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EuropEan union

schEngEn bordEr

EastErnpartnErship

LubLinfacing east

“Free flow” land art work by Jarosław Koziara at the border line between the European Union andEastern Partnership is an example of the art that cross the borders and the border that become an art.The fish symbolize no limits, no borders like culture that has no limits, like art that knows no borders.

this publication describes the cross-border cultural projects implemented in Lublin over some past years in cooperation with cultural operators from the eastern Partner-ship countries.

The Workshops of Culture in Lublin (a local government-run institution) and the Trans Kultura Foundation (Polish-Ukrainian non-profit organisation) together pursue various cultural initiatives for Eastern Europe. After many years of effective cooperation, they have become active ambassa-dors of the Eastern Partnership in the European Union.

We and our friends in Eastern Europe are forming a living bloodstream of real exchange that flour-ishes at all levels of initiatives and cooperation networks. For all kinds of initiatives from the West and East alike, we are a bridge spanning the two sides of the Schengen line. We wish to pass on and share the experience with our EU partners.

Workshops of culture aims to inspire the cross-border circulation of culture, transfer ideas and experiences in both direction and build a common Eastern European identity It is all about acting together in favour of artistic and cultural exchange, mobility of artists and works of art, inspiring each other and learning about current reality through presentations of contemporary art on both sides of the border. It is a cultural partner-ship in practical activities which expand the formula of dialogue on European values.

Workshops of CulturePopieluszki 5, 20-052 Lublin, Polandwww.warsztatykultury.pl Contact person (english):Agata Willa.will@warsztatykultury.plphone 0048 889 344 148

trans Kultura foundation is a joint initiative of the artistic and cultural Polish and Ukrainian fraternity intended to devise and implement projects that cross the geographical, administrative and ethnic borders, in practical activities expanding the formula of dialogue on European values.

Trans Kultura FoundationZlota 5/21, 20-112 Lublin, Polandwww.transkultura.org Contact person (russian): Maria Artemiukmaria.transkultura@gmail.comphone 0048 509 468 557

content

Why LUbLIn? 5

EASTErn PArTnErShIP CULTUrE CongrESS 6

recommendations of the First Eastern Partnership Culture Congress 8

EASTErn PArTnErShIP CULTUrAL CooPErATIon nETWorK 11

Development of cultural networks in Europe: challenges and trends – Jean-Pierre Deru 13

2nd EASTErn PArTnErShIP CULTUrE CongrESS LUbLIn 16

WorKShoPS oF CULTUrE – WAy ToWArDS ThE EAST 19

L² – Lublin and Lviv: Culture to the power of two 21

Trans_Mission_Lublin_Ukraine 22

Jazz bez 23

Mindware. The technologies of dialogue 24

Aporia’43/47. Decalogue: Local World War 25

night of Culture 26

Connected by the border 27

EASTErn CoMPETEnCES CEnTrE 28

FACIng EAST CULTUrE ProJECTS FroM LUbLIn 29

oldest Songs of Europe 30

Codes Festival of Tradition and Avant-garde Music 31

other Sounds Art’n’Music Festival Lublin-Lviv 32

Festival “Theatre Confrontations” 33

Lublin Dance Theatre 34

Eastern Salon of Art– International biennale 35

bruno Schulz’s Ark of Imagination 36

Jagiellonian Fair 37

European neighbours’ Day 38

East European Performing Arts Platform 39

reports on Independent Culture and ngos in the Eastern Partnership Countries and russia 40

on-line initiatives 41

LUbLIn’S CAnDIDACy For ThE EUroPEAn CAPITAL oF CULTUrE 2016 42

oPEn LvIv – nEW IDEA oF ThE EUroPEAn CAPITAL oF CULTUrE 43

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Why LubLin?Lublin is the largest city in eastern Poland, not far from the eastern bor-der of the european union. Due to its convenient location on the border between the east and the West, at the intersection of ancient transpor-tation routes, it has for centuries served as the gateway between these two worlds. Lublin is a city with a magnificent, royal history and a prom-ising outlook for the future; it is home to well over one hundred thou-sand students from different corners of the world.

In the 16th century, Lublin witnessed the signature of the act of Polish-Lithuanian Union, which laid the foundations for a muticultural state: the Commonwealth of Two nations. Faithful to the legacy of our cultural heritage and responding to the challenges of the present, cooperation with the Eastern Partnership countries has become our first consideration.

We want to rediscover the cultural values of the eastern part of Europe and claim them back to the canon of European culture. This is a chance for two rich cultural zones to come together so that Europe is able to “breathe with both lungs” again. Transformation in the Eastern Partnership coun-tries needs time; therefore, we believe that cultural cooperation, by building mutual understand-ing and respect for distinctness, provides the most desirable foundation for the idea of common Europe and opens the doors to genuine partnership in many other fields.

We believe that Lublin, as it was the case in the past, can bring together and integrate these di-verse influences; it can also be a junction for the movement of cultures and provide space for their creative dialogue, thus remedying the effects of the decades of mutual isolation by becoming a European Eastern Competence Centre.

cit y of inspiration

www.kultura.lublin.eu

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EastErn PartnErshiP CulturE CongrEss culture should play an important part in integration of eastern europe-an countries with the european union. the congress is the first of a kind initiative for cultural cooperation in the framework of the eu eastern Partnership programme. it is a platform serving the exchange of ideas, development of tools for cooperation and creation of common repre-sentation on the european forum. Cultural cooperation in the common area, encompassing both European Union countries and the Eastern Europe region lying outside the Schengen border, can be realized only by backing up an international, joint community of people of culture. The community should build a network con-stituting a tool for realization of the idea of the Eastern Partnership as a culture project. genuine commitment and practical activities of cultural communities should be supported by local, na-tional and international authorities.

These were the conclusions reached by participants of the Eastern Partnership Culture Congress which took place in Lublin between october 21-23, 2011. More than 300 people from all over Eu-rope took part in the Congress. It gathered makers, thinkers and cultural organizers who wish for changes in culture and are willing to get involved in their implementation, searching for new forms and areas for artistic and animation activities, open for partnership that combines organic work in the society with the courage of artistic ambitions. Congress has become a place of mutual under-standing and presentation of good practices.

The most significant result of the Congress are recommendations defined together and submitted to the authorities shaping cultural policy. The recommendations point out to the need to develop new models of cultural cooperation by integrating entities from the Eastern Partnership into works on the shape of European neighborhood Policy, building a network supporting organizations and makers from the Eastern Partnership countries as well as creation and implementation of solutions for development of cultural sector and cultural education system.

The first Eastern Partnership Culture Congress was held in october 2011 in Lublin, the second Congress will be also held in Lublin in Autumn 2013, next editions of Congresses are planned to be held in different cities of the Eastern Partnership every second year.

more:EPCC_catalogEPCC_book

Congress officeinfo@epccongress.euwww.epccongress.eu

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Dear representatives ofthe Council of the European union the European Parliament the Committee of regions and all European structures that are responsible for the European neighbourhood Policy

We would like to present to you the recommendation of the First Eastern Partnership Culture Congress (Lublin, october 2011) , which consist of postulates defined by its participants: 300 art-ists, managers and culture animators, representatives of ministries, local governments, ngos, aca-demic circles and media of 17 Eastern Partnership and European Union countries.

During the Congress we have set a strong postulate concerning the building of the Eastern Part-nership as a cultural project. The idea was born out of the question which we have been posing ever since the European Union was created, in all its great and difficult moments: is Europe able to carry out a program of neighbourly partnership, which would not marginalize culture, thus making it a domain exclusive only to nation states, and would not find a place for it in a long-term strategy of building the neighbourly partnership? For it is indisputable that both in the historical perspec-tive and contemporary civilizational ambitions the Eastern Partnership countries are part of the European culture.

Today, facing not only the financial crisis, but also a crisis of the ideas of coexistence, we should be working even more towards a common European cultural space, which will include the East-ern Partnership countries, respecting their diversity in the legal, social and economic domains. Therefore, we propose to overcome the “broken Europe” syndrome by a greater involvement of organizations from the EaP countries in building the European neighbourhood Policy, creating professional educational programs and financial mechanisms for artists and art practitioners in the EaP countries, and facilitating cultural cooperation and artists and culture managers mobility between the Eastern Partnership and the European Union.

i strongly encourage you to take into account the real voice of the culture practitioners in creation of the Eastern Partnership’s future shape.

The Council and office of the Congress organize working group meetings, work on the strategy to create a network of cultural cooperation of Eastern Partnership countries and on preparation of the next Congress, to take place in autumn 2013 in Lublin. We are open to suggestions and joint initiatives, we remain available for consultations or cooperation.

yours faithfully,Chairman of the Programming Council of the Eastern Partnership Culture CongressKrzysztof Czyżewski

Programming Council of the Eastern Partnership Culture Congress

Vahram aghasyan – armeniaoleksandr Butsenko –ukraineandrei Chadanowicz – BelarusMilena Dragićević-Šešić – serbiatarlan gorchu – azerbaijan Witek hebanowski – PolandBasil Kerski – Poland / germanyrafał Koziński – Polandlevan lagidze – georgiaMonika szewczyk – Polandlarisa turea – Moldova

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recommendations of the First Eastern Partnership Culture Congress

Forum of authors, cultural managers and organizers of cultural activities, representatives of ministries, local governments, non-governmental or-ganizations, academia, and media from member states of the Eastern Part-nership (EaP) project and the European union (Eu).

lublin, 21-23th of october 2011

Culture is a vital factor in determining social and economic growth. Therefore, we dedicate our-selves to building the Eastern Partnership as a common cultural project, one which respects the diversity and subjectivity of all of its participants, and is based on a multidirectional cooperation between the member states of the EaP and the EU. We believe that the models and mechanisms for stimulating growth, social participation and transparency created by cultural cooperation can serve as an example to other spheres of public life in EaP countries. They could become a catalyst for changing the standards and working practices of both public and non-public institutions.

We believe that, in order to develop new models of cultural cooperation with EaP countries, the priorities are these: to involve entities from EaP countries into shaping the European neighbour-hood Policy; to build a network to support organizations and authors from the EaP countries; to create and to implement solutions for cultural development and cultural education.

In addition, we think that it is necessary to improve the current mechanisms for financing culture in EaP and EU countries through a more rational use of resources and their more effective allocation.

The following recommendations, which were formulated during the Congress, address the vari-ous institutions of the European Union, as well as central and local governments of EaP and the EU countries. In particular, they refer to the entities responsible for culture, education and its funding, together with cultural organizations, universities and the overall environment of the arts.

Congress officeinfo@epccongress.euwww.epccongress.eu

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i. the Congress regards activities based on the principle of coexistence as crucial to European integration1. Creating a common European cultural space, one which incorporates EaP countries and

respects their diversity;2. Modifying the philosophy and practice of cultural projects within EaP countries to encour-

age long term social activism with a significant emphasis on sharing achievements;3. Including the principle of coexistence in the programmes of public institutions within EaP

countries;4. Supporting cultural organizations within the Eastern Partnership in formulating and imple-

menting projects concerned with a broadly defined notion of borderland (whether geo-graphic, ethnic or between different disciplines and sciences).

5. Encouraging local authorities and communities in EaP countries to use their cultural resourc-es, cultural heritage and creative assets as a key part of their strategies for development.

ii. the Congress recommends activities that enhance the role of cultural entities in the EaP countries by:1. Including cultural organizations in developing the programmes, which are implemented

in EaP countries within the European neighbourhood Policy;2. Improving the financial transparency of cultural activities in EaP countries;3. Formulating and implementing a relevant methodology for independent cultural managers

in the EaP countries.

iii. the Congress recommends the development and professionalization of the cultural sector in EaP countries by:1. Creating training models (in the form of courses, internships, residencies, study visits) which

aim to improve the qualifications of local cultural managers, authors and organizers who see the Eastern Partnership as a cultural project;

2. Strengthening interdisciplinary cooperation between representatives of civil society within the EaP and the EU;

3. Improving the mobility of managers, authors and organizers of culture between the EaP and the EU countries, with a particular emphasis on liberalising visa requirements, so that collabo-rative intersectoral projects can flourish;

4. optimising the existing cultural infrastructure (such as cultural centres) and revitalising it by adapting unused spaces (for example post-industrial buildings) for innovative cultural and social activities;

5. Prioritising projects and initiatives that promote contemporary art to overcome the stere-otypes that reduce the richness of EaP countries’ cultures to exoticism and folklore.

iV. the Congress recommends a new approach to cultural education within EaP and Eu countries. the Congress regards the following issues as essential:1. The interdisciplinary character of cultural education at each level starting from early child-

hood education;2. The inclusion of cultural education in teacher training courses;3. The introduction of long-term educational and training projects on the programmes and

working methods of cultural institutions;4. The formulation and implementation of programmes that promote mutual knowledge

of the cultures and languages of EaP countries within both the Eastern Partnership and the European Union.

Congress officeinfo@epccongress.euwww.epccongress.eu

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V. the Congress recommends a programme of intensified co-operation between universi-ties in EaP and Eu countries:1. The establishment of a database of academic institutions, scholars, and research problems

relevant to the Eastern European Partnership This would be particularly helpful for intersec-toral scientific projects and, in addition, would facilitate cooperation between scholars;

2. A resolution of the problem of diploma recognition between EaP and EU countries;3. The improvement of the mobility of scholars and students from EaP countries by setting up

a scholarship programme which takes into account the economic realities of home countries, and incorporates EaP countries into the existing EU scholarship programmes;

4. The formation and implementation of an evaluation system for scholarship programmes within EaP countries.

Vi. the Congress recommends forming new mechanisms to support the culture of EaP countries as well as streamlining existing ones. in addition, it suggests enhancing the efficiency of the disbursement of funds through:1. opening a fund to support international co-operation and a programme of small grants

intended for local activities;2. respecting EaP countries in the distribution procedures of EU funds through the inclusion

of those countries in both preparatory and decision-making processes;3. Decentralization of financing entities of EaP countries through empowering independent

donors and allotting larger funds to local and regional levels.

the participants of the first Eastern Partnership Culture Congress hereby commence their long-term work in support of the activities mentioned above. they have set about creating a network that connects organizations and authors from EaP and Eu countries, and organ-ises them to act together for the common benefit of the cultural dimension of the Eastern Partnership.

The most important tasks for the network are as follows:– To build partnerships within the EaP and between EaP and EU countries (for example an

e-platform “culture map of the Eastern Partnership”);– To support the international cooperation and professionalization of cultural personnel

(workshop groups, seminars, meetings, residencies) as well as assisting at exchange and distribution of knowledge between cultural and academic centres;

– To provide representation and advocacy at local, regional, state, and EU levels;– To formulate and implement new financial programmes for the EaP, encouraging the decision-

making bodies of the EU to include EaP countries in their existing grant programmes, and decentralize the financial systems in the EaP.

additionally, the participants hereby establish a two-year for organising subsequent Congresses that, first of all, would respect the diversity and subjectivity of its participants. secondly, it would be based on small working groups. Finally, it would preserve its financial transparency by aspiring to the highest levels of organization and competence.

Congress officeinfo@epccongress.euwww.epccongress.eu

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eastern PartnershiP cuLturaL cooPeration netWorK

building of a cultural network follows the recommendations made by the participants of the eastern Partnership culture congress. the main objective of the network participants: artists, managers and curators from eastern europe, is to unlock new channels of cooperation and communication within the common cultural space for europe, as well as building and strengthening the positive image of eastern europe in the european union coupled with the representation and advocacy for the promotion of culture of the eastern Partnership.

The first tage of network development is Connected by the border project that started the process of the Eastern Partnership Cultural Cooperation network building. It was launched by the Trans Kultura Foundation Culture and the Workshops of Culture in Lublin; it got off the ground immedi-ately after the 1st Congress in 2011 and has been carried ever since. The idea of the project was to facilitate the encounter of cultural practitioners from the EaP countries, to exchange knowledge and experiences, to identify the real problems and needs of the cultural sector in the Eastern Part-nership countries and to provide a basis for advancing cultural networks in Eastern Europe. stage i (2012)Study visits and seminars in Eastern Europe and the Caucasus; two workshop sessions in Lviv andTbilisi with culture and art managers and artists working in the EaP countries. The workshop ses-sions covered the following:- the building of local and European cultural cooperation networks,- the analysis of existing network models in Europe,- developing a shared vision, mission, goals and objectives corresponding to the real needs of the

cultural sector in the region,- developing cultural competence.Connected by the border also involved meetings with artists, ngo s, cultural institutions and socialactivists; the point is to learn about the models of cultural activities in the countries of the EasternPartnership and to establish contacts with representatives of cultural groups in these countries.The main aim of the project was establishing a core group that will be responsible for the network establishment. stage ii (2013)Meetings, seminars and debates aimed to identify and decide the following:- problem areas for the 2nd Eastern Partnership Culture Congress, subjects and ideas to be

addressed during the workshop and training;- a formula for the Integrations of Cultures of the Eastern Partnership as a place for showcasing the

diversity of modern culture of each of the Eastern Partnership countries, including all areas of the arts and interdisciplinary art projects: plays, concerts, exhibitions, performances and site-specific activities.

- advocacy for the development of culture of the Eastern Partnership;- creating a database of cultural practitioners from the Eastern Partnership countries;- analysis of the status of culture and cultural policies of the Eastern Partnership countries and their

impact on the relevant political, social and economic systems. stage iii (autumn 2013)- a meeting of the core group during the 2nd Eastern Partnership Culture Congress;- developing models and strategies for the advancement of cultural cooperation between organi-

zations from the Eastern Partnership and the European Union.

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stage iV (2014)network activities such as:- training projects for cultural managers from EaP countries and the EU;- establishing cultural cooperation centres for the EaP region and promoting artists’ residencies;- creating a guidebook describing the tools and methods of cultural cooperation between the

EU and the EaP, with special emphasis on the differences in the political, economic and cultural policiespursued in this part of Europe.

the Eastern Partnership Cultural Cooperation network provides an opportunity to bring to-gether cultural practitioners and organizations from the Eastern Partnership countries and the European union and help develop cross-border cooperation. it is expected to attract mainly the representatives of independent culture and non-profit organizations, informal groups, individual artists and activists, as well as local government and national institu-tions. the growing network is a “living organism” rather than an institution; it is a grass-roots initiative, far from imposing any top-down solutions, having a democratic structure and respecting cultural diversity. internationally, the network’s aim will be the representa-tion and advocacy for the development of the culture of the Eastern Partnership.

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Development of cultural networks in Europe: challenges and trendsJean-Pierre Deru

Existence of networks that link together culture activists has been something known from time immemorial. Always and everywhere such networks were a strong point of the world of culture. but networks with specifically European structure do not have such a long history.

The oldest and still working one is, undoubtedly, TransEurope halles, created by cultural activists from several West European countries who turned out successful in saving places that on the one hand had the status of a cultural heritage with some symbolic value, and on the other hand were threatened with destruction, as there were plans to build parking lots and shopping centres in-stead... Such were the famous ‘fallows’ that cultural activists appropriated so eagerly. The phenomenon of TransEurope halles showed that even activists being completely separated in their city or country could win hard battles if their friends – those local, but also and mainly foreign ones – offered them support and solidarity.

Culture is a sector vulnerable to threats, as it is politically little pugnacious and in most cases un-derfinanced. We see repeatedly how the international support puts some projects in the public eye and thus becomes a factor that plays a decisive role when some problems appear and/or helps gain acceptance. It is not only that people who want to realize some projects become no-ticed by decision makers, but also that they break out of isolation and free themselves of the sense of helplessness.

What we are talking about right here is something similar to capoeira, a dance of black slaves from brazil, in which weaker dancers gain advantage over stronger ones because they use the weight and strength of the latter, thus reversing the initial force system.

Unfortunately, cultural activists are too often pushed back (or they push themselves back) to the position of mere clients, if not beggars. but lacking recognition of the role of cultural activists does not deprive them of importance - in both the symbolic and signifying dimension and as a power-ful developmental and economic factor. To persuade sceptics, it would be enough to introduce them to the subject matter of the European year of Creativity and Innovation.

In my opinion, all those ‘years’ smack of institutional propaganda, but sometimes they do light up the shadow area in cultural policies. Just on such occasions cultural activists can reverse the logic of situation and bring their projects to acceptance by those, who would like to use them in a posi-tive and useful manner or – at the worst – take advantage of them out of self-interest. Thus one has to learn how to dance capoeira…

Cultural networks have been emerging for several dozen years to finally become a tool necessary at the Eu and international level. they turn our more flexible, and motivation of their members is higher than that of users of more traditional channels of co-operation.

At this stage it seems reasonable to explore relations between networks and countries/regions or the EU. First of all, it is necessary to understand that networks, being a part of the civil society, are determined to maintain their freedom of expression and organization, regardless of the cost. on the other hand, countries’ liking to networks is usually restrained, as state authorities have no control of them. Furthermore, networks’ structure transcends borders of particular countries and evolves in a quite free manner, contrary to administration bodies.

About ten years ago, a projective – and a bit based on mythological thinking – trend appeared in the works of the Council of Europe. In this view, networks could replace cultural policies being realized by regional and state authorities.

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of course, that is not possible. These two worlds are very distant. The only contact between them comes about when some network’s members try to transfer ideas or projects discussed within the network to official institutions in their country. That happens very rarely; but if it does, it can be very useful.

The situation looks different in the EU. It would be logically justified to assume that cultural net-works are natural and important allies of the EU and its aspirations (which emerged quite late anyway) to become a significant actor on the cultural scene. Unfortunately, interactions seem hopelessly weak, since EU has an irresistible predilection for institutions of corresponding size, establishment and resources. For this reason it rarely takes networks into consideration or finances – within specific programs – only well exposed and renowned ones.

nevertheless, there are highly representative networks that in specific cases can influence policies and prompt MEPs or other high-ranking officials some ideas they may realize. That is just the case of Culture Action Europe, an organization that was established under another name – European Forum for the Arts and heritage.

besides, whilst discussing cultural networks we should never forget that they are living organisms, not petrified institutions. Surviving for thousand years in the unchanged form is not their raison d’être. As neil Wallace put it: „network’s life does not depend on any structure, but on the will to cooperate, to do something, and to be, not to have.” According to his proposal, the life of a cultural network has five stages: - Forming: start, network’s beginnings; - Storming: initial chaos, ideas result in the first phase of activity; - norming: network begins to appear and stabilize; - Performing: network knows where it is, how it should perform, and who are its members; - Adjourning: the most difficult and delicate stage – network must become aware that its life has come to an end and either the work should be started anew or it is time to do something new.

Part of the already existing networks work well, others are in crisis. nevertheless, the above model is outdated and new development directions should be explored, or those already known should be deepened, to secure that networks will keep on playing and important and useful part in the cultural area.

Cultural networks encounter various kinds of difficulties:

- financial: networks almost never are subsidized by state authorities, as by definition they are supranational. besides, state or regional authorities think that there is no sense in financing structures they have no control of. Therefore membership fees are the ‘natural’ source of network’s financing, although it covers at the utmost 25% of costs, even those reduced to the absolute minimum. Finally, the EU finances only few cultural networks, mainly the biggest and/or most noticeable ones.

- fatigue It is good to know that the energy the network needs to function and gain momentum to a large degree comes from the involvement of its founder members. Sometimes they get tired and it is difficult to find replacements who will ‘take care of the child’ and create conditions for the net-work’s further development. In such a case, the network’s future can differ from the vision con-ceived by founding fathers and mothers, who sometimes hang on tightly to their power that in the meantime became marginal, if not symbolic only.

- strategy This is a crucial, albeit rarely mentioned element. networks usually build on the foundation of members’ common interests, their need to do and share something together, and their enthu-siasm. however, networks sometimes, not always consciously, transform and then change their strategy and become driven by improper motives (to survive financially, to meet demands of some

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‘members-consumers’, etc.). In such cases networks often limit their activity to the role of service providers and lose their spirit – enthusiasm and interactions disappear, no one searches for new meaningful possibilities any longer, thus the dynamics of debates, mutual exchanges and perspec-tive-building efforts evaporates. At worst, networks can commit a mortal sin: its members start to compete to sign contracts or launch projects that will give them money.

There is no need to bring ready-made recipes that are good for everyone and every situation. It is obvious that each network must draw on its own experiences, take care of its own vitality and find its own path.

We can only propose some guidelines for reflection and actions to be discussed, but these pro-posals are neither complete nor the absolute truth.

We are of the opinion that cultural networks:- should professionalize to seize financing and manage projects submitted. That must never harm

neither any network member, as they play the crucial part, nor any member’s ‘cultural passion’, because lack of both those elements will turn networks into ordinary service-advisory units;

- in some cases should aspire to function accordingly to the logic of a co-operation platform, in response to the needs of some cultural activists that would like to co-operate with other coun-tries/regions, but lack any points of reference, methodological tools, or contacts.

- can play a strategic role – something they have not been doing at all or have been doing rarely so far. The thing is to establish interactions with national, European or international cultural poli-cies. This can be done at various levels, by advisory, lobbying and submitting proposals.

These few guidelines may serve as a starting point for the debate on the new stage of the devel-opment of cultural networks.

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2nd eastern PartnershiP cuLture congress LubLin 2013the eastern Partnership culture congress aspires to address what is new and creative in culture and what needs to be aligned with the changes of the modern world; more than that, it aims to be ahead of these changes as the avant-garde. The Congress brings together artists, thinkers and cultural operators who are the facilitators of cultural change and are ready to see them materialize; they seek new art forms and territories for artistic action; they are open to partnership combining organic community work and the courage of artistic ambition. The Congress aims to:• establish a long-term platform of “a culture for change” based on: biannual congresses, con-

tinuous effort of working groups, workshop and training and other partnership initiatives;• further the Eastern Partnership as a cultural project;• establish cultural cooperation networks of the Eastern Partnership;• develop a long-term cooperation with neighbours of the Eastern Partnership and the Euro-

pean Union;•make culture involved in social change, modernization and improvement of life standards;• design organizational and financial tools for common concepts and tasks.

During the 2011 Congress, we put forward a set of recommendations on how to grow the Eastern Partnership as a cultural project. We agreed on holding Congresses every two years and set the tasks to work on in the intervening period. To build a network of cultural cooperation of the East-ern Partnership was given priority. That is why we started the initiative called “Connected by the border,” which is a series of trips, study visits and training for cultural operators; their participants are expected to form the core of the soon-to-be created network. networking is the process of creating new models of cultural cooperation across borders and dividing lines; it is envisaged to help develop a shared vision for the strengthening of the position of the third cultural sector in the EaP countries and delineating a common European cultural space.

A general meeting of the network founding team will take place during the 2nd Congress, sched-uled on September/october 2013.

Congress officeinfo@epccongress.euwww.epccongress.eu

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the 1st Congress helped articulate the real needs of the cultures of the Eastern Partnership countries. the 2nd Congress is intended to be an activity-rich event and a place to discuss and work out ways to implement the vision of a common cultural area: a Europe without the divi-sion into the European union and the Eastern Partnership. While at the Congress, we want to give room to free expression and creation of the cultural representatives from the EaP countries.

The meetings and workshop will resemble an open agora: a space with to clear-cut division between speakers and listeners. We depart from the academic and conference convention of vertical presen-tation based on a series of papers and speeches that leave almost no room for debate. Instead, the Congress will promote the horizontal model whereby all its participants are considered equal during the working meetings and workshop. The participants will not need to follow an inflexible pro-gramme revolving around carefully selected topics. We hope that this approach promises that any-thing worked out during the Congress sessions will be the result of the joint effort of all participants, and the Congress will establish itself as a platform of understanding, analysis, proposals, strategies and networks of cooperation. an agora of Culture PractitionersThe first Congress days will bring together culture practitioners: managers, curators and artists.It will be a time for personal contacts, presentations of innovative cultural initiatives at the best Prac-tice Fairs, workshop and training programmes tackling some genuine challenges of working with culture across borders, a project and partner search forum, encounters with and between publishers and editors of cultural magazines, a multi-lingual book bazaar, etc. an agora of thinkers and VisionariesThe next Congress days will bring together thinkers and cultural decision-makers.The panel meetings and discussions will aim to identify pathways for the future development of the Eastern Partnership as a cultural project based on a multilateral and equal partnership. a Meeting of the Eastern Partnership Cultural Cooperation networkThe network provides an opportunity to bring together cultural practitioners and organizations from the Eastern Partnership countries and the European Union and help develop cross-border coopera-tion. It is expected to attract mainly the representatives of independent culture and non-profit organi-zations, informal groups, individual artists and activists, as well as local government and national insti-tutions. The growing network is a “living organism” rather than an institution; it is a grassroots initiative, far from imposing any top-down solutions, having a democratic structure and respecting cultural diversity. Internationally, the network’s aim will be the representation and advocacy for the develop-ment of the culture of the Eastern Partnership. integrations of Cultures of the Eastern PartnershipIntegrations will coincide with special artistic presentations and examples of culture initiatives and practices as well as the diversity of modern culture in each of the Eastern Partnership countries. The Integrations will try to answer the question how culture serves as the connective tissue in the Europe of tomorrow. Its programme will be set up through the collaboration with the network participants. Selected Lublin’s cultural institutions and cultural organizations will be taken over by artists, curators and managers. The programme will cover all areas of art as well as interdisciplinary art projects: plays, concerts, exhibitions, performances, site-specific activities, etc. Particular emphasis will be put on offering each EaP country enough room for presentation. The festival will feature projects addressing the problem of crossing boundaries and lifting borders: geographical, national and ethnic, mental, artistic, etc. You are most welcome to contribute to the Eastern Partnership Culture Congress and integra-tions of Cultures of the Eastern Partnership.

We look forward to your suggestions concerning issues that should be addressed at the Con-gress, ideas for workshop and training sessions, proposals for presentations and art projects.

EASTERN PARTNERSHIP

CONGRESSL U B L I N 2 1 - 2 3 O C T O B E R 2 0 1 1

CULTURE

Congress officeinfo@epccongress.euwww.epccongress.eu

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a quoreof thinkers, visioners

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EASTERN PARTNERSHIP CULTURE CONGRESS

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WorKshoPs of cuLture – Way toWarDs the eastWorhshops of culture explore the eastern borders of the european un-ion. our programme highlights possibilities and obligations of Lublin to it’s partners from the countries located east from the schengen area and emphasizes the city’s role in creation of the eastern Partnership as a cul-tural project. We are forming a bridge in Lublin for initiatives from the West and the east which are interested in cooperation.

Lublin has a long-standing tradition of cooperation with cultural communities from the Eastern European countries. This includes contacts between independent student communities in the 80s, alternative theatres, East Salon of Art, activities of the Institute of East-Central Europe, Muzyka Kresów Foundation or “grodzka gate – nn Theatre” Centre, “Akcent”Estern Culture Fundation.

The process of Polish accession to the European Union directed the interest of most of the artistic communities mainly to the West. A desire for entering into cooperation with the East and great curiosity of what is happening out there in the independent art and culture, among the young art-ists, became an impulse for a series of comprehensive activities taken up by Workshops of Culture. The foundation of the success of the Workshop’s eastern activities was laid by the project l² – lub-lin and lviv. Culture to the power of two. A kind of an invasion of the city on the eastern side of the Schengen border by more than one hundred artists from Lublin, shortly followed by a similar return visit of Ukrainian artists in Lublin led to formation of new relations which resulted in the se-ries of joint Polish-Ukrainian ventures on a large scale. L² helped break cultural barriers, reduce the lack of knowledge about each other and gain mutual trust. The ball of ideas began to roll, more and more people got involved into cooperation.

Leaders of L² founded a Polish-Ukrainian transKultura Foundation. It initiated a long-term pro-gramme of cultural cooperation on both sides of the border, with an emphasis on contemporary aspects of art and culture. An exhibition which opened activities of Workshops of Culture in their own premises was ukrainian Zriz, a review of young Ukrainian art; Workshop’s team, on the other hand, contributed to the Week of Contemporary art with a vast programme promoting Polish art. the Power of art, an exhibition organized together was the biggest presentation of Polish contemporary art in Ukraine in history.

but contemporary art is not the only field of cooperation of both sides. Festival Fort.Missia, or-ganized in Polish-Ukrainian fortification from World War I which is located at the border and can be accessed only once in a year, has a very unique character. And the music festival Jazz Bez, organ-ized in Ukraine several years ago has long since crossed the border with Poland and visits more and more cities in both countries every year.

The Polish-Ukrainian night of Culture in Lublin in 2012 was the culmination of several years of cooperation achievements. Thanks to a wide network of contacts we have managed to present in an effective and representative way the variety of artistic communities from all over Ukraine, espe-cially for this night 50 Polish-Ukrainian projects were created.

Another significant experience, a joint attempt to deal with the difficult Polish-Ukrainian history is the theatre performance aporia’43. Decalogue: local World War which takes on a subject of a bloody Polish-Ukrainian conflict in 1943-1947. Conflict, whose memory still painfully divides our nations. Parallel to organization of artistic activities, the broadly defined cultural themes of the Eastern Europe were explored by an internet magazine founded in Workshops of Culture, Kultura Enter. Many interesting articles about trends and phenomena in i.a. Azerbaijan, belarus and Ukraine were published in the magazine. The success of the report on the state of independent culture and ngos in Belarus, prepared in collaboration with a wide range of belarusian artists, activists and experts was the summary of this work. The next step is to prepare a corresponding report con-cerning the situation in Ukraine and Moldova.

Workshops of Culturewww.warsztatykultury.pl

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Several years’ experience in organization of artistic projects has shown us that international cul-tural cooperation requires adequate human resources and competences, therefore we have imple-mented a series of training courses, workshops and seminars for culture workers from both sides of the Schengen border.

Work on the preparation of Lublin’s application to the European Capital of Culture 2016 compe-tition provided an opportunity to rethink and rework previous experiences. Workshops of Culture were in charge of running the Facing the East lab which motivated us to conduct a serious anal-ysis concerning the European cooperation with the Eastern Europe countries. Lublin’s application, in particular its Eastern aspect, was rated as the most interesting by most of the European experts.

Encourage by the success on the field of Polish-Ukrainian cooperation we opened ourselves on other Eastern European countries. In 2011 we organized Eastern Partnership Culture Congress. We have invited representatives of culture from Eastern Europe and the Caucasus to Lublin to get them to answer the questions: whether and in what form they would like to collaborate with the EU, what are their needs and what do they dislike. The direct effect of the Congress was creation of cultural cooperation network. The first step towards the realization of this project is the pro-gramme Connected by the Border which aims at the creation of a cooperation network for East-ern Europe’s culture communities and to develop the strategy of its development. The network is to be established in autumn 2013, during the second Eastern Partnership Culture Congress.

A residential programme Mindware. technologies of Dialogue launched in 2011 and designed for artists and theoreticians working in the field of new media, who attempt to incorporate digital technologies into the dialogue of cultures, was also an important experience.

our priority is to cooperate with people from Eastern Europe, regardless on the changes in the policy of the European Union and the success of the Eastern Partnership project.

Strategic partner in Ukraine Dzyga Art Association, virmenska 35 Association.www.dzyga.com

Workshops of Culturewww.warsztatykultury.pl

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l² – lublin and lviv: Culture to the power of twoDirect meetings of representatives of „young’ – exploratory, independent, alternative, current and contemporary – art and culture from Poland and ukraine. a project oriented at initiating and promoting of artistic – cultural coopeation between lublin and lviv.

The first stage of the l² project took place in november 2008. About 100 people from Lublin traveled to Lviv creating an opportunity to organize various artistic presentations that showed a wide spectrum of Lublin artistic communities’ activities: concerts, theatre performances, work-shops, music events, multimedia presentations, film screenings, alternative fashion shows, per-formances and lectures on art and culture. Culture managers, animators, curators, publicists and ngos representatives explored the unknown areas of Lviv cultural circles in order to invite them to work out new models of operation.

l² project was continued in 2009 and was a reflection of the previous „cultural invasion” on Lviv. Lublin was visited by around 100 representatives of cultural and artistic communities from Ukraine, who came to present their works whose public existence began with l². Main criteria for the pro-posed artistic events was to boost their realization process as well as recognition by each of the participants of the l² project itself as a form and territory which updates artistic effort of the entire group and each artist individually.

A direct meeting of people of similar professions, dreams and artistic interests from Lublin and Lviv creates an opportunity for an authentic exchange of ideas, knowledge, experiences, know-how in the field of art and culture, which in the long run contributes to establishing real contacts and creating grassroot partner initiatives.

more:l²_catalog

organizers: Trans Kultura Foundation, Workshops of Culture,Partners (UA): virmenska 35 Association, Dzyga Art Association, Kozа Art – Cafe, Lviv Municipal office.

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trans_Mission_lublin_ukraine

a series of large scale projects and contemporary art exhibitions. a cultural partnership crossing the geographical, administrative and ethnic borders through practical activities expanding the formula of dialogue on European values. trans_Mission was composed of four large projects.

Week of Contemporary art – contemporary art festival based in Lviv which aims at overcoming obstacles in cross cultural communication, the barrier between the artists and the society. The Week’s idea is to develop interdisciplinary cooperation and to regenerate unique city spaces with means of art. The event forms a field for creation, search and generating of new tendencies in contemporary art and transmission of modern art to the Ukrainian viewer.more:WeekofContemporaryart_catalog

Power of art – presentation of Polish contemporary art in Ukraine and a symposium dedicated to contemporary art collecting and the conservation of cultural heritage in both countries. A display of works from the contemporary collection of the Lublin Society of the Encouragement of Fine Arts (56 artists, over 150 works of art from different art style, 3000 m2 of the exhibition space) was held in the summer of 2010 in Lviv. The symposium was designed to help create a common plat-form where an exchange of experiences in research, analysis and development of contemporary art markets could take place. The goal of activities was to show how important it is to stimulate through art all changes and revaluation in the area of social identity, shaping imagination and strengthening the hierarchy of values.more:Powerofart_catalog

ukrainian Zriz – an exhibition presenting the Polish audience a showcase of trends, problems and forms of contemporary Ukrainian art. The first display of contemporary Ukrainian art in Poland on such a large scale for years was presented in Lublin in 2010. Artists of different age were invited to participate in the exhibition – from the oldest who might be called “classics” to representatives of the youngest generation, which helped present in a complex way tendencies in contemporary Ukrainian art. Ukrainian Zriz was also an attempt to show all major geographic regions in which the artists representing the contemporary trend operate (Kharkiv, Zaporizhia, Kherson, Mykolaiv, Lviv, Ivano-Frankivsk, Uzhhorod).more:ukrainianZriz_catalog

Fort.Missia – International Art Festival taking place in the border region directly affected by military activity during World War I. Each year Fort.Missia presents new art in old defensive fortifi-cations on the Polish-Ukrainian border, accessible to public only once a year – during the festival. guests can experience art projects from Ukraine, Poland, russiam Czech republic, Sweden, the netherlands and USA. The programme encompasses i.a. land art, rock concerts, experiments with jazz, electronic and contemporary art, theatre performances, literary salons, fire shows, film screen-ings, artistic workshops, galleries of crafts, happenings. The Festival is a space for inspiration and ideas, reason to ponder about the meaning of life and an attempt to defeat the evil of war with the power of creativity and joy.more:Fort.Missia_video

organizers / coorganizers: Workshops of Culture, TransKultura Foundation, Lublin Society of the Encouragement of Fine Arts, Dzyga Art Association, virmenska 35 Association, Polish Institute in Kiev, Consulate general of the republic of Poland in Lviv, Centre for Urban history of East Central Europe, Lviv Palace of Arts

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organizers / coorganizers: Dzyga Art Association, virmenska 35 Association,Workshops of Culture, Culture Centre, Polish Institute in Kiev, Consulate general of the republic of Poland in Lviv, club „U Pani K.”, Friends of nowica Association Jazz Clubs, Art-cafe „Koza”

Jazz Bez Jazz Bez is a recognized Polish-ukrainian music festival. a cross-borders jazz maraton brings together a dozen of Polish and ukrainian cities which host outstanding jazz musicians from all over the world.

Jazz Bez, i.e. Jazz without borders proves that jazz can be born, evolve and cross all the geo-political and ethnic boundaries and limits of music styles. year by year, the artistic level of the festival is improved, gradually multiplying the number of events and audiences. At the same time it spreads “drawing in” more and more cities on both sides of the border into its ideas: Kiev, Lviv, Lutsk, odessa, Sevastopol, Ternopil, Uzzhorod, Lublin, Przemyśl, Sanok. The festival has raised and educated new audiences, and along with them new international music groups composed of mu-sicians who first met at the festival were founded. Jazz Bez in numers: 13 cities, 40 music bands, over 200 concerts. The festival unveils diverse faces of jazz, musical experiments, improvised music by known bands and innovative, exploratory projects. Jazz Bez also produces and releases music albums.

more:JazzBez_web

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Mindware. the technologies of dialogueresidence programme “Mindware. the technologies of dialogue” is an in-novative proposal addressed to artists and theoreticians from Eastern and Western Europe who explore the space of urban communication through artistic reflection. their goal is to interpret codes which are inscribed into space, media transmissions used as well as the rules and forms of commu-nication. residets were trying to find new dialogues of cultures through digital media.

The space today is dominated by digital media technologies and networks connecting them which , also provide new ways of perceiving and understanding reality. These technologies not only perma-nently become commonplace in the landscape of public space – both in terms of physical presence and on the level of invisible to the naked eye transmission ranges – but with a vengeance raise the collective imagination and change the accompanying languages. The word Mindware completes two weel-known terms: hardware and software with a cultural element, which gives meaning to all technology and requires separate investments in the field of education, art, philosophy etc.

The starting point for the realization of Lublin residencies were the critical references to digital image and languages: the logics of digital culture imaginaries and re-coding of culture made on its basis. Artists-residents faced, with the help of communication and culture researchers, with physically present urban hardware, that is the city infrastructure, and an operating system regulating it on an everyday basis, that is the employed rules of communication. Works created as a result of the project became a living software of culture, personifications of the title Mindware.

Artists were accompanied by theoreticians dealing with social communication, media and art. Their task was to identify the potential of the concept Mindware captured through the lens of different sensitivities and imaginaries entering into a dialogue with each other: art of media, social art, social communication animation and humanities. As a result, in addition to individual installations created by artists, a collaborative work describing the term Mindware in the light of existing dictionaries and theories of the humanities was created. Mindware was a part of the cultural program of the Polish Presidency in the Council of the European Union in 2011.

more:Mindware_web

organizer:Workshops of Culture

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aporia’43/47. Decalogue: local World War. a Polish-ukrainian theatre performance taking on the most difficult sub-ject of relations between the two nations. the artists used source mate-rials, historical research and interview with witnesses to talk about the Polish-ukrainian conflict in Volyn in 1943-47.

Despite the fact that the events took place over seventy years ago, social memory of these events still hurts contemporary Poles and Ukrainians who are not able to agree with the facts. The per-formance is composed of two parts presenting a different, Polish and Ukrainian memory of volyn events. both parts is played by the same team of Polish and Ukrainian actors. The performance takes on an unresolved, renounced or forgotten subject. It opens a old wound of misunderstand-ings and secret whispers thus provoking a public debate: whether it will ever be possible to start a dialogue about a subject so painful? aporia’43, directed by Łukasz Witt-Michałowski (Invitro Pra-Premier Scene, Lublin) refers to the events in volyn in 1943-45 when the Ukrainian nationalists committed a massive extermination of the Polish population, which led to the Polish revenge actions on the Ukrainian population, as well as modern difficulties inability of the Polish and Ukrainian authorities to agree on one version of those events. The director went back to the place of those events numerous times, meeting the survivors. Therefore, each part of the performance documents a true story of people or places presented in the form of documentary and verbatim theatre. Decalogue: Local World War, directed by Svitlana oleshko (Arabesky Theatre, Kharkiv), is based on “Decalogue of an Ukrainian nationalist” created by a twenty-five-year-old philosophy student. A “Decalogue” which was later memorized by hundreds of thousands of young. For them it was not just yet another document, it was a call for action. It describes how they lived and how they died. From the perspective of our times, the “Decalogue” may seem a bit odd, sometimes difficult to understand, sometimes funny, sometimes even frightening. however, those ten points defined hundreds of thousands of lives. Pieces of a broken mirror can be glued together, but instead of reflecting one clear image, it will show its fragments seen from different angles.

more:aporia’43/47_video

organizers/partners:Cultural Education Society, Centre for Culture in Lublin, Polish Institute in Kiev, Consulate of the republic of Poland in Kharkiv, Arabesky Theatre Studio

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night of Culture the most important night in the cultural life of lublin, a unique manifesta-tion of culture and art in city spaces. organized in 2012 with a title “lublin – gate to the East” it combined hundreds of events created together by Polish and ukrainian artists.

This innovative social project gives all cultural institutions, associations, foundations, professional and amateur artists an opportunity to present their works in front of a large audience. Admission to all events during this special night is free, and the entire city space, all of its institutions, streets, squares and parks, becomes the space for artistic activities.

Although inspired by similar European events, the night of Culture which was first organized in 2007 has gradually acquired its own unique character through contact with Lublin cultural genius loci. What makes the event even more remarkable is the fact that the inhabitants, who welcomed it enthusiastically as viewers, with time became co-creators of its programme.

In 2012 we have invited hundred of artists from Ukraine to contribute to the night of Culture. Working on the programme we have put a special emphasis on joint projects presenting modern art, but there was also space for cultural heritage and traditional culture from both countries.

The programme of this exceptional night was composed of hundreds of events: concerts, theatre, dance, cabaret and juggling performances, happenings and performances, exhibitions in galleries and urban spaces, film screenings, literary meetings debates. There were also visits to historical sights, special programmes for children and other, spontaneous, improvised artistic and social actions.

more:nightofCulture_catalognightofCulture_web

organizersWorkshops of Culture and all institutions, organizations, artists, animators and makers of the events making up the night of Culture programme.

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Connected by the Border the project is a response to recommendations defined by participants of the Eastern Partnership Culture Congress. it aims at building a Eastern Partnership Cultural Cooperation network of the and development of the strategy of its operation.

Project Connected by the Border was launched in october 2012, was launched by the Trans Kultura Foundation Culture and the Workshops of Culture in Lublin; it got off the ground immedi-ately after the 1st Congress in 2011 and has been carried ever since. The idea of the project was to facilitate the encounter of cultural practitioners from the EaP countries, to exchange knowledge and experiences, to identify the real problems and needs of the cultural sector in the Eastern Part-nership countries and to provide a basis for advancing cultural networks in Eastern Europe.

The project based on study visits and seminars in Eastern Europe and the Caucasus; two workshop sessions in Lviv and Tbilisi with culture and art managers and artists working in the EaP countries. The workshop sessions covered the following: the building of local and European cultural coop-eration networks, the analysis of existing network models in Europe, developing a shared vision, mission, goals and objectives corresponding to the real needs of the cultural sector in the region, developing cultural competence. Connected by the Border also involves meetings with artists, ngos, cultural institutions and social activists; the point is to learn about the models of cultural activities in the countries of the Eastern Partnership and to establish contacts with representatives of cultural groups in these countries.

Connected by the border also combined of meetings with artists, ngos, cultural institutions and social activists that aim at familiarization with the models in which the cultural activities function in the Eastern Partnership countries as well as establishing contacts with representatives of cultural communities in those countries.

The project aims at building a network of cultural cooperation in Eastern Europe, raising the level of knowledge and skills in modern culture management education and cultural policies, as well as building and strengthening the positive image of Eastern Europe in the European Union countries. guidelines for the next Eastern Partnership Culture Congress, which will be held in 2013, will be de-veloped within the framework of the project, accompanied by an analysis of the shape of culture and its impact on the political, social and economic systems in the Eastern Partnership countires and their integration with the EU. The diagnosis will serve developing common tools for coopera-tion in Europe and will be one of the important elements in creating a strategy for building of cultural cooperation networks in Eastern Europe.

organizers/partners: TransKultura Foundation, Workshops of Culture, Suburb Centre for Culture, Association of Azerbaijani Artists, Lohvinau Publishing house, geoAIr, young Artists Association “oberliht”, Dzyga Art Association

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eastern coMPetences centre Eastern Competences Centre (ECC) is a think-tank created with the participation of the City of lublin, lublin Voivodeship local government as well as an international organisation belong-ing to the Un system – united nations Development Programme (unDP). Its creation is a sign of the importance attached in Lublin region to the cooperation with eastern partners – tens of projects implemented together over the years gave birth to the feelings of mutual trust, passion and the ability to work in such fields as:

1) good management – efficient management in the administration; 2) civil society; 3) research and education; 4) culture for development; 5) business relations; 6) social innovations; 7) balanced development.

Eastern Competences Centre is not only a knowledge base about the projects, good practic-es, initiatives and organizations that implement them. The purpose of the ECC is to initiate new ventures and to co-create new quality in the widely understood development cooperation, includ-ing by building a community of people, institutions and organizations engaged in activities in different countries that will speak as one voice about the issues important in this part of the world.

At the core of the Eastern Competences Centre lies the work for social development, education, culture, business, strengthening of mutual communication and dialogue. ECC supports creation of networks and elimination of barriers, including those resulting from the mutual prejudices and stereotypes. ECC’s mission is to inspire and activate an effective and sustainable transnational cooperation, determining potentially the most effective courses of action between the European Union and Eastern Europe as well as the countries of the Caucasus and Central Asia. It is also to mutually explain social conditions and cultural specificities of individual countries and nations of the East and the European Union (EU), and as a result to generate socio-economic benefits arising out of their cooperation.

The activities serving to fulfil the mission and goals of the ECC are aimed at cataloguing and clas-sifying the knowledge as well as “best practices” in the field of initiatives implemented together with the partners from East, cross linking of partners, implementing of new ideas, providing recommendations. In practice it means the organization of training courses, seminars, confer-ences, preparing reports and formulating positions. Another ECC’s activity is to arrange meetings between the leaders of various programme lines with potential cooperation partners, representa-tives of ngos, universities and business ventures. It is also to work within local communities with a global impetus and an intention to share the experience as well as to acquire new skills needed for the balance and clarity of taken actions.

7 warianty - kompozycja logo

Lublin City officenon-Investment Projects Department

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facing east cuLture Projects froM LubLin Lublin wants to quench europa’s yearning for the east by remembering the common cultural roots and by appealing to the social solidarity that has been one of the fundamental european values.

Facing East is dedicated to the EU’s eastern border. It stresses Lublin’s unique interests, capacities and responsibilities in nurturing a dialogue with partners from belarus and Ukraine, as well as other eastern countries, and underscores the city’s fundamental role in the development of the EU’s Eastern Partnership. It positions Lublin as a bridge between east and west.

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oldest songs of Europe

the oldest song of Europe Festival features the oldest music testimonies of traditional culture from various corners of Europe. the origins of these archaic songs often go back to ancient pre-Christian times, and are sung both by the aged guardians of rural traditions and young artists who are city dwellers.

Previous editions of the festival gathered dozens of singers and a number of soloists from Albania, belarus, Estonia, Latvia, Lithuania, Poland, russia, Ukraine, Slovakia, Serbia and Italy, all representing towns and villages. The festival is a rare opportunity to listen to living songs or those reanimated by artists and ethnomusicologists and found along the European frontiers. Each edition of the oldest Songs of Europe is preceded by in-depth ethnomusicological studies conducted in concert with research centres. The festival is an encounter and dialogue between untrained village musi-cians and modern urban artists who have made every effort to reconstruct old singing techniques and save dying songs. The festival coincides with Dance nights involving exercises in traditional dances from different regions of Europe, as well as exhibitions, debates and lectures. Thanks to the festival, it was possible to release many original records of traditional music.

more:oldestsongsofEurope_web

organizer:Muzyka Kresów Foundation, Crossroads Centre for Intercultural Creative Initiatives,www.npe-festiwal.pl

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Codes Festival of tradition and avant-garde MusicDuring the Codes festival, lublin becomes home to musicians from Eastern and Western world; it juxtaposes tradition with modernity, archaic music with electronic music, jazz and contemporary classical music.

The Crossroads Centre for Intercultural Creative Initiatives created the Codes to make an unprec-edented attempt to uncover a shared code for the musical tradition and the avant-garde. The strong points of the Codes are world-class stars and première projects commissioned especially for the event. The artistic supervisor of the festival is the President of the Polish Composers As-sociation - Jerzy Kornowicz. So far, the Codes festival has starred, among others, Lou reed, John Zorn, Philip glass, Arvo Pärt, Laurie Anderson, Cem Mansur, and traditional musicians of the villages of the Polish-Ukrainian-belarusian borderland often consigned to oblivion. The festival envisages a competition for innovative artists integrating traditional music with avant-garde experimentation that falls within the framework of the festival. The winning pieces will be premiered during the festival. Arvo Part, an eminent Estonian composer, has consented to chair the competition jury.

more:Codes_web

organizer:Crossroads Centre for Intercultural Creative Initiativeswww.kody-festiwal.pl

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other sounds art’n’Music Festival lublin-lvivthe other sounds art’n’Music Festival is a colourful melting pot for all gen-res of world music and artists of various cultural backgrounds.

other Sounds is more than just a well-known Polish-Ukrainian music festival, it is a multi-dimensional artistic event. It further covers joint, cross-border music projects, record publishing, workshops and exhibitions. Since its opening edition in 2008, the framework of the festival has expanded to include events from outside the music world. Lublin and Lviv, the two partner festival cities, are the meeting places for musicians, artists, film makers, journalists and researchers. The festival also produces and patronizes joint music projects and publications of Polish and Ukrainian performers, such as the voo voo & haydamaky, the harmonia.

The programme does not impose any limitations on artists in terms of style of performance, the only selection criterion is the actual artistic position and originality of invited bands. In addition to strong artistic teams of Poland and Ukraine, other Sounds offer the stage to the representa-tives of European Union countries, while laying much emphasis on the domestic and international promotion. In its relatively short, three-year history, the festival took on dozens of bands from six continents.

more:othersound_web

www.innebrzmienia.pl

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Festival “theatre Confrontations”the theatre Confrontations Festival in lublin is the manifestation of the world-known lublin alternative theatre. During fifteen years of its exist-ence it has continuously evolved, searching for topics of utmost impor-tance to the theatre and for the most intriguing language of narration until it finally reached russia.

For several years now theatres from both Moscow and Petersburg, as well as from the russian province have been major elements in the programme of the Confrontations. With time, the pro-gramme was expanded to include also russian cinema and art. Such tendencies continue the idea initiated by Włodzimierz Staniewski (the director of the gardzienice Theatre, one of the founders of the festival) for a peaceful confrontation of theatres from America and russia, with Polish theatre acting as a moderator and mediator in the process of reconciliation. The current director of the festi-val, Janusz opryński from Provisorium Theatre-Kompania Teatr believes that in russian art in particu-lar there has always been a deeply rooted need for a critical description of the modern world and that this can provide the foundations for building mutual understanding and dialogue. ‘’We believe that through our work we can bring together russia and Europe and, in general terms, contribute to building intellectual bridges between two distinct parts of the continent, which are defined by two factions of Christianity”. In the future, the organizers of the Confrontations would like to turn the festival into a platform for meetings between theatre creators from the East and their colleagues representing other traditions ( in 2011- confrontation with countries of the former USSr; in 2012 -the british theatre; 2013- the netherlands and belgium; 2014- the USA; in 2015- Central Europe).

more:Confrontations_web

organizer: Culture Centre www.konfrontacje.pl

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lublin Dance theatresince 1997, the lublin dance theatre circles have been developing a plat-form of cooperation with groups and artistic organisations from Belarus, Moldova, ukraine and lithuania.

Lublin is home to a very vibrant community of contemporary dance artists. The Lublin groups trav-el to the East and West, staging their performances, holding workshops and taking part in several cross-border art projects. The activity of the Lublin Dance Theatre and the Contemporary Dance group of Lublin Technical University spanning over ten years has grown a network of people-to-people and institutional contacts. The International Dance Theatres Festival masterminded by the Lublin Dance Theatre has become a meeting hub and contact point for managers and ensembles from north America, Eastern and Western Europe.

more:lublinDancetheatre_web

organizer: Lublin Dance Theatrewww.ltt.art.pl

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Eastern salon of art– international Biennalesince 1993, the lublin branch of association of Polish artists and Designers (ZPaP) has been organising an interdisciplinary review of East Central Eu-ropean art, an event which has gained popularity not only among public in lublin, but also in germany, sweden and even Korea.

Do borders existing between countries effectively obstruct the free flow of thought, which is the foundation of all creativity? Such is the question posed by the organisers in the art catalogue from the latest edition of the Salon. Eastern Salon of Art has been developed in order to enable art to move across borders. It is the most important international art contest organised by the Lublin branch of Association of Polish Artists and Designers. Collaborators invited to contribute to the pro-ject include artists from belarus, Ukraine, Lithuania, Poland as well as other neighbouring countries.

Exhibitions of the Salon have been showcased in Warsaw, Torun, Dusseldorf, rättvik and Seul, where they have been enthusiastically received by the general public and critics alike. nowadays, Eastern Art Salon functions as International biennale, which every two years, in accordance with its main theme, ‘’Culture beyond divisions” presents graphic art, paintings and sculpture. The organ-izers try to maintain variety and diversity of artistic attitudes and means of expression falling within contemporary areas of activity and exploration of artists involved in these practices.

biennale also invites researchers from various countries and institutions to take part in discussions focused on intercultural dialogue.

organizers and partners: Association of Polish Artists and Designers- Lublin region, The Lublin Museum, Lviv Academy of Fine Arts, Zamość Municipal office, Puławy Municipal office, Kazimierz Dolny Municipal office, Lublin Municipal office, Marshal’s office of Lubelskie voivodeship

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Bruno schulz’s ark of imaginationDuring the Bruno schulz festival, his home town Drohobych, which during the holocaust and under the soviet rule was deprived of its multicultural image, again becomes a venue of international discussions about the val-ues of culture and art, a venue of reconciliation and debate, where one can rise above the old and new national, cultural and religious stereotypes.

Drohobych-born bruno Schulz, a Polish artist and writer of Jewish origin, referred to as the Polish Franz Kafka, among the most outstanding and at the same time most intriguing artistic figures of the twentieth century. his prose was translated into 40 languages; it invariably keeps inspiring artists of all fields. Schulz was shot in 1942 by a gestapo officer in the street of his home town Drohobych. his paintings and manuscripts perished and his writings were banned for publication for many years. Drohobych, which is now located in Ukraine, has undergone a radical social and cultural transformation, yet today’s Schengen border isolates it formally from the realm of Euro-pean culture. Schulz’s fate, just like his city’s, is an example of the twentieth century adversities.

The bruno Schulz festival restores the city’s multicultural past that sunk into oblivion; it wins the town back to the realm of European culture and traditions. It is a bridge for the Polish-Ukrainian reconciliation, a signpost for European aspirations of Ukraine and an attempt to grasp the roots of European humanism.

The festival is open-ended and interdisciplinary; it has three components: scientific, literary and cultural. The participants are primarily scholars - Slavicists, translators, writers andpoets, Schulz experts, artists and enthusiasts from more than ten countries. The festival also en-courages international co-operation involving Ukrainian artists by enabling networking over the Schengen border; young ngo activists and Ukrainian artists are regularly invited to participate in cultural and educational programmes implemented in Lublin.

more:BrunoschulzFestival_web

organizer: bruno Schulz Festival Associationwww.brunoschulz.net.pl

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Jagiellonian Fairthe Jagiellonian Fair in lublin is the largest, and Polandunique gathering of artists, artisans, handicrafters and aficionados of culture, tradition and amusement from Poland, ukraine and Belarus.

The Jagiellonian Fair combines the tradition of ancient fairs with the contemporary cultural and economic exchange. The event builds on the tradition of the fifteenth and sixteenth century Lu-blin fairs, which attracted merchants and artists from every corner of the historical republic and Europe, in the times when Lublin and the Lublin region flourished as a multicultural centre of mul-tiethnic state. The fair fuses the promotion of the legacy of regional ethnic and religious groups, both material and immaterial, with the requirements of a modern cultural and tourist product.

During the fair, traditional culture is shown both in its authentic form, and enriched with the ele-ments of contemporary art inspired the folklore. Through concerts, performances, exhibitions, workshops, craft presentations and open air art in public spaces, the fair educates and promotes traditional culture. Every year the fair attracts around 300 traditional artists.

The Jagiellonian Fair was launched in 2007 as a European project aimed to cultivate the common heritage of East and West. Since the first edition of the event, a robust platform of cooperation has been built between traditional art fraternities from Poland, belarus, Lithuania and Ukraine; the fair has also joined a Europe-wide network of cooperation, exchange of experience and promotion of cultural heritage.

more:JagiellonianFair_web

organizer: Workshops of Culturewww.jarmarkjagiellonski.pl

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European neighbours’ Daythe impressive European neighbour’s Day initiative aims to transform the ways of life of communities on both sides of the Eu border, so that they no longer remain with their backs turned on one another but that instead they live together ‘’face to face”.

European neighbours’ Day is the largest joint socio-cultural project realized directly in the eastern border zone of the EU, which aims to help diminish the barriers existing between Eastern and Western culture and between byzantine and Latin tradition.

The rich programme of the event readily accommodates any kind of social, artistic and religious action which aims to contribute to the dialogue beyond borders and divisions. These include, among others: “Land Art – the art of the border area” (artistic activity in the natural environment), balloon flights ‘’over the border”, “Without borders” theatre festival, ecumenical prayers in the border area, reconciliation Award, transborder forum, debates and discussions with experts from Poland, Ukraine and other EU countries, a transborder fair, international youth camps as well as ‘’border835”, a rock-folk music concert.

The initiative has garnered great interest and gained enormous popularity. It has become an im-portant regional event, awaited on both sides of the border. over 50 institutions from Poland and Ukraine are involved in its organisation and between 10 to 20 thousand people from these countries participate in the event. It is visited by ministers, ambassadors, members of parliament, well-known artists and social activists. Media partners include prestigious information agencies from Poland and Ukraine and over 200 accredited journalists from both countries take part. Some of the honorary guests include: the Ministers of Foreign Affairs from Poland and Ukraine, Members of Polish and Eu-ropean Parliament, Deputies of the Supreme Council of Ukraine, Polish and Ukrainian Ambassadors, voiovodes, governors, Marshals, Chairmen of oblast Councils, Starosts of Counties and Districts, hier-archs of the roman Catholic, greek Catholic and orthodox Churches from Poland and Ukraine.

In the future, the organizers are planning to create the Transborder Centre for Dialogue, continu-ously working towards the strengthening of Polish and Ukrainian relations on all levels. The long-terms effects of the European neighbours’ Day will consist in the intensification of interpersonal, cultural and economic contacts between regions on both sides of the border. The organisers draw our attention to the necessity of opening new border crossings, popularise border zone agrotour-ism, create networks of circles involved in the exchange of ideas and best practices, all of which is done in cooperation and with the help of local administration, ngos and cultural institutions.

organizer: Frontier Spiritual Culture FoundationPolish Partners: Embassy of the republic of Poland in Kiev, Consulates general in Lutsk and Lviv, The Ministry of national Defence, The national headquarters of the border guard of Poland, Customs Services of the republic of Poland, The voivode and Marshal of Lubelskie voivodeship, Starosty of Tomaszów Lubelski, hrubieszów, Włodawa, Community Councils of Mircz, Ulhówek, Wola Uhurska, Municipal office of Lublin City, Adenaur Foundation in Poland, Polish Institute in Kiev, The Chapter of Polish-Ukrainian reconciliation, Institute of East-Central Europe.Eastern Partners: Embassy of Ukraine in Warsaw, Consulate general of Ukraine in Lublin, The national headquarters of border guard, Customs Services of Ukraine, voivode and Marshal of the Lviv and volhynia Provinces, County offices of Ivanytchi, Shatsk and Sokal, Commune Councils in Staivka, Kretchov, Adamchuki, Municipal offices of Lviv, Lutsk and novovolynsk. Adenauer Foundation in Ukraine, Widrodzennia Foundation, Amore Association, Perspective Society, Polish School of Social Analysis, ostrogska Academy.

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East European Performing arts PlatformEast European Performing Arts Platform is s an organisation supporting the development of per-forming arts (dance and theatre) in Central and Eastern Europe. The project is present in 18 coun-tries, including the Eastern Partnership countries and Poland’s closest neighbours - Ukraine and belarus. EEPAP’s activities are designed in particular for independent theatre and dance makers, curators, critics, theoreticians and people running independent artistic centres and festivals. The project’s main goal is to support cooperation between Eastern Partnership countries and to cre-ate a platform - website serving as a tool and contact point for all the makerswhere they can ex-change knowledge and experiences. In addition, EEPAP cooperates closely with the leading dance and theatre centres in Europe: artists and curators will be invited to carry out their projects both in EEPAP member countries and across Europe. Among the activities planned for 2012 are work-shops, trainings and conferences for artists and young managers as well as opening of a residence programme (in partnership with centres in germany, Sweden and Serbia). more:EastEuropeanPerformingartsPlatform_catalogEastEuropeanPerformingartsPlatform_web

East European Performing Arts PlatformCentre for Culture in Lublinwww.eepap.org

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reports on independent Culture and ngos in the Eastern Partnership Countries and russiaA report on the Condition of ngos and Independent Culture belarus opens a series of seven re-ports to be produced under the project, A report on Independent Culture and ngos in the East-ern Partnership Countries and russia. Through this large-scale project, we wish to highlight what should particularly be brought to the forefront when gazing towards the post-Soviet countries today. This is, no doubt, the burgeoning partnership and coexistence of the peoples who have a common future and who are fully aware of that. A report on the Condition of ngos and Independent Culture in belarus aspires to be such a re-sponse to these shortcomings and to the lack of knowledge about the belarusian cultural reality, belarusian independent culture, the third sector (ngos) and the setting in which they are deemed to operate. A report has been so designed asto be affordable in itsform and as a widely available tool for reliable identification of the aforesaid realities, a tool that enables the most effective action in these areas.

Such knowledge and tools for effective action are also craved for by belarusians themselves; there-fore, A report is available in three languages – belarusian, Polish and English – on the website of Lublin’s Kultura Enteron-line monthly (www.kulturaenter.pl), and has been printed in Polish and English.

In 2012 is planned to issue the report on the Condition of ngos and Independent Culture in Ukraine.

In 2013 is planned to issue the report on the Condition of ngos and Independent Culture in Moldova.

more:Belarus_reportKulturaEnter_web

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on-line initiatives

Panorama of Cultures – the less Known Europe is a magazine that deals with intercultual life and traditions of the Central Eastern Europe.

The idea of a Panorama of Cultures magazine first appeared in october 2002 among the students of the School of Eastern Europe and Institute of Slavic Language and Literature Studies of the War-saw University and their friends. Panorama of Cultures is active in promotion and popularization of culture of the Central Eastern Europe. In october 2003 we have registered a Panorama of Cultures Association with the seat in Wojsławice – a town with multicultural traditions situated in the re-gion of Chełm supports online actions and initiatives bounded up with the magazine. The major achievement of the association is the book “Scraps of rememberance”, a story about multicultural past of Wojsławice, which we have published in november 2005 thanks to the financial aid of Polish-American Freedom Foundation. We are cooperating with many medias which are engaged in the affairs of Central Europe, publishing houses and cultural institutes. Panorama Kultur is a definitely non-commercial initiative. We have no political or ideological affiliations as well.

more:PanoramaofCultures_web

Kulturaenter.pl – miesięcznik wymiany idei [kulturaenter.pl – a Monthly of Exchange of ideas] – an on-line cultural magazine devoted to our Eastern neighbours; the magazine works closely with the ukrainian Kritika maga-zine and the Belarusian arche and partisan magazine.

more:KulturaEnter_web

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LubLin’s canDiDacy for the euroPean caPitaL of cuLture 2016

During the Lublin’s bid for the european capital of culture we made two ap-plications in order to show you the city cultural policies towards the east The deeper we immersed ourselves in the preparations for the European Capital of Culture, the more aware we became that Lublin was merely a point of departure. As outsiders’ interest in the city grew, as locals bonded, and as we found more beauty and opportunities here than we had suspected, we became increasingly convinced that we were part of an adventure that was – para-doxically – taking us far beyond the city’s limits. Located where trade routes cross and where cultures converge, Lublin has long been a city of pluralism, exchange and dialogue: once a seminal spot for Western outreach to the E ast and since 2004 the E uropean Union border with belarus and Ukraine, today it is a strategic bridge into an eastward expanding Europe, a vibrant meeting place for local and international artists and stu-dents. Although Lublin is a relatively small city, it nevertheless bears a great responsibility becauseof its geographic position. Among its key objectives is to create strong links between the EU , Ukraine, belarus and other countries in the E astern Partnership programme. This goal requires a new perception and attitude towards our Eastern neighbours. Lublin has already undertaken a number of fothcoming cultural and educational projects, including European Eastern University, a visionary educational and research endeavour, expected to generate a myriad of intra-regionalpolitical, cultural and economic benefits. The Lublin 2016 project attests to this crossing of borders, both geographic and psychological. It demonstrates that we can go beyond the narrow focus of local interest. The awareness that there is a world beyond our city does not amount to an escape from Lublin – quite the opposite. The more we strive to answer the question of how to open ourselves to what is unfamiliar and remote, the better we understand that we need to begin with ourselves. We have to develop models and practices for here and now – even if it is easier, especially for artists, to immediately move beyond, into European spaces. We want Lublin to contribute to the very conception of the common Eu-rope, demonstrating that for all the social, economic and political limitations that burden times and places, one can make a real difference and open development perspectives. our application is a case study of Lublin, a city that embodies this experience. Lublin has envisioned the Eastern Partnership as a cultural project. We feel we represent not only Poland but also the European Union. At the same time, we understand that our eastern involve-ment is a crucial for common Europe.

more:EuropeanCapitalofCulture2016_ First applicationEuropeanCapitalofCulture2016_ the Final application

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oPen Lviv – neW iDea of the euroPean caPitaL of cuLturehere is the open Lviv project as it was developed during the drawing up Lublin’s application pa-per and programme for the European Capital of Culture 2016 bid.

Inviting in 2012 Lviv to contribute to the European Capital of Culture programme is the conse-quence of a long and multi-stranded policy of cooperation between both cities’ local govern-ments, non-governmental organizations and artists of both cities.

The “open Lviv” project is the outcome of long and intense cooperation between Lviv’s and Lub-lin’s vibrant cultural communities, artists, ngo’s and local governments.

To prepare a project meeting European standards and to engage their residents, the Lviv commu-nity has founded a consortium of key culture operators: the local government, cultural institutions, non-governmental organizations, and private individuals. The consortium has analyzed the current situation of Lviv’s institutional and non-institutional culture and, on the basis of the european crite-ria and guidelines, has prepared a cultural development strategy for the city. The process has been dynamic, with unprecedented interest from cultural communities. The consortium has elected the “Dialogue” Lviv Artistic Council with 60 members. The council continues to work on the cultural development and communication strategy, support the growth of civil society, and monitor the process of change through culture.

In response to the problems identified, the “Dialogue” Lviv Artistic Council has inspired numerous artistic, educational and social projects, focusing on showcasing contemporary culture, which by dissociating itself from the totalitarian heritage seeks to show Ukraine’s new face and its European aspirations.

For several years, Lublin and Lviv strived to learn how to understand culture, its system of organisa-tion, as well as cultural financing and management on both sides of the border. We developed a one-of-its-kind methodology for the implementation of projects over the Schengen border, a unique know-how of the eastern cross-border cooperation.

The open Lviv is yet another opportunity of expediting the implementation of the idea of the Eastern Partnership. With such ambitious and wide-ranging projects, Poland aspires to lead the way in reforming the Partnership instrument by means of cultural capital; it is an active ambassa-dor of the European Union beyond its eastern borders, but at the same time and the ambassador of Eastern European countries in the European Union.

organizer:Artistic council Dialog

rafał “Koza” KozińskiTrans Kultura Foundation

Markiyan IvashchyshynDzyga Artistic Association

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on the assumption of our main aims, ie., to initiate, to develop and to create conditions for an ad-vanced European dialogue in art, education and society at local, regional and international levels– the program highlights the events and actions promoting debates and discussions, exchange of opinions and experiences. The city of Lviv is a perfect place for such discourses.The open Lviv 2016 is a topical moment to launch the initiation of new models, processes and solutions in the field of culture. We consider the notion of a Dialogue as:– search for new social innovations;– implementation of projects related to the encouragement of social dialogue as an effective means

for the successful development of Ukrainian civil society able to participate in discussions;– creation of friendly medium for communication and socio-cultural platform to exchange views

and ideas. 

Dialogue: artLviv is a city that always has been promoting avant-garde, experimental and innovative direc-tions of visual, theatrical, literature and musical arts. our city is recognized as a cradle of an unique schools of abstract painting, performances, installations, contemporary drama and contemporary classical music. It is the place where first jazz and rock bands evolved. Lviv citizens are open to accept new trends and experiments in art. The Dialogue in arts is based on the projects that rep-resent new model of participation in culture concentrated on active participation in cultural con-sumption. And in the same time it is based on projects that present new communication model and actively involve consumers/recipients of cultural product.  

Dialogue: society  on the assumption of the statement that culture is a component and a means of identification, our program is going to include local socio-cultural events focused on the presentation of succession of traditions inherent in multicultural community. Some projects are aimed at building confidence and constructive cooperation between both traditional and new ethnic, religious communities, as far as they are modeling an image of a modern multicultural city in the context of the unique established traditions of tolerant coexistence of different peoples and cultures in our city and the region. 

Dialogue: education We do realize that art has considerable potency to develop the ability of critical and analytical think-ing, therefore we emphasize the importance of educational projects. The important aspect in the implementation of these projects is the conduction of master classes, workshops, thematic confer-ences, lectures and seminars. To our mind, the process of implementation itself should intensify local community (civil society). We consider cultural and art projects involved in public life to be those factors that foster its openness and democratization. Thus, we could achieve main goals – to reveal the importance of culture in civil society/culture of public field; to intensify cultural environment.

Dialogue: Local Level City for its citizens. The projects involved in the context of that dialogue set the goal to refine the quality of cultural life in the city environment and at the same time, to provoke the depressuriza-tion of socio-cultural institutions and their initiatives. one more urgent task is the decentralization and reforming of cultural governance and management at the municipal level. We anticipate more public initiatives and less impact of specialized structures.

Dialogue: regional LevelWe regard the projects carried at the level of a regional dialogue to be joint projects of collaboration between districts, regions and cities of Ukraine. These projects are related to multiculturalism and inte-gration of local communities in the cultural abundance of their regions, as well as the presentation of their own cultural acquisitions. These are projects that on one hand, determine our own self-identity and on the other - emphasize the common models of the development of culture strategy in Ukraine. Dialogue: european Dimensionour aim is to enforce cooperation between Ukraine and EU countries, as well as with the world com-munity in all fields of culture. Thus, most frame and individual projects focused on international co-operation and involve partners from international networks and cultural associations and institutions. We consider ourselves to be the Europeans and seek to highlight the common European values for our neighbors - countries of the Eastern Partnership. Within the open Lviv in Lviv project we intend to implement projects based on intercultural dialogue and promotion of liberal and democratic ideas.

organizer:Artistic council Dialog

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Main events of the open Lviv

The structure of the open Lviv consists of three main types of projects:– framework projects;– strategic projects of local self-government and government authorities;– individual projects. 

framework projects We regard as framework projects as wide-ranging, annual events and festivals that correspond to proposed structure of cultural dialogues in art, society and education. Speaking of framework projects, for instance in art, we mean the whole stratum of cultural and artistic activities, ie.: visual arts, music, literature, theater, media art etc. The same concerns other types of dialogues. Social dialogue is defined by framework projects aimed at one of two priority criteria - “City and Citizens”. These shall be the projects engaging the city’s community in the process of implementation of the events within the open Lviv events. There is a list of some special framework projects of key importance below, in holding the open Lviv. 

tyzhden / Week of contemporary arttype of Dialogue: art, community, educationTyzhden/Week of Contemporary Art is one of the most important and most anticipated events in the field of contemporary art in Ukraine. From the very start its initiative was set up to develop some special space for creating, generating and searching for innovative tendencies in art and to present them to the Ukrainian audience. The Tyzhden is an attempt to bring together the artists of different countries and different generations involved in contemporary art in one area and at one time. The offer of the Festival includes numerous presentations of art projects, exhibitions, installa-tions, performances, happenings, media art, contemporary theater dance shown all over the city. An important integral education-directed part of the event includes master classes conducted by prominent European artists, lectures, presentations, discussions on the history, theory, analysis of contemporary art.

the Projects conducted within the tyzhden/Week of contemporary art: – the MediaDepo Media art festiavalThe MediaDepo project was launched in 2008 as an integral part of the Tyzhden and at the same time, as a quite self-sufficient event. Each year the festival presents the best works of leading inter-national media art festivals - video art and artistic animation, short films and hybrid or interactive media, experimental electronic music, etc. The MediaDepo is a virtual platform for the develop-ment of contemporary art and culture.

Days of Performance art and the school of Performance. The project was established in 2006 by the Polish Institute in Kyiv and in 2008 it was joined by two Lviv institutions, the Dzyga Art Association and the Institute of Contemporary Art. Since then, it is a cogent block within the Tyzhden/Week of Contemporary Art. nowadays the Days of Performance Art is an annual festival including the School of Performance, meetings with artists, lectures, video screenings and, of course, performances represented by prominent and well-known masters and younger generation of performers. The artists from Ukraine, Poland, Lithuania, belarus, Israel, Aus-tria and Switzerland were invited to take part in The Days of Performance Art in Lviv. The School of Performance was introduced in 2008 as an educational part of the Days of Performance Art. The head and brains behind it - Janusz baldyga, one of the most authoritative Polish performers. The School offer includes lectures given by known European theorists of performance. The School is of great interest among the students from all over the country, because performance as a artistic education discipline is not included into Ukrainian art education institutions’ programs. The School is free of charge for all willing to participate. The School graduates are assisted and encouraged to demonstrate their own performance projects. It is attended annually by over 40 students from different cities of Ukraine: Lviv, Uzhgorod, odessa, Kharkiv, Kyiv.

organizer:Artistic council Dialog

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the international book Publishers’ forum type of Dialogue: art, society, education The International book Publishers’ Forum in Lviv was founded in 1994.  nowadays it is the most im-portant intellectual and cultural event in Ukraine. According to the Decree of President of Ukraine it was granted national status for a significant contribution into the development of Ukrainian culture and education. At the turn of  1994 – 2010 the Forum has been attended by over 600 000 visitors, it has held 2535 cultural actions and events and has issued over 4800 publications. Main events of the Forum are the Lviv book Fair (since 1994), the Ukrainian Competition for best book (since 1994), business Forum (since 2007) and Library Forum (since 2010). Its main goal is the devel-opment of libraries and their transformation into cultural and information centers.  

the Projects conducted within the forum of Publishers.  international Literary festival The International Literary Festival is an annual cultural event started in 1997. Since 2001 the festival has been involving foreign participants and since 2006 it has become an integral and indispensa-ble part of the Forum of Publishers in Lviv. It is the largest and unique international literary festival in Ukraine. The Festival attracts writers, poets, artists, cultural figures, scientists, journalists, transla-tors, literary and art critics from Ukraine and from abroad. Totally, it has involved 454 participants from Ukraine and 30 countries around the world. 

international theatre festival type of Dialogue: art, society the Projects conducted within the international theatre festival Zolotyj Lev/golden Lion international theatre festival  The Zolotyj Lev Festival is not just a festival but an European theatrical tradition and one of the most prestigious theatre forums of Ukraine. The slogan of the Festival is “Classics through the eyes of experiment!” It was founded in our city back in 1989. The festival’s traditional venue is the Lviv Academic Spiritual Theater voskresinnia but it traditionally also slips over onto the streets and squares and reigns there, turning the whole city into a masquerade and creating a feeling of a true carnival. The Festival has a national status. besides, it is a member of the IETM and the Association of International Festivals (IFEA). It has involved over 2500 actors, directors, theatre critics frоm Aus-tria, belgium, belarus, bulgaria, netherlands, georgia, great britain, Estonia, Turkmenistan, Latvia, Lithuania, Kyrgyzstan, Moldova, germany, Poland, russia, romania, Serbia, Slovakia, USA, hungary, France, and Ukraine.

improteatr Project The Improteatr is an innovative and extremely important project addressed mainly to  children and teenagers. The lack of an adequate repertoire to meet their interests and demands leads to the situation when theater today is gradually losing its young audience. The last one will inevitably cause the decline of theatrical and literary traditions/culture within teens and chil-dren. The Improteatr is an interactive communication with a reader/listener/viewer that involves talented young actors, poets, writers addressing their narratives towards children and youth. The playwrights will be attracted to performances as well. The project is intended to carry on its educational mission through literary contests, meetings with authors, illustrators, psychologists and mobile theater teams, thus able to create “theatre” within the territory/area of teenagers (schools, streets, parks, clubs). 

international festival of contemporary classical Music “Kontrasty/contrasts” type of Dialogue: art, society, educationAn annual event established in 1994, the International Festival of Contemporary Classical Music Kontrasty/Contrasts started in 1995. The Festival is organized by the Lviv branch of national Union of Composers of Ukraine and the Centre for International Cultural Initiatives in Lviv, in cooperation with the Lviv Philharmonic Society and the State Music Academy of M. Lysenko in Lviv. Festival always has been supported by Lviv regional administration, embassies of foreign countries and various cultural foundations in Ukraine and EU. The concept of the Festival is based on the aspira-tion to representthe contemporary Ukrainian music in the context of world culture. The program includes compositions by several generations of Ukrainian composers. The music of Eastern and Central Europe is the focus of attention. An important part of the Festival’s program includes the classical masterpieces of the 20th  century. Each year many compositions are premiered (either in Ukraine or worldwide) at the concerts of the Festival.  

organizer:Artistic council Dialog

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Projects within the international festival of contemporary classical Music Kontrasty/contrasts. 

born in Lviv project (in collaboration with the Center for Urban history of Central and Eastern Europe). This project means the search for composers and musicians/performers who at different times and in different ways were connected with Lviv or galicia.  The project co-organized in collaboration with the Centre for Urban history of East-Central Europe.new generation and new Music project (in collaboration with the State Music Academy of M. Lysenko in Lviv). The project is aimed to breed and cherish a new generation of composers, performers and listeners of contemporary music through improvement of curricula, promotion of contemporary music, creating a sort of “fashion” to perform and to listen to music reflecting the latest trends of the world and European classical music.   The project co-organized in collaboration with Mykola Lysenko Lviv national Music Academy.in touch With World community project. The project is designated to include International Festival of Contemporary Classical Music Kontrasty/Contrasts into common musical projects, shared information space of European and global contemporary music festivals network by means of joint music projects and information space. 

KinoLev - international independent film festival  type of Dialogue: art, societyThis project brings together film fans and filmmakers from different countries to Lviv  - a multicultural capital with established traditions. The KinoLev offer an open, independent competition programs, presentations and meetings, premiers and retrospective shows and exhibitions. Traditional festival themes are “young Cinema”, “opinions of Ukraine and Ukrainians in the World”, “The Festival of Festi-vals”, “Silent Movie Classics”, and “The best Ukrainian Movie Translation”. The main criterion of the film selection for the festival is an independent view of young film makers’ upon the world challenges. Each year the Festival used to “elect” its symbolic patron, one of the renown classics of European cinema (e.g., Federico Fellini, Francois Trufo, Sergei Paradjanov, Krzysztof Kislovskyy etc.). 

LocaL seLf-governMent anD state governMent Projects  these are state regional programs supported by the Ministry of Culture and tourism of ukraine, Ministry of Education, Youth and sports of ukraine and local authorities with the aid of international grant programs. Within the program of the open lviv 2016 we intend to implement three strategic projects, which are necessary for qualitative changes in the cultural field of the city and region.

Library 2017 Projecttype of Dialogue: society, educationThe project aims to transform public libraries into the key basis of regional culture  infrastructure. We believe libraries have to become information and communication centers, important cores to enhance cultural development of local communities. The urgent tasks are: to update and upgrade human resources, financial and technical positions of libraries. There are over 1000 libraries in Lviv region, most of them are located in rural areas. Thus, the problem becomes particularly complex and expensive and requires the involvement of both local and state budgets and international funds and organizations. To meet these needs we are determined to introduce within the context of the open Lviv project special state regional program . The program is open for any municipal or regional library. It will be coordinated by a non-profit institution, specially created for that pur-poses. The problem of expansion and upgrading library facilities, as well as the restructuring of the library system is of the local authorities competence.

Museum and Pedagogytype of Dialogue: society, education The Lviv city and regional museums have hard-crusted problems that are based on their conserva-tive style of activity that keeps visitors and especially children at a critically unacceptable distance from art. The project is striving for the revitalization of museums as living and attractive places/are-as for young people to get knowledge and to entertain. In our mind one of the museum’s mission is to complement emotionally  and aesthetically the education processes. The project is addressed to preschool children, seniors and people with disabilities. 

organizer:Artistic council Dialog

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Distance Learning - culture & art historytype of Dialogue: society, education School education in Ukraine is lopsidedly focused on physical sciences, ie., computer science, mathematics, physics, chemistry and social sciences at the expense of art, ethics, aesthetics, in short everything that is related to culture. As a result young people, already generations of them, are unable to perceive art, neither classical nor contemporary one. one of the urgent problems is also the lack of adequately trained teachers able to teach the history of culture and art at a proper level using interesting methodology and modern technology. 

inDiviDuaL Projects the open lviv program is based on multidimensional initiatives - not only art, but also edu-cational, business, tourism or even sports ones, ie those that can disclose any level of the Dialogue. therefore during the selection process, we pay particular attention to innovative, multidimensional and interdisciplinary projects. We collected more than 70 various indi-vidual projects and 40 of them were selected to be included into the program of the event. there is a list of the most important individual projects which will play important role. 

Preserving human stories as cultural heritage (transforming human stories into cul-tural and historical heritage) type of Dialogue: society, educationCreating evolving, collaborative and sustainable movements translating human stories into histori-cal, cultural and learning materials for exhibitions, research repositories, archives and online objects will enable to transform recent history into material heritage. Combing collaborative technolo-gies, intelligent systems, methodologies for analysis of rich media materials, off- and on-line tools, the project will aim to create multi-modal blended environment system for transforming human stories into cultural and historical heritage and explore ways in exploiting such heritage in cultural tourism development efforts. The project has potential to create jobs locally in most needed places in Europe, build upon rich cultural heritage that is not tangible (not based on material ar-tifacts). results of the project could be integrated into local and national tourism services inviting prospective tourists to check the stories and immerse into the region before coming there (could be combined with the cheap paid-by-credit-card service).

eL camino - via regiatype of Dialogue: art, societyvia regia - it’s a road from Kyiv to Paris and then to Santiago, known to European history as the royal road, a trade route of vital importance during medieval times. It was considered as the basis for political, economic and cultural unity between East and West. In the 20th century that union had been neglected in the whirlpool of political and ideological conflicts. In the 21st century the vIA rEgIA is recognized to be the symbol of unity and integration of Europe. Therefore, the purpose of the EL Camino - via regia project is also the actualization of spiritual principles of that unity. The initiative to hold that project in collaboration with cultural cities from Ukraine, Poland, germany, France and Spain on the road of via regia seems to be symbolic. The project is going to involve artists, musicians, actors of different nationalities to hold common actions, thus laying a solid foundation for the further development of cooperation. 

the Doors that Do really existtype of Dialogue: art, societyIt’s a long-term project uniting artists from Ukraine, belarus, georgia, russia, Poland, germany, Aus-tria, Spain and other European countries, and displaying different views concerning contemporary Europe and attitudes to the visa system between Eastern and Western Europe by means of poetry, music, paintings and short films. The conduction of plein-airs, presentations, master classes and art workshops will involve small border towns, railway stations and airports of Eastern and Western Europe. Art means not only a reflection of the world but it’s a self-cognition as well. The Project will result in the releasing of the East-West: open Doors, open border an impressive multimedia compilation. Art is the best path to get knowledge of other nations and art is various. That’s why by means of art we are trying to open the door to Europe and in the same time Europe can open the door to us. Those doors that do really exist between Western and Eastern Europe. Let’s open them and see our eternal endeavor: we are in Europe and Europe is within us.

organizer:Artistic council Dialog

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List of members of ngo “artistic council Dialog” (Lviv)

oles Dzyndra - Muzeum of Ideasroman hankewytcz - Institute of Actual Art”Markijan Iwaszczyszyn - Artistic Association “Dzyga”Ulana hnidec - Ukrainian research Center for children and youth literatureoksana Dudko - ngo “Drabyna” (theatre festival) Wlodko Kaufman - Artistic Association “Dzyga” oleksandra Kowal - ngo “ Forum of Publishers” natalija Kosmolinska - Palace of Art Iryna Magdysz - Cultural magazine “Ji”Zynowij Mazuryk - Muzeum Association, Chairman of „Artistic council Dialog”Iryna Podolak - City Council of LvivIhor Sawczak - Center of cultural managementWolodymyr Sywochip - Ukrainian Composers AssociationMarta Szwec - Theater of Les Kurbasbogdan Szumylowytcz - Center for urban history of Central East EuropeKostiantyn Smolaninow - Photoclub “b/W 5x5”Solomija Czubaj - ngo “virmenska 35”bogdan Lytwynenko - ngo “Sumno”Jurij bakaj - ngo “ArT medium”oleksa Furdijak - ngo “Еkscesus”Eduard Skrypnyk - ngo “Еkscesus” Ihor Prokopjuk - ngo “osmomysly”olga Krawczenko - Artist, group “re-anima” Marta Krawczenko - Artist, group “re-anima” bogdana Wynnycka - Project “yard Tv”ostap Lozynskyj - Lviv national Muzeum, grup “re-anima”bogdan Segin - Composer, director of orchestra nostri Temporisborys Zacharow - Project “Art of Tolerance”Anastasija Lytwyniuk - Project “Jazz School”Ihor hnydyn - Project “Duty Free ArT”Iryna Kryworuczka - Museum of Solomia Kruszelnyckaoksana romaniw-Triska - Art foundation “Artes”, Institute of collectingSerhij Proskurnia - Proskurnya Production Ltd.Wolodymyr Worobej - PPv Knowledge networksJulija Chomczyn - Institute of Actual Art”Lada Sawczenko-Duda - Artistic Association “Dzyga”Jurij Kuczeriawyj - ngo “Kabi.net”Wolodymyr Pawliw - galychyna Discussion Club “Mytusa”Wolodymyr rozbyckyj - Artistic Association “Dzyga”ostap Kostiuk - Ethnoclub “nabutky”roman ros - Project “City Face”Wiktor Lawnyj - Cultural center “Kublo” Jaroslaw Derzko - Project “DJ school”Ihor Mamus - Artistic association “Koza” grygoryj burbeza - Artistic association “Koza”oleh Makohon - Artistic association “Koza”Ulana nyszczuk-borysiakIryna Lepska - ngo “Forum of Publishers”Walentyna Synenka - ngo “retroPron”, magazine “А Zart”Jurij hnatkowskyj - “Palace of Art”Anna riabcewa - ngo “osmomysly” olga Szwed - “Palace of Art”Chrytyna bojko - Educational projectKateryna Slipczenko - Film Festival “Kinolew”Zoja hosudarska - Projects “Tango Klub”, “Peoples of streets” Jurij bakaj - Center for Development of Culture, Education and Tourism “ramena” roman Sawczyk - Tv Theater for Children “Juraszki” Chrystyna Pitus - Museum of Ideas. Project “LeoPoltvis”Anna Jehorenkowa - Museum of IdeasLida Melnyk - journalist, newspaper “Lvivska Poszta”Marjana Sawka - writer, “old Lion Publishing house”Solomija Tymo - Artistic Association “Art-Klucz”Ulana horbaczewska - ngo “Majsternia pisni”Lida Liszczynska - ngo “Lviv-the Capital of Crafts”

organizer:Artistic council Dialog

Workshops of CulturePopieluszki 5, 20-052 Lublin, Polandwww.warsztatykultury.pl Contact person (english):Agata Willa.will@warsztatykultury.plphone 0048 889 344 148

Trans Kultura FoundationZlota 5/21, 20-112 Lublin, Polandwww.transkultura.org Contact person (russian): Maria Artemiukmaria.transkultura@gmail.comphone 0048 509 468 557