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One-way ticket: mobility in South Eastern Europe

Blog: Blog
Author: Cristina Farinha - Date: 08 Apr 2009, 12:47
Photo by Chris Wilkins
Photo by Chris Wilkins

The Balkankult Foundation has just released a publication on the mobility of artists and cultural professionals in South Eastern Europe (SEE).

It joins together the results of the final report of the Mobility Matters research with a regional focus collection of essays, case studies and national profiles. This study was conducted by ERICArts with the expert contribution of Balkankult and concentrated on programmes and schemes to support mobility at the request of the European Commission – DG Education and Culture.

This investigation has informed the European Commission to launch the current call for proposals on the support to transnational mobility programmes or schemes in the field of culture. Find more information on this call on the Funding section blog.

Mobility has been central to Balkankult´s mission and activities right from its creation in 1999. Their Mobility Fund is another initiative to promote mobility and cooperation of people, ideas and works internationally and regionally.

When we consider the issue of mobility and cooperation in the arts and culture in SEE we come across an essential blockage: there is no freedom of movement in this part of Europe. Entry barriers such as visas and work permits considerably hinder circulation and mobility means frequently a one-way ticket from southeast to northwest. On the top, the lack of a specific social status, inappropriate working infra-structures and an incipient international scene push artists and culture practitioners to go away.

Brain drain is one of the main consequences. Another end result is an unequal traffic across Europe: north and west being most active and involved.

Arts and culture professionals leave in search for better conditions and adequate means for career development. As they are not entitled to free movement, the decision upon return is constrained thus in many cases postponed. And the other financial and legal obstacles make travelling and international cooperation too expensive and burdensome.

There is de facto a need for transnational mobility funds and support thus we welcome the Commission current actions on artists mobility. It would be fundamental as well to soften entry requirements. Unfortunately judging from current EU immigration fears and agendas it does not seem to be the way we are taking. Then, mostly, there is an urge for investment in the cultural life in these countries, so that professionals see their working opportunities in the region increased and diversified. At that point, mobility may become more balanced and a enjoyable choice.


 

 


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