens (also triggered by UNESCO's World Heritage Program). What I wanted to highlight by bringing that up is that heritage protection - for many different reasons - became central to member states' cultural policies. It would be interesting to ask why heritage protection managed to become so relevant, and how arts could reach the same level of attention.

    • That's really interesting. Is it a remnant of romanticism? Or the (false) belief that (tangiable) heritage is safe whereas art might be critical and somewhat dangerous?

    • I think that (tangible) heritage is easier to define and is easier to "monetise"/ commercialise (tourism, etc). Therefore is a safer cultural investment to stand by. Also quite controllable. Just a thought..

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