Archivi tag: progetti cooperazione cultura

Priorità dei Progetti di cooperazione, Cultura, Europa Creativa

Le nuove priorità del bando Progetti di cooperazione, Cultura, Europa Creativa, in scadenza nel 2015

Il nuovo bando uscito pochi giorni fa ha modificato le priorità rispetto al bando scaduto nel 2014, in particolare le ha semplificate e descritte in miglior dettaglio. Vedi Guidelines p.3-6.

2.1 Programme priorities

According to the framework referred to under section 1 of these guidelines, the programme seeks to support projects mainly working on transnational mobility, audience development (accessible and inclusive culture) and capacity building (notably digitisation, new business models and education and training). These programme priorities are spelt out here below, in 5 groups (A, B, C1, C2 and C3). The short description of capacity building under C is only for illustrative and background purposes.

Supported projects shall therefore include a substantiated strategy and detailed description of how they plan to implement one or more of these programme priorities. When submitting their applications through the online application system referred to in section 14.3, applicants must tick a maximum of 3 of these 5 priorities, which are the most relevant to their project, and rank these 3 priorities by order of relevance.

On top of the specific features of the scheme and in compliance with the principle of subsidiarity, the supported projects shall contribute to create European added value as defined in Article 5 of Regulation No 1295/2013 establishing the Creative Europe Programme.

A) Transnational mobility

What is entailed here is the transnational mobility of artists and professionals, as well as the transnational circulation of cultural and creative works, the aim of which is to promote cultural exchanges, intercultural dialogue, understanding for cultural diversity and social inclusion.

Transnational mobility is embedded in the cooperation projects. However, it must be         aimed at more than the mere coordination, administration and implementation of the project. Mobility is about results, not just a matter of travelling across borders.

Projects addressing this priority must conceive and describe a real cross-border mobility strategy, which might be aimed at, amongst others:

  • capacity building for cultural operators involved in the project to work transnationally and internationally,
  • creation, production,
  • improving professional skills, peer learning, education/training,
  • career opportunities for artists and professionals to work transnationally and internationally,
  • accessing new markets,
  • creating network possibilities, building partnerships and contacts,
  • reaching new and wider audiences,
  • triggering intercultural dialogue and respect for diverse cultures and cultural expressions.

Partnerships with operators from outside the EU should reflect the concept of the role of culture in the EU’s external relations, as spelt out in the European Agenda for Culture referred to in section 1.

B) Audience development

Audience development means bringing people and culture closer together. It aims to directly engage people and communities in experiencing, enjoying and valuing arts and culture. Audience development is about doing something together with audiences, rather than doing something for them.

Audience development is an important new priority in Creative Europe which helps European artists/cultural professionals and their works reach as many people as possible across Europe and extend access to cultural works to under-represented groups.

In developing a strategy for audience development, the goal could be to widen audiences, to diversify them or to deepen the relationship with existing audiences (or a combination of these). The applicants are supposed to know who their current audiences are and what target groups they want to reach. Audience development should be an integral part of the project – through involving audiences in the programming, production, participatory art, physical dialogue, social media interaction, volunteering or creative partnerships with other sectors (health, education, retail, etc.).

The implementation of an audience development strategy will typically require that staff members are trained and assigned specifically to audience development tasks. Training should be an essential part of any such strategy. Applicants should also do research prior to establishing a strategy and they should seek to apply segmentation models. Monitoring progress and success of the audience development activities, amongst others by collecting audience feedback (in a formal or informal way), is a good practice.

Possible directions to be taken:

  • projects focusing on creating audience development skills for cultural operators/artists as one of their main goals;
  • projects involving co-creations, co-productions, touring, etc. having a clear strategy for audience development to accompany the project, so that they do not focus solely on the “supply side” but also on the “demand side”, ensuring that the activities have the largest possible impact;
  • requiring that projects involving residences or exchange schemes for artists seek to interact with local communities and audiences, rather than confining their mobility experience to their immediate peers.

C) Capacity building

  • Capacity building means helping cultural operators to further develop their skills and internationalise their careers in order to facilitate access to professional opportunities as well as to create the conditions for greater transnational circulation of cultural and creative works and for cross-border networking. This can happen in manifold ways. The main 3 are spelt out here below, and each of them constitutes a programme priority in its own right.       C.1) DigitisationThe digital shift is having a massive impact on how cultural and creative goods are made, disseminated, accessed, consumed and monetised. These changes offer wide opportunities for the cultural and creative sectors. In order to use those opportunities, the cultural and creative sectors need to develop new skills allowing for new production and distribution methods and new business models.The Creative Europe Culture Sub-programme therefore supports projects of a transnational nature that will allow the actors of the cultural and creative sector to adapt to the digital shift, encouraging the use of digital technologies from production to distribution and consumption. Activities might include the organisation of workshops, the testing of new delivery channels via digital means or the development of tools for digitisation of cultural content. These – and other – activities will in most cases be closely linked to audience development or new business models, and the applicants should acknowledge these links and explain what the main objective of the action is.

    Projects that seek to address this priority should have an innovative approach and go beyond the mere digitisation of contents.

                C.2) New business models

    The opportunities offered by the new technologies make it necessary to develop and test new models of revenue, management and marketing for the cultural sectors. At the same time, the cultural and creative operators should enhance their financial and business skills, to allow them to better perform at the market and to take full advantage of the funding opportunities that are changing along with the financial context.

    The Creative Europe Culture Sub-programme supports transnational projects that enhance the business skills of the cultural and creative actors, to allow them to better understand the changing economic context and find new sources of revenue or new management models allowing for better performance and lower costs. These might include (not exhaustively) the organisation of workshops, the setting up of co-working and co-creation spaces, the development and testing of new business and management approaches and other activities linked to entrepreneurial skills for the cultural and creative sectors.

    Applicants should keep in mind the close links between this priority and the other priorities (digitisation, audience development) and define their primary objective and the effects of the action on the other priorities.

C.3) Training and education

Enabling people to gain new skills which will enrich their professional life and embrace their chances on the labour market is one of the overarching priorities of EU action. Obviously, artistic and cultural education and training are an integral part of this effort.

The Creative Europe Culture Sub-programme supports transnational projects which offer to the participants the opportunity to acquire new skills and improve their employability, be it through formal learning at recognised schools which participate in projects or through non-formal activities focused on artistic learning or on soft skills in the culture and art sector.

Logical combining of this priority with the others is a good practice and needs to be well explained.

Se sei interessato a ripresentare un progetto di cooperazione cultura non approvato, leggi questa pagina.

Articolo contenuto sul sito www.aiuto.net. Autore © Leonardo Evangelista.  Vedi Informativa privacy, cookie policy, copyright e limitazione responsabilità.

Lo Chef consiglia: Support to European Cooperation Projects Creative Europe

Bando progetti di cooperazione Cultura Europa Creativa, scadenza 7 ottobre 2015

Nel nostro menù di oggi un  bando in scadenza il 7 ottobre 2015. Il bando finanzia progetti di cooperazione in ambito culturale.

I documenti sono disponbili a partire da questa pagina.

Organisations wishing to apply for ‘Support to European cooperation projects’ are invited to submit applications online by 7 October 2015, 12:00 noon (midday, Brussels time) to the Education, Audiovisual and Culture Executive Agency in Brussels.

The Guide for applicants is intended to help applicants through the process of preparing an application.

Before starting your application:

1. Read the Call for proposals, the Guidelines and the Guide for applicants carefully.

2. Applicants must have an ECAS (European Commission Authentication Service) account. If you already have an ECAS account, you may use it. Otherwise, click here to create an ECAS account. When you have created your ECAS account, return to this page.

Useful reading:

Next to the Guide for applicants, you may want to consult following documents:

You are now ready to start the application process:

1. The applicant and all partner organisations must be registered in the Participant Portal. Organisations that register in the Portal receive a Participant Identification Code (PIC) that will be requested in the application form.
Given that each applicant organisation should use only one PIC code, please first check with your legal representative’s office whether such a PIC number has already been created for your organisation. If this is the case, you may use this PIC code to create your electronic application form.

For practical details on how to use the Participant Portal, please consult the followingpresentation.

2. If not, your organisation should register in the Participant Portal. To access the Participant Portal, you will also need your ECAS username and password.

Applicants should attach in the Portal:

a. Legal entity form accompanied by the required annexes

3. Create your official electronic application form, also called the eForm (please refer to the eForm section).

Completing your application

1. Do not forget also to complete the compulsory annexes to the eForm.

2. Once you have completed the eForm and attached the annexes, validate it. This triggers an automatic check that informs you if your application form is complete. If this is the case, you can submit it online.

3. When you have submitted your application online, you should receive a confirmation email and reference number. If not, contact the helpdesk.

4. Prepare your application package following the instructions in the Guidelines and the Guide for applicants.

Please carefully read the Guide for applicants for instructions on how to prepare the annexes to the eForm and your application package. Annex 2 of the Guidelines provides a check list of all documents that must be submitted with your application.

Mandatory template documents

Presentare progetti europei

Questo sito è stato trasferito all’indirizzo www.servizieuroprogettazione.it

 

Criteri di valutazione progetti di Cooperazione Cultura Europa Creativa

Criteri di valutazione progetti di Cooperazione Cultura Europa Creativa BANDO IN SCADENZA 7 ottobre 2015

Nel bando in scadenza 2015 i criteri di valutazione (vedi Guidelines p. 13-15) sono stati modificati, in particolare il peso del parametro relevance è diminuito a 30/100.

Eligible applications will be assessed on the basis of the following criteria:

Criteria Definition Maximum points
1. Relevance Does the application contribute to the objectives and priorities of the scheme? 30
2. Quality of the content and activities How is the project implemented? 30
3. Communication and dissemination What is the project’s approach to communicating its activities and to sharing knowledge and experiences with the sector and across borders? 20
4. Quality of the partnership What is the quality of the partnership in terms of effective implementation and sustainability? 20
  1. Relevance (30)

This criterion evaluates how the project will contribute, on the basis of the programme priorities referred to in section 2 of these guidelines, to reinforcing the sector’s professionalization and capacity to operate trans-nationally and internationally, to promoting transnational circulation of cultural and creative works and mobility of artists, to reaching new and enlarged audiences and to improving access to cultural and creative works. To this end, the project should include a substantiated strategy to implement the programme priority(ies)  spelt out in section 2, answering the following questions:

  • How relevant is the project’s strategy to implement one or more of the following priorities considered as instrumental to the achievement of the objectives of the Sub-programme:
    • Transnational mobility of artists and professionals and/or transnational circulation of cultural and creative works
    • Audience development
    • Capacity building in view of adapting to the digital shift and encouraging the use of digital technologies
    • Capacity building in view of enhancing business skills
    • Capacity building in view of acquiring new skills and improving employability
  • How convincing, clearly defined and innovative are the strategies proposed to achieve the above priority(ies) that the project seeks to implement?
  • To what extent is the project aiming at producing results which will go beyond the sole interest of the partners and direct participants and have potential long-term impacts?
  • To what extent is the project complementary to cultural actions implemented at national, regional or local level?
  1. Quality of the content and activities (30)

This criterion evaluates how the project will be implemented in practice (quality of the activities and the deliverables, the experience of the staff in charge of the project and working arrangements).

  • How concrete and well defined are the activities to be implemented in the framework of the project?
  • How clearly related are the objectives and activities of the project to the identified needs of the target groups?
  • Are there concrete and well defined outputs (deliverables) and how appropriate are they towards the overall objectives of the project?
  • Is a qualitative and quantitative assessment of the results foreseen and how clear and appropriate is it?
  • How relevant is the experience of the team taking part in the project, for example in terms of organisational skills, experience and track record in the cultural and creative sectors, communication and language skills? To this purpose, the CVs of the persons responsible for the submitted project within the applicant organisation and each partner institution will be assessed.
  • How appropriate is the allocation of the budget and human resources to the activities undertaken in the framework of the project?
  • How clear and realistic is the time-table for implementing the project activities?
  1. Communication and dissemination (20)

This criterion evaluates the project’s approach to communicating its activities and results and to sharing knowledge and experiences with the sector and across borders. The aim is to maximise the impact of the project results by making them available as widely as possible at local, regional, national and European levels, so that they have a reach beyond those directly involved in the project and an impact beyond the project’s lifetime.

  • How clear and appropriate is the strategy to communicate on the activities of the partners’ network, including the objectives, target groups, tools[1], channels[2], media, impact and timeline?
  • How will EU support be made visible throughout the duration of the project and beyond and contribute to a positive image of the EU?
  • How and to whom will the experience and knowledge acquired through the project be disseminated at local, regional, national and/or European level, including beyond the duration of the project?
  1. Quality of the partnership (20)

This criterion evaluates the extent to which the general organisation and co-ordination of the project will ensure the effective implementation of the activities and will contribute to their sustainability.

  • How is the partnership defined and to what extent does it ensure a strong involvement of all partners and a clear division of tasks between them?
  • How will the partnership be made to last beyond the duration of the project?
  • To what extent does the partnership go beyond the organisations’ direct geographical neighbours and draw partners from a diverse geographical range of participating countries?
  • Only for projects involving partnership with organisation(s) established in those countries referred to under points 2, 4 and 5 of section 6.1 of these guidelines: To what extent does the partnership with operators from outside the EU reflect the concept of the role of culture in the EU’s external relations, as spelt out in the European Agenda for Culture?

[1] Examples of “tools” are publications, promotional material: leaflets, posters, gadgets, audio-visual material, newsletters, data bases, etc.

[2] Examples of “channels” include internet, social media (Facebook, Twitter, Youtube), events: conferences, seminars, workshops, etc.

Se sei interessato a ripresentare un progetto di cooperazione cultura non approvato, leggi questa pagina.

Articolo contenuto sul sito www.aiuto.net. Autore © Leonardo Evangelista.  Vedi Informativa privacy, cookie policy, copyright e limitazione responsabilità.

Bando in prossima scadenza: Progetti di cooperazione, Cultura, Europa Creativa

Analisi del bando Progetti di cooperazione, sotto programma Cultura, programma Europa Creativa SCADENZA 2015

1. Siti per informazioni

2. Cosa finanzia la misura Guidelines in inglese p.3-6

Priorità (in maiuscolo i temi individuati, in minuscolo il testo ripreso dalle Guidelines)

  1. MOBILITA’ TRANSNAZIONALE DI OPERE E ARTISTI
  2. SVILUPPO DEL PUBBLICO
  3. UTILIZZO DELLE NUOVE TECNOLOGIE DELL’INFORMAZIONE
  4. NUOVI MODELLI DI BUSINESS
  5. FORMAZIONE

3. A chi si presentano i progetti e entro quale scadenza (pag.5)

  • A EACEA 7 ottobre 2015

4. Soggetti ammessi a presentare progetti: numero minimo, natura giuridica, Paesi (pag.7)

  • cooperazione di piccola scala almeno 3 soggetti di 3 paesi diversi
  • cooperazione su larga scala almeno 6 soggetti di 6 paesi diversi

Sono ammessi Paesi UE e Paesi vicini, vedi https://eacea.ec.europa.eu/sites/eacea-site/files/eligible-countries_en.pdf e http://eacea.ec.europa.eu/culture/programme/who_participate_en.php

Sono ammessi soggetti pubblici (vedi definizione) e privati no profit  attivi nel settore creativo e costituiti da almeno 2 anni http://eacea.ec.europa.eu/culture/programme/who_participate_en.php

5. Durata dei progetti

  • Max 48 mesi
  • Avvio progetti di piccola scala maggio-dicembre (o prima in casi giustificati)
  • Avvio progetti su larga scala giugno-dicembre (o prima in casi giustificati)

6. Numero max di progetti presentabili e a cui si può partecipare

  • I coordinatori di progetti su larga scala approvati non possono presentare progetti su larga scala finché il progetto non è terminato (pag. 8).

7. Finanziamento min e max e cofinanziamento minimo, voci di costo finanziabili e modalità, ammissibilità costi di personale per cofinanziamento

  • Finanziamento 60% per progetti piccola scala (max 200.000), 50% progetti su grande scala (max 2.000.000).
  • Budget a costi veri, incluse spese di personale

8. Documenti da allegare al formulario e in che formato (file / su carta)

La documentazione va spedita per posta prima della scadenza (pag.6 e 11)

File principale PDF (da aprire solo con Acrobat) più allegati:

 

Attached to the e-form:
 Detailed description of the project, including a substantiated strategy for addressing the selected programme priorities
 Declarations on honour and mandates*

– Signed declaration on honour on legal status and operational and financial capacity*

– Signed declaration on honour concerning exclusion criteria* (only if grant > EUR 60 000)

– Mandate letters* signed by the legal representative of each partner and the legal representative of the project leader

 Budget form* (Excel or open office)
 Partnership information*
In the application package:
 Statutes/articles of association of the project leader and each of the partners
 Cooperation agreement signed by the legal representative of each partner and the legal representative of the project leader
 Signed budget form*
 Copies of activity reports of the project leader and each of  the partners of the last two years (only if grant > EUR 60 000)
 Signed financial identification form* and the required annexes (for project leader)
 Financial capacity form* (only if grant > EUR 60 000) (for project leader) (not required for public bodies)
 Financial statements (including balance sheet and profit and loss accounts) of the project leader for the last two financial years for which the accounts have been closed (only if grant > EUR 60 000) (not required for public bodies)
 External audit report produced by an approved external auditor, certifying the accounts of the project leader of the last available financial year (only if grant > 750 000) (not required for public bodies)
Uploaded in the Participant Portal:
 Signed legal entity form* and the required annexes

Note: Where documents need to be signed, the signature has to be the one of the legal representative of the organisation.

Note: For documents with an * mandatory templates are to be found at https://eacea.ec.europa.eu/creative-europe/funding/cooperation-projects-2016_en

9. Altro rilevante:

  • Criteri di valutazione dettagliati pp 12-13
  • Necessario PIC per tutti i partner

10. Esempi di progetti (p. 4 e 5)

Exchanges of cultural players with a view to capacity-building enabling cultural players to acquire the skills and know-how needed to adapt to their changing environment (digital shift, new business and management models, new approaches to audience development, helping small organisations develop business readiness in applying for bank loans). This can include training sessions, workshops, the preparation of materials, websites for this purpose, etc.;

Exchanges of cultural players between countries, including extended stays and residencies, which will help artists/cultural professionals with the development of their careers. During mthese stays, the activities can include artistic creation, including co-creations and coproductions, which are then performed or exhibited and toured between different countries. As far as possible they should also include training and activities in audience development and interaction with local communities, including efforts to reach usually under-represented groups;

Cultural organisations (e.g. concert halls, opera houses, theatres, festivals, orchestras, music groups, theatre groups, etc.) from different countries coming together to co-produce and/or perform and tour in different venues/events in different countries, or at a single event on condition that the event has a very large and recognised international reach with the capacity to have a multiplier effect in other countries. The co-productions can include new or avant-garde works. Promotional and audience development activities must be included in order to attract larger audiences, help make complex works accessible to the audience, and extend access to under-represented groups. The activities should help artists/cultural professionals with their careers, help artists and works reach more audiences across Europe and beyond, help extend the lifespan of productions and the organisations to develop sustainable cooperation with new partners in other countries and new professional opportunities for them.

Transnational exchanges of artefacts with a particular European dimension: these do not necessarily create new works, but may enable new and existing works to circulate, for example, through exhibitions that tour between the different partners or through a museum in one country loaning exhibits to museums in other countries, with special attention being paid to extending and enlarging the audiences for these works, and extending the lifespan of exhibitions.

Se sei interessato a ripresentare un progetto di cooperazione cultura non approvato, leggi questa pagina.

Articolo contenuto sul sito www.aiuto.net. Autore © Leonardo Evangelista.  Vedi Informativa privacy, cookie policy, copyright e limitazione responsabilità.