SUPPORT FOR EUROPEAN COOPERATION PROJECTS GUIDELINES EUROPE Culture Sub-programme SUPPORT FOR EUROPEAN COOPERATION PROJECTS GUIDELINES
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SUPPORT FOR EUROPEAN
TABLE OF CONTENTS
1. Introduction 3
2. Programme priorities and targeted projects 3
2.1 Programme priorities 3
2.2 Targeted projects 6
3. Timetable 7
4. Available budget 8
5. Admissibility requirements 8
6. Eligibility criteria 9
6.1Eligible countries 9
6.2 Eligible applicants 10
6.3Eligible projects 10
6.4Eligible activities 11
6.5Eligible period 11
7. Exclusion criteria 12
7.1 Exclusion from participation 12
7.2 Rejection from the award procedure 13
7.3 Supporting documents 14
8. Selection criteria 15
8.1 Operational capacity 15
8.2 Financial capacity 15
9. Award criteria 16
10. Legal commitments 18
11. Financial provisions 18
11.1 General principles 18
11.2 Funding forms 20
11.3 Payment arrangements 23
11.4 Pre-financing guarantee 25
12. Publicity, communication and dissemination 26
12.1 By the beneficiaries 26
12.2 By the Agency and/or the Commission 26
12.3 Communication and dissemination 26
13. Data protection 27
14. Procedure for submission and selection of applications 28
14.1 Publication 28
14.2 Registration in the Participant Portal 28
14.3 Submission of grant applications 28
14.4 Evaluation procedure 28
14.5 Award decision 30
14.6 Rules applicable 30
14.7 Contacts 30
Annex 1 - Glossary 31
Annex 2 mandatory documents check list 33
All the necessary documentation to apply, in particular the online application form (eForm) and the
guide for applicants, can be found at:
These guidelines are based on Regulation No 1295/2013 of the European Parliament and of the
Council of 11 December 2013 establishing the Creative Europe Programme (2014 to 2020) 1 and its
corrigendum of 27 June 20142.
They also take into account the priorities stemming from the policy cooperation established at
European Union (hereafter "EU") level in the field of culture. The European Agenda for Culture3, that
the European Commission issued in 2007, set for the first time a framework for cultural cooperation
among EU Member States and between these and the Commission.
Based on that, the EU Council of Ministers adopted a Work Plan for Culture4, which sets out priorities
for the period 2015-2018, seeking to address the key challenges faced by cultural organisations and
SMEs in the creative and cultural sectors at national and EU level in an environment constantly
marked by the effects of globalisation and digitisation.
In addition, a Joint Communication "Towards an EU strategy for international cultural relations"5 was
adopted on 8 June 2016.
This policy framework helps better define and understand the policy framework in which the Creative
Europe Programme (hereafter "the Programme") operates and the ultimate objectives pursued through
the funding opportunities it offers.
The European Commission is responsible for the implementation of the Programme and for the
decision to grant individual EU funds. The Education, Audiovisual and Culture Executive Agency
(hereafter "the Agency") manages the Culture and MEDIA Sub-programmes on behalf and under the
control of the European Commission.
General background information about the Creative Europe Programme can be found at:
2. PROGRAMME PRIORITIES AND TARGETED PROJECTS
2.1 Programme priorities
According to the framework referred to under section 1 of these guidelines, the programme seeks to
support projects mainly working on transnational mobility, audience development (accessible and
inclusive culture) and capacity building (notably digitisation, new business models and education and
training). These programme priorities are spelled out here below, in 5 groups (A, B, C1, C2 and C3).
The short description of capacity building under C is only for illustrative and background purposes.
Supported projects shall therefore include a substantiated strategy and detailed description of how they
plan to implement one or more of these programme priorities. When submitting their applications
through the online application system referred to in section 14.3, applicants must tick a maximum of 3
of these 5 priorities, which are the most relevant to their project, and rank these 3 priorities by order of
1 Regulation No 1295/2013 of the European Parliament and of the Council establishing the Creative Europe
Programme was published in the Official Journal of the European Union on 20/12/2013 (OJ L 347, p. 221). 2 Published in the Official Journal of the European Union on 27/06/2014 (OJ L 189/260). 3 More information on the European Agenda for Culture can be found at: http://ec.europa.eu/culture/policy/strategic-framework/index_en.htm 4 More information on the Work Plan for Culture 2015-2018 can be found at: http://ec.europa.eu/culture/news/2014/2711-work-plan-culture_en.htm 5 More information is available at: http://europa.eu/rapid/press-release_IP-16-2074_en.htm
On top of the specific features of the scheme and in compliance with the principle of subsidiarity, the
supported projects shall contribute to create European added value as defined in Article 5 of
Regulation No 1295/2013 establishing the Creative Europe Programme.
A) Transnational mobility
What is entailed here is the transnational mobility of artists and professionals, as well as the
transnational circulation of cultural and creative works, the aim of which is to promote cultural
exchanges, intercultural and interfaith dialogue, understanding for cultural diversity and social
Transnational mobility is embedded in the cooperation projects. However, it must be aimed at more
than the mere coordination, administration and implementation of the project. Mobility is about
results, not just a matter of travelling across borders.
Projects addressing this priority must conceive and describe a real cross-border mobility strategy,
which might be aimed at, amongst others:
- capacity building for cultural operators involved in the project to work transnationally and
- creation, production,
- improving professional skills, peer learning, education/training,
- career opportunities for artists and professionals to work transnationally and internationally,
- accessing new markets,
- creating network possibilities, building partnerships and contacts,
- reaching new and wider audiences;
- triggering intercultural and interfaith dialogue, respect for diverse cultures and cultural
expressions, and facilitating the integration of refugees..
Partnerships with operators from outside the EU should reflect the concept of the role of culture in the
EU's external relations, as spelled out in the European Agenda for Culture referred to in section 1.
B) Audience development
Audience development means bringing people and culture closer together. It aims to directly engage
people and communities in experiencing, enjoying and valuing arts and culture. Audience
development is about doing something together with audiences, rather than doing something for them.
Audience development is an important new priority in Creative Europe which helps European
artists/cultural professionals and their works reach as many people as possible across Europe and
extend access to cultural works with a particular focus on children, young people, people with
disabilities, and under-represented groups including refugees..
In developing a strategy for audience development, the goal could be to widen audiences, to diversify
them or to deepen the relationship with existing audiences (or a combination of these). The applicants
are supposed to know who their current audiences are and what target groups they want to reach.
Audience development should be an integral part of the project through involving audiences in the
programming, production, participatory art, physical dialogue, social media interaction, volunteering
or creative partnerships with other sectors (health, education, retail, etc.).
The implementation of an audience development strategy will typically require that staff members are
trained and assigned specifically to audience development tasks. Training should be an essential part
of any such strategy. Applicants should also do research prior to establishing a strategy and they
should seek to apply segmentation models. Monitoring progress and success of the audience
development activities, amongst others by collecting audience feedback (in a formal or informal way),
is a good practice.
Possible directions to be ta