Summary & perspective on the issues

Nord - Pas de CalaisPicardieWallonieVlaanderenEngland

4th & 5th june2012

RoubaixFrance

R.A .O.U.L . & IC MUSIC PRESENT

This summary puts into perspective the European cultural issues addressed during the seven TERMM No.2 (The EuroRegional Music Meeting) workshops.

The Meeting’s main themes are arranged here so as to allow the re-examination of the various proposals and emergence of pers-pectives. Experience cards complete the discourse by highlighting technical and practical contributions.

R.A.O.U.L. Current music network in Nord-Pas de Calais

301 Avenue des Nations Unies59100 RoubaixFranceTel.: 00 33 (0)3 20 73 22 56contact@reseau-raoul.comwww.reseau-raoul.com

IC MUSIC Le Grand Mix Current music venue

72 rue Saint Jacques BP 40659337 Tourcoing cedexFranceTel.: 00 33 (0)3 20 70 10 00info@icmusic.euwww.icmusic.euwww.legrandmix.com

Organisation

R.A.O.U.L., current music network in Nord-Pas de Calais region, brings together 20 professional organisations and works for the development and structuring of the sector on a regional, national and euroregional level.www.reseau-raoul.com

Coordinated by 8 current music organisations in the 2 Seas territory, IC Music has the primary objective of constructing a cross-border collaboration that is sustainable and long-term between professional stakeholders in the live music sector.www.icmusic.eu

Partners

Clubcircuit is a network that unites 11 concert venues in Belgian Flanders and Brussels. Their project mainly focuses on pooling communication tools.www.clubcircuit.be

Club Plasma has a total of 11 concert venues in Wallonia and Brussels. It is promoted by Court-Circuit, a non-profit organisation, which is a centre for the provision of information and promotion of current music in the French-speaking Belgian Community.www.clubplasma.be

Le Patch, current music network in Picardy region, unites 16 organisations from the 3 departments. Its areas of action are wide: resources centre, communication, observation of the sector, promotion and development of the regional bands.www.le-patch.net

The Euro Regional Music MeetingNo.2 Current music and territories in Europe: issues and initiatives

Summary & perspective on the issues

Summary and writing: Claire HannecartCoordination : Mickaël Perissinotto, Ermeline Dauguet

This summary was made with the support of the Nord-Pas de Calais Regional Council and Lille Métropole Communauté Urbaine

ForewordThis new edition of TERMM (The Euro Regional Music Meeting) is the second in a series expected to continue in the years to come, given its successful outcome in terms of dialogue and reflection between stakeholders in current music, and to be expanded Europe-wide. The goal of these Meetings is to share the experiences, stories and theoretical approaches of different stakeholders on a single theme: that of current music in the broad framework that is Europe. The first edition, organised in 2009 at L’Aéronef (concert venue in Lille-France), was especially concerned with the European Union's 2007-2013 cultural agenda, and its main objective was to allow the stakeholders in current music to grasp the changes and issues at work on the European level. TERMM No.2 is the result of a collabo-ration between R.A.O.U.L. (Réseau Associatif des Organisateurs et Utilisateurs de Lieux de musiques actuelles [Associative Network of Users and Organisers of current Music Venues] in the Nord-Pas de Calais region) and the European IC Music project (International Cooperation through Music). It continues the momentum achieved in 2009. This time, participants gathered in Roubaix’s Watremez hall, adjacent to La Cave aux Poètes (concert venue in Roubaix-France), and debated many topics in the framework of the European Union's future 2014-2020 Cultural Policy. The 3rd edition will be held in Kortrijk (Belgium) in 2013, the 4th in Picardy region in 2014.

This document puts into perspective the issues addressed during the seven TERMM No.2 workshops and offers a reflective approach recalling the main themes debating during the various lectures. They were put together following a plan that allows the re-examination of many proposals and offers new prospects about them. Experience cards, incorporated into this summary, allow the contributions of the more technical and practical interventions to be highlighted. The plan was developed from a review of the recurring themes addressed during the Meeting, which led to a central theme enabling easier presentation and reading.

Upon reading the UFISC's (Union Fédérale d'Intervention des Structures Culturelles [Federal Union of Intervention of Cultural

Institutions]) line of argument, consistency is noted in the themes identified here and those around which the UFISC shapes its gene-ral policy. These themes therefore function as anchors for values but also potential points of tension. Indeed, they sometimes cover different meanings in the discourse of current music stakeholders, as well as researchers, politicians or representatives of local insti-tutions present at TERMM No.2. We therefore seek to understand the ties that these issues have to each other, and also how they can transcend the divisions between different sectors.

Sommaire

Foreword 4

Introduction 8

I Taking realities into account 10

I - 1 Europe and competition 11

I - 1. a) Culture programme on the 2020 horizon: Creative Europe. Should culture be subjected to free market economy? 11

I - 1. b) Dealing with structural changes in Europe: proposing an alternative society project 12

I - 1. c) Local authorities as intermediaries between cultural stakeholders and Europe 12

I - 2 Local policies & territories 13

I - 2. a) Extension of the administrative vocabulary 13

I - 2. b) A major challenge for the territories: becoming aware of how everything interlocks 14

I - 2. c) Concentration… 15

I - 2. d) …or territorialisation? 16

► Small sociological point on the territory and the lifeworld 18

I - 3 Timeframes 19

I - 3. a) The issue of time in cooperation, culture and creation 19

I - 3. b) In “journey” mode 20

II Values defended and proclaimed 22

II - 1 Sustainability 23

II - 1. a) Sustainable = human 23

II - 1. b) Sustainable = local 25

► Small philosophical point on ordinary experiences 28

► Experience cards: Sustainable Development in the field of Current Music 29

II - 2. New economic models: social & solidarity based 33

II - 2. a) Anti-utilitarian theory 33

II - 2. b) Plural / alternative economy 34

II - 2. c) Economics of sharing and “Creative Contribution” 35

II - 2. d) Long Tail theory 36

II - 3. Diversity & creation 37

II - 3. a) The independence of inhabitants at the heart of the territories’ autonomy 38

II - 3. b) Demand for opacity & shared discourse 39

► Meta-artistic (or the reinterpretation of a concept in practice) 40

III Practices: Methods and tools to put values into action 42

III - 1. Territorial & cross-border cooperation 43

III - 1. a) Principle and funding 43

III - 1. b) Structures 44

III - 1. c) Strengthening links between territories in the same country 45

III - 1. d) Issues 46

III - 2. Networks of cooperation between cultural stakeholders: pooling and sharing of experiences 47

► Experience cards: Cross-border mobility of artists 49

► Experience cards: New methods of communication for the mobility of audiences 53

III - 3. Participation & observation 57

III - 3. a) Co-construction, Cross-dimensional approach & Bottom-up 57

III - 3. b) Organisation of knowledge 60

Outlook 62

Bibliography 67

Acknowledgements 70

IntroductionThe development of governmental support for culture in the second half of the 20th century, in France and also throughout Europe, has profoundly changed the relationship between artistic creation and cultural audiences. Over the long-term, this has resulted in many structural changes, political as well as social, economic or even aesthetic. First, it should be specified that the polysemy of the word culture sometimes makes it difficult to handle. Indeed, culture refers to artistic production and activities as well as the fact of making society together. Public funding for culture has therefore allowed artists to carry out their work in a professional and experimental way whilst being protected from the constraints of the market and liberated from commercial success. Thus, the social and educational functions of culture in general, and music in particular, have been strenghtened. Moreover, the development of artistic training broa-dened the increase of the general level of education. Eventually, the development of the music sector is based on an improved conscience and stronger demands from the artists and the audiences.

More particularly, the area of current music has evolved over the past decades, passing from unstructured militant initiatives (1970’s) to a more pronounced intervention by local authorities (since the mid-80’s). This intervention, in France, went together with an increased awareness of the importance of the music sector1. The history of current music is, in this way, the result of a relentless search for balance between political will and the values defended throughout the activities of current music professionals.

But the sector of current and amplified music, like the entire cultural sector today, is experiencing unprecedented economic and institutional changes. The financial crises and the supremacy of the competitive market led to a shift in the way public administrations,

1 To illustrate this, here are some key figures for music in France in 2011, published by the CNV (Centre National de la Chanson, des Variétés et du Jazz [National Centre for Song, Variety and Jazz]): 50 868 variety show and current music performances - an audience of 21.7 million - 3 347 exhibitors, producers or organisers of shows - 650 million euros in revenue

especially at the European level, contemplate culture and art. This shift also results in new objectives, such as economic competi-tiveness or attractiveness of the regions. The reality that is then being dealt with is a complex one in which the relationships between art and society become inexorably transformed, and working pro-tocols or relational devices are thereby changed. To comprehend them, many approaches are mobilised, such as sociology, the alter-native economy, philosophy (a few developments in these areas are highlighted throughout this summary).

The music field draws its strength and richness in its habit of adapting to economic, political and aesthetic developments. Indeed, is it something else we are talking about than steady development in an ever-changing sector –because it is alive, that is always ready to adapt with flexibility to changing styles, paradigms, or ways of doing? And doing so, keeping rooted core values throughout changes: encountering Others, the respect and promotion of diver-sity, the meaning of the actions undertaken, the defence of human rights. And finally: there is always this widely shared intimate convic-tion that the practice or the reception of music, like any other artistic or cultural activity, affects self-development through encounter and sharing, and, as a result, the basic concept of general public interest.

It’s encounters that create innovation, not competitionClaude Levi-Strauss, Race et Histoire [Race and History] 1952

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I

I - 1 Europe and competitionKeywords related to Europe: guidelines, cultural agendas, global priorities Keywords related to competition: market, crisis, financialised economy, polarisation / concentration

I - 1. a) Culture programme on the 2020 horizon: Creative Europe. Should culture be subjected to free market economy?Workshops of TERMM No.2 that dealt with issues related to Europe today were designed to examine the relationship between poli-tics and the current music stakeholders come to the Meeting from different European countries (Germany, England, Belgium, Denmark, Spain, France, the Netherlands and Portugal). To date, the European Commission has several programmes including the Culture programme. In the new 2014-2020 guidelines, it is merged within the Creative Europe programme. This change of name is not without consequences and raises many issues, especially if you consider this programme’s objectives and areas of intervention that seem far from the activities of current music stakeholders. The latter are still wondering how to deal with it.

Europe has reached a point in its history where it is necessary to raise the question of law and cultural democracy in order to renew thought. Especially as the temptation of the European Union that is taking shape seems to be the subsurvience of culture and creati-vity to the economic issue. This amounts to creating new markets, standardising them and de-segmenting them (concentrating them). And yet the reality of the economy can’t be done without, but it must, above all, be at the service of human rights and society, in other words, living together. It seems pressing to assert the complexity of culture and cooperation2 which refers to the intrinsic complexity of human relations.

2 See: II - 3. Diversity and creation p.37 , III - 1. Territorial & cross-border cooperation p.43

Taking realities into account

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I - 1. b) Dealing with structural changes in Europe: proposing an alternative society projectAccording to Pascal Brunet (Relais Culture Europe), the French vision of European cooperation is too restrictive: the French cultural sec-tor would not adapt Europe’s issues well in today’s world. Dealing with the structural changes (political, economic and technological) occurring nowadays, the cultural sector appears to be lagging behind, according to Pascal Brunet, as far offering to be an economic alternative to liberalism.

In this way, European cooperation should not be limited to co-productions, which would sometimes be viewed as the expression of a certain form of seclusion on the part of cultural stakeholders. The search for new balances between social and economic issues is at the heart of the European debate, and must be at the heart of reflection among cultural stakeholders. They must intensify their reflexive approach about what they have to offer to society today. This is all the more urgent because of the crisis and the shrinking budgets devoted to culture by public authorities. Today, we face two alternatives for Europe: No.1 built on the market or No.2 propose a society project.

I - 1. c) Local authorities as intermediaries between cultural stakeholders and EuropeIn the same manner, for Philippe Josephe (Nord-Pas de Calais Regional Council), the European policy on the 2020 horizon appears to want to oust culture as a primary objective, the objectives being clearly economic. And yet, this may seem paradoxical with the expressed intention of intelligent, sustainable, inclusive, job-related growth. Philippe Josephe then notes the importance for cultural stakeholders and local institutions to meet each other, in order to collectively think about ways of combining the stakeholders’ militant approach with the European Union’s economic ambitions. Indeed, thanks to the cultural achievements of the regions at the European level (such as Lille 2004 European Capital of Culture),

local authorities can make themselves heard so that the compe-titive marketplace is not deified at the expense of culture.

I - 2 Local policies & territoriesRelated keywords: public service, territorial visibility, sense of belonging, shared identity

Territories are the joint space framework of living together. They are largely organised by local public policies. Territorial treatment of the issues related to current music and, overall, culture is thus decisive. When looking at the history of the construction and struc-turing of the current music sector, it can be noted how the territory has always been central to the discussion. This territorial inclusion makes sense in two ways. On the one hand, because the State gives local authorities great scope in the support of the current music development, and on the other hand, because professionals in the music sector are part of systems of shared local knowledge, as much between professionals themselves as by their close links with artists and local audiences.

I - 2. a) Extension of the administrative vocabularyFunding for cultural projects and activities related to current music through local public policy can become an issue as regards the vocabulary used. Are the terms used by cultural stakeholders, in their responses to Calls for proposals or their discourse in general, always those that best reflect their thinking, or do they adapt to the terms used by the local authorities?

Indeed, the terms used by all stakeholders in the cultural sec-tor, whether they are professionals or politicians, are rarely clearly defined. For instance in France, Jean-Michel Lucas (docteur d’État ès sciences économiques [Doctorate in Economic Science]) takes a critical look at the words used in the cultural sector and public policies (current music secteur [sector], offreur [supplier, offerer] of music, for example). Paying attention to these words makes it

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possible to reveal what they are hiding in terms of values. Perhaps the music field professionals should keep an eye open concerning this administrative or economic vocabulary that could distort their initial intention. Indeed, words may underlie forms of dependency to the competitive market rationale that seem to potentially oppose the values promoted by culture, all the more so, at a time when the continuation of efforts aimed at giving deeper meaning to cultural activities is essential, in order to form a sustainable way of living together.

I - 2. b) A major challenge for the territories: becoming aware of how everything interlocksIt is sometimes much easier for artists to cross a border near their homes than to go perform at the other end of France, in the same way that citizens regularly cross borders (for events or economic reasons) when they live in a cross-border territory. As Williams Bloch (Avant-Mardi network) tells us, it is much easier for artists from Toulouse to go to Barcelona than to come perform in Lille. These experienced realities attest to the need to become aware of the interlocking between territories, beyond the national borders. Territories that make sense for the stakeholders are not so much those of established borders but spatial proximities that keep off any expression of national membership. New territories called Euroregions have emerged, experienced by the stakeholders even before political intervention.

For Pascal Brunet (Relais Culture Europe), this awareness must be accompanied by a more acute sense of European and global prio-rities in all activities carried out, so as to allow the areas to become truly porous one to each other. The majority of cultural stakeholders are not yet quite used to this way of doing things, according to him. And yet, it already crosses through many other fields ranging from the economic environment to the academic world of research.

The approach of cultural activities always starts from a specific, territorial location, which, in particular, makes it possible to have good knowledge of this particular territory’s issues, and to be closer

to the experienced realities. But this approach, which starts from a defined location, must also be done in an open manner, i.e. not just keeping an eye on the outside, but real roots and availability outside of its own sphere.

I - 2. c) Concentration…Today, two options for the issue of territories in Europe are taking shape: either concentration, in particular concerning the media means of global cultural industries, which appears to be the cur-rent popular opinion; or territorialisation, where each region of the continent must be attractive and competitive.

Local cooperation between territories is sometimes preoc-cupied with the current rationale of concentration of populations around the world, including, in particular, in attractive urban areas. Donato Giuliani (Nord-Pas de Calais Regional Council – Department for Culture) quotes, in this respect, a terminology frequently used in public policy: “To exist you must weigh.” In other words, weighing refers to the number of inhabitants of the territory in question. This comment, which is often used, illustrates current issues: in order to influence new, anticipated European policies, the demographic weight of territories is quite crucial. But in order to go beyond the intuition that it is in everyone’s best interest to cooperate in order to set-up valid projects and obtain grants, Donato Giuliani recalls the importance of the development of a sense of belonging that is shared in the territories involved in cooperation projects.

For Ferdinand Richard (United Cities and Local Governments - UCLG) the European Union’s doctrine, which wants to encourage concentration, is pernicious, even though, in the Lisbon Treaty (2007), it was about making each region an attractive centre. Concentration is designed to avoid the sprinkling of grants by practising defragmentation. Defragmenting means that there are too many small cultural stakeholders (fragments), and it is neces-sary to concentrate everything (= defragment) around the largest stakeholders, i.e. promote global cultural industries (or majors). Hence the emergence of “golden triangles”, for example, Paris,

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Amsterdam and London, concentrating activity, creative people and financing. In short, the golden triangles represent a few areas where everything happens. Moreover, the majors, favoured by the choice of concentration, require a constant turnover of products while standardising them, and going through the mass distribution market without necessarily creating jobs in the territories.

Finally, the rationale of territorial concentration refers to the economic rationale of the competitive market. By promoting golden triangles today, European policies abound in the sense of develop-ment coupled with the rationale of economic and financial profita-bility, which often results in draining territories which are distant of attractive centres, and also dries up cultural diversity because of a standardisation of the products by global cultural industries.

I - 2. d) …or territorialisation?To block the concentration rationale currently at work in Europe, Ferdinand Richard believes it is necessary to rehabilitate local territories outside the golden triangles by encouraging the esta-blishment of local management methods. Cultural stakeholders must increasingly organise themselves by developing joint terri-torial projects in a transversal manner. This re-localisation (or territorialisation) is intended to prevent the draining of territories that are far away from golden triangles, by allowing populations to remain where they are.

The territory represents two things: on the one hand, local establishment or anchoring, and therefore the in-depth knowledge of the realities of this territory; on the other hand, the influence that this territory can have on the general European guidelines. Territorialisation is possible with the support of local cultural industries3 which promote artistic diversity, while creating jobs and outreach activities in the territories. The choice between these two solutions (global or local cultural industries) is therefore not only about culture. It is a choice that involves much broader visions: those 3 Clarification: the term cultural industry refers not only to the majors, it indicates any organisation, profit-making or not, which operates in the field of culture. That is why we specify global (=majors) or local.

of the economy, territorial planning and even civil liberties. It can be noted how the guidelines concerning culture and, in particular, its treatment by public policy relate to living together and, in fact, affect general societal choices.

Finally, among the different approaches of TERMM No.2’s speakers, a difference can be perceived emerging in territorial concept and approach. Because although the development of a sense of belon-ging to the territories is invoked, it remains true that public policy sometimes seeks to encourage cooperation for territories which do not always have social proximities or relations confirmed in people’s lifeworld. This in order to weigh, demographically speaking, in Europe and worldwide. The opening of the cultural field to competi-tion encourages institutional and cultural stakeholders to strengthen cooperation by expanding the territories in which a shared sense of belonging is not already there. That raises the question: Is it neces-sary to try to infuse a sense of belonging that does not initially exist? Or should we go out in the field to seize opportunities of shared feelings, which work together in different ways? It is undoubtedly by keeping the territorial realities in their diversities that various populations could be encouraged to meet. Therefore, it is perhaps not so much a shared sense of belonging that must be developed as encounters and collaborative activities. Otherwise, the expansion of cooperation areas can ultimately correlate with the concentration of attractive territories rationale.

In the long-term, perhaps solutions will come about making it possible to combine these two visions.

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► Small sociological point on the territory and the lifeworld

Taking the territory into account often refers, in sociology, to paying attention to the lifeworld of people, to their practical experiences. In his latest book4 Luc Boltanski said that the ordinary experience, that of every day, that comes to life in territories, must be opposed to the truths as laid down by institutions. This in order to promote the emergence of a critique that will become a starting point for future emancipations. This approach carries with it a democratic aim.

Concretely, according to the author, before having experienced life in society, everyone has the same value within themselves. Then this value changes, distorts under the influence of the social world in which we live and which influences our behaviour. For example, the social labels that we assign to each other. In practice, the author invites people to develop common sense, i.e. ordinary logic, common beliefs and daily habits5, against institutional discourse. While, in general, in traditional sociology, common sense (what people generally think or believe) is what the sociologists are fighting against, in order to understand the world.

Therefore this approach, which claims to develop people’s common sense, makes it possible to give people back their place, while avoiding taking them for cultural idiots, as some sociological approaches have done for a long time. People understand the determining factors within which they evolve; they do not know everything but ask themselves relevant questions concerning their family, friends and work environments, etc. The sociologist is not the only one with a critical capacity: with this approach, we go beyond the traditional sociology of Bourdieu. This makes it possible to re-establish people’s ordinary critical capacity vis-à-vis the institutions. All people have wide values and capabilities, of self-awareness, awareness of the world, critique for the way things are going. By reasserting the value of each person’s capabilities, we can get a greater number to participate in the development of joint activities.

4 Luc Boltanski, On critique. A Sociology of Emancipation (translated by Gregory Elliot), Polity Press, Cambridge, 2011 [De la critique. Précis de sociologie de l'émancipation, French original publication, Gallimard, 2010]. 5 See: Small philosophical point p.28

I - 3 TimeframesRelated keywords: route, itineraries, sustainable, journey mode, anchoring, long-term

I - 3. a) The issue of time in cooperation, culture and creation Cooperation takes time to establish. It is essential to give time to stakeholders to learn what concretely is cooperation, as Boris Colin (Le Grand Mix – concert venue) states. This is a long and difficult process because it is necessary to remove obstacles or misunders-tandings (in languages, approaches). Cooperation is first and fore-most a human relationship and, like any relationship, it takes time and requires special attention. Cooperation is not something that can be claimed, it requires progressive learning. As cooperation is based on people-to-people relations, it is based on the ‘palaver’6, discussions and sharing that are essential to good relations. Thus time proves to be an essential dimension of cooperation. Each coo-peration is part of its own temporal process, which is to be taken into consideration.

But the problem lies in the fact that European schemes or programmes in the framework of territorial cooperation are not renewable, even when they are effective in the field. This makes it difficult for cultural stakeholders to capitalise on the work done during the funding period. Certainly, the fact that funds are non-renewable pushes stakeholders to reexamine their projects and reinvent themselves. But this, first, leads to many administrative tasks : putting together complex files to obtain grants, dealing with implemented projects.

Granting time is therefore the essential counterpart in the organisation of the cooperation. The theme of time allowed for the development of cooperation, human relationships with dignity, should be central in the demands of cultural stakeholders, according to Jean-Michel Lucas. This approach based on the time to do should be demanded as a cultural right in the same manner as others.

6 See: II- 3. b) Demand for opacity & shared discourse p.39

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I - 3. b) In “journey” modeGranting time to do ties in with the “journey” mode principle, as opposed to project mode. The term project has become a very commonly used term, labour injunctions “in project mode” are countless and invade the vocabulary of all workers (from the bank to health, from cultural to political, etc.). And yet this approach, if it is undeniable that it has allowed the establishment of pragmatic rationales of organisation, rationales that are a salvation in some cases, may seem antiquated due to its constant and excessive use.

This is why Ferdinand Richard, referring to the conceptual contributions of Paul Blanc (former director of the Maison des Jeunes et de la Culture [Youth and Culture Centre] in Avignon), shares with us what could become a new principle in the perception and implementation of actions: the journey. In the end, wouldn’t the real project be rather perceived as a journey? This approach would allow full importance to be given to people’s paths, to their routes and itineraries, which are all part of their own creations. This means taking into account the temporal rationale of actions. Which the project does rather poorly, because made with pre-established boun-daries that define it in time, it fits relatively poorly into the long-term.

This awareness by the cultural community of the importance of time and jour-neys refers to a method in the humanities and social sciences that seeks to reconstruct, through in-depth interviews (or life stories), people’s biographical trajectories. This methodological choice is based on the premise that action rationales are part of long-term processes.

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II

The visions of music supported by professionals of the field refer to broader values concerning culture in its entirety, and finally to actual ways of being in the world. In this proper way, the link that exists between independent musical practices and specific forms of commitment to the world can be traced and followed.

II - 1 SustainabilityRelated keywords: sustainable human development, human and cultural rights, making humanity together, dignity, democracy, general public interest, meaning

Beyond the environmental dimension, the penchant for the principle of sustainability tends to achieve the respect and dignity of people in their cultural diversity, by demanding human rights through sustainable human development.

II - 1. a) Sustainable = humanFollowing the idea that State protectionism would be a hindrance to the optimal management of the planet’s resources, the Rio agreements (1992) helped to liberalise trade on the global level. Since then, the competitive market has become the standard of international trade. The market must allow two things: meet needs by offering low prices, and allow the optimal allocation of resources (because in a system of competition, you should not waste). In this approach, any public intervention is obviously not welcome.

But an exception exists: public aid for creation. Except that it must be oriented from the perspective of cost-effectiveness, aiming, in the end, to make the creators competitive in the liberalised market. Thus, for Europe, cultural and creative industries must be driving forces of sustainable growth.

Therefore, sustainable development as currently envisaged in international and European texts would comprises inadequacies:

either it falls under good practices (such as waste sor-ting or energy saving), which are important but too modest on the scale of global problems

Values defended and proclaimed

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or it urges to be part of a market economy, which isfundamentally non-sustainable

or it does not allow the integration of everyone intothe general approach

Thus, for Jean-Michel Lucas, sustainable development can only be considered as sustainable human development. Because the expres-sion ‘sustainable development’ has been too misused or hackneyed to be used as it is, without this fundamental adjective: human. Truly promoting sustainable human development would eventually allow culture and sustainable development to be linked. With this in mind, cultural stakeholders must no longer only be suppliers of goods and services in a sector, but become real stakeholders in sustainable human development. Thus, it is necessary to ensure that culture is not treated only as a sector. Current music professionals are suppliers, but not only suppliers of marketable goods and services, they are also ‘passers’, mediators of culture. The perspective of sustainable human development implies that for any problem, be it economic, social or cultural, the question is asked in terms of human benefits, and not financial benefits.

The main issue of culture is then simply expressed: how do we make humanity together? We take a step back from the cultural sector rationale or the marketing of products, to enter into the rationale of the meaning given to cultural activity. It is therefore no longer sufficient to expand audiences or bring them culture, they must become stakeholders in their own culture and their develop-ment. Consequently, Jean-Michel Lucas proposes defining culture as follows: if to make society is to live together, to make culture is to make humanity together.

The table below goes back over the contributions summarised in this section:

Competitive market economy

Sustainable human development

Cultural stakeholders as Sellers of marketable goods and services

Stakeholders in sustainable human development

The action’s orientation Sector and commercial trade rationale

Meaning of the activity conducted and proclai-med diversity

Relation to culture’s audiences

Seeks large audiences and media coverage

Offers more freedom, responsibility and capabilities7

II - 1. b) Sustainable = local“Culture for all”, demanded at the European level, must not mean mainstream type8 “same culture for all”. But, on the contrary, the emergence of all cultures in their diversity, so as to bring values of fairness and mutual enrichment. And to do this, anchoring in local areas seems an essential point in order to make all cultures and ways of doing things emerge. Thus, the tangible and concrete solution to sustainable human development is local development. The issue of the sustainability of cultural activities can only be envisaged by taking into account the territory, its local realities, fitting into a rationale of living together. Considering sustainability only through environmental preservation is not enough, and even prevents it from emphasizing the cultural issues. While culture is an encompassing entity, in the same way as the environment.

Although local development appears to be a “common sense” solution in the context of the much-vaunted sustainability, European policy guidelines do not seem to go this way. In a rationale that is not much about the local level, public cultural policies sometimes tend to finance large international groups which are in a rationale of

7 See: II- 3. a) The autonomy of the inhabitants at the heart of the territories’ autonomy p.388 In other words, productions which are very widely broadcast in the media, mainly from mass media cultural industries, so as to tap the market and profit from it financially.

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mainstream culture and belong to other companies whose activities are not only culture-oriented.

Therefore, facing this, local stakeholders and music field profes-sionals must remain vigilant and continue to weigh on public policy9. This will ensure that funding is not only abundant with the global cultural industry rationale. This rationale of concentration, both eco-nomic through global cultural industries, and that of the activities in the golden triangles emptying the other territories, is a devastating process for cultural diversity. An example of the sustainable cultural development rationale’s application is the IFCD (International Fund for cultural diversity) collecting funds from UNESCO’s members, and which funds projects enabling artists from developing countries to create freely and participate in local territorial development, in particular through the development of jobs.

Summary table of the data broached above concerning global and local cultural industries:

Global cultural industries (quasi-monopolies and signifi-cant lobbying power)

Local cultural industries (Rooted in the activities of the territories)

Territorial concentration: golden triangles

Equitable development of all territories

Tends to empty territories Re-localisation of activities in the territory

Works in a competitive market Alternative economies, plural, mixed10

Trend of homogenization /cultural standardisation

Promotes the expression of cultural diversity and emergence

Immediate financial profit Rationale of sustainability

The awareness of the central character of culture in human deve-lopment is characterised by the erection of culture as sustainable development’s fourth pillar (after the first three which are the economy, social issues and the environment). For Catherine Cullen 9 See: III - 3. a) Co-construction, Cross-dimensional approach & Bottom-up p.5710 See: II - 2. New economic models: social & solidarity based p.33

(Deputy Mayor of Lille City and Vice President in charge of Culture in Lille Métropole -Conurbation Council), the issue of culture in sus-tainable development appeared in 2004 with Agenda 21 for culture. Cultural diversity, which is at the heart of Agenda 21, appeals to many other concepts and fields of application such as cultural and human rights, the ethics of dignity, respect for cultural identities, transparency, governance, co-construction, pooling of resources, eco-organisation in long-term projects, which are not limited to short-term eco-events.

Agenda 21 has been adopted by many local authorities but, however, not yet by the States. Indeed, in the context of sustainable human development, local authorities may be more likely than States to identify issues of concern to cultural stakeholders. They are actually rooted in the territories, partners of local stakeholders and tuned in to the local aspect that is essential to sustainable human development. Moreover in France, local authorities have become the main sources of funding for cultural activities compared to the State. This is why local authorities would demand their autonomy and their ability to develop far-reaching policies more and more, as Ferdinand Richard (UCLG) declares11.

One of the fundamental issues of culture can be summarised in these terms: politically ensuring the possibility of making humanity together.

11 See: II - 3. a) The autonomy of the inhabitants at the heart of the territories’ autonomy p.38

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► Small philosophical point on ordinary experiences

Following various theoretical interventions, the importance of practical expe-rience, everyday life, and experience in general to achieve significant collective progress was recalled in a discussion with the participants. This comment refers to many philosophical contributions such as those by Maurice Merleau-Ponty on ordinary experience and everyday life. This school of thought takes the bar-barian term phenomenological to simply designate the study and description of ordinary phenomena that come to life in the here and now, in everyday life12. Simply put, Merleau-Ponty believes that perception and the body are central, and that the value of our lives rests upon ordinary experience: “Quiet evidence of everyday lives.” The way of getting through ordinary life would teach us a lot about the meaning of life.In the same line of thought, for example, Ralph Waldo Emerson wrote:

“I ask not for the great, the remote, the romantic; what is doing in Italy or Arabia; what is Greek art, or Provencal minstrelsy; I embrace the common, I explore and sit at the feet of the familiar, the low.”13

Therefore, working on ordinary experience amounts to exploring the way we blend ourselves into the everyday world. This makes it possible to consider the relationship to the world, not as knowledge (mental), but as a proximity (physical). That gets back to another theme of TERMM No.2, that of the importance of the proximity of all stakeholders in a territory, which leads to make cooperation emerge.

12 See: Small sociological point p.1813 Extract from the speech “The American Scholar,” delivered 30th August 1837 in Cambridge (UK).

► Experience cards: Sustainable Development in the field of Current MusicSo as to make a link between the theoretical approach and the reality in the field, here is the summary of four interventions that presented concrete examples of sustainable development (SD) activities in the field of current music.

Jens Jepsen, Klaverfabrikken, Denmark ▼ Structure The Klaverfabrikken (brownfield site from a former piano

workshop), managed by an association. 8 halls with a capacity ranging from 300 to 500 people. Works with 300 volunteers, a third of which are musicians

Place Denmark, Hillerød, average sized town of 45,000 inhabitants north of Copenhagen

Since? The renovation of the venue into an energetically autonomous place began in 2010 (the inauguration took place in August 2011)

What & how - second hand furniture- solar panels- intimate atmosphere (paintings on the walls by several artists)- reinvestment of the profit from concerts into the SD approach

Why? Opening is the motto: principle of multiculturalism, all types of musicians and artistic disciplines express themselves there (theatre, painting, magic, etc.)- spirit that guides the venue: creativity- everyone can get involved in the life of the venue: strong participatory aspect

To be noted 1st concert venue in the world to be CO2 neutral (produces its own energy). Users seize the approach as their own, bot-tom-up rationale

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Pieter Verdonck, 4AD, Belgium ▼Structure 4AD concert venue, capacity: 300 people, has existed since

1987, all styles & aesthetics

Place Diksmuide in Flemish Belgium, small city of 15 000 inhabitants

Since? Since the 1990s, the first cultural organisation to have signed the West Flanders charter for sustainable development

What & how – to reduce waste and environmental impact: use of reu-sable cups (the first club in Flanders to have implemented it), second-hand lamps and furniture, waste sorting, fair trade products, vegetarian and seasonal meals, organic cleaning agents, discontinuation of pesticide use for the maintenance of green spaces- to collaborate in SD ethics : Triodos Bank: loans to cultural, social and environmental sectors and promoting cooperation for development (ethical savings and investments)- to reduce noise pollution: special architecture, a kind of barn wrapped in a metallic structure, no opening to the outside, acoustic flooring laid on a layer of sand and limitation of the sound in the concert hall- to reduce energy costs and impact: 34 rooftop solar panels, LED lighting, rainwater recovery for washroom facilities- to reduce travel: for the artists, a hotel adjacent to the venue; for audiences, a car-pooling system was set-up- to promote information and increase public awareness: monthly posting of the results of SD actions

Why? “Home-made” concert venue committed to sustainability and progress approach

To be noted “Most sustainable music club in Flanders” award in 2001

Béatrice Macé, Les Trans Musicales, France ▼Structure ‘Les Trans Musicales de Rennes’: festival of musical discoveries

Place Rennes - Brittany, France (200 000 inhabitants, large student population)

Since? SD approach implemented since 2004, i.e. 8 years

What & how - implementation of Agenda 21: seen as a new way of thinking and production (not just to “make green” or create a toolbox to reduce costs)- special attention to the social dimension of Agenda 21: rela-tionship with audiences, disabled access, tariff policy, social projects, inter-team relationships, etc.- creation of the Collectif des festivals engagés pour le déve-loppement durable et solidaire en Bretagne [festivals action group committed to sustainable and solidarity development in Brittany] (25 festivals to date) giving weight and visibility and making it possible to negotiate with local authorities- establishment of a Charter of Brittany’s festivals for sustai-nable and solidarity development, as a collective philosophical platform: social/environmental/economic values- implementation of work groups: experimentation and sharing equipment and ideas between festivals: “Special problems require collective solutions”- learning and capitalisation on past experience: need to implement a horizontal approach, methodological issues = need for support, need to give action some themes to avoid being spread too thin

Why? Approach undertaken primarily for economic reasons: save money without compromising the cultural project = SD solution. Consequence: more actions with the same budget

To be noted National Festival of discoveries of various current music aesthetics for 32 years

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Gabriel Alloing, La Ferme du Biéreau, Belgium ▼Structure La Ferme du Biéreau, capacity ranging up to 800 people

Place Louvain-la-Neuve, Walloon Region, Belgium (small town of 10 000 inhabitants south of Brussels)

Since? SD approach implemented for about 10 years i.e. 2002

What & how - thermal and acoustic insulation- easy access for disabled people- waste sorting- LED lighting (divides consumption by 10)- telecommuting- paperless ticketing with WiFi identification

Why? The importance of solid preparation and organisation upstream

To be noted Former farmhouse listed as a historic monument, concerts in a barn

The most important thing that all the speakers were intent on emphasising is the importance of the integration and involve-ment of all (professional team, volunteers and audiences) in the sustainable development approach: identifying with the project and willpower create a sense of belonging.

As a cultural stakeholder, taking these sustainable develop-ment initiatives is essential at a time when subsidies are granted only if the project has an eco-citizen approach.

Adopting a sustainable development approach does not implicate formalising a specific program; the important thing is to think of our own practices, particularly in light of the experiences of others, and pool these experiences through networks.

II - 2. New economic models: social & solidarity based

Related keywords: social and solidarity - economy (SSE), plural, non-profit, diversified, in the service of law and solidarity, shared management & organisation, mixed economy = SSE + market + public funding

The social and solidarity economy movement seeks to provide more equitable patterns of development, not aiming for financial profita-bility so much as for the fulfilment of everyone through respect for all. As stated by David Dehard (Club Plasma network), the will of current music stakeholders is to help audiences discover “unprofi-table” music in itself, because it is not broadcast in the mainstream media and, therefore, it does not bring in a lot of money, but it enables audiences to discover emerging bands offering alternative productions to the mainstream. Keeping these artistic niches alive then represents a form of democratic commitment to diversity.

The social and solidarity economy is a vast field that refers to many areas. Various approaches will be dealt with below.

II - 2. a) Anti-utilitarian theoryA vast movement, concomitant with the emergence of the social and solidarity economy, makes it possible to reconsider the notion of wealth and its measurement. This is particularly what Alain Caillé (economist and sociologist) invites us to do in his latest book14. Recalling that the GDP calculation ignores what matters most, that is to say, human fulfilment, he offers to contribute to the anti-utili-tarian movement of thought (which exists in sociology, economics, anthropology, political science, etc.), the opposite of utilitarianism. The utilitarian doctrine is accused of supporting the free-market economy, reducing the individual to someone rational focused on his own interest, and denying his interdependence with others15. The

14 Alain Caillé, L’idée même de richesse [The very idea of wealth], La Découverte, “Cahiers libres” collection, 2012.15 Alain Caillé, Théorie anti-utilitariste de l’action [Anti-Utilitarian Theory of Action] , La Découverte, “Textes à l’appui” collection, 2009.

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anti-utilitarian movement believes that the utilitarian approach is too simplistic and it seeks, as for itself, to replace the human and its complexity at the heart of social processes.

Alain Caillé defends the idea of free and calls for the pro-motion and development of the invaluable, i.e. everything that is not included in the commercial calculation but which has a great value for people. He reminds us that, nowadays, nobody knows what wealth really is and therefore, it is with humility, by trial and error and in a state of uncertainty that we must think about it. The use of the notion of uncertainty by Alain Caillé refers to a theme that emerged during the Meeting, about the demand for opacity16 (= uncertainty and complexity specific to humans). “By taking care of the real world, the lifeworld on a regional scale, associations and all the social and solidarity economy businesses working at this level appear to be major producers of wealth”17 . This is in line with the efforts of current music stakeholders participating in TERMM No.2.

II - 2. b) Plural / alternative economyThe economy is not in itself a factor to overcome, because it is an essential tool for organised societies where people are interde-pendent on each other. But now this tool seems too market-oriented, too positioned towards financialisation through the ultimate search for profit and lucrative gain. This to the detriment of relationships bringing meaning and values, such as those of sustainable human development. When the rationale of sustainable human development meets the economy, it is intended to be plural. The plural economy (or mixed economy) refers to three economic rationales:

The State or subsidy rationalethe market rationale (e.g. ticket sales)the alternative rationale (non market-oriented economy, based

on human resources, voluntary work and contributions of knowledge)

16 See: II- 3. b) Demand for opacity & shared discourse p.3917 Quote from Alain Caillé’s book and proposed in an article in La Vie des Idées, September 2012 by Isabelle Cassiers, entitled “Repenser la richesse et sa mesure” [Rethinking wealth and its measurement] listing the book’s publication

In this way, it is the cooperation between public, private and civil society that guarantees the effectiveness of this approach, truly positioned towards general interest.

Sustainable Human Development▼

Plural Economy▲

Cooperation

Therefore, the diversified and independent music sector creates significant wealth in the economic sense, as well as jobs. It has an economic weight and for “good reason”: the promotion of diversity and artistic emergence. “Good reason” is the phrase used by Jean-Michel Lucas, which he himself takes from the vocabulary of Amartya Sen (Nobel Prize in Economics in 1998, particularly for his work on the theory of human development and welfare economics).

II - 2. c) Economics of sharing and “Creative Contribution”The new economic models seek, in particular, to take advantage of new technologies and sharing rationale, rather than fearing them or even curbing them. In the digital age in which we live perhaps only the beginning, a true shared economy seems to be taking shape. It is necessary to understand all the workings of digital in order to fully benefit from the strength of unprecedented cultural dissemi-nation. Proponents of “Free Culture” proclaim the recognition of amateur practices and their need to be taken into account in the mechanisms for artistic creation funding18. Indeed, more and more amateur productions end at a largely professional level thanks to the availability and relatively lower cost of technologies.To validate the legitimacy of amateur practices, greatly contribu-ting to shared cultural productions (like Wikipedia, for example), the idea of setting up a system of “Creative Contribution” seems to be a relevant proposal for the near future: creative contribution aims to comprehensively understand the question of the value of

18 Source: OWNI website, on the notion of “Creative Contribution”

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online content, and to organise complete funding, taking amateur productions into account. In the same vein, the work of Philippe and Suzanne Aigrain19, dealing with the concept of sharing in the Internet age and the influence of sharing on culture and economy, also enlightens us.

II - 2. d) Long Tail theoryA link can be established between the references of current music professionals to plural (mixed) economy and the Long Tail theory by Chris Anderson20. This theory considers that with digitization, online distribution and the resulting unfathomable reductions in storage costs, increasingly diverse works are available to listen to and for sale. This would begin the shift from a global, competitive market economy, which focuses attention on mainstream productions (or blockbusters), to an economy of diversity where the multiplicity of tastes could go along with a greater diversity of offerings.

This approach, called the long tail, has opened new perspec-tives for cultural diversity, feeding the idea that the digital age would create a chance for diversity. This theory takes as a starting point the number and the variety of niches on the Internet (cultural and artistic niches), and assumes that all of these niches will generate long-term wealth, in the economic sense, at least comparable to, or even greater than, that of the competitive market which offers standardised culture.

The distribution of products via the Internet raises the constraint of the physical availability of productions, and virtually brings together scattered audiences who collectively advise and inform each other. In the music field, for example, there was a signifi-cant increase in overall consumption, and also greater variety in the

19 Philippe & Suzanne Aigrain, Sharing: Culture and the Economy in the Internet Age, Amsterdam University Press, 201220 Chris Anderson, The Long Tail: The new economy is here, Pearson, 2007.

products distributors. Indeed, as a French DEPS study21 informs us (dating from 2007, i.e. already 5 years ago), there were more than 500 legal music service platforms online around the world (versus 50 in 2003), which proposed more than 6 million titles (versus 1 million in 2003)22. Although the study’s authors seem to put the effect of the long tail into perspective, the changes it has undergone since 2007 can be easily imagined. And even at that time, the figures from the study show about CD sales an accentuation of the distribution tail for online sales, that is to say, the accentuation of the sale of less mainstream products, and rather productions from artistic niches. The largest sales (mainstream products) are therefore more common for physical sales (in store) than on the internet. Which is beginning to demonstrate the positive impact of the digital age on cultural diversity, as Chris Anderson hypothesised in his Long Tail theory.

Finally, the idea is possible that there is a continuum between this claim about the diversity of possible economic models, and one of the widely defended core values, which is cultural diversity. The social and solidarity economy could be the model most suited to allowing cultural diversity to flourish.

II - 3. Diversity & creationIn order to establish cultural and human rights in sustainability, it seems that emphasising cultural diversity and making the choice of artistic emergence are appropriate solutions. Cultural diversity can feed creation as well as the multiplicity of positions and points of view. In this capacity, it is claimed as a value that ultimately contributes to promoting general public interest.

21 DEPS: Département des Études, de la Prospective et des Statistiques [Department of Research, Forecasting and Statistics] of the French Ministry of Culture and Communication. Study: Longue traîne: Levier numérique de la diversité culturelle ? [Long Tail: Digital lever of cultural diversity?] By Jean-Pierre Benghozi, Françoise Benhamou, October 200822 Source: IFPI International Federation of the Phonographic Industry

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II - 3. a) The independence of inhabitants at the heart of the territories’ autonomyCulture, understood as the set of general knowledge and also artistic practices, has a liberating character and promotes people’s acqui-sition of autonomy. People’s autonomy refers to three areas: free-dom, capabilities and each person’s responsibilities. This tripartite, brought up by Jean-Michel Lucas during the Meeting, also comes from the work of Amartya Sen, Nobel Prize in Economics in 1998. Any cultural activity should make it possible to extend people’s auto-nomy thanks to the acquisition of more freedom, more capabilities and more responsibilities.

More freedom means the freedom to be, act and experiment. With regard to cultural activities, the issue is not so much about knowing the quantitative popularity of sales or events but rather to seek the meaning of practices through simple questions, such as: in what way have these cultural activities made it possible to give more freedom to audiences, and what are they (freedom of thought, of assembly or to take initiatives)?

More capabilities means more ability to make and more skills acquired. About this, public policy as sponsors of cultural activities may ask the following question: how does the activity implemented by current music professionals give people more abilities? Good reasons are also necessary in order to develop new skills in relating to others.

Finally, more responsibilities means more relationships seen as voluntary obligations vis-à-vis others. To build a life with more responsibility is to take others into account in the expression of our freedom. Therefore, for stakeholders in current music, asking the question of responsibility is not just making or organising events, but wondering how that allows the acquisition of more autonomy for audiences. The notion of responsibility is paradoxical to the market rationale because its challenge is to successfully build one’s life in connection with others. Which the market does not know how to establish because, by definition, it only recognises the freedom to buy or sell.

In this rationale of autonomy, Alain Caillé23 believes that measuring wealth is only meaningful at the individual or territorial level. It is the inhabitants themselves who could develop definitions and criteria for wealth measurement indicators. Autonomy in the development of indicators furthers participation and democratic deliberation.

In an empowerment strategy, territories should implement local cultural policies endowed with a strong political sense. Claims of territorial autonomy have emerged through bodies such as United Cities and Local Governments (UCLG). According to Catherine Cullen (Lille City Council), it can be noted that the territories are beginning to become autonomous in relation to the central government, in particular concerning the adoption of Agenda 21 by most local authorities when no State has made this choice. A shift in authority is therefore beginning to take place between the central government and local authorities.

II - 3. b) Demand for opacity & shared discourseArtistic creation is never a linear or predictable process; the results cannot be predicted. The worlds of symbols and shapes intrinsically contain opacity: they cannot function like infallible machines or mechanics. This is, therefore, the nature of artistic projects and creations on which, according to Jean-Michel Lucas, the essential character of the shared discourse is based, the famous ‘palaver’ in the subtitle of his latest publication24.

The opacity in artistic creation is not to be taken in the pejora-tive sense, but rather as an illustration of the interaction between people which is inherently complex. The opaque thus becomes a form of demand to promote the emergence of surprise, emotion or confusion provided by culture and creativity.

Similarly, Pascal Brunet (Relais Culture Europe) proposes demanding diversity and complexity through cooperation. Because

23 Alain Caillé, L’idée même de richesse [The very idea of wealth] , La Découverte, “Cahiers libres” collection, 2012.24 Jean-Michel Lucas, Culture et Développement durable. Il est temps d’organiser la palabre [Culture and Sustainable Development. It is time to organise the ‘palaver’ [prolonged discussion]], IRMA, 2012.

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cooperation is not the place for standardisation or uniformity, it is, to the contrary, the place for the expression of diversity. It is in this sense and with this value of diversity that cooperation must be built and supported. What is also at stake is taking culture in its broadest and most encompassing sense, which gives it its value: Culture is not only a sector, it encompasses all of societal life.

Culture - Art - Creation▼

opacity / complexity / diversity▼

essential speech

Philippe Josephe (Nord-Pas de Calais Regional Council) proposes going beyond the financial opportunity that European funds repre-sent for cooperation in order to collectively take part in redefining culture. Redefining culture must allow a redeployment of the meaning of actions, and this presupposes the organisation of time for meetings and discussions.

► Meta-artistic (or the reinterpretation of a concept in practice)

Beyond a rather complex theoretical concept, referring to philosophical and aesthetic considerations (as a scientific discipline), some professionals have grabbed hold of this conclusion. During the Meeting, Ferdinand Richard (UCLG) suggested meta-artistic thinking. Here, this means that the operation of a current music venue or the whole organisation of a cultural event, can be, in itself, a form of art. If operational or organisational methods are in line with the territory’s realities, in a sustainable process, supported by a team sharing the same values allowing a fruitful relationship, this is a form of art. Therefore, it is not an artistic creation as such, but meta-artistic. The underlying idea is that art is not only where one believes it to be (on stage with artists, for example) and that it can be found elsewhere.

► Meta-artistic from a theoretical point of view25

Meta-art refers to what is beyond (meta) art, that is to say, beyond the artistic perception of a work. Affecting, instead, its meaningful content, beyond its visual aspect. Meta-artistic refers, in particular, to works of art that focus on art, where the viewer can perceive the work as such or as a document about the art. The interpenetration between the two levels, art (visual, touching the senses) and meta-art (significant related to the meaning), makes the simulta-neous perception of the two levels complex.

The popularity of this concept among researchers may be due to its complex structure, which refers to the structure of human thought. After this theoretical detour, we come to the same conclusion about the complexity of the structure of human thought.

25 Source: Bruno Trentini, Le Méta-artistique : typologies et topologies [Meta artistic: typologies and topologies], Thesis in Arts and Sciences, prepared under the direction of Mr Chateau, Professor at the University of Paris I Pantheon-Sorbonne, filed in 2008.

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III

Specific methods and tools follow from these various invested values, which make it possible to implement and live out the meaning of the actions.

III - 1. Territorial & cross-border cooperationRelated keywords: collaboration, co-construction, opening up of borders, cross-border

In the field of current music, it is not uncommon for bands, as well as audiences, to be mixed (French and Belgian for example in the case of the North Euroregion) because local stakeholders know how to go over the borders. These cross-border relationships attest to the artificiality of the states’ borders. Cooperation does not therefore represent a mere convergence of interests, it aims to strengthen real links between geographically close territories. That also raises the question of the mobility of artists26 and audiences, which becomes a real asset for the concerned territories.

III - 1. a) Principle and fundingThe principle of cross-border cooperation is to create contractual relationships in the regions on both sides of the borders (like France / Belgium or France / Spain) so that relationships are established and collective solutions to common problems can be found. But the organisation of cooperation and cross-border networking takes effort; it is not always self-evident. Cooperation implies significant investment in terms of time for the various partners, and its com-plexity refers to the complexity of human relationships. Cooperation, formalised by the establishment of partnership agreements, involves joint reflection by committed partners. European funding for coope-ration is granted provided that the projects are strategic and seek, in particular, to instil a shared identity in the territories concerned. In fact, cultural activities financed by European funds gain some legitimacy because these grants are notoriously difficult to obtain.

26 See: III- 2. Experience cards: Cross-border mobility of artists p.49

Practices: Methods and tools to put values into action

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Territorial cooperation driven by Europe originates from the search to harmonise various European regions (271) so that they all have reasonably comparable levels of economic, social and territorial development. Territorial cooperation in Europe is funded by pro-grammes, in particular the INTERREG (INTER-REGions) programme, which is financed by the ERDF (European Regional Development Fund). The ERDF is one of the European Union’s two structural funds like the ESF (European Social Fund - which concerns, more particu-larly, employment)27. The goal of these funds is to bring together European regions in terms of competitiveness, employment and regional development.

Interreg funds are especially concerned with three types of cooperation: 1. cross-border = between territories sharing a com-mon border, 2. trans-national = to strengthen cooperation between national authorities and 3. Interregional = aims to improve regional development and cohesion policies and tools. Cooperation repre-sents, in particular, information and experience sharing practices28.

European Union

1.FEDER ► Territories 2. FSE ► Employment ▼ INTERREG Programmes ► Cross-border Cooperation ► Transnational Cooperation ► Interregional Cooperation

III - 1. b) StructuresAdministrative cross-border cooperation structures, such as Eurometropolises, appear between two or more regions in different European countries. These structures are built on the European Grouping of Territorial Cooperation (EGTC) legal tool. EGTCs are the

27 In addition, there is the Cohesion Fund, which complements the European Structural Funds28 Because of its particular nature, the latter is more specifically addressed in: III - 3. b) Organisation of knowledge p.60

result of local cooperation and political consultations. They have no political power and their responsibilities are limited to those of the structures that constitute them. Their goal is to promote common interests beyond the borders. In the case of Lille, where TERMM No.2 was held, the Lille-Kortrijk-Tournai Eurometropolis (FR/BE) has been developed. It is also part of the North Euroregion, grouping together French, Belgian and English territories, specifically composed of Hainaut and Flanders territories (BE/FR), Brussels-Capital (BE), Nord-Pas de Calais region (FR) and the county of Kent (UK).

François Goarin (Lille-Kortrijk-Tournai Eurometropolis) and Katarina De Fruyt (West-Vlaanderen-Flandre-Dunkerque-Côte d’Opale EGTC) explained to us the operation of the EGTCs that they represented. Both these EGTCs group together many partners and are general-purpose, that is to say, they include all the skills of local development (cultural, economic, tourist, environmental, mobility and services to the population). The construction rationale of EGTCs is participatory between the various hierarchies involved in the group. Indeed, this rational is both top-down and bottom-up. The different hierarchies involved are the State, regions, departments and the provincial (Belgium), inter-municipal and community levels, and, finally, civil society is consulted in the form of forum. The num-ber of participants is not inconsequential in the difficulty of finding consensus agreements. TERMM No.2’s speakers insist on the fact EGTCs are not a new administrative level (they are not territorial authorities), but more of a joint territorial project supported by various partners, not acting directly as a project leader, but rather as a facilitator. These EGTCs are tools to make cross-border actions and initiatives visible.

III - 1. c) Strengthening links between territories in the same countryCooperation is first and foremost a tool, but an important tool that can be used to re-examine the relationship between the natio-nal and the regional at the level of a single country, as stated by Williams Bloch (Avant-Mardi network). In fact, thanks to territorial

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cooperation, less strained ties between regions within the same nation can also be set-up. Meetings between French regions, for example, in the South of France were facilitated thanks to broader cross-border cooperation programmes with Spain.

This has also been borne out in the North Euroregion, as poin-ted out by Boris Colin (Le Grand Mix, concert venue) with IC Music, a European cross-border project with Belgium and England29, which made it possible to integrate a Current music venue from the Picardy region. That has strengthened links that certainly existed before but were tenuous between the Nord-Pas de Calais and Picardy regions, which are yet next to each other in the same country. Cross-border cooperation, particularly in the framework of Euroregions, there-fore has significant consequences making it possible to develop relationships between the regions themselves.

III - 1. d) IssuesActivities financed by the Interreg programmes between 2007 and today have taken the cultural domain into account, even though it is a non-competitive field. But in the 2014-2020 European strategy guidelines30, Europe favours concepts such as innovative industries or creative cities (Creative Europe), stemming from economic and financial issues. And yet, if the issues become more economic, cooperation difficulties may emerge. Indeed, some partners are more privileged than others, economically speaking. If culture is only considered as a sector, it is, therefore, within the sphere of free competition. To avoid this, cultural stakeholders, in connection with local authorities, seek to implement political agreements of cultural convergence. This would represent a policy regulating the throes of the competitive marketplace, particularly through the establishment of partnership agreements. One of the challenges of cooperation at present is, therefore, the place it will manage to get in the European policy guidelines. Strengthening cooperation, which has meaning and values, can be a solution to the competitive era.

29 See: IC Music card p.4830 See: I - 1. Europe and competition p.11

Cooperation is a tool that can be used to establish an economy at the service of law and society, if cultural stakeholders build projects going in this direction and do not bend to market requirements. To be effective and constructive, cooperation must allow stakeholders to be involved in major societal, economic and cultural issues. For Pascal Brunet (Relais Culture Europe), cooperation should be a tool facilitating regulation and convergence of income, common identi-ties, rights and, in particular, the right to cultural diversity. In this case, cooperation will be able to innovate by proposing an economic model serving the law and society, and, therefore, the human.

III - 2. Networks of cooperation between cultural stakeholders: pooling and sharing of experiencesThe main challenge of cooperation in the current music sector is facilitating the visibility of stakeholders, that they organise them-selves to become identifiable and spotted. Especially by showing the extent of the networks that interact and are structured to fit into territorial policies.

For Marc Steens (Clubcircuit network), Arne Dee (VNPF organi-sation) or Stéphanie Thomas (Live DMA network), these collabora-tive networks allow pooling and sharing of ideas, experiences and savoir-faire, and also the emergence of joint demands. Networks usually operate thanks to the members’ contributions, in a spirit of pooling resources. Knowledge of experiments conducted elsewhere makes it possible to re-examine one’s own practices, as Williams Bloch recalls (Avant-Mardi network).

However, as David Dehard (Club Plasma network) states, the whole network does not necessarily work on the same subjects, because aesthetics as well as strategies are different from one venue to next. Also, the porosity of borders does not necessarily mean that it is easy to absorb the culture of neighbouring countries; that requires a relatively long work of exploration through more important relationships within cooperation networks.

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Presentation of two European networks by François Jolivet, 4Écluses, France ▼

Name IC Music European network: International Cooperation through Music

Territory Supported by 8 current music partners (France - Belgium - England): Le Grand Mix (Fr) as the lead partner, Les 4Écluses (Fr), La Cave aux Poètes (Fr), La Lune des Pirates (Fr), De Kreun (Be), 4AD (Be), Superact! (UK) and Exeter Phoenix (UK)

Financing 2 Seas INTERREG IVA Programme

Since? 2011

Objectives Strategy and objectives around three focal points: 1st Mobility of artists 2nd Development of mutual unders-tanding between partners (through collective work methods, language courses, exchange of teams) 3rd Raising cultural awareness for audiences who are not used to cultural venues, especially specific audiences such as incarcerated people or people with mental illnesses.

Actions The IC Music project is a continuation of the sharing work begun during the 4x4 cooperation experiment31, but on a larger geographic scale and with different activities.The budget allows, among other things, partners to strengthen their teams and become more professional.This cross-border cultural project between French, English and Belgian partners is pioneering.

31 See: 4x4 card p.54

Name European network Live DMA (Linking Initiative and Venues in Europe - Developing Musical Actions) / Musication Project

Territory Network of 7 European countries: Germany, Denmark, Netherlands, Portugal, France, Belgium, Spain. 8 partners: ACCES (SP), Clubcircuit (BE), Court Circuit (BE), Dansk Live (DK), d’Orfeu (PT), VNPF (NL), la Fédurok (FR) et LMK Live Musik Kommission network (ALL)

Since? September 2010

Objectives Its 5 objectives are to promote the shared knowledge of European current music organisations, increase the visibility of the organisations, participate in the professionalisation, promote creation and ensure European lobbying.

Actions Discussions around shared problems and values, putting into perspective the challenges faced at local and national levels, working over the long-term.Ethical charter of cooperation.The Musication project (Music & Education) concerns voca-tional training and educational services through seminars in lieu of discussions and meetings between European profes-sionals on specific themes. The objectives are 1st To promote cultural diversity 2nd To develop sustainable cooperation 3rd To promote the sharing of experiences

► Experience cards: Cross-border mobility of artists

What are the impacts of concerted / shared mobility?Short reminder: musicians usually need semiskilled tools or people in the following areas:

communications: to ensure the distribution and promotionof the band’s news

promotion: to foster a dynamic and make it possible to find tour dates

production: preparation of contracts, payroll, artist treatment

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Julie Van Elslande, Kunstenloket, Belgium ▼ Name Kunstenloket, advisory association dedicated to the mobility

of artists - ASBL = Non-Profit Association

Place Based in Brussels capital

Since? 2004

For whom? For Belgian musicians wishing to play abroad and foreign musicians playing in Belgium

How?  - provides advice on the legal and organisational aspects of artistic activity- through internet / telephone information / live consultation / training & workshops- on the following topics: social status, copyright, taxation, financing, project management

Why?  The advisory and information association helps artists to better understand the legal and financial jurisdictions they are under, especially in case of cross-border mobility because:artists in Belgium have a specific status that dates from 2003; they may be an employee or independent: if they do not declare themselves as independent, a “presumption of salaried status” applies, which has been created to facilitate social protection (health insurance, unemployment benefits, etc.). Artists therefore have a temporary artist status insured by “social offices for artists” acting as employers charging for performances

To be noted Bilateral agreements exist between cross-border countries (France-Belgium, for example) that facilitate the administrative management of artistic mobility

Frédéric Hochet, Hempire Scene Logic, France ▼Name Hempire Scene Logic, producer of artists. Open production

= not necessarily choosing in advance the artists or even the venues where they will be produced

Place France

Since? Since 2004

For whom? For French or foreign bands, theatre companies, street perfor-mers, etc., already having a project and dates

How?  - for example, if a French artist has an opportunity to tour abroad, Hempire Scene Logic sells his show abroad and pays him as a French employee- it raises various questions (still with this example):=> what status will the artist have for the authorities of the country where he performs? French employee or employee of the country? => where do we pay VAT? Impact on the invoicing

Why?  - Hempire was created to compensate for a legal loophole and to ensure security for the artists.- it lacks artistic employers, which means informal work for artists- the two job options 1. merchant (private producer) or 2. public (subsidized artist) do not cover the entire artistic field- Hempire employs artists to enable them to complete their projects

To be noted - As the producer, Hempire Scene Logic takes risks because, if it is not paid by the foreign backer for the service, it must pay the produced artist- 30% annual growth since its creation- is part of the social and solidarity economy (among others things: same treatment conditions for all, production cost transparency)

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Elena Di Federico, On the Move, Belgium ▼Name On the Move, international information network dedicated

to artistic mobility issues - ASBL = Non-Profit Association

Place Headquarters in Brussels

Since? Since 2002, i.e. 10 years

For whom? For artists involved in mobility approaches; On the move unites 35 cultural organisations (production, distribution, artistic mobility financing) in 22 countries

How?  - liaison between professionals (artists or technicians) as well as a resource centre - information services; does not directly answer questions but redirects towards expert organisations in the relevant field- first a website (census tools freely available), which became a network of organisations pooling skills and knowledge- lobbying for mobility- promoting systems facilitating mobility - mobility financing guide of 750 programmes in 34 countries- coordination of information distribution through “Practice”, a project funded by the European Commission- Green mobility guide for performing arts

Why? - to help understand the practical constraints related to artistic mobility: visa, social rights, administrative formalities, fair pay through contracts, etc.- to benefit from government recognition

To be noted - notion of responsibility: asset promotion: mobility remains very complex, responsibility is an important vector, including the environmental and social issues- in a near future: creation of a charter to mobilise artists and local authorities on a shared vision

The mobility of artists does not only concern one-shot concerts, it also affects art residencies, training, touring abroad, etc.

The major problem stems from the fact that there are dif-ferences in legislation from one country to another, even within Europe. Countries such as France or Belgium are countries known as redistributive, i.e. social redistribution is important (social secu-rity, unemployment, health, etc.), but, as a consequence, artistic performances, which are heavily taxed, are more expensive. Thus, it creates conflict, because the artists of non-redistributive countries

(typically England) offer performances cheaper than others (since they are taxed less).

Redistributive country (welfare State)

▾higher taxes

▾more expensive performances

≠Country with lower Social

Security (liberal State)▾

lower taxes▾

cheaper artistic performances

►Conflicts: unfair

competition? & complexity of the mobility

of artists

That said, the European Parliament has just released a report recommending the introduction of a specific visa for artists tra-velling in the Schengen area.

► Experience cards: New methods of communication for the mobility of audiences

The question of the momentum of audiences travelling beyond borders and cross-border venues working on this question, thanks to new technologies (TV media, smartphone applications, etc.): Marc Steens (Clubcircuit network) informs us that a recent study showed that the majority of people are ready to travel in an average radius of 30 km to access cultural offerings.

The circulation of Euroregional cultural agendas and the crea-tion of a shared identity (which ties in with the sense of belonging)

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Mich Decruyenaere, De Kreun ▼Project 4x4 Project, pooling of activities & promotion of 4 concert

venues in Northern France and Belgian Flanders

Partners De Kreun – Courtrai (BE) // Le Grand Mix – Tourcoing (FR) // 4AD Diksmuide (BE) // Les 4Écluses – Dunkerque (FR)

Territory Euroregion France-Belgium cross-border project

Financing Interreg IVA France-Wallonie-Vlaanderen Programme

Since? Interreg IVA 2008-2011. Since the closure of Interreg funding, cooperation between partners has continued

Objectives - to collectively support Belgian and French bands- to pool knowledge and experience- to mobilise everyone’s skills to serve the project

Actions - circulation of bands between partner venues (so that audiences do not have to travel too far) by: co-production of concerts and artists- a free bus service to go to concerts and allowing audiences to cross the border- sharing experiences & exchanging teams between the venues (language courses)- shared communications: shared promotion around and in the venues (posters, flyers)- integration of bands into border festivals (Dour Festival, for example)- coaching and supporting artists in Belgium (formerly paying activities)- video recordings of all coproduced bands and concerts (investment in HD cameras, 260 films posted on the website dedicated to the project)- Circulation of information on social networks, Facebook in particular- pooling of the contact database (+10 000)- creation of a 4x4 membership card allowing access to the 4 venues (with a €3 discount per concert) - 1200 members

Marc Steens, Clubcircuit ▼Project Borderlive: free smartphone app - Euroregional concert

agenda for 2 current music networks in Northern France and Belgian Flanders

Partners R.A.O.U.L. network (France - Nord-Pas de Calais region) and Clubcircuit network (Flemish Belgium)

Territory Euroregion France-Belgium cross-border project

Financing Interreg IVA micro-projects fund

Since? Publication of the application in January 2012

History - project drafted in 2010 (a result of shared reports from partners at the end of TERMM No.1); completed in 2011- work group composed of organisations belonging to both networks (content, development terms)

Objectives - to promote the cross-border mobility of audiences- to increase the visibility of the 2 networks’ members by sharing an innovative communication tool- possibility of extending the area covered to the two networks’ border regions whilst continuing to focus the project on proximity (cross-border and interregional cooperation, but not transnational)

Actions - 3 ways to view the agenda (by date, venue or genre)- geolocation of concert venues and the user- hyperlinks to websites for purchasing tickets online, the websites of venues and artists- direct sharing of information with your circle: possibility of sending invitations by email or through social networks- paper, web and radio communications to make the appli-cation known; 1500 people have downloaded the application in 5 months

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III - 3. Participation & observationRelated keywords : bottom-up, citizen initiative, cooperation, social inclusion, integration, governance

Participation should enable everyone to take part in the world: ensu-ring expressive capabilities through participation is to guarantee human dignity and social inclusion. Anyone who takes part in the shared discourse is included in the social group. David Dehard (Club Plasma network) recalls the importance of committed volunteers and enthusiasts in the longevity of venues’ projects. Participation is therefore central. If you are part of a perspective of sustainable human development, the human must be at the centre of the process and take part in decisions.

III - 3. a) Co-construction, Cross-dimensional approach & Bottom-up

Co-constructionThe meaning and the challenge of co-construction are to succeed in keeping the guidelines specific to each of the stakeholders, which are the populations of the territories, cultural and political stakeholders, so that their diversity feeds the collective proposals. The joint co-construction of public policy for culture, with local authorities and cultural stakeholders, is an increasingly common initiative. Indeed, as Stéphanie Thomas (Live DMA network) states, the transition from a top-down subsidy rationale to a co-construction partnership rationale is currently taking place. Through cooperation, co-construction makes it possible to create meaning and general public interest because the stakeholders, due to realities in the field, seek to influence public policy relating to culture. In this way, co-construction with the political aspect and involvement in the life of the territory refers to conducting lobbying activities. They make it possible to ensure representation of the current music sector to the authorities, as the Dutch VNPF network or the European Live DMA network do.

Sarah Markewich, SeaMedia ▼Project SeaMe.tv, web TV platform grouping together 6 partners in

Belgium, England and France

Partners Howest University College (University - Kortrijk / Brugge - Belgium), University of East Anglia (University - Norwich - United Kingdom), EPIC studios (multimedia centre, TV studio - United Kingdom), Focus Televisie (TV channel - Belgium) De Kreun (concert venue- Kortrijk - Belgium), Le Grand Mix (concert venue - Tourcoing - France)

Territory 2 Seas Territory: Northern France, Flemish Belgium and Southern England

Financing Budget of 3 million euros, 50% financed by the ERDF

Since? Since 1st July 2011

History Findings of the very low travel of people in the cross-border area, particularly Dutch-speaking Belgian students towards France: cultural difference is therefore not to be underestima-ted, as well as the language barrier (in the case of the Flemish)

Objectives Create a Web TV platform using the skills of 1. the media 2. production studios 3. students in communication- core target audience of the project: young audiences (18-30 years)- to make students work on the creation of video content and help them to make progress in languages in order to carry out interviews- to provide multimedia production experience to share- to allow travel across the borders of the 2 Seas territory- to promote bands and concert venues: to provide a new audience thanks to a new medium that aims to be interactive and fun- to become a model for other border regions

Actions - A web TV platform entitled SeaMe.tv open to students, concert venues and their audiences and anyone interested in participating, offering three specialised channels:→ HearMe: news about bands and concert venues→ SeeMe: featuring students and their interests→ TouchMe: where we follow the young people in their move-ments and interactions with their friends and the audience- hosting videos on YouTube and using social networks (Facebook, Twitter) to increase audiences

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Cross-dimensional approachWorking cross-dimensionally makes it possible to operate efficiently by making the best use of all available local resources. That is to say, projects must be carried out by all of a territory’s partners, regardless of their domains or specific nature, in order to share the work and methods. The approach through the territory makes it possible to favour a cross-dimensional rationale, which ties in with the global rationale of participation. To be effective, the territory project, carried out cross-dimensionally, must involve all stakehol-ders including citizens and not only committed professionals or specialists in the field. The participation of all stakeholders in a territory allows for a bottom-up process to be implemented. Seeking efficiency through cooperation therefore involves a cross-dimensio-nal approach because the systems and issues are interconnected.

Representatives of public policy present at this Meeting have called for a cross-dimensional approach. One of the major challenges of their discourse is to continue promoting cross-communication, which furthers collaboration and underlies a greater effectiveness in the actions. The perception of the cross-dimensional aspect to issues is an essential part of the long-term success of sustainable cultural development as a whole. That said, it should be noted that the injunc-tion for the cross-dimensional approach is still too often limited to two domains, such as culture and youth, for example. Admittedly, this link is logical; the importance of education to culture is vital, but it is also enclosing: the elderly, for example, could they not become beneficiaries of more cultural activities as well? The challenge of the cross-dimensional approach seems therefore to try to go beyond the usual links between the different areas of intervention. Culture can be treated cross-dimensionally with many other application areas of public policy, such as sustainable development, but also urban development, for example, or economic development and mobility. A real cross-dimensional aspect exists in this respect: dare to open up the borders, become free of the usual approaches and offer new links that are not self-evident so as to innovate.

Bottom-upBottom-up initiatives are innovative because the top-down rationale remains the one that has been most implemented so far. In the bottom-up approach, experienced realities are reflected in activities and decisions, because it is the stakeholders committed with these realities who take information “up” from a territory to the decision-making level. The bottom-up principle is to bring knowledge concer-ning regular operations that make it possible to draw up policies related to the inhabitants of a territory up to a higher level. This approach postulates in a logical manner that those who know the most about the realities and needs of a territory are those who live in it, go through it and experience it. So, the bottom-up rationale refers to issues related to participatory democracy.

But in spite of declarations of intent to reach this bottom-up operation in current projects, difficulties linked to their effective implementation can be noted, particularly because of institutional barriers. One problem with current political projects might be linked to the fact that the rationale at work is too often from the “top-down”, according to Ferdinand Richard. Citizens are invited to participate in the decision-making, but not “any” citizens; it is often organised civil society that is brought into the discussions and decision-making bodies. One may wonder if the way of doing things could not be reversed: promote local initiatives or ways of doing things rather than inviting participation. ‘Inviting’ perhaps is not enough to bring about ‘participation’32.

32 Initiatives can be noted that have emerged in the United States & England, pushing participative logic further: i.e. direct democracy. This refers to grass roots initiatives, rather than invitations to participate.

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III - 3. b) Organisation of knowledgeIn the sense of European Interreg programme, the sharing of information and experience is part of the so-called interregional cooperation. The organisation of knowledge and resource is beco-ming a major issue in the music field. This observation of the field by and of itself is a true form of reflexivity (thinking about yourself, taking a step back from your actions). In the production of informa-tion (particularly through studies), the sharing of knowledge and experiences, pooling of resources and methods are favoured for all current music stakeholders. This set of actions allows the music field to be made visible and the establishment of a dialogue with the political world. Indeed, increasing knowledge through observation makes it possible to refine the argument and be a creative force towards public policies. TERMM No.2 is a typical example of these meetings and sharing of experiences in Europe.

The speakers maintained that the production of data allowed the defence of values. As Arne Dee stated, the VNPF network in the Netherlands organises knowledge to influence public policy. It involves the collection and analysis of data that are available online, and this make it possible to proceed directly to detailed analyses, such as the average grant cost per visitor, for example. In this way, the VNPF network’s members can compare one to each other and grow by identifying its own strengths and weaknesses.

For Hyacinthe Chataigné (La Fédurok), knowledge equals power and enables the promotion of dialogue. The process unde-rway seeking to transpose national analyses to the European level, in particular through the Live DMA network, is therefore essential. Indeed, the systems and issues are broadly similar across Europe, which facilitates the development of common indicators. Current music stakeholders master knowledge more and more and it enables them to gain legitimacy with political stakeholders, especially by arguing about their intentions rather than speculating on facts, while highlighting the music field’s economic contribution. As a general result of this, it allows them to be heard and to ultimately influence public policy. The identity of current music stakeholders

is built simultaneously with the awareness of the importance of observation missions and the production of knowledge on the music field. Finally the structure of the sector, which the stakeholders often talk about, refers, to a large extent, to this production of knowledge about their activities.

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▲Outlook

Search for meaning and pursuit of general public interest…General public interest and the meaning of cultural practices, whether it is the search for it or the loss of it, have been recurring themes in this Meeting. How do the current music stakeholders who were present at TERMM No.2 find a balance between their search for meaning concerning culture in an overall manner, and the necessity to deal with policy guidelines and/or private operators that are pursuing primarily economic objectives? In the background, the need to find common denominators between all current music stakeholders and public policies is being planned, also with artists as well as audiences that are receivers of culture.

The re-localisation of the territories’ activities around innova-tive business models, enabling everyone’s participation and rooting it in the rationale of human sustainability, seem to be pathways to viable answers. Many current music stakeholders in Europe opt for the values of sustainable human development through the demand for cultural rights, as well as the founding values of the social and solidarity economy and the defence of general public interest. This is accompanied by encouragement for the rationales of sharing experiences and pooling ideas and means, through dialogue and cooperation. The defence of the diversity of cultural and artistic practices as well as musical aesthetics, the equitable distribution of cultural venues, territorial coverage, fairness and mutual enrichment seem essential values around which the larger number of current music stakeholders’ argument is built. In this way, the defence of cultural, aesthetic and economic diversity is preferred to the eco-nomic interest rationale.

… through Consultation, co-construction and cooperationEventually, in order to achieve these values, an issue emerges around the need to put the time for consultation, reflection and mutual understanding back into the heart of projects. This in order to find a shared meaning for all stakeholders. Because today, the question

63

may arise: do all the stakeholders have the same definition of gene-ral public interest? If the answer can be considered a negative, it is undoubtedly with the help of the shared discourse over the long-term that opinions could converge.

Therefore, from this Meeting, the general call for co-construc-tion and the way, through cooperation, that general public interest may be created can be retained. This resonates at this particular time when Europe needs to think about its meaning and its new direction.

All in all, it appears that the interventions summarised here can lead to a key concept: that of collective operation. By this, we mean a reference to the recent work around collective wisdom/intelligence33. Briefly, this approach proposes to examine the greater efficiency of collective decision-making with respect to individual choice or the choice of a few experts. The idea is that, in the long-term, thanks to connectivity (through the spread of the use of the Internet), poten-tials for collective action are immense since it is made up of enough people bearing various information34. This also makes it possible to prove the principle of equality and diversity: Recent research shows that it is the social and cognitive diversity of viewpoints and interpretations that contributes the most to the quality of collective production, and not some individual expert knowledge. Collective intelligence is, therefore, the result of cooperation between people, on the one hand, and tools or institutions, on the other hand. This

33 On this approach, we can refer to: - Laurence Blésin and Alain Loute, Nouvelles vulnérabilités, nouvelles formes d’engagement. Critique sociale et intelligence collective [New vulnerabilities, new forms of commitment. Social critique and collective intelligence]. Europhilosophie Éditions, Bibliothèque de Philosophie Sociale et Politique, 2010- Raison publique magazine No.12. 1 / La Sagesse collective [Collective Wisdom] - 2 / Figures et figuration du pouvoir politique [Figures and representation of political power]. May 2010, Presses de l’Université Paris-Sorbonne [Paris-Sorbonne University Press]34 Juliette Roussin, article entitled “Sagesse des foules” [Wisdom of crowds] in La Vie des idées, September 2012

echoes back to the experiences discussed during TERMM No.2: cooperation through participation and co-construction in diversity.

The time has come to share words and opinions about the dee-per meaning and values that cultural activities can convey. Given the urgency imposed everywhere, demanding time to think in a collective and concerted manner becomes indispensable. Stepping back and opening the horizon of thought in order to question practices and instil them with more meaning are the priority challenges today.

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Bibliography ⌐ Aigrain (Philippe & Suzanne), Sharing : Culture and the Economy in the

Internet Age, Amsterdam University Press, 2012.⌐ Anderson (Chris), The Long Tail: The new economy is here, Pearson, 2007.⌐ Benghozi (Pierre-Jean), Benhamou (Françoise), Study: Longue traîne: Levier numérique de la diversité culturelle ? [Long Tail: Digital lever of cultural diversity?] Département des Études, de la Prospective et des Statistiques [Department of Research, Forecasting and Statistics] of the French Ministry of Culture and Communication, October 2008.⌐ Blésin (Laurence) et Loute (Alain), Nouvelles vulnérabilités, nouvelles formes d’engagement. Critique sociale et intelligence collective [New vulnerabilities, new forms of commitment. Social critique and collective intelligence]. Europhilosophie Éditions, Bibliothèque de Philosophie Sociale et Politique, 2010.⌐ Boltanski (Luc), On critique. A Sociology of Emancipation (translated by Gregory Elliot), Polity Press, Cambridge, 2011 [De la critique. Précis de sociologie de l'émancipation, French original publication, Gallimard, 2010].⌐ Caillé (Alain),  L’idée même de richesse [The very idea of wealth], La Découverte, “Cahiers libres” collection, 2012.⌐ Caillé (Alain), Théorie anti-utilitariste de l’action [Anti-Utilitarian Theory of Action] , La Découverte, “Textes à l’appui” collection, 2009.⌐ Cassiers (Isabelle), article entitled “Repenser la richesse et sa mesure” [Rethinking wealth and its measurement] in La Vie des Idées, September 2012.⌐ Lucas (Jean-Michel), Culture et Développement durable. Il est temps d’organiser la palabre [Culture and Sustainable Development. It is time to organise the ‘palaver’], IRMA, 2012.⌐ Merleau-Ponty (Maurice) , La phénoménologie de la perception [Phenomenology of perception], Paris, Gallimard, 1945 (1st edition).⌐ Roussin (Juliette), article entitled “Sagesse des foules” [Wisdom of crowds] in La Vie des idées, September 2012.⌐ Trentini (Bruno), Le Méta-artistique : typologies et topologies [Meta artistic: typologies and topologies], Thesis in Arts and Sciences, prepared under the direction of Mr Chateau, Professor at the University of Paris I Pantheon-Sorbonne, filed in 2008.—

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—⌐ ‘Rencontres Trans Musicales de Rennes’ festival – Agenda 21 results 2005-2010, HERRY Consultant.⌐ Raison publique magazine No.12. 1/ La Sagesse collective [Collective Wisdom] - 2/ Figures et figuration du pouvoir politique [Figures and represen-tation of political power]. May 2010, Presses de l’Université Paris-Sorbonne [Paris-Sorbonne University Press]. 

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Acknowledgements

Catherine Génisson, Vice-Chair responsible for Culture, and Vincent Van Der Poorten, Michel Kouteynikoff, Morgane Vandernotte – Nord-Pas de Calais Regional CouncilVirginie Chambrier, Jean-Christophe Levassor – Lille Métropole Communauté UrbaineInês Mendes, François Goarin – Lille-Kortrijk-Tournai EurometropolisStéphanie Verbeke – West-Vlaanderen-Flandre-Dunkerque-Côte d’Opale EGTC 

Tonino Macquet, City councillor for associations activities and relations with the associations,Jean-François Boudailliez, Deputy Mayor responsible for Culture, et Gilles Guey, Zaïa Bouslah, Jean-Luc Ghesquier, and the stage manager and technicians in Watremez hall – Roubaix City Council

R.A.O.U.L. Mickaël Perissinotto, Aurore Dupont, Claire Hannecart, Ermeline Dauguet

IC MusicBoris Colin, Maëva Justice, Cédric Parfait, Nanou Gruszecki, Clément Louvet, Vincent Nocrékul, Juliette Callot, Mathieu Dauchy, Jean-Pierre Hochart, Léo Lejoliff, Julien Guillaume, David FolliotBénédicte Briant-Froidure, Nicolas Lefèvre, Tiphaine Gagne, Hakima Lounas, Magali Llimous, Aude Boursin, Nicolas Chimot, Mich Decruyenaere, Wies Callens,Pieter Verdonck,François Jolivet, Fred Carré, Antoine Agricola

‒Marc Steens – ClubcircuitDavid Dehard, Amandine Vandermeir – Club Plasma Johann le Bihan – Le Patch 

Stéphanie Thomas, Hyacinthe Chataigné, Clothilde Ferry – Live DMA / La FédurokPatricia Coler – UFISCBenoit Garet – RiFMarleen Verfaellie – Focus WTV ARA - Roubaix

Pierre Jolivet, Sarah Lodge, Kenneth Quiguer and Lina Yaqubian for their precious proofreading and advices

Acknowledgements to the speakers

Territorial cooperation (transborder,transnational and inter-regional)

⌐ François Goarin (FR), in charge of Culture in Lille-Kortrijk-Tournai Eurometropolis Agency

⌐ Katarina De Fruyt (BE), Co-director of the West-Vlaanderen-Flandre-Dunkerque-Côte d’Opale EGTC

⌐ Williams Bloch (FR), Director of Avant-Mardi – current music network in Midi-Pyrénées region ⌐ Donato Giuliani (FR), Deputy director in charge of regional initiative projects in the Nord-Pas de Calais Regional Council – Department for Culture

Cultural policies in Europe: which linksbetween stakeholders and politics?

⌐ Arne Dee (NL), Political attaché of VNPF, National association for pop music venues and festivals in the Netherlands / Live DMA network

⌐ Marc Steens (BE), Coordinator of Clubcircuit, current music network in Flanders / Live DMA network

⌐ Hyacinthe Chataigné (FR), Responsible for observation and studies at La Fédurok, current music venues federation / Live DMA network

Transborder mobility of artists(legislation, administration)

⌐ Julie Van Elslande (BE), Legal expert-consultant for Kunstenloket ⌐ Frédéric Hochet (FR), Director of Hempire Scene Logic ⌐ Elena Di Federico (BE), Responsible for communication and advocacy at On the Move – cultural mobility information network

European programs⌐ François Jolivet (FR), Director of Les 4Écluses, current music venue in Dunkirk and referent person at La Fédurok for Live DMA network’ Musication, a Leonardo project

⌐ Boris Colin (FR), Director of Le Grand Mix, lead parner of IC Music, INTERREG IVA 2 Seas project

⌐ Pascal Brunet (FR), Director of Relais Culture Europe ⌐ Philippe Josephe (FR), in charge of “National authority”, INTERREG IVA France-Wallonie-Vlaanderen Programme in the Nord-Pas de Calais Regional Council – Department for Europe

Culture and sustainable development⌐ Catherine Cullen (FR), Deputy Mayor of Lille responsible for Culture, Community advisor for Culture at Lille Métropole Communauté Urbaine, Vice-Chair for the Cultural commission of UCLG (United Cities and Local Governments) ⌐ Ferdinand Richard (FR), Responsible for the UNESCO panel of experts for the IFCD (International Fund for Cultural Diversity), Expert/collaborator at the “Agenda 21 for Culture” commission of the UCLG ⌐ Jean-Michel Lucas (FR), Doctorate in Economic Science

Initiatives in the field of current music

⌐ Jens Jepsen (DK), Musician – Klaverfabrikken (Hillerød)

⌐ Pieter Verdonck (BE), in charge of European projects and communication at 4AD concert venue (Diksmuide)

⌐ Béatrice Macé (FR), Co-founder and co-director of the Trans Musicales de Rennes festival

⌐ Gabriel Alloing (BE), Director of La Ferme du Biéreau (Louvain-la-Neuve)

New communication tools for transborder mobility of the audiences

⌐ Sarah Markewich (BE), in charge of the Seamedia project ⌐ Marc Steens (BE), coordinator of Clubcircuit, leading the Borderlive project with R.A.O.U.L. network ⌐ Mich Decruyenaere (BE), in charge of coproductions and European projects at De Kreun concert venue⌐ Xavier Ess (BE), journalist at Pure FM

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Notes

PublisherAssociation R.A.O.U.L.301 Avenue des Nations Unies 59100 Roubaix, FranceSIRET : 408 741 387 000 59APE : 9002Z

DesignBureau d’Investigation Graphique,Nicolas Millot, www.nicolasmillot.net

PapersMunken Print White 20, 90g/m2,Munken Print White 15, 300g/m2

TypefaceAll texts are composed with grotesk designed by Hermann Zapf

Translation Van de Loo & associatesParis, France

PrintingNord’Imprim4 impasse Route de Gode 59114 Steenvoorde, FranceMarch 2013

Dépôt légal/copyrightMarch 2013

Cette synthèse met en perspective les enjeux culturels et européens abordés lors des sept ateliers de TERMM No.2 (The Euro Regional Music Meeting).

Les principales thématiques des Rencontres y sont agencées de façon à pouvoir réinterroger les diff érentes propositions et dégager des perspectives. Des fi ches expérience complètent le propos en mettant en exergue les apports techniques et pratiques.

Summary & perspective on the issues

Nord - Pas de CalaisPicardieWallonieVlaanderenEngland

4th & 5th june2012

RoubaixFrance

R.A .O.U.L . & IC MUSIC PRESENT

This summary puts into perspective the European cultural issues addressed during the seven TERMM No.2 (The EuroRegional Music Meeting) workshops.

The Meeting’s main themes are arranged here so as to allow the re-examination of the various proposals and emergence of pers-pectives. Experience cards complete the discourse by highlighting technical and practical contributions.

R.A.O.U.L. Current music network in Nord-Pas de Calais

301 Avenue des Nations Unies59100 RoubaixFranceTel.: 00 33 (0)3 20 73 22 56contact@reseau-raoul.comwww.reseau-raoul.com

IC MUSIC Le Grand Mix Current music venue

72 rue Saint Jacques BP 40659337 Tourcoing cedexFranceTel.: 00 33 (0)3 20 70 10 00info@icmusic.euwww.icmusic.euwww.legrandmix.com