The document outlines the objectives and key funding programs of the European Union (EU) aimed at supporting culture and the arts, including Creative Europe, Erasmus+, and Horizon 2020. It details practical advice for applying for EU funding, the roles of different EU directorates, and the criteria for eligibility and participation. Additionally, it highlights the benefits and challenges of accessing EU funds for cultural organizations and the emphasis on transnational cooperation and audience development.

1. What are we
talking about when
we talk about
European Union
funding for culture
@juanpedregosa
jj@e-­‐itd.com
Trànsit
Projectes
-­‐
Barcelona

3. Objectives of the (double) session
• To
provide
an
overview
about
what
is
the
European
Union
and
which
are
the
most
important
programmes
to
fund
culture
and
arts
• To
give
prac@cal
tools/@ps/advices
on
what
to
do
and
how
to
do
to
start
a
process
of
EU
funding

4. • The
Contents/methodology
labyrinth
of
Europe,
the
European
Union,
the
European
Commission,
the
DGs
and
the
cultural
oriented
programmes
• Descrip@on
of
main
programmes
for
culture:
Crea@ve
Europe,
Erasmus
+,
horizon,
SME
instrument
• Applying
for
EC
in
prac@ce:
workshop
with
two
groups

18. EUROPEAN COMMISION
DIRECTORATES-GENERAL
(DG)

19. EUROPEAN BUDGET
MANAGEMENT
Expenditure
Na@onal
and
regional
76%
European
Commission
22%
Other
agencies
2%

20. 2014-­‐2020
budget
Crea@ve
Europe
• 1.460
M€
• (0,14%)
2014-2020 BUDGET
Erasmus
+
• 14.700
M€
• (1,47%)
H2020
• 77.028
M€
• (7,72%)
Structural
funds
• 325.149
M€
• (32.61%)

21. The European “stability” and
• Managed
the programmes
from
Brussels
or
decentralized
agencies
• Programmes
come
from
the
different
sectorial
policies
• Transna@onality
is
compulsory
• Provide
EU
added
value
• In
general
focused
in
mobility,
pilots,
demonstra@on,
innova@on,
training,
dissemina@on,
visibility
• Programmes
are
foreseeable,
public
and
widely
publicized
• Programming
period
is
nowadays
2014-­‐20120

22. Participating or not, that is
Advantadges
• Access
to
extra
funding
• Unexpected
impact
locally
• European
Added
Value
• Training
process
• Innova@on:
visibility
and
changing
of
networks
• Access
to
EU
mainstreaming
• Making
new
things
happen
Disadvantages
• To
find
and
keep
partners
• Diversity,
always
diversity:
legal,
context,
geographical,
poli@cal,
organisa@onal
• Difficul@es
of
understanding
more
than
communica@on
• Investment
of
resources
• Administra@ve
burden
the question

23. HORIZON 2020
EU
programme
for
Research
and
Innova@on
(2014-­‐2020).
• 3
key
objec@ves:
Excellence
Science,
Compe@@ve
Industries,
Beger
Society.
• 7
societal
challenges:
1 Health,
demographic
change
and
wellbeing;
2 Food
security,
sustainable
agriculture
and
forestry,
marine
and
mari@me
and
inland
water
research,
and
the
Bioeconomy;
3 Secure,
clean
and
efficient
energy;
4 Smart,
green
and
integrated
transport;
5 Climate
ac@on,
environment,
resource
efficiency
and
raw
materials;
6 Europe
in
a
changing
world
-­‐
inclusive,
innova@ve
and
reflec@ve
socie@es;
7 Secure
socie@es
-­‐
protec@ng
freedom
and
security
of
Europe
and
its
ci@zens.
SPECIAL
ATTENTION
TO
Challenge
6
/
2014-­‐2015
to
Work
Programme:
• hgp://ec.europa.eu/research/par@cipants/data/ref/h2020/wp/2014_2015/main/h2020-­‐wp1415-­‐
socie@es_en.pdf
• Call-­‐Reflec@ve
Socie@es:
Cultural
Heritage
and
European
Iden@@es

24. • Erasmus+
ERASMUS +
is
the
EU
Programme
in
the
fields
of
educa@on,
training,
youth
and
sport
• Divided
in
3
key
ac@ons:
– KA1:
Mobility
of
learners
and
staff
– KA2:
Strategic
Partnerships,
Knowledge
Alliances,
Sector
Skills
alliances
– KA3:
Suport
for
policy
reforms
• More
info
at:
hgp://ec.europa.eu/programmes/erasmus-­‐plus/
documents/erasmus-­‐plus-­‐programme-­‐guide_en.pdf

25. CREATIVE EUROPE
Framework
programme
for
the
cultural
and
crea@ve
sectors
(2014-­‐2020)
General
objec@ve:
– Safeguard
and
promote
European
cultural
and
linguis@c
diversity,
and
fosters
Europe’s
cultural
richness.
– Contribute
to
Europe’s
goals
for
smart,
sustainable
and
inclusive
economic
growth.
– Help
the
cultural
and
crea@ve
sectors
to
adapt
to
the
digital
age
and
globaliza@on.
– Open
up
new
internaMonal
opportuniMes,
markets
and
audiences.
• Sub-­‐programmes:
CULTURE
(31%
of
the
budget).
• hgp://ec.europa.eu/culture/opportuni@es/culture-­‐support/index_en.htm
MEDIA
(56%
of
the
budget).
• hgp://ec.europa.eu/culture/opportuni@es/audiovisual-­‐support/index_en.htm

26. CRE
CREATIVE EUROPE
SUB-­‐PROGRAMME
CULTURE:
– Cross-­‐border
cooperaMon
projects
between
cultural
and
crea@ve
organisa@ons
within
the
EU
and
beyond.
– Networks
helping
the
cultural
and
crea@ve
sectors
to
operate
transna@onally
and
to
strengthen
their
compe@@veness.
– Transla@on
and
promo@on
of
literary
works
across
EU
markets.
– PlaQorms
of
cultural
operators
promo@ng
emerging
ar@sts
and
s@mula@ng
a
truly
European
– Programming
of
cultural
and
ar@s@c
works.
SUB-­‐PROGRAMME
MEDIA:
– Capacity
building
and
professional
training
for
audiovisual
professionals.
– Development
of
ficMon,
animaMons,
creaMve
documentaries
and
video
games
for
European
cinema,
television
markets
and
other
plaoorms.
– DistribuMon
and
sales
of
audiovisual
works
in
and
outside
Europe.
– Film
fesMvals
that
promote
European
films.
– Funds
for
the
internaMonal
co-­‐
producMon
of
films.
– Audience
development
to
foster
film
literacy
and
to
raise
interest
in
Europe’s
films
through
a
wide
range
of
events.
– Grants
for
PRODUCTION,
BROADCASTING,
DISTRIBUTION,
FILMS
FESTIVALS,
ACCESS
TO
MARTKETS,
TRAINING,
EXHIBITION,
VIDEOGAMES
DEVELOPMENT,
INTERNATIONAL
COPRODUCTIONS

27. CREATIVE EUROPE
• Sub-­‐programme
culture
– Coopera@on
projects
– transna@onal
coopera@on
projects
bringing
together
cultural
and
crea@ve
organisa@ons
from
different
countries
to
undertake
sectoral
or
cross-­‐sectoral
ac@vi@es
– European
networks
– ac@vi@es
by
European
networks
of
cultural
and
crea@ve
organisa@ons
from
different
countries
– European
Plaoorms
– ac@vi@es
by
European
networks
of
cultural
and
crea@ve
organisa@ons
from
different
countries
– Literary
transla@ons
– and
its
further
promo@on
• DATABASE
OF
FUNDED
PROJECTS:
hgp://ec.europa.eu/programmes/crea@ve-­‐europe/projects/

28. FORTHCOMING DEADLINES
• Coopera@on
Projects:
7
October
2015*
(then
early
October
annually)
• Literary
Transla@on
(Category
1
–
two
year
projects):
3
February
2015*
(then
early
February
annually)
• European
Networks:
5
October
2016
• European
Plaoorms:
25
February
2015

29. CREATIVE EUROPE: who can
Crea@ve
Europe:
who
can
par@cipate?
• EU
participate?
organisa@ons
(public,
profit
or
not-­‐for-­‐
profit)working
in
the
field
of
crea@ve
culture
industries
• Legally
established
• 2
years
of
existence
• Finan@al
capacity
only
need
when
claiming
for
more
than
60000
€

30. CREATIVE EUROPE: priorities for reinforcing
the capacity of cultural actors
• suppor@ng
ac@ons
providing
cultural
and
crea@ve
players
with
skills,
competences
and
know-­‐how
that
contribute
to
strengthening
the
cultural
and
crea@ve
sectors,
including
encouraging
adaptaMon
to
digital
technologies,
tesMng
innovaMve
approaches
to
audience
development
and
tes@ng
of
new
business
and
management
models;
•
suppor@ng
ac@ons
enabling
cultural
and
creaMve
players
to
cooperate
internaMonally
and
to
internaMonalise
their
careers
and
ac@vi@es
in
the
Union
and
beyond,
when
possible
on
the
basis
of
long-­‐term
strategies;
• providing
support
to
strengthen
European
cultural
and
crea@ve
organisa@ons
and
interna@onal
networking
in
order
to
facilitate
access
to
professional
opportuniMes.

31. CREATIVE EUROPE:
priorities for mobility
• suppor@ng
interna@onal
cultural
ac@vi@es,
such
as
for
instance
exhibiMons,
exchanges
and
fesMvals;
• suppor@ng
the
circula@on
of
European
literature
with
a
view
to
ensuring
the
widest
possible
accessibility;
• supporMng
audience
development
as
a
means
of
s@mula@ng
interest
in
and
improving
access
to
European
cultural
and
crea@ve
works
and
tangible
and
intangible
cultural
heritage.
Audience
development
seeks
to
help
European
ar@sts/
cultural
professionals
and
their
works
reach
as
many
people
as
possible
across
Europe
and
extend
access
to
cultural
works
to
under-­‐represented
groups.
It
also
seeks
to
help
cultural
organisa@ons
adapt
to
the
need
to
engage
in
new
and
innova@ve
ways
with
audiences
both
to
retain
them,
to
build
new
audiences,
diversify
audiences
including
reaching
current
"non-­‐audiences",
and
to
improve
the
experience
for
both
exis@ng
and
future
audiences
and
deepen
the
rela@onship
with
them.
• REFERENCE:
EUROPEAN
AUDIENCES
2020
AND
BEYOND
hgp://www.ccp.ie/files/p_20140327111649European%20Audiences%202020%20and
%20beyond.pdf

32. • Small
Current calls
scale
project
(3+)
– One
project
leader
and
two
partners
– Max.200000
€
.
60
%
of
elegible
costs
• Big
scale
projects
(6+)
– One
project
leader
and
5
partners
(minimum)
– Max.
2000000/500.000
year.
50
%
of
elegible
costs

33. Eligibility criteria
• Relevance
– how
the
project
will
contribute
to
reinforcing
the
sector's
professionalizaMon
and
capacity
to
operate
trans-­‐
na@onally,
to
promo@ng
transnaMonal
circulaMon
of
cultural
and
crea@ve
works
and
mobility
of
ar@sts
and
to
improving
access
to
cultural
and
crea@ve
works.
• Quality
of
content
and
ac@vi@es
– how
the
project
will
be
implemented
in
pracMce
(quality
of
the
ac@vi@es
and
deliverables,
the
experience
of
the
staff
in
charge
of
the
projects
and
working
arrangements),
with
a
par@cular
focus
on
how
such
ac@vi@es
can
help
to
effec@vely
implement
an
audience
development
strategy

34. Eligibility criteria
• Communica@on
and
dissemina@on
– The
aim
is
to
maximise
the
impact
of
the
project
results
by
making
them
available
as
widely
as
possible
at
local,
regional,
na@onal
and
European
levels.
• Quality
of
partnership
– the
extent
to
which
the
general
organisa@on
and
co-­‐ordina@on
of
the
project
will
ensure
the
effec@ve
implementa@on
of
the
ac@vi@es
and
will
contribute
to
their
sustainability.

35. Examples of European
cooperation projects
• Exchange
of
professionals
amongst
organisa@ons
of
different
countries
• Co-­‐produc@ons
of
interna@onal
ac@vi@es
• Exchanges
of
cultural
products
• Ad
hoc
training
ac@ons
• Networks
crea@on

36. • Mobility
KEY WORDS
of
professionals
and
works
• Transectoriality,
hybrida@on,
transdisciplinariety
• Innova@on
• Crea@on
of
audiences
• Link
to
2020
strategy
• Crea@ve/culture
sector
as
a
factor
for
development