“MUSICOMMUNICATION” MILAN, ITALY 30 SEPTEMBER – 3 OCTOBER 2009 ‘Communication inside the EMC’ Timo Klemettinen, president EMC

Index  International Music Council (IMC)  European Music Council (EMC)  Communication and advocacy  Arguments  Target groups  Communication and networking

International Music Council (IMC)  The International Music Council (IMC) is a membership organisation created in 1949 by the Director General of UNESCO as the advisory body to the agency on musical matters. It is based in Paris and functions as an independent international NGO maintaining a formal associate relationship with UNESCO.  Over the past almost 60 years, IMC has developed as a world expert organization, a forum for exchange and reflection and an observatory in the field of music.  IMC works through and for its members to internationally support the development and the promotion of diverse music and the role of musicians in the context of social, cultural and economic development.  Through its members, IMC has direct access to over 1000 organisations in 147 countries across the world.

The main principles promoted by the International Music Council and EMC  the right for all children and adults to express themselves musically in full freedom;  the right for all children and adults to learn musical languages and skills;  the right for all children and adults to have access to musical involvement through participation, listening, creation, and information;  the right for musical artists to develop their artistry and communicate through all media, with appropriate facilities at their disposal;  the right for musical artists to obtain fair recognition and remuneration for their work.

European Music Council (EMC)  European Regional Group of the International Music Council – IMC  Membership organisation  Networking / information exchange  Music Education (EFMET)  Representing the European music life  EMC is a member of the EU Culture Platforms for the Culture Sector  Intercultural dialogue, Access to music and Creativity and innovation  Cooperation projects (EU project ExTra)  Conferences and networking events  Wien 2010  Turku, Finland 2011

EMC communication  Magazine: Sounds in Europe  Musical Diversity and Intercultural Dialogue  Music and the Future  Access to Music  Creativity and Innovation  Newsletter (to approx addresses), 1-2 p. year  Newsflashes (only for members), irregular, approx 1 p. month  website  Diverse press articles in Germany and abroad  The blog of the lab.forculture and Facebook  The challenges for all European umbrella organizations is that there is hardly a European public space.

EMC communication and advocacy  EMC aims:  to strengthen the music sector by advocating with one voice  participate and influence the political decision making  to define common interests and concerns in the field of cultural policy on EU level  monitoring current situation and changes in music life and bringing out information of developments in cultural politics  to strengthen the cultural sector by sharing experiences  to discuss possible common activities  to prepare a meeting between EU, cultural networks and national cultural ministries  to enhance the cooperation between organisations representing the creative industries and organisations representing the not-for- profit sector

Arguments  Laws, conventions, recommendations and principles  International principles  UN Human rights  Conventions  UN Convention on the Rights of the Child (Article 31)  UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions  Recommendations  UNESCO Road Map for Arts Education  Resolutions  Weimar Declaration of EMU  Policy statements  EMC MixIt! (resolution for multicultural music education)  Music and art political programs  Ministries of culture and education  Statements  music and art school associations

MixIt!  Artistic Expression is a human right. Young people from migrant backgrounds deserve particular attention. Music should never be the preserve of a privileged social elite. Any elitist concept of culture has to be challenged.  As artistic expression is a human right, it is as fundamental to the basic school education as reading, writing and arithmetic, claims the UNESCO World Conference on Arts Education (Lisbon, March 2006). Making music and singing need to be seen as an integral part of any curriculum from nursery to secondary school. Cultural diversity has to be included in these curricula.  Cooperation between formal and non formal music education is essential for the acquisition of intercultural skills. The cultural scenes themselves offer a wide range of projects with integration aspects in popular and other music styles, which respond to the environment and context of children and young people1. These projects on grass root level, which are created by artists, organisers, labels and other cultural operators, should be well recognised and supported financially and structurally.  Traditional university programmes do not provide the skills and knowledge needed for the work in multicultural societies. Universities shall change their programmes in order to produce learning outcomes that enable the students to teach music in culturally diverse surroundings.  People from different cultural backgrounds should be involved in teaching and leading music projects.  Appropriate artistic and pedagogical training should be provided. Artistic and pedagogical competences, not diplomas, should define the recognition.  People from different cultural backgrounds should be involved in the planning, organising and managing of music projects and in music education.  Mobility is the oxygen of culture and intercultural dialogue. Appropriate funding and accessible visa regulations have to be provided for cultural operators.  Musical diversity and intercultural competences have to be learned, not the various musical cultures. It is important to propose music projects in ethnically and linguistically mixed groups.  Platforms for cultural exchange and space for intercultural discussions have to be provided.  The media should strengthen their role as mediator and present the richness of various musical cultures.

Arguments / research  Research and scientific data  information for political decision makers  outcomes of the music education  positive effects of the music education for individuals and societies  horizontal research  research and cooperation  culture political research centres  Ministries of Culture/Education and Art and Art Councils  universities  Music schools  surveys and questionnaires  statistics  EU projects

Arguments for music education  The intrinsic value of music  Artistic goals of musical education  Promotion of the national musical life  Continuity of the tradition of western music  Professionalism  Indirect benefits from musical education  Social skills  Growth to an active member of the society  Prevention of social exclusion  Integration to society of certain groups  Economic influence  Preventive health-care

Target groups  European level  Members of the European Parliament (MEPs)  finance committee  Council of Europe  EU Commission  EU Directorate General (DG) education, culture and media  EU political administrations  Contacts to European political institutions  National level  Members of national Parliaments  National ministries  Culture, education and finance ministers  National political administrators  national level  municipalities  Contacts to national political institutions

Communication and advocacy in music schools  participate and influence the political decision making on national and regional level  prepare researches, make observation and mapping  mediate information to politicians and other decision makers  work as an advisor on cultural political issues  prepare public statements, recommendations and open letters to politicians, cultural operators and governments  produce music political programs and action plans  strengthen contacts to politicians  participation in cultural platforms  participation in public discussions, seminars and conferences  advocacy and networking (EMU, EMC, AEC etc.)  media presence and pr work

Communication and networking  Influencing the course of arts and cultural policy – at any level – is laborious and time consuming.  Cultural policy at the European level requires extensive co-operation between artists, cultural organisations, government ministries, and the politicians and officials responsible for cultural affairs in the EU.