The Institute for Cultural Heritage – Istituto per i beni artistici, culturali e naturali (IBC) – of the Emilia Romagna Region, founded in 1974, operates as an advising body for the regional government and local authorities in policy making related to cultural heritage. It promotes projects in the field of architectural and environmental heritage, museums, libraries and hierarchies, for different purposes: restoration, protection, enhancement and enjoyment of cultural heritage.
The IBC Emilia Romagna has been developing best practices in youth engagement to the enhancement and management of cultural heritage goods, involving both schools and young associations.
We interviewed Valentina Galloni, coordinator of the pioneering project “I love cultural heritage”.
How the project “I love cultural heritage” works and how does it fit with the IBC’s activities
In Emilia Romagna, The Institute for Cultural Heritage has adopted a new policy to actively engage youth to their local cultural heritage. This policy is realized through two already consolidated initiatives: one devolved to youth cultural agencies of the region – the “Youth for the Region” contest – and the other – the contest “I love cultural heritage” – aimed at targeting students in schools.
The “I love cultural heritage” starts in 2011 to ensure the regional reach to a European project, where at the time IBC was a partner, called “Acqueduct”. The aim of the project was to train teachers and cultural institutions’ operators to understand the value and the importance of cultural heritage as a vital tool to spread key transversal competences to students. Those competences, as established by the Panel of Reference adopted by the European Parliament and the Council in 2006, are: learn to learn, social and civic competences, initiative and entrepreneurial spirit, and cultural expressions and consciousness. In order to effectively meet those goals, several pilot projects started in partner countries in collaboration with schools and cultural institutions actively involving students. Given the effective methodology employed and the successful results achieved by students, a new regional initiative has been envisioned by IBC. This is how “I love cultural heritage” came to life, encouraging every year new schools to join the partnership together with museums, libraries and archives, and to present a project adding value to local institutions and/or cultural assets. The active students’ involvement and the development of transversal competences are themselves two key goals of the project.
Which are the projects’ evaluation criteria? Which supporting activities IBC offered in addition to funding, if any?
For the projects’ evaluation we use the following criteria: innovation and originality of the project proposal and communication; clarity and coherence in its articulation; the active participation of students in its implementation; the capacity and modality of schools and other local stakeholders’ engagement; the proposal reproducibility in other scholastic contexts or museums, and libraries. Thus, we support the project not only financially but also in terms of training, documenting and promotion. The referents take part in meetings with initiative’s coordinators, with those who previously implemented projects and with the MOdE’s – Museo Officina dell’Educazione dell’Università di Bologna – professors, for what concerns the documentation and the evaluation of the projects. At the end of every year, results are collected, published, and spread in affiliated websites, in as much they can inspire future projects; they will be further presented by the same students in the final conference.
Which are the main innovations introduced by students in the project’s partners institutions?
During these years, students have achieved extremely original and innovative projects: board games, eBooks, audio guides, videos, interactive and emotional maps, bas-reliefs, design objects, xylographies, didactical routes, web sites, promotional projects for tourism, virtual reconstructions, catalogues and exhibitions, monitoring attentively every phase of the process.
Many projects connect students coming from different schools linking their different competences to reach a shared goal. For example, in a recent project students made a short film to highlight the value of some paintings hosted in a museum: students from high school not only acquired knowledge in various disciples (e.g. art, history, cinema etc.) but also developed the new competences like film-making, writing and acting. Older students from a cinematographic institute helped and guided them in this venture; students from fashion school crafted their costumes while students from art school helped with the scenography of the movie.
Which are project’s main objectives achieved? And which the main criticisms?
The different editions of the contest involved thousands of students who have worked with hundreds of cultural institutions, organizations and associations from all over the region. Museums, archives and libraries are the institutions where students work as a group, learn, create, play and make use of their learned competencies and their talents; each one of them is given the possibility to have an active role in the achievements of a cultural project; each one understands the role he or she can have in taking care of a cultural asset and how this can impact future generations. Students have the possibility to actively experiment the museum, the archive and the library as areas for active learning. Here they can develop new forms of communication to enhance their cultural heritage’s value. Now other cultural institutions are involved as well: initially the project was designed only for museum, later on archives and libraries were involved too. The funded projects have increased (currently 20) as well as the funds allocated for each project (at the moment 4000 euros: 2000 for the school and 2000 to the cultural institution).
Some criticisms are due to the fact that these activities are extremely challenging, since they develop through the whole academic year. Therefore, they require commitment and energy in task accomplishment and organization between the different involved actors. Nevertheless, the overall evaluation is very positive and enthusiastic from the part of the students.
Over the years, also a project called “Youth for the Region” has been developed. What are the objectives and results obtained up to date?
In this case as well, the main objective lies in the active involvement of the youth, in order to create new forms of management and communication of cultural assets. Youth associations are invited to partner up with agency, possibly owner of a cultural good, to present an innovative project with regard to the governance of the asset.
Each year, several projects compete in the contest and, in order to select the 10 best projects, the criteria employed are among inventiveness, active participation and capacity to involve the entire local community. Moreover, a necessary condition for the admission is to receive either from the respective agency or from a third subject, a contribution of at least 2000 euros. As a matter of fact, the capacity to attract new resources is ultimately considered a further the criteria. Each project financed with a 10.000 euros funding, is further monitored and followed up by the Institute for Cultural Heritage becoming example for next projects.
These projects represents occasions to research and to collect historic material, to learn how to use new technologies, to strengthen the link between cultural assets and the surrounding landscape, to give new inputs and awareness to the local community about the importance of cultural heritage. They foster civic engagement in cultural heritage commons’ management, fostering social inclusion and job retrieval.
The participation to the contest can constitute an impulse for some associations, evolving them from start-ups into concrete realities; for others, it has been an occasion to value and acquire recognition for their own work while enlarging the local partners.
As demonstrated with these projects, Culture & Participation are key part of the IBC mission and activities at the cutting edge of in the current debate. Which are the main obstacles encountered? And which the potentialities still to experiment?
Unfortunately, students are often committed to other activities which obstacles the possibility to make a real job from these projects. They should be supported more and for a longer period. A public – private partnership should be promoted to create a financial system to support their activity.
“Approaches to Participatory Governance of Cultural Institutions” is a two year project (from March 2016 to March 2018) implemented by Kultura Nova Foundation (Croatia) with the support of the UNESCO International Fund for Cultural Diversity.
This multi-donor fund was created according to article 5 of the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions in order to “foster the emergence of a dynamic cultural sector” in developing countries. Since 2010, it supported 90 projects in 51 developing countries, for a total financing of US$ 6 million for these three major purposes: capacity development (48.7%), cultural and creative industries development (28.6%), governance and public policy (22.7%). The fund is now supporting the following projects, in addition to the already mentioned ones: Strengthening civil society participation in policy advocacy for Bolivia´s culture sector; Sustainable development of cultural industries with women and youth in Ilobasco (El Salvador); Mapping the Haitian music industry; Towards the revision of the National Cultural Policy in Jamaica; Strengthening local cultural policy in Zimbabwe.
Thanks to the funding allocated by the UNESCO IFCD (US $ 77.868,00), Kultura Nova intends to “develop strategic approaches to participatory governance of innovative cultural institutions by fostering their active involvement in planning, decision-making, implementation, monitoring and evaluation of policies”.
Kultura Nova Foundation was founded by the Republic of Croatia in 2011 in order to support the “promotion and development of civil society in the fields of contemporary arts and culture”, by providing both professional and financial support to specific programmes developed by Croatian organizations. Its main goals are to contribute to a capacity-building process in organizations related to contemporary art and culture, to enhance a stronger cooperation in the cultural sector, to raise awareness about its two fields of intervention as well as about their role in social development.
The project is mainly based on the analysis and mapping of the most innovative participatory governance practices and cultural institutions in Croatia and Europe, also through an online survey, and of the policy design as well, in order to identify possible participatory governance models in culture. Another fundamental aim is to strengthen the capacities of 150 relevant stakeholders on participatory governance mechanisms through a series of coaching sessions for policy and decision makers, capacity building workshops for local community and intensive knowledge sharing for civil and creative sectors. A Participatory Governance Guidebook for Innovative Models of Cultural Institutions will be also published.
The project is articulated as follows:
- Research of participatory governance models and institutional frameworks (20/03/2016 – 01/06/2017)
- Knowledge sharing and capacity building (15/06/2016 – 28/02/2018)
- Publication about Participatory Governance in Culture (15/06/2017 – 28/02/2018)
- Participatory Governance in Culture – Conference (November 2017)
The International and interdisciplinary conference Participatory Governance in Culture: Exploring Practices, Theories and Policies. DO IT TOGETHER will be held on 22nd – 24th November 2017 in Rijeka, Croatia, in partnership with Rijeka 2020 LLC and in collaboration with European Cultural Foundation.
La governance partecipativa della cultura sotto la lente, grazie ad un progetto della fondazione croata Kultura Nova finanziato dall’UNESCO International Fund for Cultural Diversity. Analisi di approcci, pratiche, policies e modelli di participatory governance nelle e per le istituzioni culturali, il tutto accompagnato da processi di capacity-building. Se ne discuterà a novembre in Croazia.
On Friday, the 8th of July, “Federico II” University of Naples is going to host a conference on “The European Private Law“.
The conference is held on the occasion of the “European Private Law” book presentation by professor Guido Alpa, which is going to be followed by the discussion among professors and scholars from Italy and United States:
The focus of a seminar is to address and assess the reality and future prospects of the European Private Law.
The seminar begins at 15:00 in Aula Cicala, Corso Umberto I, n. 40.
Venerdì 8 luglio l’Università Federico II di Napoli ospiterà un seminario in occasione della presentazione del libro “Il Diritto Privato Europeo: realtà e prospettive” del professor Guido Alpa.
On April 19th-20th Bruxelles hosted the European Culture Forum, the biennal flagship event organised by the European Commission, this year focused on “Talent and creativity for a stronger and more inclusive Europe”. Different sessions highlighted the role of culture and creativity in society. Three plenary sessions were devoted to these topics:
Plenary Session 1: Can culture help to overcome the fragmentation of society?
Plenary Session 2: Can culture help re-launching economic growth?
Plenary Session 3: Can culture improve Europe’s standing in the world?
In addition to these, other 15 sessions, among which the n.5 concerning “Our Future European Cultural Heritage: Engage, Share, Co-create”. The importance of the participatory issue is stressed also because the sustainability of cultural heritage “depends on our ability to adopt new cross-cutting approaches to unlock its economic and social potential, turning heritage sites into drivers of economic activity, centres of knowledge, focal points of creativity, culture and social innovation”. An important edition that of 2016, also thanks to the announcement of a European Year of cultural heritage by Tibor Navracsics, EU Commissioner for education, culture, youth and sport: “I’m delighted to announce that the Commission is proposing to make 2018 the European year of cultural heritage. It will be an opportunity to promote knowledge and understanding about cultural heritage”. The final decision will be taken by the European Parliament and the Council.
Concerning the impacts of culture, in October 2015 an important report was published on the topic of “Cultural and creative spillovers in Europe: Report on a preliminary evidence review”, authored by Tom Fleming Creative Consultancy (TFCC) and commissioned by an international research partnership made up of Arts Council England (ACE), Arts Council of Ireland, European centre for creative economy (ECCE), European Cultural Foundation, European Creative Business Network e Creative England. The project aims at elaborating an international evidence library, through the analysis of 100 case studies and their spillover effects, in order to identify conditions to enable spillovers and to list related indicators. In this report, cultural and creative spillovers are defined “as the process by which activity in the arts, culture and creative industries has a subsequent broader impact on places, society or the economy through the overflow of concepts, ideas, skills, knowledge and different types of capital”. They are classified into 3 categories: knowledge, industry and network spillovers, according to the different impacts, that can be of course interrelated.
On April 5th, the European Commission launched the creation of a European Network of Creative Hubs, in order to reinforce networks of creative hubs at European level, since “by facilitating co-creation, creative hubs can help to cope with the sharing economy”.
In December 2015, the Working Group of EU Member States’ Experts on the development of the Key Competence Cultural Awareness and Expression published an important document aimed at providing policy-makers with recommendations and inspiring practices: “Cultural awareness and expression handbook”. As a matter of fact, it is one of the eight key competence identified by the European Union in 2006, defined as the “appreciation of the importance of the creative expression of ideas, experiences and emotions in a range of media, including music, performing arts, literature, and the visual arts”. It acquires a great importance not only with regards to appreciation and expression skills, but above all because “a solid understanding of one’s own culture and a sense of identity can provide the basis for an open attitude towards and respect for diversity of cultural expression”.
On April 2016, Europa Nostra, a European network of 250 member organizations,150 associated organizations and around 1500 individual members, delivered its annual cultural heritage Awards, in partnership with the European Commission. Besides celebrating excellence, Europa Nostra constitutes an important lobby at the European level and it is active also in the field of endangered cultural heritage and landscape. The Awards are given from 2002 in different categories: 1.Conservation, 2.Research, 3. Dedicated service by individuals or organizations, 4. Education, Training and Awareness-Raising. The fourth one rewards “outstanding initiatives related to education, training and awareness-raising in the field of tangible and/or intangible cultural heritage, to promote and/or to contribute to the sustainable development of the environment”. In 2016, the winners in this last category are:
- “The Great War through the eyes of a child”, Roeselare, Belgium
- “Star in School”, Karlovac, Croatia
- “Adopt a Monument”, Tampere, Finland
- Preserving and promoting dance heritage, Berlin, Germany
- “The Little Museum of Dublin”, Dublin, Ireland
- Cultural Heritage Education Programme: “Apprendisti Ciceroni”, Milan, Italy
- Sustainable Development of Mourela Plateau, Peneda-Gerês National Park, Portugal
- “Heritage Schools”, Bristol, United Kingdom
At the European level, there is evidence of an increasing awareness of the role of culture in overall society, of how pervasive cultural spillovers are. We just need effective policies giving priority to these long-term objectives both at the national and at the local level.
 The other 7 key competences are: 1.Communication in the mother tongue, 2. Communication in foreign languages, 3. Mathematical competence and basic competences in science and technology, 4. Digital competence, 5. Learning to learn, 6. Social and civic competences and 7.Sense of initiative and entrepreneurship.
Cultura&Società, tema ormai al centro del dibattito a livello europeo. Aggiornamenti su progetti e studi recenti, dallo European Culture Forum ai premi di Europa Nostra, dagli studi sui cultural spillovers a quelli sull’ottava competenza chiave “consapevolezza ed espressione culturale”.
LAB New Vienna congress Fondation wants to co-disigne a new future for Europe trough the process of decision making .
50 European pioneers from the fields of politics, business, science, art, religion, and civil society, LAB participants will take part to give their contribute and test methods of consensus to give to Europe a new narrative made by collaboration and co-decision forces.
The New LAB is ignited by the Austrian government and by New Vienna Congress foundation composed by: Dr. Franz Vranitzky ( Former Austrian Chancellor),Dr. Franz Fischler (Former European
Commissioner) ,Mag. Bettina Glatz-Kremsner (CFO, Casinos Austria AG and Österreichischen Lotterien GmbH),Harald Krassnitzer (actor) ,Mag. Boris Marte (Head, Erste Hub),Dr. Gertrude Tumpel-Gugerell (Former Member of the Board, ECB – European Central Bank).
The coordinator and scientific lead is FAS-reasearch and the cooperation partner is IMPACT HUB Vienna .
Lab New Vienna congress makes the difference in an Europe where take decisions, agree strategies and build new projects it’s becoming increasingly difficult . We need new methods new strategies to overcome the competition and to look to a strong collaboration. That’s what Europe needs , that’s what europeans need.
The main arena where Lab New Vienna congress works are engineering, design, business, urban planning and others .
This is a strong opportunity for pioneers, change makers, social entrepreneurs, and decision- makers in government, business and the social sector. Everyone who is looking with different eyes to the future of Europe , eyes of progress, sharing eyes, everyone who wants to protect urban commons, in this LAB have a great opportunity.
Lab New Vienna congress is oriented to the next generation of Europeans .
Very interest is the way by which the teams of experts work. Participants will take part in a unique journey a shared quest to uncover building blocks for a story that expresses a new European purpose.
The Lab sessions follow the principles of secular pilgrimage: During three days participants will go through five stages. In each stage, the participant co-create a map that will give input and orientation for the next stage of their shared journey .
As the Lab New Vienna website explain there are five specific steps of co-working:
1. Listening :Sharing views on what LAB participants perceive as important and urgent personal and collective issues in Europe. this is :Brainstorming, Eisenhower Mapping.
2. Co-analyzing:Work together to create a network map illustrating how Europeans’ personal and collective issues are linked.This is: Participative Impact Mapping.
3. Uncovering : Explore and clarify latent values and purposes. Link values and purposes with the most important systemic challenges discovered in stage to become aware of the most vital, attractive values. This is: Attractor-Detractor Mapping.
4. Generating: Create prototypes and explore examples of already existing initiatives, organizations, and technologies that manifest the values and purposes discovered in stage 3.This is: Map Jam, Analytical Hierarchy Mapping.
5. Co-authoring Transform results of stage 1 through stage 4 into a shared narrative.This is :Story Mapping.
The LAB is organizing seven sessions featuring 50 European pioneers. The first six sessions feature representatives from different sectors ( Politics, Government, Public Administration,Business, Agriculture, Social Entrepreneurship, Civil Society, Activism, Change Makers,Marginalized People, Migrants, Jobless Youth, Science, Art, Philosophy, Journalism,Religion, Spirituality) reflecting diverse aspects of the European experience; together, they will co-create their own specific story. In a final fusion session the six groups co-author a master story.
The Lab for the first time in the context of Europe policy-making give the possibility to take consensus-based decision taken by a shared, co-decision process .
The main force of the LAB New Vienna congress is the possibility to use a collective intelligence at the top of decision making progress by the use of new collaborative and innovative methods oriented to move the main present and future problems of Europe . Nowadays Good decisions require Good collaboration , share knowledge and co-disign decision , this is what LAB Vienna congress promote and give possibility to do.
LAB New Vienna Congress è un iniziativa promossa dal governo austriaco e dalla fondazione New Vienna Congress. L’obiettivo è quello di disegnare con un intelligenza collettiva i nuovi progetti dell’Europa attraverso sessioni di co-working , attraverso processi di decisione condivisa. I temi affrontati spaziano dalla pubblica amministrazione alla religione . Oggigiorno prendere delle buone decisioni richiede un alta collaborazione questo è quanto New Vienna Congress LAB promuove e da la possibilità di attuare.