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20I0-20II // SOUNDS lN LUkOPL


I55U # 6 // 20I0 - 20II
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PU8L|SHLD 8 1HL LUkOPLAN MUS|C COUNC|L
A kLG|ONAL GkOUP OI 1HL |N1LkNA1|ONAL MUS|C COUNC|L
+
Pop 5tars and the Aid kevoIution
+
fair CuIture
+
1he IMC Music 5ector DeveIopment Programme
+
we are more
+
1aIIinn to host the o
th
IMC WorId forum on Music
MUSlC AND DVl0PMN1
DI1Dk:
European Music Council
Haus der Kultur
Weberstr. 59a
53113 Bonn
Germany
Tel.: +49 228 96699664
Fax: +49 228 96699665
www.emc-imc.org
info@emc-imc.org
CHAIkMAN:
Timo Klemettinen
VIC-CHAIk:
Christian Hppner
1kA5Ukk:
Stef Coninx
8DAkD MM8k5:
Erling Aksdal, Claire Goddard , Helena Mai,
Frank Stahmer, Kaie Tanner
5Ck1Ak CNkAL:
Simone Dudt (sd)
Pk5DNAL A55I51AN1 1D 1H 5Ck1Ak CNkAL:
Julia Osada (jo)
VDLUN1k (CkMAN f5I PDLI1IC5):
Merveille Mubakemeschi (mm)
DI1INC:
Simone Dudt, Merveille Mubakemeschi
PkDDf kADINC:
Judith Buschfeld, Isabelle Mtrope, Julia Osada
LADU1:
kominform design, Hamburg (www.kominform.net)
PkIN1INC:
Leppelt Grak & Druck GmbH, Bonn
Photo on front page by Vincent Kenis
Photographers as credited
Te European Music Council is supported by:
2010 European Music Council. All rights are reserved. Te
views expressed in this publication are those of the authors and not
necessarily of the publisher or editor. No part of this publication
may be reproduced in any format without permission of the
European Music Council.
lMPklN1
Te European Music Council (EMC) is a platform for
representatives of National Music Councils and organisations
involved in various elds of music from many European
countries. As a European umbrella organisation, it gathers
the European members of the International Music Council
(IMC).
Te European Music Council contributes to a better mutual
understanding among peoples and their dierent cultures
and to the right for all musical cultures to coexist. Terefore
it provides exceptional value to its membership by building
knowledge; creating networking opportunities as well as
supporting and enhancing the visibility of initiatives that
help sustain peoples participation in music and cultural
life.
3 20I0-20II // SOUNDS lN LUkOPL
C0N1N1S
ditoriaI
4 Te Problem With Good Intentions
Erling Aksdal
ProIogue
6 Music: A Tool for Development and Social Sustainability
Andris Piebalgs
MC News
7 Tallinn to Host the Music World Te IMC World Forum
on Music comes to Europe
Silja Fischer
focus: Music and DeveIopment
!0 Pop Stars and the Aid Revolution
Peter Gill
!2 Fair Culture Protecting and Promoting Diversity of Cultural
Expressions in International Co-operation
Federal Coalition for Cultural Diversity Germany
!6 Te IMC Music Sector Development Programme
Blasko Smilevski
!8 Te Millennium Development Goals and Culture
CuIturaI PoIicy
20 Setting the Agenda for Cultural Change for the 21st Century
Anne Bamford
22 we are more EU Budget Negotiations now underway

24 2005 UNESCO Convention - Further Steps towards its
Implementation
Silja Fischer
for Inspiration
25 Made in the Congo
Andy Morgan

27 A Better Conductor Equals A Better Choir!
Kaie Tanner

28 Sound Told Fairy Tales
Slvia Seixas Rodrigues & Jakub Szczypa
30 A Cultural Europe! A Citizens Europe!
Kathrin Deventer
32 Institute for Modern Music
Jaroslav Rauer, Jana Tomkov, Radek Adamec

33 Fair Play! Music Against Corruption
Kate Declerck
34 Mixages!
Edgar Garcia
keview
36 Volcanic Ash Meets Musical Diversity Te 1
st
European
Forum on Music
Jamie Munn
38 Its all about Access! European Youth Forum on Music
Claire Goddard

2 Imprint
39 Pinboard
42 Coming Next

43 AcknowIedgements
4 20I0-20II // SOUNDS lN LUkOPL
Good deeds may be born from good intentions, but good
intentions never guarantee good deeds, not simply because
the intentions are not acted upon, but rather because they
are. And deeds arent necessarily good, even if they are
assessed so by clients/customers/participants/students.
Unfortunately, doing good may be a complicated
undertaking.
Tis is particularly evident in issues of development. In the cultural
eld, UNESCO has established multiple platforms to help with such
cases: Intercultural Dialogue, Te World Commission on Culture
and Development (1991), and two conventions: Te Convention
for the Safeguarding of the Intangible Cultural Heritage (2003) and
Te Convention on the Protection and Promotion of the Diversity of
Cultural Expressions (2005). Te EMCs business has in recent years
largely been directed towards the latter convention which in practice
has served as an ideological platform for much of its work.
Te problem with conventions and similar documents is that
they do not generate automatic actions. Tey need interpretation.
Interpretations are often made with specic interests in mind, and
we have seen that even commercial interests have been able to make
use of these conventions. Tis is unavoidable. In our globalised world,
moving towards free markets and the free ow of capital, this is the
order of the day. In some special cases this may even serve cultural
diversity. But it is not the norm, and very rarely the intention. Te
furious pace of globalisation is neither controlled by ideology (perhaps
by ultra-liberalism?) nor ethics. Tere are, however, two types of
body that have a great potential for doing good: State governments
that have ratied the Convention of 2005, that are committed to its
implementation, and many publicly supported NGOs, other civil
1H Pk08lM Wl1H
C00D lN1N1l0NS
D C0D
lN1NSI0NkS Pk08lM
lf l knew fcr u certuinty thut u mun wus ccminq tc my hcuse with
the ccnscicus desiqn cf dcinq me qccd, l shculd run fcr my life.
Hvis jeq visste med sikkerhet ut en munn kcm til huset mitt
med den bevisste hensikt d qjre meq qcdt, ville jeq lpe fcr livet.
(Henry Davd 1horeau)
LD|1Ok|AL
Gode gjerninger kan vre fdt av gode intensjoner, men gode
intensjoner garanterer aldri gode gjerninger, ikke bare fordi
intensjonene ikke blir omsatt i handlinger, snarere fordi de
blir det. Og gjerninger er ikke ndvendigvis gode selv om
de blir vurdert slik av klienter/kunder/deltakere/studenter.
En god gjerning kan vre en problemfylt oppgave.
I utviklingsarbeid er dette srlig tydelig. I det kulturelle feltet har
UNESCO opprettet ere plattformer for hjelpe oss: Interkulturell
dialog, Verdenskommisjonen for kultur og utvikling (1991), og to
konvensjoner: Konvensjonen for vern av den immaterielle kulturarven
(2003) og Konvensjonen om vern og fremme av et mangfold av
kulturuttrykk (2005). EMCs virksomhet har i de senere rene i stor
grad vrt rettet mot sistnevnte konvensjon, som i praksis har fungert
som en ideologisk plattform for mye av arbeidet.
Problemet med konvensjoner og liknende dokumenter er at de
ikke genererer automatiske handlinger. De trenger tolkning. Tolkninger
er ofte gjort med spesikke interesser i tankene, og vi har sett at ogs
kommersielle interesser har vrt i stand til utnytte konvensjonene.
Dette er uunngelig. I vr globaliserte verden, som beveger seg mot
frie markeder og fri yt av kapital, er dette dagsorden. I noen spesielle
tilfeller kan dette ogs tjene det kulturelle mangfold. Men det er
ikke normen, og svrt sjelden intensjonen. Globaliseringens rasende
tempo er verken styrt av ideologi (kanskje av en ultra-liberalisme?)
eller etikk. Det er imidlertid to omrder som har et stort potensial for
gode gjerninger: Stater som har ratisert konvensjonen av 2005, er
forpliktet til implementere den, og mange oentlig stttede frivillige
organisasjoner, andre sivile aksjonsgrupper og utdanningsinstitusjoner
skal- om ikke juridisk, s i hvert fall moralsk - opptre i samsvar med
den.
20I0-20II // SOUNDS lN LUkOPL 5
DI1DkIAL
Vestens konomiske og politiske hegemoni overgs kanskje bare av
dens kulturelle hegemoni. P musikkomrdet kan vi til og med si at vi
har vunnet. Som grunnleggende musikalsk sprk, i strukturell forstand,
har vr musikk ndd ut til nesten alle folkeslag, vunnet hystatus og
blitt mer eller mindre assimilert. Likesvevende temperatur, dur- og
molltonalitet, rytme- og formstrukturer, vr musikalske persepsjon og
forstelse er sjeldent fremmed. I mange tilfeller har regionale og lokale
musikkulturer blitt redusert til tryllestv som man drysser over vestlige
strukturer i egen musikkproduksjon, slik som vi i Vesten i ekotistisk
narsissisme drysser etnisk lnt tryllestv over vre egne strukturer med
sikte p kunstnerisk selvrealisering.
Poenget her er at mter mellom ulike musikalske kulturer og
vestlig musikk ikke er mter p like vilkr, enten vi tror det eller ei,
og manglene er p vr side. Spesielt nr disse mtene er konkrete,
fysiske mter mellom representanter for ulike musikk-kulturer (spille
sammen). Det er derfor de este samarbeidsprosjekter i stor grad er
p vestlige vilkr, best egnet til styrke vre musikalske strukturer,
vr musikalske kultur. (Bevisstheten om dette er vanligvis svrt lav.
Mange handler i god tro basert p grunn tekning.) Denne mangelen
p balanse forsterkes ytterligere nr vestlige penger kommer inn i
bildet, noe som vanligvis er tilfelle. I de fattige deler av verden har
man ikke rd til si nei til vestlig genererte samarbeidsprosjekter.
Dessuten innebrer slike mter enestende individuelle og kollektive
muligheter som mange ellers ville vre avskret fra.
Jeg skal vre den frste til innrmme at dette er et lite vakkert
perspektiv, men et perspektiv sjelden tegnet. Det er enkelt forst
hvorfor. Hvem nsker tale nedsettende om prosjekter omgitt av glade,
smilende barn? Eller om fattige kunstnere inspirert av forventning om
vinne nye markeder og mulig velstand? Eller om sm samfunn som
blomstrer under oppmerksomhet og tilfrsel av eksterne ressurser?
Slikt kan lett forveksles med negative intensjoner.
Det som str p spill her er kulturens status i utviklingsarbeid.
Mange vestlige kulturorganisasjoner, utdanninger og statlig politikk
p kulturomrdet str i fare for bare drive velferdsprosjekter. Eller
som verre er, bare vre agenter for egen kultur. N er det ikke noe
galt med dette. Problemet er: Hvis slike organisasjoner, institusjoner
og policies ikke fremmer og verner om et brekraftig mangfold av
kulturuttrykk, hvem gjr det da?
Men det er hp. Selv om mange prosjekter er drevet av spesielle
interesser, er nok like mange drevet av intensjoner om gode gjerninger.
S hinderet er ikke ndvendigvis motstridende interesser. Hinderet er
ikke ha klart hva vi nsker oppn i forhold til konvensjonen. Frst
m vi erkjenne og oppdage utfordringene med implementere vre
beste intensjoner ved stille det grunnleggende sprsmlet: Vil mitt
prosjekt sttte konvensjonens nd i det lange lp? Deretter vi m nne
gode eksempler p de som gjr det. Heldigvis nnes de!
Det neo-kolonialistiske spkelset hjemsker oss alle om vi er
snille eller slemme. Det bender til og med den teksten du n leser.
Men s lenge vi er ansvarlige for vurderinger om hva som er bra eller
drlig for andre og for verden, har vi i det minste en forpliktelse til
forske ikke gi nring til dette spkelset.
// rIing AksdaI
!azzpianisI og komponisI, pedagog, LMC-sIyremedlem, leder av !azzlin|a
ved Norges Ieknisk-naIurviIenskapelige universiIeI (N1NU), 1rondheim,
medlem i arbeidsgruppen Ior 1he Pop !azz PlaIIorm i Luropean AssociaIion
oI ConservaIoires (ALC)
action groups, and educational institutions which should if not
legally, at least morally act in accordance with it.
Te economic and political hegemony of the Western World is
perhaps surpassed only by its cultural hegemony. In the eld of music,
we may even claim victory. As basic musical language, in structural
terms, our music has reached out to almost all peoples, gained high
status, and become more or less assimilated. Equal temperament,
major and minor tonality, rhythm and form structures, our musical
perception and comprehension are alien to very few. In many cases,
regional and local music cultures which in their own music making
have been reduced to a magic dust that is sprinkled over Western
structures, much as we in the West, in exotic narcissism, sprinkle
ethnically borrowed magic dust over our own structures to achieve
artistic self-realisation.
Te point here is that meetings between non-Western and
Western music cultures are not meetings on equal terms, whether
we choose to think so or not, and that the shortcomings are on our
part, especially when these meetings are concrete, physical meetings
between representatives of dierent music cultures (playing together).
Tat is why, to a large extent, most collaborative projects are displays
of working on Western terms, in the end reinforcing our musical
structures, our musical culture (awareness of this is usually very low,
many act in good faith due to shallow thinking). Tis lack of balance
is further enhanced when Western money comes into play, which is
usually the case. Te poor parts of the world cannot aord to say no
to Western generated collaborations. Moreover, such meetings often
oer unique individual and collective opportunities that many would
otherwise be precluded from.
I will be the rst to admit that this is a grim perspective, but a
perspective seldom drawn. And it is easy to understand why. Who wants
to put down projects with happy, smiling children? Or with poor artists
inspired by the prospect of gaining new markets and possible auence?
Or with small communities thriving on attention and external resources?
Such put-downs may easily be confused with bad intentions.
What is at stake here is the status of culture in development
work. Many Western cultural institutions, organisations, educational
institutions and state policies in the cultural eld face the risk of merely
running welfare projects, if not worse, of primarily being agents for
the promotion of their own culture. Tere is nothing wrong with
either. Te problem is: If such institutions, organisations, educational
institutions and policies do not work for the promotion and protection
of a sustainable diversity of cultural expressions, then who does?
But there is hope. Although many projects are driven by special
interests, just as many are driven by intentions of doing good. So the
obstacle is not necessarily a conict of interests. Te obstacle is not being
clear about what we want to achieve in relation to the convention. First,
we must acknowledge and detect the challenges in the implementation
of our best intentions by asking the fundamental question: Will my
project support the conventions spirit in the long run? We must then
look to best practices in the process. Fortunately they do exist!
Te neo-colonialist ghost haunts us all whether we are good
or bad. It even imbues this very text which you are reading. But as
long as we are responsible for judgments on what is good or bad for
others as well as the world, we at least have an obligation to try and
not nurture this ghost.
// rIing AksdaI
!azz pianisI and composer, LMC 8oard Member, Read oI !azz PerIormance
Programme oI Ihe Norwegian UniversiIy oI Science and 1echnology
(N1NU), 1rondheim, Member oI Working Group Ior 1he Pop !azz PlaIIorm
oI Ihe Luropean AssociaIion oI ConservaIoires (ALC)
6 20I0-20II // SOUNDS lN LUkOPL
I come from a country that illustrates a fascinating example
of how the musical heritage has helped to develop and foster
a modern state.
Over a million of our folk songs, nurtured throughout centuries,
have been passed on from generation to generation and they still
live today as a unique part of the UNESCO world heritage. Tis
outstanding musical heritage has enabled us to accumulate knowledge
that has been a vital element in building national identity and guiding
the nations development.
It is important to note that I am not merely talking about the
historic value of music. It is a tool in creating dialogue between
dierent groups within a society as well as between dierent nations
and cultures. Music is more than a symbol of community or social
inclusion and plays an important role of individuals creative and
innovative expression. It is an essential part of personality development
from a very young age.
Education is another crucial area where music brings in enormous
value and enhances a cultural identity. Countries that have succeeded
in creating strong music industry traditions give us evidence of a
correlating impact on their national brand reputation it activates
international visibility and awareness, contributes to export growth
and tourism ows. Tus the link between music, development and
MUSlC: A 100l f0k DVl0PMN1
AND S0ClAl SUS1AlNA8lll1
social stability is clear. It is for this reason that in recent years the
European Commission has engaged in a number of projects providing
support to musical education, local music industries and various
socially-oriented musical projects. Trough programmes launched in
the Ivory Coast, Senegal, Burkina Faso and other developing countries,
we have encouraged young musicians to develop musical careers,
supported the strengthening of music sectors, and fostered access of
local musicians to the international music market.
I rmly believe that culture, and especially music, can be used in
support of reaching the Millenium Development Goals (MDGs). I am
proud to say that the European Commission and the EU Member States
together with UNESCO are at this moment in the lead to increase
the importance of culture and cultural industries in development
policies. Music will prove to be more than just a soundtrack for this
ambitious strategy.
// Andris PiebaIgs
Luropean Commissioner Ior DevelopmenI
lor more inIormaIion please visiI www.culIure-dev.eu
And Ior more inIormaIion on ACP CulIure see hIIp://ec.europa.eu/devel-
opmenI/procuremenIs-granIs/granIsen.cIm
PkOLOGUL
7 20I0-20II // SOUNDS lN LUkOPL
MC NW5
2011 will mark a special year as
the European Music Council has
decided to join forces with the
International and Estonian Music
Council for the 4
th
IMC World
Forum on Music.
It is the rst time that the IMC
World Forum on Music will come to
the European continent and the EMC is
happy to have the possibility of joining
this gathering of the Estonian, European
and international music life in Tallinn.
After the rst European Forum on Music
in Vienna in 2010 and before the second
European Forum on Music in Istanbul
in 2012, the international music sector
will exchange and discuss Music and
Social Change.
Te IMC World Forum on Music
(WFM) is a global knowledge-building
platform on music and society in
the 21st century, it explores a variety
of topics from diverse perspectives:
cultural, political and economical.
Topics go beyond the aesthetic aspects
of music production and address
those mechanisms and incentives that
undermine or foster peoples active
participation in cultural experiences.
A non-commercial initiative, the Forum provides the opportunity
for government ocials, private sector executives, music managers,
activists, scholars and practitioners to engage in high-level, cross-
disciplinary debates and to design the course of action for the
future.
Te 2011 World Forum on Music will focus on ve areas which
the IMC and EMC consider of crucial importance to the world of
music:
Music as a tool for social change
Youth: informal spaces
Current challenges and opportunities for music education
Music content, distribution and export
Music and development
2011. aasta on eriline, sest Euroopa
Muusikanukogu (European Music
Council EMC) on otsustanud
hendada jud Rahvusvahelise
Muusikanukogu (International
Music Council IMC) ning Eesti
Muusikanukoguga, et korraldada
heskoos IV IMC lemaailmne
Muusikafoorumang.
Eelmised kolm muusikafoorumit
on toimunud Los Angeleses, Pekingis
ning Tunises. 2011. aastal koguneb
rahvusvaheline muusikamaailm
esmakordselt Euroopas Tallinnas
ning arutleb teemal Muusika ning
sotsiaalsed muutused.
Maailma Muusika Foorum
on lemaailmselt mjukas ritus,
mis svendab teadmisi muusika ja
hiskonna vahelistest seostest ning
vastastikustest mjudest 21. sajandil.
Varieeruvaid teemasid ksitletakse
kultuurilisest, poliitilisest ja
majanduslikust vaatevinklist. Teemad
lhevad kaugemale muusikaga seotud
esteetilistest aspektidest ning vaatlevad
mehhanisme ning ajendeid, mis
nestavad vi edendavad inimeste
vimalust aktiivselt kultuuri kogemises
osaleda. Mittetulundusliku algena pakub foorum vimalust ametnikele,
erasektori esindajatele, muusikaelu korraldajatele, aktivistidele,
teaduritele ja praktiseerijatele osaleda kiki distsipliine hlmavates
krgetasemelistes diskussioonides ning kujundada seelbi tegevuskava
tulevikuks.
2011. aasta Maailma Muusika Foorum keskendub viiele valdkonnale,
mille arengul on otsustav thtsus muusikamaailmale.
Muusika kui vahend sotsiaalseks muutuseks
Noored ja inforuum
Muusikaharidus
Muusika levik ja eksport
Muusika ning arendustegevused
TALLINN TO HOST THE MUSIC WORLD
THE IMC WORLD FORUM ON MUSIC COMES TO EUROPE
TALLINN VRUSTAB MUUSIKAMAAILMA
RAHVUSVAHELISE MUUSIKANUKOGU MAAILMA
MUUSIKA FOORUM TULEB EUROOPASSE
26 SEPTEMBER 2 OCTOBER 2011, TALLINN, ESTONIA
1he Citv Wcll c[ 1cllinn
Photo by 1oomas 1uuI
20I0-20II // SOUNDS lN LUkOPL 8
MC NW5
By seeking synergies across dierent sectors, this high-level forum
will provide exceptional opportunities for scholars, government
ocials, private sector executives, civil society professionals, artists
and students to engage in serious debates on current key issues. Te
conference sessions will be of a diverse nature; there will be panel
discussions, open discussion rounds, project presentations, workshops,
live music presentations, presentations of research papers, etc. Poster
presentations and an exhibition area will complete the conference
programme.
Te 4
th
IMC World Forum will again be an outstanding opportunity
for representatives of the music world to meet directly with each other
and the EMC and IMC leadership, and to engage with expert advisors
from the elds most relevant to their new endeavours.
Te Forum will involve a broad audience of music actors and
people engaged in and in a position to make decisions regarding the
improvement of the conditions under which music is celebrated
created, performed, disseminated, taught and learnt, preserved, shared,
etc. in various parts of the world.
Te Forum participants will consist of
Invited speakers and presenters (from the world of music, but also
from governments, intergovernmental organisations, development
agencies, foundations, and the business sector)
A broad audience of people from all aspects of music,
including members of IMC member organisations and those from
the broader music community.
Representatives of Estonian music organisations
Music students and musicians from Estonia
IMC and EMC strongly encourage youth participation in their activities
and therefore make a special call to their member organisations to
include youth representatives in their delegations.
Te organisers will also endeavour to support the participation
of delegates from developing countries.
Te outreach of the Forum does not limit itself to the audience
present: We can count on an enormous multiplying eect since
every participant is an opinion leader and decision maker for his/
her organisational constituency, which can comprise up to millions
of people. IMC acts as a switchboard for gathering people and
disseminating information and new knowledge production in the
eld of music.
Moreover, the some 30 dierent Forum sessions will be made
available as live streams and podcasts on the Internet, which will ensure
an unprecedented outreach for the Forum with a potential of a web
audience of thousands in 150 countries around the world.
Tanks to Tallinns buzzing cultural life, Forum participants will
be oered an exciting artistic and social programme which will benet
from the exceptional atmosphere created as the city celebrates its year
as European Culture Capital 2011. Estonian culture will be present
throughout the city during concerts, performances, festivals etc.
In the framework of the Forum, IMC members will also gather
for the 34
th
General Assembly. Likewise, the EMC will hold its
Annual Meeting of members in Tallinn. Both assemblies will consider
the programme implementation and formal matters of the two
associations.
// sd
5iIja fischer (5ecretary CeneraI IMC)
lor more inIormaIion, please visiI Ihe lorum secIion
on www.imc-cim.org
Otsides snergiat erinevate sektorite vahel, pakub see krgetasemeline
foorum kikidele osalejatele erakordset vimalust kaasa
rkida pevakajalisi vtmeksimusi puudutavates aruteludes.
Konverentsi sessioonid on erineva loomusega: toimuvad nii avatud
paneeldiskussioonid, projektide presentatsioonid, workshopid, elava
muusika ettekanded, uuringutulemuste esitlused ja palju muud.
Konverentsi kava tiendavad nitused ja vljapanekud.
IV Maailma Muusika Foorum on vljapaistev vimalus erinevatel
muusikamaailma esindajatel nii ksteisega kui ka EMC ja IMC
juhtkonnaga vahetult kohtuda ning saada oma ala ekspertidelt head
nu edaspidisteks ettevtmisteks.
Foorumi avar publik koosneb nii muusikainimestest kui ka
erinevatest maailma nurkadest prit ekspertidest, kelle igapevase
t hulka kuulub muusika loomise, esitamise, levitamise, petamise,
silitamise, jagamise jms edendamisega seotud otsuste vastu
vtmine.
Foorumist vtavad osa:
lektorid, esinejad (peamiselt muusikavaldkonna esindajad ja
arvamusliidrid, aga samuti avaliku ja erasektori esindajad);
muusikavaldkonna rahvusvahelise avalikkuse esindajad;
Eesti muusikaorganisatsioonide ja haridusasutuste esindajad;
Eesti muusikavaldkonna lipilased ja muusikud
IMC ja EMC julgustab noori oma tegevustes osalema ja saadab
seega vlja eraldi kutsed IMC liikmesorganisatsioonidele kaasamaks
oma delegatsioonidesse noori muusikuid. IMC pab ka leida
toetusvimalusi delegaatidele arengumaadest.
Foorumi ulatus ei piirne kaugeltki vaid foorumi publiku ja
osalejatega. Konverentsiga kaasneb juline multiplikaatorefekt.
Kuna enamus osavtjatest on oma organisatsiooni arvamusliidrid
ja otsustajad, siis juab info lbi nende isikute ja organisatsioonide
veelgi laiema sihtgrupini le kogu maailma (70 osalevat riiki le kogu
maailma).
Lisaks sellele tehakse suur osa sessioonidest publikule avatuks
interneti-lekannetena. See teeb foorumi kttesaadavaks tuhandetesse
ulatuvatele veebikasutajatele le kogu maailma.
Foorumi klastajatele pakutakse pnevat kultuurilist ja
meelelahutuslikku programmi. Erakordset atmosfri lisab kireva
kultuurieluga Tallinn, mis kannab 2011. aastal ka Euroopa
Kultuuripealinna tiitlit. Linnas toimuvad kontsertid, performanceid,
festivalid ja muu pakub vimalust Eesti kultuuriga lhemalt
tutvuda.
Paralleelselt foorumiga toimub ka Rahvusvahelise Muusikanukogu
34. peaassamblee. Samuti peab Euroopa Muusikanukogu Tallinnas
oma iga-aastast kohtumist.
// sd
5iIja fischer (kahvusvaheIise Muusikanukogu peasekretr)
1ranslaIed by 1riin Rallas (kahvusvahelise Muusikanukogu prakIikanI)
kohkem inIormaIsiooni veebilehel www.imc-cim.org
9 20I0-20II // SOUNDS lN LUkOPL
MC-NW5
fDCU5 // MUSlC AND DLvLLOPMLN1
Photo by WiIIy Vainquer
fDCU5
20I0-20II // SOUNDS lN LUkOPL !0
Corporation. Sleepless one night in 1984 over all the terrible images he
was editing, he decided to cut pictures to that melancholy hit Drive
by Te Cars. Whos gonna tell you when/ its too late? Whos gonna
tell you things/ arent so great?. For a time the editor thought he might
have done something in terrible taste. But months later the tape was
shown to Geldof and then introduced at Live Aid by David Bowie.
One image in the video haunted all those who saw it. It was that
of a little girl, emaciated and dehydrated, apparently on the point
of death. Her name was Birhan Woldu. But she did not die, thanks
to the care of Irish Roman Catholic sisters. She grew up and was
supported through her education by the Canadian reporter whose
crew had lmed her. Twenty years on from the famine at the Live 8
concert in Londons Hyde Park organised to put pressure on that
summers G8 conference with its focus on African poverty Birhan
was brought on stage by Bob Geldof in a triumphant illustration of
what aid could achieve. Te little girl on the point of death in 1984
had been transformed into a beautiful young woman, now a graduate
in agriculture from her hometown university. She was photographed
in a smiling embrace with Madonna, and one of the press pictures of
2005 was created.
In October 1984 the Irish pop singer Bob Geldof watched
a horrifying BBC Television news story about deaths from
starvation in the famine camps of northern Ethiopia.
His rst thought was to give the prots of his next record to
charity, but his group was not doing well and he knew it would be only
a paltry sum. He set out instead to mobilise friends in the pop world
to do something directly for the cause of African hunger. Tus Band
Aid and its chart-topping single Do Tey Know Its Christmas?.
What followed in 1985 was the global concert Live Aid and the
start of an extraordinary relationship between celebrity singers and
aid activists that has sustained the drive for development for the past
quarter century.
Among the most memorable performances at Live Aid was that
of the young singer with U2. Like his fellow Irishman Geldof, Bono
too applied his celebrity status to combating world poverty. He took
the message to the United States where fame gave him access to the
highest reaches of government and where he founded DATA (now
ONE) which expanded the pop agenda beyond money-raising to
well-grounded campaigns on Tird World debt, western aid, trade
imbalances and HIV/AIDS.
Te high point of the concert for emotional content was a pop
video which stunned the audience and television viewers into silence.
It was the work of a tape editor with CBC, the Canadian Broadcasting
P
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!! 20I0-20II // SOUNDS lN LUkOPL
fDCU5
oered the only route to salvation until, of course, the free market
failed even in the stable West. Te cost of this pursuit of fashion
has been to downplay the obvious: the imperative of agricultural
development and the poor worlds staggering population increase.
A faltering condence in the West is balanced by growing
assertiveness in the East. China has its own answers to the development
conundrum, and has raised many millions of its own people out of
poverty, certainly many times the gure that western aid has ever
achieved. Te Chinese are messianic about infrastructure and are
building roads and telecommunications links throughout Africa, as
they have done at home. Tat surely helps Chinas trading ambitions,
but it enables poor producers to nd new markets as well. Beijings
lack of commitment to individual rights appals the West, but we also
need to ask whether it was liberal values that made Europe rich or
whether commerce, statehood and empire gave us the foundation of
our prosperity and our liberalism.
When the history of post-colonial development in
Africa comes to be written, the role of pop musicians
will have to be recognised and honoured. Tey
did more than either the politicians or the aid
professionals to focus the attention of a generation
on the shame of world poverty. Without them,
certainly in Britain and North America, it is
doubtful that popular interest in the objective of
banishing poverty could have been sustained. But
25 years on from Live Aid the age of celebrity
aid may be drawing to a close.
Bob Geldof himself sometimes seems disenchanted.
Reecting recently on the pop events of the 1980s, he told
an interviewer he had been responsible for two of the worst songs
in history. One was Do Tey Know Its Christmas? and the other was
We are the World, the song composed by Michael Jackson and Lionel
Richie and recorded by USA for Africa (United Support of Artists for
Africa). Geldof complained that carol singers now came to his house
each Christmas to inict the Band Aid song upon him in the same
breath as Silent Night.
Te schizophrenic British media continues both to atter Geldof
as a national treasure and take its customary delight in tearing him
down. In the past year alone, the BBC has devoted a long and
expensive TV drama to the story of Live Aid and produced a radio
documentary seeking to prove that much of the money the public
originally contributed to Band Aid went astray, in fact to buy weapons
for Ethiopian rebels. Ten another television channel, Channel Four,
screened a tendentious documentary arguing that Band Aid was
concerned more with self-promotion than with helping Africa and
again that the funds were misused.
Te simple fact about popular musics engagement with aid and
development is that all those years ago individuals with a following
wanted to use their fame to respond to an African tragedy. Te cause of
life-saving in one emergency was instantly transformed into Feed the
World. Ten Pop found itself part of an aid business that claimed to
have all the answers to world poverty. Such hubris is now exposed and
it is apparent that only politicians and the people themselves, not the
aid-givers, will ever unlock the problem. Yet the instincts of 25 years
ago were still honourable. Te need for charity will endure.
// Peter CiII
PeIer Gill is a |ournalisI specialising in developing world aIIairs. Ris
laIesI book 'lamine and loreigners: LIhiopia since Live Aid' is published
by OxIord UniversiIy Press
Tat G8 Africa summit at Gleneagles, in Scotland, in 2005 (Tony
Blairs Year of Africa) was also the summit of the western worlds
self-condent engagement with the anti-poverty drive in Africa. As
our prosperity increased at the end of the last century and into the
21
st
, there was a feeling that global hunger, like world communism,
could be banished by the application of assertive capitalism.
Britain took the lead, proud of this deployment of soft power to
balance its participation in US-led hard power exercises in Iraq
and Afghanistan. Te Labour governments new Department for
International Development (DFID) issued a series of policy papers
with the grandiose aim of Eliminating World Poverty and when pop
singers and aid activists needed an arresting brand name for their G8
campaign, they chose Make Poverty History. For the whole post-
colonial era western statesmen had promised to end extreme poverty
and the nal spurt was to be led by the stars of Celebrity Aid. Yet now,
more than ve years on from Gleneagles and with less than ve years
to go to the realisation of the United Nations Millennium
Development Goals, the problem of Africas desperate
poverty appears as intractable as ever.
Te nancial meltdown of 2008 and the
recession that followed has cast growing doubt
on the Wests commitment to sustain, let alone
increase, its aid levels to developing countries.
Several European countries have cut back on their
overseas assistance, Ireland and Italy in the lead.
Some major players have trimmed their aid budgets,
including Germany and France. In a continuing
exercise of soft power politics, Britains Conservative-
led coalition has so far held to its commitment not only to
maintain aid levels, but actually to increase them to the United
Nations target of 0.7 per cent of national income by 2013. At a time
of unprecedented cuts in the rest of government spending, this promise
is proving increasingly unpopular among British voters and it has yet
to be seen whether the government will follow through on an aid
increase of several billion pounds.
Worse than the Wests disinclination to keep up its aid spending is
its lack of drive in the eld of trade reform. It is now almost a decade
since the World Trade Organisation held the ministerial meeting that
launched the Doha Development Round, the trade negotiations that
would level the playing eld between the rich West and poor Rest.
Tey were to be concluded within two years. Seven years later they are
still mired in international wrangles, between rich and poor but also
within the rich world, with the Europeans and the Americans at odds
over the concessions they must make. When the nancial hurricane hit
western economies in 2008-9, the prospects for helping poor countries
trade their way out of poverty receded further. Initiatives on the table
would have reduced the rich worlds subsidies to its own farmers so as
to benet their counterparts in the poor world and taken down some
of Europes trade barriers so as to aid exporters from the developing
world. Neither has happened nor looks like happening. Where, after
all, is the western politician ready to risk antagonising powerful groups
at home in order help the poor in faraway places?

Our failure to x the relationship between rich and poor or to make
serious progress in transforming the prospects for the worlds poorest
economies is accompanied by a sense that we do not even have the
answers any more. For decades we have adopted ever more novel
approaches to the problem of poverty the philosophers stones of
development while often ignoring the basics. Was gender equality the
key to prosperity? If we could only sort out environmental degradation!
We must demand democracy and good governance if there is ever to
be progress... and all this time we held to the faith that free markets
1hen Pop
found itseIf part
of an aid business
that cIaimed
to have aII
the answers to
worId poverty.
fDCU5
20I0-20II // SOUNDS lN LUkOPL !2
her. Her visit falls through due to diculties related to obtaining
her visa. Meanwhile, a composer from Columbia, whose well-loved
music is performed in Germany, neither receives GEMA
1
royalties nor
benets from the Knstlersozialkasse (Artists Social Welfare Fund).
Troughout the world there are worthwhile individual attempts
that need a boost. So for example, even if a music conservatory
in Malawi can fall back on highly specialised experts, there are no
permanent structures that would allow their knowledge to be shared.
A mobile library in Bolivia receives start-up help from Germany
in the form of nancial and in-kind contributions, but no local
sponsor to ensure its survival can be found. Arts administrators in
developing countries work on contemporary art projects, but they
lack connections with counterparts in neighbouring countries, and the
network required for international exchange is still in its infancy.
Te UNESCO Convention creates the conditions to promote
international dialogue by way of cultural policy; to improve cultural
exchange programmes; and to promote partnerships with civil society,
non-governmental organisations and the private sector. It calls for the
integration of culture in national development policies with regard
to sustainable development and poverty reduction. In particular the
cultural industries need to be enhanced in developing countries.
(Planning) capacities in the cultural sector have to be improved
through exchanges and co-operation, and cultural management know-
how has to be passed on (Articles 12 15).
Te industrialised nations are called upon to simplify cultural
exchange by creating suitable legal frameworks (meaning preferential
treatment) for artists and cultural intermediaries, as well as for cultural
goods and services from the South; in situations of serious threat to
cultural expressions, help is to be granted (Articles 8, 16, 17). An
international fund for cultural diversity is being established through
voluntary donations to highlight exemplary demonstration projects.
Tis fund currently (March 2010) has an approximate value of $ 2.4
million, contributed by fourteen Parties and one private party. On the
occasion of the rst Conference of Parties in Paris in June 2007, the
German Government held out the prospect of a six-gure contribution
to the fund.
A large number of developing countries have pursued
initiatives over the past ten years that reect a consciousness
of the inter-relation of culture and development. Tese
initiatives include Poverty Reduction Strategy Papers for
the International Monetary Fund (IMF).
Meanwhile, various industrialised nations (including the Nordic
countries, the Netherlands, Switzerland, Spain, Great Britain, and
Germany) have been working to integrate the sociocultural dimension
into their development co-operation policies, partly through sustained
political support, partly through exemplary programme commitments.
For the rst time, the UNESCO Convention is connecting these
eorts with an agreement under international law, the general principle
of which is the integration of culture in sustainable development
(Article 13). Te basis for these eorts is the Universal Declaration of
Human Rights. Co-operation should be the foundation on which a
dynamic cultural sector in developing countries is built.
Te UNESCO Convention creates a new basis under
international law for partner-based international cooperation
in culture and development
First initiated as a counterbalance to trade agreements, the Convention
represents a corrective for the State Parties and for the European Union
since 1 December 2009 that should hinder further liberalisation in
the WTO with regard to cultural goods and services.
Te states thereby maintain broad leeway to shape cultural policy
and pursue a new quality of global co-operation.
Troughout Germany one nds a wealth of examples of private
and public co-operation with artists from developing countries and
emerging markets. It is worthwhile to grasp the quantity and quality
of this invisible aspect of international cooperation. Te practical
and logistical frameworks of these initiatives, however, often pose
challenges for event organisers and artists that one can hardly fathom.
So for example, a lm festival invites an Indonesian director to the
premiere of her lm in Germany, but must in the end make do without
Prctectinq und Prcmctinq 0iversity cf Culturul
Lxpressicns in lnternuticnul Cc-cperuticn
!3 20I0-20II // SOUNDS lN LUkOPL
fDCU5
Te diversity of cultural expressions must be continuously
protected and promoted around the world, irrespective of
national interests.
Important uropean partners have recognised
the strategic potentiaI of this task
Tanks to the UNDPs $ 500 million fund for implementation
of the UN Millennium Development Goals, Culture and Sustainable
Development programmes garnered tremendous visibility since
2007.
UNESCO is in charge of its technical implementation. Until now
solely a Spanish initiative, starting in 2010 this fund will be increased
considerably as a joint fund of Spain, Great Britain, and Norway.
Te European Agenda for Culture in a Globalised World, adopted in
December 2007 by the European Council, includes the UNESCO
Convention in the normative foundation of European cultural policy.
In November 2008, the Council of Ministers expressly declared the
goal of Enhancement of Cultural Diversity a part of the political
dialogue and of co-operation in EU foreign relations. Initial budgets
have been established. Furthermore, the two Directorates-General
(Education and Culture, Development Co-operation) continue to jointly
move the implementation process forward.
for Cerman foreign and deveIopment co-operation poIicy,
and private initiatives, the UN5CD Convention affords
attractive opportunities to promote and be invoIved in the
creation and impIementation of nationaI cuIturaI poIicies in
partner countries
Tese include, for instance, artists professional organisations,
cultural networks, and the strengthening of communication and
management capacities among artists, curators, organisers, fundraisers,
journalists, broadcast managers, technicians and other cultural
intermediaries. Nations that want to modernise and further develop
their cultural policies can be supported in this strategic planning
with the assistance of cultural policy reviews. Measures for capacity
development in administration and consulting services for example
in connection with copyrights also help to improve and promote
the infrastructure and the general conditions for the exchange of
artistic and cultural activities, goods and services. At the same time
it is important to ensure that the activities are not limited to only
the privileged elites and the higher middle-class in the capitals and
metropolises, but that they reach a wider circle of the population across
the entire country. Such approaches enhance a more balanced cultural
sector in the partner country and ensure the sustainability of cultural
policy initiatives. Research, education and training programmes are
also important.
All the stages of cultural expressions the complete cycle from the
artistic idea to production, dissemination, distribution, consumption,
and enjoyment are based in dierent contexts, as is the case in the
established sectors of development co-operation such as education,
local administration or health. Te inherent power of culture and its
eect on development processes is dicult to measure. It should be
veried whether instruments of promotion and forms of co-operation
that have been common in development co-operation thus far can be
transferred to the sector of cultural expressions without hesitation,
even if Ocial Development Assistance (ODA) resources are being
used. Te UNESCO Convention provides a binding legal framework
for this purpose.
ConIinued on Page <
International cultural exchange is to be shaped sustainably
according to the principles of fair culture.
Cultural policy, like most policy areas, has been internationalised by
the global interconnectedness of its players and goods. Internationally
agreed upon standards are therefore of fundamental importance
be it for the cultural industries or the exchange of artists. In order
to protect and promote the diversity of cultural expressions at home
and abroad, cultural policy know-how regarding the frameworks in
Germany and the partner countries is a must. By the same token,
cultural policy and cultural exchange are politically sensitive topics,
since they touch on questions of identity as well as on power structures
and individual freedoms.
Fair culture: Te cultural sector plays an important role in enabling
sustainable social and cultural development and in reducing poverty.
Fair culture means realising cultural rights and including everyone
in cultural signication, irrespective of age, gender, disability,
or ethnic, religious and cultural background. Tese are aspects
that should also be guidelines for development co-operation
(Fair Culture Culture for Sustainable Development. Background Paper on
Cultural Sector and Development Work in the Nordic Countries. Helsinki:
Ministry of Education, 2006).
Tree things are of vital importance for successful communication
and co-operation: respect for the cultural sovereignty of the partner
country; an on-going exchange regarding individual and collective
rights to cultural free expression and development; and a general
awareness of the particular cultural context in which the partners are
situated. German organisations and their partners must be sensitive
to these relationships, and to the possibility of tensions arising. In
international cultural exchange, it is important to develop a sense
of fair play to promote co-operation. Increased mobility of artists
and cultural intermediaries is a relatively simple way to promote the
diversity of cultural expressions.
In civil societies, whether in developing countries and emerging
markets or in Germany, there are a number of experiences and
innovative approaches that may produce fruitful outcomes. In this
regard it is particularly important that on the basis of the UNESCO
Convention the Parties expressly acknowledge the participation of
civil society when promoting the diversity of cultural expressions
(Article 11).
Te Convention lists a comprehensive catalogue of objectives for
international co-operation, next steps, and areas of responsibility.
International co-operation, and global protection and promotion of
the diversity of cultural expressions aect a multitude of stakeholders
in Germany. In addition to policymaking, the Convention specically
encourages the engagement of civil society. Tis poses a great
opportunity, which is at the same time a diculty. Te Convention
applies just as much to an artist, a religious charitable organisation, or
a public or privately run cultural festival, as it does to domestic and
foreign development policies of the Federal Republic of Germany or
the programme work of intermediary organisations. Tis places special
demands on consultation and co-ordination.
!4 20I0-20II // SOUNDS lN LUkOPL
kC0MMNDA1l0NS f0k AC1l0N
|nternatona|se mnstres:
1he minisIries oI Ihe lederal
GovernmenI should work IogeIher
Io realise Ihe ob|ecIives oI Ihe
ConvenIion Ihrough inIernaIional
co-operaIion programmes (including
Ihe emphasis on 'CulIure and
DevelopmenI'), and culIure and
educaIion pro|ecIs in Germany as Ihey
relaIe Io developmenI policy (Global
Learning, LducaIion Ior SusIainable
DevelopmenI).
8e prepared to use Luropean
nsttutons:
1he CulIure and LxIernal 1rade
commiIIees oI Ihe LU Council
oI MinisIers and Ihe Luropean
ParliamenI have Io develop regular
working relaIions Io address
Ihe quesIions raised by Ihe new
generaIion oI LU Irade agreemenIs
(wiIh culIural proIocols) in order Io
ensure conIormiIy Io Ihe spiriI and
leIIer oI Ihe UNLSCO ConvenIion in
Ihe pending rounds oI negoIiaIions.
1he Luropean Commission will
esIablish a commiIIee Io oversee
Ihe implemenIaIion oI Ihe culIural
supplemenIal proIocols. 1his commiIIee
musI be composed oI culIure experIs.
1he lederal GovernmenI is called
upon Io Iill Ihis commiIIee in close
consulIaIion wiIh Ihe lcnJer (SIaIes)
and wiIh parIicipaIion oI civil
socieIy. 1he negoIiaIion oI culIural
supplemenIal proIocols should
be permanenIly assigned Io Ihe
DirecIoraIe-General Ior LducaIion
and CulIure, wiIh parIicipaIion oI
Ihe DirecIoraIe-General Ior 1rade. ln
addiIion, Ihe Iederal minisIries in
charge and Ihe relevanI commiIIees
oI Ihe German 8undesIag should
acIively supporI developmenI oI Ihe
Luropean 'CulIure and DevelopmenI
co-operaIion' area oI acIiviIy.
Lnab|e mob|ty of artsts:
lncreasing Ihe mobiliIy oI arIisIs
and culIural inIermediaries is a
relaIively easy way Io promoIe Ihe
diversiIy oI culIural expressions. 1he
granIing oI visas Io arIisIs and culIural
inIermediaries should IhereIore be
IransparenI, simpliIied (wiIh clear
insIrucIions Ior embassies and
consulaIes), and ideally, harmonised
wiIhin Ihe Schengen area.
8roaden nsttutona| awareness:
1he inIermediary organisaIions oI
Ioreign culIural and educaIional policy
and Ihe implemenIing organisaIions
oI developmenI co-operaIion should
invesI more visibly in inIernal on-
going Iraining Ior execuIives and sIaII,
as well as in insIiIuIional awareness-
raising abouI Ihe ob|ecIives and
orienIaIion oI Ihe UNLSCO ConvenIion.
Where applicable, Ihey can play a
supporIing role in raising awareness
oI Ihis imporIanI ConvenIion by
virIue oI Iheir broad inIernaIional
neIworking, Iheir programme and
parIner counIries.
Iund cu|tura| deve|opment:
German Iunding insIiIuIions (public
and privaIe) IhaI supporI cooperaIive
eIIorIs wiIh developing counIries
and emerging markeIs (NorIh-SouIh
and SouIh-SouIh) should make more
Iunds available Ior Ihe proIecIion
and promoIion oI Ihe diversiIy oI
culIural expressions, Ior example by
conIribuIing Io Ihe lnIernaIional lund
Ior CulIural DiversiIy.
|ntensfy research:
German research IaciliIies oI various
disciplines are called upon Io IurIher
develop Ihe ProIecIion and PromoIion
oI Ihe DiversiIy oI CulIural Lxpressions
area oI acIiviIy and in Ihis conIexI
Io esIablish collaboraIive eIIorIs
wiIh research insIiIuIes in parIner
counIries (Ior example, Ihe NeIwork
oI UNLSCO Chairs).
Actvate cv| socety:
1hose in civil socieIy involved in Ihe
culIural secIor and in developmenI co-
operaIion are also called upon Io Iake
a sIand on Ihe UNLSCO ConvenIion,
Io draw inspiraIion Irom iI, Io use iI
as a Irame oI reIerence, and Io sIarI
a dialogue Io exchange ideas wiIh
naIional auIhoriIies.
Manage cu|ture:
1he proIessional skills oI Ihose
involved locally in Ihe secIor oI
culIural managemenI, conveyance,
and consulIing are Io be enhanced.
1argeIed capaciIy developmenI
measures musI be implemenIed Io
creaIe eIIicienI local and regional
markeIs, and Io diIIerenIiaIe Ihe
sIrucIures relevanI Io culIural policy
in Ihe parIner counIry.
Deve|op "best practces":
1here is a need Io develop indicaIors
oI whaI consIiIuIes a good and
eIIecIive developmenI or promoIion
pro|ecI in Ihe culIural secIor.
1hese represenI a good sIarI: Ihe
programme criIeria oI Ihe UNDP
Millennium lund; Ihe criIeria oI ACP-
LU sponsorship; Ihe implemenIaIion
guidelines oI Ihe lnIernaIional lund
Ior CulIural DiversiIy; Ihe UNLSCO
SIaIisIical lramework Ior CulIure;
Ihe groundwork laid over Ihe
course oI many years by Ihe
UNLSCO lnsIiIuIe Ior SIaIisIics and
Ihe OLCD on 'Measuring CulIural
DiversiIy'; and Ihe planning insIrumenI
"Programming wiIh a DiversiIy Lens"
(UNLSCO-8angkok). A dialogue on
processes oI qualiIy assurance in
developmenI co-operaIion would be
useIul. 1owards Ihis end, Ihe relevanI
inIermediary and implemenIing
organisaIions can |oinIly organise
a proIessional consulIaIion series.
fDCU5
!5 20I0-20II // SOUNDS lN LUkOPL
fDCU5
Te key ministries of the German Federal Government have
not yet acknowledged Culture and Development as an
important area for action.
In 2009, the Federal Government looked into the possibility of
establishing a special programme for Culture and Development.
However, the Federal Ministry for Economic Co-operation and
Development and the Federal Foreign Oce have yet to take a
clear position on a Culture and Development focus. Tis is highly
regrettable, given the internationally acknowledged wealth of
experience embodied in German cultural policy, and the outstanding
global networking of cultural intermediaries and development
co-operation organisations. It delays development of a medium and
long-term strategy, as well as timely positioning in the co-operation
with possible European partners.
It is worth revisiting the topic through interministerial
co-ordination and sector policy and furthermore to increase German
public awareness of culture and development in the eld of global
learning. Politics can provide a motivating and nancial contribution.
Germany has committed itself to increase Ocial Development
Assistance expenditures to 0.7% of GDP by 2015.
Te Federal Government, the German Bundestag (National
Parliament) and the Lnder (States) can all give impetus to these
eorts, notably in co-operation with the other EU Member States that
negotiated the Convention and made it possible. In October 2008 the
Prime Ministers of the German states voted to actively support the
implementation of the UNESCO Convention through international
co-operation (cf. Zukunftsfhigkeiten sichern: Entwicklungspolitik
in gemeinsamer Verantwortung von Bund, Lnder und Kommunen
Ensuring Sustainability: Shared Federal, State, and Community
Responsibility for Development Policy, resolved 22 October 2008).
It is essential that the cultural institutions in the Federal Government,
the Lnder, cities and local governments promote the diversity of
cultural expressions in their contexts, strengthen exchange through
partner projects and partner groups, and develop creative forms of
public awareness-raising.
8acking from the pubIic and from within institutions
is needed
To understand cultural and creative activities as an object of
development, and to promote them as a contribution towards the
development of a country, backing from the public and from within
institutions is needed.
Te direct contributions towards the implementation of the
Convention could be much more signicant if both the implementing
organisations of development co-operation and the intermediary
organisations of foreign cultural and educational policy invested more
in the internal training of their executive sta and employees, as well
as in institutional awareness raising and inter-ministerial knowledge-
sharing. Employees require appropriate training. Te Culture and
Development area of action must be placed on a sturdy footing, both
in terms of personnel and nances, to ensure that the basis for success
goes beyond a handful of engaged individuals.

A solid empirical basis is important.
foreign trade and cuIturaI protocoIs
Within the context of the new generation of EU Economic
Partnership Agreements, the European Commission developed a
cultural supplemental protocol at the end of 2007 based on the spirit
and text of the UNESCO Convention. Tis cultural supplemental
protocol contains inter-sectorial tasks (development of cultural policies,
cultural exchange, mobility of artists, technical co-operation) and
sector-specic projects (audio-visual services and cinema, performing
arts, literature, monument conservation). It is based on principles
of cultural co-operation and should not lead to further trade
liberalisation. Te Commission hereby refers to Article 20 of the
UNESCO Convention in its arguments. Tis article is interpreted
to mean that the European Community shall have to consider the
objectives of the Convention in all future international agreements,
including trade agreements. Te rst cultural supplemental protocol
was agreed on in 2008 between the EU and the Caribbean states
(CARIFORUM Agreement, Ocial Journal of the European Union,
L.289/i/3, 30 October 2008); a second one was signed in October
2009 between the EU and South Korea. Te chapter contained in the
agreement dealing with culture gave rise to very critical comments
arising from both European and South Korean civil society. Further
comparable agreements are currently being prepared and negotiated
with Canada, India and South Africa.
Promoting young professionaIs is worthwhiIe
Certain universities in Germany have committed themselves to the
topic. So far, however, there are no inter-disciplinary research clusters,
networks or inter-disciplinary co-operative eorts among political,
cultural and development experts. It would be worthwhile to create
near- and medium-term possibilities for PhD students and partnerships
with foundations, and particularly to sound out the creation of a
special research eld through the Deutsche Forschungsgemeinschaft
(German Research Foundation), or comparable programmes.
Like any instrument under international law, this UNESCO
Convention is primarily a political agreement negotiated by the
Parties to lay out their national cultural policies in such a manner
that the artistic creation, production, dissemination, distribution
and enjoyment is ensured, and a diversity of cultural expressions and
international exchange and co-operation is intensied. However, a solid
empirical initial basis for the appraisal of the cultural infrastructure
does not yet exist in many countries. In October 2009 the UNESCO
Institute for Statistics (UIS) published Statistical Framework for
Culture, a modern, up-to-date work instrument. In this connection,
too, co-operation on the part of German universities could be of
service and result in visible outcomes.
GesellschaII Ir musikalische AuIIhrungs- und mechanische
vervielIalIigungsrechIe (SocieIy Ior Musical PerIorming and
Mechanical keproducIion kighIs = CollecIing socieIy)
// 1his articIe was written by the federaI CoaIition for CuIturaI Diversity
Cermany. 1he arIicle was IirsI published in Ihe whiIe paper "5hcpinq
Culturcl 0iversitv" kercmmenJcticns [cr Articn [rcm the Civil 5crietv [cr
the lmplementcticn in cnJ bv Germcnv c[ the UNl5CO Ccnventicn cn the
0iversitv c[ Culturcl lxpressicns (zoo,)

fDCU5
20I0-20II // SOUNDS lN LUkOPL !6
as a catalyst for sustainable, social transformation and economic
development of the societies.
Addressing the dierent approaches necessary for cultural
development in both, the Global North and the Global South, the
IMC attaches special attention to the importance of international
co-operation. Te International Music Council launched its Music
Sector Development Programme (MSDP) in order to assist countries,
in particular developing ones, in their eort to establish integrated
and sustainable national music sectors that respond to local needs.
Guided by the key principle and right of having access to music for
all, the MSDP refers to demand driven, grass rooted and integrated
programmes aiming to either develop the national music sectors as
a whole or to develop only specic aspects of the music sectors like
education, promotion and/or research As such, the MSDP consists
of and promotes a full menu of activities that support the music sector
development which include, inter alia:
Having closely followed the discourse surrounding culture
and its importance for the overall human development, the
ongoing work at the International Music Council (IMC) has
actively engaged in understanding culture in the context of
international cooperation and development purposes.
Our working methods were greatly inuenced by key cultural
instruments such as UNESCOs 2005 Convention and other documents
such as the 2009 Brussels declaration of artists or the conclusions of the
2010 EU-Spain conference on culture and development in Girona.
Te IMC has been strongly advocating the importance of music,
cultural and creative industries (CCIs) and their surrounding technical
infrastructure in development strategies and international cooperation,
focusing on how music can help strengthen the cultural sector and
how culture can help to accelerate progress towards achieving the
Millennium Development Goals (MDGs). We therefore strive to
enhance and further the debate with regards to music and culture
1H lMC MUSlC SC10k
DVl0PMN1 Pk0CkAMM
Photo by Ieunesses MusicaIes InternationaI
!7 20I0-20II // SOUNDS lN LUkOPL
fDCU5
of the Islamic Republic of Afghanistan, and community leaders. Te
inauguration represented the culmination of several years of planning
and hard work overcoming the obstacles that were the legacy of thirty
years of war and the Talibans prohibition of music.
Te examples given in this article demonstrate the social,
economic, and environmental potential provided by music and
cultural development programmes as part of a transversal approach
to international development.
// 8Iasko 5miIevski
SecreIary General oI !eunesses Musicales lnIernaIional
5iIja fischer
SecreIary General oI Ihe lnIernaIional Music Council
comprehensive general and specialised music education
development
development of sustainable local music infrastructure
socio-economic development of the key actors in the music
eld with special attention to young people, young musicians
and women
continuous knowledge development and training of key actors
in the music eld
advocacy actions at the national and international level
music policy development
music legislation and partnership.
Ongoing activities in the MSDP presently include the Sustainable
Futures for Music Traditions: Towards an Ecology of Musical Diversity
project. In music, one of the great concerns is the survival and
revitalisation of traditional music. Te IMC has entered into a
partnership to discover and describe projects across the world that are
successful in returning traditional music to everyday life. Sustainable
Futures for Music Traditions investigates key characteristics of musical
sustainability and aims at enabling communities across the world
to forge musical futures on their own terms while protecting and
promoting our global cultural expressions. Te IMC is the senior
non-academic partner in this ve-year project, led by the Queensland
Conservatorium Research Centre, Brisbane, with seven universities on
ve continents. Te project will produce an accessible and user-friendly
online interface for disseminating ndings to assist communities and
governments across the world.
Other key activities include capacity building projects in East
Africa. Taking into account the specic needs of potential beneciaries,
UNESCO and the IMC launched a pilot project training module
in East Africa with the objective of developing capacities for music
sector operators to access increasing international development aid
funding, and sensitising and involving government ocials and
decision makers in the donor community. Tis ongoing programme
aims to turn creative projects into sustainable cultural industries. Te
training project was carried out under UNESCOs Global Alliance for
Cultural Diversity with the nancial support of the Spanish Ministry
of Foreign Aairs and Cooperation. Te workshop is now being
followed by a coaching phase during which the trainees receive
individual and collective guidance in formulating their concept notes
and applications. Upon completion of the training it is expected that
many of these applications will result in successful project and grant
proposals, thus making a positive contribution to the musical life and
infrastructure of East Africa. It is expected that this project will further
contribute to the development of sustainable cultural industries in
Tanzania and Uganda as well as fostering cultural partnerships between
the two countries.
Furthermore, the IMC assisted eorts to rebuild music education
in Afghanistan and establish the rst national institute of music (cf.
Sounds in Europe #5, p. 37). IMC was instrumental in connecting
the project initiator, Dr. Ahmad Sarmast, a music professor from
Afghanistan, with music educators from around the world as well as
with NAMM, the International Music Products Association, a non-
prot organisation of music instrument manufacturers. Te IMC also
provided moral support to Dr. Sarmast with letters to the Ministers
of Education and Culture in Afghanistan underlining the importance
of the initiative. Troughout this process the IMC has been happy to
provide valuable resources and networks that have helped to facilitate
education, intercultural dialogue and international co-operation in
Afghanistan. Te Afghanistan National Institute of Music (ANIM) was
formally inaugurated in June 2010 in Kabul, in front of an audience
of dignitaries including Ambassadors, ocials from the government
Photo by Ieunesses MusicaIes InternationaI
20I0-20II // SOUNDS lN LUkOPL !8
fDCU5
worlds most deprived all U.N. Member States committed to active
peace keeping, protection of the environment, and a contribution to
combating poverty as their core objectives. Tis historical pledge was
intended to be a signicant step towards passing over the threshold
to an era of global equality and opportunities for all.
However, now, ten years after the Millennium Summit, and with
the nancial crisis behind us, the ammunition with which the U.N.
was ghting the cause has proved itself ineective, mostly due to the
lack of commitment by wealthy Member States. Today, the situation
of the poorest countries is still alarming and it has even become
apparent that weve taken retrograde steps on the path to sustainable
development.
It was on 9 September 2000, more than ten years ago, that
189 Member States of the United Nations Organisation,
both rich and poor countries, decided to join forces to ght
against the ever-expanding gap between the worlds most
prosperous and most poverty stricken nations.
End Poverty 2015 was declared the slogan of the U.N.s
international campaign, created to mobilise not only the governments
of the world, but also each and every single person inhabiting the
landmasses surrounded by the seven seas, to make a stand against
economic inequity. Its target was clear. In adopting the Millennium
Development Goals a catalogue of explicit, obligatory and highly
ambitious aims with clearly set deadlines for improving the lives of the
.thut culture is un essentiul ccmpcnent cf humun develcpment, represents u scurce cf identity,
inncvuticn und creutivity fcr the individuul und the ccmmunity und un impcrtunt fuctcr in the qht
uquinst pcverty, prcvidinq fcr eccncmic qrcwth und cwnership cf develcpment prccess.
Unted Natons Genera| Assemb|y
na||y adopts a reso|uton
acknow|edgng and emphassng
the ro|e of cu|ture for deve|opment
1H MlllNNlUM
DVl0PMN1 C0AlS
AND CUl1Uk
!9 20I0-20II // SOUNDS lN LUkOPL
fDCU5
universal solution for all our global problems. Alone the engagement
of these stakeholders in the realisation of the aims set out in the
Millennium Development Goals, and in the United Nations latest
resolution respectively, could initiate the necessary change upon which
the worlds development can nally thrive.
Nevertheless, it is undeniable that culture is indeed an enormous
asset, providing massive potential for increasing economic growth
and decreasing poverty. Whereas the long established sectors which
the U.N. Member States have for too long relied on to achieve
sustainable development are now becoming more and more obsolete,
the fast growing innovation-based cultural and creative industries
are gaining in importance. Te estimated global value of the cultural
industries today is $ 1.3 Trillion
3
. On top of that, the culture sector
represents 2-6 per cent of the GDP of most OECD
Member Countries
4
. Moreover, as stated in the
UNESCO Concept Note of the MDG
Summit High-Level Round Table on
Culture for Development, culture
is a huge contributor to peace and
reconciliation. Only through cultural
dialogue, which enhances mutual
knowledge, understanding and tolerance
between nations, can an open discussion be
held on the areas where interests meet and diverge,
counteracting ignorance, prejudices, marginalisation and the
degradation of people. Te potential of culture, however, remains
mainly unrecognised and unutilised by national and international
stakeholders.
Te UN Resolution on the Role of Culture for Development represents
a major breakthrough at international level indicating a sign of change,
and sowing the small but sprouting seed of hope that humanity will
soon be passing over the threshold to a fairer world.
I UniIed NaIions LducaIional, ScienIihc and CulIural OrganizaIion, kecords oI
Ihe General ConIerence, 1hirIy-hrsI Session, Paris, < OcIober - November
zoo, vol. and corrigendum, kesoluIions, chap. v, resoluIion z<, annex l.
2 lbid. 1hirIy-Ihird Session, Paris, -z OcIober zoo<, vol. , kesoluIions,
chap. v, kesoluIion i.
3 UniIed NaIions LducaIional, ScienIiIic and CulIural OrganizaIion,
ConcepI NoIe "CulIure Ior DevelopmenI", zoo MDG SummiI Righ-Level
kound-1able on CulIure Ior DevelopmenI,z SepIember zoo, UniIed
NaIions, New ork
4 lbid.

Links/keIerences:
All relevanI documenIs on Ihe U.N. kesoluIion on Ihe kole oI CulIure Ior
DevelopmenI (such as Ihe kesoluIion 1exI adopIed by Ihe U.N. Assembly,
Ihe OuIcome DocumenI on Ihe MDG SummiI oI SepIember zoo and Ihe
DocumenIs oI Ihe Righ-Level-kound-1able on CulIure Ior DevelopmenI)
are available aI: hIIp://Iiny.cc/axvsk
lurIher keadings:
- UNLSCO Universal DeclaraIion on CulIural DiversiIy
hIIp://unesdoc.unesco.org/images/ooz/ooz)/z)6om.pdI
- UNLSCO ConvenIion on Ihe ProIecIion and PromoIion oI Ihe DiversiIy oI
CulIural Lxpressions
hIIp://unesdoc.unesco.org/images/ooi/ooizn/iznne.pdI
- UniIed NaIions Millennium DeclaraIion
hIIp://www.un.org/millennium/declaraIion/ares<<ze.hIm
// mm
Long overdue, the U.N. has now decided to revise its existing strategies
to achieve the Millennium Development Goals and to nally listen to
representatives from the cultural sector, who have been preaching for
decades about the importance of culture for development.
In its Resolution on the Role of Culture for Development which was
adopted on 20th December 2010, a physical outcome of the MDG
Summit in September 2010, the U.N. General Assembly recognises
that culture is an essential component of human development,
represents a source of identity, innovation and creativity for the
individual and the community and an important factor in the ght
against poverty, providing for economic growth and ownership of
development process
By acknowledging international conventions that emphasise the
important role of cultural diversity for social
and economic development such
as the Universal Declaration
on Cultural Diversity
1

and the Convention
on the Protection
and Promotion of the
Diversity of Cultural
Expressions
2
, the document
emphasises that culture is a
resource for the enrichment of and a
contributor to the sustainable development of local
communities and nations. Furthermore, the resolution recognises the
links between cultural and biological variety, stressing the importance
of including local and indigenous traditional knowledge when dealing
with environmental challenges.
Striving to achieve the development objectives set in the Millennium
Development Goals, the U.N. General Assembly urges all Member
States, intergovernmental bodies and organisations to encourage
international cooperation in the cultural eld. Within this context,
the U.N. Resolution on the Role of Culture for Development
provides a new set of culture-related aims to which all Member States
have committed themselves, such as raising public awareness of the
importance of cultural diversity for sustainable development, and
promoting its positive value through education and media tools.
Moreover, political stakeholders should guarantee a more visible and
eective integration and mainstreaming of culture in development
policies and strategies at all levels, and also promote capacity-building
for the development of a dynamic cultural and creative sector. In
addition to this, U.N. Member States, intergovernmental bodies and
organisations should enhance national legal frameworks and policies
for the protection and preservation of cultural heritage and property, as
well as support the eorts of developing countries in the development
and consolidation of their cultural industries, by assisting them in
acquiring the necessary skills and infrastructure.
Tese new objectives are all extremely ambitious and are somehow
reminiscent of the rst phase of the Millennium Campaign, when
the former U.N. Secretary General, Ko Anan, proudly announced
the Development Goals, which ended up in the desk drawers of
most leading economy powers for the following ten years. Today, less
than ve years before the Millennium Campaign is due to end, it is
highly questionable whether auent U.N. Member States, which
nd themselves in a key position to change the current economic
and social disparity in the world, will truly abide by their promises
this time round. For one thing is certain: contrary to what most
representatives of culture advocate, culture is the rst step but not the
.cuIture is indeed an enormous
asset providing massive potentiaI for
increasing economic growth and decreasing
symptomatic poverty.
CUL1UkAL PDLIC
20I0-20II // SOUNDS lN LUkOPL 20
Europe has a strong community sector supporting out-of-school
music learning including local brass bands, music and culture schools,
amateur societies, religious groups, broad or after school programmes
and many private providers. Tese out-of-school provisions are
available locally and frequently heavily subsided to represent good
value for money. Yet the research
5
suggests that pupil attendance is
relatively low, with even the most successful models likely to attract
less than a quarter of all the possible children in the area.
Te children who do attend tend not to be representative of the
full diversity of learners, with children from dierent social or ethnic
backgrounds and children with disabilities most likely to miss out.
In many countries, particularly for certain ages of pupils or types of
instrumental learning, there are long waiting lists for getting a place
in out-of-school music provisions.
To increase the participation in, and relevance of, out-of-
school programmes, consideration should be given to oering
more interdisciplinary programmes (for instance, programmes that
combine dance, singing and visual arts or music and digital creation).
For programmes to be accessible to a broader range of children,
music educators need to develop innovative pedagogies and creative
approaches to curricula that will engage a diversity of learners. Tere
is also evidence
6
to suggest that the wider use of group, multi-aged
and intergenerational teaching and learning approaches may also help
to broaden the appeal of music education oers.
\2 \
Assure that arts education activities and
programmes are of a high quaIity in conception
and deIivery.
Goal z, 5ecul AqenJc: Goals Ior Ihe DevelopmenI oI ArIs LducaIion
Te second goal from the Seoul Agenda follows naturally from the rst
and focuses on the prerequisites that characterise quality. Tis goal
places responsibility upon those who design, deliver and manage arts
education to ensure that the activities are of a high quality in terms
of conception and delivery. It is recognised for quality to be improved,
a particular focus must be given to the importance of enhancing the
quality of teaching. Te second goal recommends formal qualications
In May 2010 arts educators, politicians and civil servants
from around the world made the journey to Seoul in the
Republic of Korea.
Te reason for this journey was the Second World Conference on
Arts Education. Tis summit served as a checking point following
the launch in Lisbon 2006 of a global focus on the importance of arts
and cultural education in the lives of children
1
.
A major output from the meeting in Seoul was Te Seoul Agenda:
Goals for the Development of Arts Education
2
. While it could be argued
that the Lisbon Road Map (2006)
3
gave a renewed energy to the
arguments surrounding the value of arts education, the Seoul Agenda
proposes three key goals for arts education.
\ ! \
nsure that arts education is accessibIe as a
fundamentaI and sustainabIe component of a
high quaIity renewaI of education.
Goal , 5ecul AqenJc: Goals Ior Ihe DevelopmenI oI ArIs LducaIion
Te rst of these goals is perhaps the most dicult at both a local and
international level. Tis primary goal is to ensure that high quality arts
education is accessible to all. It immediately confronts arts educators
with two enormous challenges how do you ensure quality while at
the same time be as inclusive as possible?
European music struggles to accommodate the complexities of
delivering on this rst goal.
4
Te ideals of accessibility for all often
in practice fall short of the espoused aspirations. If music education is
to reach all children, it must be placed solidly within the compulsory
school sector. Tis means that those people teaching music in the
compulsory school need to be well-trained and condent to deliver
high quality musical learning. Tis aspiration may be well meaning,
but in reality it is most likely that music will be oered as a mix of in
and out-of-school programmes.
S11lNC 1H ACNDA f0k CUl1UkAl
CHANC f0k 1H 2!
S1
CN1Uk
2! 20I0-20II // SOUNDS lN LUkOPL
CUL1UkAL PDLIC
the practices of music education it is possible to understand the role
culture plays in shaping childrens musical learning and thinking. Tis
may require new paradigms for understanding music education and
its responsibility within an increasingly globalised community where
diversity, hybridity and dierence ourish.
Goal three makes explicit reference to the application of arts
education to enhance the creative and innovative capacity of society.
Economic success is largely now dependent upon having a creative
and adaptive workforce. Research ndings
8
indicate that musical
activities have a positive impact on the development of several key
future competencies within young people. Tese include capacities
such as creative problem solving, social communication and tolerance,
exibility, concentration and collaboration. Music can therefore have
a positive impact on the well-rounded development of learners.
Te Seoul Agenda presents three explicit and meaningful goals
for music education now and into the future. While they provide
a vision forward, the goals equally challenge us around the areas of
accessibility, quality and relevance of music education. Te cultural
change occurring in the lives of the children will be only matched by
the cultural changes occurring in music education itself.
I 8amIord, A. zoo6 1he Wow lacIor: Global Compendium on Ihe lmpacI oI
arIs on educaIion Waxmann, Munchen, Germany
2 hIIp://Iiny.cc/wnwn| Accessed lebruary zo
3 hIIp://Iiny.cc/Ioagg Accessed lebruary zo
4 hIIp://Iiny.cc/zuIdk Accessed lebruary zo
S hIIp://Iiny.cc/8ipex Also 8amIord, A., Chan, k. and Leong, S. zo (in
press) QualiIy People QualiIy LiIe: Developing Rong Kong inIo a CreaIive
MeIropolis Ihrough arIs educaIion; 8amIord, A. zoo Wow, iI's music
nexI: lmpacI evaluaIion oI wider opporIuniIies programme in music
aI key sIage z. lederaIion oI Music Services/DeparImenI Ior Children,
Schools and lamilies; and, 8amIord, A. zoon ArIs and CulIural LducaIion
in lceland, lcelandic MinisIry lor LducaIion and CulIure; 8amIord,
A. zoo) NeIwerken en verbindingen: ArIs and CulIural LducaIion in 1he
NeIherlands, DuIch MinisIry Ior LducaIion, CulIure and SporI; and,
8amIord, A. zoo) KwaliIeiI en ConsisIenIie: ArIs and CulIural LducaIion
in llanders. CANON CulIural UniI, MinisIry Ior LducaIion llanders:
8amIord, A. and QvorIrup M zoo6 An llds|l in Ihe Classroom,
Copenhagen, 1he Danish ArIs Council
6 8amIord, A. and Glinkowski, P. zoo Wow, iI's music nexI: lmpacI
evaluaIion oI wider opporIuniIies programme in music aI key sIage
z. lederaIion oI Music Services/DeparImenI Ior Children, Schools and
lamilies
7 kichard !. Deasy and Lauren SIevenson zoo 1he ArIs: CriIical Links Io
SIudenI Success ArIs LducaIion ParInership USA; CaIIerall, !. zoo
Doing Well by Doing ArI NaIional LducaIion LongiIudinal Survey;
liske, L. Kennedy CenIre Champions oI Change (nnn) arIsedge.
kennedy-cenIer.org/champions/pdIs/ChampskeporI.pdI ; also NLS1A
zoo Driving lnnovaIion in CiIies; Poursanidou, K. and larrie, A. zoo8 Can
arI really make a diIIerence? CreaIiviIy, communiIy cohesion and wellbe-
ing in regeneraIion processes, UniversiIy oI 8radIord: Deasy, k. zooz
CriIical Links: Learning in Ihe ArIs and SIudenI Academic and
Social DevelopmenI ArIs LducaIion ParInership
8 OIIice Ior SIandards in LducaIion zoo6 An LvaluaIion oI Paul Ramlyn's
Music luIures Pro|ecI. Also 8amIord A. and Glinkowski P. Wow, iI's music
nexI: lmpacI evaluaIion oI wider opporIuniIies programme in music
aI key sIage z. lederaIion oI Music Services/DeparImenI Ior Children,
Schools and lamilies
// Anne 8amford
Read oI Ihe so called 'Lngine koom' oI Ihe UniversiIy oI Ihe ArIs London;
Read oI Ihe UNLSCO research group on "1he Wow lacIor: Global research
compendium on Ihe impacI oI Ihe arIs in educaIion"; elecIed as "lree-
man oI Ihe Guild oI LducaIors" in zoo8
as a prerequisite for all specialist teachers and community facilitators
of arts education. Generalist teachers currently may have little or no
formal education in the arts. Te second goal suggests that both pre-
service teachers (across all discipline areas) and those already working
within schools should be given sustainable professional development to
enable them to integrate artistic and creative principles and practices
within the broader learning of children. Whether there should be
specialist or generalist teachers for music is not the question, but rather
high quality programmes need both sorts of teachers. Te specialists
provide discipline skills and knowledge (education in the arts) while
the generalists should receive sucient training to be able to feel
condent to introduce education in the arts and be sensitive enough
to pursue high quality learning through the arts.
In line with the arguments many professional associations have
been making for the past decade, the second Seoul Agenda goal makes
the direct connection between quality in arts education and the
provision of appropriate facilities and resources for arts education.
Given current budget conditions, music educators are facing challenges
to maintain and develop adequate facilities and resources for eective
teaching. Newer schools are often built without specialist rooms and
facilities for arts education.
One way to enhance quality while working with limited resources
is to more widely partner with community and cultural industries to
deliver arts education. Alternate learning environments can involve
parents, family and community members in partnerships within and
beyond schools to strengthen the quality of arts education.
\3 \
AppIy arts education principIes and practices to
contribute to resoIving the sociaI and cuIturaI
chaIIenges facing today's worId.
Goal , 5ecul AqenJc: Goals Ior Ihe DevelopmenI oI ArIs LducaIion
Once quality and accessibility have been achieved, goal number three of
the Seoul Agenda suggests that the principles and practices of excellent
arts can contribute to resolving the social and cultural challenges
facing todays world. Tis is certainly a grand goal! Te problem is that
a wide variety of research evidence
7
suggests that the arts are capable
of making a dierence in everything from educational attainment and
economic growth to anti-social behaviour and community coherence.
Te fact that the arts can make a dierence across a range of areas does
not mean that a single programme should attempt to answer all these
goals. A general shortcoming apparent in national evaluations of arts
education conducted conclude that arts education programmes often
lack a clear focus and the abundance of supposed aims leaves teachers
and children bewildered as to the signicance of their arts learning.
Te main focus of music education should be the cultivation
of childrens aesthetic capacity and their full development in music.
When this is the unquestioned aim of the programme, then it is likely
that music education will enhance cultural awareness in general and
contribute to creating and sustaining social cohesion and participation
in societal culture. A focused, high quality and accessible music
programme oers enormous potential to develop and conserve a
childs identity and to promote diversity and dialogue among cultures.
In some ways this could be considered as being a wonderful bi-
product of the music education process! By examining more deeply
CUL1UkAL PDLIC
20I0-20II // SOUNDS lN LUkOPL 22
Ah, I see shes written culture operator. It looks like
shes too scared to say lobbyist. What a coward!
Oh come on! You know that lobbyists have a rather negative
reputation, though it cant be denied that nding good arguments
for the support of culture is comparable to the work of hard core
lobbyists, who, for example, ght for CO2 emission restrictions
to be relaxed. Engagement in the arts and culture is benecial for
the whole of society it encourages fruitful exchanges, promotes
peace, and increases understanding amongst peoples.
Ok, ok, but it doesnt help if politicians dont listen; at least
lobbyists know what to do when approaching politicians present
facts and gures! So what point is she trying to make?
She states that the key attributes of the Europe 2020 strategy
such as the terms smart, sustainable and inclusive form the
core of culture and artistic processes, and that the Europe 2020
strategy actually has a lesson to learn from the cultural sector.
Still, you will have to nd the right arguments, get the relevant
facts and gures.
Youre funny! Where from? Are we expected to do our own
research on top of everything else that we do? Did you know that
most European and international cultural networks only have
one to three full-time employees? For most of them, advocacy, or
if you like lobby work, forms only a fraction of their workload,
alongside preparing content based activities, such as a workshop
on music education in Europe or the next World Forum on
Music.
But there is evidence all around us, plus a lot of research has
been conducted which is accessible to everyone. For example, you
could refer to the KEA study on Te Economy of Culture in Europe
which shows that the culture and creative industries contribute
2.6% of Europes GDP, and employed more than 5.8 million people
in 2004. In contrast, the EU budget only allocates 0.04% to the
culture programme.
Will this really help the public funding of arts and culture?
Denitely! Artistic creation is the centre of the culture
and creative industries, without the right framework to
support artistic creation, the CCIs will lack artistic input and
will not be able to contribute to Europes growth and economy.
All so-called culture operators are facing cuts in their
budgets, especially since the big crisis of 2008, following
which a new dimension has come into play when negotiating
funding for culture. Whether looking at the UK or the
Netherlands, or at the local communities in Germany,
culture seems to be paying the price for the gaps in public
budgets as it is a sector dependent on public funding.
One reaction of some policy makers is that the culture sector
should now carry the burden of proving itself: show us that it is worth
spending money on culture but bear in mind that our assessment is
above all based on economics so you better nd a way of showing
us that every Euro invested in culture returns at least double.
Sitting at my desk, I was planning to write a comprehensive article
on the next EU budget negotiations, presenting the arguments that we
could use when negotiating a budget increase and the continuation of
the EUs culture programme. However, in the course of my writing, two
strange beings suddenly appeared, one on each one of my shoulders. I
could not exactly tell whether one was a devil and the other an angel
but, past experience of beings on my shoulders taught me that it was
good to let them stay there and to argue with one another.
As I thought it much more entertaining to listen to the quarrelsome
twosome, I have decided to provide you with an excerpt of their
dialogue, rather than the dry and comprehensive (well, who knows if
it actually would have been) cultural policy article.
W Ak M0k
we are more
we cre mcre (zoo-zo) is a Lurope-wide arIs advocacy campaign
seI up by CulIure AcIion Lurope. lI will use Ihe upcoming LU
poliIical and Iinancial negoIiaIions Ior Ihe period zoi-zozo
as a Iimely opporIuniIy Io develop and sharpen Ihe argumenIs
used when advocaIing Ior arIs and culIure. 1he ulIimaIe goal oI
Ihe campaign is Io conIribuIe Io a sIrengIhened recogniIion oI
Ihe role oI arIs and culIure in Ihe developmenI oI our Luropean
socieIies. 1he concreIe campaign ob|ecIives Iocus on improving
Ihe qualiIy and quanIiIy oI supporI IhaI Ihe secIor receives
Irom z key LU policies (Ihe CulIure Programme - providing
direcI supporI Io culIural co-operaIion pro|ecIs, and LU regional
developmenI policies - supporIing culIural inIervenIions as key
conIribuIions Io social, economic and IerriIorial developmenI).
1he aim is Ior Ihe campaign Io IuncIion boIh as an eye-opener
Ior policy-makers aI local, regional and naIional level, and as a
mobilisaIion and proIessional developmenI Iool Ior Ihe secIor.
www.wearemore.eu
LU 8udqet Neqctiuticns ncw underwuy
23 20I0-20II // SOUNDS lN LUkOPL
CUL1UkAL PDLIC
And we can still rely on studies for additional arguments.
Yeah, it seems like the combination of the intrinsic and extrinsic
values of the arts and culture will nally be acknowledged!
Lets hope so we are more! we are more!
(joining in): we are more!
And o they went
Once my shoulders were free again and I was able to reect on what I
had heard, I felt more positive. As was said during the Culture Action
Europe conference in October 2010, the time is NOW to act for
culture in Europe. Te EU budget negotiations are under way and it
is important to join forces and lobby for support for culture at local,
national and EU level. Only through an active engagement in the
arts and culture will the EU be able to achieve its aim of becoming
a smart, sustainable and inclusive environment.
// sd
Tats good. What else?
Well, then theres the EUs study on the contribution of culture
to local and regional development. Tis is a very good example of
how culture can contribute to growth in the regions, and also that
other EU programmes may be used for funding culture.
Oh, you mean like cultural mainstreaming?
Exactly!
But dont you think that if we advocate mainstreaming, by
trying to convince all other EU departments (Directorates-
General, DGs) such as enterprise, competition, regional policy,
employment, internal market, information society and media
etc., to incorporate culture, in the end decision makers might
say, Now that you have culture everywhere you dont need your
own programme?
Yes, that is a risk, but have you heard of Culture Action Europes
we are more campaign? It focuses on just two programmes, structural
funds and the Culture Programme, and highlights the importance of
culture by presenting a clear argument for why the Culture Programme
should not be replaced It is the only place for risk-taking, innovative,
artistic and cross-border cooperation in Europe.
It sounds great how can I get involved?
Its easy. Teres the manifesto that you can sign online at
www.wearemore.eu/manifesto, and as it is an open source campaign,
you can also make use of and re-design posters which are available
on the website.
It reads well: Te arts, culture and the humanities engage
and inspire us, and stimulate us to challenge the world we live in.
Investing in the arts from kindergarten to old age builds societies
that are creative, innovative, democratic and diverse. Let us
re-imagine long-term public investment that contributes to
human, social and environmental progress. I am denitely
subscribing to this one! How many signatures do they need for
the EU to support the campaigns demands?
Hmm, its hard to say, though of course the more the better.
However, the decision on the future EU budget will be made by the
Member States, thus national governments will determine which
EU policy areas they want to strengthen and which EU programmes
will then follow. And then of course, theres the principle of
subsidiarity
Te principle of what?
Subsidiarity this means that culture is an area which remains
in the hands of the Member States and therefore the EU does not
have any legislative power in this eld. But like I said, its up to the
national governments to decide, and they may very well agree that
there is much more to the European idea than just economic aspects.
Solidarity and cultural diversity are real arguments for stability in
Europe, and therefore a thorough Culture Programme at EU level
is necessary.
the least due to the fact that the expert group appointed to evaluate
the funding applications had not been given sucient guidelines
to accomplish their work: their recommendations greatly exceeded
the amount of funds available. On the spot, Norway pledged a
contribution of $ 1.4 Million but this amount could not be taken
into consideration for the 2010 round of applications. It was decided
that a second round would be launched in 2011.
Te lessons learned from the rst round translated into the adoption
of additional criteria for the next call for projects, including:
a maximum amount of $ 100.000 can be requested from the
Fund for programmes/projects
the Panel of Experts and the Committee can adapt the amount
of funds attributed to programmes/projects
a Party, a national NGO or an international NGO may present
a maximum of two programmes/projects
It should be noted that among the programmes/projects that will
receive funding from the 2010 budget, there were a good number
of applications from national NGOs that had been presented by the
government of the State Party. We believe this is a very positive sign.
Te IMC Secretary General made a statement on behalf of the
seven NGOs present as observers on the Fund and its implementation.
Our statement included an appeal to IGC members to formulate better
and clearer guidelines for applicants (clear time-frame, rules and criteria,
including whatever regional and other balances are needed). Moreover,
we launched the idea of an informal market place where State Parties
and civil society groups which are considering potential projects can
meet together informally to review the concepts and explore whether
synergies can be found. Tis and other NGO statements can be obtained
from the IMC Secretariat: info@imc-cim.org.
Fundraising for the International Fund for Cultural Diversity
remains high on the agenda: Te UNESCO Secretariat was asked to
prepare an information document for the 3
rd
session of the Conference
of Parties (June 2011) that would succinctly outline the terms of
reference for a future fundraising strategy for the Fund.
Last but not least, the contribution of the IMC and its network to
ensure a large ratication of the UNESCO Convention for the Protection
and Promotion of the Diversity of Cultural Expressions was highlighted
in an information document distributed at the IGC meeting. Only
three organisations have found their way into this document.
Te working papers and decisions of the meeting are available on
the UNESCO website: www.unesco.org.
// 5iIja fischer
SecreIary General oI Ihe lnIernaIional Music Council
lor more inIormaIion please conIacI:
lnIernaIional Music Council
Maison de l'UNLSCO, rue Miollis, )<)z Paris cedex <, lrance.
1el. + i< 68 i8 <o, Lmail: inIoimc-cim.org, WebsiIe: www.imc-cim.org
State Parties to the Convention continue to engage in the
eective implementation of the UNESCO Convention on
the Protection and Promotion of the Diversity of Cultural
Expressions.
At its last meeting from 29 November to 1 December 2010 in
Paris, the Intergovernmental Committee (IGC) of the Convention
adopted further operational guidelines:
a) On information sharing and transparency
(Article 9 of the Convention)
Te guidelines include an extensive framework for the periodic
reports on implementation that State Parties are to submit. It is
stated clearly that this reporting should be a participatory process
also involving civil society. Te IMC and EMC urge all members to
be prepared to respond to calls for contributions from their national
governments.
b) On the exchange, analysis and dissemination of information
(Article 19 of the Convention)
Te guidelines dene responsibilities of State Parties and the
UNESCO Secretariat. Tey also include a short paragraph about
the contribution of civil society. According to the text, civil society
organisations from dierent regions in the world are encouraged
to establish links between them at the international, regional
and sub-regional levels and to keep the UNESCO Secretariat
informed of their activities. So, regular business for organisations
such as the IMC and EMC
c) On education and public awareness
(Article 10 of the Convention)
Measures proposed in the guidelines target both secondary and
higher education, as well as training and research institutions.
Te guidelines advocate for an integrated approach in the design
and implementation of educational programmes that promote the
objectives and principles of the Convention. Ties between culture
and education should be strengthened at the policy, programme
and institutional levels.
Having invited the UNESCO Secretariat in 2009 to provide a
feasibility study and cost analysis for the creation of an emblem for
the Convention, the Intergovernmental Committee postponed the
decision on this issue to its next session in December 2011.
With regards to the pertinence and feasibility appointing public
persons to promote the Convention, the IGC decided that each Party
is entitled to choose the mechanism which it deems appropriate to
promote the objectives of the Convention, including the possibility to
appoint a spokesperson. It seems that no consensus could be found
among State Parties on a general mechanism at international level.
Te main part of the IGC meeting was however dedicated to the
implementation of the International Fund for Cultural Diversity. State
Parties engaged in extensive discussions on the use of the funds, not
Iurther Steps 1owards ts |mp|ementaton
2005 UNSC0 C0NVN1l0N
CUL1UkAL PDLIC
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25 20I0-20II // SOUNDS lN LUkOPL
CUL1UkAL PDLIC
MADE IN THE CONGO
Artisan Guitar Maker from Kinshasa supported by Music Fund
Andy Morgan talks to the Kinshasa-based guitar maker Socklo, who makes
the distinctive, hand-crafted guitars played by Staff Benda Bilili
Photo by Vincent kenis
fDk IN5PIkA1IDN
20I0-20II // SOUNDS lN LUkOPL 26
Pairon of Music Fund travelled to Kinshasa in 2007 and met both
guitar-makers. Teyre struggling to survive, which is hard to see,
he tells me over the phone from Ghent in Belgium. Teyre both
very proud of their work, and theyre very well known locally,
and supported by musicians like Jupiter and Sta for Socklo,
and others for Almaz. I went back to see them with two expert
luthiers from Belgium. Tey could see a number of problems
with the guitars, but they were completely amazed by both
Socklo and Almaz.
Music Fund imports the guitars to Europe in batches of ten and
sells them through its website, paying 50% up front, which allows
Socklo and Almaz to buy better materials and support themselves
while they fulll the orders. Pairon is actively seeking a European
guitar distributor to take over the operation and increase the
marketing push and invites any interested parties to contact him
(email below).
Socklo himself has little doubt that his future survival depends
on nding new markets. I am VERY happy to work
with Lukas, he shouts through a telephone blizzard from
Kinshasa. Its important for me to sell guitars in Europe.
But to develop, I really need more tools. Teyre hard to
nd here and very expensive. With tools I could work
faster and produce a higher number of guitars.
Vincent Kenis, the Belgian producer of many bands
to emerge from the Congo, including Sta Benda
Bilili, is a huge fan of Socklo. Hes very modest
and very conscientious. I think he makes the best
guitars in Kinshasa. But hes a bit discouraged with
the economic situation. Nevertheless he manages
to keep going. Kenis helped Sta Benda Bilili
to adapt their guitars for their European tour,
adding Western tuning mechanisms and piezo mics for
amplication. Tese guitars have a real personality. I bought a guitar
from Socklo last December and I was pleased to see that following the
visit of the Belgian luthiers, many basic problems have been ironed
out. Tey last long too, Kenis reassures me. It seems that Sta Benda
Bililis musical rallying cry also extends to the amazing artisan guitar-
makers of Kinshasa: Trs Trs Fort!
1o buy a guiIar by Socklo or Almaz online, go Io www.musicIund.be
Lukas Pairon welcomes inquiries Irom guiIar reIailers or
disIribuIors inIeresIed in working wiIh Socklo and Almaz.
Please conIacI him aI: Lukas.paironicIus.be
// Andy Morgan
lull Iime wriIer, |ournalisI, researcher and evenI programmer
lirsI published in Songlines, !uly zoo
Last summer, when Sta Benda Bilili wheeled themselves
onto the main stage of the Eurockennes de Belfort Festival
in France and unveiled their bittersweet rumba to
an exultant European audience, many listeners were
intrigued by their extraordinary guitar sound.
It was powerful, bright, full-bodied and yet as raw as an
uncooked onion, zzing with the kind of raunch that many rock
guitarists have been searching for in vain since the end of the 60s.
On closer examination, curiosity turned to amazement. Te
guitars were unlike anything seen before in Europe. Teir shape
and dcor varied from electric blue sunburst with classical curlicue
sound holes to blended black and copper red tiger stripes with round
sound holes. Te bridges, nuts, frets and other bolt-on mechanisms
were all rough-hewn yet functional. Te guitars seemed to be the
product of the eye and imagination of an artist.
Sta Benda Bilili soon revealed their secret. All their guitars
are made by Misoko Nzalagala, universally known as Socklo,
a guitar-maker from Stas home city of Kinshasa, capital
of the Democratic Republic of Congo. Once a guitarist
himself, Socklo now makes two or three instruments per
week in a clapboard shed in the Lembas district of this
enormous teeming city. Tools are rudimentary just a
heap of hammers, chisels, planes, saws and anvils made
from recycled ordnance, all lying at the feet of the
kind-faced Socklo while he sits and patiently fashions
his artisanal wonders on his lap.
A hand-cranked turning machine serves to make
guitar strings from bicycle brake wire coiled with
copper lament, which has been recycled from old
engines and dynamos. Apart from the plywood used
to make the sound boxes of the guitars, all the other raw
materials are recycled from bits of wood, old engine parts,
refrigerator innards and plastic chairs. Socklos workshop is a shrine to
all the positive things mothered by necessity: ingenuity, skill, artistry,
imagination, pride and plenty of invention.
Across the city in Bandal, Socklos rival, Almaz, has a few more
mod cons in his workshop. Almaz stands for Atelier Lutherie Mazanza,
but the avuncular white-haired patron is also known by that name.
He owns a few electric tools, but an 11-month power cut made them
inoperable until recently.
Teir main market has been Kinshasas own legion of hopeful
guitarists. But though a typical Socklo guitar sells for only about $ 25
locally, theyre beyond the reach of most of Kinshasas wannabe guitar
heroes, thanks to the relentless economic crises and general poverty
that clings to the DRC like a curse.
But help is at hand. A Belgian NGO called Music Fund has
decided to support both Socklo and Almaz, initially for a year. Lukas
Music lund is u 8elqiun
crqunisuticn suppcrtinq ycunq
musiciuns und music schccls
in develcpinq ccuntries und
ccnict ureus by ccllectinq
musicul instruments, restcrinq
und tukinq them tc where they
ure needed.
Mcre infcrmuticn cn
Music lund ure uvuiluble ut:
www.musicfund.be
Photos by Vincent kenis
27 20I0-20II // SOUNDS lN LUkOPL
fDk IN5PIkA1IDN
most suitable mentors for their needs: work with a mixed choir, vocal
problems in childrens choirs, folk music interpretation, Estonian
pronunciation (for Russian choirs) etc. Mentors may also be invited to
lead workshops and courses, give lectures, become members of juries,
help regional festivals and other events as artistic consultants.
Te Ministry of Culture annually gives about 30 000 to the
Estonian Choral Association, which acts as co-ordinator for the Mentor
Programme. Tis funding may only be used to pay the mentors salaries
and that of their accompanists, with a small amount also going to the
programme co-ordinators. Te regions are responsible for organising
the venues in which the courses take place themselves, and there is no
participation fee for the conductors and music teachers.
In the last 6 years the ECA has organised free courses as part of
the mentors programme, and it has proved itself as a exible and
fast solution to the various problems faced by conductors in Estonia.
Tanks to the programme, the ECA has built up good contacts with
its regions, and therefore has acquired a thorough knowledge of the
choral landscape across the country. Furthermore, this programme has
given employment to Estonias high-level conductors and supports the
Song Celebration festivities.
// kaie 1anner
General SecreIary oI Ihe LsIonian Choral AssociaIion
LMC 8oard Member
lor more inIormaIion please conIacI:
LsIonian Choral AssociaIion
koosikranIsi , on 1allinn, LsIonia
Phone: +)z 6z) ii <o/<, lax: +)z 6z) ii<n
L-mail: kooriyhingkul.ee, WebsiIe:www.kooriyhing.ee/eng
Te Estonian Choral Associations (ECA) Mentor Programme
was born from a board meeting, during which possibilities
for developing Estonian choral music were discussed. By the
end of the discussion a simple formula had been found:
Better educated conductor = better conductor = better choir
Tere was a mutual consensus on the importance of lifelong learning
and the necessity for adult education, however it soon became apparent
that most of the ECAs conductors hadnt attended any new courses
or seminars since graduating from their music academies or colleges.
Te main reason behind this being that conductors are not paid very
well for their work, and therefore cant aord to pay for additional
courses despite there being a need for it, as well as a great interest in
studying!
In co-operation with the Estonian Ministry of Culture, a training
programme was developed which started out as a pilot project in 2005.
It is now functioning as a stable programme with 100 200 courses
and workshops taking place every year.
Te idea is quite simple:
Te Estonian Choral Association (ECA) announces the Mentor
Programme in its newsletters and at its meetings, inviting all good
choir and wind orchestra conductors, as well as vocal coaches, to
apply to become mentors. Te successful applicants are then selected
by the ECAs music commission. As of today, there are 33 mentors
specialised in choirs and brass bands working throughout Estonia.
Each mentors specialisations are presented on the ECA homepage,
allowing conductors and music teachers needing help to select the
A 811k C0NDUC10k 0UAlS A 811k CH0lk
1he Lstonan Chora| Assocaton's Mentor Programme
Mentcr Prcqrcmme & rhilJren rhcirs
Photo by stonian ChoraI Association
Open cir lerture with veljc 1crmis
Photo by stonian ChoraI Association
fDk IN5PIkA1IDN
20I0-20II // SOUNDS lN LUkOPL 28
JFLE;KFC;
=8@IPK8C<J
<;L:8K@FEK?IFL>?
:FEK<DGFI8IPDLJ@:
Photo by PauIa Azguima
29 20I0-20II // SOUNDS lN LUkOPL
fDk IN5PIkA1IDN
Setbal or Seixal, districts situated close to either Lisbon or Porto
which experience severe social problems. Involving the inhabitants of
these areas in cultural and art activities is one of the crucial factors in
the process of their regions development.
Tere are plans to introduce Sound Told Fairy Tales in other
countries, with each country presenting stories with accompanying
music by their own authors and musicians. Te projects pedagogical
aspects are also worth mentioning, and from experience it
has become evident that it has the capacity to reinforce
the bond between children and adults (their families
and teachers). On the one hand the project has a
strong and benecial impact on childrens creative
development but on the other, adults also benet
from the Sound Told Fairy Tales performances.
Tanks to the projects unusual context they learn
to appreciate and open themselves up to new
musical forms, which in other circumstances they
would have perceived as too demanding, and to re-
learn how to approach children through storytelling. Te
latter is also benecial for music authors as it helps them to
develop their work by approaching new audiences.
As music has an enormous ability to inuence and shape our
customs, Miso Music Portugal believes that it is high time to concentrate
more eectively on how it can help in terms of development. If from
the one point of view contemporary art seems useless, from the
other it constitutes one of the most profound human features, not
only establishing the identity of immediate circumstances, but also
forming collective history. Consequently, the possibilities, which an
artist possesses to assert his or her individuality are by denition a
political act, says Miguel Azguime, composer, poet and one of the
co-founders of Miso Music Portugal.
1
lnIerview wiIh Miguel Azguime enIiIled "LiberIar o ar" by !oo Urbano
and !orge Leandro kosa, "Nada" Magazine, No. <, OcIober zoo, Lisbon,
PorIugal.

// 5Ivia 5eixas kodrigues & Iakub 5zczypa
lor more inIormaIion please conIacI:
MlSO MUSlC POk1UGAL
kua do Douro nz, kebelva z))<-8, Parede, PorIugal
1el: +< z i<)<o68, lax: +< z i<8)z<, WebsiIe: www.misomusic.com
Te cultural sector represents a strong potential for social
and economic innovation, therefore in times of economic
instability, artistic creation has a special role to play. In the
musical sense, development is a process by which musical
materials are altered and elaborated.
Terefore music, on both a micro and macro level, is always about
moving forward, changing and developing past structures. What is so
specic about music that qualies it as an important vehicle
of development? How can contemporary art be more
eectively integrated into local, national and regional
development programmes?
Te Cultural Association Miso Music
Portugal initiates projects which play a key
role in fostering cultural environments and in
creating equal opportunities. Sound Told Fairy
Tales Electroacoustic Teatre for Children is one
such project.
Designed for children between four and 12 years old
and their families, the Sound Told Fairy Tales project is based
around the tradition of storytelling, and includes both Portuguese
and foreign tales, original pieces written especially for the project, as
well as modern stories by contemporary authors. Te novel character
of Sound Told Fairy Tales is the interaction between the written texts
and the music specially composed for each fairy tale. Te original
pieces of music not only complement the meaning of the words but
also stimulate the childrens imagination.
Trough the project, the youngest are introduced to new music
opening their minds to a world of sound phenomena created by means
of modern technology whilst referring to various exemplary works for
children by composers such as Camille Saint-Sans, Sergei Prokoev
or Maurice Ravel. Te projects objectives focus on education through
sound, which is especially signicant as children are particularly
receptive to novelty. By presenting new music to children all around
Portugal whose exposure to contemporary works is limited, Miso Music
Portugal intends to expand their taste and knowledge of the modern
world. Young people shape their individual receptivity, creativity
and social awareness through direct contact with contemporary art,
subsequently leading them to become conscious and independent
citizens, which benets the countrys overall development.
Sound Told Fairy Tales has involved young audiences from less
privileged areas such as Amadora, Aveiro, Monte Abrao, Montijo,
If from the
one point of view
contemporary art seems
useIess, from the
other it constitutes one
of the most profound
human features.
Photos by PauIa Azguima
fDk IN5PIkA1IDN
20I0-20II // SOUNDS lN LUkOPL 30
Capitals of Culture or the Council of the European Unions adoption
of its conclusions supporting the contribution of culture to local and
regional development, there is still a lot to be done. A change of mind-
set is needed at all levels starting from the individual person. As
stage director Galin Stoev said in an EFA session: I cannot change
the society, but I can reach out to a person!
Te arts including music can provoke this change of mind-
set which will lead to the building of our societies!
Music festivaIs: CataIyst for 5ocietaI DeveIopment at
kegionaI LeveI
Festivals are in a privileged position to provide the means for
everyone to experience culture. Tey ensure a real encounter between
arts/life, artists and audience. Tey open doors to new artistic forms,
new performers, new audiences, unusual venues, unknown cultures,
new points of view. Tey inspire citizens through the arts, challenge
and oer them occasions to broaden their horizons, bringing people
together through inventive and participatory initiatives.
In 2010, EFA initiated the Open the Door project. It aims to
increase awareness of the power of arts and culture in the process of
social transformation and to foster involvement of cultural actors in
societal issues through festivals.
20 years after the fall of the Berlin wall that led to the
integration process we are witnessing today, it seems that
Europe is still far away from its citizens.
Many do not yet share the belief of a citizens Europe because
they are not involved in the process of shaping it. An institutional
Europe has therefore to become a citizens Europe, which is by
denition a cultural Europe.
Music, theatre, dance, literature, visual arts, architecture, lm
etc. may belong to a specic country or region. However, they are
all rooted in a mosaic of shared interconnected experiences. Without
culture, citizens will not develop an emotional link to this Europe.
1he koIe of CuIture in kegionaI DeveIopment
Culture has been introduced as a factor in EU regional
development policies recently. Despite very valuable eorts such as the
creation of the informal EP Intergroup A Soul for Europe (established
at the initiative of a group of Members of the European Parliament
in 2008) that urges to include culture as a means for sustainable
regional development in Europe, the initiation of the European
Iestva|s and ther Contrbuton to kegona| Deve|opment
A CUl1UkAl Uk0PI A Cl1lINS' Uk0PI
'5inqinq PclcnJ!' - initicteJ bv lnterncticncl lestivcl Wrctislcvic Ccntcns
Photo by Lukasz kajchert
3! 20I0-20II // SOUNDS lN LUkOPL
fDk IN5PIkA1IDN
and European cultural organisations and further development of an
independent, artistically driven exchange.
Other examples of music festival projects are MusMA,
Music Masters on Air: European Broadcasting Festival,
which is a long-term international collaboration of
some 10 major European festivals; or Singing Poland!,
initiated by International Festival Wratislavia Cantans,
which hopes to develop into a European initiative
Singing Europe. Tere are many more examples that
EFA in its mission brings to the attention of
political decision-makers at European level.
Te European Festivals Association urges actors at all
levels and from all sectors to recognise the power of arts and
culture! Lets make use of this force of festivals to bring together
individuals and to shape a sense of responsibility in a cultural Europe,
a Europe of citizens!
// kathrin Deventer
SecreIary General oI LlA
lor more inIormaIion please conIacI:
Luropean lesIivals AssociaIion
Kleine GenIsIraaI i6, no< GenI, 8elgium
1el: +z n zi 8o8o, lax: + z n zi 8o8n, Lmail: inIoeIa-aeI.eu
Dpen the Door: fA Connects Music festivaIs from
urope's kegions
In a newly launched format entitled EFA Meets Its Regions, EFA
brings together festivals sharing common interests according to their
regional context: the international work starts with your next-door
neighbour. A meeting in June 2010 in Zagreb that took place in the
frame of Open the Door resulted in the launch of a project, that without
doubt is a best practice example for feeding into regional development
through music:
Te Belgrade Music Festival (BEMUS) dedicated its 2010 season
to Festivals: Open this door NOW! Te major project in this respect is
the launch of the NO BORDERS ORCHESTRA, an orchestra
that brings together excellent musicians from all former
Yugoslav republics; it will start operating in 2011.
Besides having an artistic importance, the project
has a strong educational and social signicance. Te
overall goal is to emphasise the necessity of cultural
involvement in all aspects of social and political
life. It aims to suppress a brain drain of young
professionals from the region; to balance cultural
consequences of transitional period(s) across the region;
to activate the civil sector through cultural activity; and
to point out the importance of an active citizenship. Also,
the project involves a message to politicians: culture and arts are
fundamental factors of cooperation, better quality of life for everyone
and regional development as a whole.
To reach out to political decision-makers is a second aim of Open
the Door.
Two commitments were signed in order to raise awareness at
political level, to dene responsibilities and to involve politicians in
the process: one in Zagreb that aims at opening doors to politics, to
civic debate and to Europe in particular in the South-Eastern European
region; and one in Shanghai that calls for collaboration between Asian
Without
cuIture, citizens
wiII not deveIop
an 'emotionaI' Iink
to this urope.
Photo by Lukasz kajchert
fDk IN5PIkA1IDN
20I0-20II // SOUNDS lN LUkOPL 32
Te Institute for Modern Music focuses on disciplines which are
not oered by the basic Czech music curriculum but which it sees
as being necessary for the future development of the sector. Foreign
specialists, whose knowledge is highly valued, are invited to become
mentors and tutors.
Disciplines such as music management, mobility and publication/
distribution training are seen as essential to this process, and receive
particular attention in specially organised seminars and workshops
providing new and already active musicians with knowledge needed
to help them grow and develop in their professional lives. Hosting
meetings of professionals and specialists from dierent countries in the
Czech Republic, will encourage new possibilities for networking and
artistic collaboration to emerge, and therefore improve opportunities
for Czech artists both at home and abroad. Te institutes aim is not
to occupy itself with administration, but to instead focus on the real
experience of making music and on active artistic exchange in order
to restore the strong Czech music tradition, enriched and updated
with the current trends, and strengthen Czechs identity with their
music and boost Czech artists condence at international level. Music
represents a signicant connecting link between all artistic disciplines
and aects present social needs. It impacts general awareness, reects
daily culture, social standards, economical and emotional growth not
only in local terms but world-wide. It is today that the Institute for
Modern Music tries to shape the music sector of tomorrow.
// IarosIav kaus`er, chairman oI Ihe board lMR o.s.
Iana 1oms`kov, depuIy chairman oI Ihe board lMR o.s.
kadek Adamec, depuIy chairman oI Ihe board lMR o.s.
lor more inIormaIion on Ihe Czech lnsIiIuIe Ior Modern Music
visiI www.insIiIuIeIormusic.org or mail Io inIoinsIiIuIhudby.org
Te idea of an Institute for Modern Music was born as
a reaction to the present state of Czech modern and
alternative independent music scene which is isolated from
international audiences 20 years after the political changes
which swept the country, the Czech Republic has not been
able to generate artists who would then follow in the formally
strong tradition of Czech music and succeed abroad.
Why? Te Czech music scene suers as a result of a long lasting
and profound negative synergy between the eects of the extreme
censorship of the Communist regime and general cultural decline
which occurred during the period of normalisation in the 70s (after
1968), where the strive to democracy repressed artistic potential and
social progress. A further signicant inuence on the state of Czech
music is the focus placed by the mass media on the commercial
viability of artists in the music sector.
Where does this incompetence originate from? Over the years,
key areas of the creative process, such as composition, arrangement
and sound formation, were downgraded in the curriculum with music
schools instead prioritising only two areas: music theory and musical
skills. As a result of this specically Czech approach to teaching
music, which prevails throughout the country, graduate students
struggle to nd their ground in the modern music world, particularly
when competing with their foreign counterparts who have been
exposed to a multi-faceted approach to music teaching as well as to
new technology. Te Czech musician cannot survive, as conrmed
by the performances of notable Czech music groups abroad which
unfortunately experienced poor interest from the foreign audience.
Te lack of supportive institutional structures, sucient
education, philanthropists, patrons, legal procurement, tax reductions
and global industry interest leads to a deterioration of stimulation
for the Czech artist on his journey towards originality, quality and
professionalism.
How can we help? Te Institute for Modern Music aims to
improve the above mentioned conditions in mutual collaboration with
other legal entities. Searching for positive and constructive solutions
away from the current troubled situation of music in the Czech
Republic, the Institute for Modern Music has proposed a concept
focusing on four basic, inter-linked categories that it assumes will
vitalise the modern Czech music scene: specialised training , music
management and production, mobility and music export, and audio-
visual publishing.
Central to this concept and forming its initial phase is specialised
training. A professional position in the artistic eld requires good
qualications in management as well as technical skills, and not just
musical talent.
|ntroducton to the new Non-Prot Assocaton
for Modern Musc n the Czech kepub|c
lNS1l1U1 f0k M0DkN MUSlC
N.O.l.A.
A qrcup benehttinq
[rcm lnstitute lcr
McJern Musir
Photo by kainer WitzeI
33 20I0-20II // SOUNDS lN LUkOPL
fDk IN5PIkA1IDN
million YouTube views for the 50+ video entries by artists from 15
dierent countries; 1 000 fans on the Fair Play Anti-Corruption Youth
Voices Facebook page; and performances by the three winning bands
Malika (Malawi), I-VOICE (Lebanon) and Katya Emmanuel (DR
Congo) in Brussels at the Global Youth Anti-Corruption Forum and
as part of the Brussels Jazz Festival (Brussels Jazz Marathon).
Now in its second year, the aims to go further in raising awareness
and connecting youth globally that are concerned about this issue, and
ultimately to empower them to make a change.
Fair Play Anti-Corruption Youth Voices music video competition is
open 10 Jan 20 March 2011. More: www.anticorruptionmusic.org
// kate DecIerck
!eunesses Musicales lnIernaIional
lor more inIormaIion please conIacI:
!eunesses Musicales lnIernaIional
Palais des 8eaux-ArIs, kue 8aron RorIa , ooo 8russels, 8elgium
1el: +z z < n) )i, lax: +z z <i i)<<, Lmail: mail|mi.neI
WebsiIe: www.|mi.neI
Te abuse of power for private gain is an issue in virtually
every country worldwide.
Corruption, whether petty, bureaucratic or political, impacts
the lives of millions globally and hinders the economic, political, and
social development of our communities.
To eradicate corruption and move beyond the cycles of poverty
and inequality it perpetuates will demand a multi-sectoral approach
engaging public institutions, government, private sector, media and
civil society in joint dialogue and action.
With the aim of probing the role the music sector can play in
ghting corruption, the JMI Foundation in partnership with the
Global Youth Anti-Corruption Network and the World Bank Institute
initiated Fair Play Anti-Corruption Youth Voices in 2010, a global
competition for music videos by young artists/bands (1835) on the
theme of anti-corruption.
In its rst year, the programme resulted in 10 000 YouTube views
for videos by Fair Play ambassadors African Destiny (Zimbabwe),
Ajob (Bangladesh), Blessed Sons (Sierra Leone), Fareeq el Atrash
(Lebanon), Lesen Udar (Macedonia), Profetas (Colombia), Te Ryan
Cayabyab Singers (Philippines) and Steven Sogo (Burundi); three
fAlk PlAI
zoo lcir Plcv winner l-vcire (Pclestine/lebcncn)
Photo by 1anya 1rabouIsi
Musc Aganst Corrupton
fDk IN5PIkA1IDN
20I0-20II // SOUNDS lN LUkOPL 34
0i[[erent musir qenres rcn be [cunJ in 5eine-5cint-0enis. lrcm lip lcp tc kcrl'n'kcll tc lclllcre
Photo by WiIIy Vainqueur
35 20I0-20II // SOUNDS lN LUkOPL
fDk IN5PIkA1IDN
scholarly work on music and history of the area. An exhibit and a
monograph dedicated to the famous independent French label Vogue,
which was based in Seine-Saint-Denis, are also being prepared.
Furthermore, the recently produced lm 93, la belle rebelle,
directed by Jean-Pierre Torn and broadcast on Arte, is the outcome
of a proposal made by Zebrock two years ago. Taking the form of a
documentary, the lm not only presents some of the suburbs most
creative and relevant artists today, but more signicantly,
through eight musical portraits, underlines the constant
restless character of the residents, who have found
it hard to t into the area in which they were
forced to reside. Tis rebellion causes tension,
which can lead to rioting, result in a signicant
political phenomenon such as creation of the
red suburb or lead to increased levels of union
membership. However, most of the time it also
gives birth to remarkable creativity, particularly in
the musical eld. Te artists lmed and interviewed
in this outstanding lm give accounts of this reality.
Tey express their deep attachment to the area and
deliver a truly comforting message of hope. Mixages is thus
contributing to the development of Seine-Saint-Denis by enlightening
its creativity, the strength of its diversity, and the opportunities it
conceals.
// dgard Carcia
DirecIor General oI Zebrock
lor more inIormaIion please conIacI :
AssociaIion Chroma/Zebrock
Le 1erminal, z rue SainI-!usI, no Noisy-le-Sec, lrance
1el: + << 8n oo 6o, Lmail: lnIozebrock.neI, WebsiIe: www.zebrock.neI
What does popular music tell us about the times in which
we live? How does it travel throughout a territory, and what
does it tell us about the people who live there? How does
studying it play a part in discovering a common history?
Tese are questions raised by Mixages, a project initiated in the most
notorious suburb (banlieue) of Paris Seine-Saint-Denis by Zebrock,
an association devoted to broadcasting and transmitting popular
music, mostly in schools. Te suburb, which incorporates 40
cities with a total population of 1 560 000 inhabitants, is
predominantly made up of working-class households
and migrant communities. As in many French
suburbs, unemployment in Seine-Saint-Denis is
high, aecting approx. 4050 % of the youth
living there. Te lack of perspectives, increasing
ghettoisation, marginalisation by French society,
and a negative image in the media, leaves young
people frustrated and angry, and leads to social
unrest. For many, music is their only escape from
this depressing reality.
Te Mixages project invites the inhabitants of Seine-
Saint-Denis to share with each other their musical passions.
Based around municipal archives and work with musicians and music
professionals, the project calls on history and sociology scholars to help
rebuild the territorys musical history of the past fty years. It aims at
understanding how dierent musics found in the suburb have aected
behaviour and how they inuence the present. Listening to music is
the most common and easily accessible form of musical practice there
is. In Seine-Saint-Denis it shapes dierent behaviour, opening new
doors and opportunities for young people who choose a completely
dierent life to what society expects of them. A diversity of genres can
be found, from rap to rocknroll, from pop to all its variations. All are
witnesses of technological mutations; they represent what upsets the
society; they are responsible for the evolution of customs; expressions
of hope and expectations.
Music in the suburb therefore becomes a political tool, a part of
the social hubbub, of the cultural eervescence: It provides us with a
soundtrack of society.
Te Mixages project is made up of dierent elements. Musical
workshops bring young people into contact with the older generations,
from which they acquire knowledge, enhancing their creativity. Te
cafs musique initiative led to a series of public meetings in many cities,
where presentations of archive footage, testimonies and debates (which
were all recorded) cast a light on a common culture and experiences
shared by the residents of Seine-Saint-Denis. Such a revelation will
inevitably strengthen social bonds and mutual understanding amongst
residents. An interactive website is currently being developed linking
a collection of the locals testimonies, memories and comments to
Music in the
suburb therefore
becomes a poIiticaI tooI,
a part of the sociaI
hubbub, of the cuIturaI
effervescence: It provides
us with a soundtrack
of society.
MlXACSI
1H S10k 0f MUSlC 8HlND 1H SU8Uk8
Photo by WiIIy Vainqueur
20I0-20II // SOUNDS lN LUkOPL 36
kVIW
who came from nearly 30 countries across Europe and beyond, were
encouraged to reect on how musical diversity had developed (or not)
over the past decade in their own countries, and how they and their
organisations could help shape the future.
In his welcome, Timo Klemettinen, the chairman of the EMC,
urged delegates to question their role as NGOs when it comes to
developing culturally democratic and open societies with real respect
towards dierent cultures. Te opening keynote speech, from Simron
Jit Singh of the Institute of Social Ecology in Austria, gave a very
enlightening presentation on how work and economy has an impact
on culture, with particular reference to the communities of South
East Asia who were aected by the tsunami in 2004. He commented
on how the inhabitants of the region had much less time to enjoy
and develop their culture since the disaster because of new ways
in which the markets and economy were being run to suit a more
Western model. Eva Nowotny (President of the Austrian UNESCO
Commission) and Yvonne Gimpel (Austrian National UNESCO
Commission) then discussed how perspectives of cultural diversity
Te European Forum on Music, held in cooperation by
the European Music Council (EMC), the Austrian Music
Council and the University of Music and Performing Arts
in Vienna, from 15 18 April 2010 in Vienna, was an event
that will surely linger in the participants minds for a long
time to come.
Tere was, of course, the plume of volcanic ash that was making
its way across Europe, closing most of the continents airspace and
hampering travel plans, but for the people who made it to Vienna
(and most people did as the conference started just before the travel
chaos began), the discussions, connections, ideas and conclusions that
came about in Viennas University of Music and Performing Arts will
be remembered and have repercussions for much longer.
As people queued to register for the three day conference, they
could peruse the photo exhibition that had been set up especially by
mica music Austria, entitled 15 Years of Austrian Music: 1994 -
2009, and that would form part of the theme of the forum, itself
entitled Musical Diversity: Looking back, Looking forward. Te delegates,
V0lCANlC ASH M1S MUSlCAl DlVkSl1:
1H !
S1
Uk0PAN f0kUM 0N MUSlC
Ccnrert in the [rcmewcrl c[ the lurcpecn lcrum cn Musir in the [cmcus Musikverein in viennc
Photo by MC
37 20I0-20II // SOUNDS lN LUkOPL
kVIW
in line with the ve musical rights of the International Music Council
(IMC), the combination of the right to access culture and the right of
artists to receive a fair remuneration might cause conicting interests
in the digital context.
Te following morning, Harald Huber (Austrian Music Council)
and Lisa Leitich (University of Music and Performing Arts, Vienna),
gave a very detailed insight into Austrias present musical diversity,
also detailing some plans for the future, and how Austria intends to
redress the balance between dierent musical forms.
Te panel discussion on the EU 2020 Strategy saw some changes.
Representatives from both the EU Commission and the EU Parliament
were unable to beat the volcanic ash, as by now almost all of Europes
airspace was closed. Ivor Davies (Culture Action Europe) chaired
the session with Yvonne Gimpel (Austrian Ministry of Education,
Arts and Culture), who took the cancellations in their stride, with
Mr Davies ensuring a lively debate, collecting examples of national
advocacy activities that could serve as models for other NGOs that
were represented at the forum.
Before the closing sessions of the conference, some member
organisations of the EMC were given the chance to give an introduction
to particular projects that they had been undertaking over the past year
to the audience, and the presentations from Franz Patay (International
Music and Media Centre); Ariane Hannus (German Music Council);
Franz Niermann and Isolde Malmberg (European Association for
Music in Schools); Frank Stahmer (European Composers Forum);
Gbor Mczr (Europa Cantat); Edgar Garcia and Hlne Pons
(Chroma/Zebrock) and Lenka Dohnalov (Czech Music Council),
really demonstrated music diversity in action.
Alongside the forum, the EMC Annual Meeting took place
and elections for the EMC Board 2010 2012 were held. Te new
board consists of Timo Klemettinen (Finland), Christian Hppner
(Germany), Stef Coninx (Belgium) all of whom will reprise their
roles as chairman, vice-chairman and treasurer respectively Erling
Aksdal (Norway), Helena Mai-Nissinen (Switzerland/Finland),
Frank Stahmer (Austria) and Kaie Tanner (Estonia), as well as a co-
opted member of Claire Goddard (United Kingdom/Germany), who
is the chairperson of the EMCs Working Group Youth.
Apart from the discussions and presentations, the Austrian Music
Council and the University of Music and Performing Arts, Vienna,
gave delegates the opportunity to experience Viennas musical diversity
rst hand with performances from the universitys students, a concert
of new Viennese music at the legendary Porgy and Bess Jazz Club
and a stunning performance by the Wiener Symphoniker at the world
famous Musikverein.
In their extremely observant and concise summaries of the
conference, Sonja Greiner (Europa Cantat) and Peter Rantasa
(International Music Council)
urged delegates to really take
time to think about what they
had heard and discussed over the
past couple of days, and ensure
that the conclusions and concrete
recommendations that they had
come to be acted upon in their
respective organisations and
countries. With many people now
stranded in Vienna, it was the
perfect time to reect and really
take some time to think.
// Iamie Munn
LMC inIern 20I0
had changed through the UNESCO Convention on the Protection and
Promotion of the Diversity of Cultural Expressions, and how they would
continue to do so over the coming years.
Tese presentations allowed debate and discussion to develop over
the rest of the conference. In terms of musical diversity in Europes
urban areas and cities, there was a presentation from Ursula Hemetek
(International Council for Traditional Music, Vienna), who showed
what inuence Turkish migrants, in particular, have had on Viennese
musical life, and the dierent situations in which music making has
ourished and where it still has some way to go. Katrien Laporte
and Wim Wabbes (UNESCO City of Music Ghent), gave a vibrant
introduction to the city of Ghent and why it has been singled out
by UNESCO as worthy enough to be included in its Creative Cities
Network. Peko Baxant (City of Vienna) showed how Vienna has
progressed in terms of musical diversity and that whilst it is very proud
of its rich musical heritage, it is also trying to look to the future and
foster its burgeoning contemporary scene. Unfortunately, Madis Kolk
(European Capital of Culture: Tallinn 2011), was unable to join the
panel because of the, by now widespread, travel problems, but a short
speech was read out on his behalf by Silja Fischer (Secretary General,
International Music Council), which stated how Tallinn intends to
share the benets that will come with being Capital of Culture 2011
with all its inhabitants, and promote long standing and sustainable
projects that will reach people far beyond 2011. Whereas musical
diversity seems to be an important factor for the promotion of cities,
the participants also requested that musical diversity should have more
relevance when it comes to formulating cultural policies and designing
funding opportunities.
Parallel interactive sessions discussed the past, present and future
of Musical Diversity and Education and Musical Diversity in the
Digital Environment. Te invited experts on education, Michael
Wimmer (educult), Rineke Smilde (Professor of Lifelong Learning
in Music & the Arts Prince Claus and Royal conservatoires, the
Netherlands) and Franz Niermann (European Association for Music in
Schools) all agreed with the delegates attending that music education
varied quite widely across Europe, and that whilst some countries
seem to have got it right or are heading in the right direction, others
need much more pushing and persuasion to give music education the
recognition it deserves as a key part of a persons holistic education.
Te discussions that followed between the delegates expanded on this,
giving examples from their own countries about the present situation
and what is planned for the future. Te other session, with Patrick
Rackow of the European Composers and Songwriter Alliance and
Graham Dixon of BBC Radio 3, chaired by Stef Coninx (International
Association of Music Information Centres) showed the dichotomy that
we face when talking about cultural diversity in a digital environment:
kVIW
20I0-20II // SOUNDS lN LUkOPL 38
from the European Youth Forum and Kate Declerck from Jeunesses
Musicales International. Te rst day was rounded o by a concert
presented by hosts Feniarco, the Italian Choral Association, at the
Conservatoire Giuseppe Verdi. Tis featured local young musicians as
well as guest Jennifer Port, harpist and singer from Live Music Now
Scotland. Another musical highlight was provided by the local youth
choir Coro G in a performance during the guided city tour they gave
participants on Saturday.
A wide range of workshops were oered to participants on the
second day covering themes such as cultural policy, music education,
arts management, branding and digital strategies, and music and
social change. Practical examples were given and developed with the
musical results of some of the workshops presented that evening at
the European Music Caf. Tis was a chance for all participants and
speakers to get to know each other and further discuss issues raised
in the forum, whilst enjoying a varied musical programme and the
beautiful setting of a palazzo!
Te last morning of the forum was dedicated to the European
Agenda for Youth and Music with participants presenting the results of
the workshops and addressing the issues which are important for young
people involved in music today in further small group discussions.
Tese included employment, training, funding, access to and sharing
of information, and music as a social tool. Tis formed the basis of a
rst draft of the Agenda which was produced by a working group over
several meetings in Bonn, Germany.
A wider consultation was then launched, featuring an online
forum, and the WGY worked hard to get feedback from as many
young people, organisations and institutions from across the continent
as possible. Te result is a comprehensive document which will be
broadly disseminated, together with practical advice and assistance
to facilitate its implementation. It is, after all, young people who are
the future of the European musical sector. Trough its Access! project,
the WGY is ensuring that it will no longer be a dream that policy
makers, institutions and organisations listen to what young people
have to say!
More information about the Access! project, the European Agenda
for Youth and Music, and the WGY can be found at www.wgy-emc.
org.
// CIaire Coddard
Chair Person oI Ihe Working Group ouIh
lor more inIormaIion on AccessI please conIacI:
Lmail: wgyemc-imc.org
1he AccessI pro|ecI is being Iunded by Ihe ouIh in AcIion programme oI
Ihe Luropean Commission. ParIners are:
Te WGYs dream of bringing together like-minded young
people from all over Europe to promote and facilitate a
higher level of youth participation in European music life
became reality in October 2010 in Turin, Italy.
Tis European Youth Forum on Music was part of a wider project
called Access! which is focused around the creation of a European
Agenda for Youth and Music.
Te motto for the weekend forum was create, learn, network
and over 60 participants, mostly under the age of 30, did just that.
It was opened by two inspiring young keynote speakers: cellist and
pioneer of contemporary music Peter Gregson (23, from the United
Kingdom) and Zuhal Sultan music activist and founder of the National
Youth Orchestra of Iraq (19, from Iraq). Next up was an introduction
to European youth policy and music given by Antoine Mertzeisen
l1'S All A80U1 !##%33 -
Uk0PAN 0U1H f0kUM 0N MUSlC
Here's what some of the participants
had to say about Access!
l wenI Io Ihe Luropean ouIh lorum on Music expecIing Io
enIer an inspiraIional environmenI and IhaI's exacIly whaI l goI.
1he diversiIy oI people aIIending Ihis Iorum Iriggered our brains
inIo reIhinking issues and reconsidering belieIs.

lor me parIicipaIing in Arress! was helpIul Io realize IhaI we


are noI Ihe only ones Ihinking abouI Ihe role oI music and youIh
in Ihe zsI cenIury. lI was nice Io geI new impulses Ior our work,
especially Ihrough discussing Ihe Iopic oI how beIIer access Io
music can be achieved in our IuIure socieIy.

Arress! is a unique plaIIorm Io meeI people wiIh same inIeresIs,


Io share ideas on music and youIh and Io gain inspiraIion Ior your
own acIiviIies. lI is a chance Ior everybody who Ieels engaged Io
|oin Iorces in order Io move someIhing in Ihe Iield oI youIh and
music.

1his was an amazing opporIuniIy Io meeI like minded young


people, Io share experiences and knowledge and learn Irom each
oIher.

AIIending Ihe IirsI Luropean ouIh lorum on Music gave me a


warm and inspired Ieeling IhaI lasIed Ior a long Iime aIIer l came
home. lI was impressive Io experience Ihe power, energy and
capabiliIies oI a group oI young people, uniIed by Iheir love Ior
music. ouIh and music, a very powerIul combinaIionI
Photo by MC
39 20I0-20II // SOUNDS lN LUkOPL
August
Eurochoir 2011
5 14 August, Trentino, Italy
60 singers (18 30 years old) selected and inscribed by member
organisations of the European Choral Association
Contact: European Choral Association, Weberstrae 59a
53113 Bonn, Germany, T: +49 228 912 56 63
F: +49 228 912 56 58, info@EuropeanChoralAssociation.org
www.europeanchoralassociation.org
5eptember
6th International Competition for Young Choral Conductors
14 18 September 2011, Budapest, Hungary
Young conductors under 35 years of age 18 conductors will be
selected
Contact: European Choral Association, Weberstrae 59a
53113 Bonn, Germany, T: +49 228 912 56 63
F: +49 228 912 56 58, info@EuropeanChoralAssociation.org
www.europeanchoralassociation.org
Choral Crossroads 2011
22 29 September, Limassol, Cyprus
Euro-Mediterranean Choral Fair Choral Crossroads 2011 is a
4-day project aiming to bring together 10 top-level youth choirs
from European and Arab countries.
Contact: Jeunesses Musicales Cyprus, 35 Dervenion Street
3052 Limassol, Cyprus, T: +357 995 897 74, F: +357 255 842 50
mail@jmcyprus.org, www.jmcyprus.org
Dctober
2011 World Accordion Championships
2 6 October, Shanghai, China
Contact: Confdration Internationale des Accordonistes
(CIA), Kyrsselnkatu 3, FIN-39500 Ikaalinen, Finland
T: +358 3 440 02 21, F: +358 3 458 90 71
secretariat_cia@harmonikkaliitto.net, www.coupemondiale.org
WDkk5HDP5/ 1kAININC5/ ACADMI5
ApriI
Artmusfair 2011
28 April 1 May, Weimar, Germany
New Audiences for New Music Artmusfair in 2011 focuses on
contemporary music education.
Contact: European Composers Forum, c/o European House
for Culture, Place Flagey 18, 1050 Brussels, Belgium
T: +43 196 615 45, F: +43 196 615 45 12
info@composersforum.eu, www.composersforum.eu
www.artmusfair.eu
May
Te 13th Athur Rubenstein International Piano Master
Competition
10 26 May, Tel-Aviv, Israel
Contact: Te Athur Rubenstein International Music Society,
12 Huberman Street, 64075 Tel Aviv, Israel, T: +972 3 685 66
84 competition@arims.org.il, www.arims.org.il
IuIy
46th International Choral Days
4 10 July, Barcelona, Spain
Singing week with three workshops: Mediterranean music, old
melodies and new rhythms.
Contact: Federaci Catalana dEntitats Corals (FCEC)
Via Laietana 54, 2n despatx 213, 08003 Barcelona, Spain
T: +34 932 680 668, F: +34 933 197 436, fcec@fcec.cat
www.fcec.cat
8th International Summer Choir Academy on Orchestra
Conducting for Choral conductors and Choir Ateliers for Singer
14 24 July, Pomz, Hungary
Contact: European Choral Association, Weberstrae 59a
53113 Bonn, Germany, T: +49 228 912 56 63
F: +49 228 912 56 58, info@EuropeanChoralAssociation.org
www.europeanchoralassociation.org
PlN80AkD
A se|ecton of Luropean and
nternatona| musc events
n the upcomng year
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Iune
European String Teachers Association International Conference
1 5 June, Falun, Sweden
Contact: European String Teachers Association (ESTA)
Per Helders, Musikkonservatoriet Falun, Daljunkaregatan 11
791 37 Falun, T: +46 70 535 41 26, info@falun2011.com
World Copyright Summit
Creating value in the digital economy
7 8 June, Te Square, Brussels, Belgium
Te World Copyright Summit is an international and cross-
industry event addressing the future of the creative community
and the entertainment business in the digital economy. Te
summit will be a forum to exchange views on the value of
creative works, the future of authors rights, the role of creators
and their collective management organisations.
www.copyrightsummit.com
IuIy
21st Annual IASJ Jazz Meeting
2 8 July, Sao Paulo, Brazil
Contact: IASJ International Association of Schools of Jazz from
Brazil, Rua Jos Maria Lisboa, 745, Jardins, So Paulo
SP - 01423-001, Brazil, T: +55 11 388 491 49
F: +55 11 388 476 11
cristiane@souzalima.com.br, www.souzalima.com.br/iasj
August
IFCM General Assembly
August 2011, Puerto Madryn, Argentina
Contact: International Federation of Choral Music (IFCM)
info@ifcm.net, www.ifcm.net
World Symposium on Choral Music
3 10 August, Puerto Madryn, Patagonia Argentina
Contact: International Federation of Choral Music (IFCM)
info@ifcm.net, www.wscm9.com
5eptember
European Culture Congress
8 11 September, Wrocaw, Poland
Contact: National Audiovisual Institute,
Wabrzyska 3/5, 02-739 Warsaw, Poland
T: +48 22 380 49 00, F: +48 22 380 49 01
sekretariat@nina.gov.pl, www.culturecongress.eu
Europe Jazz Network General Assembly
23 25 September, Tallinn, Estonia
Contact: Europe Jazz Network (EJN), 9, rue Gabrielle Josserand
93500 Pantin, France, info@europejazz.net, www.europejazz.net
4
th
IMC World Forum on Music
26 September 2 October, Tallinn, Estonia
Contact: International Music Council, 1 rue Miollis
75732 Paris cedex 15, France
T: +33 1 45 68 48 50, F: +33 1 45 68 48 66
info@imc-cim.org, www.imc-cim.org
CDNfkNC5/5MPD5IA/
M1INC5/5MINAk5
ApriI
Music Fair Frankfurt
6 9 April, Frankfurt, Germany
Contact: Messe Frankfurt Exhibition GmbH
Ludwig-Erhard-Anlage 1, 60327 Frankfurt a. M., Germany
T: +49 69 75 75 0, F: +49 69 75 75 65 41
info@messefrankfurt.com, http://musik.messefrankfurt.com
European Platform for Artistic Research in Music (EPARM)
9 10 April, Belgrade, Serbia
Sounds, Searchings, Sharings:Towards a Common Platform
for the Development and Dissimination of Artistic Research in
Music
Contact: European Association of Conservatoires (AEC)
Ganzenmarkt 6, NL-3512 GD Utrecht, Te Netherlands
T: + 31 30 236 12 42, F: + 31 30 236 12 90,
aecinfo@aecinfo.org, www.aecinfo.org
May
Arts and Education: Creative ways into languages
6 8 May, Athens, Greece
Contact: European Association for Music in Schools
Tervuursesteenweg 84, 2800 Mechelen, Belgium
T: +32 15 34 66 58, www.eas-music.net, ww.primarymusic.gr
From Seoul to Bonn: Translating the Goals for the Development
of Arts Education for Music in Europe
16 May, Bonn, Germany
Te EMCs seminar on Music Education will focus on how
to adapt the UNESCO Seoul Agenda to the eld of music
education in Europe
Contact: European Music Council (EMC), Weberstr. 59a
53113 Bonn, Germany, T: +49 228 96 69 96 64
F: +49 228 96 69 96 65, info@emc-imc.org, www.emc-imc.org
EAS conference
18 21 May, Gdansk, Poland
Te next EAS conference will be held in partnership with ISME
as their European regional conference. Te conference will also
host the EAS Student Forum for music teacher training students
Contact: European Association for Music in Schools
Tervuursesteenweg 84, 2800 Mechelen, Belgium
T: +32 15 34 66 58, info@eas-music.org, www.eas-music.net
PIN8DAkD
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IuIy
World Youth Choir Summer Session
13 July 10 August, Argentina and Uruguay
Contact: International Federation of Choral Music (IFCM)
info@ifcm.net, www.ifcm.net
38th Festivals Cultures du Monde
21 31 July, Gannat, France
Contact: Association Nationale Cultures et Traditions (ANCT)
BP58 03800 Gannat, France, T: +33 4 709 012 67
F: +33 4 709 066 36, www.cultures-traditions.org
5eptember
Music Crossroads 2011
1 September, Maputo, Mozambique
Contact: Music Crossroads International, Roger de Llria 85
ppal 1, 08009 Barcelona, Spain
T: :+34 93 3118204, F: +34 93 4875155
info@music-crossroads.net, www.music-crossroads.net
International Gaudeamus Music Week
5 12 September 2011, Utrecht, the Netherlands
Contact: Music Center the Netherlands, Rokin 111
1012 KN Amsterdam, Te Netherlands
T: +31 20 344 60 00, F: +31 20 673 35 88
info@mcn.nl, www.muziekcentrumnederland.nl
Dctober
5th Young Cultural Policy Researchers Forum
11 12 October, Helsinki, Finland
Contact: ENCATC , Place Flagey 18, 1050 Brussels, Belgium
T: +32 2 201 29 12, info@encatc.org, www.encatc.org
19th ENCATC Annual Conference
and General Assembly
12 14 October, Helsinki, Finland
Contact: ENCATC, Place Flagey 18, 1050 Brussels, Belgium
T: +32 2 201 29 12, info@encatc.org, www.encatc.org
European Culture Forum
20 21 October, Brussles, Belgium
WOMEX
26 30 October, Copenhagen, Denmark
Te World Music Expo
Contact: Piranha WOMEX, Bergmannstr. 102, 10961 Berlin
Germany, T: +49 30 318 614 30, F: +49 30 318 614 10
womex@womex.com, www.womex.com
November
European Association of Conservatoires (AEC) Annual Congress
11 12 November, Valencia, Spain
Contact: AEC, PO Box 805, 3500 AV Utrecht, Te Netherlands
T: +31 30 2361242, F: +31 30 2361290, info@aecinfo.org
www.aecinfo.org
festivaIs/Concerts
ApriI
ISCM World New Music Days 2011
7 17 April, Zagreb, Croatia
Contact: International Society for Contemporary Music (ISCM)
c/o Muziek Centrum Nederland, ROKIN 111
1012 KN Amsterdam, Te Netherlands
T: +31 20 344 60 60, info@iscm.org, www.iscm.org
Iune
Xth International Festival of University Choirs
UNIVERSITAS CANTAT 2011
22 25 June, Pozna, Poland
Contact: International Festival of University Choirs,
Niepodlegoci 26, 61-714 Pozna, Poland
T: + 48 608 30 70 30
festiwal@amu.edu.pl, www.cantat.amu.edu.pl
ICV-Choir-Festival at the Unesco World Heritage Site
23 26 June 2011, Koblenz/Bad Ems, Germany
Contact: International Conductors Association
http://icv-ica.com
CDMINC NX1
20I0-20II // SOUNDS lN LUkOPL 42
On 16 May 2011, the EMC will host a seminar entitled From
Seoul to Bonn - Translating the Goals for the Development
of Arts Education for Music in Europe.
Te UNESCO Seoul Agenda: Goals for the Development of Arts
Education, developed in the framework of the UNESCO World
Conference on Arts Education in Seoul in 2010 will serve as a basis
for the seminar. Te Seoul Agenda formulates three goals, on quality,
access and social and cultural challenges. Hosted in cooperation
with the German UNESCO Commission, the seminar will examine
formal, non-formal and informal music education strategies and
how they can reect the Seoul Agenda in a European environment.
via nova - Turingia, the Weimar Spring Festival of
Contemporary Music & the European Composers Forum
present:
artmusfair.EDUCATION, from 28 April until 1 May 2011.
Te 4th edition of ARTMUSFAIR will focus on the important
eld of music education and audience development in the area of
contemporary music of the 21st century. It will concentrate on how to
teach the latest in contemporary music to children & youth, students
& young professionals, adults & amateurs by bringing together the
creative and the educative minds - the composers and the teachers.
Te programme includes:
fk0M S0Ul 10 80NN - 1kANSlA1lNC 1H C0AlS f0k 1H
DVl0PMN1 0f Ak1S DUCA1l0N f0k MUSlC lN Uk0P
Ak1MUSfAlk.DUCA1l0N
New Audience fcr New Music z8 April - Muy ,Weimur, Cermuny
Te outcome of the seminar will be recommendations on how to
implement the Seoul Agenda for music education in Europe. All EMC
members and interested organisations in the eld of music education
are warmly invited to become involved as active participants.
Register now! www.emc-imc-org
// for more information on the seminar pIease contact the MC Dffice:
LMC SecreIariaI, Raus der KulIur, WebersIr. <na, D-< 8onn
1el.: +in-zz8-n66nn66i, lax: +in-zz8-n66nn66<
L-mail: inIoemc-imc.org
1. Conference & Round Tables Knowledge Transfer
2. Concerts & Best Practice from Contemporary Music
Education Europe-wide
3. Workshops & Project Stages Building Ideas and Networks
artmusfair.EDUCATION invites composers, teachers, students,
school classes, representatives from music schools, institutions
of education and training, musicians and experts in audience
development from Germany and all over Europe.

Join us in mid-Spring in the middle of Germany. See you in
Weimar! Register Now! www.artmusfair.eu/education
COM|NG NLX1
D0N'1 f0kC1I - 1H 4
1H
lMC
W0klD f0kUM 0N MUSlC
1he o
th
|MC Wor|d Iorum on Musc, hosted by
the |nternatona| Musc Counc|, the Luropean
Musc Counc| and the Lstonan Musc Counc|,
w|| take p|ace from z6 September - z October
zo n 1a||nn, Lstona
SAV 1H DA1I - 1H 2
ND

Uk0PAN f0kUM 0N MUSlC
1he z
nd
Luropean Iorum on Musc and LMC
Annua| Meetng zoz, hosted by the 8orusan
Centre for Cu|ture and Arts, w|| take p|ace
on - zz Apr| zoz n |stanbu|, 1urkey
43 20I0-20II // SOUNDS lN LUkOPL
CDMINC NX1
ACkNDWLDCMN15
We would like Io Ihank all auIhors Ior Iheir valuable inpuI Io Ihe magazine and all who have
provided us wiIh IexIs, images, ediIorial advice or any oIher help. WiIhouI Iheir co-operaIion and
Ihe exIensive work involved, Ihe publicaIion oI Ihis magazine would noI have been possible
lederal GovernmenI Commissioner Ior CulIure and Ihe Media, Germany
CulIure Programme oI Ihe Luropean Union
kadek Adamec
Lrling Aksdal
Anne 8amIord
KaIe Declerck
KaIhrin DevenIer
Sil|a lischer
Ldgar Garcia
PeIer Gill
Claire Goddard
Llina Melngaile
ChrisIine Merkel
Andy Morgan
!amie Munn
Andris Piebalgs
!aroslav kaus er
Slvia Seixas kodrigues
8lasko Smilevski
Anna SIeinkamp
!akub Szczypa
Kaie 1anner
!ana 1omas kova
We have members in: A|bana // Austra // Azerba|an // 8e|gum // 8osna - Herzegovna // Cyprus // Czech
kepub|c // Denmark // Lstona // In|and // Irance // Germany // Greece // Hungary // |srae| // |ta|y // Latva //
Luxembourg // Monaco // Norway // Po|and // Portuga| // Span // Swtzer|and // Sweden // 1he Nether|ands //
1urkey// Ukrane // Unted Kngdom
Dur Members : Aarya Ioundaton // A|banan Musc Counc| // Arthur kubnsten |nternatona| Musc Socety //
Assocaton for the Promoton of the Musc of the Medterranean // Assocaton Natona|e Cu|ture et 1radtons
// Assocaton pour |e dve|oppement de |a chanson du rock et des musques actue||es en Sene-Sant-Dens //
Austran Musc Counc| // Natona| Musc Counc| of Azerba|an // 8orusan Center for Cu|ture and Arts // Cata|an
Musc Counc| // Ct de |a musque Pars // CNV Kunstenbond // Conse| de |a Musque de |a Communaut
Wa||one // Natona| Musc Counc| of Cyprus // Czech Musc Counc| // Dansh Musc Counc| // Lstonan Musc
Counc| // Luropean Chora| Assocaton - Luropa Cantat // Luropean Assocaton of Conservatores // Luropean
Assocaton for Musc n Schoo|s // Luropean 8roadcastng Unon // Luropean Composers Iorum // Luropean
Composer and Songwrter A||ance // Luropean Conference of Promoters of New Musc // Luropean Iederaton
of Natona| outh Orchestras // Luropean Iestva|s Assocaton // Luropean !azz Network // Luropean Modern
Musc Lducaton Network // Luropean Musc Schoo| Unon // Luropean Orchestra Iederaton // Luropean Socety
for Lthnomusco|ogy // Luropean Strng 1eachers Assocaton // Luropean Unon of Musc Compettons for
outh // Innsh Musc Counc| // Iondaton Ca|ouste Gu|benkan // Iondazone Adkns Cht: Donne n Musca
// German Musc Counc| // Greek Musc |nformaton Centre// |nsttute for Musc 1heatre kesearch // Hungaran
Musc Counc| // |nternatona| Assocaton of Musc |nformaton Centres // |nternatona| Assocaton of Schoo|s
of !azz // |nternatona| Confederaton of Accordonsts // |nternatona| Confederaton of L|ectroacoustc Musc //
|nternatona| Counc| of Organsatons of Iestva|s of Io|k and 1radtona| Art // |nternatona| Iederaton for Chora|
Musc // |nternatona| Iederaton of Chopn Socetes // |nternatona| Iederaton of Muscans // |nternatona|
Ho||and Musc Sessons // |nternatona| Lszt Assocaton // |nternatona| Musc and Meda Centre // |nternatona|
Socety for Contemporary Musc // |srae| Musc Counc| // |ta|an Musc Counc| // !eunesses Musca|es
|nternatona| // Kunstfactor // Latvan Musc Counc| // Le Concert de Monseur de Sant George // Lve Musc Now
Scot|and // Natona| Musc Counc| of Luxembourg // Me|ody for Da|ogue // Mso Musc Portuga| // Natona|
Musc Counc| of Monaco // Movment Cora| Cata| // Musc and Irends // Musc |nformaton Center Austra
// Muzekraad V|aanderen // New Sound - Assocaton for Iosterng of Academc Musc // Norwegan Musc
Counc| // Po|sh Musc Counc| // Scottsh Musc Centre // Sprtus Mund // Superact! // Swss Musc Counc| //
Natona| Musc Counc| of Ukrane // Verband der Gemenschaften der Knst|ernnen und Knstfrderer // Wor|d
Iederaton of |nternatona| Musc Compettons
MM8kS 0f 1H Uk0PAN MUSlC C0UNCll: