EFFE Label 2017-2018 Applications are open!

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The European Festivals Association is delighted to invite you to apply for the EFFE Label 2017 – 2018. EFFE is an initiative of the European Festivals Association (EFA) co-financed by the European Union.

More can be read here!

2016 Pinnacle Award Europe

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Congratulations to all the winners of The 2016 Pinnacle Awards!
Below there is a link to our Facebook-page with pictures from the Pinnacle Awards, there are also links to the home pages of the festivals that talk about the winners.

Pinnacle Awards album

Cuckoo Events

Festival Lent

 

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Awards for Top 12 Festivals in Europe Announced

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250 festival representatives from across Europe gathered in Paris on 27 September for the announcement of the first ever EFFE Awards. An International Jury, presided over by Vincent Baudriller, Director of Théâtre Vidy in Lausanne, rewarded 12 of the most trend-setting European festivals of this year from a pool of 760 festivals from 31 countries.

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Young Festival Managers in Budapest: Last days to Apply!

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The deadline to apply for the Young Festival Managers in Budapest, held 2-8 june by EFA, HAS BEEN EXTENDED.

mlogo-efa-european-festivals-associationAtelier BUDAPEST 2016 Atelier for Young Festival Managers in Budapest, 2-8 June 2016: Apply by 8 NOVEMBER 2015!

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PAUL DUJARDIN INAUGURATES THE EUROPEAN FORUM

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Flag_of_the_United_Kingdom2-300x300 frenchflag

unnamedThe forum was held from August 19th to 25th in Austria. This is one of the oldest European discussion platforms. Paul Dujardin gave an enthusiastic speech about the importance of art and culture in a contemporary Europe in crisis. «Europe can’t survive unless cultivating its differences and acknowledging that we are all different although… all the same. The European policy has to take responsibility at an international level without choosing an obsolete imperialistic recipe, ‘uniting to rule’ rather than ‘splitting’ ».

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Paul Dujardin, CEO and Artistic Director of the BOZAR, gave an eloquent speech to promote an open and diversified Europe during the 70th European Forum Alpbach held in Austria. This forum is the counterpart of the World Economic Forum, which takes place in a village in the Alps, Davos, Switzerland. Held for the first time in 1945 to give new impetus to the European dialogue, the Forum Alpbach is one of the oldest European discussion platforms. Nowadays, it is directed by the former Austrian commissioner of EU, Franz Fischler. For a week, from 19th to 25th August, politicians, academics, businessmen, artists and students discussed the topic of ‘inequality’.

Paul Dujardin, who had the honor to open the forum, asked what contribution the culture has in promotion of equality. He also pointed out the possible consequences of socio-economic inequalities in connection with the participation of art and culture. «In 2013, after the financial crisis, the first Eurobarometer survey was published. It seemed that fewer and fewer Europeans were involved in art and culture. This trend is mainly caused by a lack of financial means. In Greece – a country often called ‘cradle of European culture’ – just 5% of the population takes part in cultural activities.»

Dujardin recalled the importance of the middle class since the Second World War, claiming that «in a society that only acknowledges the right of the strongest, only the culture of those who hold power can thrive. All other forms of artistic expression will be defamed or banned.» He has illustrated his remarks with a video shooted in Donetsk (Ukraine) that shows how pro-Russian separatists blew up an art work by the Belgian-Cameroonian Marthine Tayou.

 « Impliquez-vous!»

Dujardin has appealed to the artistic world not to remain on the sidelines. He joined the recent initiative by the Italian artist Michelangelo Pistoletto and the French philosopher Edgar Morin. In their pamphlet Impliquez-vous! (Get Involved!), it is stated that it is no longer «Art for art’s sake, but an aesthetic looking for the ethics. Now we need an aesthetic offering a truly ethical approach. An aesthetic ethics».  «Why artists became rich and famous could not invest part of their cultural capital in the schools, galleries or museums that made them famous?».

Dujardin asked for a greater recognition for the artists who, in their daily practice, propose alternatives to today’s world: the Museum of the Other and the Elsewhere (MAAM),  which offers collaboration and cohabitation between Gypsies and artists; or the Institute for Human Activities in Congo, where Renzo Martens produces chocolate artwork that relate to local farmers up to 7000 times more than the free market price.

«At present, the change will not come from politics, religion and economics. It will come from people themselves. There are a lot of initiatives where humans build together a world based on other values than those of power and money. These people are launching their farms, financing their own projects, producing their own energy from wind and sun, claiming the use of public space, sharing their goods and taking care of the commons.»

Curse

«During this century, inequality – also in its cultural involvement – will grow following the migrations caused by wars and terrorism. This ethical question is fundamental! On the Greek Islands, on Mediterranean Sea’s coast in Calais» continues Dujardin, who closed his speech with a reference to the British Romantic poet Lord Byron. The latter fought personally for Greek independence. «The greatest enemy of Lord Byron was actually the English businessman Lord Elgin, who stole and sent the Parthenon Marbles by ship to London. In his poem La Malédiction de Minerve (The Curse of Minerva), the poet curses the acts of his compatriot. Today, the fight against the Lords Elgin of this world is far from ended, and the struggle for more cultural equality in Europe continues, day after day. «Artists must stand against those who object to a positive development.»

At the end Paul Dujardin was very enthusiastic about the quality of the debate. «It is essential to talk about the problems of today’s world with artists and representatives of the sectors of art and culture. This opportunity was a unique chance to show our solidarity and announce the European vocation of BOZAR with a young audience of the future decision makers.»

More info: || Alpbach || Full speech of Paul Dujardin ||

How technology is giving more life to festivals

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Tech City News How technology is giving more life to festivals Tech City News Nick Thompson, founding partner at creative technology agency Knit, takes a look at some of the tech trends impacting the festival and event experience..

Source: How technology is giving more life to festivals

Muse, Louane Emera, Fréro Delavega… Combien gagnent-ils par festival ?

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Les festivals sont actuellement en pleine négociation pour recruter les artistes qui seront à l’affiche cette année. Mais combien demandent Louane, les Fréro Delavega ou encore Muse ?muse-matt-bellamy-londres-drones-tour-concert

 

Chaque année, les festivals français doivent mettre la main au porte-monnaie pour s’offrir les artistes les plus en vue du moment. En ce moment, les enchères montent pour s’offrir Louane, qui fera un concert à Paris au profit de la lutte contre le mélanome, les Fréro Delavega ou encore Kendji Girac.

Alors qui coûte le plus cher pour un concert en festival parmi les artistes français ? Leurs performances sont à peu près à prix égales nous apprend Europe 1. Il faut compter environ 100 000 euros pour s’offrir un concert de leur part. Les prix demandés ont pratiquement doublé depuis l’été dernier ! Mais voilà, ces trois artistes ont vendu pas mal d’albums entre temps et font partie des plus grands vendeurs de disques… De leur côté, les stars “plus installées” comme les Insus, ex-Téléphone, demandent entre 300 000 et 600 000 euros pour une date, en fonction de la salle et de la fréquence de leur passage dans la région. Pour le retour de Michel Polnareff, il faut compter entre 250 000 et 300 000 euros.
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Enfin, pour les groupes et artistes anglo-saxons, la concurrence est plus rude avec les demandes de festivals venant de toute l’Europe. Résultat, pour s’offrir Muse, qui fait partie des plus grands vendeurs d’albums en France en 2015, il faut compter 500 000 euros le concert ! Le site américain priceonomics a d’ailleurs répertorié le prix demandé par les artistes… Quant aux festivals faisant partie de plus grands groupes, ils peuvent négocier le coût de plusieurs dates et le prix de l’addition. Pour la petite histoire, les frais de déplacement, de mise en place de la scène ou d’hébergement ne sont pas inclus. Cet argent revient à l’artiste et à son équipe de musiciens… Etes-vous surpris ?

 

Deputy mayor for culture: ‘Criticism of London arts funding is misguided’

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London

The National Theatre.

London’s deputy mayor for education and culture has defended the level of arts funding given to organisations in the capital.

She claimed that criticisms over regional imbalances were a “real misreading” of the situation.

Munira Mirza praised the capital’s role as a cultural “gateway to the rest of the world”, but said that the debate around London’s separation from the regions misunderstood the cultural ecology.

“There have been lots of debates and strong feeling about London being almost a city state – removed from the rest of the country – and I think this is a real misreading of how the arts industry has tended to work,” she told an audience at a Westminster Media Forum on arts and culture in the UK.

“When the arts council funds organisations that are based in London, it is also funding activity that will then tour around the country and will have an impact around the country. I think that is an important point that is sometimes lost around the debate,” she added.

Mirza also advocated a growth in partnerships between London and the regions, claiming that the capital “relies very heavily on talent from around the country”.

“The relationship between London and the rest of the country is important both for rest of the country and for London. London would be a lot poorer were it not for those partnerships,” she said.

Earlier this year, the government and Arts Council England pledged to tackle regional divides in funding, following a select committee report on the workings of the funding body. This was prompted by the report Rebalancing Our Cultural Capital, which found that Arts Council England allocated more than five times as much spending per resident to London organisations as to those outside the capital in 2012/13.

The Westminster Media Forum event was held at Glaziers Hall in central London, where Mirza spoke alongside representatives from Arts Council England, Creative Scotland and the Arts Council of Wales.

Other speakers included director of study for the Warwick Commission Jonothan Neelands and Phil Edgar-Jones, director of Sky Arts.

As part of a panel about the future of public subsidy, Edgar-Jones warned of the effect that cuts to the BBC could have on the Corporation’s arts output.

“If what may happen to the BBC does happen, then I think one of the first places they will retreat from is the arts,” he said.

“They do have a remit to serve broad audiences, all audiences, and with the best will in the world, the arts audience is a small, niche one. So I think they will retreat from the arts and I think that will be a great shame,” he added.