The document is a call for project proposals from artists in Burundi, Cameroon, Namibia, Rwanda, Tanzania and Togo to apply for funding from The Burden of Memory Project Fund established by the Goethe-Institut. The fund supports cultural co-productions that address German colonialism in Africa through various artistic genres. Applicants must propose collaborative projects between at least two countries that will be carried out in 2020, taking into account travel restrictions due to COVID-19. A jury will select projects based on their innovative approach, artistic quality, cross-border collaboration, and feasibility under current conditions.
This document provides an analysis of public diplomacy approaches in Kosovo. It discusses Kosovo's official "Young Europeans" nation branding campaign, counter-campaigns that emerged, and public opinion on the campaign. It also examines other public diplomacy efforts in Kosovo from both governmental and non-governmental actors. The document concludes by comparing Kosovo's approaches to public diplomacy strategies used in countries like Macedonia, Rwanda, Serbia, and Germany in order to provide recommendations to guide Kosovo's public diplomacy policy going forward.
Information about EU Culture programme and programme "Creative Europe" prepared by Tetiana Biletska, Ukraine, 2012. For project "European Cultural Foundation: opportunities for Ukrainian NGOs" funded by the International Renaissance Foundation // Информация о программах ЕС "Культура" и "Творческая Европа", подготовленная Татьяной Белецкой для проекта "Европейский культурный фонд: возможности для украинских культурных НГО", который финансировался Международным фондом "Возрождение", Украина, 2012 г., на английском языке
EU Cultural Diplomacy in the MENA RegionCrew Project
The document discusses EU cultural diplomacy in the Middle East and North Africa region. It outlines the EU's willingness to engage in cultural diplomacy through policies and committed leaders. It also discusses the capacity built through cultural programs, exchanges, and institutions. However, it notes challenges in gaining full acceptance from citizens and leaders in the region due to a lack of strategy and political challenges. Overall, the document analyzes the EU's approach to cultural diplomacy in the MENA region.
In times of the obsession with profit and growth, natural and social
resources are exploited in all corners of the world. Yet, the urge
to radically rethink the system sneaked into various levels. Many
creative and forward-looking professionals are actively searching
for new spaces of opportunity, to shape and test new modes of
economic production and responsible social fabric. Rural areas
have become relevant places for experimentation - smaller in size,
providing more time and space, with less hierarchical governance
structures.
Contemporary performing arts in a rural context are an integral
part of that exercise of imagining a different future. Moreover,
contemporary art in rural areas have been nurturing and shaping
local narratives for ages. However, contemporary artistic practices
have gone almost unnoticed in many funding schemes - both
cultural programmes and rural development funds, which tend to
focus on economic assets of only a few sectors.
In the past few years, IETM has organised a sequence of sessions
and one entire meeting on the subject of art in rural areas. Some of
the brightest art professionals engaging with rurality have created
an AREA (art in rural areas) focus group within our network
and continued their exchange during IETM events and beyond.
Through the dialogue within that group and with other members
experienced and interested in the topic, we have discovered a
fascinating, vibrant and powerful world of contemporary arts in
rural areas.
Today, more than ever, we want to turn the global attention to that
hugely important world.
When creating this publication, we realised it is urgent to find
unconventional approaches to the arts in rural areas. We need
to identify innovative solutions to support the rural arts in their
endeavour of working transversally with other sectors. We have
to seize the momentum and potential of rural arts to help reinvent
the system. Today, when our planet needs it the most.
We hope the present publication sets a strong and fertile ground
for reflecting on those ambitions. Please get in touch with us
(ietm@ietm.org) or write us on our forum (www.ietm.org/forums)
if you wish to further the debate.
We are very grateful to the three authors for their insightful and
sincere contributions. We also heartily thank our members and
other art professionals who shared their practices, stories, views
and experiences with us - through the ongoing exchange during
IETM meetings and via the open call we announced in July - August
2019. Some of the cases collected through the call are presented
in the annexes.
The publication “Arts in Rural Areas” is part of a collaborative
trajectory, which embraces three other European cultural
networks - Culture Action Europe, European Network of Cultural
Centres, and Trans Europe Halles. The policy paper “Beyond the
urban”, which you can read below, is the product of our joint work.
It is still in progress and subject to comments and suggestions
for improvement. We will pre
This document discusses strategies for promoting intercultural dialogue in Burgas, Bulgaria. It proposes that Burgas join the Intercultural Cities Network to gain access to tools and expertise for diversity. Short term strategies include organizing a Black Sea Roma Festival in 2011 to showcase Roma culture and applying to include Burgas on the map for the European Route of Roma Culture and Heritage. Long term plans involve the Open Mahala project from 2011-2015 using cultural tourism to alleviate poverty and revive the Roma neighborhood.
The CIRCE project aims to promote cultural heritage and build a common European identity. It will create 5 itineraries focused on the cultural influences of Romans, Greeks, Ottomans, Saxons and Vikings. Students will develop these itineraries virtually before physical exchanges. They will incorporate digital tools and explore tangible and intangible cultural heritage. Students will also develop 5 business ideas related to cultural tourism. The project will train teachers and develop students' skills while increasing awareness of cultural heritage.
The CReW project is a series of events coordinated by the University of Siena and financed by the EU Erasmus+ Programme. It focuses on international cultural relations between the EU and other regions. The first event took place in Rabat, Morocco in 2018 and focused on culture as an engine for sustainable development. Participants included cultural diplomats, operators, and academics who discussed EU-MENA cultural relations and case studies of cultural programs. Key recommendations included engaging local stakeholders such as civil society and governments, and establishing better coordination of cultural initiatives and strategies between the EU and MENA regions.
Cultural and Creative Sector : something to stand for! SviluppoBasilicata
This document discusses the importance of supporting the cultural and creative sector. It notes that fundamental changes in the economy and institutions require new approaches to supporting local cultural development. Specifically, the rise of large digital companies threatens local cultural industries, but these companies neglect niche markets that local initiatives could fill. Additionally, cultural power is shifting from national to local authorities, who are now major funders of creativity. The document argues that an inter-regional approach integrating local communities is needed for European cultural policy going forward.
This document provides an analysis of public diplomacy approaches in Kosovo. It discusses Kosovo's official "Young Europeans" nation branding campaign, counter-campaigns that emerged, and public opinion on the campaign. It also examines other public diplomacy efforts in Kosovo from both governmental and non-governmental actors. The document concludes by comparing Kosovo's approaches to public diplomacy strategies used in countries like Macedonia, Rwanda, Serbia, and Germany in order to provide recommendations to guide Kosovo's public diplomacy policy going forward.
Information about EU Culture programme and programme "Creative Europe" prepared by Tetiana Biletska, Ukraine, 2012. For project "European Cultural Foundation: opportunities for Ukrainian NGOs" funded by the International Renaissance Foundation // Информация о программах ЕС "Культура" и "Творческая Европа", подготовленная Татьяной Белецкой для проекта "Европейский культурный фонд: возможности для украинских культурных НГО", который финансировался Международным фондом "Возрождение", Украина, 2012 г., на английском языке
EU Cultural Diplomacy in the MENA RegionCrew Project
The document discusses EU cultural diplomacy in the Middle East and North Africa region. It outlines the EU's willingness to engage in cultural diplomacy through policies and committed leaders. It also discusses the capacity built through cultural programs, exchanges, and institutions. However, it notes challenges in gaining full acceptance from citizens and leaders in the region due to a lack of strategy and political challenges. Overall, the document analyzes the EU's approach to cultural diplomacy in the MENA region.
In times of the obsession with profit and growth, natural and social
resources are exploited in all corners of the world. Yet, the urge
to radically rethink the system sneaked into various levels. Many
creative and forward-looking professionals are actively searching
for new spaces of opportunity, to shape and test new modes of
economic production and responsible social fabric. Rural areas
have become relevant places for experimentation - smaller in size,
providing more time and space, with less hierarchical governance
structures.
Contemporary performing arts in a rural context are an integral
part of that exercise of imagining a different future. Moreover,
contemporary art in rural areas have been nurturing and shaping
local narratives for ages. However, contemporary artistic practices
have gone almost unnoticed in many funding schemes - both
cultural programmes and rural development funds, which tend to
focus on economic assets of only a few sectors.
In the past few years, IETM has organised a sequence of sessions
and one entire meeting on the subject of art in rural areas. Some of
the brightest art professionals engaging with rurality have created
an AREA (art in rural areas) focus group within our network
and continued their exchange during IETM events and beyond.
Through the dialogue within that group and with other members
experienced and interested in the topic, we have discovered a
fascinating, vibrant and powerful world of contemporary arts in
rural areas.
Today, more than ever, we want to turn the global attention to that
hugely important world.
When creating this publication, we realised it is urgent to find
unconventional approaches to the arts in rural areas. We need
to identify innovative solutions to support the rural arts in their
endeavour of working transversally with other sectors. We have
to seize the momentum and potential of rural arts to help reinvent
the system. Today, when our planet needs it the most.
We hope the present publication sets a strong and fertile ground
for reflecting on those ambitions. Please get in touch with us
(ietm@ietm.org) or write us on our forum (www.ietm.org/forums)
if you wish to further the debate.
We are very grateful to the three authors for their insightful and
sincere contributions. We also heartily thank our members and
other art professionals who shared their practices, stories, views
and experiences with us - through the ongoing exchange during
IETM meetings and via the open call we announced in July - August
2019. Some of the cases collected through the call are presented
in the annexes.
The publication “Arts in Rural Areas” is part of a collaborative
trajectory, which embraces three other European cultural
networks - Culture Action Europe, European Network of Cultural
Centres, and Trans Europe Halles. The policy paper “Beyond the
urban”, which you can read below, is the product of our joint work.
It is still in progress and subject to comments and suggestions
for improvement. We will pre
This document discusses strategies for promoting intercultural dialogue in Burgas, Bulgaria. It proposes that Burgas join the Intercultural Cities Network to gain access to tools and expertise for diversity. Short term strategies include organizing a Black Sea Roma Festival in 2011 to showcase Roma culture and applying to include Burgas on the map for the European Route of Roma Culture and Heritage. Long term plans involve the Open Mahala project from 2011-2015 using cultural tourism to alleviate poverty and revive the Roma neighborhood.
The CIRCE project aims to promote cultural heritage and build a common European identity. It will create 5 itineraries focused on the cultural influences of Romans, Greeks, Ottomans, Saxons and Vikings. Students will develop these itineraries virtually before physical exchanges. They will incorporate digital tools and explore tangible and intangible cultural heritage. Students will also develop 5 business ideas related to cultural tourism. The project will train teachers and develop students' skills while increasing awareness of cultural heritage.
The CReW project is a series of events coordinated by the University of Siena and financed by the EU Erasmus+ Programme. It focuses on international cultural relations between the EU and other regions. The first event took place in Rabat, Morocco in 2018 and focused on culture as an engine for sustainable development. Participants included cultural diplomats, operators, and academics who discussed EU-MENA cultural relations and case studies of cultural programs. Key recommendations included engaging local stakeholders such as civil society and governments, and establishing better coordination of cultural initiatives and strategies between the EU and MENA regions.
Cultural and Creative Sector : something to stand for! SviluppoBasilicata
This document discusses the importance of supporting the cultural and creative sector. It notes that fundamental changes in the economy and institutions require new approaches to supporting local cultural development. Specifically, the rise of large digital companies threatens local cultural industries, but these companies neglect niche markets that local initiatives could fill. Additionally, cultural power is shifting from national to local authorities, who are now major funders of creativity. The document argues that an inter-regional approach integrating local communities is needed for European cultural policy going forward.
The document outlines a proposal for a Money Show Network in 12 Greek regions in 2016. The objective is to promote business opportunities and initiatives in each region supported by local chambers of commerce and institutions. Key events in each city include a main conference, parallel conferences, B2B meetings, a symposium dinner, and accommodations. The proposal offers a title sponsorship package costing €300,000 total to sponsor exhibitions, advertising, local guides, dinners, meetings, and public relations across the 12 regions.
This document provides context and background information on refugee and migrant issues in Europe. It discusses definitions and labels used, noting the intersectionality between "refugee" and "migrant". It highlights the large numbers of forcibly displaced people globally and those attempting to cross the Mediterranean to Europe in recent years. The document also discusses Europe's obligations under international refugee law and conventions, while acknowledging the challenges refugees face in entering Europe legally. It provides background on conflicts driving displacement from the Middle East in particular.
This document outlines funding opportunities for cultural projects in Europe through the EU Culture program from 2007-2013. The program has a budget of €408 million and aims to encourage transnational cultural cooperation and dialogue. It offers grants for various cultural projects including performances, exhibitions, and training. Eligible projects must involve partners from multiple EU countries, and can also include partners from other regions. The application process is competitive and evaluations are based on the proposed project's European impact and cultural significance among other criteria. Successful applicants can receive up to 50% of project costs from the Culture program.
Athens Co-Creation City Branding Project
A presentation for:
Athens Co Creation City Branding Project, Panteion University
https://www.facebook.com/groups/344955005611178/
https://medium.com/athens-co-creation-city-branding-project
Amsterdam Light Festival 2014/2015 - Artist's BriefIQads
The document provides guidelines for artists submitting artwork proposals for the 2014-2015 Amsterdam Light Festival. Artists are encouraged to submit concepts that relate to the festival's theme of "A Bright City" and showcase Amsterdam's history, architecture, people and future. Submissions must be made through the online system by March 1, 2014 and include two PowerPoint slides and additional information. If selected, artists grant ownership of the physical artwork to the festival and publication rights, though intellectual property remains with the artist.
The Creative Europe Programme provides EU funding to support cultural and creative sectors. It has two sub-programs: Culture and MEDIA. Culture supports transnational cultural cooperation projects, literary translations, and networks to help cultural organizations operate across borders. MEDIA supports training, market access, audience development, festivals, and development of European films, TV, and games. Eligible organizations must be based in EU countries, though some training opportunities are open to non-EU countries. Applicants can find calls for proposals on the Creative Europe website and increase their chances of funding by partnering with experienced organizations and following the guidelines closely.
The Arts Council of Mongolia (ACM) is a non-governmental organization formed in 2002 to promote sustainable development of Mongolian arts and culture. In 2020, the COVID-19 pandemic posed challenges but ACM maintained its objectives. It raised $538,181 to fund 20 projects benefiting 382 artists and reaching over 16,500 people. Key achievements included virtual film and arts festivals, international exchanges, and supporting artists during the pandemic. ACM also focused on cultural heritage preservation and arts education for youth.
The Global Fine Art Awards (GFAA) is launching in 2014 to honor the best fine art exhibitions from around the world. The GFAA will recognize exhibitions in 5 categories and announce winners at a ceremony in Miami in December. The goal of the GFAA is to bring more visibility and engagement to fine art exhibitions on a global scale through both digital and live recognition of the best exhibitions each year.
SSCC is pleased to announce the start of its biggest and most ambitious project on Cultural Diplomacy. Twenty-one academic and other institutions have joined this programme which is led by SSCC and Academia Dimitri, SUPSI (The University of Applied Sciences and Arts of Southern Switzerland), and shortly, also, by the University of Salento in Italy.
The document outlines a proposal for GlobCom 2009 in Abu Dhabi to publicize the Abu Dhabi Music & Arts Foundation (ADMAF) festival and promote Abu Dhabi's culture. The objectives are to promote Abu Dhabi as a cultural center, encourage cultural initiatives, and communicate Abu Dhabi's direction through network strategies. Several strategies are proposed, including events like an international book fair, film festival, art exhibitions, and concerts to attract people to ADMAF and Abu Dhabi's cultural activities. Promotion methods involve both traditional media and new online/social media channels.
The Virtual Museum of Quality of Food project aims to create an online network of museums focused on food quality. Museums in the network must sign contracts agreeing to standards, use interactive technology to educate visitors, connect with local food producers, and allow students to visit other museums in the network internationally. The goal is to educate locals and tourists about high quality local food production through a "living museum" approach where communities and businesses collaborate. The European Union will fund up to 80% of eligible project costs, with the deadline for applications being March 19th. Framework partnership agreements for support will be signed in 2014 and 2017, providing up to 250,000 euros per year. Potential activities include information sharing, professional development, data collection and newsletters
Here are the key points about the rise of tourism and the Roman Empire:
- Tourism began among the wealthy classes in ancient civilizations like Phoenicia, Rome, Egypt, Greece, and China who traveled out of curiosity and adventure.
- As the Roman Empire expanded across Europe and the Mediterranean, travel increased both within the empire for business and politics, as well as leisure travel to popular destinations.
- The Roman road network was crucial for facilitating travel and trade throughout the empire. This helped spread Roman culture and allowed people to explore the different regions more easily.
- Wealthy Romans would travel to coastal and countryside villas to escape the heat of cities in the summer months. Their large entourages of servants
The document describes Imagine 2020, a European network of performing arts organizations working to raise awareness of climate change through art. The network included 6 partners from 4 countries for its first phase from 2008-2010, and grew to 11 partners from 9 countries for its second phase from 2010-2015. The network supported commissions, co-productions, residencies, partnerships and other artistic programming focused on climate change themes. It also organized conferences, workshops and summer labs bringing artists and scientists together. The overarching goals were to use art to contribute to the cultural shift needed for a sustainable future and to play a leading role locally while supporting each other on a European level.
The document summarizes the ADOR advertising festival in Romania. ADOR is an annual festival that awards creative advertising work across various media categories. It is organized by the Romanian Association of Advertising Agencies and includes entries from Romanian advertising agencies. The competition categories cover different media including TV, radio, print, outdoor and online advertising. Winners receive trophies for best work in each category. The top prize is the Agency of the Year award, given to the agency with the highest overall score. The 2009 festival included over 200 entries and was judged by an international jury.
Culture for Cites and Regions Dundee Study VisitGillian Easson
This document summarizes a study visit to Dundee, Scotland by a delegation of 10 European cities and regions from November 11-13, 2015. It lists the organizations visited and resources referenced during the study visit, and includes feedback from participants on what surprised them about Dundee and what they plan to do as a result of the visit, such as adopting strategies for creative industries or networking their own cities with Dundee.
The document summarizes the 2012 Annual Congress of FEJS Austria and FEJS International that will take place from April 19-24 in Vienna. The congress will address the topic "The European Crisis: A Mission for Journalists" and examine pan-European media projects and challenges in European coverage. Participants will be split into workshops on topics like covering Europe, Brussels, online media, and education. The deadline for applications is February 13, with up to 100 participants accepted and requirements to submit a 3,000-10,000 character assignment on a workshop topic.
The document provides information about Collaboration Grants from the European Cultural Foundation (ECF) to fund cross-sectoral cultural collaboration projects in Europe. It outlines the eligibility criteria, including that projects must involve partnerships between cultural and non-cultural organizations working together on artistic or cultural projects. It also describes what types of projects and costs are eligible or ineligible for funding, and explains that the average grant is €15,000-€30,000. Selection of projects is based on the degree of cross-sectoral collaboration and European dimension.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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The document outlines a proposal for a Money Show Network in 12 Greek regions in 2016. The objective is to promote business opportunities and initiatives in each region supported by local chambers of commerce and institutions. Key events in each city include a main conference, parallel conferences, B2B meetings, a symposium dinner, and accommodations. The proposal offers a title sponsorship package costing €300,000 total to sponsor exhibitions, advertising, local guides, dinners, meetings, and public relations across the 12 regions.
This document provides context and background information on refugee and migrant issues in Europe. It discusses definitions and labels used, noting the intersectionality between "refugee" and "migrant". It highlights the large numbers of forcibly displaced people globally and those attempting to cross the Mediterranean to Europe in recent years. The document also discusses Europe's obligations under international refugee law and conventions, while acknowledging the challenges refugees face in entering Europe legally. It provides background on conflicts driving displacement from the Middle East in particular.
This document outlines funding opportunities for cultural projects in Europe through the EU Culture program from 2007-2013. The program has a budget of €408 million and aims to encourage transnational cultural cooperation and dialogue. It offers grants for various cultural projects including performances, exhibitions, and training. Eligible projects must involve partners from multiple EU countries, and can also include partners from other regions. The application process is competitive and evaluations are based on the proposed project's European impact and cultural significance among other criteria. Successful applicants can receive up to 50% of project costs from the Culture program.
Athens Co-Creation City Branding Project
A presentation for:
Athens Co Creation City Branding Project, Panteion University
https://www.facebook.com/groups/344955005611178/
https://medium.com/athens-co-creation-city-branding-project
Amsterdam Light Festival 2014/2015 - Artist's BriefIQads
The document provides guidelines for artists submitting artwork proposals for the 2014-2015 Amsterdam Light Festival. Artists are encouraged to submit concepts that relate to the festival's theme of "A Bright City" and showcase Amsterdam's history, architecture, people and future. Submissions must be made through the online system by March 1, 2014 and include two PowerPoint slides and additional information. If selected, artists grant ownership of the physical artwork to the festival and publication rights, though intellectual property remains with the artist.
The Creative Europe Programme provides EU funding to support cultural and creative sectors. It has two sub-programs: Culture and MEDIA. Culture supports transnational cultural cooperation projects, literary translations, and networks to help cultural organizations operate across borders. MEDIA supports training, market access, audience development, festivals, and development of European films, TV, and games. Eligible organizations must be based in EU countries, though some training opportunities are open to non-EU countries. Applicants can find calls for proposals on the Creative Europe website and increase their chances of funding by partnering with experienced organizations and following the guidelines closely.
The Arts Council of Mongolia (ACM) is a non-governmental organization formed in 2002 to promote sustainable development of Mongolian arts and culture. In 2020, the COVID-19 pandemic posed challenges but ACM maintained its objectives. It raised $538,181 to fund 20 projects benefiting 382 artists and reaching over 16,500 people. Key achievements included virtual film and arts festivals, international exchanges, and supporting artists during the pandemic. ACM also focused on cultural heritage preservation and arts education for youth.
The Global Fine Art Awards (GFAA) is launching in 2014 to honor the best fine art exhibitions from around the world. The GFAA will recognize exhibitions in 5 categories and announce winners at a ceremony in Miami in December. The goal of the GFAA is to bring more visibility and engagement to fine art exhibitions on a global scale through both digital and live recognition of the best exhibitions each year.
SSCC is pleased to announce the start of its biggest and most ambitious project on Cultural Diplomacy. Twenty-one academic and other institutions have joined this programme which is led by SSCC and Academia Dimitri, SUPSI (The University of Applied Sciences and Arts of Southern Switzerland), and shortly, also, by the University of Salento in Italy.
The document outlines a proposal for GlobCom 2009 in Abu Dhabi to publicize the Abu Dhabi Music & Arts Foundation (ADMAF) festival and promote Abu Dhabi's culture. The objectives are to promote Abu Dhabi as a cultural center, encourage cultural initiatives, and communicate Abu Dhabi's direction through network strategies. Several strategies are proposed, including events like an international book fair, film festival, art exhibitions, and concerts to attract people to ADMAF and Abu Dhabi's cultural activities. Promotion methods involve both traditional media and new online/social media channels.
The Virtual Museum of Quality of Food project aims to create an online network of museums focused on food quality. Museums in the network must sign contracts agreeing to standards, use interactive technology to educate visitors, connect with local food producers, and allow students to visit other museums in the network internationally. The goal is to educate locals and tourists about high quality local food production through a "living museum" approach where communities and businesses collaborate. The European Union will fund up to 80% of eligible project costs, with the deadline for applications being March 19th. Framework partnership agreements for support will be signed in 2014 and 2017, providing up to 250,000 euros per year. Potential activities include information sharing, professional development, data collection and newsletters
Here are the key points about the rise of tourism and the Roman Empire:
- Tourism began among the wealthy classes in ancient civilizations like Phoenicia, Rome, Egypt, Greece, and China who traveled out of curiosity and adventure.
- As the Roman Empire expanded across Europe and the Mediterranean, travel increased both within the empire for business and politics, as well as leisure travel to popular destinations.
- The Roman road network was crucial for facilitating travel and trade throughout the empire. This helped spread Roman culture and allowed people to explore the different regions more easily.
- Wealthy Romans would travel to coastal and countryside villas to escape the heat of cities in the summer months. Their large entourages of servants
The document describes Imagine 2020, a European network of performing arts organizations working to raise awareness of climate change through art. The network included 6 partners from 4 countries for its first phase from 2008-2010, and grew to 11 partners from 9 countries for its second phase from 2010-2015. The network supported commissions, co-productions, residencies, partnerships and other artistic programming focused on climate change themes. It also organized conferences, workshops and summer labs bringing artists and scientists together. The overarching goals were to use art to contribute to the cultural shift needed for a sustainable future and to play a leading role locally while supporting each other on a European level.
The document summarizes the ADOR advertising festival in Romania. ADOR is an annual festival that awards creative advertising work across various media categories. It is organized by the Romanian Association of Advertising Agencies and includes entries from Romanian advertising agencies. The competition categories cover different media including TV, radio, print, outdoor and online advertising. Winners receive trophies for best work in each category. The top prize is the Agency of the Year award, given to the agency with the highest overall score. The 2009 festival included over 200 entries and was judged by an international jury.
Culture for Cites and Regions Dundee Study VisitGillian Easson
This document summarizes a study visit to Dundee, Scotland by a delegation of 10 European cities and regions from November 11-13, 2015. It lists the organizations visited and resources referenced during the study visit, and includes feedback from participants on what surprised them about Dundee and what they plan to do as a result of the visit, such as adopting strategies for creative industries or networking their own cities with Dundee.
The document summarizes the 2012 Annual Congress of FEJS Austria and FEJS International that will take place from April 19-24 in Vienna. The congress will address the topic "The European Crisis: A Mission for Journalists" and examine pan-European media projects and challenges in European coverage. Participants will be split into workshops on topics like covering Europe, Brussels, online media, and education. The deadline for applications is February 13, with up to 100 participants accepted and requirements to submit a 3,000-10,000 character assignment on a workshop topic.
The document provides information about Collaboration Grants from the European Cultural Foundation (ECF) to fund cross-sectoral cultural collaboration projects in Europe. It outlines the eligibility criteria, including that projects must involve partnerships between cultural and non-cultural organizations working together on artistic or cultural projects. It also describes what types of projects and costs are eligible or ineligible for funding, and explains that the average grant is €15,000-€30,000. Selection of projects is based on the degree of cross-sectoral collaboration and European dimension.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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Accurate understanding of land use and cover is imperative for the development planning
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9
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2. 2
Introduction
The Burden of Memory is a platform for cultural practitioners from Africa who work on the confrontation with
German colonial past in their countries in various artistic forms. In 2018 a group of seven experts conducted
a mapping of contemporary cultural productions dealing with German colonial history in Burundi, Cameroon,
Germany, Namibia, Rwanda, Tanzania and Togo. Their findings were brought together in a conference in
Daressalam (Tanzania) and published. Based on this first inventory a curatorial team consisting of Princess
Marilyn Douala Manga Bell, Rose Jepkorir Kiptum and Nontobeko Ntombela formed the concept for a
cultural week bringing selected formats together and curated The Burden of Memory. Considering German
Colonial History in Africa. In November 2019 artists from six countries in Africa and Germany were invited
to participate in this cultural week in Yaoundé (Cameroon) to present their cultural productions reflecting
German colonial history and its impacts on contemporary society. During the event, over a hundred artists,
cultural practitioners and intellectuals from countries that had experienced a period of German colonial rule
in Africa got into contact, presented their works, discussed and created a network.
In continuation of the project, the Goethe-Institut has set up a special fund for future cultural co-productions
that bring about new artistic positions on (German) colonialism beyond national borders. The fund offers to
artists of all genres the possibility to cooperate across borders on new formats and create visions how to
deal with the entanglements and tragedies caused by German colonialism in Africa.
CALL FOR PROJECTS
The Burden of Memory-Project Fund
3. 3
We call upon artists from Burundi, Cameroon, Namibia, Rwanda, Tanzania and Togo to propose projects in
cooperation with partners and apply for the fund. The call is addressed at all artists and cultural practitioners
from those countries, independent from having participated in the cultural week 2019 or not.
Criteria for application
Applicants must be based in one of the following countries: Burundi, Cameroon, Namibia, Rwanda,
Tanzania, Togo
Proposed projects must be coproductions or at least have strong elements of collaboration between at
least two of the eligible countries
Proposed projects must reflect on colonialism and its impact on contemporary society
Projects which have started before November 2019 cannot be funded.
Projects can be supported by the fund within a range of 5.000€ to 20.000€. A professional and realistic
budget plan is mandatory.
Project applications must convincingly show the feasibility of collaborative production, preparation and
presentation within the year 2020 and within the frame of the budget plan.
Proposed projects must show convincing concepts, how to ensure international cooperation in times of
travel restrictions, regulations on physical distancing, avoidance of health risks for all participants
Applying in epidemic times
Since March 2020 the world is struck by an epidemic, which led governments all over the world and in all
participating countries to introduce measures to curb its expansion. Everywhere international travel has
been severely restricted, public institutions have been temporarily closed. We are aware of the difficulty this
situation poses to this programme which encourages international exchange and coproduction. Applicants
are asked to take this situation into account and to propose convincing concepts on how to deal with it. In
The Burden of Memory-Project Fund
CALL FOR PROJECTS
4. 4
view of these unusual circumstances we advise applicants to reduce physical travel in the process of project
development to an absolute minimum and to a feasible level. Expenses originally planned for travel could
be entered in the budget plan in enhanced digital communication facilities.
Aims
With the The Burden of Memory Project Fund the Goethe-Institut supports inner-African exchange of artists
and their innovative ideas. The facilitation of such an exchange and networking between the artists is as
important as the productions resulting from the fund. The joint application must show clearly that good
working contacts are being established between partners and that all parties are interested in putting
together a production based on open dialogue.
The The Burden of Memory Project Fund promotes projects that show new and innovative approaches
towards the entanglements and tragedies caused by German colonialism in Africa and propose new ways of
cooperation aiming at alternate futures. Therefore the funded projects have to be presented publicly within
2020 in a location of the applicant’s choice. Costs for the presentation have to be included realistically in
the budget plan.
The projects will be selected based on innovative approach of the project, expected artistic quality of the
project, cross-border aspect and proof of feasibility under restricted travel conditions.
Jury
The selection will be done by a jury consisting of:
Chantal Djedje (Cote d’Ivoire)
Rose Jepkorir Kiptum (Kenya)
Jay Pather (South Africa)
How to apply?
Applications exclusively via Email and with the provided application form below.
Deadline for Application: July 11th 2020.
Applications to be sent to: soraya.sone@goethe.de and prog-yaounde@goethe.de
For questions on the application procedure, please contact soraya.sone@goethe.de
CALL FOR PROJECTS
The Burden of Memory-Project Fund
5. 5
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
5
1 MAIN APPLICANT INFORMATION
Family name
First name(s)
Country
Address
Phone number WhatsApp yes no
Email address
Short Biography
(max. 200 words)
Internet links to reference works (if applicable)
2 CO-APPLICANT INFORMATION
Project partner 1
Name
City
Country
Basic information (Profile, biographical points, art genre, background, etc.)
Email-Address
WHO ARE YOU?
6. 6
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
6
Project partner 2
Name
City
Country
Basic information (Profile, biographical points, art genre, background, etc.)
Email-Address
Project partner 3
Name
City
Country
Basic information (Profile, biographical points, art genre, background, etc.)
Email-Address
Project partner 4
Name
City
Country
Basic information (Profile, biographical points, art genre, background, etc.)
Email-Address
More than 5 (co-)applicants ? yes indicate in email
7. 7
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
7
WHAT IS YOUR IDEA?
3 PROJECT DETAILS
Title of the Production / Project
Genre(s) of Art
Dance Music Theatre Performance Video Art
Film Literature Spoken Word Installation Visual Art
Digital Art Graphic Novel Other
Format(s)
(for example Exhibition, Performance, etc.)
Target Audience
Short description of the project
(max. 200 words)
8. 8
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
8
Detailed description of the project
(max. 1.500 words)
9. 9
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
9
What will the presentation look like ? (format of presentation, space requirements, audience, etc.) (max. 100 words)
Timetable of activities
Project
Phase
Time period
Activities
(Research, meetings,
Preparations, Production,
Rehearsal, Presentation, etc.)
Place(s) Persons involved
1
2
3
4
5
6
7
HOW WILL YOU DO THAT?
10. 10
The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
10
Main Place(s) of work / Production
Project starting date
How will you ensure cooperation and coproduction with partners, if physical travel will be restricted?
Have you you applied for any other funding for this project? Yes No
If yes, which kind of funding did you apply for? And has your application been successful?
BUDGET PLAN
WHAT ABOUT FINANCES?
Fees & Honoraries
Function Roles Cost per unit Quantity Total
1
2
3
4
5
6
7
8
9
10
11
12
13
14
TOTAL FEES & HONORARIES
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The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
11
Travel costs
Travel costs - Flights
From... to... who is travelling ? Cost per Unit Quantity Total
2
3
4
5
6
7
8
9
10
11
12
13
14
TOTAL TRAVEL COSTS - FLIGHTS
Travel costs - Other international Travel
Where ? Who? Cost per unit Quantity Total
1
2
3
4
5
6
7
8
9
10
11
12
13
14
TOTAL TRAVEL COSTS - OTHER INTERNATIONAL TRAVEL
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The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
12
Travel costs - Local transport
Where ? Who? Cost per unit Quantity Total
1
2
3
4
5
6
7
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9
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12
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14
TOTAL TRAVEL COSTS - LOCAL TRANSPORT
Travel costs - Accomodation
Where ? Who ? Cost per unit Quantity Total
1
2
3
4
5
6
7
8
9
10
11
12
13
14
TOTAL TRAVEL COSTS - ACCOMODATION
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The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
13
Travel costs - Other (visa, insurance, perdiems, hospitality, etc.)
Name Cost per unit Number of
days
Total
Perdiem
Visa
Insurance
Hospitality
Perdiem
Visa
Insurance
Hospitality
Perdiem
Visa
Insurance
Hospitality
Perdiem
Visa
nsurance
Hospitality
TOTAL TRAVEL COSTS - OTHER
TOTAL TRAVEL COSTS
Production costs
Cost per unit Quantity Total
Services
Equipment
Other
Digital
communication *
TOTAL PRODUCTION COSTS
Communication
Cost per unit Quantity Total
PR
Print
Other
TOTAL COMMUNICATION
* (modems, internet cost, etc. in order to reduce necessity of physical travel)
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The Burden of Memomry-Project Fund
The Burden of Memory-Project Fund
14
Presentation costs (for example rent of space, services, additional fees, rent of equipment, etc.)
Cost per unit Quantity Total
TOTAL PRESENTATION COSTS
TOTAL BUDGET PLAN
Income
The Burden of Memory Project Fund (amount applied for)
Own contribution (if applicable)
Other funding (if applicable)
TOTAL INCOME
Hints for planning your budget:
Sustainability is an important factor and can reduce your expenses considerably. Think about which international
travels are absolutely essential and which kind of activities can also be done in an online exchange.
The public presentation of your production is an integral part of the project. Please include the costs for the
presentation in the end realistically (travel expenses, set up, PR, location, etc.)
.
Applications to be sent to: soraya.sone@goethe.de and prog-yaounde@goethe.de
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