European cultural associations

Associations and networks are prerequisites for a functioning democracy, even if their image is not always the best. At times, doubts were even expressed as to whether there could be a sufficient number of active interest groups of this kind in the field of European cultural policy. An online search, conducted on behalf of the Kulturpolitische Gesellschaft at the end of 2006, now gives an overview of the European association landscape for the first time and proves that culture lobbyists really do exist. Says author Patrick Glogner: "The search focused on those associations and networks whose resources and structure put them in a position to act at the European level."

The assessment was based on four criteria: Does the organisation in question encompass civil society players with democratic structures? Does it claim to be involved with European cultural policy? Does it have documented objectives, enquiries, etc.? Does it have members in at least ten European states? And finally: Are their indications of an active association policy, such as conferences, an up-to-date website, newsletter, etc.? Says Glogner: "Of the 77 associations and networks found, 44 meet the criteria. Roughly one-third of those are characterised by particularly strong representation of interests." Among others, they include the European Forum for the Arts and Heritage (EFAH), the Association Européene des Conservatoires, Académies de Musique et Musikhochschulen (AEC), the European Music Council (EMC) or Europa Nostra - pan-European Federation for Cultural Heritage.

If the associations are assigned to the classical cultural sectors, it is striking to note that the classical cultural genres, such as music, theatre, cultural heritage and cultural education, are the most active, along with associations involved with copyright protection. Under-represented fields are independent cultural work, socioculture and the preservation of customs and traditions.

The European Cultural Foundation (ECF) is one example that does not fit into the pattern of the traditional associations. The study nevertheless presents it because of its particular ambitions in terms of civil society and cultural policy - it is one of the leading, independent cultural foundations in Europe and divides its activities into three categories: "We support", "We advocate" and "We focus on". Founded in Geneva in 1954, the ECF is essentially financed by lottery funds, partnerships, sponsoring and its own resources.

You can find an overview of the study here (in German)