How is active cultural participation supported throughout Europe

To what extent do governments use research to create policies on active cultural participation?

Do we all agree that amateur arts have a major impact on the civic society?

Germany : “Despite this tremendous diversity they all have one thing in common: they are the ideal breeding ground for civic commitment and involvement.” the Netherlands: “Amateur art is a starting point for achieving one of the most important aims of cultural policy: to increase the extent to which individuals participate in culture, both actively and passively.”

Slovenia: “Amateur arts as social activities therefore contribute to social cohesion in the sense of: a possibility for social involvement of marginalised social groups; a way of improving relationships inside specific social groups; a psychotherapeutic category as an instrument for psychogenic effects, psychophysical prevention and maintenance of psychological stability; discovering new personal potentials and ways of acting; and entrance into new social relationships and improvement of the existing ones.

United Kingdom: “Increasingly, local communities are themselves identifying the arts and heritage as an essential vehicle for building community networks and fostering improved levels of confidence and skills in individuals. The Department for Culture, Media and Sport has worked closely with the Home Office to highlight the role that cultural activity can play in strengthening and developing communities, and to embed this in its programmes on Community Cohesion, Civil Renewal and Active Communities.”

Umbrella organisations or federations based on art disciplines Which countries work with these kind organisations? Which countries don’t?

Festivals and contests as a tool in the support of amateur arts. Is this an interesting way of supporting? What are the pro’s and what are the contra’s?

The local government as (the most?) important source of support for amateur arts.

Bulgaria: “Amateur arts are supported foremost by municipalities and partly by the Ministry of Culture and by sponsors - foundations and members of the public.” Croatia: “Although the Ministry of Culture considers that local authorities should take responsibility for amateur activities, it nevertheless provides considerable funding” Portugal: “Local authorities play a key role in supporting cultural associations and local cultural activities. Volunteer associations make a significant contribution to local cultural life and they play a major role promoting theatrical performances, book fairs, film shows and folklore.” Ireland : “Investment by local authorities in arts and culture bolsters amateur activities that are crucial to local arts provision.”

Which countries do have advantage from European funding towards amateur arts?

How big is the value of kids and youngsters in the policy towards active cultural participation?

How do countries cope with trends.

Georgia: “Recently groups for teenagers in large cities have become more involved in modern genres of amateur art related to new technologies and social development - multimedia, graffiti, e-music. This subculture has yet been developed does not receive state support, though some municipal initiatives related to mass culture are touching on this type of amateur art, although only in the performing arts sector.”

Estonia: “There is a tendency of establishing "cultural factories" (clusters established in previous factory buildings and run by non- profit organisations, which are transformed into working and performing places for artists, musicians, craftsmen, printing houses, recording studios, etc.), to meet better the needs of interdisciplinary arts and engage young audiences.”