Etenduskunstid ja festivalid
|Strand/category||2014-Larger scale cooperation projects (COOP2)|
|Name||FEDERACION ESPAÑOLA DE AGRUPACIONES DE FOLCLORE|
|Short description||Organization dedicated since 1984 to the defense, support, safeguard, diffusion etc., the rich intangible heritage of Spain|
|Field(s)||Music Dance Traditional, Heritage, Interdisciplinary…|
|Countries||countries included in the program|
|Profile||experience in implementation of European cultural projects|
|Strand/category||Music festival cooperation|
|Name||Biedrība “Kultūras attīstības aģentūra” (NPO)|
|Short description||We are NPO that already 2 years organize festival for young musicians called “SMB”, and other smaller activities for young people in Latvia, Skriveri.“SMB”is young musician festival, that helps them to show their talent for more and more people in whole Latvia, later – for all kind of people around the globe – that’s our target for this festival. Festvial is happening already 3 years, and is having bigger and bigger response. For detailed information, pictures etc. – please contact with us.|
|Contact details||Head of NPO : Arnis Vajevskis, e-mail: email@example.com, T: +371 20203808|
|Description||We have cooperation with Norvegian festival Vinjerock ( vinjerock.no ), and we need third party to apply for the project. We need this project to make 3 festivals much bigger and better because of cooperation between them.|
|Profile||Organization that organizes any kind of music festival for at least 2 years.|
|…||We will review all offers to cooperate. Detailed information about festival cooperation project : http://eacea.ec.europa.eu/sites/eacea-site/files/documents/guidelines-call-for-proposals-cooperation-projects-2015_en_1.pdf|
|Strand/category||Category 1: Smaller Scale Cooperation Projects|
|Deadline||1 October 2014|
|Name||Lead Partner, Republic of Ireland: Centre for Drama, Theatre and Performance, National University of Ireland, Galway (NUIG). Main point of contact: Miriam HaughtonUK Partner: Kabosh Theatre, Belfast, Northern Ireland|
|Short description||The NUIG Centre for Drama, Theatre and Performance is the leading international centre for the study of Irish drama, theatre and performance. It is currently undertaking the largest digital theatre archive project in the world, and established the Druid Academy, a teaching partnership between the Centre and the Druid Theatre.Kabosh was established in 1994, and recently celebrated its twenty-year anniversary. Kabosh is committed to challenging the notion of what theatre is and where it takes place. The company aims to reinvent the ways in which stories are told, commissioning new writing and devising work for site-specific environments and installation. Artistic Director: Paula McFetridge|
|Field(s)||Theatre and Performance; interdisciplinary|
|Description||Primarily, this project will use theatre and performance research and practice to engage with lesser-known or marginalized histories, framed around the stimulus of ‘commemoration’. Through research seminars, performance workshops, and productions, the team will evoke pan-European traditions of storytelling to illuminate significant events and memories of the past which were at times sidelined from mainstream historical narratives, re-imagined for performance. Also, the project intends to develop a framework for arts and academic collaboration which can be used for future projects.|
|Profile||Strong interest/background in theatre and performanceStrong interest/background in site-specific theatre, dance theatre, issues of memory and historyDesire to work collaboratively across academia and the arts, using research and performance tools to achieve the highest standards of production excellence.|
Artistic quarters are the most exciting part of PIKIN FESTIVAL (Pippi Longstocking Festival), the biggest festival for children in Slovenia that promotes creativity and cultural education for over 25 years now. During this time the festival has become well known in Slovenia and hosts around 100.000 visitors per year. Creativity exchanges in artistic quarters for children will take place in three different countries of Europe. With the cooperation project we want to operate transnationally and achieve circulation of cultural and creative works that will enrich the programs of each individual country. With this cooperation project we would also like to produce conditions for transnational mobility of cultural and creative players, especially artists. Seven artistic quarters are representing different artistic approaches that provide interactive cultural and educational experience for children. In company of artists and creative professionals they will be exploring the word of art. There will be painting, music, theatre; literature, dance, film and museum quarter and each will offer daily programmes, creative workshops and lots of fun.
We are searching for project partners or leaders to join us in this transnational cooperation project for children. We would like to exchange our knowledge, programs and ideas with foreign creative players and contribute to transnational circulation and mobility one the field of cultural education for young audiences. Pikin festival in an annual outdoor festival and it take place at the end of September by the Lake Velenje and in the city centre. Contact: firstname.lastname@example.org +386 38 96 15 27 www.pikinfestival.si,www.festival-velenje.si
|Strand/category||Creative Europe, Culture Sub-Programme, European Coöperation Project|
|Short description||HETPALEIS is a theatre for children, youngsters and artists in the heart of Antwerp. We produce theatre, dance and music theatre for all ages, for the big and the small stage.|
|Contact details||Tom Rummens, email@example.com, 0032 492 918 805|
|Field(s)||Performing arts, interdisciplinary, youngsters, exchange|
|Description||SUPERDIVERSITY AND THE GAZE OF YOUNGSTERSIn the cities of the 21st Century, minorities are becoming the majority. Ethnical-cultural diversity is becoming more and more important. Migration changes and challenges our society; it evokes uncertainty and resistance, but at the same time it has an enormous potential for talent development, dialogue and openness. How do children and youngsters deal with this ever changing reality? Which stories do they tell about their background, and how do they deal with difference, conflict and change? What is the voice of this new majority? And on top of that: what can adults learn, in this case, from children?In this project we want to start an exchange between different performing arts organisations that have their focus on children and youngsters and that explicitly relate to the city and the society. We set up a trajectory of exchange in which a group of youngsters and an artist from every city works on a performance in which they give sense to there personal relation to the reality of superdiversity. The final result is a performance that starts form personal stories to talk about what is probably the most important reality in today’s society.|
|Profile||Performing arts organisations, with a specific focus on children, youngsters and young audiences|
|Name||International arts festival NEXT in the French-belgian, cross border Eurometropolis Lille-Kortrijk-Tournai|
|Short description||NEXT IS THE INTERNATIONAL PERFORMING ARTS FESTIVAL IN THE CROSS BORDER FRENCH-BELGIAN EUROMETROPOLIS LILLE-KORTRIJK-TOURNAI. NEXT WANTS TO INVEST IN NEW CREATIONS THAT DEAL WITH THE IDEA OF EUROPEAN CITIZENSHIP, BORDER REGIONS, EUROPEAN COMMUNITIES AND CULTURES. NEXT IS LOOKING FOR OTHER (CROSS BORDER) ARTISTIC ORGANISATIONS IN EUROPE TO COOPERATE ON THE PRODUCTION AND DISSEMINATION OF ARTISTIC PROJECTS.|
|Field(s)||Performing arts, dance, theatre|
|Description||NEXT is a yearly, international performing arts festival in the cross-border Eurometropolis Lille-Kortrijk-Tournai. The artistic programme focuses on referential work and new tendencies in contemporary theatre and dance in and outside Europe. NEXT invites every year about 25 to 30 international artists to create and present in the cross-border region. They tour the Eurometropolis to present in more than 15 venues and interact with the public during multiple forms of workshops and meetings. Artists in previous editions were amongst others Thomas Ostermeier (DE) & the National Theatre of Moscow (RU), Guy Cassiers (BE), Romeo Castellucci (IT), Akram Khan (UK), Jan Fabre (BE), Oskaras Korsunovas (LT), Blitz Theatre Group (GR), Frédérick Gravel (CA), Brokentalkers (UK), Pippo Delbono (IT), Dave St-Pierre (CA), International Institute of Political Murder (DE/CH), Kris Verdonck (BE), CREW (BE), Mette Ingvartsen (DM/FR), Berlin (BE), Hubert Colas (FR), Ivo Dimchev (BU), Superamas (FR/AU), Christian Rizzo (FR), Javor Gardev (BU), …NEXT started in 2008 with 5 partners and 7.000 spectators. In five years, it has evolved into a collaboration platform with 20 partners and 15.000 spectators. NEXT has become a landmark event for cultural and artistic professionals from all over Europe. NEXT encourages and facilitates intercultural dialogue amongst programmers, artists, festival organisers, cross-border politicians, students, the broad public…NEXT wants to be “cross-border” in the broadest possible way: literally as an international arts festival, in the programming (multidisciplinary forms of expression, mixtures, languages), in the field of production of international work and in the way it deals with the audience (logistics, communication, ticketing, coaching). It brings together disciplines, communities and cultures and encourages exchange of cultural diversity. From out this cross-border context, it developed a firm European orientation and identity. It is a pilot project, bringing the European idea to day-to-day practice and giving it the large visibility through the festival itself.NEXT wants to further embed and strengthen in the cross border and European region and strongly believes in durable collaborations with other (cross border) European artistic houses and festivals.As a starting point for cooperation project, here’s two possible domains NEXT would like to work around:Artistic creations for the cross border regionNEXT is a presentation and a creation festival. In coming years, NEXT would like to invest in commissioning artists that focus on the cross border context and region, on newly emerging territories and communities, on metropolises and cultural exchange… Artists work with phenomena, traditions, political or social situations to initiate reflection and discussion on more universal questions. An early example in NEXT was the production Land’s End by the Antwerp theatre group Berlin. The performance tells the real story of a ‘cross border’ murder and the following ‘cross border’ trial. It created a real buzz in the region and made the (new) public reflect on yet existing absurd border effects in their region. For the artists, the project meant a new phase in their artistic trail and after the premiere in NEXT, the piece left for an international tour.Site specific work in a cross border regionNEXT wants to develop closer relationships to the audiences and citizens of the region. One way to do this is to develop site-specific productions, engaging new people, places and partners in the region. For artists, NEXT creates the opportunity to make and present site-specific work in the best possible conditions. The public gets acquainted to unique patrimonial. NEXT lets people (re)discover the territory, rather than remaining in the main cities and theatre venues. Some first examples in previous years: the production of Berlin in an impressive old power station; a creation by Steven Cohen in the catacombs of an old post building, ….Both of the mentioned examples require or result in other ways of prospection, technical and production capacities, touring possibilities and follow up, partnerships and funding. NEXT is convinced that this type artistic commissioning has to be developed on a European scale in cooperation with international artistic partners.|
|Countries||partners outside France and Belgium|
|Profile||(cross border) artistic producers and workspaces, theatre houses and festivals, artists and collectives, cultural centres, …|
The project idea aims at promoting the impressive collection of marionettes belonged to the acting company “i Piccoli di Podrecca” of Vittorio Podrecca, citizen of Cividale. This company was the most important in Italy from 1914 to 1966 and did many tours in all the world. It was the first puppets company to manage a theatre in Italy.
This collection has been recognized as “heritage of exceptional cultural interest” by the Italian Ministry of Culture. Cividale is partner of the Festival “Mittelfest” where every year there is a space for puppetry.
The main objective of the project is to let people all over Europe to know this ollection but, more in general, to know puppetry and to change the mentality considering it as a form of art only addressed to youngsters.
Another objective is to work on audience development and to introduce children and general public to opera and other forms of art traditionally considered “difficult”,elitist and for intellectuals.
Vaata lisa SIIT
|Strand/category||European Cooperation Projects|
|Name||Cultural Center Kolasin and Enseble Of Traditional Dances And Songs „Mijat Maskovic“ – Kolasin, Montenegro|
|Short description||It was founded in the war year, 1943, in the mountain part of Montenegro where is located one of the most beautiful ski centers with most attractive tourist potentials in this part of Europe. Our Association is the member of all cultural events in the town.The Ensemble is mostly famous for Montenegrin dances performed on the most authentic way – exclusively with vocal accompaniment and often in the non-tempered tone system.We deal with research work in the field of ethnochoreology and ethnomusicology and in that area we keep the first place in Montenegro. We would like to emphasize that our Ensemble is the only one with professionally trained staff in the field of methodology of traditional dance and songs.Our performances are based on scientifically proven and affirmed works which are a consequence of the research.Considering the possibilities of the Ensemble, our repertoire consists of the large number of melodic and rhythmic dances on the Balkans.In the world of authentic folklore, we are representatives in almost all festivals in the region.We are operating as the part of the Cultural center from Kolasin which provides us a stable funding and enables quality program.
Because of poor copyright protection, we do not have too many videos on the Internet. Some of them are on the following links:
|Contact details||Mr. Davor Sedlarevic, Spec. of traditional danceArt Director at KUD “Mijat Maskovic”, Kolasine-mail:firstname.lastname@example.org. +38220 865 426cell. +38268 683 849|
|Field(s)||Traditional dances and songs (Intangible heritage), World music artists, ethnomusicological and ethnochoreological researches, Small folk singing groups, Folk dance ensemble with authentic programs, exchange visits with the aim of promoting the different traditions;|
|Description||A partnership project, aiming to promote different traditional dances and songs, their interpretations into World music, solists on traditional and modern instruments (old types of pipes, “diple”,”gusle” ,fife , “kaval” and other types of traditional instruments… violin, accordion , guitar and other…
The project should include students of ethnomusiciology and ethnochoreology who are interested to be the part of concerts, researches, and who want to introduce some interesting topics from their countries.
Small folk singing groups and folk dance ensembles who want to present their traditions and skills.
Project involves exchange visits of groups with our ensemble “Mijat Maskovic” under the same conditions.
All contestants have to play and dance three nights on the stages in Kolasin for about fifteen minutes.
Researchers will be able to go to the Montenegrin villages to gain information from old people.
For the needs of the project we have professional interpreter for English language.
|Countries||Countries which participate in the Creative Europe Program.
Because of the travelling costs it would be great that the participants come from: Bulgaria, Serbia, Croatia, Bosnia and Herzegovina, Slovenia, Albania, Romania, Hungary, Italy, Greece, FYR Macedonia, Austria, Cyprus, Turkey…
|Profile||Small folk singing groups, Folk dance ensembles with authentic programs, World music artists, students and researchers of ethnomusicology and ethnochoreology, solists on traditional and modern instruments.|
|…||The deadline to reply and confirm the interest in participation in the Project is to 1 September 2014.|
|Name||Teatr Studio im. St. I. Witkiewicza|
|Short description||The Studio Theatre was established in 1972 from the Classical Theatre with help of Jozef Szajna – an eminent scenographer, director, painter and theatre theorist. The same year a contemporary art gallery was established as a part of the theatre.
Since then, the Theatre is associated with exhibition and stage activities – an experimental stage and open to searching for new formal solutions. Theatre offers wide range of educational activities prepared by both the Theatre and Gallery.
The Studio Theatre is located in the centre of Warsaw, in the Palace of Culture, and has an extensive infrastructure facilities – offices for each department, three theatre stages, foyer (for theatrical activities and workshops), two exhibition halls, rehearsal rooms, storage rooms, dressing rooms, and technical studios.
|Field(s)||Theatre, visual arts, exhibition, performance|
|Description||Grant project title: THE BOUNDLESS CONTINENT/KONTYNENT BEZ GRANIC
The nineteenth century was the time of nations awakening; particularly in Central Europe, this awakening had a dramatic character, since the Poles, Czechs, Slovaks, and Hungarians – subjugated by the Russian and Austrian empires – were deprived of political freedom. The process of the crystallization of nations, which began around the time of the French Revolution, ended in the twentieth century, and the nation-state became the fullest embodiment of this process. The result of the rise of nation-states has been nationalism that has taken on many different forms from racist to democratic. Nonetheless, regardless of the context-specific way in which nationalism functions, its main preoccupation is delineating boundaries and borders between the national and the Other.
The various boundaries and borders generated by nationalisms constitute the source of contradictory identity tendencies, which in turn are the root of conflicts, wars, and family tragedies. Not only do the borders divide territories but also they tear apart social groups, as well as individuals, causing painful fissures. Borders unite and divide simultaneously; the world outside the borders becomes an imaginarium of Others who constantly threaten the community united as a nation. One of the tragic symbols of the twentieth century has become the barbed wire; it has entered our common memory and to a large extent it has contributed to – first to the idea and later to the creation of – Europe without borders. However, the experience of the last centuries makes us realize that borders do exist or remain, even when they have been invisible, dismantled, or moved.
The fundamental border of contemporary Europe has become the outer border of the Schengen area: a line created by the borders of member states, which changes when the European Union accepts new members. Immigrants and refugees, who come from countries and continents outside this clearly defined territory (particularly from poor region), and who cross the border of the European Union, have become a global phenomenon. Their migration has created new lines of division inside Europe.
Invisible borders still divide Europe and affect the identity of communities in ways that are at times difficult to discern. Divisions frequently overlap, thus creating contradictions that reveal themselves as indeterminate areas in the symbolic sphere – a tool of political and social conflicts.
Institutions of culture and art, which are responsible for the shaping of national identities, support the system of domination and the distribution of values produced by political leaders and historical politics. In the process of executing government-supported cultural projects, new social, aesthetic, and other borders and boundaries are performed and instituted.
The goal of our grant project is the revealing of the borders and divisions that exist in our minds and have profound impact on our behaviors, goals, and choices. Also, we wish to show “borders” as a category that possesses its own identity. At the same time we conceive of a post-national and post-colonial identity of a contemporary European as a polysemic, decentered, unclear, and borderline identity (I/not me). The liminal position lets us observe strategies and structures that allow the marginalization the majority of the population and the exclusion of a stratum of society, based on age, gender, or ill health. The idea of the nation dissolves into the imagined narrative of how the social and economic organization of the world functions internationally and globally. The idea of a “natural” world order is based on the idea of the alleged “authenticity” of local cultures and on the geographically constructed image of the world.
On the one hand, today’s democracy celebrates human rights and accepts the practice of social dissent, while on the other hand, it perpetuates all kinds of social, national, and racial hierarchies. The fact of global communication in the English language creates a global hierarchy of languages and cultures. Social events and conflicts, which take place in remote parts of the world, become a part of our lives via the Internet, TV news programs, photography, and tourism. Reality is created with the help of images; reality is also produced with various tools of social manipulation. The result of such practices is the destabilization of borders and boundaries between one’s own reality and the reality of others, and between the objective and imagined reality.
GRANT PROJECT EVENTS
A WORKSHOP: THE DEMARCATION LINE
The grant project will allow us to co-organize with our grant partners a month-long workshop, in the course of which the participants will work on communication techniques, using the tools taken from the field of acting, dance, and photography. They will also take part in a seminar moderated by communication experts.
The workshop will be based, inter alia, on Leonora Carrington’s play, The Hearing Trumpet, and on the texts proposed by the workshop’s authors.
The place where the workshop will take place is to be still determined.
A PERFORMANCE: LEONORA CARRINGTON’S THE HEARING TRUMPET
We plan to collaborate with grant partners (actors or other artists) on a multi-media performance, a part of which will be Leonora Carrington’s play, The Hearing Trumpet, produced in the Studio Theater. The second part of the performance would be produced in a grant partner’s theater, with the participation of at least one actor or other artist from the Studio Theater.
AN EXHIBITION: MAKING BORDERS
We propose to create an exhibition that will engage the Gallery of the Studio Theater and other grant partners, which will display cartographic images and allegorical graphics that show the changing territories of Poland, Spain, Germany, and Romania, within Europe across centuries. We will also present sets of symbols considered to be markers of national identity.
AN ACADEMIC AND ART CONFERENCE: THE BORDER IS ELSEWHERE
We wish to organize a conference that will bring together scholars from renowned academic centers, as well as artists who work on the idea of the “border.” The main organizers will be the Institute for Literary Studies at the Polish Academy of Sciences (IBL PAN, Warsaw, Poland) and the Pottsdam University (Germany).
A DANCE SHOW: THE BORDER ZONE
We would like to explore the topic of border zone through a contemporary dance performance created by dancers and choreographers from Spain and Poland. The dance show would be preceded by 12-day improvisations and group work.
A BOOK: THE BOUNDLESS CONTINENT
A book would be the tangible record of the grant project. We envision the book as an album including the conference and other texts, photos from the project events, as well as iconographic documentation of our exploration of the issue of “borders.”
We will design a website that will be a companion to the grant project and as such it will include information on project evens, reports on the creative processes, and theoretical texts pertaining to the topic of “borders.”
|Profile||art gallery, art centre, theatre|
|Strand/category||Creative Europe – Culture|
|Deadline||31.12.2016 (we are waiting for the application fifth of September 2014)|
|Name||Aid Foundation for Disabled People “Not Only…”(Fundacja “Nie tylko…”)|
|Short description||We operate for 12 years. Foundation created first in Poland Professional Theatre with People with Disabilities “Teart O.N.” Our long activity gives us big experience in projects concerning vocational activation, social activation and artistic activation of people with disabilities.|
|Contact details||Poland, 03-535 Warszawa ul. Gościeradowska 21/32,Joanna GórskaCell phone:+48609075733E-mail: email@example.com|
|Field(s)||International Cooperation – EU territory. Theater, theater productions, short films, training, workshops, festivals.|
|Description||First in Poland Professional Theatre with People with Disabilities “Teart O.N.” is looking for partners from UE for joint action in the Polish project and projects in partners countries, theater productions presented interchangeably in the partners countries, training and workshops preparing for the profession of an actor of people with disabilities, create new acting professional groups, promotion of creativity of people with disabilities, joint artistic activities of actors with disabilities and professional actors.|
|Profile||With experience of working with disabled people with intellectual disabilities or with other disabilities, wanting to expand their field of artistic and social activities.|
|Requires a minimum of two years of activity.
|Strand/category||EACEA 32/2014 European cooperation projectsCategory 1 – Smaller scale cooperation projects|
|Deadline||1st of October 2014|
|Name||The town of Będzin/National Festival of Christmas Carols Foundation|
|Short description||For 20 years the foundation has been a main organizer of the Festival of Christmas Carols in Bedzin. In 2012 the festival was organized for the first time as the International Festival of Christmas Carols. It has a huge meaning for the cultural education. Thousands of people participate in it and thanks to that not only development of unprofessional artistic movement is possible but also mutual exchange of experience of bands, development of their skills and talent. A contribution to cultivate and popularize traditions connected with singing the most beautiful Polish Christmas carols, which create history and culture of our country, is highly important.It is the biggest festival of this kind in the country which every year becomes more and more popular and recognized. It promotes culture through engagement of thousands of people. The number of people interested in it increases: not only participants but also those who just want to come and listen to the best performances of Polish Christmas carols – traditional ones, in modern arrangements as well as prepared specially for this unusual undertaking.Each edition finishes with a gala concert in the Sanctuary of Polish Golghota of the East in Bedzin. It is not a typical concert for laureates but rather a revision of the most interesting performances of a given edition that are selected by a professional director. He is also responsible for arranging the concert to make it an unusual event, not just a sequence of compositions.|
|Contact details||Kinga Wesołowskakinga.firstname.lastname@example.orgAleksandra Lipazagranica@um.bedzin.pl|
|Field||International Festival of Christmas Carols|
|Description||The project will consist of 2 phases. The first one will take place in each of partner countries and its aim is to organize listenings and selecting the best bands/performers. Second phase: people selected during local eliminations come every year to Bedzin (Silesia Voivodeship) which is called the Capital of Polish Christmas Carols. Here, during 3 days of final listenings, they “fight” for prestigious titles and attractive awards. The most interesting arrangements can be admired during the Gala Concert which finishes each edition. The Concert gathers several hundred of people and is realized as an unforgettable event directed by professionals.|
|Countries||UE countries, EEA countries, Albania, Bosnia and Herzegovina, Montenegro, Macedonia, Serbia|
|Profile||– cultural sector entities- have legal personality for at least two years on the date of submission of applications|