We are More Message Book A toolkit for campaign supporters

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A toolkit for campaign supporters
We are More

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We are More Message Book A toolkit for campaign supporters

  1. 1. Message Book A toolkit for campaign supporterswe are more – act for culture in Europe is a Europe-wide campaign for the arts and culture.It was launched in October 2010 and will run until 2013, when the EU decides about its nextmultiannual budget.The we are more campaign promotes culture, heritage and the arts, together with education,social cohesion and environmental sustainability, as key areas in which the EU has to makemore bold investments if it wants to reach its growth objectives and Europe to remain athriving democracy in the future.The force behind the we are more campaign is Culture Action Europe, a coalition of morethan 100 organisations and many artists across Europe, in strategic partnership with theEuropean Cultural Foundation. It is an open source advocacy tool that encourages you andyour supporters to get involved and stand up for increased support to arts and culture in thepolicies and programmes of the European Union.Do you want to support the campaign but feel a bit unsure of what arguments to use? ThisMessage book provides you with key arguments and solid facts to back them up. If you endup in an elevator with your MEP or regional politician, the Message book explains how topitch the campaign during this precious minute! The Message book can also be used whenpreparing a presentation of the campaign or speaking to journalists.
  2. 2. Version as of 01/07/11Message book for the campaignwe are more – act for culture in EuropeTable of contents1. The ‘elevator’ pitch2. Key messages3. Facts and figures4. Tough questions5. Political calendar for the next EU budget6. EU jargon glossary7. Further reading: Links and resources8. Basic campaign facts9. Join! 2
  3. 3. Version as of 01/07/11 3
  4. 4. Version as of 01/07/111. The ‘elevator’ pitchHere is an example of how to pitch the campaign in one minute. It consists of four parts:Context, Analysis, Challenges and Conclusion. The EU budget is negotiated between theEuropean Parliament and the Council on the basis of a proposal by the Commission. Thenegotiations on the EU Regional Development Funds also involve local and regionalpoliticians. This pitch can therefore be used on various occasions: when setting up meetingsto present the campaign to local, regional and national politicians or MEPs, as well as whenspeaking to journalists. • Context & presentation: As you know, national governments and EU policymakers are about to take decisions on the next multiannual EU budget that will determine the next ten years of support to culture on European level. To demonstrate that civil society cares about this issue, my organisation has decided to join the Europe-wide campaign we are more – act for culture in Europe. The campaign has two demands; firstly, a reinforced Culture Programme that is more daring and experimental than the current one. Secondly, an increased and more explicit support to culture, heritage and the arts in the EU Regional Development Funds dedicated to cohesion and local and regional development. To date, more than xx.xxx individuals across Europe have signed the campaign manifesto (check the website for the latest figure before presenting the campaign: www.wearemore.eu/manifesto). • Analysis: More than 90% of Europeans think that culture should have an important place in the European Union. However, direct support to culture, heritage and the arts only represents 0.05% of the current EU budget. On top of its intrinsic, artistic and creative values, culture is also a catalyst for social and territorial cohesion and economic growth. For example, statistics show that the cultural and creative sectors account for 2.6% of the EU GDP, and generate a far bigger turnover than the car manufacturing industry. Without substantial acceleration of investment in culture – alongside education, social cohesion and environmental sustainability – the EU will not reach its growth and development objectives in the EU 2020 strategy. • Challenges: We all understand that in a time of real need, the cultural sector cannot be immune when public expenditure has to be cut. Savings have to be made in all public domains, but a lack of long-term visions and disproportionate cuts seriously undermine the cultural sector’s capacity to contribute to develop our societies. • Conclusion: Culture is a strategic place for long-term public investment. Increasing the investment in culture, heritage and the arts would have a negligible impact on the total EU budget, but a huge impact on European development in creative, democratic, social and economic terms. 4
  5. 5. Version as of 01/07/112. Key messagesHere are the three key messages you should make sure to get across when you present thecampaign to policymakers or journalists. These three simple messages summarize thedifferent entry-points of the campaign: why culture, why Europe, and why today?1. Culture and the arts are integral parts of sustainable and inclusivedevelopment. They have to be recognised and supported as such bypolicymakers.Culture is not the icing on the cake but one of its most important ingredients.Access to culture and freedom of cultural expression are fundamental rights and keycomponents of democratic societies. Arts and culture generate value both in themselves (theyenrich our lives, enhance our empathy, develop our powers of observation and understandingof the world), and indirectly (they are a catalysing factor in education, community building,social inclusion, territorial cohesion and economic growth). Both types of values have to beproperly measured and accounted for when making political- and funding decisions.2. The European Union is a unique political space that values democracy andsolidarity. The cultural dimension of the European Union has to be reinforced.Europe didn’t start with culture, but it is a cultural project.Arts and culture have been central to European history and continue to be so in our day-to-day lives. Culture, heritage and the arts illustrate our cultural diversity. They open upphysical and mental spaces for personal and collective imagination, and are key tools inhelping us to better understand our complex world and increasingly intercultural realities.More than 90% of Europeans believe that culture should have an important place in theEuropean Union. This has to be reflected in EU policies and budgets.3. The EU is about to decide on its future financial priorities. More than ever,long-term investments are needed, and arts and culture have to be part of thisvision.A crisis shouldn’t be an excuse for cuts in funding for culture. On the contrary.In times of economic downturn, characterized by austerity and budgetary discipline, it is afrequently held view that funding for culture should be cut in order to focus on ‘serious’issues such as employment and economic growth. This is a shortsighted vision. On top of itsintrinsic artistic and creative values, culture is a catalyst for growth in every sector of publicpolicy. Culture is also an invaluable educational and community-building tool, as well as aplace for innovation – both social and economic. Arts and culture is a strategic place for long-term public investments precisely because a relatively small investment has multiple impact. 5
  6. 6. Version as of 01/07/113. Facts and figuresWe are more than 450 million people who value culture inEurope!• 91% of Europeans think that culture and cultural exchanges Cultural Statistics contribute to greater understanding and tolerance. 2011 Eurobarometer (67.1), 2007:• 92% of Europeans think that culture and cultural exchanges http://ec.europa.eu/p should have an important place in the European Union. ublic_opinion/archiv es/ebs/ebs_278_en.p dfLess than 1% of the total EU budget goes to culture.• Direct support to culture, heritage and the arts (i.e. the Culture Culture Action Programme, total budget 400 million Euro for 2007-2013) only Europe’s own represents 0.05% of the current EU budget. calculations based on data provided by• The budget of the Culture Programme amounts to 0.13 Euro cents EACEA: per EU citizen per year. http://eacea.ec.europ a.eu/culture/index_e• The budget for the Culture Programme for seven years (400 n.php million Euro for 2007-2013) is less than half of the annual Figures on the French support to the French food industry (918 million Euro per year). food industry: http://agriculture.go• The annual support to culture through the EU Culture uv.fr/publication-des- programme (approx. 57 million Euros per year) is almost three beneficiaires-des,1556 times smaller than the annual budget of the Opera in Paris (approx. 150 million Euros per year). Annual budget figures for the Opera in Paris:• The estimated support to culture through the current EU http://www.opera- Structural Funds (regional development policy) represents 0.7% gouvernance.fr/fr/les of the total EU budget. -themes- abordes/opera-paris- compare/donnees- comparatives.phpThe Culture Programme is ... more!The added value of the Culture Programme, representing less than Results from data0.1% of the total EU budget, is impressive: provided by EACEA: http://eacea.ec.europ• The Culture Programme has supported more than 3500 projects a.eu/culture/index_e since the year 2000. n.php 6
  7. 7. Version as of 01/07/11• More than 7000 cultural operators have been partners in projects Interim Evaluation of supported by the Culture Programme since the year 2000. the Culture Programme 2007-13• In 2009 alone, the Culture Programme supported the cross- commissioned by DG border mobility of 141 580 artists and culture workers, and the EAC, 2010: circulation of 422 493 artworks. http://ec.europa.eu/d gs/education_culture /evalreports/culture/ 2010/progreport_en. pdfCulture is a catalyst for growth and jobs.• The cultural and creative sectors account for 2.6% of EU GDP, The economy of and generate a turnover of more than 654 billion Euros (2003). culture in Europe. This is much more than what is generated by the car KEA, 2006: manufacturing industry (271 billion Euros in 2001) or by the http://ec.europa.eu/c Information and Communication Technologies manufacturers ulture/key- (541 billion Euros in 2003), for example. documents/doc873_e n.htm• In general, the growth of the cultural and creative industries in 1999-2003 was 12.3% higher than the growth of the general economy.• Almost five million people work in the cultural sector (2005), or 2.4% of the active population in the 27 Member States (6 million if we include people working in cultural tourism).Culture plays a crucial role in regional development.Recent studies show that: Study on the contribution of• Culture contributes to social inclusion and improves social culture to local and cohesion regional development• Participation in cultural activities develops creativity and – Evidence from the innovation skills Structural Funds.• The cultural and creative sector is an incubator of new forms of CSES-ERICARTS, 2010: entrepreneurship http://ec.europa.eu/c ulture/key- documents/doc/studi es/final_report_SF_e n.pdfCultural richness is a central element of theattractiveness of regions. 7
  8. 8. Version as of 01/07/11• Cultural attractiveness is the second motivation for Europeans Flash Eurobarometer (after value for money) when deciding on a holiday destination. 281, 2009. http://ec.europa.eu/p• If European tourists have to reduce their spending during their ublic_opinion/flash/f holidays they do it primarily for restaurants and shopping, but l_281_en.pdf rarely for cultural and entertainment activities. 8
  9. 9. Version as of 01/07/114. Tough questionsAnticipate difficult questions and identify how you’ll turn the answer positively.- In difficult financial times, when all Member States have to save money andmake cuts in national budgets, why should the EU increase its support toculture and the arts?We all understand that in a time of real need, the cultural sector cannot be immunewhen public expenditure has to be cut. Savings have to be made in all public domains, buta lack of long-term visions and disproportionate cuts seriously undermine the culturalsector’s capacity to contribute to develop our societies.European support to arts and culture is not expected to replace national, regional andcultural policies. Member States still hold the main responsibility in guaranteeing access toculture and cultural diversity, as well as in supporting a healthy and dynamic cultural sector.Culture, however, also has a role to play in European development, be it in terms of civic anddemocratic participation, diversity and interculturality, or growth and cohesion.European support to culture is also a key driver to mobilize additional public funding forcultural co-operation and circulation across Europe, and beyond our borders.Direct support to culture, heritage and the arts (the EU Culture Programme) only represents0.05% of the current EU budget. Even if we add the support to culture through the EUregional development policy, the support is still less than 1% of the total EU budget.Increasing the investment in culture, heritage and the arts would have a negligible impact onthe total EU budget, but a huge impact on European development in creative, democratic,social and economic terms.- Why should public funding support the arts and culture? Shouldn’t the EUonly focus on supporting the cultural and creative industries?Public policies and funding is the best guarantor of access to culture and cultural diversity.Arts and culture, just like education, public health or environmental sustainability,participate in public interest objectives and should be valued and supported as such by publicpolicies.The arts and culture sector is a complex field where public institutions, civil societyassociations, the social economy, and market driven actors are strongly interdependent. Allelements of this chain, of the ‘cultural ecology’, have to be supported with appropriate means.The specific needs and operational environments of the different actors need to be fullyrecognized, and policies and support instruments have to be developed accordingly. Anindustrial policy cannot replace a cultural policy. Both types of policies and support areneeded. They should be developed in parallel while looking at synergies andcomplementarities. 9
  10. 10. Version as of 01/07/115. Political calendar for the next EU budgetThe campaign we are more was launched at the beginning of the process of adoption of thenext cycle of EU policies and programmes. EU budgets are indeed decided upon every 7years, and the negotiation process itself lasts several years.The EU budget negotiations calendar is complex, has several parallel tracks, and is extremelydependent on political agreements reached behind the scenes by Member States. Thosepolitical negotiations might indeed slow down the formal co-decision processes between theCouncil and the Parliament, initiated by the Commission’s proposals. The tentative calendarbelow is therefore provisional, and will be updated regularly.2010: • Mid-term reviews of the current policies and programmes • Public consultations on the EU programmes • First phase of the work of the EP Policy Challenges committee • Member States start their discussions ‘behind the scenes’2011: • Impact assessment of the current EU programmes and policies by the European Commission • June: publication of the report of the EP Policy Challenges committee • End June: publication of the Commission’s overall proposal for the EU financial perspectives beyond 2014 • September: Commission’s proposals for the EU guidelines for the next Structural Funds • November: publication of the Commission’s proposals for the different policies and programmes (including the Culture Programme)2012/2013: Parallel processes of formal adoption of the overall budget framework 2014-2020, and of the legal basis of the different programmes and policies.For more background reading on the EU budget negotiations, please go to the campaignwebsite: http://www.wearemore.eu/campaign-calendar/ 10
  11. 11. Version as of 01/07/11 6. EU jargon glossaryAdvocacy The act of publicly supporting a particular cause or policy. Advocacy can be done using different tools: from one-to-one meetings with policymakers to collective media actions.European The European agenda for culture in a globalizing world is a policy document proposedAgenda for by the EC and adopted by all EU Member States during the 2007 European Council. ItCulture is the first policy document adopted at European level in the field of culture that outlines the basis for a co-ordinated action at EU level in this domain. The European Agenda for Culture has three main objectives: promoting cultural diversity and intercultural dialogue, promoting culture as a catalyst for creativity; and promoting culture as an essential element in the EUs external relations. These objectives are implemented through different tools: the mainstreaming of culture in EU policies and Programmes, the intergovernmental Open Method of Co-ordination (see below), and the structured dialogue with civil society (see below).EU Cohesion The EU Cohesion Policy, also referred to as the EU Regional Policy, aims at reducingPolicy disparities amongst EU regions in terms of economic, social and territorial development. The EU Cohesion Policy accounts for 35% of the entire EU budget, making it the second biggest EU expenditure after agriculture. The EU Cohesion Policy is organised around three objectives: convergence, regional competitiveness and employment, and European territorial cooperation. To achieve these objectives, the EU Cohesion Policy uses three different instruments: the European Regional Development Fund (ERDF), the European Social Fund (ESF), and the Cohesion Fund. Different EU regions are eligible for funding under different objectives, depending on the phase of their economic development (measured in GDP). The biggest share of funding for culture at the EU level comes from the Structural Funds. Under the current Cohesion Policy, earmarked culture funding has been estimated at six billion Euros (1,7% of its total budget).EU European Union competences, i.e. areas where the EU has the right to take decisions,Competence are laid down in the Treaties. The Union is only competent to act within the scope of the powers allocated to it and any measures adopted by the EU institutions must be founded on a legal basis. In the area of culture, the EU has a supporting competence (art. 167 of the Lisbon Treaty). This means that the EU can only intervene to support, coordinate or complement the action of Member States but has no direct legislative power. The cultural competence therefore remains at national, regional or local level depending on the country.EU Culture The Culture Programme is the only instrument of the European Union exclusivelyProgramme dedicated to support arts and culture. However, funding for culture at the EU level also comes through other programmes and policies such as the structural funds, innovation, entrepreneurship, research, education, citizenship, lifelong learning or external relations. The Culture Programme 2007-2013 has a total budget of 400 million Euros. It has three objectives: to promote cross-border mobility of those working in the cultural sector; to encourage the transnational circulation of artworks; and to foster intercultural dialogue. These objectives are translated into different support lines for short and long term cultural co-operation projects, for literary translations and festivals, as well as for operational funding for European networks. 11
  12. 12. Version as of 01/07/11EU 2020 Europe 2020 is the European economic strategy for the period 2010-2020. It aims atStrategy ‘smart, sustainable, and inclusive growth’. It replaces the former Lisbon Strategy. As its predecessor, it aims at ‘boosting the competiveness of the EU knowledge-based economy’, but also takes into account the environmental and social aspects of economic development. The strategy gives an important place to ‘innovation’, but does not mention culture or creativity. The EU2020 strategy provides a roadmap for all EU actions in the years to come. The next generation of EU policies and programmes, including the Culture Programme and the Structural Funds, will have to be aligned with its objectives.GDP The Gross Domestic Product (GDP) refers to the market value of all final goods and services produced within a country in a given period. It is often used as an indicator of a countrys standard of living but it is really a measure of national economic activity. In recent years, different countries and international organisations have been exploring alternative and more holistic ways of measuring societal development. One example of such an effort is the ‘Beyond GDP’ initiative, which aims at developing indicators that are as clear and appealing as GDP, but more inclusive of environmental and social aspects of progress.Intercultural Intercultural dialogue has been defined by the Platform for Intercultural Europe as ‘aDialogue series of specific encounters, anchored in real space and time between individuals and/or groups with different ethnic, cultural, religious, and linguistic backgrounds and heritage, with the aim of exploring, testing and increasing understanding, awareness, empathy, and respect. The ultimate purpose of Intercultural Dialogue is to create a co-operative and willing environment for overcoming political and social tensions’.Lobbying Lobbying is generally more restricted and only one part of advocacy. It refers specifically to advocacy efforts that attempt to influence legislation.MFF The Multiannual Financial Framework (MFF) outlines the budgetary categories of EU spending (so-called headings), and serves as a long-term guideline for the annual EU budgets. The agreement on the MFF is reached on the basis of an inter-institutional agreement between the European Parliament, the Council and the European Commission. The current MFF covers the 2007-2013 period. The publication of the Commission’s proposal for the next MFF (end of June 2011) will formally launch the negotiations on the EU budget beyond 2013. 12
  13. 13. Version as of 01/07/11OMC The Open Method of Coordination (OMC) is a soft law mechanism for co-operation between EU Member States in the policy domains where the EU has no legislative competence, such as social affairs, education or culture. In the field of culture, the OMC has been introduced by the 2007 European Agenda for Culture. Topics addressed by the OMC in the field of culture are outlined in the work plan 2011- 2014 adopted by the Council of Ministers in November 2010. Working groups composed of experts mandated by Member States are currently working on the following issues: access to culture and intercultural dialogue, cultural and creative industries, skills and mobility, and the mobility of collections.Structured The structured dialogue is a co-operation mechanism used by the European CommissionDialogue to involve different stakeholders in the elaboration of its policies. In the field of culture, a structured dialogue has been introduced with the adoption of the European Agenda for Culture. Three structured dialogue platforms are currently operating in the field of culture: the Access to Culture Platform, the Cultural and Creative Industries Platform, and the Platform for Intercultural Europe. 13
  14. 14. Version as of 01/07/117. Further reading: Links and resourcesA selection of further reading to stimulate the development of the cultural sector’s argumentsand nourish the debate about the role of culture in our societies.Arguments, toolkits:Arts Organisations ChecklistNational Assembly of State Arts Agencies, NASAAhttp://www.nasaa-arts.org/Advocacy/Advocacy-Tools/Arts-Advocacy-Checklist-for-Arts-Organizations-and-Advocates.phpNot for profit arts organisations play a key role in arts advocacy. Public money supports theirprogrammes, making the arts accessible to more citizens in your environment. This advocacymanual presented as a checklist will allow you to get familiar with the basis of arts advocacyand to evaluate your organisation in terms of what remains to be done in order to become anefficient and recognized arts advocate.National arts advocacy campaigns: overview of case studies and good practiceMadden, Chr. Strawberry Hills: International Federation of Arts Councils and CultureAgencies. (2010)http://media.ifacca.org/files/Dart16advocacy.pdfThe report looks at advocacy campaigns that promote appreciation and engagement in the arts.It describes a range of campaigns currently being undertaken or planned by key national artsfunding agencies. It brings together online communication resources used by these campaigns,and explores views on how to ensure a campaign’s success.The Ten Golden Rules of LobbyingSchonfelder, Brussels, EU Public & Governments Affairs, Conference ‘How Brussels Works’(2011)http://www.hdl.com.hr/preuzimanje/newsdata/Ten_Golden_Rules_of_Lobbying.pdfThis document sums up the ten key rules for lobbying on EU level.The Top 10 Reasons to Support the ArtsCohen, R. (2011)http://blog.artsusa.org/2011/04/20/the-top-10-reasons-to-support-the-arts/From the free weekly cultural policy publication of Americans for the Arts, Arts Watch, thisdocument summarizes ten arguments in favour of arts support, which can be used whenaddressing governments and business leaders. 14
  15. 15. Version as of 01/07/11Studies, reports:Capturing Cultural ValueJohn Holden, Demos, (2004)http://www.demos.co.uk/publications/culturalvalueCultural organisations and their funding bodies have become very good at describing theirvalue in terms of social outcomes. Tackling exclusion, increasing diversity and contributing toeconomic development are all familiar justifications in grant applications. But by talking infunctional terms about the value of culture, cultural organisations have lost the ability todescribe their real purpose – producing good work that enriches people’s lives. Culture nowdelivers government policy by other means.Gifts of the Muse: Reframing the Debate About the Benefits of the ArtsKevin F. McCarthy, Elizabeth Heneghan Ondaatje, Laura Zakaras, Arthur Brooks (2004)http://www.rand.org/pubs/monographs/MG218.htmlFaced with intense competition for audiences and financial support, as well as adversepolitical fallout from the “culture wars” of the early 1990s, arts advocates have increasinglysought to make a case for the arts in terms of their instrumental benefits to individuals andcommunities. In this report, the authors evaluate the strengths and weaknesses of theseinstrumental arguments and make the case that a new approach to understanding thebenefits of the arts is needed. Critical of what they view as an overemphasis on instrumentalbenefits, the authors call for a greater recognition of the intrinsic benefits of the artsexperience, provide a more comprehensive framework for assessing the private and publicvalue of both intrinsic and instrumental benefits, and link the realization of those benefits tothe nature of arts involvement.Measuring Intrinsic ValueHasan Bakhshi, Alan Freeman + Graham Hitchen (2009)http://www.missionmodelsmoney.org.uk/papers/measuring-intrinsic-value/This paper argues that the reluctance to use rigorous economic methods has hindered ratherthan helped the case for the arts. It seeks to demonstrate how economics can provide the toolsto ‘measure’ and validate the intrinsic value of art, and to do so in a way that is commensurablewith other measures of value for other calls on the public purse. 15
  16. 16. Version as of 01/07/11Pocketbook on Cultural statisticsEurostat, (2011)http://epp.eurostat.ec.europa.eu/portal/page/portal/culture/introductionEurostat’s pocketbook on ‘Cultural statistics’ published in April 2011 is the second in the series.It presents data on enterprises in cultural sectors, employment in cultural sectors andoccupations, external trade in cultural goods, cultural participation, private householdexpenditure on cultural goods and other statistics. It uses data collected in the framework ofthe European Statistical System, as well as other sources such as UNESCO, Eurobarometer,EGMUS and Media Salles.Study on the contribution of culture to local and regional development – Evidencefrom the Structural FundsCentre for Strategy and evaluation Services (CSES) -ERICARTS, (2010)http://ec.europa.eu/culture/key-documents/doc/studies/final_report_SF_en.pdfThe study was commissioned by the European Commission to provide evidence of the range ofcontributions made by the cultural and creative sector to the objectives of EU cohesion policysince 2000, and, backing this up, a pool of around 50 examples illustrating the contribution.The economic crisis and the prospects for art and culture in EuropeSICA, (2010)http://www.culturalpolicies.net/web/files/83/en/en_crisis_and_prospects_for_art_and_culture_in_europe_oct2010.pdfSICA has consulted its partners in a number of European countries in order to gauge the moodin the cultural sector. The first overview was published in June 2010 and updated in October2010.The economy of culture in EuropeKEA European Affairs, (2006)http://ec.europa.eu/culture/key-documents/doc873_en.htmThe study was commissioned by the European Commission and is a first at European level. Ithighlights the direct (in terms of GDP, growth and employment) as well as the indirect (linksbetween creativity and innovation, links with the ICT sector, regional development andattractiveness) contribution of the cultural and creative sectors towards Europe’s economicgrowth.The Empathic Civilisation - The Race to Global Consciousness in a World in CrisisJeremy Rifkin (2010)http://www.youtube.com/watch?v=l7AWnfFRc7gPolitical adviser Jeremy Rifkin investigates the evolution of empathy and the profound waysthat it has shaped our development and our society. Watch the RSA animation of the book. 16
  17. 17. Version as of 01/07/118. Basic campaign factsWhat is the campaign about?we are more is a Europe-wide campaign for the arts and culture. It was launched in October2010 and will run until 2013. The campaign aims to influence the next EU budget beyond2014. The we are more campaign asks for two kinds of support in the next EU budget.Firstly, a reinforced Culture Programme that is more daring and experimental than thecurrent one. Secondly, explicit support to culture, heritage and the arts in the EUprogrammes that are dedicated to cohesion and local and regional development, namely theso-called Regional Development Funds.Who is behind the campaign?The we are more campaign has been set up by Culture Action Europe, a civil societymembership organisation and political platform for the arts and culture. The campaign iscarried out in strategic partnership with the European Cultural Foundation. Culture ActionEurope currently has over 100 members that together represent over 80.000 arts and cultureplayers across Europe and beyond – in more than 14 artistic disciplines. The campaign is runin an open source way, and provide tools on the campaign website that encourage andfacilitate for the entire cultural sector as well as individuals to get involved in and support thecampaign.Why the name we are more – act for culture in Europe?Because we want to send a broad, positive message and use the campaign to demonstrate themany different ways in which individuals, communities and arts organisations do more, andcontribute more to our societies than what is visible at first glance. Just like the EU is morethan coal and steel, and just like we need to speak about more than a single market, GDP andeconomic growth if we want to discuss wellbeing and human development. This campaignwants to show that we are many organisations built up by individuals who value and act forculture in Europe. We are citizens, parents, arts organisations, lovers of culture, and activeparticipants in society.9. Join!On the campaign website you will find plenty of tools to give visibility to the campaign, aswell as ideas for activities when you are ready to take your support one step further. You cansign the manifesto that is available in more than thirty languages, and even place themanifesto signature box on your own website to help collect signatures in real time! Visit thecampaign website now, and make sure to subscribe to the bimonthly newsletter and followus on Facebook and Twitter to get the latest news!We’re curious to hear about your ideas and your activities – please stay in touch!Culture Action EuropeRue de la Science 10B-1000 BrusselsT. +32 2 534 4002F. +32 2 534 1150campaign@wearemore.euwww.wearemore.eu 17

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