TITLE OF THE PROJECT INHABITING MOBILITY / CIRCULATING ENTITIES

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1 TITLE OF THE PROJECT INHABITING MOBILITY / CIRCULATING ENTITIES OUTLINE OF THE PROJECT IDEA KEY WORDS: MOBILITY, DIVERSITY, PARTICIPATORY ART, AUDIENCE ENGAGEMENT, INTERDISCIPLINARY LEAD PARTNER DESCRIPTION: The Basilicata Region supports the city of Matera s bid to European Capital of Culture in 2019 by participating in cooperation projects in the framework of the Creative Europe programme. Through the Matera 2019 Committee, transnational partnerships are fostered in order to implement the European dimension of the city s bid. Built around the concept TOGETHER TO GET THERE, Matera 2019 s cultural programme is structured on 5 themes: 1) Ancient Futures 2) Roots & Routes 3) Reflections & Connections 4) Continuity & Disruptions 5) Utopias & Dystopias. Inhabiting Mobility / Circulating entities is the pilot project of the Roots & Routes thematic: Cultures do not stand still, in spite of firm foundations. The sense of movement is etched in Europe s culture, affected for hundreds of years by flows and cycles of humans, animals and goods. The diversity and richness of European culture derives from this motion both in time and in space. Artistic practices and creativity are directly and closely linked to mobility. Questioning this mobility from a contemporary angle, however, leads us to perceive diversity in the cultural and creative sector from a different perspective: nowadays, regional socio economic differences in Europe determine the struggle both of artists and audiences to access the centers of cultural creation, production, distribution and fruition. In order to foster the safeguard and promotion of European cultural and linguistic diversity, how can remote areas, regions suffering from depopulation or villages facing abandonment creatively use local artistic crafts and tradition to create cultural value as a driver for a smarter, more sustainable and inclusive growth? CALL TITLE FUNDING PROGRAMME EC SERVICE REFERENCE NUMBER LINK TO THE CALL CLOSING DATE GENERAL OBJECTIVES COOPERATION PROJECTS CREATIVE EUROPE DG EAC EAC/S16/ europe/calls/call eac s cooperation_en.htm at 12:00 (Brussels time) a) to foster the safeguarding and promotion of European cultural and linguistic diversity; b) to strengthen the competitiveness of the cultural and creative sectors with a view to promoting smart, sustainable and inclusive growth SPECIFIC OBJECTIVES a) support the capacity of the European cultural and creative sectors to operate transnationally/internationally and to promote transnational mobility of cultural and creative players, in particular artists; b) to contribute to audience development by helping European artists/cultural professionals and their works reach new and enlarged audiences by engaging in new and innovative ways with audiences both to retain and enlarge them, and

2 to improve the experience and deepen the relationship with current and future audiences; c) to contribute to innovation and creativity in the field of culture, for instance through artistic innovation, the testing of new buisness models, the use of digital technologies and the promotion of innovative spill overs on other sectors. WHAT PRIORITIES DOES THE PROJECT ADDRESS? capacity building: help cultural and creative players to develop new skills, competences and know how; test innovative approaches to audience development, engagement and retention; help creatives to internationalise their careers and activities in the Union and beyond; create long term partnerships to share and exchange professional opportunities. FORESEEN PROJECT A great part of the art and architecture that we know would not have existed if it weren t for the urge of travel, discovery, need to go beyond the limits both territorial and intellectual of the known. To reflect on mobility today means to widen the perspective: the practice of mobility conceived as an experience where identity encounters alterity, as a path of transformation, as a value and as an artistic production process of knowledge. The project aims at safeguarding and the promoting of European cultural and linguistic diversity by building a European network of artists and cultural operators capable of using mobility as a driver for a smarter, more sustainable and inclusive growth. Mobility will be used: to support the capacity of the European cultural and creative sectors to operate transnationally and internationally through virtual mobility: interactive networked performances, where performers and audiences can be in different physical or virtual places; use of virtual channels in the creative process, enabling co authoring and co production of performance work by artists and producers in different geographical locations; new networking options in the performing arts, i.e. training delivery, meetings and conferences. to promote transnational mobility of cultural and creative players, in particular artists, through nomadic art residencies, practices and works: the carts (circulating entities) are where artistic and cultural activities of interdisciplinary nature will support supranational mobility of people connected to culture and cross border circulation of artistic and cultural products; the carts (circulating entities) are the result and the vehicle of European cultural and linguistic diversity and will represent specific forms of artistic expression related to mobility; to contribute to audience development by testing innovative approaches to engagement, enlargement and retention by tailoring the creative process to specific target groups: building labs: the charts are built with a site specific approach (based on local materials, traditions or other specificities) and through a co design methodology with specific target groups; co productions: the circulating artworks will be co produced by project partners, in line with the artistic direction and on the basis of interdisciplinarity and cross fertilization.

3 mobile shows: after hosting the artistic residencies, the charts will circulate across participating countries in order to test the nomad format of art production and distribution in remote areas as an innovative practice of audience development, engagement and retention. to build sustainability through innovative communication and dissemination practices based on audience engagement: benchmarking, research and production of best practices in the field of mobility and circulation of art in remote areas; active involvement of the public both in the production and distribution of contect using digital technologies for pervasive communication; DURATION TIMELINE UP TO 48 MONTHS (4 YEARS) 2015 Building of 2 charts (circulating entities 2016 Building of 2 charts (circulating entities) 2017 Co production 2018 Delivery 2019 Italia2019 guarantees the circulation of the charts across Italy EXAMPLE OF DELIVERABLES 30 interdiscplinary activities (audience development and engagement) 4 circulating entities (internationalization of careers, capacity building, audience development) co design and co production workshops (audience development) 4 interactive networked performances (digital technologies, internationalization of careers) 30 shows across Europe 1 mobility camp (internationalization of careers, long term partnerships) BEGINNING OF PROJECT BETWEEN SEPTEMBER AND DECEMBER 2014 CLASSIFICATION LARGER SCALE COOPERATION PROJECTS NUMBER OF PARTNERS AT LEAST 6 PARTNERS FROM AT LEAST 6 DIFFERENT, PARTICIPATING COUNTRIES TYPE OF PARTNERS YOU ARE LOOKING FOR / COUNTRIES EXPECTED ROLES IN THE PROJECT Organization recognized in the field of artistic direction and curation of international residencies Research center for benchmarking and dissemination activities on mobility, art and remote areas Design school interested in prototyping and producing circulating entities for art residencies and artworks; Creative enterprise interested in developing digital technologies and virtual channels for creative process, audience engagement and pervasive communication; Organization interested in taking care of the final mobility camp event with a strong European dimension; COUNTRIES FINANCIAL ASPECTS EC CONTRIBUTION EC CO FUNDING RATE CO FUNDING NEEDED FORESEEN BUDGET FRANCE, BELGIUM, THE NETHERLANDS, BULGARIA, SPAIN, UNITED KINGDOM up to for the entire project period 50% for a full grant minimum Close to full grant

4 DEADLINE FOR RESPONDING TO THIS PARTNER CONTACT PERSON(S) NAME ORGANISATION TELEPHONE ILARIA d AURIA ROSSELLA TARANTINO COMITATO MATERA 2019 COMITATO MATERA (0) / dauria@matera basilicata2019.it tarantino@matera basilicata2019.it OBIETTIVI GENERALI il rafforzamento della capacità dei settori culturali e creativi europei di operare sul piano transnazionale e internazionale la promozione della circolazione (delle opere culturali e creative) e della mobilità (degli operatori culturali e creativi, con particolare riguardo per gli artisti) transnazionali. OBIETTIVI SPECIFICI Rafforzamento della capacità del settore: supportare azioni che forniscano agli operatori culturali e creativi competenze, capacità e know how adeguati a contribuire al rafforzamento dei settori culturali e creativi anche promuovendo l adattamento alle tecnologie digitali, collaudando approcci innovativi per lo sviluppo del pubblico e sperimentando nuovi modelli imprenditoriali e gestionali; sostenere azioni che consentano agli operatori culturali e creativi di collaborare a livello internazionale e di internazionalizzare le loro carriere e attività, nell Unione europea e non solo, ove possibile mediante strategie di lungo termine; fornire sostegno per rafforzare le organizzazioni culturali e creative in Europa e la collaborazione in rete a livello internazionale, al fine di facilitare l accesso alle opportunità professionali. Rafforzamento della circolazione e della mobilità transnazionali: sostenere attività culturali di respiro internazionale quali mostre, scambi e festival; supportare la circolazione della letteratura europea onde garantire la più ampia accessibilità possibile; sostenere lo sviluppo del pubblico come strumento per stimolare interesse nei confronti delle opere culturali e creative europee, oltre che verso il patrimonio culturale tangibile e intangibile, nonché per migliorare l accesso a tale patrimonio. Scopo degli interventi di sviluppo del pubblico è aiutare gli artisti/operatori culturali europei e le loro opere a raggiungere un pubblico il più possibile ampio in Europa ed estendere l'accesso alle opere culturali da parte dei gruppi sottorappresentati. Tali interventi si prefiggono inoltre l obiettivo di aiutare le organizzazioni culturali ad adeguarsi alla necessità di rapportarsi con il pubblico in maniera nuova e innovativa, sia per mantenere il pubblico esistente che per acquisire nuovo pubblico, ma anche per diversificare il pubblico, raggiungendo gli attuali non pubblici, e per migliorare l esperienza del pubblico attuale e di quello futuro, intensificando il rapporto instaurato. CRITERIA: 1. Relevance (35%): This criterion evaluates how the project will contribute to reinforcing the sector's professionalization and capacity to operate trans nationally, to promoting transnational circulation of cultural and creative works and mobility of artists and to improving access to cultural and creative works.

5 How relevant is the project to one or more of the following priorities considered as instrumental to the achievement of the objectives of the Sub programme: Providing cultural players with skills, competences and know how, including encouraging adaptation to digital technologies, testing innovative approaches to audience development and testing new business and management models; Enabling cultural players to cooperate internationally and to internationalise their careers and activities in the EU and beyond; Strengthening European cultural and creative organisations and international networking in order to facilitate access to professional opportunities; Supporting audience development as a means of stimulating interest in European cultural works. Are there other priorities identified in the framework of the project and how appropriate are they to achieve the specific objectives of the Sub programme? 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? How complementary is the project to cultural actions implemented at national, regional or local level? 2. Quality of the content and activities (25%) 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). 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 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? If applicable, is there a convincing and clearly defined audience development strategy? 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? (assessment of CVs) 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? 3. 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

6 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, tools6, channels7, 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? 4. 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?