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NARVA 2024 Preselection Questionnaire For the European Capital of Culture 2024 #narvaisnext narva2024.ee  NARVA 2024 0. Introduction – General considerations Preselection Questionnaire 0. Introduction – General considerations 0.1. Why does your city wish to take part in the people in Narva. Arts offer a chance to address these competition for the title of European Capital of personal and societal taboos. Culture? After Russia’s annexation of Crimea and invasion into Narva is a city of contrasts, a city that has time and again Eastern Ukraine, international media flocked to Narva in lost and rebuilt its identity. Its location on Estonia’s north- search for a similar scenario here, producing stories un- eastern frontier, along the banks of a rapid river dividing der the headline “Is Narva next?”. Even though most of and uniting the North and the East, is the key to Narva’s them didn’t find any proof for their hypothesis, the neg- past and present. Residing on the fault line between the ative publicity had its impact on the image of the city. By tectonic plates of world’s civilizations, Narva features a becoming a European Capital of Culture, Narva would medieval castle that looks like a fairytale illustration, juxta- have a unique opportunity to turn the scaremongering posed with thousands of square meters of post-apoca- “Is Narva next?” into a provocative and brave “Narva lyptic-looking industrial legacy that is Kreenholm Facto- is next …” and fill it with unexpected positive content. ry. Narva also used to be the ‘Baroque pearl of the Baltic Sea’ before mutating into something similar to Cold War Narva is a work in progress, era Berlin with its prefab Soviet Khrushchyovkas. a dreamlike post-industrial city filled with promises and purposes The collapse of the former Soviet plan-economy indust- for an age yet to come. ries resulted in substantial unemployment and social problems including drug abuse and an HIV-epidemic With the ECoC bid, the city has decided to reframe itself (the highest rate of HIV in the EU). The collapsed value not as a fragile geopolitical time-bomb, but as Estonia’s system left behind a void that the Estonian government next big success story, a creative hotspot, making the failed to fill and that instead has been fed by the Russian most of the advantages of being a border city between state-controlled media. Thus the proportion of people Russian and European cultures. Given its geopolitical in vulnerable social situations in Narva is considerably location, unique history, post-soviet quirkiness, and higher than in the rest of Estonia. In addition to the social plenty of space for radical improvement, Narva might issues, the identity of the population is fragile because be one of the most important European Capitals of Cul- of the nationality issue – less than half of the population ture of all times. Narva would be a living proof that the are Estonian citizens, a little more than one third are citi- ECoC title is not an award for past achievements, but zens of the Russian Federation and 14% are stateless rather a catalyst for major positive change. holders of the so-called “alien passport”. Only about 4% of Narva population are ethnic Estonians. Also since Narva is predominantly Russian-speaking, the city and its people have felt isolated from the rest of Estonia, where 0.2. Does your city plan to involve its surroun- Estonian is the only official language. It’s as if Narva has ding area? Explain this choice. a split personality – you will hear Russian spoken ubiq- uitously, whereas the written language of street names As no man is an island, no city can tackle the challenges and advertising is mostly Estonian. alone in isolation from its environment. Narva has clearly understood both the vastness of the task at hand as well The public debate in the capital city of Tallinn doesn’t as the potential that lies in building strong partnerships reach Narva, the only news and issues reaching beyond with its neighbours. For this reason, Narva has partne- Narva to the rest of Estonia are concerning crime and red with the entire region of Virumaa, administratively economic decline. So, in a way, the whole of Narva has consisting of Ida-Virumaa (Eastern Virumaa) and Lääne- been marginalized and isolated in the Estonian context Virumaa (Western Virumaa) counties. Narva is working through the isolationist mindset, while the truly vulnera- closely with the Union of Ida-Virumaa County Munici- ble social groups even more so due to the added handi- palities and the Union of Lääne-Viru County Municipali- cap of absent language skills. Narva and the region also ties. It has signed cooperation agreements which invol- have the highest gender pay gap in Estonia (itself the ve all municipalities of the two counties - 8 in Ida-Viru- highest in the EU). The acceptance of LGBT people and maa and 8 in Lääne-Virumaa, total of 16 municipalities. people of other races/refugees/immigrants is conside- With the signed agreement, all municipalities in the re- rably lower than in the rest of Estonia and the EU – partly gion have stated their willingness to work for the com- explainable through the influence of the value system mon goal and shared principles, and contribute in pre- presented in the Russian state-controlled TV, still widely paring an inclusive programme for the ECoC 2024. the main source of information and entertainment for 1 0. Introduction – General considerations In a separate agreement, Narva has signed a Memo- Orchestra and Narva Sports Centre. Children and youth randum of Understanding with Rakvere - the cultural, have also access to cultural and creative activities at economic and administrative centre of Lääne-Virumaa. municipal schools and Narva Youth Centre. Rakvere, one of the previous candidate cities of ECoC 2011, has joined Narva’s candidacy to bring together In the field of heritage, Narva Museum is a foundation the historic region of Virumaa as a whole and build established by the City of Narva and Estonian Govern- stronger links within the region, but also with other parts ment. Narva Museum operates the old castle complex, of Estonia and Europe. Programme development work- making it one of the top museums in terms of visitor shops and discussions have taken place in Narva and numbers (more than 70 000 visitors annually). The Rakvere, involving cultural and civil society operators museum has become a vibrant tourist attraction and from both sides. destination for family tourism. Part of the museum is being currently renovated, which will create even more opportunities to offer state-of-the-art visitor experience. 0.3. Explain briefly the overall cultural profile of Cultural Centre Rugodiv creates opportunities for cul- your city. tural activities for youth and adult groups, it has more than 15 collectives and clubs for dance, music, theatre Narva has a vibrant cultural life and folk culture, with total of 600 participants. The cent- just waiting to be discovered by re is also organising cultural events and performances the rest of the world. of visiting groups. Annually, the centre has more than 1500 events with more than 300 000 visits. Geneva Concert Hall is one of the main stages for large-scale Narva’s cultural profile is multi-layered, consisting of a events in the city, with 650-seats main hall and 150-seats wide network of municipal cultural and education insti- smaller hall. It is a venue for concerts, conferences and tutions as well as grass-root level initiatives. Even though festivals. Narva is relatively unknown even to Estonians, there has been a major change recently in awareness and visibili- The Central Library of Narva is granting free and un- ty of Narva on the national cultural scene. limited access to information, knowledge and cultural content. One of the priorities for the library is to offer Narva might have been off Estonians’ radar, but it has life-long learning opportunities for adults and pro- had rich cultural life throughout its history. “As in the past, grammes for children and youth. The library also has Narva remains a melting pot for nations, periods and cul- busy cultural programming, which includes exhibitions, tures, old and new. This is what makes the town so spe- concerts, seminars, meetings with writers, etc. In total, cial. The 13th century castle, a beautiful baroque Town the library has 13 000 registered readers with more Hall, the best preserved system of historic defence buil- than 160 000 annual visits. ding (bastions) in Europe, once Europe’s largest and ex- cellent example of British industrial architecture – Kreen- Narva is particularly proud of its Symphony Orchestra, holm Manufacture complex, and much, much more. one of few examples of its kind in Estonia. Orchestra Narva is the one of the most eastern points of the Eu- includes more than 60 professional musicians. The or- ropean Union and the only location in Estonia that off- chestra is actively performing in Narva, in other cities in ers an unobstructed view of Estonia’s neighbour Russia. Estonia as well as abroad. Narva castle on the one bank of the river and Ivangorod fortress on the other bank, form a unique architectural Narva has very strong traditions in creating opportuni- ensemble.” (tourism.narva.ee) ties for children and the youth to take part in cultural activities at municipal cultural schools, clubs, youth cent- In January 2018, Narva announced its decision to apply res and organisations. As of 2018, there are 5125 stu- for the title of European Capital of Culture. Within a coup- dents enrolled in municipal cultural extracurricular le of months following the announcement, a series of schools. The city provides very low participation fees brand new cultural events and also traditional festivals and free-of-charge activities for children and youth were announced and brought to life, including the first from disadvantaged groups. Baltic Sun music festival (July 2018), “Kremli ööbikud” Theatre performance (August 2018), which eventually The city’s history has dictated the fabric of its diverse proved to be an all-time biggest theatre production suc- identities and cultures. In Narva, there are 26 actively cess in Estonian theatre history with 24,000 tickets sold working national cultural associations, including those and raving reviews, Narva Opera Days (September representing different cultural expressions from Russia, 2018), and the first Station Narva international music Belarus, Inger-Finns, Polish, Tatars, Jewish, Uzbeks, and and city festival (September 2018). Summer of 2018 many others. will go down in the history of Narva’s cultural life as a real turning point, where the city’s cultural endeavours There are many private cultural and creative initiatives received a positive nudge by the prospect of European and organisations operating in the city, also initiatives Capital of Culture and a real ambitious upgrade to strive by other institutions in Estonia. In addition to the two for more, to grow and reach new audiences. existing professional theaters, in 2017, Vaba Lava star- ted construction to open a new theatre centre in Narva. City of Narva has 10 municipal cultural institutions, The centre will be opened in 2018 with a 220-seats including six arts and music schools, Cultural Centre theatre hall. Narva Creative Incubator Foundation has Rugodiv, Central Library of Narva, Narva City Symphony received funding to establish a new visual multimedia 2  0. Introduction – General considerations centre OBJEKT in Narva. One of the key players for in- powering the communities and celebrating them as ternationalisation and mobility is Narva Art Residency, valued members of the society in Estonia and in Europe. which has already created links with many cultural ins- titutions in Europe and hosted artists from across the Narva2024 offers a unique opportunity for the city and world. citizens to redefine and rewrite their narratives and iden- tity that has been hit hard by the historic political changes in the 1990s. Narva2024 will encourage outreach and community immersion by a funding model of projects 0.4 Explain the concept of the programme that rewards sustainable and long-term outreach and which would be launched if the city is designat- community engagement from all applicants. This ap- ed as European Capital of Culture. proach is not only a new and untested method in Narva and the region, but also a piloting opportunity for Esto- Narva2024 is drawing its ener- nia’s arts funding. This approach will create a win-win gy from the poetic metaphor of situation – members of the most vulnerable commu- the Narva river - the ever chang- nities will develop new skills and confidence, find new ing powerful force of nature, paths of life while artists will reach new innovative ideas that separates the two banks as and artistic expression by interacting and working with a natural border which can be communities and groups that have remained outside of overcome by a bridge connect- their usual peer groups and audiences. In order to reach ing people, identities, art forms, the vulnerable communities Narva2024 will cooperate with social services, criminal rehabilitation officers, un- disciplines and destinies. employment offices, health services and housing es- tates. Narva2024 will build on the existing work done in River flows through the programme as the colourful Europe regarding artistic intervention, we will strengt- and at times tragic history, the source of energy that hen European network on artistic intervention for social determined first trade and then the industrial devel- issues and plan to launch series of European initiatives opment as the core of the city, the inevitable change on encouraging artistic intervention. that keeps happening and that the people and the city have to adapt to. Border symbolises the contradictions Narva2024 will explore the identities shaped and scat- and conflicts but also the overlaps and diversity, the tered by the river and build a bridge to a new narrative gray area that is the source of inspiration and intrigue. for the city and the region. Narva is next … story written Bridge brings everything and everyone together - local, by its people. national, and global, creates networks and new connec- tions across countries and disciplines. Narva2024 is the next gateway for talent, arts, innova- tion and ideas. The concept builds on the local diver- Narva2024 aims to position the city as one of the bravest sity, connects it with Estonian and international talent new creative hubs in Europe. A collaboration hub bet- to become the brave next hub for cultures, nationalities ween East and West, proving that creativity and diversity, and disciplines. Confidently rooted in its rich history and if nourished well, can turn around a pattern of decline in diverse cultures, yet dynamic, agile and flexible to enter society – bringing together arts and innovation, entrep- the 21st century, where digitalisation and automation reneurial thinking and creative collaborations. will lead to further disruptions in the job market and new forms of economy. The foundation of the programming is valuing the local subcultures and communities. National and international Narva2024 is next to Russia - a link for cultural diploma- programme creators will join the programme with the cy and a tool to connect Europe and Russia in a unique condition of cooperating with local and regional partners way via the Russian-speaking community at the bor- and including regional artistic content. Capacity building der of EU. Narva2024 will offer new opportunities to for- and knowledge sharing is a goal in itself throughout pro- ward-thinking and progressive Russians to experience gramming. The programme will be a two-way street: European values and cooperate with Europe. not only encouraging events and projects from outside to Narva and the region, but also encouraging local orga- Narva2024 is designed to support Narva’s vision set in nizations to export and expand. Estonia’s success story its Cultural Strategy 2030 not merely for the cultural as a digital nation will be used for the benefit of Narvas’ sector, but for the entire city. The aim is to create a hu- development – the start-up community, eg. e-Residen- man and nature friendly living environment, which pla- cy, e-Governance, creative industries export strategies. ces culture, creativity, entrepreneurship and healthy life- style in the centre of city development. Narva as a bor- The history, heritage and cultural diversity will boldly be der city is a unique meeting place, where diversity and put into focus with the help of contemporary formats openness is seen as a strength, not a weakness. People in and innovation. The question of identity is the key, yet Narva are actively engaged in cultural and sports activ- the most sensitive issue. The challenge and the unique- ities, both as creators and participants. Culture and cre- ness for the programming of Narva2024 is to celebrate ativity needs to be tightly linked with business develop- Narva’s roots and the ethnic groups, and to build a se- ment and innovation, to make Narva more competitive cure platform where everyone’s uniqueness can be val- and attractive as a regional hub. ued. Some on these minority groups have felt isolated in Estonia through decades. Narva2024 aims to enhance inclusion through culture and self-expression, em- 3 1. Contribution to the long-term strategy Narva promenade Photo by Aron Urb 1. Contribution to the long-term strategy 1.1. Describe the cultural strategy that is in place Cultural strategy in your city at the time of the application, inclu- ding the plans for sustaining the cultural activi- The existing Narva city development strategy for 2008- ties beyond the year of the title? 2021 presents a vision of a city which offers enab- ling environment for well-being of its citizens as well General overview as attractiveness for visitors and investors. The city is annually updating the strategy and the updated version Narva is the third largest city in Estonia with the popula- is currently being discussed by the City Council. In that tion of 56,103 inhabitants. The population has been de- draft version, the strategy includes a number of new creasing constantly since Estonia re-gained its indepen- directions based on the preparations for the ECoC title. dence, in 1993 the population was 83,000 inhabitants. According to the document, the aim of the city by 2024 is to carry a European Capital of Culture title as an inter- In terms of different ethnic groups, 83% of inhabitants national meeting place of different cultures, where the are Russian, 4% are Estonians, 2% Ukrainians, 2% Be- catalyst for positive change is its rich and diverse cul- larusians, others 9%. 48% of Narva’s inhabitants have tural life, entrepreneurial mindset of its people, and en- Estonian citizenship, 36% have Russian citizenship, 14% vironment where creativity can flourish. The draft stra- have undetermined citizenship (they have permanent tegy also introduces a number of horizontal measures living permits, but they have not acquired Estonian or and includes culture and creative industries across oth- any other citizenship), 2% are citizens of other countries. er areas, including the business development, tourism promotion and social affairs. In 2017, the unemployment rate in Estonia was 5.8%, in Narva the rate was 8.45% and in Ida-Virumaa 12.4%. The existing Narva culture and sports development Narva’s and the region’s economy has largely been strategy for 2015-2022 presents a comprehensive set based on oil-shale mining and textile industry, which will of strategic goals to support the development of cul- face heavy challenges in light of new renewable energy tural and sports activities. The city has positioned cul- sources and overall competitiveness. The average ture and sport as one of the key factors for creating a monthly salary in Narva was 889 Eur in 2017, which is conducive living and working environment. The four considerably lower than Estonian average of 1221 Eur. main goals include facilitating access to culture and This all creates a context in which culture and creativity heritage to encourage creativity of its citizens, providing need to bring positive change. high-quality cultural and sport services and infrastruc- 4  The draft strategy includes seven goals: 1. Contribution to the long-term strategy ture, and improving the sustainability of the cultural and sports sector by balancing traditions with innovation, building on regional and international partnerships and 1. Supporting active and diverse cultural life, which supporting bottom-up initiatives and community activi- values both traditions and innovative approaches. ties. As one of the tools to raise the cultural profile of 2. Creating favourable conditions for being engaged Narva, the strategy includes the city’s ambition to apply in sports, both in professional sports as well as for the ECoC title. sports for all. 3. Supporting grass-roots activities, engaging com- As a key part of the ECoC application process, Narva munities, encouraging private initiative, and putting has launched a complete overhaul of its cultural and in place transparent and inclusive decision making creative strategy. The process was officially launched processes. by the decision of the City Council to prepare a new 4. Developing city’s physical infrastructure and urban comprehensive Narva Cultural Strategy 2030, which planning to support creativity, healthy lifestyle and covers both culture, creative industries, sports and all lowering of ecological footprint. other related fields. The new cultural strategy has been 5. Encouraging creative entrepreneurship and crea- already drafted and discussed with key stakeholders. tive cross-overs for innovative solutions in other The process will continue in parallel to preparation of fields. the final ECoC application and will be adopted by the 6. Promoting city as a tourism destination and devel- City Council prior to the final application in 2019. oping high-quality tourism services and infrastructure. 7. Internationalisation of city’s cultural and creative The reason for the new strategy is many-fold. Firstly, the life, and building strong links with partners in the existing strategy did not cover the year 2024 and the region and across Europe. following years. Secondly, the existing strategy focused primarily on cultural and sports sectors and did not en- Each of the goals includes performance indicators compass the full range of related areas and cross-over and set of measures and programmes to implement impacts of culture and creativity. Thirdly, with the de- the strategy. The draft strategy will cover years lead- cision to apply for the ECoC title, Narva has included a ing to the ECoC title and six following years. The aim much more ambitious plan for the city. The new cultur- is to sustain the impact achieved by the ECoC. Narva al strategy addresses all of those aspects. is contributing large part of its annual budget to cul- ture and sports. In 2017, the cultural and sports budget Narva Cultural Strategy 2030 aims to create a human amounted to 12% of the city’s total budget, in addition, and nature friendly living environment, where culture, culture and sports received funding through other parts creativity, entrepreneurship and healthy lifestyle are of city’s budget, including city infrastructure, education, placed in the very centre of the development. business development and tourism. Narva will contin- ue investing into culture and creativity and with expect- Narva as a border city is a ed cultural, social and economic impact of the ECoC, fi- unique meeting place, where nancing of culture will be seen more as investment that diversity and openness are seen triggers positive change in other fields. The ECoC title as a strength, not a weakness. will lead to increased participation and financing by the private sector, which will further diversify Narva’s cul- People in Narva are actively engaged in cultural and tural life in years following to the ECoC. In 2019, the City sports activities, both as creators and participants. Council will adopt a detailed action plan together with Culture and creativity need to be tightly linked with the cultural strategy that will include planned activities business development and innovation, to make Narva for sustaining the ECoC impact and build upon those a more competitive and attractive regional hub. results. To achieve its vision, Narva needs to be: • Ambitious: thinking big, acting big, ready to take risks and ready to succeed. • Engaging: strong city is based on strong com- munities, local people taking initiative and feeling the ownership, valuing the local traditions and place-specific initiatives. • Innovative: being open to new solutions and ex- perimentation, using culture and creativity to offer solutions to social, economic and environmental challenges. • Connected: culture and sports are not stand-alone sectors, they are closely connected and integrated to all related areas of development in the city. • Open: building strong partnerships within the re- gion, with rest of Estonia, in Europe and in neigh- bouring Russia. 5  1.2. Describe the city’s plans to strengthen the 2. Favourable conditions for sports and healthy lifestyle: 1. Contribution to the long-term strategy capacity of the cultural and creative sectors, in- cluding through the development of long term • Supporting the activities of sport organisations de- links between these sectors and the economic spite of their legal status, including events and com- and social sectors in your city. petitions, infrastructure and technical equipment. • Launching a large-scale capacity building and train- The draft Narva Cultural Strategy 2030 presents wide- ing programme for sport managers, including sport range of proposals to strengthen the capacity of cul- schools, clubs, event organisers and organisations. tural and creative sectors (including sports) for each • Supporting networking and involvement in regional of the strategic directions. The key measures include and international partnerships. following: 3. Community involvement: 1. Active and diverse cultural life: • Supporting grass-root initiatives through training • Supporting the activities of cultural operators de- programmes, awareness-raising initiatives and spite of their legal status, including programming, funding programs. infrastructure and technical equipment. • Implementing open, transparent and inclusive de- • Launching a large-scale capacity building and cision making process to encourage civic participa- training programme for cultural managers. tion and active involvement of all key stakeholders. • Supporting networking and involvement in regional • Creating better conditions for motivating and in- and international partnerships, including support volving volunteers and private contributors in cul- for international co-productions, residencies, mo- tural and sports projects and processes, offering bility and exchange programs. volunteers additional programmes and trainings. • Facilitating access for children and youth to partici- • Introducing participatory budgeting to engage citi- pate in cultural activities, art and music schools and zens more directly to decision making and allowing non-formal education programmes. cultural operators to be more directly linked with • Implementing city-wide audience development the wider population. strategy and training cultural organisations in draft- • Facilitating equal opportunities and access to all ing their individual audience engagement plans. people, including people with special needs, train- Estonia’s future rowing Olympians cleaning their racing shells at the Narva Rowing base Photo by Aron Urb 6  1. Contribution to the long-term strategy ing cultural and sports managers in matters related The reasons for engaging entire Virumaa go far beyond to dealing with service development and working the question of scope and resources. On the one hand, with people with special needs. municipalities in Ida-Virumaa share many similar prob- lems as Narva. Ida-Virumaa as a whole is an industrial 4. Urban landscape: region, influenced by similar environmental, societal and economic challenges. According to Estonia’s Sta- • Aligning city’s general urban development plan with tistics Bureau, 19% of inhabitants of Ida-Virumaa are the aims of the cultural strategy to create a physical ethnically Estonian, 73% Russian and 8% other natio- environment that supports creativity, healthy living nalities (in Narva, 4% are Estonian, 83% Russian and 13% and entrepreneurship. other). The Ida-Viru region has considerably lower aver- • Developing Narva’s creative milieu, which includes age salaries (997 euros per month, in 2017) compared necessary infrastructure for culture and sports, to the Estonian average (1221 euros, in 2017). In 2017, open air areas, parks and green areas, bicycling the registered unemployment rate in Estonia was 5.8%, roads, etc. in Ida-Virumaa the rate was 12.4% and in Narva 8.45%. • Enriching the urban landscape with public art. Ida-Virumaa already has a number of cooperation • Working closely with private owners to improve the initiatives, including a joint tourism development and overall appearance of the city by investing into resi- marketing strategy. As isolation is one of the key dential buildings and developing old industrial spaces. themes Narva2024 wants to address, we have decided to engage also Lääne-Virumaa. While the two coun- 5. Creative industries and cross-overs: ties are historically and economically closely linked, the cultural and societal cooperation has been very li- • Integrating culture and creativity in all related city mited. Building strong partnerships with the neighbou- strategies and development plans, including tou- ring region is a first step for Narva and Ida-Virumaa to rism development, education and social affairs, engage closer with rest of Estonia. business development, urban infrastructure, etc. • Launching a creative industries awareness raising Throughout the strategy and the ECoC programme, the and development programme in cooperation with key aspect is capacity building of all key stakeholders, creative incubator and Creative Estonia, carrying in particular the cultural managers, organisers, staff of out detailed mapping of creative industries and re- public institutions and civil society representatives. The lated fields in Narva, organising workshops, hackat- main focus areas include strategic management of arts hons, trainings, creative economy academy pro- and culture, audience development and engagement gramme, networking between creative sectors as strategies, internationalisation and networking, use of well as with other sectors (energy, industry, forestry, new technologies and design thinking principles, creati- etc). ve industries and new business models, and language • Joining a regional film fund to attract international skills. The capacity building programmes will be or- film crews to shoot in Narva and in the region, sup- ganised in cooperation with national agencies (e.g. Un- port the development of audiovisual service cluster employment Insurance Fund) and higher education ins- to offer high-quality service for those projects. titutions (including Tartu University’s Narva College) as part of wider life-long learning initiative. 6. Tourism development: • Promoting and marketing Narva as a attractive tourism destination and working with other munici- 1.3. How is the European Capital of Culture ac- palities in the region to offer joint packages and tion included in this strategy? programmes. • Working with tourism sector to increase available ECoC action is streamlined throughout city’s strategic tourist service capacity, including accommodation, vision. On one hand, ECoC is brought as a strategic di- catering, programming, etc. rection in both the Narva’s draft city strategy as well as • Capacity building to increase the service quality the Narva Cultural Strategy 2030. On the other hand, of the tourism sector, including customer service, the aims of the ECoC and its planned impact go far language skills, promotion materials, international beyond city’s cultural strategy. Narva sees the ECoC quality standards, etc. application process and later bearing the title as a key ingredient in its mission to make the city culturally more 7. Partnerships and internationalisation: vibrant, socially more cohesive, and economically more competitive place to live, work and visit. • Linking local cultural operators with national and More specifically, the ECoC action will contribute directly international networks, associations, clusters and to the following key areas: programmes, supporting internationalisation and cross-border initiatives. • Cooperation with other European Capitals of Cul- ture and cities across Europe that share similar challenges and conditions as Narva to offer solu- tions for others. • Organising press-tours and international visits for experts and journalists to match-make them with local partners. 7 1. Contribution to the long-term strategy • Enriching Narva’s cultural life and strengthening In this process, the stakes are high not only culturally, links with cultural operators across the region and but also for the future position of Narva at large. The country. ECoC process has initiated a positive change in the so- • Capacity building for local and regional cultural ope- ciety, both within Narva and in the entire Estonian society. rators to better manage cultural and creative pro- cesses. The ECoC candidacy and its im- • Internationalising Narva and building stronger pact so far has been seen as a cross-border links and networks with Europe and crucial tool for integrating Narva Russia. with the rest of Estonia and • Developing new audiences and activating local Europe. population in cultural participation. • Raising awareness about Narva and the possibili- The frequency of high-level visits to Narva, highlighting ties it offers for citizens, investors and visitors. Narva and Ida-Virumaa as one of the government’s prio- • Mapping city’s cultural and creative sectors and sup- rities and even the symbolic act of the Estonian Presi- porting creative industries initiatives and spillovers. dent to move her offices temporarily to Narva in August • Helping Narva to become true meeting place and 2018 have all resulted in a change in attitudes for the creative hub for local, Estonian, European and Rus- local population, who, for many years after Estonia re- sian professionals. gained its independence, have felt isolated and neglect- • Marketing Narva and Virumaa as attractive tourist ed. The ECoC candidacy has given Narva a new breath destination and developing necessary tourism service. and a new shared goal, and we are ready to work hard to realise the hopes and expectations the process has The decision to apply for the ECoC title has already raised. in a very short time brought along significant positive changes in many of the above-mentioned areas. It has resulted in unprecedented level of engagement of local population and cultural professionals, which in turn has increased trust and cooperation between the commu- nity and policy-makers. It has also raised Narva’s profile On the 23rd of January 2018 Narva announced its decision to throughout Estonia - the positive media coverage has apply for the ECoC title. The President of Estonia, Kersti Kaljulaid, Ambassadors of European countries and the members of Narva supported cultural operators to bring productions to City Council, as well as local cultural activists and entrepreneurs Narva with great success (summer theatre production were there to support it. Photo by Tõnu Tunnel “Kremli ööbikud” was attended by a staggering 24,000 people). Tourist numbers are rapidly growing: during the first three months of 2018 alone, the number of tourist to Ida-Virumaa increased 23% (compared to 6% of national growth). 8  1.4. If your city is awarded the title of European 6. Tourism development: 1. Contribution to the long-term strategy Capital of Culture, what do you think would be the long-term cultural, social and economic • Increased number of visitors and over-night stays impact on the city (including in terms of urban • Improved tourism offer in Narva including accom- development)? modation and catering • Increased visibility of Narva in national and interna- The ECoC process contributes to all seven cultural and tional media creative development pillars, for which the city has de- • Increased satisfaction rates with the tourism offer veloped KPIs (key performance indicators) to assess quality the short, medium and long-term impact on the city’s • Better connections with other parts of Estonia and development. While the final list of KPIs is still in de- Russia, faster connection times and frequency velopment and will be adopted together with the final Cultural Strategy 2030, the initial list includes the fol- 7. Partnerships and internationalisation: lowing: • Increased number of partners and cooperation 1. Active and diverse cultural life: projects (including mobility, exchange and co-pro- duction) in neighbouring municipalities, rest of Es- • Increased number, quality and diversity of cultural tonia and across Europe and Russia events and projects, including co-productions with- • Local cultural operators are better involved in inter- in and outside of Estonia. national networks, clusters and projects • Increased cultural participation rate • More children and youth are involved in cultural ECoC process boosts the extent of those impacts and and creative activities through schools, extra-cur- improves sustainability of those changes as it spans ricular activities and cultural organisations over a longer period of time. The most significant added • Cultural operators and managers have better skills value of ECoC will be in the areas of involvement of and competences local communities (bringing people closer to decision making process by applying transparent and open 2. Favourable conditions for sports and healthy lifestyle: planning procedures), visibility and attractiveness of the city (leading to more visitors and improved tourism of- • Increased number of sporting events and facilities, fer quality), internationalisation and partnerships (more more people involved in sport activities cooperation projects across borders), and economic • More children and youth are involved in sport-relat- impact (increased number of creative companies and ed activities through schools, extra-curricular activ- cross-over projects to other sectors). In 2012, Estonian ities and cultural organisations Ministry of Culture carried out a study on the direct • Sport operators and managers have better skills economic impact of cultural and sport events on local and competences economy. According to the study, on average, every 1 euro in the budget of an event generates 4 euros of 3. Community involvement: direct economic benefit to the local economy. The im- pact of ECoC on local businesses and service providers • Increased transparency and involvement of local will be crucial for further investment and sustainable population and cultural operators in decision-mak- growth. ECoC will help the city mainstream culture as ing processes a key development factor throughout Narva’s strategy. • Increased funding for private initiatives, more grass-root activities in the field of culture We have been carefully studying the experience of • Increased number of volunteers and private sector previous cultural capitals (e.g. Liverpool, Mons, Tallinn, partners in cultural activities Pilsen, to name only a few) in terms of their assessment of impact. We believe, that the key lesson from previous 4. Urban landscape: ECoCs is to have clear focus areas, helping to maximise the impact on city’s cultural, social and economic life. • Better infrastructure for cultural, creative and sport- We have decided to avoid putting quantity over quality ing activities in terms of programming and setting priority areas. • Number of rehabilitated industrial spaces and im- proved residential buildings • More art in public places 5. Creative industries and cross-overs: • Number of cultural and creative companies, share of employment and contribution to local economy • Number of crossover projects between creative in- dustries and other fields. • Cultural and creative professionals have better skills and competences in business model development and innovation processes 9  1.5. Outline briefly the plans for monitoring 1. Contribution to the long-term strategy The monitoring and evaluation of the artistic program- and evaluation. me will be carried out with the help of artistic commit- tee, which will include cultural professionals on local, Based on the set Key Performance Indicators (to be regional, national and international level. finalised by final Bid-Book), the monitoring and eva- luation will be carried out throughout the process in a We are planning to build monitoring and evaluation mo- transparent, open and inclusive manner to inform all dules into the process right from the start. We will work the stakeholders, build trust and lay groundwork for a with universities and research institutions (e.g. Tartu Uni- sustainable strategy in the years following the ECoC versity Narva College, University of Tallinn, Estonian Eco- title year. nomic Research Institute, Creative Estonia, Estonian Busi- ness School, etc.) to prepare impact assessment metho- Narva2024 will be managed by a separate judicial in- dology that would look both at the quantitative as well stitution (foundation), which will be created specifical- as qualitative data. It is crucial for us to evaluate not only ly for that purpose. The city will invite representatives economic impact, but also cultural and social impact of from other regional partners, central government as the ECoC. Narva2024 could be a great source for aca- well as international experts to form a supervisory demic studies in the fields of culture, creative industries, board responsible for overseeing the management of urban planning, identities and minorities, tourism, poli- the process. We have already studied many impact tical science, etc. assessment and evaluation reports from previous ECoCs, which will serve as the basis for setting up the monitoring and evaluation system. Narva’s urban landscape Photo by Aron Urb 10  2. Cultural and artistic content 2. Cultural and artistic content 2.1. What is the artistic vision and strategy for the cultural programme of the year? The backbone of Narva2024 artistic vision is the Narva river - the ever changing powerful force of nature, that separates the two banks as a natural border which can be overcome by a bridge connecting people, identities, arts forms, disciplines and destinies. Narva river, the view to Russia Photo by Aron Urb Border symbolises the contradictions and conflicts but also the overlaps and diversity, the gray area that is the source of inspiration and intrigue. Border is a powerful metaphor for the complicated history of Narva and the identities of its people today, the fragility of the status quo, the tensions, reconciliation and resolution. The geopolitical meaning of the border will be explored ar- Narva River and the border crossing between Narva (EU) tistically, including the challenges it poses and opportu- and Ivangorod (Russia) Photo by Tõnu Tunnel nities it opens not just in politics and daily lives of peop- le but also for artistic creation. The overlapping and River flows through the programme as the colourful contradicting identities created by the border location and at times tragic history, the source of energy that offer a rich material for social arts. E.g. the community determined first trade and then the industrial develop- of Narva “Venice” lives with and by the border and is a ment as the core of the city, the inevitable change that fascinating partner for artistic co-creation or interven- keeps happening and that the people and the city have tion projects. The two castles on each side of the river/ to adapt to. It will be used as a storytelling vehicle for border offer a strong visual reminder of the history of all segments of the programming dealing with history, conflict and an opportunity to be used as spectacular industrial heritage and change but also simple daily life. venues for high-level events. In addition to the very Living with the river is symbolic for tackling life challen- visible EU-Russia border there seems to be an invisible ges: it requires people to cooperate in order to harness mental border between Narva and the rest of Virumaa the power of nature, reach personal growth, bring life and Estonia at times that is worth exploring through and food. Quite like the struggle of creating artistic con- artistic research. Borders between different nationali- tent itself. On a practical level river Narva will play a ma- ties are best embodied by the language barrier/border. jor part as the programming venue starting from small Border as a title also opens unchartered territories for scale community activities like collecting the stories of exploration serving as a hook for international arts proj- Narva fishermen up to large-scale installations and inter- ects that can dive deep into borders in any sense. From national events also reflecting the trading history, the borders to borderlessness. industrial heritage, embracing different disciplines of arts. Narva2024 will bring more Europe to the EU-Russian border, as well as offer a cultural diplomacy and exchange tool for Europe and Russia as a unique Russian-speaking community at the edge of EU. This is an opportunity for Europe to build closer cultural collaboration with Rus- sian artistic and creative communities, embracing the cultural wealth of their roots and traditions, yet placing them firmly within the European value system. At the same time, it will offer opportunities for forward-thinking and progressive Russians to collaborate with Europe. 11  Narva2024 vision is to be a connector and an engine 2. Cultural and artistic content for opportunities With this project Narva aims to position itself as one of the bravest new creative hubs in Europe. A collabo- ration hub between East and West, between Europe and Russia, proving that creativity and diversity, if nouris- hed well, can turn around a pattern of decline in society – bringing together arts and innovation, entrepreneurial thinking and creative collaborations and thus constantly create more opportunities. Strengthening the national and international co-operation The footbridge between EU and Russia Photo by Tõnu Tunnel The foundation of the programming is valuing the local Bridge brings everything and everyone together - local, subcultures and communities. National and internation- national, and global, creates networks and new con- al programme creators will join the programme with nections across countries and disciplines and helps the condition of cooperating with local and regional to overcome differences. Bridge is also an important partners and including regional artistic content. Capacity part of the daily lives of people in Narva with a lively building and knowledge sharing is a goal in itself in cross-border traffic today and even more so in the all programming. The programme will be a two-way past, when workers used to cross the footbridge from street: not only encouraging events and projects from Ivangorod to come to work at the Kreenholm factory. outside to Narva and the region, but also encouraging Bridge will include all programme parts that connect local organizations to export and expand. Most of the artists and communities, different disciplines, countries companies and organizations in the sector still see their and regions. Bridge is also a storytelling tool for pro- market just in a limited region, ECoC will help them see gramme elements that aim to overcome the language the whole country, but also international markets as a gap - one of the major issues between Narva and the potential for growth. Local partners for national and inter- rest of Estonia. But bridge is also used to mark the po- national organisations and creators can be artists but tential personal journey of community members going also communities, schools, vulnerable social groups etc through hard times towards a more positive outlook via as long as the cooperation leads to long term meaning- engaging with arts. (One of the most active NGOs in ful co-creation. this field in Narva is called “Uus Sild” - new bridge.) The connecting ability of the bridge is the core of all collabo- Creating networks ration projetcs. Additionally, bridges across the river Narva but also others in the region can themselves be- The programme strategy will attract national and inter- come arts venues. national artistic organisations, yet combine it with local and regional partners and artistic content. It will reach With the ECoC title Narva will be- out to networks, hubs and programmes to ensure clos- come a gateway for talent, arts, er ties to European organizations and initiatives, inclu- innovation and ideas. ding strategic international partners, eg. former ECoC cities, European cultural organizations, Russian, espe- Serving as an open hub for cultures, nationalities and cially St Petersburg’s cultural organizations, twin cities, disciplines to meet and collaborate, Narva will be joining Swedish partners (the special Swedish connection). the dots and connecting geographical, cultural as well The programme will tap into the best knowledge and as sectoral ties, acting as a bridge in the widest sense. networks available in Estonian creative sector, inclu- ding key national partners, e.g. Saaremaa Opera Festi- The city will accumulate knowledge and networks that val, Järvi Academy, Nargen Festival, Black Nights Film will allow it to reinvent itself as an innovative engine - Festival, Tallinn Music Week, Jazzkaar Festival, Tallinn confidently rooted in its rich history and diverse cultures, Fashion Week, Tallinn Design Festival, Tallinn Architec- yet dynamic, agile and flexible to enter the 21st century, ture Biennial, Simple Session, Street Food festival, Esto- where digitalisation and automation will lead to further nian Song Festival in 2024 and others. The programme disruptions in the job market and new forms of economy. will provide help to local organisations and companies to be part of a variety of European cooperation frame- works (Erasmus, Creative Europe, European Media Pro- gramme, Music Moves Europe programme and others). 12  Creating a sustainable engine for opportunities and building a legacy of social capital 2. Cultural and artistic content The programming will encourage sustainability in the sector by introducing process based thinking, not only projects and events. Founding of hubs, residences and development centers will be encouraged to generate collaborations, mobility, exchange and new projects: Kreenholm Factory - a former industrial giant, and the most modern textile factory in Europe at its inception in the 19th century Photo by Tõnu Tunnel • Creative Hubs - Establishing creative hubs that • Cultural and Creative Sectors’ Development systematically accumulate knowledge and compe- Centres - In collaboration of the key Estonian sec- tence, would be essential to the region’s develop- toral organizations, it would be important to set up ment. Together with Vaba Lava theatre, a creative activities and local teams to also secure sectoral industries hub “Object” will open up at the former development. Potential partners include: Esto- Baltijets Factory (Narva, Linda 2). A visitor center nian Film Institute, Music Estonia, Estonian Design at Kreenholm Factory (250 000 m2 former textile Centre, Estonian Centre for Architecture, Estonian factory) will open up in 2019, there have been ideas Theatre Agency, etc, but also interdisciplinary or- to set up a creative hub in territory of Kreenholm as ganizations and creative industries platforms like well to create an environment for creative compa- Creative Estonia and Creative Narva. nies - the kick-off of these two projects would have huge impact. Potential partners and networks they • Estonia’s success story as a digital nation will be used could benefit from: Trans Europa Halles, European for the benefit of Narvas’ development – the start- Creative Hubs Network, European Creative Busi- up community, eg. e-Residency, e-Governance, ness Network, Impact Hub, Green Hub, potential creative industries export strategies. partners in the region: Skorohod in St. Petersburg, CCI Fabrika in Moscow, Kaapelitehdäs in Finland etc. • Residency programmes - Narva Art Residency has already proven the kind of impact that regu- lar international programming and residents, who spend longer time in Narva city amongst its inhabi- tants, can have. In addition to their arts program- ming, by living their daily lives and interacting with the locals, these residents already visibly change the social patterns and create more openness to new ideas and types of people. More programmes like this will be welcomed and existing ones em- powered. 13  2.2. Give a general overview of the structure of Upgrading the existing with innovation 2. Cultural and artistic content your cultural programme, including the range and diversity of the activities/main events that The foundation of the programming is valuing the local will mark the year. subcultures and communities and strengthening the local and regional cultural life. Yet, to push the region The goal of the programme structure is to diversify and towards a real upgrade in quality and capacity, new for- strengthen cultural life, to connect local organizations mats, innovation and wider collaborations and partner- to national and international networks and initiatives ships are needed. Each and every project will need to and to set up an engine that will systematically create describe how exactly do they plan on highlighting local more opportunities. cultural richness and local talent in their programming as well as, instead of competing with the existing initia- The programme outline will be formed within a tives, it adds value and strengthens the local. three-layer set-up: Narva 2024 project will aim to encourage innovation in • Centrally organized productions, projects and part- the type of collaborations across sectors and industries nerships, that the Narva2024 organization will pro- (film with literature, music with technology etc.) as well duce and promote itself. as innovation in forms of marketing and communica- • Programme applications to be received within an tion. Arts organizations will be encouraged to think how Open Call for projects, ideally twice a year, starting to use Estonia’s success story as a digital nation to en- from 2020 until the end of 2023. hance local and regional life and to add to the creative • An on-going Open Call for smaller scale community networks’ fabric. For example, e-Residency programme projects that will encourage grass roots initiatives, can be put to work to encourage global companies in neighbourhood festivals and sub-culture events. setting up their businesses within Estonia (thus within the EU legislation), or Estonia’s globally successful ride These layers will be supported throughout by capacity share company Taxify will be encouraged to be more building programmes, including trainings, mentorship active in Ida-Virumaa as the amount of cultural events programs, workshops, networking, audience develop- and thus tourism increases, thus offering a needed con- ment strategy development, etc. temporary cashless service for the market. Emphasis on partnerships with local organisations So far a great deal of the cultural life in the region has been organized and initiated by the municipality. The Narva2024 will put in place a clear condition for all project aims of course to strengthen the competences projects that come from outside the Virumaa region for municipalities and cultural workers as well, but it is to collaborate with local and regional partners and in- determined to offer equal opportunities to private sec- clude regional artistic content. The collaboration needs tor initiatives, subcultures and creative businesses. Pro- to start ideally from concept development phase, inclu- moting the entrepreneurial spirit in the region is a prio- ding the local partners already in an early phase, not rity and strengthening dynamic, agile and ambitious only buying local service from them. These partner- companies to drive their vision further, is a must. ships can also be widely interdisciplinary, e.g. a film pro- duction company partnering up with a regional start-up, The project will also aim to diversify funding sources for a festival partnering up with companies from the tou- cultural and creative sectors: rist sector to set-up a festival strategy, aimed at tourists. • public-private partnerships (Theatre Centre Vaba Lava, Aleksander Church, festivals); While we are aware of the challenges of this condition • crowdfunding platforms; - there is a limited number of active cultural organiza- • private sector sponsorship (mainly related to better tions in the region and they will not be able to collabo- skills and knowledge how to attract sponsors); rate with everyone, and there is a language barrier in • co-funding between partners and stakeholders; some of the cases that will slow down the process - we • European funding tools, so far not much used in the still strongly believe that as the goal of Narva2024 is to region. strengthen the local cultural sector and all of its related industries, our priority is to make sure that the know- Types of events: ledge and capacity building will accumulate and stay in the region – making the ECoC process a kick-start and The types of events involve projects and initiatives on a real upgrade for regional stakeholders to become the different levels: community and neighbourhoods, local connectors for ideas and innovation for years to come. and regional, national, European, Russian, flagship events. The programme areas include all cultural and To facilitate the process of finding partners in the re- creative sectors (music, film, visual arts, performing arts, gion, Narva2024 organization will take it as their task design, architecture, literature, heritage, media), but also to map out organizations and companies in the regions, related areas (creative industries, tourism, social affairs, who to suggest as partners. There will also be an online education, etc.). The programme decision-making is form available for local organizations and companies to upon an artistic committee, consisting of regional, na- add their info for partnerships. tional, as well as international experts. When it comes to community projects, a format of simple questionnaire in combination of a face-to-face interview will be con- ducted. The press and media projects will be evaluated by a dedicated round-table of specialists and in collabo- 14  Promoting community culture will be a special tar- 2. Cultural and artistic content ration with Tartu University and The Baltic Film and Me- dia school in Tallinn. get within the programme strategy, including: Means of evaluation • national minority groups and organisations • дáча cottages and Narva “Venice” - a unique sub- During the final composition of the Narva2024 program- culture of green spaces and cottages in deserted me, following criteria for evaluation will be used, among soviet garages others: • backyard life of Khrushchyovkas - the soviet blocks of houses that form largest parts of apartment areas • Quality and diversity of artistic vision; in Narva have unique communal spaces in their back- • Local partners involved yards with greenery, with kids playgrounds and benc- • Capacity to deliver projects; hes for the elderly. Encouraging neighbourhood • Capacity building and education; activities and citizens initiatives would add to their • Long-term effect for Narva and the region, sustain- social life ability; • Creating opportunities; Highlighting Narva’s history and openly discussing • Balance of traditions vs innovation; the layers of identity: • European and wider international dimension; • Accessibility and inclusion of/co-creation with vulne- • Digging deeper in history - creating a connection to rable and disadvantaged groups history beyond 1945 (from where the personal his- • Diversity of funding (public, private, crowdfunding etc.) tory and memory of current Narva residents begins) to the medieval era. (the castle, bastions, Swedish past, the Hanseatic era trade routes) • Encouraging open discussion on the matter of iden- 2.3. Explain succinctly how the cultural pro- tity. The “who are we” question, as 30+% of people gramme will combine local cultural heritage in Narva are citizens of Russian Federation, 14% and traditional art forms with new, innovative stateless “alien passport” holders. and experimental cultural expressions? • Storytelling will be built into the whole Narva2024 media and communication strategy - aiming to iden- As Narva is a cultural melting pot, it is no wonder that tify lost stories that portray history through indivi- there is a large number of national cultural associations. duals, families, architecture, literature and arts (e.g. Narva is a city in Estonia where minority is the majority. VR tours of the destroyed Narva Old Town). The city’s history has dictated the fabric of its diverse identi- ties and cultures. In Narva, there are 26 actively working national cultural associations, including those representing different cultural expressions from Russia, Belarus, Inger-Finns, Polish, Tatars, Jewish, Uzbeks, and many others. The foundation of the programming is valuing the local communities and subcultures and strengthening the local and regional cultural life. Yet, to push the region towards a real upgrade in quality and capacity, new for- mats, innovation and wider collaborations and partner- ships are needed. Preserving, analyzing, celebrating and innovating The question of identity is the key, yet the most sensitive issue. The challenge and the uniqueness for the program- ming of Narva2024 is to celebrate Narva’s roots and the ethnic groups, and to build a secure platform where Maria Kapajeva’s exhibition “The dream is beautiful, yet unclear” everyone’s uniqueness can be valued. Some on these at the Narva Art Residency Photo by Tõnu Tunnel minority groups have felt isolated in Estonia for de- cades. Narva2024 aims to enhance inclusion through Narva’s history, heritage and culture and self-expression, empowering the commu- cultural diversity will boldly be nities and celebrating them as valued members of the put into focus with the help of society in Estonia and in Europe. contemporary formats and inno- vation. Here are some examples of disruptive new formats that are already taking off: 15  Theatre Center Vaba Lava - the soon to be opened Baltic Film and Media School - VR tour in Narva old 2. Cultural and artistic content centre for contemporary theatre will be the centrepiece town. An interdisciplinary study of developing identi- of performing arts and start building up a high level ties led by the BFM teaching staff, including field work international network from December 2018. They will of students in Narva, to result in a variety of outcomes bring in new formats and national/international pro- from artistic expression to research papers to digital ap- gramming, but will also include the local Ilmarine theatre plications. as well as hobby theatres from the region. The formats that they offer range from imported plays, co-produc- tions and offering the space for local content. Narva Art Residency, located in the former Kreenholm’s director’s villa Photo by Ilja Smirnov Narva Art Residency - since 2015 residencies for inter- Narva Museum - Narva Museum and cultural heritage. national artists who interact and cooperate with local The medieval castle of Narva is one of the most remar- communities, explore the identities and different topics kable historic sites in Estonia that has a potential to and find an artistic expression for the results. The resi- draw great international attention through smart pro- dency is developing to include and mix different discip- gramming. Museum is a bridge to history for a disrup- lines. Some of the contemporary exhibitions there, like ted community. Through innovative projects and initia- Maria Kapajeva’s (visual artist from Narva, now based in tives, the museum can become a unique interactive London) exhibition “Kreenholm: work in progress” was storytelling platform. namely dealing with the history of Kreenholm, bringing the stories into contemporary surroundings and new Ida-Viru Entrepreneurship Centre and the Tourism audiences. Cluster - Combining digital tools - apps and mobile friendly services to make travelling the region easier. Viru Film Fund - Narva and Ida-Virumaa will increase the funding to the regional film rebate scheme and att- ract more high profile international productions. The film industry has already started to discover the spectacular locations of Ida-Virumaa. The region through the lens of contemporary filmmakers has a huge potential. 16  2.4. How has the city involved, or how does it 2. Cultural and artistic content plan to involve, local artists and cultural organi- sations in the conception and implementation of the cultural programme? Building strong local communities, including cultural and creative community, is one of the cornerstones for Narva’s cultural strategy. Never before has the local cul- tural scene witnessed such active engagement activity as with the preparation of the ECoC bid. Starting from January 2018, when Narva announced its decision to apply for the ECoC title, constant meetings and round- tables with cultural organizations, artists and stake- holders have taken place. The process that has led to Narva2024 Vision Day - Marko Torm, the mayor of Rakvere, the application, has been built around the ideas and opening up the Vision Day together with Tarmo Tammiste, the input that have come out of these meetings. In addi- mayor of Narva. June 2018 tion to the dedicated meetings, we have also also had Photo by Aron Urb volunteers with questionnaires at cultural events and the website www.narva2024.eu has had an open form The local and regional cultural professionals are also for ideas. This is to make sure that none of the potential central in implementing the Narva2024 programme. target groups would be left out. The programme will include activities, programmes and initiatives from all cultural and creative fields, therefore As Narva2024 is an endeavour that is by and for the we will use the capacity, knowhow and existing net- people of Narva and Virumaa, it is absolutely essential works of local cultural operators to connect them with that the content and the goal of the project reflects their European partners. needs and aspirations. The sectors and individuals that have been included in discussions: As one of the key aims of the ECoC 2024 is to strengt- hen the capacity of the local cultural sector and thus • Cultural workers of all municipalities in Virumaa sustain the impact over longer period of time, Narva- region 2024 will apply a programming principle where all pro- • Municipality-funded culture organisations (mu- jects from outside of the region need to involve at least seums, orchestras, choirs, libraries etc.), collectives one local partner in the implementation process. This and artists in Virumaa region will support networking and peer-to-peer learning bet- • Minority groups, NGO’s and associations of ethnic ween locals and outside partners. minorities • Private sector festivals, culture organizations, cul- ture venues • Creative entreprises and related companies • Schools and the education sector • Performers and artists • Service sector companies Altogether nearly 70 cultural professionals and cultu- ral sector representatives have taken part in contribu- ting to the concept of this application. In parallel, there is also an ongoing consultation process for the wider Narva Cultural Strategy 2030 with a number of public meetings and roundtables already taken place and pub- lic reviewing process is planned for autumn 2018. Fur- ther inclusion is planned while preparing for the Bid Book. Transparency and openness are essential to the suc- cess of the process. Therefore, in the second phase of the application process, Narva2024 will launch an open platform to collect ideas for programme and initiatives for 2024 and preceding years, allowing all interested parties to submit their proposals and subsequently take ownership of the programme. 17 3. European dimension 3. European dimension 3.1. Give a general outline of the activities foreseen in view of: • Promoting the cultural diversity of Europe, intercultural dialogue and greater mutual under- standing between European citizens; • Highlighting the common aspects of European cultures, heritage and history, as well as European integration and current European themes; • Featuring European artists, cooperation with operators and cities in different countries, and transnational partnerships. Narva is in a unique position to act as a bridge between different cul- tures, being a meeting place bet- ween Estonia, Europe and Russia. The challenges Narva is facing are being tackled by many other places in Europe, therefore Narva wants to boldly and openly initi- ate a European level discussion on matters related to the central con- cept of the bid. We have worked closely with em- bassies from a number of European countries as well as with cultural institutions. The aim is to support internationalisation of the local cul- tural scene and open up gateways for local cultural operators to be more engaged in European level Language Café by the European Commission at Station Narva festival (September 2018) Photo by Raigo Pajula networks and clusters. Narva2024 will tackle the issue of media freedoms. As Narva2024 is planning to cooperate with other ECoC the majority of the population regularly consume media cities and with European cultural organisations to find controlled by Russian state authorities, the European common themes and launch joint platforms to tackle Union and European values in general are being cons- those key issues in a structured manner, bringing toget- tantly challenged. The programme will address this in her policy makers, cultural operators, private enter- terms of capacity building programmes, awareness rai- prises, and academia. The central themes from Narva sing initiatives, increasing visibility of the EU action, which have European dimension include the issue of conveying the key principles of the European project minorities, disrupted histories and their interpretation, through multi-layered programming. identity and social cohesion, social and economic reha- bilitation through culture and creativity, and the ques- Most importantly, Narva2024 will also put a focus on tion of media influence. For example, in the field of organising and facilitating international mobility, ex- heritage, history and interpretation of history, Narva- change and residency programmes. In particular, Narva 2024 is planning to work together with the Network Art Residency is inviting artists from around the world of European Museum Organisations, to use Narva as a to collaborate with each other and the surrounding European platform to share and develop tools in app- cityscape, Theatre Centre Vaba Lava will be organising roaching the delicate work of museums in the areas of international theatre festival, which will be the meeting contested histories. place and opportunity to launch co-productions bet- ween Estonian, European and Russian theatre profes- sionals. 18  3.2. Can you explain your overall strategy to This organic interest offers 3. European dimension attract the interest of a broad European and in- Narva2024 a unique opportunity ternational public? to rephrase the scaremongering “Is Narva next?” into a provoca- Narva2024 will put in place a detailed communication tive and brave “Narva is next …” plan to reach the visibility and communication goals set and fill it with unexpected posi- during the process. We have already included in our tive content. core-team the International Com- munication Manager of ECoC Tal- linn2011 and International Commu- nications Adviser of the Estonian EU Presidency. Key themes for in- ternational communication messa- ges (detailed messages will be fur- ther developed at the next stage) include: Transforming scaremongering headlines into natural curiosity Narva has attracted an extensive international media interest espe- cially since 2014 due to its location right at the border of EU/NATO and Russia and its pre-dominantly Russian-speaking population of whom about one third are Rus- Station Narva main stage sian citizens. After Russia annexed Crimea and invaded Eastern Ukraine international media started flocking to Narva in search for a similar Unexpected intrigue for international artists scenario here, producing stories under the headline “Is Narva next?”. Even though most of them didn’t This pre-existing attention and interest is intriguing not find any proof for their hypothesis, the negative publi- just for media but also for artists and creative people city had its impact on the image of the city. However, it from all over Europe and beyond. The challenges of en- also created more visibility and attention than any other gaging a community with multilayered and contradic- Eastern European town of the same size could claim for ting identities and the borderline location by itself attract itself. All this was aided by the spectacular location on cutting-edge high profile artists from all over the world. the river forming a natural border between Estonia and Narva2024 will use the positive momentum to build up Russia with the impressive symbolism of the two an- high-level international events in the years leading up to cient castles on both sides of the river – visualizing the the title and help existing international events in the re- “clash of civilizations”. gion to develop a stronger artistic profile. To name just a few examples: • In urban culture and music, Station Narva festival (taking place in September 2018 for the first time) aims to offer a platform for high-level international interdiscip- linary cooperation. • Narva Art Residency with a track record of international resi- dents will be the anchor for mostly visual arts projects but move to- wards a more interdisciplinary app- roach within the coming years. • Jõhvi Ballet Festival – a tradi- tional international dance event can use the ECoC title to attract high profile curators and performers as well as international audiences. • Narva Opera Days – the only The President’s press conference to local and international press, given on a train to Narva, opera event in the region can at- in route to the announcement ceremony for Narva’s application for the ECoC title tract more international talent from Photo by Tõnu Tunnel Europe and Russia. Especially the St Petersburg opera scene is vi- 19 3. European dimension brant, highly advanced and very eager to use this seatic Days in various member cities of the network. It opportunity to reach out towards Europe. remains to be seen if an international Hanseatic event • Narva Marathon – in cooperation with the organi- in Narva can be added to the calendar of the network. zers of Tallinn Marathon, Narva will develop an inter- Narva2024 team was already present at the Hanseatic national running event embracing the most spec- Days in Warnemünde in June 2018. tacular track along the river/EU border to the sea- side of the Baltic Sea. • Film – Narva and Ida-Virumaa will increase the fun- ding of the regional film rebate scheme and attract more high profile international productions. The film industry has already started discovering the spec- tacular locations. • Narva Museum and cultural heritage. The medie- val castle of Narva is one of the most remarkable historic sites in Estonia that has a potential to draw great international attention through smart pro- gramming. Its proximity to Ivangorod castle on the opposite bank of the Narva river creates a unique complex for heritage enthusiasts and experts across the world. There is an idea to connect with other museums tackling similar issues as Narva (disruption, destruction, borders, multi-ethnicity, etc.) and together with international museum orga- nisations (e.g. Network of European Museum Or- ganisations, ICOM) launch a Europe-wide discus- sion on exploring difficult histories in current politi- cal and social climate. • Vaba Lava – the soon to be opened centre for con- temporary theatre will be the epicentre of perfor- ming arts and start building up a high-level inter- national network from 2018. From Clash of Civilizations to building a bridge Due to its location just 130 km from the cultural metro- The Swedish lion and the Swedish Ambassador polis St. Petersburg, Narva has a unique opportunity to Photo by Tõnu Tunnel attract producers, artists and curators from the most vib- rant Russian city to cooperate and co-create with artists from Narva, Estonia and Europe. The creative sector of St. Petersburg has a longstanding tradition and interest in Narva and rest of Ida-Virumaa and has already exp- ressed strong and specific interest in co-productions and long-term cooperation. There is a very clear apprecia- tion of the value of collaborations instead of staging ready-made productions in all fields of arts – classical and contemporary music, visual arts, cinema, theatre, etc. Narva2024 can offer a new platform for this kind of multi-layer cooperation that will empower and enable local artists and arts organizations, local communities and open new communication channels between Nar- va, Estonia, St. Petersburg, Russia and Europe. The ex- perience of co-creation will enhance the mutual under- standing within the region and thus contribute to peace and prosperity. The Scandinavian/Hanseatic link As a former “almost-second-capital” of the Swedish Empire and a busy Hanseatic trading port, Narva has strong historical ties with Northern Europe that can and have to be rediscovered. Strong Swedish history is already attracting visitors and investors from Swe- den and will be extended to contemporary cultural ties also within the ECoC network. Narva2024 will use the international Hanseatic network to promote the ECoC year by attending all the upcoming International Han- 20  3.3. To what extent do you plan to develop links 3. European dimension between your cultural programme and the cultural programme of other cities holding the European Capital of Culture title? Narva has already started building a network with other ECoCs in 2018. The mayor of Narva had a visit and a meeting with the mayor of Leeuwarden in July to learn from the experience of preparation and discuss pos- sible cooperation. City officials from Narva participa- ted in the ECoC network conference in Kaunas in May. The Nordic Council of Ministers organised a seminar about the ECoC experiences of Nordic cities (Stavanger, Turku, Umea) in Narva in June and at the Opinion Fes- tival (Arvamusfestival) in Paide in August. City officials and Narva2024 team members have also visited and established contacts with Valletta2018. Austria, the co-host of ECoC 2024, has been involved in activities in Narva already, including the launch of Narva’s candidacy. Narva2024 is in close contact with the Austrian embassy in Estonia and is following the Austrian competition closely. We are looking at the pro- grammes of the upcoming ECoCs to identify common topic, problems and issues to make cooperation mean- ingful and sustainable. Tallinn 2011 team members are actively consulting Narva2024 as well as developing art projects in Narva in the preparation years while tap- ping into the experience of Estonia’s first ECoC. A close connection with the Turku 2011 team has been estab- lished via the Nordic network. Narva as a city is facing many similar challenges as other designated ECoCs, foremost Kaunas, that has de- veloped artistic tools to deal with issues of passive civil society and European identity of its citizens. In the next phase of programme development we will engage in more detailed cooperation with Kaunas. We are looking into such issues as disrupted history, borders, minorities, diversity, identity, post-industrial decline, brain drain, aging society, isolation, and map- ping projects and programmes of upcoming ECoCs to develop joint actions to address these issues through artistic interventions. The opening ceremony of Narva, gaining the title of Estonia’s autumn capital Photo by Patrik Tamm 21 4. Outreach 4. Outreach 4.1. Explain how the local population and your The poll conducted by Norstat in August 2018 showed civil society have been involved in the prepara- that 75% of respondents in Narva and Virumaa are tion of the application and will participate in the aware of the ECoC candidacy while the support for implementation of the year. the title is even higher at 85%. A representative sample of 500 people was polled. The knowledge of and The preparation of the ECoC bid support for Narva2024 is considerably higher among has seen an unprecedented in- people aged 51+ (89%) and lower among people un- volvement of civil society in Narva. der 25 (62%). People in Narva and Ida-Virumaa county are slightly more aware and supportive of the idea than Lääne-Virumaa. Among the reasons in support of the Until recently the city has involved mainly municipal arts candidacy many respondents refer to the rich historic organisations in discussions about cultural strategy and heritage and cultural diversity that Narva should be funding. With the ECoC bid, a conscious effort has been proud of and share with the rest of Estonia and Europe. made to involve and include private initiatives and find A strong motivation is to better connect Narva with rest new connection points and common interest between of Estonia and Europe. the sectors. A new approach was taken with presence in public spaces - the local culture in Narva prefers face- The civil society in Narva and the region is currently not to-face communication on city squares and at public as developed as in other parts of Estonia. (Tallinn 2011 events - an approach not used before to engage with emphasized the development of civil society and the city the community apart from political campaigns. has seen a major development in this area since 2011.) Therefore empowering and strengthening the civil so- Since the idea to bid for the ECoC title first occurred, ciety is one of the main tasks and goals of the ECoC the lead group immediately started to engage with the initiative. The main tool for participation during the pre- local population and civil society to make sure the idea paration years will be via partnerships, the volunteers resonates with the people and helps to solve real prob- network, the hospitality programme and increasingly lems. The ECoC working group members have held frequent arts events that include local people in dif- around 50 public meetings (town hall meetings, round- ferent production roles. The ECoC umbrella offers a tables, debates and workshops) to discuss the ideas for unique opportunity for the region to bring together dif- Narva2024, thus engaging with about 1000 people ferent sectors that have not been cooperating so far – from high-schools, colleges, arts organisations, entrep- tourism, arts venues, businesses, employment offices, reneurs, local and regional media to the many ethnic schools, health and social services and municipalities. societies of Narva. A similar approach was taken in the The cross-sector and cross-region cooperation will be a whole Virumaa region, foremost in the town of Rakvere built-in condition for successful project funding through (the administrative centre of Lääne-Virumaa), reaching the ECoC. about 500 people. A group of young volunteers, organised around the youth organisation Vita Tiim has been the core force 4.2. Explain how you intend to create opportu- of public presence. The volunteers have been actively nities for participation of marginalised and dis- collecting feedback forms from Narva and the surroun- advantaged groups. ding region at all large-scale public events throughout 2018, reaching more than 5000 people face-to-face The civic role of arts has shifted from widening access at 12 events. The feedback and suggestion forms have to education and community projects, to engaging been collected in Narva and the region, altogether communities in creating content that reflects social, 492 forms have been filled out, received and analysed. environmental and economic issues. Narva2024 of- There is also an online questionnaire on the website fers a unique opportunity for the city and its citizens to of Narva2024 for everyone to fill in about things that rewrite their narratives and redefine their identity that make people proud, issues that need to be solved and has been hit hard by the historic political changes in the ideas on how to contribute. The Narva2024 Facebook 1990s. The ECoC initiative is also a chance to showcase page is receiving feedback and grassroot ideas and the approach of “giving something back” – by receiving people have started using the #Narvaisnext and public funding the ECoC programme will take particular #Narva2024 hashtags actively. responsibility for everyday creativity and cultural de- 22  4. Outreach mocracy. “Giving back to the community” is however abstract arts activities. “Zachem eto nam?” (“Why not just an ethical question but also an opportunity to do we need it?”) find new sources of creative inspiration. • Austerity of imagination. Narva’s population lost not only jobs in the industry but Solutions: also their identity and pride of being the pioneers of the Soviet working class. Finding themselves in a “new” • Identifying all marginalized communities and the country in the again independent Estonia (of which’ access points to these in cooperation with social pre-WWII existence they had no knowledge) threw the services, schools, healthcare institutions, police, etc. people into an unexpected role of “occupiers” in a coun- (E.g. NGO Uus Sild / Estonian for New Bridge / is an try where they had considered themselves the working established and experienced partner in this field.) class avant-garde. Narva had been destroyed by the • We will build on the existing work done in Europe Soviet Army completely in the WWII, the pre-war popu- regarding artistic intervention, we will strengthen lation deported and replaced by immigrants from all European network on artistic intervention for social over Soviet Union, who didn’t have knowledge or a issues and plan to organise a European conference, personal memory of the pre-war town. For them the working groups and trainings on artistic intervention. glory of Narva was equal to rebuilding the city from the • A substantial effort in capacity building needs to ashes of the war according to the soviet model. Kristina be done: networking, international exchange and Kallas, director of the Narva College of Tartu University leadership programmes, training, support and net- has pointed out that “Narva2024 offers an opportunity works for artists, producers and curators co-pro- to create an original narrative of Narva instead of the ducing projects with communities. borrowed narratives used since the 1990s.” • Continuous participation by the full spectrum of the society – from retired workers to people with Narva2024 will encourage out- learning disabilities, to drug addicts and former reach and community immersion felons and prisoners in local everyday programmes by a funding model that will re- of arts organisations. ward projects promoting sustai- • Collaborative creative process will help to activate nable and long-term outreach, marginalized communities. Starting with small as well as community engage- scale but sustainable interventions we can make ment. cases to prove the point. • By initiating and enabling conversations about im- This approach is not only a new and untested method in portant matters in the communities and using arts Narva and the region, but rather also a piloting opportu- to explore solutions we can also encourage active nity for Estonia’s arts funding. This approach will create citizenship and enhance democracy. a win-win situation – members of the most vulnerable • To address the issues of most importance to the communities will develop new skills and confidence, communities, a deep partnership between the pub- find new paths of life while artists will reach new inno- lic and private sectors is needed. Art organisations vative ideas and artistic expression by interacting and can act as connectors in partnership with the social working with communities and groups that have remai- and commercial sectors and public authorities. ned outside of their usual peer groups and audiences. • Residencies within the vulnerable communities. In order to reach the vulnerable communities, Narva- • Provide guidance and tools for boards of arts orga- 2024 will cooperate with social services, criminal re- nisations to support them in considering what the habilitation officers, unemployment offices, health ser- civic role might mean for the organization. vices and housing estates. A key task is finding a com- • An in depth approach to the engagement with and mon language – most people in the vulnerable social inclusion of local and vulnerable communities would groups and their caregivers speak and understand only require the allocation of several board member po- Russian. So the Estonian and international arts commu- sitions to the respective representatives. This prac- nity will need to bridge the language gap – a two-way tice will be piloted through the ECoC foundation street that will offer a chance to grow for all participants. board as a role model for other arts organisations. Challenges: People are central to the practice of arts organisa- tions – Narva2024 will encourage and incentivise • Co-production with communities requires parti- work with communities and integrating them into cular skills and additional training for the producers the artistic programmes. ECoC will act as a stable and curators, which has not been available in the bridge both between communities, and towards a more region or in Estonia so far. fulfilled life on an individual level. • Engaging with the local communities requires bridging the language barrier (by the Estonian and international arts community). • The marginalized and vulnerable groups are “hid- den” and stigmatized. • A new approach to arts funding needs to be exp- lained without previous local examples to prove the positive results and long-term effect. • The stakeholders of the vulnerable communities see their basic needs as more pressing issues than 23  4.3. Explain your overall strategy for audience 4. Outreach well as venues for community activities. Young people development, and in particular the link with will be included into the governance of the ECoC foun- education and the participation of schools. dation through the creation of a youth advisory board. The audience development strategy of ECoC cannot International and Estonian artists will be encouraged to be successful if the audience development strategy create multi-genre arts productions with the schools, of individual arts organisations is not effective. These art schools and youth organisations of Narva and the have to support each other - ECoC will contribute to region, also involving different ethnic communities. The and guide the audience development strategies of local teachers and administrators of art schools could act arts organisations and create its own tools for audience as powerful multiplicators and messengers, however engagement. Collaborative creative process is the key they need empowerment through more financial ac- to audience building and to activating communities. knowledgement of their work and better skills. Capac- ity building measures will be included in the strategy. Based on the research conducted in the preparation of the application and experience of arts organisers in Narva and the region, access to culture has a high threshold and is related to many challenges. The major hurdles to culture consumption are finances, accessi- bility, lack of time and interest. People are preoccupied with daily survival and don’t consider themselves as potential audience members for high arts. There is no habit or tradition of attending high-end cultural events as there is no opera house or philharmonic concert hall in Narva, nor an art gallery of an international level. Narva has been feeling culturally isolated from the rest of Estonia in all the post-1991 (restoration of Estonia’s independence) years, because of its distinct language barrier and the post-soviet identity crises. Professio- nal culture in Estonia is predominantly being presented and performed in Estonian language and thus excludes Narva 2024 volunteers engaging local residents at the annual Russian-speakers due to the lack of language skills as Days of Narva. Photo by Narva2024 well as lack of information in channels that are acces- sible to the potential audience. There is no one-stop- Mapping and addressing the accessibility issues shop for information about arts events and as people in throughout arts organisations and public spaces, estab- Narva get lots of their information from Russian media, lishing accessibility as a condition for successful project the local events are not part of the conversation. proposals. The preparation years offer opportunities to include especially young people from Narva and the re- This isolation however is a two-way-street – the Viru- gion in productions and events outside of Narva, creat- maa region and the rest of Estonia have little informa- ing a habit and expectation for arts participation. tion about news in general and arts events in particular taking place in Narva and around. The theatre piece “Kremli ööbikud” produced by Tar- tu Uus Teater, that took place in Narva, Kreenholm, in The Narva2024 project is facing several major chal- August 2018, can serve as a showcase and model for a lenges as far as audience development: successful effort in audience building. With an audien- ce of more than 24 000 people, it has brought more • Language (with 96% Russian speakers the new au- public to Narva from other parts of Estonia than any diences in Narva have to be approached in Russian) other event in history. By engaging locals as artists, • Lack of habits of culture consumption and creation production team, contractors and volunteers, the per- • “Culture is expensive and a waste of money” attitude formance created an incentive for the family members • “Culture should be provided by the state, so should and friends of the local crew to overcome the barrier be free” attitude of the unknown and experience the performance. This • Lack of participation has also created a sense of pride and prestige within the • Lack of accessibility for people with special needs local community and a sense of belonging to the wider • Narva is isolated and mentally “far away” from, and Estonian creative community. for, the rest of Estonia Several smaller arts organisations in Narva have experi- ECoC will give the local young people a chance to re- mented with performing concerts in shopping centres define and expand the meaning of the term “culture” and hospital, so there is some experience in bringing for themselves. In years leading up to the title year, arts to where the potential audiences are. This can be Narva2024 will build up a large network of volunteers, expanded, and value added by international arts organ- involving all age groups, but focusing on schools and isations as well. In addition, digital disruption has so far youth foremost through a variety of activities that in- left the arts audiences in Narva and Virumaa untouched. clude content creation and cooperation. (e.g. develop This sector offers a range of possibilities to reach a community radio station managed by young people.) out to new young audiences and create a meaning- Beyond direct work with and by students, schools serve ful connection with fringe communities via digital spac- as entry points into wider communities via families as es that they frequent. 24  5. Management 5. Management A. FINANCE A1. City budget for culture What has been the annual budget for culture in the city over the last 5 years (excluding expenditure for the present European Capital of Culture application)? Annual budget for culture in the city Annual budget for culture in the city (in % of total Year (in euros) annual budget for the city) n-4 7,991,742 10,6% n-3 8,331,067 11,5% n-2 8,533,083 12,6% n-1 9,136,384 12,3% Current 9,834,998 11,2% The annual budget for culture in Narva includes operating costs, personnel costs, project costs and capital invest- ments in the field of culture and sports, both for municipal cultural and sports institutions as well as support for pri- vate organisations. It does not include financing for related fields, including tourism projects, education, social affairs or business development. The financing for culture has been steadily increasing from the city budget. The share of cultural budget from the overall budget fluctuates, because of the large-scale investments can increase the overall budget in some years more than the growth of the cultural budget. In case the city is planning to use funds from its annual budget for culture to finance the European Capital of Culture project, please indicate this amount starting from the year of submission of the bid until the European Capital of Culture year. The central principle of Narva in organising the ECoC Funds for ECoC from annual process is to avoid delivering the ECoC at the expense Year budget (Eur) of its annual cultural funding, but to invest and attract additional funding to deliver added value to its cultural, 2019 100,000 social and economic development. However, it is also natural that city’s cultural institutions and non-govern- mental organisations will link their basic activities to 2020 150,000 some extent with the aims and objectives of the ECoC programme, therefore there will be natural overlapping 2021 200,000 of annual cultural activities (and thus annual cultural budgeting) and ECoC cultural programming (and thus budgeting for ECoC). In this case, we have included a 2022 250,000 certain percent of the annual cultural funding to the overall funding of the ECoC, but the funding will not be 2023 300,000 centralised to the the managing authority of the Nar- va2024, but will continue to be directly distributed to cultural institutions and operators. The exact distribu- 2024 500,000 tion of funds will be presented with the final Bid Book, but the initial outline of the funds that will be used for Total 1,500,000 ECoC from the annual budget are listed below: 25  Which amount of the overall annual budget does the city intend to spend for culture after the Euro- 5. Management pean Capital of Culture year (in euros and in % of the overall annual budget)? City of Narva spends considerably high share of its budget for culture and culture-related activities. While the exact planned amounts will be presented with the final Bid Book, the city intends to continue financing culture in the same proportion as leading to the ECoC title, around 11-12% of the total budget. Assuming an average increase of 5% of cultural budget, the total cultural and sports funding in 2025 is projected at 13,838,830 Eur. This does not include additional funding for tourism, basic education and creative industries related activities not capital investment from other budgetary areas. A2. Operating budget for the title year Income to cover operating expenditure: Please explain the overall operating budget (i.e. funds that are specifically set aside to cover opera- tional expenditure). The budget shall cover the preparation phase, the- year of the title, the evalua- tion and provisions for the legacy activities. Please also fill in the table below. Total income to cover operating From the public From the public From the private From the private expenditure (in sector (euros) sector (%) sector (euros) sector (%) euros) 20,000,000 18,800,000 94% 1,200,000 6% Income from the public sector: What is the breakdown of the income to be received from the public sector to cover operating ex- penditure? Please fill in the table below: Income from the public sector to in euros % cover operating expenditure national government (based on Government’s decision from Au- 10,000,000 50% gust 2018) city of Narva 7,000,000 35% region (participating municipali- ties from Lääne-Viru and Ida-Viru 1,000,000 5% regions) EU (with exception of the Melina Mercouri Prize, i.e. Creative Europe 500,000 2.5% Programmes) Other (other national and interna- tional agencies, including embas- 300,000 1.5% sies) Total 18,800,000 94% 26  Have the public finance authorities (City, Re- 5. Management gion, State) already voted on or made financial commitments to cover operating expenditure? If not, when will they do so? The city and regional partners will make financial com- mitments during the preparation of the final Bid Book. The Estonian Government has taken a decision on co-financing principles on August 30, 2018, allocating maximum of 10 million euros to match the other cont- ributions. Income from the private sector: What is the fund-raising strategy to seek sup- port from private sponsors? What is the plan for involving sponsors in the event? The detailed fundraising strategy will be prepared for the final Bid Book, but the organising team has started to engage the private sector from the outset of the plan- ning process. Narva2024 will aim at approaching all key Estonian companies to whom Ida-Viru region is a prio- rity. Also, key companies in Estonia all have their strategy for marketing and communication to Russian-speaking target groups. The strategy is built around investing into a joint marketing campaigns that will create a snowball effect of visibility to all parties involved. We have already organised workshops with private sector representatvies, including from energy sector (as the Ida-Viru region is the main area for mining and energy production), telecommunicaton, financial ins- titutions and banks, development and construction, transport, etc. Also, we have been approaching new companies, including from the Ida-Viru Industrial Park, who want to launch their products and services to the wider Estonian and European markets. The cooperation with private sector goes deeper than just visibility project for the companies. Working with the Ida-Viru region is for many companies part of their CSR strategy as well as their competitiveness strategy, as they are ready to invest in the region to find highly qualified workforce for their local operations. Another crucial element in relations with private enterp- rises is that we do not want only their financial support for the ECoC project, but also we want the private sec- tor to be very much involved in developing the long- term sustainable solutions for the region. We are orga- nising a workshop with all the banks to address the issue of why the loan portfolio in the region is consi- derably lower than in the rest of Estonia. Also, we work with construction and tourism industry, to address the issue of new living spaces and accommodation oppor- tunities in Narva and in the region. These are just few examples of the nature of strategic cooperation with the private sector. Station Narva festival at former Kreenholm Factory Photo by Patrik Tamm 27  A3. Operating expenditure: 5. Management Please provide a breakdown of the operating expenditure, by filling in the table below. Pro- Other Pro- Promotion Promotion Wages, Wages, Other gramme (please Total of the gramme and and overheads overheads (please expen- spec- operating expendi- marketing marketing and admin and admin speci- diture ify) expenditure ture(EUR) (EUR) (%) (EUR) (%) fy) (%) (%) (EUR) 14,000,000 70% 3,600,000 18% 2,400,000 12% 0 0 20,000,000 A4. Budget for capital expenditure: What is the breakdown of the income to be received from the public sector to cover capital expendi- ture in connection with the title year? Please fill in the table below: Income from the public sector to in euros % cover capital expenditure National Government 1,740,000 4.9 City 7,245,000 20 Region 0 0 EU (with exception of the Melina 27,500,000 Mercouri Prize) 75.1 Other 300,000 1.5% Total 36,485,000 100 This table includes known projects or planned projects, which have initiatial financial calculations completed. In addi- tion to these funds for capital expenditure, there are number of private initiatives that will be co-financed by the public funds, but the financial planning for those projects are currently underway. 28  Have the public finance authorities (city, region, If appropriate, please insert a table here that 5. Management State) already voted on or made financial com- specifies which amounts will be spent for new mitments to cover capital expenditure? If not, cultural infrastructure to be used in the frame- when will they do so? work of the title year. The city and regional partners will make financial com- The detailed amounts are currently in planning phase, mitments during the presentation of final Bid Book. the list of capital expenditures will be delineated by the final Bid Book. Some of the infrastructural investment What is your fundraising strategy to seek finan- include: cial support from Union programmes/funds to cover capital expenditure? • New park dedicated to Estonia’s centennial (1.89 Mio Eur) The fundraising strategy from EU programmes and • Renovation of historical town hall, town hall square Structural Funds will be elaborated in detail once the (7.17 Mio Eur) and Stockholm square (I stage, 1.11 final list of capital expenditures is prepared in the course Mio Eur) of Bid Book development, but this will be one of the key • A network of bicycle lanes within Narva, and bet- foci for the capacity building activities within the ECoC ween Narva and Narva-Jõesuu (7.47 Mio Eur) project. There will be number of trainings and work- • Renovation and development of Narva Museum in shops designed to help applicants in applying for Euro- the castle (7.78 Mio Eur) pean funds. Also, the focus on building and facilitating • Renovation of the yacht marina (0.2 Mio Eur) networks across borders will help to link local cultural • Reconstruction of the city’s bus and railway station operators with European partners, thus creating oppor- (1.9 Mio Eur) tunities to participate in cross-border projects as partners. The renovation of Theatre Centre Vaba Lava toget- her with creative incubator and partial rehabilitation of Kreenholm industrial complex will be further developed for the final Bid Book. Narva’s urban landscape Photo by Tõnu Tunnel 29  B. ORGANISATIONAL STRUCTURE 5. Management Estonia and Europe and Russia; • And finally, the urgency, not only for Narva nor B1. Please give an outline of the intended gover- Estonia, but for Europe as a whole. The internatio- nance and delivery structure for the implemen- nal political, economic and social climate has worse- tation of the European Capital of Culture year ned in the years following Ukrainian crisis and Nar- va has been seen as a test ground. For us, we see Narva2024 will be managed by a separate judicial in- Narva as a possible test ground for European-wide stitution - foundation, which will be created specifically solutions, therefore what happens in Narva impacts for that purpose. The city will invite representatives not only people in Narva, but the entire Europe. from other regional partners, central government as well as international experts to form a supervisory The contingency plan is based on the risk assessment board responsible for overseeing the management of analysis of the Narva’s Cultural Strategy. The strategy the process. The structure will include an artistic coun- identified following risks: cil, formed of experts and artists on local, national and international level and a youth advisory board. • Financial and economic risks. These risks are con- nected with potential worsening of the economic The principles for setting up the legal body will be climate, on the city level, national level, European guaranteeing that the organisation is level or globally. This could impact directly the city’s • de-politicized and decentralised (organisation has and government’s capacity to fulfil the financial ob- necessary independence for organisational and ar- ligations in the way described in the application and tistic matters) city’s cultural strategy. In addition, major economic • open to partners (involves local, regional, national changes in local industries, including technological and international partners) changes and new environmental standards, could • transparent (processes are run in open and respon- impact the local employers in a negative way. To sible manner) overcome the risks, all plans and financial progno- • diversity (to ensure a balance in terms of gender, sis of ECoC 2024 are made conservatively, the key ethnic background, social group etc.) criteria is sustainability of initiatives and activities. It is important to set clear priorities with high impact to the overall goals and objectives of ECoC. The city works very closely with the national government to C. CONTINGENCY PLANNING ensure the Ida-Viru region remains one of the prio- rity areas for national development and investment, C1. What are the main strengths and weak- including support for regional cohesion in the next nesses of your project? How are you planning EU Structural Funds period. The technological to overcome weaknesses identified? change needs to be seen not as a threat, but rather as an opportunity, which is why this will be one of The main strengths of the Narva2024 include: the central themes in creative economy and inno- • Unique story, unique position, unique location of vation strand of the Narva2024 programme. Narva, which would allow Narva2024 to address is- sues that no other ECoC has addressed in similar way; • Operational and personnel risks. These risks are • Strong commitment of the City of Narva and wide connected with finding and retaining highly skilled support from public and key partners within the city; employees for the development of the cultural • Established network of and areas of common in- and creative scenes in Narva, also to find people terest from all municipalities in Ida-Viru and Lääne- with capabilities to run professionally Narva2024 Viru regions; throughout the implementation process. One of • Very close interaction of strategic goals and prio- the priorities of Narva2024 is capacity building and rities with aims and objections of ECoC title, the life-long learning, we plan to cooperate with rele- candidacy process fits perfectly to Narva’s develop- vant national authorities to provide free of charge ment model and supports the recent efforts; trainings and development programs. It is also cru- • Added value of all other supportive initiatives from cial to guarantee the high-quality management of local, regional, national and international level to sup- the entire process, which will be achieved through port Narva and Ida-Viru region, all different initiatives; implementing transparent and open methods and • Active and diverse cultural scene, both in terms involving external expertise if and when necessary. of cultural institutions and municipal initiatives, as well as non-governmental and private initiatives, • Risks associated with international relations. As a despite the social challenges; border city, Narva is directly influenced by the re- • Balance between traditional approaches and valuing lations between Estonia, Europe and Russia. Inter- tangible and intangible heritage on one hand and national crisis can have a negative influence on on the other hand new and innovative cultural and cross-border cooperation opportunities, also it can creative activities, including subcultures, street art, etc.; negatively influence the number of tourists and • High level of children and youth involvement in cul- visitors from Russia. While there is little that Narva tural activities, wide range of accesible opportuni- can do to influence these relations, culture has been ties for children and youth to take part in cultural often the last life-line for cooperation if nothing else education and clubs; works. Narva builds links with diverse cooperation • Cultural diplomacy as a key tool for Narva’s cultur- networks with partners across Europe and there- al development, bringing together East and West, fore limits the negative impact of being dependent 30  5. Management only on one direction cooperation. We have develo- Internationally, Narva has become a symbol for the dan- ped a detailed communication plan to reach audien- gerous ambitions of the current Kremlin regime abroad. ces across Europe. Especially after the annexation of Crimea in 2014 the international media has published hundreds of stories • Risks associated with connections. Narva, due to its about Narva asking the alarmist question “Is Narva location, is very much interested in fast, high-quality next?” Narva stands as a location for stories of post- and reliable transport links with Tallinn, other towns industrial decline, HIV, influence of Russian state-spon- in Estonia, Europe, St. Petersburg and rest of Russia. sored media, ethnic discrimination, contradictory iden- In case of changes in bus or train connections, tities and questionable loyalty. However the interest of the opportunities in reaching other centres could international media for Narva is considerable and the worsen, which in turn has a negative influence on potential enormous within and beyond EU. number of visitors. We work together with number of public and private service providers to create Aims favourable conditions to develop fast links with rest of Estonia and world, including fast railway ser- The preparation for the ECoC year offers a chance to vice connecting Narva with Tallinn and its airport, change all the shortcomings and negative connotations smooth border crossing to allow more visitors to described above. With a smart strategy, the curiosity and from Russia, good roads and bus connections. and attention that naturally occurs with the title can be directed towards new meanings and connections and a During the final preparation of the Bid Book, there will change of narratives. be a detailed risk assessment plan with risk manage- ment action plan and a detailed risk assessment matrix. Locally the aim is to make sure that people of Narva own the ECoC project and its narrative, find a new iden- tity, feel more connected to Estonia and Europe and embrace this initiative as a new beginning for the city as D. MARKETING AND COMMUNICATION well as a new opportunity for themselves personally as active, creative and responsible citizens. The ECoC title D1. Please provide with an outline of the city’s in- will help people in Narva feel more valued and more tended marketing and communication strategy European. for the European Capital of Culture year. For the region and wider Estonia, the aim is to reconnect Narva is on the verge of reinventing itself and the com- with Narva, to decrease the mistrust and isolation by munication strategy has to provide a way to explain feeding curiosity and creating new connections. The and facilitate these changes locally, regionally and inter- task will be to create new and open-minded interest, nationally. The artistic concept around Narva river, bor- develop new local spokespersons and channels for der and bridge will be used as a storytelling tool and Narva in Estonian media and change the image of backbone of the new narrative leading towards the in- Narva in Estonian media into an interesting and intri- triguing conclusion: Narva is next… - the blank yet to guing Estonian city, not a “far away dangerous planet”. be filled. For the nearby St. Petersburg region, the aim is to open Current state of play up Estonia and Europe for the progressive Russians via Narva – a Russian-speaking European town. Through Narva is in a special situation in terms of communica- arts and culture we can communicate openness and tions and media landscape due to the almost mono- democratic values by offering a long-term sustai- lingual local media recipients. 96% Russian-speaking, nable cooperation and co-creation platform. People in the people of Narva are using a mix of very local Russian- Russia will see and experience how their compatriots language media, Estonian Russian-language media (on- live inside the EU. The communication should also aim line and radio) and state-sponsored TV channels of the to restore the historic interest of St Petersburg tourists Russian Federation, thus living more or less in a paral- for Narva and the region. lel media environment compared to the rest of Esto- nia or even the Virumaa region. This poses a challenge For Europe, the aim of communi- when communicating to and with the local communi- cation is to change the image ties and requires a new strategy to create a cohesive and narrative of Narva from communication reality. being a visual backdrop for the “clash of civilizations” to a ge- Messages from Narva to the rest of Estonia have to pass nuine meeting place, an intri- a special filter and Narva often feels like an alien place if guing melting pot of patchwork viewed through the lens of Estonian mainstream media identities, a laboratory of – a town that doesn’t really look familiar, often a source positive change. for negative news. Only the public broadcaster ERR has a permanent correspondent in Narva, other news outlets rely on occasional visits and thus lack in depth knowledge and coverage. 31  Target audiences, messages, channels, 5. Management Local newspapers, newsletters, radio and TV journalists partners have been eagerly and critically following the process and are important partners for the candidacy and the Target audience 1: Local communities preparations. The preparation process has been trans- parent and accessible for local media and we will con- The engagement with the local communities has started tinue to do so. from the very beginning of the candidacy. The main message for the local community has been and will remain: “Narva 2024 is your own project.” The mes- Target audience 2: Communities in Virumaa region saging aims to boost the identity and pride of the com- munities, a sense of belonging to Narva, Estonia and Europe. “Narva deserves it”, “Narva is interesting and intriguing”, “Narva can contribute to the cultural life and identity of the region, Estonia and Europe”, “Narva can be proud of its past and create its future”. The other main narrative is aiming to boost citizens’ initiative for regeneration – “we are responsible for our city”, “ECoC is a tool and a chance for economic renewal”, “entrep- reneurial citizens can use the title to create new small businesses”, “the end of industrial era opens new op- portunities”. The third narrative is aimed at openness, inclusion and tolerance - “only an open-minded communi- ty can embrace newcomers and benefit from the diversity”, “everybody has something valuable to offer to the society”. In the preparation phase of the bid we have focused on engaging with the community and encouraging everyone to share their ideas, worries and hopes. This has taken place via face-to-face meetings, volunteers’ interactions at public events, questionnaires at public places and online. We communicate via local media, social media (website, FB, Instagram), always providing content in Estonian and Russian languages. The visual marketing materials (large banners, flags, stick- ers, T-shirts, tent at events) have been present and distrib- uted at all public events in the region since May 2018. The kick-off event to announce the candidacy on 23rd January 2018 resulted in a considerable change of mood among the local population. The presence of the president of Estonia Kersti Kaljulaid at the event had a The President’s speech at the Narva2024 initiative kick-off event Photo by Tõnu Tunnel strong impact on the self-image of Narva. The event and attention created a basis for people to start belie- ving in the idea and start dreaming. Narva 2024 volunteers’ team has been present at pub- lic events in Virumaa region throughout the summer. Channels: in addition to Narva2024 own channels, local The regional initiative has come from the municipalities newspapers, newsletters, local radio and online chan- to start with and needs to be transported to the com- nels we will engage with local communities via their so- munities for them to identify with the ECoC idea and cial media channels and public events. Local businesses see the benefit of it. For the region the main message is (like shopping centres) are eager to lend their space to overcome internal competition and lack of coopera- for communication and marketing. For the preparation tion and instead embrace this opportunity that offers a years an extensive hospitality programme is another synergy between flagship events in the whole region communication tool with the local businesses. Town- and enables to reach a new level of cooperation. Un- hall meetings, sports events, school events will be used der the ECoC umbrella there is a chance to develop a for face-to-face communications. Local multipliers and regional brand that includes both counties (Ida-Viru- micro-influencers will be engaged on new media plat- maa, Lääne-Virumaa) as one cultural region. The popu- forms to reach different segments and generations of lation of the region is very diverse from more rural the community. A local youth community radio will be Estonian-speakers in the West to the more industrial developed to fulfill several tasks: reach the young au- Russian-speakers in the East. All these different groups dience, develop skills and entrepreneurship, enhance within the region need custom-made messages and media literacy within the confusing media environment. channels to reach them. Local and regional media Content creators’ workshops and residencies will bring channels will be engaged in both main languages, local together and create collaboration networks and learning spokespeople sourced and developed, the volunteers’ opportunities for local communicators with internation- network (targeting schools and youth as a priority) will al influencers. be developed across the region to create a more cohe- 32  Target audience 5: European/international audience 5. Management sive view of the process and the ECoC identity and to be engaged as multipliers and influencers locally. The tourism marketing and brand development together For European and international audiences the challenge with the hospitality programme will be used as a com- is to change the focus from Narva as a potential con- munication tool for regional businesses. Programme flict zone towards Narva as the next creative hotspot. development tools for the ECoC year will help to reach From “is Narva next?” to “Narva is next!”. The start more grassroot civic and cultural organisations and of the candidacy has already resulted in some shift of communities across the region. focus with in depth positive stories about the change been published in Finland (Helsingin Sanomat, YLE), Target audience 3: Estonian general public Germany (Deutschlandradio, BR, NDR) and the Econo- mist. The genuine interest of the international me- For many Estonians Narva and the region are still an dia due to the strategic importance of Narva gives undiscovered territory and not an obvious travel desti- Narva2024 a unique start platform for delivering the nation. The campaigns in mainstream and social media new messages: “Narva is the next creative hotspot at will aim to change this. The target audience in the rest of the edge of Europe”, “Transforming the post-industrial Estonia is culturally interested curious people, both na- decline into a promised city of hipsters (as formulated tive Estonians as well as people with Russian-speaking in Helsingin Sanomat)”, “Intriguing mix of identities as roots (f. Ex. about 40% of inhabitants of Tallinn). inspiration for creative minds”, “A place worth visiting”, Narva2024 offers a chance to create a joint cultural and “EU is changing its citizens’ lives for the better.” communication sphere for these two separate commu- nities. The main messages are “Narva deserves the title”, Narva has a unique visibility potential compared to “Narva is interesting and worth to discover”, “Virumaa previous ECoCs and will help to communicate the im- is one diverse historic region”. portance of the EU to citizens in all member states as an example of how the EU helps to improve cohesion The process so far and the decision to bid for the title between East and West and do so even within an ethni- has already created a lot of positive attention towards cally complicated post-communist community. Narva in the rest of Estonia. The “early adapters” in arts have started to discover the region and Narva for them- The ECoC 2024 preparations will create a new inter- selves and serve as multipliers and influencers through national brand for Narva and Virumaa region based on their arts projects and social media presence. The na- the message of transformation. tional media has started to pay more attention to the re- gion. (The announcement event of the candidacy itself The main target countries for the ECoC campaigns are created a positive avalanche of news and interest.) Now Finland, Sweden, Germany, France, UK, Latvia, Lithua- the aim is to keep the momentum with further flow of nia, Poland. The Brussels EU-affiliated media is a focus content and positive news. Known public figures have in itself and enables an outreach to the audiences in all “discovered” their personal Narva connection or history member states. Mainstream media and the traditional – this can be used in social media campaigns to rebuild writers/broadcasters of ECoC-topics will be engaged a sense of belonging. The circle of spokespersons will through already existing networks based on the ex- be widened to include well-known arts figures, local perience of Tallinn 2011 and the Narva-coverage so mavericks, “ordinary” people with interesting personal far. Social media EU-wide and internationally will be stories. approached through Narva2024 own channels, par- ticipating artists and arts networks, influencers within Target audience 4: St. Petersburg area specific niche groups. The travel industry and press will be targeted in cooperation with regional and national Narva and the region used to be a well-known holiday tourism development organisations through joint cam- destination for people from St. Petersburg, there are paigns, press trips and coordinated messaging. Content many family connections and a positive historic conno- creators on all platforms (bloggers, vloggers, instagram tation. The main message for St. Petersburg region is influencers etc) will be engaged in long term coopera- “Rediscover Narva – the closest European town”. The tion and residency formats to immerse beyond a short campaigns will aim at curious and open-minded people, one-time visit but rather to connect with the local com- arts communities, also sub-cultures and minorities, munity in depth thus building a true bridge. young entrepreneurial communities to encourage them to create new personal connections and experience a Russian-speaking town within the European value- system. St. Petersburg online and print media will be engaged through special press trips to events (like Station Narva festival in the run-up years). Social media (incl. VK.com) will be used to reach specific commu- nities. The major advantage of Narva is the availability of skilled communicators and spokespeople in Russian language. 33  D2. How does the city plan to highlight that the 5. Management European Capital of Culture is an action of the European Union? Narva2024 will be a unique opportunity to communicate European presence and values in the strategically important yet politically vulnerable region. EU can be truly visible in a region that at best is at the receiving end of mixed messages about its values and intentions (via Russian state-controlled media channels, widely used in Narva, the European values are being systematically undermined). The stakes are high and the chance to put an unambiguous stamp on the city and region stating “This is Europe” - truly unique and symbolic. Arts and culture are the most effective tools of resilience - politically not vulnerable, psychologically subtle, human approach. Narva has received considerable EU funding for infra- structure development (thereof 30 Mio Eur for the new water purification plant and sewerage system - sic! the complete municipal budget of Narva for 2018 is 51 Mio Eur), however these have not touched the hearts and minds of people to shift the identity towards being part of Europe. The ECoC idea has already created a positive change in that respect. In 2024, Estonia will celebrate 20 years of EU member- ship. This will create a natural reason for special events dedicated to EU nationwide and the ECoC title holder would be a logical focal point for these. The specific programme will be developed in cooperation with the European Commission and the government of Estonia. As many EU embassies and the EU Commission are already active in Narva, the ECoC umbrella will be a chance to enhance the cooperation, presence and mes- saging. The programming will be following the core val- ues of Europe and thus be the most effective commu- nication tool for the EU in Narva and the region. Narva 2024 volunteers at the annual Days of Narva. Photo by Narva2024 34  6. Capacity to deliver 6. Capacity to deliver 6.1. Please confirm and supply evidence that but have great potential to turn into full-on culture hubs. you have broad and strong political support The biggest dedicated concert halls are located in the and a sustainable commitment from the relevant biggest cities of the region: Narva, Jõhvi and Rakvere, local, regional and national public authorities. and include, among others: in Narva - the Geneva Con- cert Hall and the recently renovated Rugodiv Cultural The ECoC application process has been a clear example Center, in Jõhvi - a fully outfitted Jõhvi Concert Hall, and of a shared commitment from all local political stake- in Rakvere - the Rakvere Theater and Conference Center. holders (including coalition and opposition), regional partners and national authorities. The basis for Narva’s The region is also awash with museums, among which application process is the decision by the City Coun- the biggest are the Narva castle (the most visited tourist cil with no votes against the process. In parallel, the attraction of Ida-Viru region), and the Mining Museum City Council has also initiated the update of the Narva in Kohtla Nõmme, celebrating the legacy of coal mining Cultural Strategy 2030. The organising committee of and energy production. As over the last few years, Narva2024 has met with representatives of all relat- Ida-Viru region has been branding itself as an “adven- ed political parties, both on local and national level, to ture land”, there are a number of attractions for the establish strong support for the process regardless of strong-willed, such as for example the ingenious Kiviõli the political preferences. The members of opposition Adventure Center that turned a 40m tall mound of re- have been regularly attending the preparation meetings fuse material from the coal burning industry into an all- and contributed with their ideas and recommendations. year-round adventure center, featuring ski slopes and ECoC bid has seen as unifying factor in Narva, which paragliding. has the potential to bring together different political players and other members of society. All of the above are used as venues for most diverse events, depending on the needs of the organisers. For There is also a strong commitment from all other mu- example, while functioning as a museum, the Mining nicipalities in Lääne-Virumaa and Ida-Virumaa, inclu- Museum is also home to one of the most popular mu- ding the central town of Lääne-Virumaa - Rakvere. sic festivals in Ida-Viru, called “Mägede hääl”, while the Narva has signed Memorandum of Understanding Narva College of Tartu University, given its architecture with all other municipalities, which confirms a clear desire and technological build-out, is one of the region’s most to contribute as an entire region to the success of ECoC popular conference locations. 2024. In addition to the above mentioned “heavy-hitters”, the On the national level, supporting Ida-Virumaa is one of region is full of both smaller-scale venues, ranging from the government’s key priorities. It has adopted a special round-the-clock music club, a legendary underground Ida-Virumaa development programme to increase the culture institution Ro-Ro, to the tranquil Ontika manor, investment into the region and raise its competitive- and outdoor locations, such as Narva’s Dahlberg stage ness. The government has also adopted clear princi- or Toila Oru’s singing grounds. ples for co-financing the ECoC 2024 winner, creating solid basis for budgetary planning for the process. On the other hand, there are also a number of venues that have not been able to illustrate their full potential just yet, but are on their way there, above all the uniquely designed Aleksander Church in Narva, fitting some 6.2. Please confirm and provide evidence that 3000 people in its main hall, and the larger-than-life your city has or will have adequate and viable Kreenholm manufacturing complex, that was just re- infrastructure to host the title. To do that, please cently home to a sold-out performance of “Kremli öö- answer the following questions: bikud”, attracting some 24,000 people to the city, and has had a surge in its use as a backdrop for cultural Explain briefly how the European Capital of product over the last few years. Culture will make use of and develop the city’s cultural infrastructure. All these combined provide for a very diverse infra- structure, able to accommodate events of pretty much Across Narva and the region, existing cultural infrastruc- any volume or complexity. ture is very diverse. There are museums, dedicated con- cert halls, smaller scale venues for cosy happenings, art residences, along with a host of “alternative” venues, which are currently used for events somewhat sporadically, 35  What are the city’s assets in terms of acces- 6. Capacity to deliver Currently, the Ida-Virumaa region has over 70 hotels sibility (regional, national and international with the capacity to accommodate over 4,100 people, of transport)? which around 360 people can be accommodated within Narva municipal boundary, and around 1050 more in Considering the region’s industrial background and the radius of 15 km around Narva, mostly in the famous geopolitical location as a transit region between Europe resort town of Narva-Jõesuu just north of Narva. and Russia, accessibility has always been a priority. The road network is well developed and maintained, rail- While the capacity is lower than Estonia’s summer road infrastructure is being constantly modernized, the capital Pärnu, it is comparable to, for example, Tartu whole northern shore is dotted with marinas and small region, which currently has the capacity to accommo- ports culminating in an international privately owned date around 4,300 people. The main reason behind Sillamäe port, which specializes on oil and goods pro- the low capacity numbers is that Narva and the region cessing, but also has infrastructure in place to accept have only recently started attracting large numbers of ferries and passenger vessels. Narva also has an aircraft visitors and the infrastructure has not yet had enough landing stip right next to its municipal border, with its time to catch up with the rising demand. The number development stated as one of the priorities on the re- of nights spent in Ida-Virumaa has grown by 23% over gional level, considering the growing number of inter- last year, while in one of Estonia’s most popular tourist national business connections, especially due to the destinations - Pärnu - the number of hotel stays has ac- development of regional industrial parks. tually decreased by 1%, and in Tartu region grown by only 6%. In recent time, connectivity has had a boost due to the growing numbers of visitors to the region. Passenger Not surprisingly, there is a growing interest to build train traffic has grown four-fold over the last few years, more hotels in Narva and the surrounding area. At with passenger numbers growing in the Tallinn-Nar- this moment, there are plans to expand one of the va direction by +111% just over the span of last year. most popular SPA hotels of Estonia - Noorus SPA, With the recent addition of an express line between Tal- located some 14 km from Narva, in the resort town of linn and Narva, travel time between the two cities has Narva-Jõesuu, and in Narva itself plans for a new hotel shrunk to just over two hours - now one can get from that would accommodate some 250 guests and will be downtown Narva to Tallinn airport in 2 hours 4 minutes, located right next to the Vaba Lava theater complex, and it is set to shrink still with railroad infrastructure are in the works. In addition, there are also a couple of developments planned in the next two years. boutique hotels that have either gotten permission to build already, or are in the design stage. In addition to Road network is under constant development. Within all of the above, Narva and the region has a wide selec- Narva, the city’s main thoroughfare - Tallinn street - has tion of apartments and private houses, available to rent been renovated in summer 2017, with its last stretch through services like Hotels.com and AirBnB, as well as being renovated currently. The overhaul of second opportunities for accommodating people traveling on most important transit artery in Narva - Kerese road - is a budget at school dorms and the other similar places. currently in design phase and scheduled for completion in 2022, funded through the European Union’s TEN-T program. In Sillamäe, multilevel intersections have been designed and built over last two years, to accommo- date the growth of the flow of goods to and from Silla- mäe port. Narva is also rather well connected with St Petersburg. There are more than 12 bus routes a day between the two cities with the travel destination of around 3 hours 50 minutes. The car ride takes around 2 hours 30 minutes. What is the city’s absorption capacity in terms of tourists’ accommodation? The number of tourist has recently been rapidly growing. The number of overnight stays in Narva jumped from 39,908 (in 2016) to 47,463 (in 2017). Similar tendency has been witnessed across Ida-Virumaa region. The number of tourist in Ida-Viru- maa increased 23% in the first three months of 2018, but only 6% for Estonia as a whole. Number of Russian tourist increased 31%, Finnish tourist 10% and Estonian tourist 20%. 36  6. Capacity to deliver Town Hall Square with Narva College and the Town Hall Photo by Tõnu Tunnel 6.3. In terms of cultural, urban and tourism infra- The indicative list includes, among others, following structure what are the projects (including projects: renovation projects) that your city plans to carry out in connection with the European • New park dedicated to Estonia’s centennial; Capital of Culture action between now and the • Renovation of historical town hall, town hall square year of the title? and Stockholm square (I stage); • A network of bicycle lanes within Narava, and be- The detailed list of cultural, urban and tourism infra- tween Narva and Narva-Jõesuu; structure development plans in connection to ECoC • Construction of Estonian Academy of Security Sci- will be elaborated for the final Bid Book, but the City of ence’s Narva College together with a public pool; Narva has included a number of objects in its budget • Construction of State High School and renovation of strategy. The objects connected to cultural, urban and two municipal high schools; tourism infrastructure that City is currently planning or • Renovation and development of Narva Museum in envisioning include municipal infrastructure, projects the castle; financed or co-financed by the central government, pri- • Renovation of the yacht marina; vate investment initiatives which require city’s support • Reconstruction of the city’s bus and railway station; as well as projects funded by the EU Structural Funds. • Renovation of Theatre Centre Vaba Lava together with creative incubator; • Partial rehabilitation of Kreenholm industrial complex. We invite you all to Narva to discover its treasures and experience its unique vibe. Narva is changing. Narva is happening. Narva is ready to become a European Capital of Culture in 2024. Narva is next... Contact: e-mail: [email protected] Address: Narva City Hall facebook/Narva2024 Peetri plats 5, Narva Narva2024.ee 20308, Estonia 37 Q 1 2 Q  Table of contents Introduction – General considerations 4 European Capital of Culture 1. Contribution to the long-term strategy 6 Candidate City 2. Cultural and artistic content 13 3. European dimension 52 4. Outreach 62 5. Management 67 6. Capacity to deliver 96 7. Additional information 99 Introduction – General considerations Q1 Arts of Survival: how our concept has evolved since the preselection stage A year closer to 2024 Arts of Survival the latest parliament elections herald of Culture must find both tactful and makes even more sense for Tartu, Estonia the rise of populism, xenophobia and insistent ways to be inclusive as well as and Europe. Arts of Survival deals with attacks on the liberal European values instructive beyond the artistic comfort the human impact on the escalating cli- also in this country. Is Europe losing zone of the welfare society. That’s what mate crisis, aggravated social divisions Estonia? Is Estonia losing Europe? we’ve worked on the most in improving and mental welfare issues, the struggle our concept and programme. of small cities and rural communities for Yet this is precisely why Tartu needs the persistence and renewal – all of which ECoC chance and challenge. We’ve In 2018, Tartu was redefined by a major are burning realities bound to linger been searching solutions for these civic protest against industrial invasion into the 2020s. The disruptive power of tensions for some time; we’re ready of the riverside of Emajõgi – the biggest arts has still not been disruptive enough to try them out in practice. Behind the public outcry since regaining Estonian in tackling these issues with the neces- recent political turn is the pain and fear independence. It jolted Tartu out of the sary scale and drive. of those who feel insecure, left out, smugly insular “doll city“ image, prov- and culturally snubbed at. There are ing that concern for environment can These are both global and local con- many people like that in our Southern unite people across the political spec- cerns. However, Arts of Survival is also Estonian region. There are many more trum and give artists a fresh and strong an agenda for Europe. It’s an agenda to all over Europe, losing the sense of cause to fight for. Most crucially, it gave be expected from a European Capital Europe in their hearts as Europe might the people of Tartu the self-assurance of Culture. This year has also revved be losing sight of their woes. that they can alter the course that their up the debate on the fate of Europe. city takes in the greater scheme of So far, Estonia seemed to be on the We can reverse this process with Arts things. So, a major focus of improving safe side of democracy, openness and of Survival. To succeed in 2024, a city Tartu’s ECoC 2024 bid is „everyone’s artistic freedom. However, the results of bidding to become a European Capital ecology“ – what is it that each of us in 4 Introduction – General considerations Tartu, Estonia and Europe, in city and countryside, can do to has already grown in spirit and practice. The Arts of Survival better the state of the world. The arts have huge potential to courses of action also correspond to the three focal concepts bring on changes in lifestyles, consumption habits and prac- of our cultural strategy KU30 – Environment, Generations tices passed on to next generations – by aiming to be striking and Community – and the ECoC endeavour has taken us and surprising where outright sermonising fails. much closer to the goals for 2030. Still, for us it’s just the beginning of handling the crucial questions for the city, the Lamenting the decrease in traditional skills and real-life region and Europe. How can the arts help to bring in major human interaction is also not enough in itself. The need urban change via ”everyone’s ecology“ and sharing the best for long-term solutions has inspired us to hone our Arts of practices of mutual learning across Europe? How to make Survival by involving schools, universities, cultural institu- cultural/educational/social shared paths not just transver- tions and social care NGOs to create shared paths for arts, sal and transgenerational but also truly transnational? How STEAM education and transgenerational interaction. The next to reassure local communities that their identities will be generation can’t wait until 2024, for the European Capital of strengthened, rather than diluted, by greater international Culture we dream of, the future Tartu and Europe we want cooperation and artistic exchange? How to reinstate their to happen – they need to be involved right away with all the sense of belonging in Europe, contributing to its diversity optimism they’ve still got. and relevance in the global Arts of Survival? Tartu has grown so much more aware of the alienation from Tartu has worked hard and is ready to work harder to find European values among people in smaller cities, municipali- the answers – the answers to secure the lasting ecological, ties and rural areas. Southern Estonia dearly longs for Tartu to social and cultural impact for the city, the region and Europe be a European Capital of Culture in 2024, as Tartu aims to boost well beyond 2024. their cultural vibrancy, accessibility, European outreach and sustainable local economies. Otherwise there will be further silent decline – not just for the region but for Tartu too as the flux into our schools and universities from the region dries up. Yet, we’re also witnessing the most ardent fight against alien- ation in the region with pride of place and identity. This is our greatest discovery of the year – the true will and cre- ativity of the Southern Estonian region to support the Tartu 2024 bid for European Capital of Culture. Those findings and improvements have greatly enhanced our artistic programme with an expanding network of local and international partners. Contrary to traditional Estonian demureness, many Tartuvians admit that in this year, the city Introduction – General considerations 5 Contribution to the long-term strategy Q2 KU30 cultural strategy improvement: how Tartu 2024 contributes to its priorities Tartu’s cultural strategy KU30 was approved by Tartu City Council on 28 June 2018 and is outlined in detail in our prese- lection bid book. KU30 aims to make Tartu “an open, bold and friendly city of culture” by 2030 by taking strategic action within three major themes: Environment, Generations and Community. Those three themes are reflected in the three programme lines of Tartu 2024: Tartu With Earth, Tartu With Humanity and Tartu With Europe. The first revision process of KU30 is due to be completed by early 2020. However, prompted by our ECoC bidding, several major improvements are already underway. Generations and Community (with special focus on inter- A thorough reform of the financing system of cultural national outreach). The new grants system also includes projects from the city budget is bound to have a pro- mobility, investment and development measures for cultural found overall impact on reaching KU30 and Tartu 2024 organisations, making it considerably easier to upscale their goals. From 1 June 2019, there are much more diverse activities for more international reach. This funding model opportunities for organisations to apply for grants: small- and the closer connection between KU30 cultural priorities, er-scale applications being open several times a year while 1 overall city visions and Tartu 2024 bidding process should and 3-year grants are available for larger projects. The latter ensure the long-term survival of a dynamic, responsive and are expected to address the key priorities of Environment, inclusive cultural environment in Tartu. KU30 theme Tartu 2024 Common strategic priority Action 2019 programme line Environment Tartu With Earth Ecologically sustainable development Revising the public space policies of Tartu of Toomemägi and the river banks of with a stronger focus on environment and Emajõgi into thriving cultural and social biodiversity spaces Transversal and ecologically and socially Engaging creative hubs like Aparaaditehas and conscious creative industries TCCC in pioneering green and social entrepre- neurship with the ECoC projects Generations Tartu With Humanity Schools as key partners in sustainable The Shared Path cluster of formal and non-for- artistic and cultural development mal educational activities connecting arts and other creative processes with learning for the next generation Universities as key partners in sustainable Talks with top executives of the University artistic and cultural development of Tartu to fully integrate the ECoC city and regional activities into the emerging University strategy Community Tartu With Europe International openness and artistic Tartu UNESCO City of Literature Strategy 2020- outreach of communities and cultural 2024 being drawn with a focus on sustainable operators development goals and more intensive interna- tional cooperation Kultuurikompass capacity building programme Completed the first stage of the Tartu Night Economy Strategy 6 Contribution to the long-term strategy Q3/Q4 Intended long-term impacts of Tartu 2024 with monitoring and evaluation plans Our long-term impacts build on the values that Arts of Tartu 2024 social impacts – Tartu With Humanity: Survival stands for throughout the cultural and capacity Forward To The Roots. Tartu 2024 succeeds in reinvigor- building programme. Compared to the preselection, the ating the self-belief and ambition of Tartu and Southern long-term impacts and the indicators for impact measure- Estonia. People of Tartu develop new platforms for ment are developed in more detail. In some cases the impacts civic activism and involvement in city affairs. The region are reworked in order to reflect the aims of the refined cul- is engaging and hospitable to visitors and residents tural programme more closely. of diverse cultural backgrounds. Cultural events are more accessible to the segments of the population Our designated impacts correlate with the KU30 cultural currently detached from cultural scenes. The people strategy of Tartu. We also want to support its ambitious goal to lead more active lifestyles while being more open and test the solutions intended to tackle the challenges of the 21st compassionate to mental health issues. All of this makes century. Tartu 2024’s bid for ECoC aims to do exactly this. We Southern Estonia an attractive place for the younger strive to find the solutions to pressing cultural, social, mental generations locally, nationally and across Europe. and ecological issues in Tartu, Southern Estonia, Europe and around the world through learning, doing and sharing. Tartu 2024 cultural and economic impact – Tartu With Europe: Greater Smaller Cities. After 2024, Tartu is How will we define “success”? awakened from provincial complacency, its artistic and creative industry scenes are operating on a much more The success we envision for Tartu 2024 is in alignment with international scale. Artists and cultural managers are the Tartu KU30 cultural strategy: “in 2030 Tartu will be an making broader and more inventive use of the aca- open, bold and friendly city of culture”. demic and innovative-entrepreneurial assets existing in the city to embrace new audiences. The ECoC brings Tartu 2024 ecological and urban development impacts Tartu and Southern Estonia to the radar of European – Tartu With Earth: Ecology Before Economy. City cultural tourists and urges the public and the private planning in Tartu after 2024 puts long-term ecology sectors to improve the accessibility of Tartu and the before short-term economy. Cultural and hospitality region to the rest of Europe. sectors around the region have adapted the princi- ples of sustainable cultural management and tourism. These impacts, distributed into three groups – ecological People of Tartu are conscious of the ideas of sustainable and urban, social, cultural and economic – also reflect the development and have altered their waste disposal and major themes of KU30: Environment, Generations and commuting habits. Urban population has a stronger Community. affiliation with nature both within and without the bor- ders of the city and people all around the region have rediscovered basic survival skills. Contribution to the long-term strategy 7 Indicators of the impacts gathered from four distinct sources: statistics, population perception surveys, mobile location data and (social) The indicators measuring the desired long-term impacts and media monitoring. the related measuring instruments presented in this bid were developed in cooperation with experts from the University of Already existing data gathering and survey instruments will Tartu and specialists from different departments of the Tartu be used as much as possible. An asset of Tartu is that the City Government responsible for collecting statistics and City already conducts three regular population surveys that data about the city. partially cover the data we need for the indicators, but they can also host additional questions related to the ECoC. We Our indicators for the long-term impacts fall into two cat- believe that greater integration into the existing monitoring egories: those measuring the reach and impact of specific instruments also helps to guarantee the continuity of the events and projects within the ECoC programme and oth- ECoC legacy beyond the official end of the project. ers that measure the more general cultural, social, economic and ecological developmental goals of Tartu and the wider The following table describes in some detail a list of indica- region that coincide with the key challenges laid out in tors developed in cooperation with the University, Tartu City the ECoC programme. The data for the indicators will be Government and Artistic Programme project leaders. Impact Indicators Data collection LONG-TERM ECOLOGICAL/URBAN IMPACTS Tartuvians value sustainable Average New Ecological Paradigm (NEP) scale of The People of Tartu and the development Tartuvians Environment survey Tartu and region are pathfinders in No. of related ECoC projects; no. of participants Data collected by Tartu 2024 re- and upcycling Share of people actively waste sorting and The People of Tartu and the recycling Environment survey Tartu is a pathfinder in developing Share and distribution of green urban areas Data collected by Tartu City Govt. and biodiverse human-scale urban spaces in Tartu European Environmental Agency Use and no. of species in pilot parks Data collected by Curated Biodiversity team Share of people walking, cycling or using public The People of Tartu and the transport Environment survey Tartu and region are pathfinders in Share of sustainably managed events Data collected by Tartu City Govt. environmentally sustainable event (Dept. of Culture) management No. of related training courses; no. of participants Data collected by Tartu 2024 Cultural managers’ self-evaluation of related skills Cultural managers survey New eco-friendly tourism products Share of tourism enterprises with Green Key certif- Data collected by Enterprise Estonia and services icate in Tartu and region No. of new successful Green Key applicants No. of tourism services with ecotourism quality Data collected by Estonian Rural mark EHE in Tartu and region Tourism Urban dwellers reconnect with natu- No. of related ECoC projects; no. of participants Data collected by Tartu 2024 ral environment in Tartu Share of people who value spending time in The People of Tartu and the nature Environment survey 8 Contribution to the long-term strategy Revived appreciation for nature skills, No. of related ECoC projects; no. of participants Data collected by Tartu 2024 crafts and DIY Share of people who value these skills The People of Tartu and the Environment survey River Emajõgi back in active use No. of related ECoC projects; no. of participants Data collected by Tartu 2024 No. of catering, accommodation and recreational Data collected by Emajõgi cooperation facilities/services at riverbanks network No. of mooring and port facilities on Emajõgi LONG-TERM SOCIAL IMPACTS Enhanced participation in arts for all Enhanced participation in arts for all major social Data collected by Tartu 2024 major social groups in region groups in region Share of Tartuvians not participating in cultural Tartu and the People of Tartu survey events; their demographic breakdown Share of Tartuvians with at least one cultural hobby Participation in ECoC events as organisers, Data collected by Tartu 2024 + post- volunteers and audience; socio-demographic ECoC survey breakdown People of Tartu/region are hospitable Share of people with positive attitude towards Tartu and the People of Tartu survey to short- and long term international foreigners visitors Evaluation by foreign tourists of the hospitality of Tourism survey, internet monitoring Tartuvians Local youth considers region attrac- Share of local youth satisfied with leisure activities Tartu and the People of Tartu survey tive place for their future and per- in Tartu sonal fulfilment Share of local youth satisfied with Tartu as place for self-realisation Share of local youth having strong affiliations with Tartu Tartuvians are active in city life on the Share of people active in city politics and Tartu and the People of Tartu survey street, neighbourhood and munici- development pality level Share of eligible electorate voting participatory Data collected by Tartu City Govt. budget in Tartu Share of people satisfied with participation Tartu and the People of Tartu survey options in city planning Better access to culture for disadvan- Share of cultural institutions in Tartu with access Special monitoring of accessibility by taged groups for disabled Tartu City Govt. Share of ECoC events with access for disabled and Data collected by Tartu 2024 support services for people with special needs People of Tartu/region are aware of No. of related ECoC projects; no. of participants Data collected by Tartu 2024 and active in their health and lifestyle choices Share of people rating their health good or very Statistics Estonia health survey good Contribution to the long-term strategy 9 People of Tartu/region are aware of No. of related ECoC projects; no. of participants Data collected by Tartu 2024 and open to mental health topics Share of people empathic to mental health issues Tartu and the People of Tartu survey New culture-driven connections Share of cultural events focused on intergenera- Data collected by Tartu City Govt. between generations tional bonding (Dept. of Culture) Share of people considering intergenerational Tartu and the People of Tartu survey relationships as strong LONG-TERM CULTURAL/ECONOMIC IMPACTS Tartu is international city of culture No. of international cultural events Data collected by Tartu City Govt. (Dept. of Culture) Tartu and region have easier and No. of destinations of direct flights and flights per Data collected by Tartu City Govt. and faster access to Europe week from Tartu airport Road Administration No. of international bus departures per day from Tartu No. of international train departures per day from Tartu Tartu and region are fastest growing No. of foreign tourists in Tartu and region Data collected by Statistics Estonia; cultural tourism destinations mobile location data by Positium Region receives extensive media cov- No. of ECoC event mentions in national, interna- Media and social media monitoring erage in Estonia and in neighbouring tional and social media countries Increased cultural vibrancy of No. of ECoC regional cultural events; no. of Data collected by Tartu 2024 Southern Estonian rural areas participants Participation of people from outside Tartu in ECoC events as organisers, volunteers and audience Tartu is increasingly attractive to No. of ICT companies and No. of employees in Data collected by Statistics Estonia and creative and ICT talent Tartu ICT sector Business Register The number of ICT students in Tartu higher edu- Data collected by Ministry of Education cation institutions and Research Creative industries of Tartu and Annual turnover and export sales of CCI sector Data collected by Statistics Estonia and region develop in national and for- Business Register eign markets No. of employees in Tartu and region CCI sector Tartu and regional cultural manag- No. of European cooperations in ECoC cultural Data collected by Tartu 2024 ers and institutions networking on programme national and European level No. of cultural managers in international networks Cultural managers survey Cultural management and entrepre- No. of international cultural cooperation training Data collected by Tartu 2024 neurship experience sharing in region courses; no. of participants and Europe Cultural managers’ self-evaluation of international Cultural managers survey networking skills 10 Contribution to the long-term strategy New culture-driven cooperations No. of ECoC projects involving Tartu enterprises Data collected by Tartu 2024 between arts, science and business and scientific institutions sectors No. of cultural managers having cooperated with Cultural managers survey scientific and business sectors Cooperation among cultural institu- No. of cultural projects in cooperation between Data collected by Tartu City Govt. tions involving new audiences from several cultural institutions (Dept. of Culture) Estonia and Europe No. of people having discovered a new cultural Post-ECoC survey field within ECoC programme No. of audience development training courses; Data collected by Tartu 2024 no. of participants Cultural managers’ self-evaluation of audience Cultural managers survey development skills Cooperation with Russophone No. of ECoC events in cooperation with Data collected by Tartu 2024 cultural managers, artists and civic Russophone institutional partners society No. of ECoC cultural events featuring performers from Russia No. of events with partners and participants from Data collected by Tartu City Govt. Russia (Dept. of Culture) Who will carry out organisations will be used. Before 2024, the Department of the evaluation? Culture is also planning to carry out an accessibility monitor- ing of cultural institutions in Tartu in accordance with the prin- If the bid for the ECoC title is successful, the ECoC team will ciples of universal design. hire a special Social Studies and Outreach Manager who will be responsible for implementing the monitoring and eval- Cooperation with the ECoC team has already led to the rede- uation plan, developing the monitoring system of the ECoC sign of the statistical data collected by the Department of events and the coordination of data gathering in cooperation Culture from the cultural managers organising cultural events with different departments of Tartu city government and exter- in Tartu. The new culture monitoring database of the depart- nal parties, including the universities and the private sector. ment will include many new indicators inspired by the ECoC indicators, e.g. the measures taken by cultural managers for The main aim of the monitoring and evaluation system is to sustainable event management, etc. The new culture moni- ensure the compatibility between the artistic programme and toring system can be used as a base for developing the mon- its desired impacts in both the short- and long-term perspec- itoring system of the ECoC events which will continuously tive. However, as the long-term goals of the ECoC artistic and track the data for designated indicators. capacity building programmes go beyond the realms of culture, another, more indirect goal is to help enhance the monitoring Another key instrument for collecting data are surveys. The and data-driven goal-setting capacities of the different depart- city of Tartu already conducts three regular surveys: Tartu and ments of the city government, as well as a stronger coopera- people of Tartu (last conducted in 2018, next rounds in 2023 tion between different departments. With this aim in mind, the and 2028) and People of Tartu and environment (last con- future Social Studies and Outreach Manager also works in close ducted in 2016, next rounds in 2021 and 2026) conducted cooperation with another major initiative of the City of Tartu, by the General Planning and Development Service and the the Smart City Tartu programme, which also defines one of biennial survey of cultural managers (since 2018) conducted its goals as the development of a more comprehensive evalua- by the Department of Culture. The surveys will be comple- tion and monitoring system for city planning and development. mented by new questions that are necessary to determine the impact indicators. Baseline studies and surveys Aside from the traditional statistics and surveys that form the backbone of the evaluation and monitoring of the long- For statistical data, the main source is the statistics gathered term impact of the ECoC, the ECoC team also plans to use by the departments of the City Government of Tartu. In addi- more innovative measurement instruments. In cooperation tion, data gathered by Statistics Estonia and other national with Positium, a spin-off project of the University of Tartu, and international institutions as well as dedicated third sector mobile location data analytics will be used for gathering Contribution to the long-term strategy 11 data about the number and origin of the participants in dif- Dissemination of results ferent ECoC events. Media monitoring and social media data mining will be carried out from 2020 to 2024 to study The Social Studies and Outreach Manager will be the reach of Tartu 2024 and its events in local, international responsible for the dissemination of the collected data and social media. and publish reports in 2023 and 2025. Evaluation objectives If Tartu succeeds with its Arts of Survival, we are going to set and timeframe a great example of culture-driven sustainable development of a city and a region. Based on this, an applicable development The collection of statistical data will start after the designa- model can be created for European cities and regions with tion of the ECoC in 2020 and will be carried out biannually. similar challenges and aspirations. Generalising Tartu 2024 Next rounds of the surveys will be carried out in cooperation experiences and sharing them in city networks and among with the ECoC team during the pre-ECoC period in order to future ECoCs will be an international legacy task for the Social define the baseline of the impact indicators that will then be Studies and Outreach Manager. repeated in the following rounds after the ECoC (see timeta- ble). In addition, special feedback surveys will be carried out They are also expected to present data based development among the participants of the major projects (e.g. the capac- plan proposals to the City of Tartu (for updating the KU30 ity building programme Kultuurikompass) and the audiences cultural strategy and other relevant documents) and share of ECoC events. There will be a special survey conducted at the results with other municipalities and major stakeholders the end of 2024/early 2025 (the post-ECoC survey) among included in our ECoC, thereby igniting new public discus- the inhabitants of Tartu and the wider region that includes all sions on the desired future impact culture and participation the questions used for indicators as well as questions on the should have on Tartu and Southern Estonia. immediate impressions of the ECoC. In 2028 another check-up will be conducted to measure pro- gress towards the Tartu 2024 ECoC legacy and the delivery of Tartu’s strategic goals for KU30. The timetable of data gathering Baselines for statistical data: 2020, then biannually until 2028 Baselines for indicators: 2020 (A survey of cultural managers, Curated Biodiversity study), 2021 (The People of Tartu and the Environment), 2023 (Tartu and the People of Tartu) Monitoring system of ECoC events: 2022-2024 Post-ECoC survey: late 2024/early 2025 Surveys after ECoC: 2026 (A survey of cultural managers, The People of Tartu and the Environment), 2028 (Tartu and the People of Tartu). 12 Contribution to the long-term strategy Cultural and artistic content Q5 Tartu 2024 cultural programme: artistic vision and strategy Arts of Survival is Tartu’s vision to make nature matter more of cultural projects, a crucial step for putting those links in in humanity, humanity matter more in arts, arts matter more practice right away. Lake Peipus Arts Route in the region in Europe and Europe matter more in the world for the sake and Mapping Russophone Tartu in the city have far-reach- of human survival on a surviving planet. We need the ECoC ing plans for involving Russian-speaking minorities, while process to find the boldness in arts, education and entrepre- Diversity Land Line engages international students for a neurship to ask big human questions that won’t go away. large-scale cultural integration programme of newly arrived workers and refugees in the region already in the ramp-up We are now even more convinced that Tartu can become years. Naturally for an ECoC, we expect all projects to pro- a great European Capital of Culture if we provide a broad, vide events for both international and multilingual as well as international, inclusive and artistically fulfilling cultural pro- local monolingual audiences. gramme – one which reinforces faith in Europe for the whole Southern Estonian region and enriches Europe through the awareness of goodwill, artistic endeavours and cultural diver- sity in the region that’s driven and represented by Tartu. We have improved the Tartu 2024 – Arts of Survival bid and cultural programme along the strategic criteria stated in the preselection: TRANSVERSAL, TRANSNATIONAL, TRANSGENERATIONAL. TRANSVERSAL – extensive interdisciplinary cooperation between institutions, festivals, NGOs and communities HOW? We initiated a series of expert interviews with the leaders of the University of Tartu as well as the leaders of other higher education institutions in Tartu and UT cooperation has TRANSGENERATIONAL – creating shared paths for already boosted the development of projects such as AOS people of different ages and backgrounds for exchang- Urban Nature Festival, Tartu World University, European ing knowledge, skills and artistic practices Students Opinion Festival and Toomemägi Revisited. The Tartu Centre for Creative Industries is now also one of the HOW? Shared Path is our expanding cluster of develop- key partners in boosting arts as the guides towards ethical ing educational programmes for schools with cultural and and ecological economy with ReVogue slow fashion festival, science institutions (such as AHHAA Science Centre) and a fresh addition to the programme. Environmentalists have involving more schools in several of our projects (Growing the leading role in developing Curated Biodiversity and With Your Food, Creative Connections: Art Museums Growing With Your Food. Psychologists and social work Preventing Bullying, Psühhoteek). Enter Woodland NGOs cooperate with artists for mental health projects like Spirits Digital Art Festival is a new project bringing trans- Creative Connections: Art Museums Preventing Bullying generational knowledge into the media that’s attractive to and Stand Up For Your Mind while outsider art and youth. The multi-museum Beetroot Washing Machine sports converge with the innovative social care approaches exhibition now also aims to provide professional support for in the Hidden Worlds Expanding/Outsider Football Sharing Generations transgenerational workshop series in Tournament collaboration. the city and the region, featuring extensive contribution from Tartu Men’s Shed which combats loneliness of middle-aged TRANSNATIONAL – involvement of ethnic minorities, and elderly men. By 2024, we intend most of our projects to international students and newly arrived workers, refu- have a formal or non-formal educational side programme. gees and tourists in our daily cultural fabric We look forward to a very special year of exciting, inspiring HOW? All projects have now confirmed long-term interna- and transformative culture. Tartu 2024 has a solid and trust- tional partners – this forms a solid base for a broad tempo- worthy base of city and regional stakeholders, an expanding rary (residing) or permanent presence of artists and manag- network of European and international partners and a strong ers from other cultural and ethnic backgrounds in Tartu and public consensus that Arts of Survival is an artistic vision for the Southern Estonian region (see also Q11). Transnational 2024 that reinvigorates the common future prospects of the involvement of organisers is also a priority for 2020 funding city, the region and Europe. Cultural and artistic content 13 Q6 Tartu 2024 cultural programme: structure and main events Inciting and supporting artistic projects for the Tartu 2024 cultural programme has been our priority from the word go. Already in preselection, we delivered 30 project ideas for the three Tartu 2024: Arts of Survival programme lines: TARTU WITH EARTH: ECOLOGY BEFORE ECONOMY – biodiversity and ecology in urban planning, as artistic inspiration and community incentive TARTU WITH HUMANITY: FORWARD TO THE ROOTS Nearly all of the projects have survived into the final round with – arts and crafts, social and nature skills as the basis of a few added ones. The projects have grown in scale, structure creative education and community action and partner networks and most of them are ready to start with pilot events and ramp-up activities as soon as possible. TARTU WITH EUROPE: GREATER SMALLER CITIES – rewriting city narrative through its subcultures and Each of our programme lines features one flagship project mavericks, reimagining urban spaces, regional and in the city and the other in the region. Each programme line global contacts. ends with an „anchor“ project which is characterised by an especially high level of community engagement. 14 Cultural and artistic content TARTU WITH EARTH: ECOLOGY BEFORE ECONOMY Biodiversity and ecology in urban planning, as artistic inspiration and community incentive FLAGSHIP EVENT IN TARTU: championship of science theatres has been held in Geneva ARTS OF SURVIVAL URBAN NATURE FESTIVAL and Hannover. As Tartu’s PsychoBus has been a successful regular, this contest comes to good hands and brains. We The writing’s on the wall: we’re facing a global climate disas- aim to host the International Degrowth Conference for ter if we don’t change our ways. Some still say that an individ- Ecological Sustainability and Social Equity with top green ual can’t do much, artists can’t do much, even a whole city of thinkers also contributing to the public talks programme. culture can’t do much, but it’s surely worth trying. For those AOS Urban Nature Festival is also an associate in the UHHUU in the world looking up to European quality of life, we must Pseudo-Science Exhibition in the Toome Revisited project. prove that welfare doesn’t mean overproduction and over- consumption. However, do we really know nature around us Survival. A programme of activities on hiking trails is also or is it just a dumping ground, at best a picnic spot or a sce- challenging the ones willing to test their stamina, endurance nic backdrop of blurry greens? In the urban nature of Tartu, and wildlife skills; adrenaline seekers of all ages can get their there’s plenty to be aware of, get in touch with, experience thrill at the woodlands of Tartu Adventure Park. and express – that’s what the festival is about. Stages. A network of talk stages in urban parks, woodlands Species. Tartu is a city where one can spot a beaver, an otter, and botanical gardens present our primer of eco-friendly three species of woodpeckers and a tawny owl all in the same arts and sharing environmental know-how. The rotating set night. There’s a whole lot more to see just a short walk, boat of performers features ecologists, researchers, urbanists and or bike ride away. A wide range of expert-guided hiking, semioticians from all over Europe, discussing sustainable cycling and canoe trips will take you to our greatest venues solutions, synergy between human welfare and biodiversity and best lineups day and night – the ecosystems with their and the future of environmental art. All stages and audience multitude of species in forests, marshlands, wooded mead- areas will be built from recycled elements, decorated with ows and riverbanks. Also, the world’s first urban biodiversity moss graffiti and mini-gardens as well as supplied with natu- database will be created, by visualising species and conser- ral lightning solutions and noise isolators. vation values in the urban environment. Songs. The lineup of live performers on the stages will cele- Science. To boost thirst for knowledge in harmony with brate European and global cultural biodiversity with a range respect for nature and with the help from Ahhaa Science of nature-inspired world music acts. David Rothenberg is Centre, we will bring Science Me!, the European Science one of the confirmed headline acts. The Leigo Lake Music Show Competition to Tartu in 2024. So far, this European festival will also float the Musical Rafts event on river Emajõgi Cultural and artistic content 15 with 20 rafts of sonic installations and live performers mixed The exhibition themes so far include punk and countercul- together live, peaking with a riverside song and dance event ture (2014), bringing back once promising artists who left the on the stage built from the rafts. arts (2015), dialogue between various religions and spiritual- ities (2016), metropolitan artists tackling challenges of wild- Duration: A week in June 2024 (build up 2020–2024) life (2017), women artists on environmental and daily-life sen- sitivity of arts (2018), local heritage vs virtual information as Partners: University of Tartu Natural History Museum and Botanical sources of worldly knowledge (2019). Four additional themes Gardens (EE), The Chair of Biodiversity and Nature Tourism (EE), with international curators will be appointed for 2020–2023. Estonian University of Life Sciences (EE), Tartu Environmental To provide further source material for the installations, the Education Centre (EE), Estonian Naturalists Society (EE), Ahhaa gallery initiates the Gulyanye programme of collecting and Science Centre (EE), University of Tartu Department of Semiotics presenting local folklore and community history. The curato- (EE), Intsikurmu Music Festival (EE), Leigo Lake Music (EE), University rial teams are also expected to highlight local and European of Tartu Viljandi Culture Academy Music Department (EE), NGO issues in need of long-term solutions (fading traditions, inter- Seiklushunt (EE), Jaakko Pernu (FI), Patrick Dougherty (US), David cultural relations, rural struggle with bureaucracy, etc). Rothenberg (US), Science Me! European Science Show Competition (DE/CH), Degrowth (DE), Leeuwarden-Friesland 2018 (Welcome to The gallery also extends its own sculpture garden and makes the Village Festival, NL), Salzkammergut 2024 (H2O-OH-NO, AT) it accessible throughout the year, runs curatorial tours and holds an opening and closing event for the programme. Besides a regular, scheduled bus and bike and walking tours on the Arts Route, there will also be impromptu tours when the apple trees blossom and the onions are ripe, the maples go red or sudden snow falls, thick fog arrives from the lake, thousands of brants and geese descend, or a supermoon is casting its light – it all transforms the experience of human- made landscape art. An additional Story Stations programme is curated by the current Tartu City Writer, Vahur Afanasjev. It presents poetic re-imaginings of the mythology in the Tartu-Peipus area, unit- ing fiction and history in a narrative unravelling in space. In the ramp-up years, an international team of authors creates a set of stories, starting from Tartu and leading to the Lake Peipus Arts Route. In each physical location, a story will be presented as a book-like nature-friendly display in six lan- guages (Estonian, English, Finnish, Russian, Latvian, German). FLAGSHIP EVENT IN THE REGION: Story Stations appear in three types of locations: points of LAKE PEIPUS ARTS ROUTE interest, scenic views, or utilitary places like gas stations. As with the whole Arts Route, the Story Stations are marked on Lake Peipus is the largest transboundary lake in Europe, a digital map. expanding over most of the Estonian-Russian border. Its surrounding area on the Estonian side is also a cultur- Duration: August–September 2024 (build up 2019–2024) ally and biologically diverse hinterland for Tartu 2024. Of special interest to seekers of a different kind of Europe is Partners: Installation curators: Kiwa (EE), Mari Kartau (EE), Sandra the Onion Route, a string of villages distinctive for tradi- Jõgeva (EE), Peter Belyi (RU), Pauliina Turakka Purhonen (FI), Valts tional rural lifestyle and vernacular creativity of Russian Old Mikelsons (LV), Indrek Grigor (EE); Onion Route (26 organisations in Believer communities. In recent years, however, the area Lake Peipus Area) (EE), UNESCO City of Literature Tartu (EE), Serge van has also inspired contemporary ecological art curators and Duijnhoven (BE), Novi Sad 2021 (Food Dialogues, RS), Veszprém 2023 award-winning fiction. The rich potential of this cultural (Bakony Express + Great Lakes of Europe Network, HU), Salzkammergut amalgam is presented to international audiences on Lake 2024 (Tavern Lab, AT), Bodø 2024 (Arktisk Mat Festival, NO) Peipus Arts Route. The hub of the project is the Voronja Gallery of contempo- ENTER WOODLAND SPIRITS rary art, a scenic rural household which has hosted themed (DIGITAL ART FESTIVAL) exhibitions across its versatile territory each summer since 2014, presenting a range of startling installations, sculptures, In Estonia, we take pride in our digital technology advance- videos and environmental art. Celebrating its 10th anniversary ment. Yet we also wonder if it keeps each new generation in 2024, Voronja Gallery brings together its past annual cura- further removed from nature and our ancestors. Enter tors who revisit their exhibition themes and create an inte- Woodland Spirits guides us back to wildlife and folklore grated concept for mounting large-scale open-air installa- through digital arts with European artists who are only start- tions along the Lake Peipus Arts Route. ing to discover the land, the tales and the songs. 16 Cultural and artistic content The Estonian Folklore Archives in the Estonian Literary Museum share a treasury of Southern Estonian lore on how people used to communicate with spirits in trees, waters and living beings – asking permission for hunting, getting punished for being too greedy, but also giving a helping hand when the spirits came to their aid. Made available in several languages through an online database, the tales and songs serve as inspiration for European digital artists – sublime, uncanny, reassuring or spectral multimedia instal- lations revive the spirits, take them to town and hack our minds into the experiences our ancestors could have had and help us reconsider our own place in the living and sur- viving natural world. Cultural and artistic content 17 The artists will be provided with a period of time to explore the archives and the Southern Estonian places related to the sources. The project also serves the long-term aim of mak- ing the Estonian Folklore Archives better accessible through translation and online databases for a more enriching pres- ence in European artistic inspiration. Duration: September 2024 (build up 2019–2024) Partners: Taive Särg (co-curator, Estonian Literary Museum, EE), Peeter Laurits (artistic curator, EE), Martin Rästa (EE), Rodrigo Lebrun (UK), Margherita Paoletti (IT), Esch-sur-Alzette 2022 (LU), Cyprus Institute (CY, through Dornbirn 2024, AT), Holodeck VR (DE, through Dornbirn 2024, AT), MoTa Museum (SI, through Dornbirn 2024, AT) WILD BITS 2024 EXHIBITION The Wild Bits Exhibition invites to contemplate, question and explore different aspects of the technological society, its influence on our behaviour, perception and thinking and the human impact on natural processes. At a time when our senses are becoming ever more networked, so do our bod- ies as they scatter amid new technologies. Our patterns of behaviour and the environments we inhabit interact with technologies envisioned by global markets. Subsequent generations awaken as natives to new technological normal- ities becoming disjunct to the realities of their predecessors. Digital natives wander in fields of wild bits to explore and expand what was already there. Partners: UIT Urban Festival (EE), Taavi Suisalu (EE), RIXC Center for MAAJAAM (Earth Station) is a rural project space in an old New Media Culture (LV), Estonian Academy of Arts (EE), PLACCC farm in Neeruti, Southern Estonia, operated by the artist Timo Festival (HU), Kaunas Artist House (LT), Kaunas 2022 (Matters, LT), Toots and his family. Its topics are closely linked to his own Veszprém 2023 (House of Arts in Veszprém, HU) artistic practice: researching, experimenting with and reflect- ing on the relationships between people, technology and CURATED BIODIVERSITY nature. Substituting the urban environment with a hilly rural landscape allows us to observe technology in its purest form Does a city grow inevitably on nature’s expense or can they while reaffirming ties with nature and rural life. Mixing the grow together? The future city is no longer just wire, glass past technological wonders of the historical farm with pres- and steel. The future art contributes to wildlife rather than ent day hi-tech brings on a radical shift of artistic perspective imitating, exploiting or rejecting it; the future artist doesn’t away from the white cube gallery spaces in the city. just admire nature from a safe distance but learns to create inside and along with it. Human designs can and must sup- Throughout 2020–2023, MAAJAAM will host 8 interna- port, rather than override natural ones. tional technological artists gathered through an open call. Amongst them are two artists from our ECoC twin city, Curated Biodiversity transfigures the parks, the riverside Kaunas and two from another ECoC twin city, Veszprém. and the public spaces in the Tartu city centre. It secures urban Inspired by themes such as Water, Cold, Human Impact, living space for plants, animals, birds and insects as well as the etc., they work and create their interactive installations, people. It provides room for food growing allotments, com- sound installations and interventions of technological art munity gardens and orchards (in cooperation with Growing during a three week residency period. The large Wild Bits With Your Food). It creates areas that are themselves works expo in summer 2024 places those works across open land- of art but also spaces for art. scapes of Southern Estonia, but within walking distance for an environmental art experience that’s at once overwhelm- Main lines of action: ing and integrated. Ramp-up exhibitions are held near Kaunas in 2022 (theme Cold, in winter) and Veszprém in Everyone’s Ecology – raising civic awareness of biodiver- 2023 (theme Water, near Lake Balaton). sity and promoting the application of small-scale conserva- tion activities in urban and rural areas to improve the con- Duration: summer 2024, with residencies 2020–2023 and ECoC ditions and habitats of species. Everyone can be a curator partner exhibitions 2022–2023 of biodiversity at home by knowing its ecosystem, mowing 18 Cultural and artistic content less, creating flower beds with local grasslands and threat- GROWING WITH YOUR FOOD ened species, etc. We are what we eat. Food is a primary expression of our Growing biodiversity is an ongoing process from 2019 to cultural heritage as well as our global language, but aren’t 2024 and beyond. It starts with drawing and implementing a we taking it too much for granted? Do our children speak landscape architecture plan for rearranging the three central the language, can they share it across the globe? When was parks (Uueturu, Kaubahoovi and Vabaduse), closing some of the last time you made apple juice from fresh fruit grown in the areas to allow the vegetation to grow, to reopen them by the city? Do you eat anything that you planted or is it all from 2024. Access is granted to research groups. the supermarket? Installation competition for architecture and design schools Growing our own food is a great way not just to educate kids and bureaus will be launched viaan international open call in and ourselves but to transform urban lifestyles and econo- 2023. We are expecting ten site-specific interactive installa- mies. Local food helps to reduce greenhouse gas emissions tions to help people connect with the newly redesigned park and contributes to improving our carbon footprint. Eating environments. local means that you help maintain the green spaces and gardens in your community. The experience of growing and City as a Habitat Exhibition held with WILK Open Cluster of selling your own produce already from the early school age Design (Poland) will present designer habitats for urban ani- instils it with a much stronger sense of value. mals, birds and insects designed by local and Polish designers. Growing With Your Food starts a network of community Events programme will include educational programmes and gardens and greenhouses open to schools and kindergar- workshops on urban ecology, architecture and design and gar- tens: children can grow into growers of clean local food for dening, as well as a shed/treehouse building camp for school- the community and enter into ecological trade. By 2024, a children (in cooperation with AOS Urban Nature Festival). community greenhouse is built to serve as the key venue for audience oriented activities. GWYF also produces learn- Duration: 2019–2024 and beyond ing and teaching materials, provides agricultural education tours to the countryside and, with Serbian partners, runs a lit- Partners: University of Tartu (EE), University of Life Sciences (EE), Tartu erature/visual arts creative training programme We Should Environmental Education Centre (EE), WILK Open Cluster of Design All Be Nature that teaches to share the experience through (PL), MARELD landscape architecture bureau (SE), Leeuwarden- artistic means. Friesland 2018 (Joop Mulder, Sense of Place, NL), Kaunas 2022 (Kaunas Landscape Festival, LT), Veszprém 2023 (Hello Wood, The central event for international audiences is Lõikuspidu Moholy-Nagy University of Art and Design Budapest /MOME/, HU) (the Harvest Party): Cultural and artistic content 19  Picnic of local food on the community square displaying innovation as well as glamour in sustainable fash- ion. The festival and fair are the culmination of activities Food Fair with live music planned for 2019-2024: GWYF Conference with a top European chef as a keynote speaker Let’s help our kids fall in love with food – clean local food. Let’s learn together and grow with our children and with our food! Duration: Permanent, starting from 2019; Harvest Party in Autumn 2024 Partners: Estonian University of Life Sciences Research Centre of Organic Farming (EE), Click & Grow (EE), Tartu Art School (EE), Estonian National Museum (EE), Elav Tartu (EE), KBH Madhus (DK), Fible (Research Institute of Organic Agriculture, CH), Bio Forschung Austria (AT), St. Pölten 2024 (Where Does Your Food Come From?, AT) ReVogue practical workshops for designers: sustainable fabric production, zero-waste apparel crafting techniques, supply chain and production transparency. ReVogue conceptual workshops for broader audiences (high school and university students, 30+ professionals, young designers etc): seminars, lectures, discussions and brainstorming on the ecological and ethical future of fashion. ReVogue hackathons in cooperation with Garage48: devel- oping startups in recycling, reworking, repurposing, etc. ReVogue social media campaign: reaching out to broader audiences through social media campaigns for “remixing” one’s outfits. Main target audiences are the future consumers (age groups 16+). REVOGUE FASHION FESTIVAL ReVogue photo exhibitions: public photo contest on sus- AND FAIR   tainable fashion. Awarded photos will be exhibited in differ- ent locations across the city as well as online (as a part of the In the nosy noughties, the in-crowd from the capital labelled interactive social media campaign.) Tartu and Viljandi bohemians “cardigans” and “shawltread- ers”. We retaliated by strutting our stuff of alternative cool, ReVogue documentary film programme on sustainability, proving to be ahead of a global trend. Now that European the fashion industry’s effects on nature, etc. haute-couture as well as prêt-à-porter are undergoing an eco-conscious revolution, Tartu aims to take the centre stage In addition to the already developed connections we aim to col- in the advent of slow fashion. ReVogue is a fashion week laborate with big international partners who share similar val- for environmentalist fashionistas, designers, producers, ues on sustainability: cultural ministries of Latvia and Lithuania, suppliers, consumers, academics, retailers and publi- internationally acclaimed fashion media outlets, a wider range cations. Hosted by Eff (Estonian Fashion Festival), it’s a of international fashion weeks, fashion industry trade fairs. major initiative for putting ecology before economy by mak- Duration: June 2024 (build up 2019–2024) ing the fashion industry and customers more aware of the environmental effects of their choices, helping to curb harm- Partners: Tartu Centre for Creative Industries (EE), Pallas University ful overproduction and overconsumption and implement of Applied Science (EE), University of Tartu Viljandi Culture Academy sustainable practices. (EE), University of Tartu Student Days (EE), Enterprise Estonia (EE), Estonian National Museum (EE), Fashion Cinema (MoeKunstiKino) ReVogue festival and fair 2024 will unite street artists, fash- (EE), Garage48 (EE), Reval Denim Guild (EE), vintage shop Sergei (EE), ion designers and tech industry for a range of spectacular, yet Reet Aus (EE), Ukrainian Fashion Week (UA), Helsinki Fashion Week thought-provoking performances and urban interventions, (FI), International Design School in St. Petersburg (RU), Manchester 20 Cultural and artistic content School of Design (UK), Lund University (SE), Reykjavik School of Visual ships, ship masts and 100 m² of sails will transform into Arts (IS), Aalto University (FI), Sourcebook (DE), Tengri (UK) stages for live music and contemporary circus performances, shadow plays on sails based on legends of European nations and a “boat drive-in” cinema on sails that introduces the her- RECLAIMING THE RIVER EMAJÕGI itage of European rivers and lakes. AND THE GREAT LAKES The supporting programme of workshops and activities Running through Tartu, the river Emajõgi also joins the Great includes making barge models, building local boat types, Estonian Lakes: Võrtsjärv and Lake Peipus. This unique fully exploring water biota, fishing, animated cinema workshops navigable 600 km of fairways is an uncut diamond: until now, and various water sports (sailing, SUP-boarding, kayaking, there has been no connection to the Baltic Sea, no access water skiing). The harbours programme raises awareness of to the multitude of boats sailing it. This symbol of Southern human belonging in nature, of ecology coming before econ- Estonian remoteness is undergoing a great change – by omy and of sustainable synergy between culture and envi- 2024, a boat trailer service from the Gulf of Finland to Lake ronment. The river parade peaks in Tartu with a huge festival Peipus will be in action. This will open up the river as well day and night on the Liberty Bridge at the site of the oldest as the Great Lakes and their rich cultural, natural and naviga- river crossing in Tartu, marking the birthplace of the city. tion heritage for Europe to explore. It will also open the area for a resurgence of sustainable, nature-friendly tourism with Duration: July 2024 proper ecological care for the river and the lakes. Partners: Peipsi Region Tourism NGO (EE), Discover Lake Võrtsjärv To promote and celebrate this opening, Emajõgi Barge NGO (EE), Local Action Groups of LEADER (EE), Tartu Environmental Society NGO takes a fleet of historic ships on a river Education Centre (EE), Wildlife Estonia NGO (EE), Development Center parade through 16 major local ports in the area for a of Estonian Contemporary Circus NGO (EE), Kinobuss NGO (EE), grand arrival in Tartu. The hanseatic barge Jõmmu, viking Riverwolves and Lakewolves Academy NGO (EE), Norsk institutt for boat Turm and kale ships Paula, Liisu and Laura can be joined naturforskning (NO), Baltic Nordic Circus network (SE), The Animation by hundreds of boats from Europe and land travellers for a Workshop - VIA University College in Denmark Animated Learning Lab series of cultural landings at the ports. Every night, the historic (DK), Veszprém 2023 (Great Lakes of Europe Network, HU) Cultural and artistic content 21 TARTU WITH HUMANITY: FORWARD TO THE ROOTS arts and crafts, social and nature skills as the basis of creative education and community action FLAGSHIP EVENT IN TARTU: Food For Future court. Lab-grown meat. Self- POSTMARKET STREET FESTIVAL decomposing food packages. 3D printed food. Algae. Edible water bottles. Dumpster dining. Fake fish and The Aparaaditehas quarter used to be a dull and grey area seafood. Insects. Sonic enhanced food. for decades. Even though it’s close to the Tartu railway sta- tion, the city centre and many arts venues. In 2014, the com- Street performers (circus, theatre, street art, sports, light plex of derelict Soviet industrial buildings was revived as a shows and installations) cultural/CI hub and is now one of the most thriving places in the city. It won’t be resting on laurels for its tenth anniversary Alternative city tours in 2024.The Postmarket Street Festival is much more than a grand birthday party – it aims to take the hub, the area, the Postmarket Talks city of Tartu and the European Cultural Factories Network into a whole new era of urban lifestyle choices. Duration: 3 days in August 2024 (build up 2019–2024) Postmarket reclaims the area from heavy car traffic to create Partners: Vanemuise/Vaksali/Riia Area Cultural Cluster of Tartu a huge temporary autonomous zone for walking, cycling, (with 15 cultural institutions) (EE), Põhjala Culture Factory (EE), mingling and artistic discovery. The festival features a wide Maitseelamused Grupp (EE), UT Institute of Physics (EE), TaDaa Street range of activities showcasing the cultural factories at the Performance Festival (EE), University of Tartu Photonics Club (EE), Trans Europe Halles biannual convention in addition to Trans Europe Halles Network (SE), Eskistuna ReTuna (SE), Tallinn 2011 the numerous local arts institutions in the area. It is also (LIFT11, EE), Salzkammergut 2024 (Critical Mass B145, AT), Bodø the time and place to get the gist of Tartu 2024 programme 2024 (Arktisk Mat Festival, NO) with pop-up events from most projects. Nonetheless, there is ample room for flaneurs and improvisation – to see the unseen, transform the non-places, turn them into perfor- mance spaces on a small scale just as the Aparaaditehas and Tartu 2024 are doing on larger scales. It’s all about the city being taken back and passed on by and for the people! Other main features of the festival programme: LIFT24 urban interventions series (inspired by LIFT11 at Tallinn ECoC 2011) Third-hand market for recycled and upcycled items, on-the-spot upcycling + innovation fair of modern materi- als and technologies – everything from innovative textiles to solar harvesting roads; from robotic delivery vehicles to smart infrastructure FLAGSHIP EVENT IN THE REGION: Workshops in the Recycling and Upcycling Mall, commu- YELLOW WINDOWS ARTS PROGRAMME nal building of a Rube Goldberg machine out of dis- carded objects Inspired by the regional upheaval programme in East Groningen, Netherlands, the Southern Estonian communities Off-grid mini-houses in unlikely locations (treetops, launched its own National Geographic Yellow Windows wastelands/non-places) with self-adjusting founda- route a decade ago. The resulting 25 landmark frames cele- tions, taking water from air and steaming gray water, brate the ongoing cooperation for raising awareness of the with solar panels inside the windows, etc. for testing as natural beauty, diversity of cultural identities, sustainable future homes lifestyle and innovative solutions in the area. For Tartu 2024, the people’s arts around the Yellow Windows locations are Live music of artists mixing heritage and folklore with brought to the attention of the whole of Europe with an excit- cutting edge sounds ing series of events and community outreach initiatives. 22 Cultural and artistic content Cultural and artistic content 23 The programme of 4 large-scale events spread across Medium Scale Event; time: October 2024 the counties of the involved region (Tartumaa, Võrumaa, Valgamaa, Põlvamaa) and 20 small/medium-scale events SIMPLE LIFE: Vastseliina European Pilgrimage from Pirita, will start in 2022 and peaks in 2024. Like windows them- Tallinn to Vastseliina Episcopal Castle. Pilgrims from all over selves, the events serve as two-way portals for increasing Europe are welcome to the journey of discovery, contempla- understanding and cohesion in Europe, promoting grass- tion, new human and spiritual contacts, arriving in Vastseliina roots action and facilitating international artistic, educational at 8 September, the Pilgrimage Day. In association with and entrepreneurial involvement in local practices, traditions Vastseliina Pilgrim House and Pirita Convent. and aspirations. Special buses, electric car rental and online sharing platforms will be provided for access to the area. All Small Scale Event; time: September 2023 events will also be digitally streamed for wider audiences. NATURAL BEAUTY: European Nature Photography Summit in Rõuge, curated by National Geographic Selected events on the four main themes Magazine Estonia. Some of the featured artists: Remo (Local Initiatives, New Ways, Simple Life, Savisaar (EE), Sven Zacek (EE), Karl Ander Adami (EE), Ville Natural Beauty): Heikkinen (FI), Markus Varesvuo (FI), Vincent Munier (FR). LOCAL INITIATIVES: Aigu om! (There is enough time!) Medium Scale Event; time: November 2024 Festival in Urvaste curated by folk singer Mari Kalkun – a marathon of sound, crafts, talks and cuisine in unique nat- Duration: 4 small/medium-scale events in the 2nd half of 2022; ural locations. The Establishment of the Kingdom of Time first large-scale event in May 2023, 6 small/medium-scale events with Southern Estonian “slow life” and “slow food” practices, throughout the year; 3 large-scale events in April, June and October with Seto Leelo and smoke sauna (listed in the UNESCO 2024 and 10 small- and medium-scale events throughout the year intangible cultural heritage). Local community and interna- tional professionals cooperate in various arts; a new inter- Partners: National Geographic Magazine Estonia (EE), local com- disciplinary work is created together and then premiered munities, tourism and business sector and cultural departments in at the festival. 19 Southern Estonian municipalities, Yellow Windows networks in Finland and Northern Ireland Large Scale Event; time: June 2024; guest performers: Andrei Monguš (Tuva, RU), Sam Lee (UK) SURREALISM 100 NEW WAYS: CosmoFest at the Tartu Observatory Space Exhibition of Eastern European and Research Centre in Tõravere and Festival of Lights on the Estonian Surrealist Art shore of Nõo Mill Lake. 20 km from Tartu, the small obser- vatory is world famous for the work of Jaan Einasto, one of 2024 will mark 100 years from the first Surrealist manifes- the discoverers of the large-scale structure of the Universe tos. Emerging in Western European visual arts and literature, (he even has his own asteroid, 11577 Einasto). Festival of Surrealism has had a lasting impact across the world, including Lights is part of the World Space Week, strengthening Estonia and Eastern Europe. Surrealism has enabled a mod- the link between space and society. The festival acknowl- ern European to go much further in “knowing oneself”, yet also edges the direct and distant impact of light on humans concede that there is always more, ever beyond reasoning. and the environment and aims to improve the sociocul- The striking, affective, visceral experience of art continues to tural environment for scientists, artists and entrepreneurs. matter enormously in “being human”. Now that Surrealist tech- Held in association with the Tartu 2024 Artistic Research niques are found everywhere from more traditional vernacu- Programme (see below). lar art (thus largely brought “back to its roots”) to advertising, 24 Cultural and artistic content media and online memes, almost everyone is a Surrealist to Literary programme: sound and sound poetry in exhi- a degree. Maybe now it’s so ubiquitous as to have become bition environments, revisiting the works of past poets almost unnoticeable? A memory refresh is in order to make like Ilmar Laaban and Andres Ehin and more recent sense (inasmuch as that’s the right phrase) of Surrealism’s past, Surrealists like Jaan Malin, Kiwa and the eksp group, present and future in European/human identity. with further partnerships through ECoCs, twin cities and UNESCO Cities of Literature. Our Surrealism 100 is really a chain of exhibitions across the city, in all major gallery spaces of Tartu Public and educational programme: talks and lec- and in its urban space, with a versatile educational tures, visual and audio guide app, extensive catalogue, and public programme. Sure, there’ll be a “greatest hits” Surrealist Tartu story and colouring book in collaboration selection of Western Surrealism for providing context and with Kristel Sibul and Anti Saar. enhancing the appeal,yet our main focus is on Eastern European and Estonian Surrealism that is still largely Duration: January–April 2024 (build up 2020–2023) unknown to the broader art public in Europe. We cooper- ate with the National Gallery Prague as Czech culture has Partners: Estonian National Museum (EE), Noorus (EE), Kogo Gallery a rich heritage of Surrealists (artists Jindřich Štyrský, Toyen (EE), Tartmus (EE), Tartu Art House (EE), Elektriteater (EE), Estonian and Josef Šíma, poet Vítězslav Nezval). Tartu is also highly Writers Union (EE), National Gallery Prague (CZ), UNESCO Cities of significant for Estonian Surrealism, as Eduard Wiiralt, Ülo Literature Network Sooster, the PARA ‘89 group (by Ilmar Malin and Jüri Palm) and Kursi School artists’ group (e.g. Peeter Allik, Albert Gulk, Priit Pangsepp) from various eras have all strong con- HIDDEN WORLDS EXPANDING nections to the city. Exhibition of Eastern European and Estonian Outsider Art The Art Gallery of the Estonian National Museum is the venue of an international exhibition with highlights Hidden Worlds Expanding is a major exhibition of outsider of Surrealism from both Western and Eastern Europe. art to be held simultaneously in three cities of Estonia – Tartu, Presenting an overview of the beginnings of Surrealism Viljandi and Pärnu. It is also a research project aiming to cat- with works from luminaries like Salvador Dalí and Max alogue the works, tell the stories and show the value of the Ernst, we also provide an extensive selection from Central artists – leading up to a pioneering conference on Eastern and Eastern Europe, dwelling on the peculiarities of the European outsider art in Tartu. Additionally,it’s an inclusion local Surrealisms – e.g. Vane Bor (RS), Jindřich Štyrský programme, as people with special needs are extensively (CZ), Kazimierz Mikulski (PL), etc. involved in the preparation and setup of the exhibition. Two floors of the Tartu Art Museum would host an over- Arts of Survival has a very special meaning in outsider art. While view of Estonian Surrealism from the 1920s to the present there’s a long-standing tradition of art brut in Western Europe, day (e.g. Eduard Wiiralt, Ülo Sooster, Jüri Arrak and the the East still largely needs to overcome shame and denial to artists of PARA ‘89). On one floor would be a personal recognise, support and promote the multitude of talents with exhibition of a contemporary Surrealist author. grave mental issues, many of whom spend their life in care insti- tutions. Art for them is not just a matter of therapy – it’s often an The exhibition in the Tartu Art House would focus on unique and astonishing way of creating a manageable reality local contemporary Surrealist art (Kursi School, Zoia where there is a shortage or a dizzying surplus of it in the first Lebedeva, Enn Tegova, etc.). place. Thus, it’s the only way of leading a fulfilling human life. In a very important sense, outsider art most drastically captures the Personal exhibitions of contemporary Surrealist artists essence of art in humanity. In many cases, the artists deserve not would take place in Kogo and Noorus galleries. just sympathy but kudos and equal opportunities in the art world. Contemporary installations and art works will be dis- The Kondas Centre of Naïve and Outsider Art in Viljandi played in public urban spaces in the old town, banks is expanding its groundbreaking 2018 exhibition of Estonian of Emajõgi, Toomemägi, Kassitoome, the former slums outsider art for 2024 by involving several Eastern European of Supilinn and Karlova, the Estonian National Museum partners for a more extensive discovery and public coverage area (including the ruins and park of the Raadi manor), of the artists here, including the ongoing search and research Annelinn panel house district, etc. of what may be a remnant from the Soviet era where people with mental and physical handicaps were rendered invisible The side programmes: to the society with their artistic self-expression considered worthless. There are similar patterns all across Eastern Europe Film programme: Selection of masterpieces by Luis and the reassessment of outsider art is still largely confined to Buñuel, Jean Cocteau, Man Ray, René Clair, Salvador enthusiasts. We’ve seen a major exhibition in Estonia starting Dalí) as well as Eastern European and Estonian to alter the attitudes of artists’ relatives, the care institutions Surrealist animation, with a retrospective of Priit Pärn’s and even the social system at large; we want to achieve this fantastic oeuvre. and more all across Eastern Europe. Cultural and artistic content 25 As a further extension of the project, The Kettuki Art Centre Soviet forced labour camps. The books were largely written in Finland will issue an award for an outstanding Estonian near Tartu and inspired by Arnold Susi, a fellow inmate and a outsider artist with a chance to gain international attention by former Estonian Minister of Education. Milo Rau is expected displaying their works in art galleries in the Nordic Countries. to be the director for an international cast. We also cooperate with Viljandi Tulevik FC for their artistic side programme. Stalking Europe: Ranging from the existentialism of Solaris and Stalker to the eerie decadence of Dead Mountaineer’s Duration: May–September 2024 Hotel (and with a bit of both in films like Pilot Pirx’s Inquest), screenings of the Eastern bloc sci-fi novels and stories by Partners: Noorus (EE), AS Hoolekandeteenused (EE), OÜ Solve et the likes of Stanisław Lem and the Strugatsky brothers took Coagula (EE), Support Centre Juks (EE), Viljandi Tulevik FC (EE), a lot of poetic liberty. Even as allegories of their contempo- The Museum of New Art Pärnu (EE), Małgorzata Szaefer (intended rary society or as naive fantasies of the glamour, eroticism curator, Galeria Tak Poznań, PL), European Outsider Art Association and hi-tech of the West, they’ve survived surprisingly well. (DK), ANO Outsiderville (RU), Brno Open Art Studio (CZ), Kettuki Art Building on Tallinn 2011’s Stalker Festival, the film and liter- Centre (FI), Aarhus 2017 (Randers Museum of Art, DK), Banja Luka ary discussion programme sums up and reassesses this weird 2024 (Day Care, BA) heritage for the Western European audiences. 1984/2024 LITERARY FESTIVAL 1984/2024 is a literary festival of utopias and dystopias. We’ve inherited the reality of our ancestors’ imagination. Many visionary utopias have become true dystopias. In the former Eastern bloc, we survived a totalitarian nightmare spawned by a dream of equality. In the whole world, we’re inhabiting a dystopia of the climate crisis resulting from industrialist and colonialist utopias. Is our virtual reality a lived utopia of free information or a dystopia of surveillance capitalism? Aren’t we already living in the reality of our children’s imagination rush- ing out of control, losing touch with the lessons of the past? Having been exposed to those and other real and imagined utopias and dystopias in different degrees, Europe today speaks of them in a Babel of different languages, with vary- ing fears, hopes and beliefs. In cooperation between Prima Vista International Literary Festival and UNESCO Cities of Literature network, 1984/2024 brings those languages together from Europe and beyond – to find some human common ground in them and to search for new utopian futures in past and present dystopian realities. We-100: commemorating the 100th anniversary of Yevgeny Main events: Zamyatin’s dystopian novel We and assessing its significance for the 21st century world of algorithms and technocracy. 1984 East vs West: in 2024 it’s 40 years from the year that continues to be one of the strongest ever literary images. Yet, Bring Your Own Utopia: in every city, there are public Orwell’s novel means different things for the West and the landmarks or secret spaces perceived as utopian or just East. For the Western world, it is primarily a fictional dystopia; inspiringly alien. Writers and artists from UNESCO Cities of in the Eastern bloc, it used to be perceived as a grimly realis- Literature will collaborate in bringing installations based on tic account of the daily reality where you could lose your job their local utopias into the urban space of Tartu, with text/ merely for mentioning the novel and get prosecuted for dis- multimedia performances. The programme coincides with tributing its samizdat translation. Hence the divergent interpre- the annual meeting of UNESCO Cities of Literature in Tartu. tations of what 1984 stands for today and in the near future. We invite 20 renowned writers of different ages, genders and gen- Ecotopia Now! Mankind’s contemporary ecological pre- res, ten from the former Eastern bloc and ten from the West, dicament – anthropogenic global warming – has effectively to contribute writings on what 1984 has meant or means for turned our own present into an urgent global dystopia. From them, present their texts live and discuss them in talk panels. this perspective, the mere idea that humans as a species is still there a hundred years from now can itself be considered The Gulag Archipelago: Vanemuine Theatre presents a deeply utopian. Climate crisis is also a crisis inherent in capi- multi-genre stage production of Alexander Solzhenitsyn’s tril- talism and its resolution is a matter of unprecedented collec- ogy on the severe ordeal for the survival of humanity in the tive collaboration. In 20th century literature, which focused 26 Cultural and artistic content increasingly on the individual, the perspective of collectivity themselves. Presenting a range of immersive synaesthetic is precisely what has gone missing. Thus, resolving global experiences of sound, space, light and visual projection, SOS climate crisis also entails tackling the problem of artistic rep- aims to attract performers and audiences fascinated with resentation that shapes the collective global imaginary. We sound and open themselves to self-discovery – but without intend to hold an international academic conference where alienating those for whom churches are sites of holiness. At literary scholars, semioticians, philosophers, writers and art- a time when people and communities in Europe get all too ists discuss the arts of ecological survival. divisive over religion, SOS creates spiritual and artistic envi- ronments to enhance not just individual integrity but social Duration: 2 weeks in May 2024 (build up 2020–2024) cohesion. Welcoming listeners regardless of age, status or nationality, SOS also seeks to expand the appeal of experi- Partners: Prima Vista International Literary Festival (EE), Estonian mental composition. Writers Union (EE), Estonian Literary Society (EE), University of Tartu Department of Literature and Theatre Studies (EE), Ulmefestival (avant- For the main events, new compositions written for the acous- garde sci-fi event, EE), Topofon sound explorations series (EE), Estonian tics and organs of particular churches (including a brand Film Archive (EE), Pawel Frelik (co-curator, PL), Planet Lem literature new organ at St John’s church) are commissioned from two centre (PL), UNESCO Cities of Literature network, Science Fiction Estonian and two international composers. We foster collab- Research Association, Tallinn 2011 (Andres Lõo, co-curator, Stalker, EE) oration (for artistic works) between Estonian and international performers; the programme also includes lectures, discus- sion panels and meetings with performers. SOUND OUR SOULS Duration: Two weekends of main events in October/November For the faithful and agnostic alike, churches are spaces almost 2024 (around All Souls Day), satellite events throughout the year. outside time, giving a break from the daily rat race. They are spaces for insight and solace, even quiet ecstasy. Churches Partners: TAHE (Tartu Helilooming) Contemporary Music Community are also meeting places – some of the oldest cultural hubs, (EE), Estonian Electronic Music Society (EE), Helikoosolek Sound many of which survived the Soviet rupture in this country. Meeting (EE), Kulgruum Concert Series (EE), Tartu St. John’s church They are also unique sonic environments where music can (EE), Tartu St. Paul’s church (EE), TAVA Tartu Light Festival (EE), All Souls help us overcome our mental and emotional troubles. Night festival (EE), Berlin Atonal Festival (DE), 24-Hour Drone Festival (US), Olafur Arnalds (IS), Lustmord (UK), Jean Michel Jarre (FR), Keith Sound Our Souls is a festival of contemporary, ambient Fullerton Whitman (US), Bang On A Can (US), Sonica Festival (SI), and electroacoustic music in the churches and shrines of Elevate Festival (AT), Dornbirn 2024 (Opus Magnum Europaeum, AT), Tartu and Southern Estonia approved by the congregations St. Pölten 2024 (Orgel Plus Festival, AT) Cultural and artistic content 27 BEETROOT WASHING MACHINE region. Sharing tech repair, nature and photography skills, they also raise awareness of men’s loneliness and health haz- Beet-root-what? Lifting a line from an Estonian novelty hit ards, provide supporting activities at community events and about a jack-of-all-trades, this three-museum exhibition incite local Men’s Sheds. invites you to the wild world of post-WW2 vernacular inven- tion, grassroots recycling and creative repurposing in Estonia. Duration: May–October 2024 (build up 2020–2024) Tartu City Museum in town, Estonian Agricultural Museum in the countryside and Estonian Road Museum close in the Partners: Estonian National Museum (EE), SPARK MakerLab (EE), county team up for a trail of DIY ingenuity, stories of maverick Tartu Vocational Education Centre (EE), Tartu neighbourhood engineers and life hacks that can still work in the 21st century. societies (EE), CoMeStrong Tartu MenShed (EE), Levatek Southern Estonia Antique Technology Club (EE), Tartu social care institutions Tartu City Museum targets invention and recycling in the for adults (Tartu Linna Pensionäride Organisatsioon “Kodukotus”) myriad forms of urban daily life: DIY fashion, home appli- (EE), Kivilinna School (EE), Emajõgi Barge Society NGO (EE), Anne, ances, media and communication, band equipment, ingenu- Lille and Ilmatsalu Youth Centers (EE), Kaunas City Museum (LT), ity in food and drink, work and play. Latvian Agricultural Museum (LV), St. Petersburg Museum of Bread (RU), Museum of English Rural Life Museum of Reading University Estonian Agricultural Museum presents self-made or (UK), Museum of Agriculture and Food Industry in Szreniawa (PL), improved tools, devices, machines and vehicles from rural Mobilia (FI), Latvian Road Museum (LV), Diane Boyd (Sustainable homesteads whose needs were unmet by official Soviet pro- Skills Cafés Project, UK) duction lines that were geared for the major-scale agricultural industry. Also featured are exhibits of household, gardening and food preservation crafts. Estonian Road Museum focuses on inventive hardware for road maintenance, self-constructed cars, bikes and caravans and garage culture. Sharing Generations is a transgenerational workshop and skills training programme where the authentic inventors, con- structors, lifehackers, craftsmen and -women from the past century pass on their tricks of the trade to the youth and get some new skills in return. WEDDING: ESTONIAN-LATVIAN SONG FESTIVAL For Estonians and Latvians alike, song festivals are among the most unifying and uplifting experiences. Singing together has been an ultimate Art of Survival: music, often combined with the most powerful poetry of the time, contributed to the national awakening and resistance movements by carrying messages hidden between the lines. Today, the festivals con- tinue to heal community rifts, fear and uncertainty by feeding positive cultural identity, forging new ties and restoring the courage to befriend the world. UNESCO has inscribed the Baltic song and dance celebrations into the Representative List of the Intangible Cultural Heritage of Humanity. In many ways, song festivals are like wedding parties – joy- ful celebrations of love, persistence and future. Yet Estonians and Latvians have been living next to each other for ages, rarely bringing their festive traditions together. Many of our European friends have witnessed the exuberance of song festivals as audiences, but without joining the singers under the Song Arc, the experience is incomplete. The summer of 2024 (when Estonian song festival tradi- tion celebrates its 155th anniversary), is the time for the Tartu Men’s Shed (Meeste Garaaž) is an initiative joining great symbolic wedding (pulmad / kāzas) of Estonian and resocialising middle-aged and elderly men. In 2024 and and Latvian choir traditions on an unprecedented scale. the ramp-up years, they renovate an old bus to become a European professional choirs conducted by some of the mobile task and training force in Tartu and in the surrounding most renowned European conductors such as Daniel Reuss, 28 Cultural and artistic content Robert Prizeman, Marc Korovitch are invited to the celebra- Humour can save even in the darkest of times. Talking about tion as dear guests. The four-day programme peaks in Tartu these ordeals in an open manner creates understanding, on the Song and Dance Festival Ground with 10,000 singers refutes prejudice and gives a voice to the everyday warriors from professional and amateur backgrounds with the artis- amongst us. tic programme being built around Estonian-Latvian wedding traditions. Moreover, the choirs also move across the city to The programme will start in December 2019 with events, sing in public spaces with everyone welcome to tune in. podcasts and book clubs for the ramp-up years. In 2022, Canadian comedian and counselor David Granier will incite Confirmed choirs, conductors and performers: in-depth preparatory work with a 6-12-week training pro- gramme for a group of “mental health warriors”, peaking with Estonia: E Studio Choir (Külli Lokko), Estonian Philharmonic a Granier-led show. The first major pre-event will be TEDx Chamber Choir (Kaspars Putninš), Tartu Boys Choir (Sander Tartu in 2023. The team will gather mental health special- Tamm), Estonian National Male Choir (Mikk Üleoja) ists to speak on mental disorders, stigmas, the physiological changes caused by mental health issues, but also talk about Latvia: Mixed Choir Sola (Kaspars Adamsons), State Choir self-support. Experience sharing sessions will also be held Latvija (Maris Sirmais) Maska (Janis Ozols), guest performers in the format of a “living library”. Another main pre-event is Kaspars Putninš, Maris Sirmais, Aira Birzina the Mental Health Film Festival in collaboration with Tartu Elektriteater Cinema. Europe: RIAS Kammerchor (Germany, Daniel Reuss), Libera Boys Choir (UK, conductor Robert Prizeman), Swedish Radio In 2024, Ruutu10 involves groups of Estonians and foreign- Choir (Sweden, conductor Marc Korovitch) ers living in Estonia in an 8-month long improvisational train- ing programme. Together with Sander Õigus and Comedy Duration: 10–13 July – city concerts and dress rehearsals, 13 July Estonia, we run an experiment on people’s reactions to – festival socially painful or taboo subjects, looking for the best bal- ance between humour’s liberating effect and respecting Partners: Tartu Song Festival Grounds (EE), H.Eller Tartu Music vulnerability. They will also train people with experiences of School (EE), Estonian Traditional Music Center (EE), Estonian Music mental health issues to perfect their comic delivery. All this Information Centre (EE), Estonian Folklore Council (EE), Estonian leads up to the Stand Up For Your Mind final show. A major Song Festival Celebration Foundation (EE), Latvian Ministry of Culture goal for the project is also to invite international stand-up (LV), Latvian National Centre of Culture (LV) comedians like Jamali Maddix who, respectively, have dealt with depression and xenophobia/racism. The project will also offer a youth exchange for the partner organisations from the Netherlands, Iceland, Sweden and Norway. Comedy Estonia and Ruutu 10 carry out workshops on making life better through laughter and jokes. Duration: 2019–24, with the final show in October 2024 Partners: Tartu Elektriteater Cinema (EE), Tedx Tartu (EE), Mental Helse Ungdom (NO), Hugarafl Mental Health Organisation (IS), The Swedish National Association for Social and Mental Health (SE), True Stories Live (UK), Banja Luka 2024 (Janus, BA) CREATIVE CONNECTIONS. ART MUSEUMS PREVENTING BULLYING Violence in adult society and culture is rooted in childhood STAND UP FOR YOUR MIND – it starts there, it can be stopped there. School bullying con- tinues to be a major issue in Tartu, Estonia and in European Run by Improtheatre Ruutu 10 and Estonian Youth cities, with proven long-lasting harm to the ones being bul- Movement for Mental Health, Stand Up For Your Mind lied, bystanders but also the bullies themselves. Arts and aims to dissolve the negative beliefs about mental health art museums have the means and responsibility to be active through humour and performance. Mental health problems change-makers not bystanders. are largely invisible to the naked eye as people hide their true scope and severity. In Europe, nearly a third of the population Creative Connections is an international contemporary art has experienced at least one mental health disorder in the exhibition emerging from the extensive anti-bullying collabo- past year. Even though these issues are so common, all too ration between schools, families (especially underprivileged often the sufferers feel alone, in fear of being stigmatised. ones), art museums and other cultural institutions by utilising Cultural and artistic content 29 academic research and cultural events. The project also aims great sporting conditions helped to build the career of the to provide the general public with information about bully- European top-class player Ragnar Klavan. But, the club is also ing. Piloting in Tartu and Southern Estonia, it mediates means a “speaker for the weaker”, with free trainings for education- and methods for similar joint initiatives across Europe. ally challenged children and an annual football tournament for the people with special needs. Tartmus, in collaboration with Bullying-free School foun- dation, will initiate research among teachers, parents and In 2024, the club aims to hold the tournament for 10–18-year students from elementary and primary schools in Tartu old children and youngsters with special mental health and/ and Southern Estonia. Based on the findings, anti-bullying or educational needs on an international scale to: education programmes for schools will be developed and tested. In 2024, this leads to events that will peak with an create, maintain and tighten sporting, cultural and international contemporary art exhibition and an accompa- cooperative relationships between the socially detached nying conference. segments of international communities and to strengthen societies as a whole encourage and enhance the involvement and integration of people with special needs into the society through sports, arts and active lifestyles build a bridge between sports and culture with a positive attitude to life that regards disabilities as a challenge, not a punishment. We invite teams to participate from our twin towns in Estonia, Latvia, Lithuania, Finland, Sweden, Norway, Germany, Netherlands, Georgia and Ukraine. The tournament also fea- tures the artistic workshops programme of painting, sculpt- ing, photography and other forms of self-expression for the participants of the tournament. The participants will have free entrance to a variety of cultural events. The results of the workshops are exhibited and presented in Viljandi, Tartu and Pärnu in cooperation with the Hidden Worlds Expanding project of the Kondas Centre with the intent to communi- cate the message of free, vivid and unlimited self-expression, The exhibition will include interactive artworks and spaces which is an inseparable part of human nature. that in different ways enable and encourage communication and collaboration. All works will be accessible to and age Duration: 4–5 days in August 2024 appropriate for children from the age of six but may require some mediation and supervision by adults. The museum’s Partners: Estonian Football Association (EFA, EE), Estonian Special young people’s/youth? group (aged 15–19) will participate Olympics (ESO, EE), Estonian Traditional Music Centre (EE), The Kondas in organising a segment of the conference and workshops Centre (EE), Union of European Football Associations (UEFA), Viljandi aimed at children aged 6–14. Art School (EE), Viljandi Music School (EE), Pärnu Vaprus FC (EE) Duration: research and development – 2021–2023, exhibition September 2024 – January 2025, conference October 2024 THROUGH THE CITY Partners: Bully-free School (EE), Tartu University Institute of All the world’s a stage – and so is the city! Or rather, a cluster Cultural Research Department of Ethnology (EE), Miina Härma of interlinked stages – the districts. The dramatic inspiration Gymnasium (EE), the Tartu Mart Reinik School (EE), the Tartu Waldorf is all around us: on the streets, in the backyards, in people School (EE), the Tartu Private School (EE), Forsythe Productions rep- themselves and in their stories. Through the City is a mul- resenting William Forsythe (DE), Simon and Tom Bloor (artists, UK), ti-layered community theatre project inviting people to share Lundahl and Seitl (artists, SE), Manchester Metropolitan University and transform their understanding of Tartu neighbourhoods. Arts for Health (UK) Hearing the voice of those who usually stay off the stage and artistic circles, we aim to enrich the narrative of the areas surrounding the homes of the locals themselves. For visitors OUTSIDER FOOTBALL TOURNAMENT and newcomers to Tartu, Through the City can be a perfect greeting card, with the possibility to experience the neigh- Viljandi JK Tulevik is a tiny but well-settled and communi- bourhoods in a more immersive way, to learn about native ty-based football club in Viljandi, Tartu 2024’s regional part- identities, reflect on the past, the present and the potential of ner city. Its strong core and support, steady leadership and their own home districts. 30 Cultural and artistic content The creative team is formed around Must Kast (Black Box Open windows filled with musicians. Local kitchens on the theatre troupe) and Labyrinth Theatre Group G9. The team streets. A whole class of first year schoolchildren painting graf- begins by gathering interviews, written non-fictional stories fiti under tutelage. Meeting places for complete strangers. At and biographies from archives, books and letters; holding another point in the very evening, people start to gather to one open talks during social gatherings in local venues; collecting place. A park or a riverside, a bridge or a square will fill with drawings, pictures, videos, recipes, handmade items, riddles, participants – to sing a song amidst the lighting show. Or they songs and music. This source material will be a database for walk around the district with a marching band, carrying all the themed performances and an open resource for the primary flags. Or they plant 1,000 trees during a concert – a unique uni- collaboration partners during the festival phase. fying experience to conclude the rediscovery of a home hood. If a person walks through the streets of Tartu in June, they will Duration: Collecting sources since 2020, pre-events 2021-23, main have an opportunity to witness unexpected happenings in pub- programme June 2024 lic spaces. An everyday path to get the groceries may guide the visitor through installations, a neighboring yard may turn into Partners: University of Tartu Viljandi Cultural Academy (EE), Urban a dancing battleground, a stroll through the park might make festival UIT (EE), Stencibility Street Art Festival (EE), Tartu Artist in a passer-by read a collection of memories written on the side- Residence (EE), Tartu neighbourhood societies (EE), Anneli Saro (EE), walks. At some point, a group of 30 people will walk hand in Hedi-Liis Toome (EE), NORTEAS Nordic and Baltic Performing Arts hand and blindfolded through the streets and enter an aban- Network (IS), Performa Borealis (Tartu International Festival of the doned house. It is the audience of one of the district perfor- Performing Arts, EE), Walk the Plank (UK), Finnish National Theatre mances travelling through a play based on the people of Tartu. (FI), New Theater Institute of Latvia (LV), Riga 2014 (Road Map, LV) Cultural and artistic content 31 32 Q Q 33 TARTU WITH EUROPE: GREATER SMALLER CITIES rewriting city narrative through its subcultures and mavericks, reimagining urban spaces, regional and global contacts FLAGSHIP PROJECT IN TARTU: kiss depicted on film – denounced as shocking and KISSING TARTU obscene in 1896 – to the occasions when public kissing challenged racial or ethnic stigmas, Kisses of Change will A kiss can make casual friendships stronger and strong ties be an interactive art, photo, music and video experience. intimate. It can signal affection or respect, yet also convey broader transformative social, political and spiritual mes- Kiss and Tell is a programme to excite the more curi- sages. For arts and for survival, a kiss is in many ways a major ous adults with a trans-European selection of films and key! Caught in our Kissing Students sculpture on the Town lectures on love and erotica. Accompanying discussions Hall Square, it’s the symbol of Tartu as the city of life-chang- with researchers of media and sociology of affection ing encounters and youthful love. As the peak of Student and sexuality also investigate the evolution of publishing Spring Days held by Tartuvian universities, Kissing Tartu is one’s intimate expressions on social media and its impli- a record-breaking event with several side programmes to cations for our behaviour. explore the manifold nature of everyone’s favourite gesture. Duration: First Kiss September 2023 – June 2024; Kisses of Change The defining moment of Kissing Tartu will be the biggest 8 February – 4 August 2024; Kiss and Tell and Student Spring Days ever simultaneous kissing to happen in a European 29 April – 5 May 2024; Kissing Tartu main event 4 May 2024 Capital of Culture. More than 20,000 kissers from all over Europe and the world are expected to fill the Town Hall square Partners: Tartu Student Days (EE), Estonian Sexual Health Union stretching from River Emajõgi to the slopes of Toomemägi, to (EE), University of Tartu (EE), University of Life Sciences (EE), Estonian spread the message of love, connection and togetherness all Art University (EE), Pallas University of Applied Sciences (EE), Tartu across the town, Europe and global social media. The most Elektriteater Cinema (EE), PÖFF film festival (EE), tARTuFF film festival (EE), affectionate moments of the ECoC year are carried on into International Planned Parenthood Federation (UK), Dornbirn 2024 (AT) the night of love songs and dancing on city stages. Kissing Tartu also features three side programmes: FLAGSHIP PROJECT IN THE REGION: TARTU WORLD UNIVERSITY First Kiss is a sexual and mental health programme promoting self-awareness, informed decision-making, At a time when so many small town and village communities healthy practices and mutual respect among teenagers. feel redundant with their perennial local problems and being Visiting schools as well as providing internationally acces- unable to affect global matters, Tartu World University sible online content, influencers and opinion leaders comes to the rescue! 12 regions in Southern Estonia as well share reflective and relatable stories about their “first as the cities of Viljandi and Pärnu get to host temporary uni- times” in intimate relationships to ease the expectation versities as think tanks for solving “glocal” issues. The Tartu pressures upon young people. World University process will help these communities to understand their unique qualities and strengths, raise their Kisses of Change exhibition visualises the moments when self-esteem and transform from those in need to those who a kiss marked a change in the course of history or became can help others across Europe. iconic in pop culture. From the kiss of Judas to the first In 2021, Tartu World University steering groups will be formed in 14 locations for organising strategic brainstorm- ing sessions with community and Estonian consultants (PwC, DD Stratlab, county development centers, UT Centre of Educational Innovation, Vunki Mano, Garage 48). They will specify the most pressing problems in each area and scout for potential consultants or guest speakers ( from international partner cities and institutions as well). In 2022– 23, TWU sessions become broader and linked to related European issues. In 2024, the scope of Tartu World University has grown from local to truly glocal. Each TWU site will host a top-level 34 Cultural and artistic content European/international visionary leader or a public intel- The new biennale festival Performa Borealis centres on lectual who gives civic lectures to wider audiences (also the stage productions from the Baltic and Nordic regions, streamed for international viewers and broadcast in the while also including Russian theatre and guest perfor- national media). They will mentor the development of sus- mances from some of the most exciting contemporary tainable solutions that are most beneficial locally but also theatre-makers in Europe. The programme of the festival will exemplary on a global scale. The mentoring process is span the whole spectrum of performing arts from contempo- intended to be two-way learning: the guest speakers get to rary visual performance art (live art, physical and circus theatre, know the communities, their customs and practices, help to movement and object theatre) to contemporary dance and organise artistic events with pupils from local schools. This social/political/documentary theatre. While the selection pro- way, we hope to make lasting friends and proud ambassa- cess is based on artistic liberty and diversity, the festival is keen dors of our small cities and rural areas. to raise environmental awareness and increase commitment to the environmental sustainability of the performing arts. A In early 2025, Tartu World University Summit is held as two-day international conference, Sustainability and Culture a major legacy event and diplomas are given to those who presents case studies and best practices from European public have attended all TWU major public lectures in 2024. cultural organisations who have “gone green”. Duration: preparatory process 2021–2023, main sessions 2024, leg- The festival also features the Nordic-Baltic Performing Arts acy event 2025 Meeting held on 2024, which will be an event where both Baltic and international emerging artists and performing arts Partners: The Centre for Ethics of the University of Tartu (EE), The companies can present their work to interested parties dur- Centre for Educational Innovation of the University of Tartu (EE), ing 20-minute sessions reserved for each company. It will be sTARTUp Day (EE), DD Stratlab (EE), Estonian National Museum possible to incorporate either video footage or short live per- (EE), Vunki Mano Hackathon (EE), GTL (Glocally Transformative formances from shows into the presentations they would like Learning) Labor (EE), Kodukant Community Network (EE), TEDx Tartu to promote. Since the Tartu Centre for Creative Industries (EE), Community Development Network Coursera, Veszprém 2023 is the main organiser, the festival runs the Shooting Stars in (Republic of Freedom, Balaton Talks, HU) Performing Arts training programme for young performing artists, theatre producers and start-up companies, present- ing European top-level mentoring sessions, new services PERFORMA BOREALIS and products of creative industries related to their fields. Tartu International Festival of Contemporary Performing Arts Duration: Ramp-up festivals in September 2021 and 2023, ECoC festival 19–29 September 2024 Tartu is the birthplace of Estonian professional theatre in the late 19th century and the site for major innovations in the late Partners: Estonian Theatre Festival (EE), Vanemuine Theatre (EE), 1960s. Our theatre productions still draw large audiences Tartu Uus Teater (EE), Must Kast (EE), University of Tartu Department and win awards – but the city has all but vanished from inter- of Literature and Theatre Studies (EE), The Estonian Academy of Music national thespian maps. Our Draama Festival dwindling into and Theatre (EE), Lithuanian National Drama Theatre (International locality, top European troupes rarely seen – yet Tartu is ideally Festival of the Performing Arts SIRENOS, Lithuanian Theatre Showcase, placed as a stage for bringing together the best of the per- LT), New Theatre Institute of Latvia (International festival Homo Novus, forming arts from Estonia’s neighbouring regions. Performa LV), Tampere Theatre Festival (FI), BIT Teatergarasjen (METEOR and Borealis is a bold revamp of Tartu as the city of theatre. Oktoberdans, NO), LÓKAL Performing Arts Reykjavik (IS) Cultural and artistic content 35  current practices in arts and civic action. The research and education programme is carried out throughout the year by/via/through networking for school performances, public events, online databases and media broadcasts with part- ners in the Baltic states and Eastern Europe and with other international partners. Psühhoteek also serves as a platform for Tartu Centre for Creative Industries capacity building programme for band managers, the need for which was stressed in the 1st stage of Tartu Night Strategy. Duration: research and education programme 2020–2024 and beyond, festival/fair/conference in April 2024 PSÜHHOTEEK Partners: Tartu Centre for Creative Industries (EE), Aparaaditehas Psühhoteek (Psychotheque) is a festival, fair, research and (EE), Tartu Literature House (EE), Tartu Blues Club (EE), Tartu Art education programme emerging around the outreaching School (EE); Raatuse Gymnasium, Tartu (EE), Degritter (EE), VinylPlant activities of the eponymous vinyl shop at the Tartu Centre (EE), Funked Up East (EE), Obscure Little Beasties (LT), Spasibo for Creative Industries. Pop culture is a lingua franca in Records (RU), Overfitting Disco (FI), Cesis Mala Art Space (LV), Europe as well as worldwide. Beneath and beyond industrial Vinilbārs (LV), Erica Synth (LV), Jersica Records (LV), Croatia Records mass production, it’s a treasury for transforming identities, (HR), Unearthing the Music (EU), Sound Exchange (DE/EU), The Wire breaking barriers, imagining new worlds and creating codes Magazine (UK)/Off The Page Festival (UK/NO), The Networks (HU), of resistance. This is definitely so in Estonia, the Baltic States SBZ Records (RU), Svart Records (FI), Hangvetö (HU) and Eastern Europe where music but also sci-fi, animated movies, design and comedy were largely experimental and reaching beyond the Iron Curtain. TOOMEMÄGI REVISITED But there’s been too little interaction and mutual learning Ascending from behind the University of Tartu main building for decades now. Also, still too much effort is needed for to the ruins of the old cathedral where the university museum bringing this heritage and potential to the attention of the is, Toomemägi (Toome Hill) is the centre of Tartu in space Western Europe and the still-too-Angloamerican global pop as well as time – a vast landmark of Tartu’s connection with consciousness. The Psühhoteek programme revisits, revives Europe through Christian culture and the academic herit- and revamps vaults of the Eastern European alternative pop age. Yet, this significance has long been underrepresented. for the 21st century European and global musicians, artists Toomemägi Revisited aims to wake the area from its slum- and audiences. ber by turning it into a multifunctional and multilayered envi- ronment with the European scope it deserves. Festival: the live programme takes place in unconventional pop-up venues to bring out hidden potential in indoor and Toomemägi park will be redesigned in the course of the outdoor urban spaces and create transformative sonic/envi- Curated Biodiversity project and the whole territory ronmental experiences. Transgenerational and transnational turned into a more inviting public space with themed jamming spaces are also provided for festival guests. In the playgrounds and open-air galleries, in addition to pro- ramp-up years and in 2024, residing international acts will viding better accessible grounds for a range of events record, release and perform Tartu-themed albums. and festivals (e.g. the flagship event Kissing Tartu). The programme of initiatives that are specifically planned for Fair: While presenting Estonian/Baltic/Eastern European 2024 include: vinyl and other pop cultural heritage to European guests and partners, it’s no mere nostalgia fair – Psühhoteek seeks to International art competition for a major permanent forge new cooperative ties between musicians and per- installation based on the Struve Geodetic Arc. Running formers of various ages and ethnic backgrounds, broker through ten countries, the arc symbolically connects re-releases and distribution record deals for vintage music Tartu to the world and is the only landmark in the city that “from behind the Iron Curtain”. The fair also showcases the belongs to the UNESCO World Heritage list. The installa- Analogue Livonia (Estonia + Latvia) creative cluster of ana- tion will be opened early in 2024 as one of the opening logue sound technology and music production companies, events of Tartu 2024. vinyl record labels and collectors, art schools, book and record shops, club spaces and NGOs. UHHUU Pseudo-Science exhibition of the history of frauds, debunks and constant improvement of science Conference sums up the work done in the Psühhoteek itself through critical thought, questioning of dogmas, Academy research and education programme on Estonian, constant learning and experimenting as Arts of Survival Baltic, Eastern European and subcultural histories and (Spring 2024). 36 Cultural and artistic content  Arts of Innovation exhibition of scientific achievements 2024 European Students’ Opinion Festival coincides with hosted by all of the university museums and an outdoor the Tartu Student Days in autumn, sharing its cultural display of Lifesavers – Tartu-related scientific discoveries programme (the night song and dance festival and a night that have saved and changed people’s lives with exhibits opinion festival, flying machine contest, etc.) and bringing in like the “blood fountain”, a gigantic brain you can walk artistic projects from the participating European universities. into, etc (Autumn 2024). There is a fourfold focus for the festival panels: The light installations for the cathedral towers from the Environment – students as forerunners of promoting and international cast of artists, premiered at the TAVA light cultivating sustainable and environmentally friendly living festival as “the ECoC lighthouse for the future”. in the city Duration: 2019–2024 and beyond, with special events through- Culture – supporting student activity in arts; festivals; out 2024 community initiatives; founding new cultural institutions; improving cross-sectoral and international cooperation; Partners: Georg August Universität Göttingen (DE), Ghent tackling mental health issues through arts University Museum (BE), Uppsala University Museum (SE), Helsinki University Museum (FI), Museu Nacional de História Natural e da Science/Education – increasing students’ involvement in Ciência (MUHNAC) Universidade de Lisboa (PT), Oslo University public promotion of sciences and learning (NO), UNIVERSEUM, European Academic Heritage Network, Struve Geodetic Arc Coordinating Committee (EU), Latvian Geospatial Start-ups – introducing more students to entrepreneur- Information Agency (LT), Tina Wikström, Johan Moritz (SE) ship and support their first steps (business incubators, sponsorships, co-working rooms) Duration: a week in late September/early October 2024 Partners: Tartu University IdeaLab (EE), Genialists’ Club (EE), KVARK science theatre (EE), Tartu Elektriteater Cinema (EE), Tartu Environmental Education Centre (EE), Opinion Festival (EE), Ott Karulin (former Head Organizer and Programme Manager of Opinion Festival, EE), DDStartLab (EE), Ermo Tikk (sTARTUp Community Development manager, EE), University of Tartu Institute of Psychology (EE), Johan Skytte Institute of Political Studies (EE); University of Tartu Student Council and Vice Rector for Academic Affairs – Aune Valk (EE), Jubel – European Democracy Festival (BE), Aaltoes (Europe’s EUROPEAN STUDENTS’ OPINION FESTIVAL largest and most active entrepreneurship community, FI), University of Vilnius (LT), Aalto University (FI). Many small university towns in Europe share common ques- tions. How to create an environment where students feel the town is also theirs to improve, stay in or return to? How to EMAJÕGI – THE BIRTH AND DEATH OF TARTU boost transversal synergy and make great things happen in a small town? How can the universities be agents of change Tartu was born of the Mother River – Emajõgi. For centuries, the beyond the walls of academy? city has breathed to the rhythms of the river. Yet, many times the river has also brought on its dark and destructive side – Tartu is likewise swept by the tides of new students – some flooding the streets, becoming a wet grave to the careless or put in their best for the city, others don’t quite know how to. the desperate. Thus, she’s been feared and hated as well as Many stay, many go. What has improved in Tartu is largely loved and respected. One way or another, Emajõgi has left a due to universities; what hasn’t… well. mark on everybody who has stood on its banks. To make sense of this impact is to understand the flow of life in the city itself. In Estonia, the Opinion Festival in Paide has exceeded expec- tations of success with large audiences gathering for several Tartu City Museum’s exhibition opens in spring 2024 as a days to listen to topical debates of opinion leaders on doz- stream of audiovisual interpretations of stories and images ens of stages and popup venues. Led by ÜKSA (University tracing the river. An outdoor architectural installation along Student Foundation), European Students’ Opinion Festival the north bank will harbour topics such as the founding and is Tartu 2024’s major initiative to bring together similar development of Tartu, Emajõgi as a historic transportation experiences and best practices from other small, Tartu-like route, Emajõgi and the “two Tartus”, Emajõgi and relaxation, European university towns. With top-level mentoring, stu- Emajõgi and romance, Emajõgi and the arts, Emajõgi as a site dents themselves will mutually ponder their impact on and of accidents and suicides. potential for the university towns, further avenues of intercul- tural exchange and ways of boosting cross-border activism to The exhibition will rely on archival sources, interviews, mem- freshen up various fields of city life. oirs, paintings and photos – but also on contemporary tales Cultural and artistic content 37 and impressions. Locals, guests, foreign students as well as developing a map of Russophone heritage as an app as international communities are welcome to share their river well as in print experience, submitting stories to a special platform and for a multilingual published compilation. cultural events programme dealing with the different aspects of Russophone heritage in Tartu and Estonia. The accompanying public programme includes tours and hikes on the banks of the river as well as boat excursions, The map brings out several layers of Russophone heritage workshops and discussions on the impact of the river on the in the city: traces and landmarks of the Russian Empire, human psyche and urban space in cooperation with AOS Soviet Union and the current ethnic diversity of the Urban Nature Festival and Reclaiming The River Emajõgi Russian-speaking community. The flexible app allows And The Great Lakes. The peak of the programme will be a for creating several routes based on the interests of pri- River Cities Conference in autumn 2024. Bringing together vate explorers or guided tours. We also plan to involve the representatives from river cities across Europe, it is a forum international students of Russian Studies in the University for smart and nature-friendly ideas and proposals for future of Tartu to conduct tours in their own mother tongue for developments of the riverside. greater European appeal. The events include seminars and round tables based on those layers, concerts, site-specific installations and pop-up events at the sites of significance on the map and the Festival of Actual Russophone Estonia. The latter is a series of events throughout the year, including current festivals such as the International Bard Festival Music of Falling Leaves, Zhukovsky International Festival of Poetry, Russian Ball and Baltic Ring International Festival of Poetry, as well as new initiatives (Contemporary Folk Music Festival, Russophone Rock and Pop Festival, Festival of Russian Theatres in Estonia, Exhibition of Russophone artists of Estonia in Tartu Art House). The Prima Vista International Literary Festival and UNESCO City of Literature Tartu are also associates in bridg- ing the gaps between Russophone and European cultures in the project. Duration: exhibition March-September 2024, conference September 2024 Duration: 2019–2024 and beyond Partners: Estonian National Archive (EE), Tartu City Library (EE), Partners: Ivo Kruusamägi (Wikipedia EE), Lyudmila Yamurzina (head RLOALUARNAD (architects Laura Linsi and Roland Reemaa, EE), Iseseisev of working group of minorities of Estonian Folklore Council, EE), Elu NGO Supporting Agency (EE), International House Tartu (EE), Burgos Vestnik Tartu newspaper (EE), Peeter Talvistu (Tartu Art House, EE), & Garrido Arquitectos (Madrid Rio, ES), Ljubljana River Exhibition (SI), Valentina Lai and Kids Studio MIX (EE), V Tartu Portal (EE), University Galway 2020 (Wires Crossed: A Balancing Act for Europe, IE) of Tartu Department of Slavic Studies (EE), TSKA Cultural Centre (EE), International Landscape Poetry Festival (EE), International Bard Festival Music of Falling Leaves (EE), Zhukovsky International Festival MAPPING RUSSOPHONE TARTU of Poetry (EE), Russian Ball (EE), Baltic Ring International Festival of Poetry (EE), Prima Vista International Literary Festival (EE), Tartu Public What does it mean to be a Russian or to be from a Russian- Library (EE), University of Tartu Museum (EE), Estonian National speaking culture in Estonia as part of Europe? These iden- Archive (EE), Zoya Lebedeva (artist, EE/RU), Anna Andrzhiyevskaya tities are complex even in Tartu, which is perceived as the (installation artist, RU) one city where most of the Russophone inhabitants have successfully integrated into the local society. However, the reality acknowledged by many of the 15% is that this ethnic WALKS OF SURVIVAL minority consists of many rather disparate groups, some of whom still struggle with their sense of belonging. Hence, the “I would walk 500 miles…” Can you manage even five today? rich Russophone heritage, its historic connections to Europe Our ancestors covered long distances on foot to get food for and its current artistic activities have been underrepresented survival; now we can order our meal to our doorstep online. in the city and its international cultural profile. Gaining in comfort, losing in physical stamina. Not just that – in our habits of spending days indoors and choosing to Mapping Russophone Tartu is an initiative to unite and drive instead of walking, we become blind, deaf and numb empower those disparate groups by raising awareness of to the multitude of stories, spaces and secret possibilities of the cultural value of their identity and its relevance for Tartu, the city we live in or visit. Taking long walks doesn’t just make Estonia and Europe. The project consists of two main us fitter for survival, it opens up our habitat for a much richer lines of activity: range of futures. 38 Cultural and artistic content  2022 Environment 2023 Humanity 2024 Community Duration: 2020–2024 and beyond Partners: University of Tartu Physical Activity Lab (Liikumislabor, EE), NGO Seiklushunt (EE), Ilves Orienteering Club (EE), Secret City Trails (NL) ARTS OF SURVIVAL DOCUMENTARIES To truly know a place and its people means to learn a secret code of shared memories – not so much the official history Walks Of Survival offer many ways to get walking again. and major landmarks, but the unsung heroes, the mavericks, Locals and guests of Tartu and South Estonia, flaneurs and the “great little people”, alongside the quaint small bars, pubs fishers, mums and the mayor will share their walking routes and shops, which all amount to that elusive “local colour”, through their significant sites, inviting you into an imagined even when they’re long gone. So much of it gets overlooked, conversation with them and the city – or, occasionally, a real lost and forgotten in the era of global brands and global conversation as they come to walk with you and tell the tales influencers. What fitter art of survival can there be for the of living in the place. The city will be criss-crossed by per- memory of them than a documentary film – at best humbling sonalised paths – common tourist sightseeing spots suddenly and enlightening for its makers, revelatory for the audiences, get a touch of intimacy, apparent non-places reveal their bringing due reappraisal to their subjects. Tartu Spirit and deep poetic value. Maps and apps will show the way if you Public House are Tartu 2024 documentary projects to trace, walk alone or with mates new to the city; benches with writ- learn and share that secret language of local colour in the ers’ quotes give you some rest. And do take your business city, the region and Europe. meetings outdoors for some peripatetic pleasure! Tartu Spirit (“Tartu vaim”) is a catch-all phrase for the quirky On completing a route, you will be awarded with a True genius loci defined by our mavericks – bards, boffins and Walker token. Collecting a specific amount of tokens grants bohemians, street stalwarts, those mystery men and women you a free entrance to one of the ticketed ECoC events as everyone seem to know about but no-one quite knows who well as discounts in cafés and museums. And once a year, they really are. Tartuvians take them almost for granted; others on the European Day, we call all Tartuvians, Estonians and can barely figure them out. Fresh eyes are needed to crack the Europeans up for a grand cause walk – raising funds for code for the broader public – we invite professional European initiatives of improving Europe. Specific topics for Arts of documentary makers into an environment of artistic growth, Survival walking events are settled one year in advance, with exploration of new ideas and the discovery of the authentic the broad themes linked to our programme lines: milieu to shoot their visions of the representatives of Tartu Cultural and artistic content 39 Spirit. A supporting DocDJ programme 2024 EVENTS TIMELINE CHART for youth lets them create fantasies from facts, remix the existing documentaries into new hybrids and learn plenty about JANUARY OPENING EVENT film editing. SURREALISM 100 KISSING TARTU - First Kiss Public House is a documentary tribute to a vanishing world of small local stores, FEBRUARY KISSING TARTU - Kisses of Change thrift shops, bars and pubs in Tartu and Southern Estonia. As community strong- MARCH ARTS OF SURVIVAL DOCUMENTARIES holds or temples of personal passion, EMAJÕGI - THE BIRTH AND DEATH OF TARTU exhibition they are like small boats caught in the storm of global and increasingly online APRIL WILD BITS commerce. How can they survive, even if YELLOW WINDOWS ARTS PROGRAMME just in living memory? How can we share PSÜHHOTEEK the sensual experience of being there TOOMEMÄGI REVISITED - UHHUU Pseudo-Science exhibition with those for whom they’re unlikely to ever be in the Top Ten destinations? Public House is an experimental pro- MAY WILD BITS KISSING TARTU ject for using new media (VR, AR, etc.) HIDDEN WORLDS EXPANDING and new models of storytelling to make 1984/2024 LITERARY FESTIVAL documentary films aimed at European BEETROOT WASHING MACHINE film school students. By participating in the summer school in Southern Estonia, they’ll be equipped with the skills and JUNE AOS URBAN NATURE FESTIVAL local knowledge to recreate the reality REVOGUE WILD BITS of those special spots in their works. YELLOW WINDOWS ARTS PROGRAMME - Aigu om! Lost locations brought to virtual life are also brought to retirement and care homes for the people who relate to JULY RECLAIMING THE RIVER EMAJÕGI AND THE GREAT LAKES these places and who can be inspired to ESTONIAN-LATVIAN WEDDING SONG & DANCE FESTIVAL share the stories. AUGUST LAKE PEIPUS ARTS ROUTE These two documentary series will be POSTMARKET STREET FESTIVAL shown throughout 2024 in nonstop OUTSIDER FOOTBALL TOURNAMENT film pavilions across the city, libraries and shopping malls; there will be the- SEPTEMBER LAKE PEIPUS ARTS ROUTE matic programmes at Maailmafilm GROWING WITH YOUR FOOD HARVEST PARTY festival and a travelling festival across ENTER WOODLAND SPIRITS DIGITAL ART FESTIVAL Southern Estonian villages, cities and EUROPEAN STUDENTS’ OPINION FESTIVAL community venues, with capacity build- EMAJÕGI - THE BIRTH AND DEATH OF TARTU conference ing activities for local cultural operators. PERFORMA BOREALIS The project also contributes to Walks TOOMEMÄGI REVISITED - Arts of Innovation exhibition Of Survival with themed trails. YELLOW WINDOWS ARTS PROGRAMME - Vastseliina European Pilgrimage CREATIVE CONNECTIONS EXHIBITION Duration: Preparatory activities and filmmak- ing 2020–23, programmes at Maailmafilm March 2024, travelling film festival around OCTOBER YELLOW WINDOWS ARTS PROGRAMME - CosmoFest Southern Estonia September–December 2024 STAND UP FOR YOUR MIND SOUND OUR SOULS Partners: Tartu Film Fund (EE), Pärnu Film CREATIVE CONNECTIONS CONFERENCE Festival (EE), Tartu Elektriteater Cinema (EE), Estonian National Museum (EE), Tartu World NOVEMBER SOUND OUR SOULS Film Festival (EE), Estonian Film Institute (EE), YELLOW WINDOWS ARTS PROGRAMME - The Estonian Documentary Guild (EE), Baltic European Nature Photography Summit Media Film School (EE), Enactive Virtuality Lab (EE), MaruVR (EE), MoKs (EE), Futuruum DECEMBER CLOSING EVENT (EE), Plankfilm (EE), European Documentary TOOMEMÄGI REVISITED - Network (NL/DK), A Wall is a Screen (DE), The light installations for the cathedral towers Bodø 2024 (Bodø Filmfest, NO) 40 Cultural and artistic content DIVERSITY LAND LINE Ristikivi. The residency has global reach in and beyond the Culture Bus Creative Cities Network and encourages mingling with local artists and cultural operators, performing and co-curating at Diversity Land Line is a „mobile cultural hub” tour counter- literary festivals and revealing residents’ talents in other arts. ing immigration-related fears and prejudices, aggravated social tensions and the forces feeding on them. We prove Tartu Artist in Residence (TAiR) offers a range of short- and that personal friendships and cultural understanding are still long-term residencies through yearly open calls in coopera- best brought on by people meeting people to enjoy and cre- tion of Estonian Print and Paper Museum, Pallas University ate shared spaces and joyful occasions. We show how val- of Applied Sciences, Tartu Art Museum, Aparaaditehas, ues and aspirations cut across ethnic distinctions, with joint Tartu Art House and many other partner organisations who practices and events helping to relish rather than reduce the contribute different skills and resources, thereby making it appeal of various heritages. Our special focus is on introduc- possible to cater to different genres. Main areas of compe- ing the Non-European ethnicities who have come to live in tence are printmaking and visual arts but the programme is Estonia since they support European values. open to artists from all creative disciplines. Each month, Diversity Land Line engages a minority eth- Artist-run residencies include MAAJAAM (run by Timo nic group with Tartu and Southern Estonia, promoting its Toots, see Wild Bits 2024 Exhibition above), MoKS (run by music, food, crafts and traditions by building long-term Evelyn and John Grzinich), both in rural areas of the region relationships with the local communities. We also introduce and also Valgka run by Tanel Rander in Valga/Valka, aiming cultural activities to vulnerable groups with limited access to expand into a permanent residency from pilot projects of (foster homes, elderly care centers, soup kitchens, etc.) In 2017–2018. the region, three towns/villages are going to be selected in each of the four counties. There are 12 events planned in Artistic Research Residencies one county during the year – one event in each municipality every three months in the following order: The programme aims to connect artists working in differ- ent mediums and the most distinguished research centres 1. Cultural festival and bonding with the community in Tartu – Estonian Genome Centre, Estonian National Museum and Tartu Observatory. The role of the centres 2. Joint workshops, establishing local core groups is to provide a research base for artists (access to data and cooperation with other research teams). As a result, we hope 3. Voluntary work in the local community to inspire artists to make new artworks by interpreting the output of research centres in a unique manner and to present 4. Presentation of the results of core group work (exhibition, the outcome in their venues. performance, etc) for broader international audiences and a gift to the local community on behalf of the cultural Estonian National Museum is the centre for ethnological minority group research which records, studies and interprets vernacular cul- ture through the ages (including recent past) and is the larg- Duration: throughout 2024 (build up 2020–2023) est cultural and tourist attraction in Tartu. Controversial queer artist Jaanus Samma is the first research resident in 2020. Partners: Neighbourhood Unions (Karlova community, Supilinna community, Annelinna community, EE), Tartu City Library (EE), New Tartu Observatory conducts research and experimental Generation NGO (PS), Orient and Dance Theatre (PS), Nidal Al-Abbadi Co development of natural sciences to promote science in the NGO (JO), Armenian Open Society NGO (AM), “Common Sense” Youth fields of astronomy, remote sensing and space technology. Organisation, (AZ), Asociación Cultural Social y Educativa Segundas Tech/installation artist Katja Novitskova is the first research Oportunidades [A.C.S.E.S.O] (ES), Youth Association DRONI (GE), Center resident in 2021. for Dialogue and Reconciliation “Iskra” (UA), Världskulturmuseet (SE) Estonian Genome Centre at the University of Tartu runs the Estonian Biobank, which 200,000 Estonians have joined as RESIDENCIES gene donors, making it the world’s most comprehensive data- base of its kind. Getting information from other health related Contributing to the cultural programme of Tartu 2024, artistic databases and state registers, the Genome Center database residencies include several already existing platforms but also upgrades constantly. The first research residents are Iza feature a string of transversal Artistic Research Residencies Tarasewicz (PL) in 2022 and Ryoji Ikeda (JP) in 2024 (exhi- initiatives plus a range of other new platforms specifically cre- bition at the Estonian National Museum in summer 2024). ated with the European Capital of Culture in mind. Other new residencies Current residencies Kodavere Heritage Centre will run culinary residencies UNESCO City of Literature residency is offered twice for top European chefs invited through our ECoC partners a year for two months in the former abode of writer Karl in the Lake Peipus area, introducing the meeting point of Cultural and artistic content 41 three distinct culinary cultures in a unique natural environ- The overall strategy of developing further residencies ment: Baltic German manor cuisine, Old Believers’ cuisine will follow the priorities of KU30: and Estonian peasant cuisine. The residents utilise the local infrastructure and community of the Onion Route (Sibulatee) to create better contacts with the growers and producers/ KU30 priority Residency development focus gatherers of various produce, but also with the best home cooks who sustain the local culinary culture. Environment Rural locations in the region Tartu Centre for Creative Industries will run performing Generations Support services for artists with families arts residencies to precede the Performa Borealis festi- val (see above) in August–September 2024. Three mixed Community Suitable conditions for artists with disabilities groups of international and local performing artists will carry out the research in institutions such as Tartu prison, women’s shelter, international technology start-ups, etc., Residencies in rural locations provide an inspiring change to create a performance or work-in-progress to be pre- of milieu for artists tired of the metropolitan sameness sented in the framework of the festival. The aim of the and they enrich “peripheries” with a fresh perspective. residencies is to establish a strong relationship with the Residencies for families support long-term stay or even diverse local communities, discover hidden stories and becoming a permanent citizen (in Tartu we have interna- give them an artistic voice. TCCC also runs Psühhoteek tional schools and kindergartens, as well as health care residency (see Psühhoteek above) to host bands and systems that are also serving in Russian and English). musicians for the creating, recording and releasing of a Residencies for artists with disabilities boost inclusion on Tartu-themed vinyl album. an European scale. 42 Cultural and artistic content CAPACITY BUILDING: Kultuurikompass The goal of the capacity building programme Kultuurikompass Planned legacy activities include publishing presenta- (Culture Compass) is to strengthen the cultural sector of Tartu tions as subtitled videos and a handbook of good prac- and Southern Estonia while also supporting the implementa- tices based on shared experiences. The forums and their tion of the Tartu 2024 ECoC programme. published content will also become the first capacity build- ing reference points for additional Tartu 2024 ECoC pro- The format of this study and experience sharing programme grammes, arising from community hackathons and open is a result of the open calls and discussions we’ve had with calls for new projects (Q7). local artists, managers and community leaders while devel- oping the bid. In Summer 2018 we designed and launched Planned International Culture Compass forums elevate a thorough survey which saw Tartu cultural managers assess- cultural management topics to a transnational level and ing their biggest shortcomings as involving volunteers, car- help connect Tartu and Southern Estonian artists and cultural rying out ecologically sustainable cultural management and managers, their challenges and solutions with the knowl- finding international partners. These results set the first focus edge and experiences of their Tartu twin town/European areas for the Kultuurikompass. Capital of Culture counterparts. To carry out International Culture Compass events in four countries. The City of Tartu Being a part of our monitoring and evaluation plan as well, has already applied for Europe for Citizens funding together the next mapping of knowledge, skills and needs will take with Kaunas (LT), Turku (FI) and Veszprém (HU). The first place in 2020 and this time cultural managers all across of the biannual forums is planned to take place in Tartu in Southern Estonia will also be surveyed. This leads the capac- November 2019. ity building expansion to all the counties included in our bid to prepare the regional events such as the Yellow Windows Mentorship for Major Events relates to the Tartu 2024 Arts Programme. goal of helping our cultural scenes reach European audi- ences. The programme, custom-fitted to match the profiles Kultuurikompass aims to leave a legacy by empowering of the applicants, provides the framework and funding to cultural managers and bridging the gap between cultural improve strategic management skills and international management and other fields by cross-sectorial and inter- contacts available to the executives of the top festivals national knowledge sharing and networking, which in turn and events in the region by linking them up with experi- leads to new cooperative projects. On the other hand, this enced European practitioners and networks. This strand programme builds a path between formal management edu- of Kultuurikompass takes off in 2021 and is carried out in cation given in the universities of our region and the „learn- cooperation with Tartu Centre for Creative Industries, ing as you go“ attitudes and experiences recorded across all business incubators and international mentors. In 2024, fields of arts and culture. Mentorship for Major Events experiences will be covered in a conference hosted by Viljandi Folk Music Festival, Kultuurikompass: main strands one of the most established, international and innovative festivals of the region. Kultuurikompass’ main strand of action is organising expe- rience sharing and networking forums for artists, cultural Kultuurikompass special strands managers, specialists of cultural institutions such as muse- ums, community activists, social and business innovators with Tartu 2024 Street Team (Q15/16) empowers young peo- presentations on best practices and discussions. ple to learn, practice and share the arts of cultural man- agement. Street Team sessions and missions connect the Every Kultuurikompass forum has a focal theme, inspired by the youth with the aspirations of our European Capital of results of the biennial self-evaluation survey carried out among Culture and build links between our cultural programme Tartu cultural managers mapping their strengths and weak- and the schools. nesses. The forums, taking place quarterly and having kicked off in January 2019, have today already included a few hundred Active Agers, the programme for involving elderly peo- participants from all around Southern Estonia discussing new ple as activators and advisors for audience development is crowdfunding possibilities for culture, social media marketing described further in Q15/16. The programme empowers in culture and sustainable event management. Future experi- cultural participation of senior citizens and increases relevant ence sharing will include events on audience development and capacities of cultural institutions and project teams. engagement, volunteering partnerships and much more. Cultural and artistic content 43 Capacity building for volunteers, hospitality and funding A special Tartu 2024 staff member, the Funding Manager will work with organisations implementing our proposed While the Tartu 2024 Street Team programme provides cultural programme. Their task is to maximise the bid- the nucleus of able and informed volunteers for the ramp ding for EU funds by counselling the public, private or up years, a major open call (Q15) for cultural programme third sector involved in our cultural programme and, if volunteers with concomitant training is planned for 2023. needed, developing transnational networks for joint bids. The cultural institutions’ ability to engage volunteers will be further increased by Kultuurikompass forums’ expe- Cooperation with other capacity building programmes rience sharing and involvement in European Solidarity Corps’ volunteer projects (Q20). Where possible, we will cooperate and connect local art- ists and managers to already existing creative and cultural We also have ongoing discussions with organisations rep- capacity building programmes, incubators, accelerators, resenting people with disabilities on how to meaningfully workshops, seminars, etc. which are presented by Fast Track involve them as volunteers. In order to raise the capacity Tartu, a new platform run by business and governance stake- of cultural institutions for involving people with disabil- holders linking up existing capacity building initiatives. ities, the best practices will be presented and further discussions will be held at future Kultuurikompass forums. The current Kultuurikompass framework has been devel- oped in cooperation between Tartu 2024 Candidacy Team Külas, the grass-roots tours and “local colour” experi- (providing the cultural programme guidance) and City of ences programme described in Q40, will be a premier Tartu Department of Culture (guaranteeing its continuity and driver for inspiring the development of the region’s inclusion in public policies). If Tartu is awarded the title of the hospitality sector while the special Welcome to Tartu and European Capital of Culture, the programme will be man- Southern Estonia training will be carried out after assess- aged and developed by a special staff member of the Artistic ing the capacity of the region’s hospitality sector in 2023. Department in the Tartu 2024 implementation organisation. Main strands of the Tartu 2024 capacity building programme Kultuurikompass 44 Cultural and artistic content Budget for cultural programme and capacity building expenditure Programme cost (in €) TARTU WITH EARTH: TARTU WITH HUMANITY: TARTU WITH EUROPE: ECOLOGY BEFORE FORWARD TO THE GREATER SMALLER ECONOMY ROOTS CITIES Flagship events (city and region) 1,450,000 1,700,000 1,700,000 Programme line projects 1,250,000 2,300,000 1,600,000 Tartu 2024 opening and closing 500,000 ceremonies Capacity building programme 1,500,000 Kultuurkompass and residency programme Funding for additional new pro- 3,500,000 grammes (open calls, hackathons) TOTAL 15,465,000 Breakdown of the programme expenditure. Partners: University of Tartu and its Viljandi Culture Academy, Tartu Changemakers Academy, Viljandi Folk Music Festival, Intsikurmu Business Advisory Services, Tartu Centre for Creative Industries, DD Festival, sTARTUp Day, Enterprise Estonia, Kaunas 2022 Tempo Academy, TEDxTartu, Network of Estonian Nonprofit Organizations, Academy of Culture and Fluxus Labas and other ECoCs. Cultural and artistic content 45 Q7 Choosing further events for Tartu 2024 In developing a solid operating core to Windows. Likewise, the flagship Tartu the programme, as we give them the the Tartu 2024 cultural programme, we World University issues an open call for voice and the skills to be major part- also encourage further additions and Southern Estonian communities to pro- ners in creating the European Capital improvements to it. We are aware that pose locations for temporary universities. of Culture they believe in and want to new hot topics, initiatives and opera- inhabit for decades to come. tors emerge in arts and the related sec- On the other hand, if we are designated tors all the time. We’re eager to keep as the European Capital of Culture we Neighbourhood societies: some of the Arts of Survival programme artis- will reassess the final bid cultural pro- the true riches of Tartu, with their reach tically and socially relevant, up-to-date gramme for defining underrepre- across social and age groups, are not and forward-looking. However, the new sented themes, genres and potential yet well enough represented in our projects need to correspond to our partners to be addressed with spe- bid. We provide means and support for strategic aim of presenting the ECoC cific open calls and hackathons. We their all year round activities. programme that is transversal, trans- have learned and will learn a lot from national and transgenerational. LF2018’s iepen mienskip philosophy Region: our cooperative ties with the to also include a series of small-scale stakeholders in Southern Estonia have Our programme lines Tartu With everyman’s events. No-one should greatly intensified this year – we see Earth, Tartu With Humanity and Tartu feel left out of the European Capital of further need to support the upheaval With Europe are open to further ini- Culture, even if they’re not blockbust- of novel, exciting and widely appealing tiatives, including partnership offers er-producing professionals. 3,500,000€ projects from the region. from upcoming ECoCs in Germany or around ¼ of our planned Tartu 2024 (2025), Slovenia (2025), Finland (2026), Artistic Programme budget is left open Youth Slovakia (2026) and Latvia (2027). to accommodate new initiatives. The ECoC Street Team members will be Among already existing umbrella pro- Target groups under advisors for every major event and will jects, the flagship Yellow Windows special attention design/create the youth programme for Arts Programme is going to run a these events, e.g., Postmarket Street regional open call for site-specific events Youth in the schools of Tartu is one of Festival, AoS Urban Nature Festival near the National Geographic Yellow the greatest resources for expanding and many others. Every year the Street 46 Cultural and artistic content Team will create one event just by After 48 hours of guided/mentored operators and artists should have, and themselves from scratch. More ideas work, the teams should have a working further validate, competence and expe- will be collected through targeted prototype of an event. The guides/men- rience for running large-scale projects. hackathons and through the Shared tors give advice on how to integrate the Submitted project proposals should Path educational programme. idea with the ECoC concept and prin- connect to these criteria: ciples, design the budget, audience Open all: hackathons in development and engagement plans, have a clear European focus city districts, regional etc. The teams will present their project while bearing in mind our Arts of towns and villages plans or prototypes in an open event Survival concept for all citizens, panelists and mentors, We make use of the startup know-how who will decide the best ones that will adhere to the principles of being and Garage48 expertise to initiate more get the funding to execute their idea. transversal, transnational and trans- grassroots level projects and secure Further capacity building will take place generational; include European broad transversal, transgenerational in our Kultuurikompass programme. partners, audience development and, where at all possible, also trans- and engagement strategies national engagement. We hold hack- Partners: Partners: Tartu County Tourism athons in every Tartu city district but Foundation, Garage 48, Vunki Mano have a budget plan with additional also in Southern Estonian towns and vil- Hackathon, local municipalities and NGOs, funding opportunities. lages. These “community hacks” need Tartu neighbourhood societies (Tähtvere, to bring on fresh community-based Annelinn, Supilinn, Karlova, Tammelinn, If an open call applicant is accepted initiatives from teams uniting people Ihaste), Southern Estonian LEADER groups to the cultural programme, the pro- of various professions and age groups ject team continues to implement and helping the foreign workers/inhab- Open calls the project together with Tartu 2024 itants in the area to blend in. Some Foundation’s programme line manag- hackathons could be more specifically After defining underrepresented ers. Further support can be acquired themed; the topic will be decided by themes, genres and potential partners from the Kultuurikompass capacity the Tartu 2024 Artistic Director and/or on a professional scale, Tartu 2024 will building programme. programme line managers based on organise international and/or local already existing projects and what the open calls under special terms. The tar- programme is still missing. geted professional cultural institutions, Cultural and artistic content 47 Q8 How we combine local cultural heritage and traditional art forms with innovation and experiment Inventive convergences of the Estonian cultural heritage and 21st century artis- tic approaches have already attracted interest across Europe, whether in the music of Trad.Attack! from Southern Estonia or in the street art of Edward von Lõngus from Tartu. Yet in the first round, we didn’t have enough pro- jects of this kind. A welcome new entry in our updated programme is the Enter Woodland Spirits festival in with a twist of innovation for 21st cen- electroacoustic music to the churches of which tales and songs on nature spir- tury living. Focusing on both traditional the city, including one of our oldest archi- its, selected from Estonian Folklore and futuristic arts of reuse, recycling tectural landmarks, the St John’s Church Archives, become a source of inspi- and eco-friendly fabric production from the 14th century. The church ration for European digital artists for also makes up the ReVogue slow fash- expects a new baroque organ to be installations with distinctly contempo- ion programme, newly brought to our completed by 2024 and we bring some rary environmental implications. programme by the Tartu Centre for of the top contemporary musicians from Creative Industries. Europe to get a feel of it. Toomemägi A true success story for some years Revisited will expose the old Dome already, Voronja Gallery makes Viljandi Folk Music Festival is among Church ruins at the light festival and cel- European and international curators our strongest regional partners for its ebrate the UNESCO world heritage sta- and artists welcome in the Lake Peipus experience and know-how in linking tra- tus of the Struve Arc with a major work area of Russian-speaking Old Believers. dition and innovation. Now close to 30 of land art; also, scientific discoveries The gallery is also the driving force years in action, it made folk cool among and lifesaving inventions linked to the behind one of our regional flagships, young people and helped to propel University of Tartu will be displayed at an the Lake Peipus Arts Route, which, in the likes of Trad.Attack! and Mari outdoors interactive exhibition. its Gulyanye programme, aims to col- Kalkun from Southern Estonia to great lect more heritage from this and other success abroad. It now attracts tens of For the recent generations the 20th rural communities to be reinterpreted thousands of local and international century countercultural legacy is by artists and writers, exposed by large- audiences to a diverse programme of still the most intimately experienced scale artworks on the landscape and world music and is a pioneer in sus- heritage. The Psühhoteek research mapped digitally. Likewise, a regional tainable, zero-waste festival manage- and event project gathers strands of hub of some renown, MAAJAAM will ment. Along with Intsikurmu Festival underground knowledge and alt-pop present a grand environmental tech in Põlva, another major regional event practices from Eastern Europe and art Wild Bits exhibition in 2024 largely combining family-friendliness with hip- creates an East-West interface for 21st inspired by the clashes between digital ster appeal and environmental con- century exchange and multimedia reality and traditional farm life. sciousness, Viljandi Folk Music Festival cooperation, tapping those still largely also contributes to our AoS Urban unknown treasuries. Little-known treas- Tartu’s own creative hub Aparaaditehas Nature Festival. One of the main ures of Eastern European alternative is expanding its daily activities and events in the regional flagship Yellow scenes are also featured in novel con- street festivals along the same sustain- Windows Arts Programme, the Aigu texts in Surrealism 100, 1984/2024 able values, prepping up for the huge om! festival, curated by internationally Literary Festival and Hidden Worlds Postmarket in 2024 to feature a wide acclaimed folk singer Mari Kalkun, fea- Expanding. An extensive mem- range of traditional recycling crafts on tures Seto Leelo singing tradition and ory refresh for the layers of Russian- the spot. The recent history of those smoke sauna from UNESCO intangible speaking culture as the building blocks crafts and vernacular inventions will be heritage for tech-weary digital nomads. for future Russophone identities in displayed by the three-museum exhi- Estonia and Europe is undertaken by bition Beetroot Washing Machine. Tartu also has many rich layers of urban Mapping Russophone Tartu and the Neither is just a nostalgic tinkering heritage, which we open up for experi- local vernacular knowledge is revived event – both rediscover human-scale menting in 2024 and the ramp-up years. and updated by dramatic urban inter- solutions to be brought back into use Sound Our Souls brings ambient and ventions in Through The City. 48 Cultural and artistic content Q9/Q10 Local artists and cultural organisations as the prime force behind Tartu 2024 From the start, the programme for Tartu 2024 has emerged Theatre will be staging Alexander Solzhenitsyn’s The from a broad base of Tartuvian and regional artists and cul- Gulag Archipelago with a European guest director, involv- tural organisations. Two thirds of our project ideas in the ing all its three strands of drama, ballet and opera. preselection round were the result of public and professional open calls. This year we took the ideas into action, urging Another major event we are planning for 2024, the partners to flesh them out and get them ready to happen. Surrealism 100 exhibition, is now developed by Tartmus The bidding team has provided meeting space, boosted (Tartu Art Museum) at the helm as a joint project involving brainstorming and created project development tools, the Estonian National Museum and Tartu Art House along but it’s the programme emerging from the best of creative with some smaller exhibition spaces. We’re also encourag- Tartuvians and Southern Estonians, eager to reach beyond ing the inclusion of open-air installations in urban spaces the local scope and into the European experience. Our for the pleasure of flaneurs and avant garde urbanists. For improvements in working with them are, in the spirit of the the Beetroot Washing Machine exhibition of vernacular programme, becoming more transversal, transnational and inventions, Tartu City Museum has joined forces with two transgenerational. major institutions in Southern Estonia – the Estonian Road Museum and Estonian Agricultural Museum to cover a broader range of themes and audiences. University of Tartu arts spinoffs are now executive produc- ers of several events. The Natural History Museum along with the University of Life Sciences (Chair of Biodiversity and Nature Tourism) and DD Stratlab elaborates our envi- ronmental culture flagship Arts of Survival Urban Nature Festival (now also featuring nature-inspired live concerts, including Musical Rafts with Leigo Lake Music festival). One of its key events, the Science Me! European champi- onship of science theatres, is going to be co-managed by AHHAA Science Centre. The University of Tartu History Museum runs Toomemägi Revisited, which also includes another joint event with the Natural History Museum: the UHHUU exhibition exposing pseudosciences (a project proposed by the university vice rector Erik Puura). Transnational: we have ensured that all projects feature European and international partnerships in order to coun- Transversal: we’ve engaged more partners to bring fur- ter “splendid isolation” as one of the greatest challenges ther diversity and cross-sector cooperation to the projects, of the current Tartu. However, we are also in the process of to fill the gaps in preselection programme and tap their mapping and engaging local/regional Russian-speaking underused potential. The fresh initiative of Enter Woodland artistic and managerial talent in the preparations for a Spirits, bringing together digital art and folklore from regional flagship project Lake Peipus Arts Route, where Estonian Literary Museum archives, will feature the inter- folk arts, stories and hospitality are a huge source of inspira- nationally acclaimed photographer and multimedia artist tion. Storytelling is to be involved in its Gulyanye heritage Peeter Laurits as its co-curator. The alliance of the literary, project as well as in Story Stations for professional authors theatre and academic institutions (Estonian Writers Union, curated by the Tartu City Writer 2019 and area inhabitant Estonian Literary Society, Prima Vista International Vahur Afanasjev. In the city, Mapping Russophone Tartu is Literary Festival, University of Tartu Department of in the process of inviting poets, musicians, artists and schol- Literature and Theatre Studies), which brought Tartu the ars to provide the many-layered city map of Russophone cul- UNESCO City of Literature status in 2015, has now contrib- ture with a strong artistic programme. For this and Diversity uted with the blueprint for the 1984/2024 Literary Festival Land Line (run by International House Tartu) in the region, to Tartu 2024 programme, aiming to tackle utopias and dys- we also intend to involve the artistic, managerial and sto- topias, data capitalism, post-truth media and freedom of ry-telling talents of international students staying in Tartu speech issues. As one of its central events, the Vanemuine for the next few years. Cultural and artistic content 49 Transgenerational: besides already established local artists, tips from the students. As a result of those and a few other we’ve set our eyes on discovering, engaging and promoting activities in our Shared Path programme (see Q15/16), we fresh talent both now and in the years to come. Creative further hope to have our local artists list significantly expand Connections, curated by Tartmus, involves initiatives for the with more recent discoveries. youngest artists while also tackling poignant social issues of school violence. Growing With Your Food is devising a We have also taken great care to expand our organisational creative training programme for expressing the experience network to the Southern Estonian region. As a result of of urban gardening artistically. The Psühhoteek research five summits with local artists, thinkers and entrepreneurs in and events programme on alternative pop culture also Räpina, Haanja, Alatskivi, Valga and Viljandi, we have received aims to boost school bands and DJs by setting up a series very promising input for developing regional flagships of skills-training school visits by pop scholars, musicians and such as Lake Peipus Arts Route, Yellow Windows Arts nightlife entrepreneurs. However, fresh talent doesn’t have Programme, Tartu World University as well as Diversity to be young of age – in the Sharing Generations workshop Land Line, Hidden Worlds Expanding and other projects programme of Beetroot Washing Machine, partners such involving the region. as Tartu Men’s Shed help to engage middle-aged and sen- ior craftsmen, DIY engineers and photographers in communi- cating their skills to the young while also learning some new Here are some further examples of artists and organisations involved in the projects: Programme line/Project Local artists Cultural Organisations TARTU WITH EARTH: ECOLOGY BEFORE ECONOMY AOS Urban Nature Timo Maran – nature poet and semiotician, curator University of Tartu Museum of Natural Science – Festival of the talks programme executive producers of the festival Viljandi Folk Music Festival, Intsikurmu Festival, Leigo Lake Music – contribute to music events and know-how in sustainable event management University of Tartu (Department of Semiotics), University of Tartu Viljandi Culture Academy – contribute to talks programme Lake Peipus Arts Route Raul Oreškin (Tartu New Theatre director, gallerist Voronja Gallery, Tartu County Development at Voronja Gallery, award-winning prose writer) – Association/Visitpeipsi/Onion Route – executive main curator producers Vahur Afanasjev (award-winning poet and prose UNESCO City of Literature Tartu – associate writer, Tartu City Writer 2019) – curator of the Story producers of literary events Stations literary programme Kristiina Ehin (award-winning poet, prose writer and singer, Tartu City Writer 2017), Jüri Kolk (award-winning poet and prose writer) – co-authors in the Story Stations literary programme Kiwa, Sandra Jõgeva (artists, writers and curators) – co-curators of the arts programme Enter Woodland Spirits Peeter Laurits (photographer/multimedia artist) – Estonian Folklore Archives (Estonian Literary (Digital Art Festival) artistic curator Museum) – source materials, associate producers Martin Rästa (multimedia artist) (co-curator Taive Särg) Maajaam/Wild Bits Timo Toots, Taavi Suisalu (internationally appreci- Maajaam project space – executive producer ated tech artists) – curators of the exhibition UIT Urban Festival – associate producers ReVogue Fashion Reet Aus (fashion, theatre and film designer, global Tartu Centre for Creative Industries – executive Festival and Fair upcycling fashion pioneer) producer Pallas University of Applied Science, University of Tartu Viljandi Culture Academy – associate producers 50 Cultural and artistic content  TARTU WITH HUMANITY: FORWARD TO THE ROOTS Postmarket Street Ruum (Maarja Nuut and Hendrik Kaljujärv), Trad. Aparaaditehas – executive producer Festival Attack! (internationally appreciated crossover eth- nic music performers) – headline acts in the music programme Yellow Windows Arts Mari Kalkun (internationally appreciated crossover National Geographic Estonia – associate ethnic music performer) – artistic curator of the producer Aigu om! programme Remo Savisaar, Sven Zacek, Karl Ander Adami (nature photographers) – featured at the European Nature Photography Summit Surrealism 100 Kiwa (artist, writer and curator) – original concept Tartmus – executive producer developer Estonian National Museum, Tartu Art House – Jaan Malin/Luulur (sound poet, curator) – associate exhibition spaces developer in the Estonian surrealism programme Kursi School, Enn Tegova – featured artists 1984/2024 Literary Andres Lõo (musician, curator of Stalker Festival Prima Vista International Literary Festival, Festival Tallinn2011) – co-curator of Stalking Europe Estonian Writers Union, Estonian Literary Society, University of Tartu Department of Literature and Theatre Studies (main curator Jaak Tomberg) – co-producers Sound Our Souls Raul Keller, Ekke Västrik, Argo Vals, Ruum, TaHe new music community – executive producer Kaido Kirikmäe (ambient/electroacoustic artists) - performers Stand Up For Your Sander Õigus (stand-up comedy artist) – co-cura- Improtheatre Ruutu 10 – executive producer Mind tor of the programme Comedy Estonia – associate producer Through The City Jaanika Tammaru (actor and director) – main local Must Kast theatre troupe – executive producer curator TARTU WITH EUROPE: GREATER SMALLER CITIES Performa Borealis: Tartu Centre for Creative Industries – executive Tartu International producer Festival of Estonian Theatre Festival, Vanemuine Theatre, Contemporary Tartu Uus Teater, Must Kast, University of Tartu Performing Arts Department of Literature and Theatre Studies – associate producers Psühhoteek Terje Toomistu (co-curator of the exhibition and Psühhoteek record shop – executive producer director of the film Soviet Hippies) – co-curator of Tartu Centre for Creative Industries, research programme Aparaaditehas, Tartu Literature House – associate Misha Panfilov (funk musician) – co-curator of music producers programme Kaisa Ling (vaudeville blues singer) – co-curator of educational programme Emajõgi – The Birth RLOALUARNAD (Laura Linsi and Roland Reemaa, Tartu City Museum – executive producers and Death of Tartu curators of the Estonian Pavilion at the 16th Venice Architecture Biennale) – designers of the outdoors exhibition Cultural and artistic content 51 European dimension Q11 Arts of Survival and current European issues. Promoting European diversity in Tartu/ Southern Estonia and city/regional diversity in Europe with European/ international partners Tartu has the spark, the ideas, the means and the inter- and communities some crucial self-assurance: “We, too, national contacts for the process of truly developing a are Europe – we, too, matter and contribute to European European identity in the city and region. There’s still a long diversity and topics.” way to go though. When starting the bid for the ECoC in Tartu, we were self-critical about the splendid isolation and Only through this interaction and co-creation can we develop smug insularity of our artistic scenes with too much in our Arts of Survival for the whole of Europe – to spread more cultural life happening primarily by and for ourselves. The eco-friendly lifestyles in European cities, to bring gener- year of striving to change our artists’ and institutions’ mind- ations and diverse walks of life together for exchanging set has already yielded encouraging results – our creative skills and knowledge, to redefine the cultural identities links, themes and audiences are indeed becoming more of small cities and rural areas for a greater impact in international. Yet it’s got to go further than having some Europe. Thus, the development of the European dimension assertive “token foreigners” on board – they are great mates, in our projects has been twofold: featuring a broad spectrum but maybe oftentimes so much like us that we only get the of European cultures and themes (especially with specific illusion of having transgressed our comfort zone. We may initiatives in our flagship projects) and presenting a broad as well be in for just another ring of that splendid isolation spectrum of our regional cultural diversity with a greater (with a little more English thrown into the talks) unless those involvement of European/international curators and artists to links are lasting, expanding and bold enough to reach new mediate it (again, with special attention to our flagships). audiences, take up tough issues and aim for game-changing artistic interventions across the full scale of the 21st century living in Europe. We’ve noticed that many people in Estonia have quite a schizoid notion of Europe. On one hand, it’s bureaucracy, regulations, demands to have flags on the table in return for funding and all that. On the other hand, there are all those positive immediate experiences that people have while trav- elling, and “nagu Euroopas” (est “it’s just like in Europe”) is definitely a compliment. There’s hardly any need to explain European cultural diversity to most Tartuvians – we seem to get our share of it. But just a few kilometres away, the people from the Southern Estonian heartlands might not be taking it for granted. They’re not nec- essarily averse to this diversity – there’s just not enough first- Across all three programme lines, encouraging and broker- hand experience, so mentioning Europe can all too easily ing European partnerships, featuring European artists, conjure up images of suits, ties and tough restrictions. curators and public intellectuals as well as connecting to European themes and issues has been and continues to be As we said in the pre-selection phase: it’s the “little Europe” vital in developing all of our projects. that keeps fraying. The divisive and protectionist grudge emerges from the fear of disempowerment in smaller cit- Overcoming the East/West divide is a persistent ies and rural communities. We see it as a responsibility European issue even decades from the tumbling of the of Tartu to share more of the European diversity with our Berlin wall. Tartu 2024 aims to prove that Eastern Europe Southern Estonian region. For Tartu 2024, it is the people is not a bunch of poor relatives struggling to catch up, of Europe with their creativity and inventiveness, their but we have cultural riches from some of the greatest beliefs, convictions and values who embody the European artistic traditions, still largely undiscovered as a potent dimension. And on the other hand, we see it as a must source of inspiration and international cooperation. to share more of our regional cultural diversity with our The Surrealism 100 exhibition highlights the Eastern neighbours, residents and visitors in and from Europe and European contributions to Surrealism as one of the most further afield. Plenty of our local and regional initiatives ubiquitous and influential cultural phenomena of Europe deserve proper Europe-wide exposure to give the people in the 20th century. Hidden Worlds Expanding is going to 52 European dimension  be a trailblazer in Eastern Europe where outsider artists in artistic freedom and the possibilities of partaking in find- asylums and care institutions are still largely overlooked. ing solutions for European as well as global challenges. Giving these artists some credit and exposure helps arts Our literary festivals are especially known for maintaining aficionados to make a spate of surprising discoveries and developing this link. 1984/2024 Literary Festival’s from various Eastern European cultures; however, we involvement with the UNESCO Cities of Literature facil- expect it to have an even more transformative impact on itates partnerships within but also beyond Europe – in the social systems of these countries. The Psühhoteek Russia, the US and the global South. There might even be research and events programme of Eastern European ideas for future projects behind bringing global and local countercultures and alternative pop is involving partners South together in the European Capital of Culture! from Latvia and Lithuania but also Hungary (Veszprém) and former Yugoslavian countries to mediate this treas- Expanding our range of artistic residencies is a vital ure trove to curious musicians, collectors and audiences measure for making Tartu truly transnational as a cultural of Europe at large. Sharing the experience of fictional city. Residencies (described at length in the cultural pro- and real utopias and dystopias behind the Iron Curtain gramme) facilitate long-term cooperation of European/ is also one of the main themes of the 1984/2024 Literary international artists with local cultural operators, insti- Festival, especially in staging Solzhenitsyn’s The Gulag tutions and communities with distinct results for the Archipelago and devising the Stalking Europe events audiences to experience before, in and beyond 2024. programme around Eastern European science fiction with Polish partners. Activities in international networks also contribute to the European and international reach and give further input The Baltic connection should not just exist on the map, for Tartu 2024. We aim to build on the UNESCO City of paper or file. We are perceived as having a common Literature network cooperation in forging links with the recent history, but we still make too little use of it for our other sectors of the UCCN – negotiations have started with European presence. While Psühhoteek is representing ECoC candidate cities for 2025 in Ljubljana (Slovenia) and Analogue Livonia as the nexus of Estonian and Latvian Hannover (Germany). Other potentially prolific networks alternative pop culture, then Wedding: Estonian-Latvian include the network of Hanseatic League, SmartEnCity Song Festival engages European choirs in the singing Network of Smart Zero Carbon Cities together will Vitoria- experience that fed the resistant spirit of thousands Gasteiz from Spain and Sonderborg in Denmark, and The against the totalitarian regime in the two countries and is Guild of European Research Intensive Universities. In our now still a major vehicle for positive and open self-iden- Twin Cities partnerships, we’ve developed especially deep tification. Tartu also recognises and realises its much-un- connections with near-future ECoC’s Kaunas and Veszprém derused potential as a mediator between the Baltic and (see more below in Q13). Nordic cultures in the performing arts (Performa Borealis) or bringing the academe more to the forefront of the cultural revamp of smaller and mid-sized cities (European Students’ Opinion Festival). Nordic as well as Baltic part- ners are also prominent in our projects, such as Curated Biodiversity, Growing With Your Food and Reclaiming The River Emajõgi And The Great Lakes, all of which are exploring the possibilities of environmentally conscious repurposing of urban spaces, which is definitely a trend- ing practice in Europe. Brexit or no Brexit, British artists, managers and insti- tutions remain welcome in the Tartu 2024 programme. Whatever the politics, many of them want to keep connected to Europe and its cultural initiatives. From the eco-conscious fashion in ReVogue to the rediscovery of mental balance through telling one’s stories (Stand Up For Your Mind) and reducing school violence through art (Creative Connections), UK partners contribute signifi- cantly to our idea of a better Europe. Russian alliances are a definite asset both artistically and socially, but most extensively through Mapping Russophone Tartu in the city and Lake Peipus Arts Route in the region. Tartu has a long history of creative, academic and dissident mediation between European-minded Russians and Russophile Estonians/Europeans. We’ve received warm gratitude for our support of democracy, European dimension 53 Some further examples of European/international artists and organisations involved in the projects: Programme line/Project European/international artists and co-curators Cultural organisations TARTU WITH EARTH: ECOLOGY BEFORE ECONOMY AOS Urban Nature Festival David Rothenberg (US) Science Me! Science Show Competition (EU) Jaakko Pernu (FI) Degrowth (DE) Welcome to the Village Festival (NL) Lake Peipus Arts Route Peter Belyi (RU) Luda Gallery, St Petersburg (RU) Valts Mikelsons (LV) Mūkusala Art Salon, Riga (LV) Pauliina Turakka Purhonen (FI) Serge van Duijnhoven (BE) Enter Woodland Spirits Margherita Paoletti (IT) Rodrigo Lebrun (UK) Wild Bits 2024 Exhibition RIXC Center for New Media Culture (LV) PLACCC Festival (HU) Curated Biodiversity Joop Mulder (NL) Sense of Place (NL) WILK Open Cluster of Design (PL) ReVogue Fashion Week Ukrainian Fashion Week (UA) Manchester School of Design (UK) Lund University (SE) Reclaiming The River Emajõgi And VIA University College (DK) The Great Lakes TARTU WITH HUMANITY: FORWARD TO THE ROOTS Postmarket Street Festival Trans Europe Halles Network (EU) Yellow Windows Arts Programme Andrei Monguš (Tuva, RU) Sam Lee (UK) Ville Heikkinen (FI) Markus Varesvuo (FI) Vincent Munier (FR) Hidden Worlds Expanding Małgorzata Szaefer (PL) Galeria Tak Poznań (PL) ANO Outsiderville (RU) Kettuki Art Centre (FI) Brno Open Art Studio (CZ) Surrealism 100 National Gallery Prague (CZ) 1984/2024 Literary Festival Pawel Frelik (PL) Uniwersytet Warszawski (PL) Planet Lem literature centre (PL) Sound Our Souls Olafur Arnalds (IS) Berlin Atonal Festival (DE) Jean Michel Jarre (FR) Sonica Festival (SI) Keith Fullerton Whitman (US), Bang On A Can 24-Hour Drone Festival (US) (US) Lustmord (UK) 54 European dimension Beetroot Washing Machine Kaunas City Museum (LT) Latvian Agricultural Museum (LV) Slovene Ethnographic Museum (SL) Mobilia (FI) Wedding: Estonian-Latvian Song Kaspars Putninš (LV) Mixed Choir Sola (LV) Festival Kaspars Adamsons (LV) State Choir Latvija (LV) Maris Sirmais (LV) RIAS Kammerchor (DE) Daniel Reuss (NL) Libera Boys Choir (UK) Robert Prizeman (UK) Swedish Radio Choir (SE) Marc Korovitch (FR) Stand Up For Your Mind David Granier (CA) Hugarafl Mental Health Organisation (IS) Mental Helse Ungdom (NO) Creative Connections. Art Simon and Tom Bloor (UK) Museums Preventing Bullying Lundahl and Seitl (SE) Through the City Finnish National Theatre (FI) Walk the Plank (UK) TARTU WITH EUROPE: GREATER SMALLER CITIES Performa Borealis Lithuanian National Drama Theatre (LT) New Theatre Institute of Latvia (LV) Tampere Theatre Festival (FI) Psühhoteek Sound Exchange (DE/EU) Off The Page Festival (UK/NO) Spasibo Records (RU) Hangvetö (HU) Toomemägi Revisited Tina Wikström (SE) UNIVERSEUM European Academic Heritage Johan Moritz (SE) Network (EU) Struve Geodetic Arc Coordinating Committee (EU) Universidade de Lisboa (PT) European Students’ Opinion Jubel – European Democracy Festival (BE) Festival Emajõgi – The Birth And Death Of Burgos & Garrido Arquitectos (Madrid Rio, ES) Tartu Ljubljana River Exhibition (SI) Mapping Russophone Tartu Anna Andrzhiyevskaya (RU) Walks Of Survival Secret City Trails (NL) AoS Documentaries European Documentary Network (NL/DK) A Wall is a Screen (DE) Artistic Research Residencies Iza Tarasewicz (PL) Ryoji Ikeda (JP) European dimension 55 56 European dimension Q12 Our strategy to attract the interest of a broad European and international public At first sight, Tartu strikes visitors as the unexpected juxtapositions. Tolstoy This also means taking special care that very European. Even conventionally so, meeting Gandhi on a stencil at the they are well informed of the harbours and that’s what many tourists expect – Karlova wooden district. Urban biodi- (events and logistical details) as well a wide range of places to stay, eat and versity test patches next to the vast and as the flow. Easily accessible and con- drink in, advanced traffic and commer- utopian Estonian National Museum stantly updated online platforms pro- cial infrastructure, 24-hour safety and building at the former Soviet airfield. vide sorting options by genres, dates medical help, good quality services, Most of all – the people, fellow flan- and time periods; but once you’re here, lots of fluent English speakers and of eurs, cultural explorers from all over the straying away from your original picks is course free Wi-Fi. But stick around and world, intrigued by the mystery of Tartu, also most welcome. the veil of normalcy glides off to reveal its hidden contrasts and even its “splen- a cornucopia of surprises, oddities did isolation”. Still, the programme is largely con- and mavericks. They say in Tallinn that jured to attract flaneurs at heart. While Tartu exists in a different realm of time But when the flow of people trick- there are also huge gatherings like – more relaxed, free-wheeling and even les out, so does the flow of wonders. Kissing Tartu and the Wedding song dreamlike. Once you get into the flow, We realised it’s not enough just to festival, our flagships (also AoS Urban fabulous things start to happen. hang around like a damsel in distress Nature Festival and Postmarket for someone to turn up. The Arts of Street Festival) and several other pro- Celebrating Surrealism 100 in Tartu Survival cultural programme is com- jects (Through The City, Psühhoteek, 2024 is a self-conscious choice – mak- piled for attracting crowds from Europe Walks Of Survival) provide the room ing sense of the “Tartu spirit” is all and beyond that are likely much more to roam, changing environments and a about being a flaneur, being open to diverse than what we’ve met so far. multitude of possibilities within them. European dimension 57 Rather than highlighting rigid and route and the Yellow Windows areas treasure trove of incredibly great art, monolithic mega-events with pricey is no chocolate box though. Besides literature, music and film to all those tickets and a fairly passive role for audi- tourist farms, village fetes and starry who are jaded from the Western same- ences, we present free admission to sauna nights, also the plight and des- old same-old. It’s not just for collectors’ most of our programme, encouraging olation of the villages and small towns delight – come and meet the authors mobility in space and time with plenty can be witnessed. Not for mere shock- while they’re still around and you may of “entry points”. You can tune in to a value exotica, though, but for hopping prove vital for their long-awaited sec- song by a Wedding festival choir in on a Diversity Land Line bus to lend a ond coming. And if those might seem a Curated Biodiversity park, learn a helping hand where it’s most needed or like some of the most artificial worlds craft at the Men’s Shed mobile hub, joining some brainstorm sessions with people have ever created, there’s find a rare record at the Psühhoteek top-level international public intellec- always a turn back to nature even within fair or a friend you never dreamed of at tuals at Tartu World University to find city limits for urban environmentalists all a Toomemägi Revisited open air exhi- long-term solutions. When the harsh across Europe in Curated Biodiversity bition. Arts of Survival is a programme autumn weather arrives, you’re wel- and Growing With Your Food. Plus where everyone becomes a co-creator come to get back to Tartu for a heart- novel ways to mix the most natural and rather than a consumer. When a star felt response to mental health projects traditional with the most trendy state- is invited and confirmed to perform, like Stand Up For Your Mind and of-the-art creation in ReVogue and we make sure they do something spe- Creative Connections. Tartu 2024 is Enter Woodland Spirits. cial and unique that’s not to be expe- definitely a European Capital of Culture rienced anywhere else – whether it’s for Europeans and cosmopolitans alike We believe that a European Capital of Jean Michel Jarre composing for the with social conscience and readiness to Culture is meant for making real-time new organ at St. John’s church or Ryoji bring on communal change. Showing but far-reaching changes on the spot, Ikeda creating a new piece inspired by the way to saving the rural areas of rather than promising major turns the Estonian gene bank. Europe by making them more acces- in global politics. We believe that a sible to visitors as well as locals; trans- European Capital of Culture is about Tartu is also the portal into Southern forming the social system for people befriending European and world cul- Estonia where rambling for revelations with mental health issues through arts – tures by befriending curious people may be even more wildly prolific (and with your involvement, these may prove through the arts – Arts of Survival. we aim to provide special bike, rental to be some of Tartu 2024’s greatest And if you want a primer of what Tartu car and bus services to make the region legacies. 2024 might be like, come to a Barlova more easily accessible). Our project street party. Within breathing distance descriptions can barely convey the sheer As may be the reassessment of Eastern of biodiverse gardens, this rather tiny magic realism of Voronja Gallery and Europe on a truly broad artistic scale. bar in the wooden house district has the Onion Route – no wonder that they Outlined in detail above, projects like shown our team the way how to attract have inspired some of the Lake Peipus Surrealism 100, 1984/2024 Literary a global melting pot of fabulous people Arts Route project leaders to write Festival, Hidden Worlds Expanding and make smaller cities much greater. award-winning fiction. The same could and Psühhoteek aim to prove that happen to you. The rural life along the there is still a largely undiscovered 58 European dimension Q13 How Tartu 2024 links up with other European Capitals of Culture and candidate cities The good connections that we already established in the Tallinn 2011 first round with the colleagues from other designated (Leeuwarden 2018, Kaunas 2022, Veszprem 2023) Our first reference point for consultation was naturally Tallinn or previous ECoC cities (Tallinn 2011, Turku 2011, Riga 2011 as the first Estonian ECoC and our team also includes 2014, Aarhus 2017) have strengthened further in the a person with the experience from its Creative Council. In final round. addition, some projects from the Tallinn 2011 legacy will be revived through the Tartu 2024 cultural programme – e.g. the We have remarkably enhanced the links with all of our des- public space installation project LIFT11 (in our programme ignated fellow candidates in Austria (Salzkammergut, St. LIFT24) or Stalker Festival (in Stalking Europe subsection Pölten, Dornbirn) and with the candidates from EFTA/EEA of 1984/2024 Literary Festival). countries, candidate countries or potential candidate for EU membership countries. Especially with Bodø 2024, whose Twin Cities: Turku 2011, Riga 2014, representatives had a chance to visit Tartu in 2018, but also Kaunas 2022, Veszprém 2023, Tampere 2026 with Mostar 2024 and Banja Luka 2024, we have mapped the cooperation possibilities for the cultural programmes. Tartu is happy to have several twin cities among former, upcoming or bidding ECoCs. Altogether, we have established links or enhanced contacts with 17 other past/future ECoC cities (Randers Art Museum With Turku (ECoC 2011), Kaunas (ECoC 2022) and as the partner of Aarhus 2017 will contribute to our exhibi- Veszprém (ECoC 2023), Tartu has initiated a cooperation tion programme). Every initiative mentioned here or in our between the twin cities connected with the European Capital cultural programme is pre-discussed and confirmed with the of Culture process. The aim is to support the Tempo Academy respective cities. capacity building programme of Kaunas 2022, Verancsics European dimension 59 Faustus capacity building programme of Veszprém, Leeuwarden-Friesland 2018 Kultuurikompass capacity building programme of Tartu and to celebrate the 10th anniversary of Turku as an ECoC. The Finding many similarities between the two communities on main outcomes of the project that has also applied for sup- both city and regional level, Tartu has had an intensive rela- port from Europe for the Citizens Programme are: tionship and exchange of knowledge with Leeuwarden and Friesland 2018. It started during the Kaunas European a network of cultural administrators and managers Capital of Culture Forum 2018. In the summer of 2018, the delegation of Tartu 2024 on the Tartu City Government four international events in four involved cities level visited Leeuwarden. As a consequence, various mem- bers (i.e. Immie Jonkman) of the LF2018 team have helped a mapping and survey on the needs of cultural managers us build our audience development strategy through their in these four countries iepen mienskip community experience and regional cooper- ation (our Külas initiative will largely rely on the practices of standards for environment-friendly cultural festivals LF2018 Lend a Frisian project). We plan to use their knowl- edge in developing environmental projects (Joop Mulder new cooperation projects between the cities and his Sense of Place will participate in the Curated Biodiversity activities) in addition to developing the capacity an exchange of experiences and raised awareness of of our large-scale sustainable festivals (Intsikurmu in Põlva European values, priorities and future and AoS Urban Nature Festival through the Welcome to the Village know-how). The project will start already in the autumn of 2019 in Tartu and will be completed in 2021 in Turku, Finland. Future ECoCs: Galway 2020, Novi Sad 2021, Esch-sur-Alzette 2022, One of the main stakeholders in Riga 2014, New Theatre Institute of Latvia will share its experience of community the- The Tartu 2024 team has visited Esch-sur-Alzette and atre (Through The City) with us and help us build up a brand Galway. The aim of these visits was to understand the new Nordic-Baltic Performing Arts festival Performa Borealis. development of an ECoC (we carefully observed Galway’s concept of marketing and communication), but it also Kaunas, with whom we share similar pasts and have been inspired some of the ideas for a future cooperation (Enter official twin cities since 1993, was already a strong supporter Woodland Spirits Digital Festival + Esch-sur-Alzette’s dig- of Tartu’s ambition in the preselection stage. The cooperation ital art programme; Emajõgi - The Birth And Death Of has been developed even further in the final round. The visits Tartu exhibition + Galway’s Wires Crossed: A Balancing of the Tartu 2024 team to Kaunas and vice versa in May 2017 Act for Europe). and May 2018 (European Capital of Culture Forum) have been invaluable in establishing contacts with the local team. Novi Sad will contribute to the topic which is really the old- We have built up cooperation/teamwork in various fields: est art of survival – food. Novi Sad will run a literature/visual wooden architecture heritage, biodiversity, city gardening arts creative training programme We Should All Be Nature (Kaunas Landscape Festival + Curated Biodiversity), etc. in our Growing With Your Food project. Both culinary activities of Tartu 2024 (Dumpster Diner of Postmarket In a dream world, Veszprém would be the link between along with Culinary Residency) will collaborate with the Kaunas and Tartu to form the first ECoC Twin City Trio in International Gastronomic Conference – Food Dialogues the history of Europe. We have ideas for various levels, e.g. of Novi Sad 2021. We plan to use the help of our ECoC developing the Great Lakes of Europe network or sharing partners in building up the regional grass-roots initiative lecturers in the frameworks of the Balaton Talks and Tartu Culinary Residency, which will support the Lake Peipus World University on issues of history, politics, identity, envi- Arts Route flagship project (Bodø’s Arktisk Mat Festival, ronment, etc. which are sensitive but crucial to all of Europe. Salzkammergut’s The Tavern Lab). Artists from Kaunas and Veszprém will take part of the tech- Fellow Candidates in Austria: Salzkammergut nological art project Wild Bits 2024 Exhibition by residing 2024, Dornbirn 2024, St. Pölten 2024 in its Southern Estonian base MAAJAAM during two consec- utive years. Their works will also be taken to Kaunas and the Tartu and Salzkammergut 2024 have found many similar- Lake Balaton area in the title years. ities in each other’s concepts, e.g. rethinking the cityspace (Critical Mass B145 + Postmarket), paying attention to the We are strongly supporting the endeavour of our other importance of the river (H2O-OH-NO conference) as both a Finnish twin city Tampere to become the European Capital psychogeographical object and as a crucial part of the eco- of Culture in 2026. In 2018 the treaty between the City of logical system. Additionally, there are similarities in our ideas Tampere (our twin city and candidate city for 2026) and the on how to preserve the traditional phenomena in the regions, City of Tartu was renewed. An important/big part of it is ded- such as local cuisine and public houses. icated to cooperation for the ECoC candidacy. 60 European dimension Tartu and Dornbirn 2024 plan to cooperate extensively Cultural Managers in Mostar. Representatives of Mostar’s on the level of the different forms in digital arts (espe- start-up scene will take part of the biggest business festival in cially through the Reality Disruption programme pillar the Baltics already as early as the Tartu sTARTUpday in 2020 of Dornbirn 2022) such as Linked Space; an innovation in to initiate and expand further contacts. organ music Opus Magnum Europaeum (through Sound Our Souls Project); and also the “teleport of kisses” solution Fellow candidate in Norway: Bodø 2024 during one of our flagship events, Kissing Tartu. Finally, Tartu and Bodø 2024 have developed a relation- Tartu and St. Pölten 2024 have agreed upon several collab- ship that was already strongly established during the 1st orations, e.g. developing a concept of survival for mid-sized round through extensive correspondences and regular cities and of appreciating organic farming and its market- checkups. We have been following the development of ing (Growing With Your Food + Where Does Your Food Bodø’s bidding, exchanging information on topics such as Come From? of St. Pölten 2024). food, environment and youth involvement. The pupils of Tartu will participate in the Bodø 2024 project Connected Fellow candidates from Bosnia Herzegovina: Waste and its aftermath Plaster as well as in an exchange Mostar 2024, Banja Luka 2024 documentary project (Tartu Spirit Films, DocDJ + Bodø Filmfest), We also have ideas for capacity building cooper- Both Tartu and Banja Luka 2024 find the subject of mental ation and matchmaking between the Otepää Sauna Fest health relevant to the cities’ concepts as one of the most cru- and Narvik Winterfestuka winter festivals. cial arts of survival. Therefore, two candidates have agreed to expand cooperation in battling the stigmatisation of mental We have agreed with our partners that one of the Containers health issues and special needs in the framework of the pro- of Art as an artistic ambassador of Tartu 2024 will be placed jects like Stand Up For Your Mind, Janus, Hidden Worlds in former and future ECoC locations such as Leeuwarden, Expanding and Day Centre. Kaunas, the lake Balaton area (Veszprém, as a part of the Bakony Express project), Bad Ischl (Salzkammergut, as apart Mostar is interested in exchanging experiences during of the Art Nomadic exchange project) and Nordland Region the build up of each others’ capacity building programs: (Bodø, as a part of the European Cabins of Culture project). Kultuurikompass in Tartu and Mostar Summer School of European dimension 61 Outreach Q14 How local population and civil society are involved in Tartu 2024 In our preselection bid we stated that Tartu aims to be a peo- about – their health, their surroundings, their community – ple’s ECoC. The bid was the result of 350 meetings in Tartu with possibilities for everyone to create and share their most and in the Southern Estonian region, collecting the work of significant routes in the city. hundreds. For the final round, the local population has been involved even more extensively (notably in the Southern The flourishing and synergy of third sector organisations Estonian region with a series of public brainstorms for gather- should be natural in such a compact city as Tartu, but it is not ing ideas and mapping the needs of the local communities). always a rule and many registered members of the NGOs have turned out to be “sleeping partners”. The implemen- The Arts of Survival cultural programme was improved by tation of joint projects surely entails strong possibilities for the collegial commitment of ca. 100 different individuals the growth of the truly active membership of the NGOs (e.g. with a number of projects emerging in cooperation between neighbourhood societies) as well as a significant increase in the representatives of professional institutions and NGOs. their interactions. The bidding process has already helped to Beetroot Washing Machine’s transgenerational workshop improve the communication between the neighbourhood and skills training programme Sharing Generations, the societies and the City Government. After we are designated, many-layered community theatre project Through the City, they are going to be vital partners for future hackathons and the partly interview-based river exhibition Emajõgi – The open calls to complement our programme. Birth And Death Of Tartu are just a few examples of initia- tives built on the broad everyman participation of Tartuvians. By the same token, we see our ECoC bidding process as hav- In addition, our cross-border highlight event Wedding: ing a major beneficial impact on the regional cooperation. Estonian-Latvian Song Festival mainly brings together In the final round, we have hired a coordinator for Southern amateur choirs on whose shoulders the song festival tradition Estonia to join the team who directly corresponds with the has survived and thrived for a 150 years. Walks Of Survival communities of the 19 municipalities in the region that would will pay special attention to the issues that our people care eventually consolidate our regional flagship project Yellow 62 Outreach Windows Arts Programme. The umbrella institution in this also invites thousands of people from various generations to process is LAG Tartu Rural Development Association, which join our Volunteer Programme, Street Team and Active is also responsible of the Southern Estonian LEADER groups. Agers groups. Taking the academic capacities of Tartu 2024 to the grass- In each and every project, engaging international audiences root level within the region, village communities will apply and civic organisations aside from professional artists and for hosting 12 temporary universities (two more will be in institutions will enhance the Transnational quality of the our associate cities Viljandi and Pärnu) in the course of the programme. One of our tantamount aims is to foster friendly civic educational flagship project Tartu World University. connections between the people of Tartu, Southern Estonia, Communities and NGOs around Emajõgi River, Lake Peipus Europe and beyond. As they co-create the ECoC events and Võrtsjärv have joined in with the project Reclaiming The together, Arts of Survival succeeds in tackling one of the River Emajõgi and The Great Lakes. The hospitality project biggest challenges of Tartu and Southern Estonia: mental Külas (largely taking place in the Southern Estonian region) and physical isolation. that matches curious tourists with volunteer guides is entirely in the hands of the local people. Some of the NGOs and foundations contributing to the birth and development of the cultural programme of The expanding participation and cross-sector cooperation of Tartu 2024: the civic organisations in the city and the region is the proof of us achieving the Transversal strategic aims of our ECoC Sibulatee Network NGO (Onion Route), Supilinn programme. We want to inspire the people of Tartu and Neighbourhood Society NGO, Tartu Environmental Education Southern Estonia with pride over organising the most enor- Centre Foundation, Wildlife Estonia NGO, Majakas NGO mous cultural project in the history of Tartu and Southern (Transition Town Tartu), Information Centre for Sustainable Estonia by maintaining their character but also enhancing Renovation NGO (SRIK), LAG Tartu Rural Development their identity by learning from the partners in the process. Association (TAS), Estonian Literary Society, NGO Peaasjad (Head Matters), Estonian Youth Movement for Mental Health We have asked the initiators and developers of the projects NGO, NGO Meeste Garaaž (Men’s Shed), Viljandi JK Tulevik to keep the accessibility for different generations in mind Football Club, Tartu International House NGO, Iseseisev Elu to secure the Transgenerational reach and impacts of the NGO (Supporting Agency), University Student Foundation, programme. A large share of our intended audiences are not Tartu Student Culture Club NGO, Tartu Artists’ Union, Võru involved with any of the NGOs, nor do they have to be. Still, County Development Agency Foundation, Vunki Mano hack- their presence, enthusiasm and creative spark is essential for athon programme. the success of Tartu 2024 as a grass-roots ECoC. Tartu 2024 Outreach 63 Q15/Q16 Social inclusion and audience development strategy with Shared Path for schools Transversal, transgenerational and transnational – we’ve and youth centres have ca. 2,500 annual visitors. However, repeated it so much now that it already sounds quite simple. we can do better. While Tartu engages its primary school kids Much more difficult to deliver, though, when we look at the in culture outstandingly well (90%) via city and state funded results of our audience research (confirmed by various civic “hobby schools” and everyday school curriculum, pupils’ groups). Even if the quality and diversity of the cultural offer involvement peters out during the teen years. Increasing and in Tartu is generally well appreciated, we tend to run into the maintaining it in the high school period (age 15–18) is par- same kind of people across the scale of our events. ticularly vital. By 2024, today’s high schoolers are university/ college students and/or on the labour market. How to keep The ECoC bidding process was a stark wake-up call for us to youngsters active, creative and willing to keep up with the start noticing who’s not there. We detected the key groups arts as they become adults and make long-term life choices? that are notably underrepresented among audiences. In con- cord with the aspirations of the KU30 strategy, we want Arts Action: The Shared Path cluster of projects connects arts, of Survival to break down the cultural barriers that those education and various other disciplines. The projects from our groups are facing. Arts of Survival cultural programme include Growing With Your Food, Outsider Football Tournament and Creative The focus of the Tartu 2024 audience development Connections: Art Museums Preventing Bullying where strategy is on: schoolkids are the main participants, European Students’ Opinion Festival with a focus on university students, and Teenagers and students Stand Up For Your Mind comedy/mental health project that Elderly people expects a large share of youth involvement. An educational People with disabilities component is also prominent in the projects under the aegis Ethnic minorities of Tartu Centre for Creative Industries, including ReVogue workshops and campaigns of eco-friendly fashion for teen- Furthermore, it’s a special priority of the Tartu 2024 cultural agers and students, the Psühhoteek Academy tours of programme to provide better information and accessibility for school talks on alternative pop culture and transgenerational the range of potential audiences in the Southern Estonian skill-sharing between musicians, and the Performa Borealis region while securing the influx of Tartuvian, Estonian and training programme for young performing artists. Kissing international audiences for the regional events. Tartu, Surrealism 100, Beetroot Washing Machine, AoS Documentaries (with its DocDJ re-editing of films) as well Teenagers and students as the environmental projects AoS Urban Nature Festival and Curated Biodiversity all plan to run educational/ Situation: Tartu is full of young people. There are about skills training programmes for young audiences. Mapping 13,500 people in the age group of 7–19. Most of them par- Russophone Tartu aims to train international students as ticipate in recreational activities, ca. 7,500 in hobby groups thematic tour guides in their native tongues. However, there are several other initiatives that are focused Barriers Drivers more on the educational process in the schools of Tartu and the Southern Estonian region, serving as potential hot- Digi-dependency Inclusion of influencers beds for further additions to the programme. An example is Supporting social media platforms the WOW School Model, developed in cooperation with the AHHAA Science Centre to promote natural sciences, Peers’ opinion Big names hands-on learning, critical thinking and analytical skills. To Alternative ways to hang out with peers coordinate and enhance the Shared Path cluster, a working group will be formed that includes school pupils, teachers, School stress Fun students, youth workers, school principals and experts from Inspiring take on usual topics the universities. The group will be led by the highly experi- enced leader of Tartu Youth Service, Ms. Piret Talur. Mental health issues Focusing on real needs and problems Expensive tickets   Free entrance Furthermore, we invite young people into our ECoC Street Possibility of DIY events Team – part of our capacity building plan (Q6). Street Team will help to design the youth programme for two of our 64 Outreach flagships, AoS Urban Nature Festival and Postmarket homes for awaking the related memories while Psühhoteek Street Festival. We also see Street Team members as key largely relies on the vintage countercultural stalwarts. contributors to other current and future projects in develop- ing youth inclusion and accessibility. In the Tartu 2024 programme, the bulk of the events are free of charge. For ticketed events, we plan a Tartu 2024 ticket Elderly people pool where those who can afford it can donate a ticket for those who can’t. A “best before” ticket system for last min- ute offers is another option we are exploring. Barriers Drivers All elderly people will also be encouraged to join the Tartu Lack of company Peer recommendations 2024 Active Agers team, a component of Kultuurikompass capacity building programme (Q6). They will become essen- Lack of courage Personal invitations tial in helping develop accessibility and inclusion ideas for Poor health Improved access their peers across the programme. Expensive tickets Free entrance People with disabilities Situation: It is common for aspirational cities to have an Barriers Drivers accent on youth but how about those in advanced middle age and the elderly, especially those struggling with health Lack of access Improved access issues, premature unemployment, poverty and social exclu- Content suitability (visibility, Special content/interface for sion? Although elderly women are quite active in Tartu’s civic audibility, comprehension) the impaired and cultural life, we see too few senior men in theatres or museums. Not that they have a better alternative. Loneliness Stigmatisation of disabilities Personal invitations is an acknowledged major issue in all of Europe and the risk- Participation iest group in our society are the middle-aged and elderly men withdrawn from their active working life. Some start drinking, some stay in isolation. For the unemployed and Situation: Tartu has around 13,000 people with a regis- the retired, money is definitely an issue as they struggle with tered disability. That is as many as there are students in the ticket and transport costs. University of Tartu. We need to focus at least as much atten- tion on making disabled people feel valued and welcome. This is a major challenge because a number of our regular cultural venues are in historical buildings with insufficient physical and content access facilities for people with disabil- ities. This, in turn, intensifies the sense of not being expected at cultural events. Action: The Hidden Worlds Expanding exhibition in three cities (Viljandi, Tartu, Pärnu) and the Outsider Football Tournament are special projects of outsider arts and sports respectively, raising awareness of the value of creativity and the physical activity of the disabled, aiming to initiate social reforms not just in Estonia but across Europe. In both cases, people with disabilities are also engaged in the implementa- tion of the project. Action: The Men’s Shed mobile workshop programme in We want to secure the all-inclusive accessibility to all of the the Beetroot Washing Machine exhibition will empower locations as well as the content of all of our events and our middle-aged and elderly men through social activities, train- programme website. We will build on the experience of pre- ing and sharing skills. The broader Sharing Generations vious ECoCs such as Aarhus 2017 or Leeuwarden 2018, but programme under the same exhibition also involves mid- also the great examples from European inclusive events (e.g. dle-aged and elderly women for transgenerational skill shar- The Orange Warsaw Festival). A large share of our events will ing in Tartu and the region. Stand Up For Your Mind wel- take place in open-air locations. Together with organisations comes both senior and junior participants with mental health like The Estonian Chamber of Disabled People and NGO issues; Lake Peipus Arts Route collects stories of seasoned Hoolekandeteenused (Social Services) we will recruit vol- inhabitants in the Onion Route Area and Through The City unteers among people with special needs who will see all the does the same in Tartu. AoS Documentaries even takes venues and meet all the project managers to help us design its VR/AR-enhanced Public House documentaries to care events that will be accessible for all. Outreach 65 Ethnic Minority Groups inland cultural travel expensive and complicated. Limited funding hinders first-hand contacts with the top artists and performers and expanding cultural tastes. Lack of national Barriers Drivers media interest and promotion skills blocks off potential audiences even from nearby areas, not to speak of national Language barrier Translation/interpretation provided and international ones. Detachment from the Possibility to mingle and share one’s local community culture with locals Barriers Drivers A sense of Being accepted as Tartuvian in a Lack of access Improved access temporariness cosmopolitan city Lack of cultural habits Relatable topics Participation Situation: Despite some claims, Tartu is emphatically not a monocultural city. True, it has been part of the Constitution- Expensive tickets Free entrance backed Estonian national pride to expect others to “learn the language” to be accepted. But where and how can they Staying in the cultural Big names for innovative approach even start? International students, ICT sector employees, ref- comfort zone Peer recommendations ugees and long-time locals who don’t speak Estonian don’t get enough information on public events, funding and train- ing options in English, Russian or any other language. Tartu Action: In all three programme lines, Tartu 2024 has asserts itself as a European city but needs to act as one too. appointed regional flagship events for priority development. We must open up the arts, civic life and community action to All the regional flagships are largely bottom-up activities. all who choose to live here. Lake Peipus Arts Route is not just a programme of con- temporary environmental installation art, but also platform Action: All of our projects are expected to provide events for community initiatives along the Onion Route. Through and information for both international and multilingual Yellow Windows Arts Programme, Southern Estonian audiences as well as Estonian-speaking locals. Diversity small towns and villages are invited to introduce their events Land Line is a mobile project that integrates various ethnic to a larger and heavily promoted whole. Additional transport groups and their cultures into the social and artistic activities solutions will be developed for both. Tartu World University of Tartuvian and Southern Estonian Communities. Mapping is a folk university programme of education and regional Russophone Tartu aims to unite and empower diverse and development with the guidance of nationally and interna- detached Russophone groups in the city by raising aware- tionally renowned speakers. Its sessions will be synchronised ness of the cultural value of their identity and its relevance with the local festive calendars for a wider audience reach. for Tartu, Estonia and Europe. Estonian and Russian speaking Külas engages volunteers across Southern Estonia to host, youngsters will exchange the experiences of different cul- guide and befriend guests from other cultural backgrounds tures through the Tartu 2024 Street Team and develop an – thus building trust, improving the language and hospital- edgy conglomerate programme for the Festival of Actual ity skills for long-term benefits but also sparking an interest Russophone Estonia that brings together various gener- in the Tartu 2024 events. A spate of other regional projects ations of Russian-speaking audiences with other local and elaborated in the Tartu 2024 programme will ensure a much international ones. Lake Peipus Arts Route engages the broader involvement of local audiences in the European Onion Route Old Believers in gathering source material for Capital of Culture activities. the project and hosting its visitors. 1984/2024 Literary Festival builds on Prima Vista which has a long tradition of engaging Russian-speaking audiences. Our various ethnic communities will participate in a multilin- gual Cultural Hackathons Programme taking place in their habitat, neighbourhood or region. They can propose an idea, develop it with their neighbours and deliver it as part of the Tartu 2024 cultural programme. Southern Estonian communities Situation: Southern Estonia is culturally rich and diverse. However, many locals are disgruntled by the South bleed- ing dry and the feeling that “the state has left the country- side”. This feeling of redundancy is understood, considering how many crucial services have recently been withdrawn from the region. Deficiencies in transportation make even 66 Outreach Management Q17 Income to cover operating expenditure TOTAL INCOME TO FROM THE PUBLIC FROM THE PUBLIC FROM THE PRIVATE FROM THE PRIVATE COVER OPERATING SECTOR (IN €) SECTOR (%) SECTOR (IN €) SECTOR (%) EXPENDITURE (IN €) 24,500,000 23,000,000 94 1,500,000 6 The size and income structure of the operating budget has not changed compared to the preselection bid book. Income from the public sector Q18 INCOME FROM THE PUBLIC SECTOR TO IN € % COVER OPERATING EXPENDITURE National Government 10,000,000 43 City 10,000,000 43 Other municipalities of the region 1,500,000 7 EU (without Melina Mercouri Prize) 1,500,000 7 TOTAL 23,000,000 100 Management 67 Q19 City/region/state financial commitments to cover operating expenditure Approval was received from the Tartu City Council already the 19 Southern Estonian local municipalities that have in 2018 with the passing of the City of Tartu Budget Strategy joined Tartu’s bid, signed the Treaty of Support for Tartu 2019–2022, indicating the funding of a potential Tartu 2024 2024 that directs further ECoC cooperation. As a result we’ve ECoC operating expenditure for these years. On 27 June 2019 developed funding scenarios based on the per capita fund- the strategy was updated and voted on to reflect the fund- ing models used previously in a range of previous ECoCs ing for the period of 2020–2023. The strategy will be further with a significant regional component. A common proposed updated and implemented by each year’s City of Tartu budget. principle is that every local government will annually receive activities, events and media exposure worth at least the sum The Government of Estonia first confirmed its commit- of their input, possibly much more. This balance will be pre- ment on 30 August 2018 by agreeing to cover operating sented in a special end of year report. In the first half of 2020, expenditure as a matching grant in proportion with the City’s the funding scenario proposals will be introduced, negoti- input and other sources within 10,000,000 €. The Ministry of ated and voted on in the respective municipality councils. Culture and Ministry of Finance included this commitment in the Estonian State Budget Strategy 2020–2023 which was This branch of public funding will also be carried out in the issued by the Government of Estonia on 30 May 2019. framework of annual budget strategy updates and yearly budgets of municipalities as is the case with the financial For the regional share of the operating expenditure, we have commitment of the City of Tartu. The timeline for regional as carried out rounds of consultations and on 29 April 2019 well as state funding is that they should start from 2021. Fund raising strategy for Q20 operating expenditure from European Union programmes We find it realistic that between 2020 and the title year, the We also recognise that as a unifying and extensive develop- Tartu 2024 organisation and its ECoC implementation part- ment project with strong European themes, the European ners bid and win funds in the region of 1,500,000 euros. Our Capital of Culture taking place in Southern Estonia creates European Union fund raising strategy will be carried out from strong potential for receiving support from international 2020 onwards by a dedicated External Funding Manager and state level funding sources along with regional and who will work together with the staff of the Southern Estonian local institutions. municipalities included in our bid. In some cases, the newly-established Tartu 2024 Foundation Tartu 2024’s EU funding strategy takes into account that will not be able to apply for EU funding until 2022. Therefore, the specifics of the European Union’s financial period 2021– it must be done by its implementation partners. We see this as 2027 are still being decided. However, indications are that a positive feature for long term capacity building by working the total amount of funding available to Estonia would not with the Region’s municipalities and institutions in learning the decrease drastically. On the other hand, there will probably know-how of the international fund raising strategy and also be a rise in the required own contribution from the applicants. connecting with artistic and project partners from Europe. Therefore, we have assumed a greater sum for co-funding and will establish a co-funding pool for Artistic Programme A strong funding team with the capacity to coordinate and projects and partners. The exact details of this pool are yet to support both the Foundation’s but also regional and insti- be decided, but its main function is to be an instrument for tutional partners’ bidding is already required from the year allowing to bid for critical EU funding. 2020. The funding team must work in close collaboration 68 Management with the Artistic Department, as they are directly connected participants can set up small-scale partnerships, it will be a to the proposed Artistic Programme and the projects of Tartu funding option for Tartu 2024 partners with an educational, 2024, which have to prepare action plans in the build-up volunteering or youth focus. The newly founded European years of 2020–2023. Solidarity Corps provides funding and staffing for volunteer positions, so we recommend the organisations that are carry- We plan to focus on 2 areas of funding possibilities – direct ing out the Tartu 2024 Artistic Programme or taking part in the and indirect subsidies. Kultuurikompass capacity building programme to apply to Volunteering Projects format to get volunteer help and expe- For direct subsidies, we recognide that the most impor- rience working with international staff. The Tartu 2024 partner tant European Union programmes are Creative Europe, Estonian Print and Paper Museum was already granted a Erasmus+, Europe for Citizens and URBACT. Depending more advanced Volunteering Partnership until 2021, which on the programme, the proposed Tartu 2024 Foundation makes them a coordinator of ESC volunteers among cultural would qualify as a recipient of funds either on its own or in institutions in Tartu. Based on their experiences, the new a joint bid with partner organisations. Yet, in many cases the bid(s) could already be handed in the the ultimate annual organisations leading the projects in the artistic programme calls (2020) of the current framework. could apply for EU funding themselves. This presents the Foundation with the need to have capacity both for applying For indirect subsidies, the EU funds that are distributed by for funds itself, as well as for coordinating the actions of a the Estonian state and its institutions, we recognise the need wider network of applicants. to head a sustained intra-municipality cooperation for pro- moting shared interests on the state level. Southern Estonian Southern Estonian artists and cultural managers could ben- aspirations that are associated with the European Capital of efit from the Creative Europe 2021–2027 funding targets of Culture need to be present in upcoming regional and state increased cross-border cooperation for cultural operators and level development strategies, which also direct the usage of more funding for European cultural networks. These targets EU funds. A key partner to talk to is the Government Office who match with our Kultuurikompass (Culture Compass) capac- is heading the Estonia 2035 Strategy process. Partnerships ity building efforts to make local scenes more international. with Estonian ministries of Culture, Education, Environment and Finance are also essential to this branch of action, which Since the new period of Erasmus+ opens the programme support most of all the financing capital expenditures, but up for smaller and grassroots organisations so that the could also benefit covering operating expenses. Management 69 Q21 Timetable for income to cover operating expenditure 2019 2020 2021 2022 2023 2024 2025 Later TOTAL Total annual income to cover operating expenditure (in €) 100,000 820,000 1,850,000 3,210,000 5,900,000 11,100,000 1,180,000 340,000 24,500,000 Source of income: National Government (in €) 700,000 1,300,000 3,000,000 5,000,000 10,000,000 Source of income: City (in €) 100,000 800,000 860,000 1,500,000 1,500,000 4,300,000 700,000 240,000 10,000,000 Source of income: Other municipalities of the region (in €) 150,000 200,000 350,000 550,000 200,000 50,000 1,500,000 Source of income: EU (without Melina Mercouri Prize, in €) 100,000 200,000 400,000 550,000 200,000 50,000 1,500,000 Source of income: Private sector (in €) 20,000 40,000 60,000 600,000 700,000 80,000 1,500,000 70 Management Q22 Fund raising strategy for private sponsoring As a country that did not have any private companies only surrounding it. Never before has Southern Estonia had such 30 years ago, our society is still quite young when it comes an opportunity to be in the international spotlight. Our pro- to the private sector sponsoring culture. With this in mind, posed programme aims to involve many people from home Tartu 2024 is also looking to be a pathfinder when it comes and abroad. Our bid represents the whole region instead of to exploring and developing new relationships between for- one city – this makes it more appealing for possible commer- profit and non-profit organisations in the community. cial partners also. Tartu is actually showing the signs of great potential for con- To get them fully on board, the Tartu 2024 team will also have temporary fund raising. We are home to two of the biggest the capacity to come up with creative ways for CSR and spon- recent Estonian culture crowdfunding campaigns. sorship activation: a Sponsorship Manager working in coop- eration with the Marketing Manager and marketing-commu- The local football club JK Tammeka sold virtual square nication assistants. metres of their proposed new football pitch and raised 160,000€ in only 71 days to support its construction. Tartu A key aspect of our offer is developing Tartu 2024 as an attrac- Uus Teater campaigned to buy a theatre house and raised tive brand. We see our emerging brand as artistic, socially 335,000€ in a year. inclusive, future-oriented, eco-friendly and trustworthy. We aim for it to be among the five most recognized institutional We want to build on these Tartuvian success stories by initiat- culture brands in Estonia by the end of 2024. ing similar community-based sponsorship projects proposed both by the Tartu 2024 Foundation and among our region’s In order to boost our community building among sponsors, cultural operators. For the latter we have already started we plan to engage professionals and existing networks (see to use the framework of our capacity building programme below in Engaging Experts). Kultuurikompass. Engaging small to medium Private sponsorship goal enterprises and individuals We aim to raise 1,500,000€ in private sponsorship for Tartu For the budget, it is vital to have the big companies on board, 2024. We plan to raise two thirds of this support from the but for wider community engagement and the fulfilment corporate level, one third from small to medium enterprises of our ECoC goals, it is vital to also include local, small to and individuals. 75% of private sponsorship should be in medium Southern Estonian enterprises. Seeking support not cash, the rest should be received as an in-kind support of only from SMEs but also individual citizens is an important goods and services. way of sharing our ECoC vision and ideas with the business community in Tartu and Southern Estonia. Vast majority of the private sponsorship income is expected from 2023 to 2024, as that’s the peak time for public interest In the heart of our SME fund raising strategy is club and media attention. #üheskoos ’24 (#together ’24). It is modelled after Mons’ Club 2015, which raised 841,000€ from 841 small to medium Engaging corporations enterprises, each contributing 1000€. We see finding and engaging sponsors as a part of the Tartu #üheskoos ’24 is designed to raise at least 300,000€ from 150 2024 community building. Tartu and Southern Estonian SMEs each contributing 2024€. To make it more accessible for smaller companies, this con- For the partners with the biggest financial input, we aim to tribution can be made over a period of two years. In addition find associates among Estonian and foreign corporations to companies, #üheskoos ’24 also targets individuals whose with whom we share the vision and values of our bid. Potential contribution of 24€ or 240€ totals around 260,000€. partners include socially responsible or transformative enter- prises from the financial services, food industry, telecommu- Companies supporting #üheskoos ’24 will receive branded nications industry, transport industry, etc. Tartu 2024 signage tailored for their needs, business network- ing opportunities and exclusive access to certain Tartu 2024 In the heart of our presentation is the belief that Tartu 2024 events. Individual supporters receive Tartu 2024 merchandise, is a one of a kind, major project for Tartu and the counties access to premium seats or viewing areas of our main events. Management 71 CONTRIBUTOR TYPE VALUE OF CONTRIBUTION TARGETED AMOUNT OF TOTAL CONTRIBUTION (IN €) CONTRIBUTORS (IN €) SMEs 2,024 150 303,600 Individuals 240 240 100 24,000 Individuals 24 24 1,000 240,000 In addition, their names will be presented on a thank-you wall trust between local businesses and the ECoC. Direct partici- of a special work of public art created in central Tartu during pation and contribution to our brand makes local companies the Arts of Survival Urban Nature Festival in 2024. also more open to become sponsors themselves. The profit of #üheskoos ‘24 will be used to finance the parts Partnerships in Estonia and abroad of the Tartu 2024 programme targeted at youth and the inclu- sion of marginalised groups as well as for the micro-funding In order to carry out presented fund raising initiatives, craft of last moment Arts of Survival community projects. our brand and network, Tartu 2024 will cooperate with national and regional business associations, local IT and Engaging experts startup community, Rotary clubs and marketing communica- tions experts from Tartu universities. We will also look into for- Advisory board eign private funding opportunities with the help of Estonian honorary consuls and the Estonian community abroad. In order to plan presented fund raising initiatives, brand development and networking in detail, we are inviting mar- Funding in the future keting and PR executives from top Southern Estonian com- panies to volunteer in a special Forum of Business Advisors In addition to already available private funding options, we starting in 2020. keep an eye on emerging blockchain-based platforms for ticketing and crowdfunding. Are there Tartu 2024 projects Aside from giving us strategic marketing and sales advice, our that will be kickstarted by ICOs (Initial Coin Offerings) instead advisors will also get a deeper understanding of Tartu 2024’s of classic funding schemes? Most likely yes, because Arts of vision, values and opportunities. Such cooperation develops Survival is also about constant adaptation! 72 Management Q23 Breakdown of the operating expenditure Programme Programme Promotion and Promotion and Wages, overheads Wages, overheads Total of the expenditure expenditure marketing marketing and administration and administration operating (in €) (in %) (in €) (in %) (in €) (in %) expenditure 15,465,000 63 4,875,000 20 4,160,000 17 24,500,000 Timetable for spending Q24 operating expenditure Year Total Total Programme Programme Promotion Promotion Wages, over- Wages, over- (in €) (in %) expenditure expenditure and and heads and heads and (in €) (in %) marketing marketing administration administration (in €) (in %) (in €) (in %) 2019 €100,000 0.4 €25,000 0.1 €25,000 0.1 €50,000 0.2 2020 €820,000 3.3 €200,000 0.8 €180,000 0.7 €440,000 1.8 2021 €1,850,000 7.6 €900,000 3.7 €300,000 1.2 €650,000 2.7 2022 €3,210,000 13.1 €1,900,000 7.8 €600,000 2.4 €710,000 2.9 2023 €5,900,000 24.1 €2,900,000 11.8 €2,160,000 8.8 €840,000 3.4 2024 €11,100,000 45.3 €8,800,000 35.9 €1,200,000 4.9 €1,100,000 4.5 2025 €1,180,000 4.8 €600,000 2.4 €360,000 1.5 €220,000 0.9 Later €340,000 1.4 €140,000 0.6 €50,000 0.2 €150,000 0.6 TOTAL €24,500,000 100 €15,465,000 63 €4,875,000 20 €4,160,000 17 Management 73 Q25 Income from the public sector to cover capital expenditure in Tartu 2024 The capital expenditure in connection with the title year includes renovations of museums, for example the works SOURCE OF INCOME IN € % planned in Tartu City Museum (housing the project Beetroot Washing Machine). Investments also include construction EU 9,800,935 30 works for improving venues such as open-air stages, com- National Government 4,203,824 13 munity, village and youth centres, which will be used for current (Tartu World University, Yellow Windows Arts City 11,073,000 33 Programme, Diversity Land Line, etc.) and future Artistic Programmes (designed with community hackathons) and Other municipalities 7,879,796 24 also for Kultuurikompass events. Capital expenditure also of the region includes the expansion of river and lake ports (in connection to Reclaiming The River Emajõgi and The Great Lakes). TOTAL 32,957,555 100 Regarding Tartu, we’ve also included planned expansions of light road networks used in Walks of Survival, planned investments to Toome Hill (Toomemägi Revisited) and play- and Tallinn as the main transportation gate of Estonia. The grounds (Curated Biodiversity). funding is indicated in the State Budget Strategy 2020–2023 and the construction will take place in the same period. In addition to the sums presented in the table, the Government Additional investments amounting to several million euros of Estonia will invest 66,167,000€ of state and EU funds to for the same period will be made by the State to improve the improve highway and railroad connections between Tartu Southern Estonian regional road system. City/region/state financial Q26/Q27 commitments to cover capital expenditure. Fund raising strategy for EU programmes Most of the projects accounted for in the above stated income advice and connecting proposed projects to necessary ven- for capital expenditure have been included in budget strat- ues and environments or required capital expenditure. This egies for the years 2020–2023 and have been voted on by insight will be gained with the help of the publicly accessible state or municipality authorities. Some require further confir- database of funding opportunities described in the answer mations in the coming years. for funding opportunities from the EU for the programme and it will be the basis for seeking additional financial sup- Most of the future bidding for capital expenditure funding port from EU or other external sources. will be done by the twenty Southern Estonian municipal- ities themselves. Overall, Estonian municipalities have a Additionally, the Tartu 2024 Foundation must act decisively strong track record in absorbing external funding for capital in promoting European Capital of Culture related capital expenditure projects, which contributes to a maximal take-up expenditure decisions on regional and state level develop- of Union funding. ment when strategies directing the usage of EU funds are cre- ated or updated. It should be emphasized that such efforts In the coming years, Tartu 2024’s Funding Manager and can yield multi-million euro investments to the region, which Artistic Department must support these partners by offering is likely to make this branch of work particularly impactful. 74 Management  Timetable for income to Q28 cover capital expenditure 2020 (IN €) 2021 (IN €) 2022 (IN €) 2023 (IN €) 2024 (IN €) EU 5,728,894 1,656,228 1,205,813 400,000 810,000 National Government 840,765 840,765 840,765 840,765 840,765 City 5,363,000 3,300,000 1,200,000 730,000 480,000 Other municipalities of the region 2,809,703 2,282,247 1,917,279 457,200 413,367 Private sector - - - - - TOTAL 14,742,362 8,079,240 5,163,857 2,427,965 2,544,132 There are also agreements and plans for sports infrastructure, but at the time we cultural programme as presented in this private sector investments into Southern chose to include only these projects bid book. Private sector involvement is Estonian hospitality, entertainment and and objects which are connected to the very likely at a later stage. Q29 Spending for new cultural infrastructure to be used in Tartu 2024 Lodjakoda river port, named after the centre dedicated to lodi, the historical Emajõgi-Peipsi barge, will play a major part in our River Emajõgi and Lake Peipus projects. Additionally, The City of Tartu is building the Annemõisa Indoors Football Hall during 2021- 2022 for which we have not yet pro- grammed artistic content, but as a new multi-functional venue in the most populous neighbourhood of Tartu, it serves as a back-up site for local Tartu 2024 projects. OBJECT TIME PERIOD ESTIMATED COST (IN €) FUNDING SOURCES Lodjakoda river port 2019-2020 1,830,000 Tartu City Government, European Union Management 75 76 Q Q 77 Q30 Governance and delivery structure for Tartu 2024 If Tartu is awarded the title of 2024 European Capital of The Management Board is the top governing board on the Culture, an independent Tartu 2024 foundation (sihtasutus or executive level of the organisation. The General Director SA in Estonian) will be established by Tartu City Government is the sole member of this Board, which also makes him/her in autumn 2019. The legal form of the foundation is suita- the top executive decision maker. According to the law, this ble for providing the artistic independence required from Board could include a greater number of management-level a European Capital of Culture by creating a separate legal staff members, but we’ve chosen the minimal model for entity for implementation while retaining all rights for public clear and efficient communication between the Supervisory as well as private funding. Council and the rest of the organisation based on the experi- ences of Estonian cultural organisations, especially theatres. The core values of the Foundation For advisory and information purposes, Tartu 2024 The vision of the Foundation is: Tartu is an open, bold and Foundation’s charter will also establish three forums: one friendly city of culture. This is also the vision of Tartu’s KU30 for the mayors of regional municipalities, one for private Cultural strategy. sector business professionals and one for cultural experts. These forums have no formal decision-making power in the The mission is to implement the European Capital of Culture Foundation. The function of the forums is to sustain and grow proposed in this bid book, along with its artistic programme, the trust and cooperation between the candidacy team and marketing and communication and financial strategies to the public that is established in the bidding period. reach its long-term impacts described in the strategy chapter. Delivery structure The values of the Foundation are the following: A transversal, transnational and transgenerational project like the European Capital of Culture presents many tasks that TRUST COMPETENCE VISION overlap with the classic department-style organisation struc- ture. Tartu 2024’s delivery structure is therefore based around Transparent Capable Perceptive the goal of cooperation and integration between the arts, communication and business strands of our foundation while Accountable Effective Innovative delivering first class efficient and professional governance. Independent Responsive International All the managers mentioned in the organisation chart will also have an increasing number of support – from special- ists, assistants, project managers, external service providers, The values above also form a set of design principles around interns or volunteers – as the title year draws closer. which our planned delivery of Tartu 2024 can be built. Even though there are three divisions (Finance and Governance structure Administration, Communication and Marketing, Artistic Programme and Outreach) with leading managers, the According to Estonian laws, a foundation is required to have Foundation aims to be a largely team-based organisation a Supervisory Council and a Management Board with other where managers and employees work collaboratively in boards or forums being optional. cross-sectoral groups. These teams are tasked with specific projects, for example/i.e. planning and carrying out artistic The City of Tartu will be the sole founder of the Tartu 2024 programme open calls, capacity building events, action plans Foundation and will nominate two out of five Supervisory for EU funding, etc. Also, external actors such as representa- Council members, inviting key partners – regional municipal- tives from municipalities, cultural institutions or project part- ities, universities of Tartu and the national government. Based ners could be included into these teams. on previous experiences of organisations with the same legal form, we conclude that the council with the size of approx- Data management imately five members has high potential for well-informed purposeful collaboration with the management while still In order to seamlessly manage team-based collaboration including major stakeholders who took part in the prepara- and data flow in a major project like the European Capital of tion of the bid. Culture, we have already extensively used cloud software in 78 Management Tartu 2024 Foundation organisation chart with boards and managerial-level staff members. the bidding phase for team, stakeholder and data manage- has used tools by Estonian start-ups such as Scoro (project ment. Shareable and sorted digital data allows for improved and budget management), Weekdone (team goals and task continuity from the bidding to the preparation stage. In management), Fleep (team chat communication), Pipedrive addition to Google’s shared work environments, our team (CRM) and Zelos (volunteer management). Management 79 Q31 Organisation of the Tartu 2024 Foundation at management level Based on the decision making and the functions from 2024 Foundation’s structure can be divided into four char- supervising to carrying out ECoC projects and events, Tartu acteristic levels: ORGANISATION ACTIVITIES REPORTS TO KEY DECISIONS APPOINTING SKILLS, QUALITIES LEVEL The Supervisory • Overviewing the • Reports to the • Approves strat- • Council members • Experienced in Council level Foundation’s pro- organisations egies and goals, appointed by implementing cultural, gress and results that nominated the annual the City of Tartu, financial or commu- them financial plan, the regional munic- nication strategies • Advising the budget and the ipalities, univer- and international General Director staff structure sities of Tartu cooperation and Division and the Estonian leaders Government The • Leading the • The General • Decides on annual • The General • Experienced in man- Management implementation Director goals, financial Director agement and in inter- level (General on the strategic reports to the plans, the budget appointed by national cooperation Director and and tactical level Supervisory and the staff the Supervisory • Highly skilled in their Division leaders) Council structure Council; • Managing budg- specific fields ets, communica- • The rest report • Decides on hiring • Rest appointed • Mission and vision tion and market- to the General staff by the General oriented thinking ing; the artistic Director Director • The Artistic programme • Systematic Director has the final say • Team players on the Artistic Programme The Division • Leading the • Reports to the • Decides on the • Appointed by the • Experienced in project level implementation of Division leaders specifics of their General Director or event management action plans and and team Division and • Is very experienced in programme lines managers position their artistic or social • Managing pro- field gramme lines and • Fresh vision project managers • Systematic • Team players • People’s skills The Project/ • Leading the • Reports to • Decides on the • Appointed mostly • Experienced in project event level implementation of Programme specifics of their by the Artistic or event management specific projects Line Managers projects Director as part • Well-versed in their and events of the Artistic artistic field Programme; in other cases by the • Fresh vision General Director • Good at involving people • Motivated to learn, try and improve Management matrix of Tartu 2024 Foundation 80 Management Senior management level Resources Manager, joining the Foundation at a later stage, manages large scale staffing. The General Director is the top executive decision maker whose selection will be the first thing done after establish- The Marketing & Hospitality Manager with their team of ing the Tartu 2024 Foundation due to their decision-making marketing specialists and assistants leads international cam- power in selecting the next key staff members. Their role of paigns and the hosting of foreign visitors from the grass-roots mediating the Supervisory Council and the rest of the Tartu to the international level, including cooperation with Visit 2024 Foundation is described in Q30, the specifics of hiring Tartu and Visit Estonia. The Regional Coordinator manages them are detailed in Q32 and the qualities and tasks further marketing and communication activities for the region as well discussed in Q34. as the relationships with the mayors, councils and staff of the other 19 Southern Estonian municipalities that are included The Financial Manager, Communication & PR Manager in our bid. The Division of Marketing and Communication and the Artistic Director are the leaders of respective managers are also served by the Content Creation Team Divisions and make up the rest of the top management. As (Q38-Q39), tasked with recording, editing and publishing they are the key players in the European Capital of Culture ECoC-related media. organisation, they must be skilled in their respective fields, but also in international cooperation. The Artistic Director has The Artistic Programme Division includes up to four the final say in the artistic choices of Tartu 2024. Their hiring Programme Line Managers who are professionals from and tasks are described in detail further below. different fields of culture curating the development and implementation of our three proposed programme lines plus Executive specialists make up the rest of the management Kultuurikompass. They coordinate the Artistic Programme level. The Partnerships manager is responsible for planning project managers who are either staff members of the and carrying out the cooperation with the private sector. The Foundation, or, in most cases, external players (independent External funding manager formulates and coordinates the artists or representatives of partner organisations). bidding for the European Union funds. A dedicated Human Management 81 Q32 Recruiting staff with skills and experience In case of being designated as the European Capital of in this bid book and the experiences of previous ECoCs, Culture, staffing will begin step-by-step in the autumn of we have mapped out the staff size and requirements for the 2019. Based on the programme and strategies presented years 2020–2025 and present it in the table below: 2020 2021 2022 2023 2024 2025 No. of people 23 29 42 59 70 20 Full time 8 9 13 18 19 4 Part time* 15 20 29 41 51 16 * Part time also includes Artistic Programme project managers. The table does not include the members of different advisory forums or the staff of external services for finances, audit, legal matters or monitoring & evaluation. Tartu 2024 Foundation staff demand and planned work loads of 2020–2025 Key Success Factors Cooperation with other ECoCs. Tartu’s geographical proximity to and the two year title gap with Kaunas 2022 The essential components for ensuring that the organisation offers invaluable possibilities for knowledge exchange, has the staff with the appropriate skills and experience are study trips, internships, youth exchange, etc. to boost our as follows: skills and expertise. Continuity from the bidding stage to the preparation First stage: hiring key players (2019–2020) stage is crucial for planning, managing and deliver- ing a successful European Capital of Culture. As a Recruiting talent for the implementation of Tartu 2024 begins host to the Tartu 2024 candidacy team, the Tartu City after the City of Tartu establishes the Foundation with its Government Department of Culture has the awareness Supervisory Council in autumn 2019. and the means to keep and transfer the bidding expe- riences and networks until the Foundation has been The first Tartu 2024 staff members to be selected are properly set up. the General Director, the Financial Manager and the Communications & PR Manager. These positions are Resources. Building an effective ECoC organisation crucial in establishing a capable and well-funded ECoC within the tight time frame requires both the fulfilment organisation as quickly as possible. The recruitment will be of the promises made by the financial providers as well announced in late autumn 2019. as vigorous work done by the Supervisory Council and the first managerial-level employees of the Foundation in The Supervisory Council will select the General Director, order to apply these resources to build up an able organ- who, when having assumed position in January 2020, invites isation that involves top talent. their first team members, the Financial Manager and the Communications & PR Manager. One staff member, the Employer brand and fast tracks for talent recruitment. Regional Coordinator, will be transferred straight from the Our ambition is as stated – we want our ECoC to be Candidacy Team to continue their ongoing work, because among the top Estonian cultural organisation brands already by May 2020, Tartu 2024 has to win the approval for and therefore an attractive employer as well. We’ve funding from the councils of all the 20 municipalities included introduced our goals and work to MA level cultural in the bid of the European Capital of Culture in 2021. management and marketing students of the University of Tartu and to the Viljandi Academy of Culture. We see The only key management member to be appointed slightly people growing into a lot of the roles, because no one’s later is the Artistic Director for whom there will be a further born an ECoC expert! open recruitment process. Their hiring is detailed further below. 82 Management The timeline for hiring the General Director and Next stages (2020–2024) other key managers The following scheme depicts the next stages of planned • Establishing the Tartu 2024 Foundation – October 2019 Tartu 2024 Foundation appointments (hiring staff, nominat- ing forum members or including interns and volunteers) from • Open call for candidates – 1 November 2019 2020 onwards based on the urgency and interconnectedness • Group interview and panel evaluation – 2 December 2019 of different strands of ECoC implementation. • The General Director assumes their position – 1 January 2020 • Other key managers assume their positions – January 2020 • The Artistic Director assumes their position – by July 2020 Tartu 2024 Foundation appointment stages from 2020 onwards. Management 83 Q33 Cooperation between city, region and the Tartu 2024 Foundation Thorough cooperation while bidding. The bid was to the legislative and executive bodies of all the 20 initiated and funded by the Tartu City Government. The municipalities included in our bid. Even though constant bidding team writing the two bid books in 2018–2019 communication requires a great deal of resources, if involved all the departments of the City Government. done well, it keeps up the spirit of a joint effort between Local authorities were involved in developing the the Foundation and the local authorities. cultural programme projects and the future legal framework for the Tartu 2024 implementation and the Organisation structure. Our proposed organisation struc- strategies for budgets, marketing and communication. ture fosters cooperation on all levels of the management, Special meetings for information sharing and discus- from the Supervisory Council, where most of the mem- sions were held with City of Tartu top officials and bers are nominated by the municipalities, to the Forum of regional municipality and county level political leaders. Regional Municipalities, which links their executives with This has built a strong basis for the continuation of our ECoC organisation’s Management Board. In addi- cooperation after the bidding years. tion, all of the management members will be tasked with cooperating with their local authority counterpoints. Also, The budgeting processes in Estonian municipalities special staff members such as the Regional Coordinator require the annual updating of the budget strategies, or the Social Studies & Outreach Manager, whose task is which in turn become the basis for budgets. This creates to cooperate with the municipalities regarding monitor- the sustained need for communicating the Tartu 2024 ing and evaluation data, will further strengthen the ties European Capital of Culture objectives and progress with the authorities. 84 Management Q34 Appointment of the General and the Artistic Director The General Director will assume Survival themes and programme lines, bringing in professionals who were not position at the earliest possible date especially in relation to international part of the ECoC bidding process, car- with the goal being January 2020. The audiences and artists and the inclusion rying out the concept presented in this General Director will be appointed by of youth and marginalised groups. bid book will be stated as the mission Tartu 2024 Foundation’s Supervisory of the Foundation, thereby guarantee- Council after an open call. Best candidates will be hooked up for ing its continuity. discussions and talks with Tartu 2024 In order to find the best Artistic staff members to identify teamwork Also, most of the Tartu 2024 bidding Director for developing and carrying dynamics and proficiency. The Artistic team members and its artistic advi- out the programme presented in the Director must be chosen by July sors are expected to apply for posi- bid book, an open recruitment pro- 2020, earlier if possible. tions in the Tartu 2024 Foundation or cess is planned for the first quarter be included in its Forum of Cultural of 2020. In addition to a CV, candi- Even though we propose open calls for Advisors, therefore retaining the link dates for this position will be asked to selecting both the General Director and with the origins of Arts of Survival. present a plan elaborating the Arts of the Artistic Director, therefore possibly The General Director The Artistic Director Profile • Experienced in organisation or business manage- • Experienced in international artistic production or ment and international cooperation management • Management vision for Tartu 2024 ECoC • Interdisciplinary artistic vision for developing and organisation carrying out the Arts of Survival vision • Mission and vision oriented thinking • Audience engagement and development oriented thinking • Skilled in public presentation and coaching • Systematic, stress tolerant, team player • Systematic, stress tolerant, team player • Strong international network • Strong local and national network and an under- standing of cultural policy making • Estonian proficiency is not a must, but proficiency in English and in at least one more foreign lan- • Must have at least Estonian and English guage is required proficiency Fields of action Responsible for carrying out the mission and vision Responsible for carrying out the artistic vision of Tartu of Tartu 2024; top executive decision maker in the 2024; top artistic decision maker in the Foundation. organisation. Appointed by The Supervisory Council, relying on an open call The General Director, relying on an open call Assumes position In January 2020 By July 2020 Management 85 Q35/Q36 Risk assessment and mitigating measures We already carried out a detailed risk assessment exercise in risks related to the programme, organisation and marketing assessing the strengths, weaknesses and solutions of our bid on local, national and international levels and revised for the in the preselection round. The risk assessment plan addressed final round. Risks and risk mitigation for the Tartu 2024 European Capital of Culture: RISK PROBABILITY MITIGATION Insufficient cooperation Medium • The Tartu 2024 Artistic Director will be appointed as soon as possible after between cultural managers designation, but with sufficient consideration of their long-term suitability and and creatives to accomplish capacity to deliver proposed projects at the • In order to prepare the cultural managers, we improve our capacity building pro- required level gramme in line with the Tartu 2024 cultural programme and its desired impacts. • Future Tartu 2024 Foundation’s Programme Line Managers will be carefully selected and trained to liaise with cultural operators and motivate them to upscale their activities Not engaging European/ Medium • The progress assessment and share in total budget is made dependent on the international artists and international reach of the project development institutional partners for • Engaging international management partners is already one of the city funding the projects of the ECoC priorities for large-scale cultural projects in 2020 cultural programme as confirmed for the bid • Future Tartu 2024 foundation staff responsible for programme implementation must be competent in international relations, helping to forge new international links instead of inefficient or cancelled ones Failure to secure the High • We drafted and introduced our ECoC operating budget project already in required operational and Winter 2018 and started convincing key local, regional and state stakeholders capital expenditure budget as early as possible. It is an ongoing high priority process for the Tartu 2024 (e. g. due to an economic Candidacy Team. crisis affecting public and • If the hardships occur, we have to scale the programme down according to private funding on a local, what best serves achieving the goals of KU30 as well as our desired impacts of regional and/or state level) Tartu 2024 Local, regional or state Medium • We’ve made it clear that Tartu’s bid for the ECoC is a major unifying platform for political support wanes or city and regional development that can benefit the whole society if executed there is political pressure on professionally and apolitically the management • To confirm this, the Candidacy Team has regular informative sessions with the City Government members and the City Council and its Culture Committee members. Several meetings with regional authorities have been held and state authorities are informed of the positive involvement of the region • The future Tartu 2024 foundation’s organisational scheme is designed so that the possibility of having direct political influence on creative and personnel decisions is as low as possible 86 Management Lack of integration and Low • Both bidding and implementation teams sustain regular communication with synchronisation with Tartu Tartu City Government officials and departments through regular meetings City Government and updates • Throughout our communication, we emphasise that the bid is concurrent with a number of Tartu City Government plans and strategies Pressure on the bid or High • We state and explain the clear and fair criteria for project selection and assess- implementation team to ment processes include certain themes, • All new proposals and initiatives will be assessed by their coherence with the organisations or people Arts of Survival concept, KU30 goals and general strategic development goals of the city and the region • The future Tartu 2024 foundation’s organisational scheme is designed so that the possibility of having direct external influence on creative and personnel decisions is as low as possible International marketing and High • Our international communication has to be professional, coherent and relatable PR not efficient enough to for European/international audiences, yet with a Tartuvian edge. To achieve attract a broad European this, we have to aim for ambitious and internationally minded, yet locally aware and international public people when choosing marketing/ communication related Tartu 2024 staff and media/PR partners • We have secured the broad transversal, transnational and transgenerational appeal of the programme, yet also keep identifying its primary European/inter- national target markets and groups • We draft and obtain a sufficient operating budget to match our marketing and communications goals. Regional inclusion is under- Medium • For the final round, the Candidacy Team has hired a regional coordinator for performing or underfunded engaging Southern Estonian authorities and cultural operators • After designation, the Regional Coordinator continues to be responsible for steering local municipalities included in this bid towards deciding financial com- mitments on the Council level as soon as possible Bad publicity Medium • We are already working according to a marketing communications plan to foster inclusion and informed relations with our stakeholders, including local media. The plan will be scaled and updated in the implementation phase. • Mitigating the risks presented in this table is the key to keep away from avoid­ able bad publicity • Unexpected PR situations must be managed by motivated and informed team members identified by a clear organisational and responsibility scheme Unexpected management Medium • We draft and obtain a sufficient operating budget for wages to keep the changes staff motivated • We design a clear organisational and responsibility scheme that supports infor- mation sharing and delegation so that every staff position is covered by tempo- rary substitution options in case of sudden changes • Any motivational issues or apparent causes for leaving can and will first be can- didly discussed with the team or the responsible team member(s) Not enough qualified staff Low • From the very beginning of our Candidacy Team, we’ve included interns, and volunteers volunteers and student visits to build genuine ties with future professionals and present our community aims • We draft and obtain a sufficient operating wage budget to attract additional talent from Estonia and abroad • We communicate our work as being among the most creative and exciting in Tartu and the region (which it is) Management 87 Q37 The slogan of our cultural programme 88 Management Q38/Q39 Marketing and communication strategy and media partnerships The top goal of our marketing and communication strat- Strategy lines egy is to ensure the wide engagement of local, national and international audiences, partners and media by Real-life and virtual. We use the whole range of media to delivering a convincing, fascinating and inspiring narra- connect to Estonian and Russian-speaking citizens, Erasmus tive of Tartu 2024: Arts of Survival. students or cultural tourists, small town dwellers in search of familiar cosiness or start-up entrepreneurs hungry for hi-tech Our message as a European Capital of Culture is that arts kicks – to each their own, or to all very much in common. In can and must have a transversal, transnational and transgen- addition to star performances, small-scale events for lim- erational impact on the city, the region and all of Europe, ited audiences will be opened up through online streaming securing the survival of small communities, European unity already in the ramp-up years. We also record and publish our and humanity in harmony with the diverse ecosystems on grand offline encounters in the communities to spread the Earth. Tartu and Southern Estonia manifest Arts of Survival word, share the vibe and boost future participation. in a rich variety, which is both unique as well as universal. We are going to present for channels both local and interna- Individual and institutional. We strive to capture the imag- tional a city and a region that are on the wild edge of Europe, ination of an individual, because many Tartu 2024’s planned remaining in touch with their heritage while having a digitally activities and imagined successes – such as making nature advanced society and a high capacity to deliver an engaging matter more – are about the change of values, perceptions and forward-looking programme. and skills on a personal level. On the other end of the scale, we spread the word of the happenings of Tartu 2024 with the help of various government and business institutions that have a strong and diverse community reach. We also edu- cate and encourage our cultural sector partners (universities, theatres, schools, companies, associations, etc.) to engage, enhance and develop their broad audience base. Grassroots, regional, national, European, international. As with our cultural programme, our marketing and commu- nication actions are geared to address diverse aesthetics and artistic expectations, addressing subcultures as well as long- time inhabitants in the neighbourhoods of Tartu, traditionalist Southern Estonians as well as metropolitan culture vultures, environmentalists as well as kissing aficionados from Europe and beyond. Specific goals and objectives The stories we tell our visitors and the media are largely about Establishing a brand. Marketing and communication has particular genuine characters, practices and symbols, villages the continuous task of uniting Southern Estonians behind a and neighbourhoods, examples of nature-friendly living in common goal and giving everyone the spark to speak about the city and in the wilderness of Southern Estonia – but they Tartu 2024. For this, we are crafting an artistic, entertaining, are also potent images for questions, hopes and concerns eco-friendly, forward-looking, socially inclusive and trust- common to most Earthlings, humans and Europeans. worthy brand. We aim Tartu 2024 to be among the five most recognised institutional culture brands in Estonia by the end Tartu 2024 will be relevant because we are going to invite of 2024. and involve artists and audiences from across the continent and beyond to offer artistic solutions for a more hopeful, car- Getting citizens of Tartu and people of Southern Estonia ing and inspiring future life. We also challenge many a stere- involved in the programme as much as possible and show- otype that locals and visitors might have about each other, ing how the arts, culture and community action are the key for Europe and its manifold identities. Here is how we are going survival in many senses. To succeed and leave a legacy, we to communicate our stories to the local, regional, national have to make Tartu 2024 matter and meaningful both locally and international audiences: and regionally. Management 89 Unifying the marketing for Southern Estonia as a region All the projects in the cultural programme have defined tar- is both a short and a long term goal as our numerous regional get groups, which the artists and managers strive to involve in partners see Tartu 2024 as a new platform for cooperation or, the artistic and participatory processes. A number of projects indeed, as a platform for survival, following the recent major (e.g. Yellow Windows Arts Programme or Growing With municipality reform and the dissolution of previous joint pro- Your Food) commence already in the preparatory years, motion activities. There is the genuine feeling in the region thereby creating awareness and increasing the wish to get that the European Capital of Culture is the chance for us to be more involved for the title year. heard and seen on both the national and international scale. The Tartu 2024 strategy for audience development and Involving audiences from Estonia, neighbouring coun- engagement introduces transversal measures for empower- tries and all over Europe. We have to spark curiosity and ing the participation of special groups such as youth (Tartu start discussions on how arts can and must find creative solu- 2024 Street Team), senior citizens (Active Agers), minori- tions for ecological, human and local community survival ties, international communities and people with disabilities. not only in Estonia, but also in other Baltic and Scandinavian states, in Russia, in Germany and even further. Tartu has some great recent successes with crowdfunding schemes for culture. A share of our ECoC budget is to be Action plan for the grass-roots, funded the same way with the #üheskoos ‘24 crowdfund- city and regional level ing campaign being an important part of our marketing and communication efforts in the year leading up to 2024. The awareness and involvement of local and regional audi- ences is central to our bid. In addition to exposure in the Even now, The Tartu 2024 capacity building programme media and on the internet (see further below) we aim to mobi- Kultuurikompass has upscaled discussions on how to inno- lise grass-roots communities and people all around Tartu and vate and involve cultural management while positioning Tartu Southern Estonia with initiatives of mixing the artistic, social 2024 as the leading platform among the region’s cultural man- and business facets of the European Capital of Culture. agers. In the coming years, the expansion of Kultuurikompass will further contribute to the Tartu 2024 communication. Tartu 2024 marketing and communication strategy actions positioned on the strategy lines of real-life and the virtual, individual and institutional. 90 Management Tartu 2024 marketing and communication strategy actions positioned on strategy lines of grass-roots, regional, national, European. Action plan for the national and the gateways of Estonia – airports, railway stations, ports, international level highway entry points – to present Tartu 2024, its main themes and upcoming events in a pop-up form, such as fragments of To attract audiences from Estonia, from our neighbour- heritage-laden digital art from Enter Woodland Spirits, nov- ing countries as well as from diverse target groups from all elty machines from Beetroot Washing Machine or voices around Europe to come and experience Arts of Survival, we from the underground by Psühhoteek. plan to tell our stories in a number of exciting ways. By using a mix of proven methods and the unused potential of Tartuvian Halfway There: For those already travelling in the area, the and Southern Estonian networks, we’ll be able to capture the Arts of Survival themes will be presented on Tartu-bound imagination of the multitudes with affordable solutions. trains (in cooperation with the main Estonian railway com- pany Elron) or on the passengers’ personal multimedia Stencibility Goes Europe: Tartu’s vibrant street art scene screens of Lux Express coaches driving between destinations spreads across European cities and galleries. Tartu is one of in the Baltics, Belarus, Helsinki and St. Petersburg. Europe’s street art havens where artistic quality and ingenuity meet civic support and liberal city politics. The Stencibility fes- Tartu 2024 Ex-Tartuvians programme: Every year, several tival has annually hosted a string of European street artists to thousand people from Estonia and abroad graduate from liven up the city space whereas our mystery stencil man Edward the University of Tartu and our other higher education insti- von Lõngus took his (R)estart Reality tour across the walls of tutions, having survived the adventurous challenges of stu- Europe to herald the Estonian presidency of the Council of the dent life. With help from universities, we contact their alumni EU (July–December 2017). Tartu 2024 also involves Stencibility all around the world to take a trip down memory lane and as one of its international ambassadors, introducing the coun- pay a visit to the improved Tartu in 2024. A must-see ECoC terculture and civic activism of Tartu and inviting Europeans to event for anyone who has ever been young in Tartu is Kissing come around to find out more for themselves. Street art in dif- Tartu, our springtime flagship event. ferent media is created and displayed in European cities by 14 artists who also draw input from a broad base of locals, ready Tartu 2024 Ambassadors: Artists, entrepreneurs and scien- to revamp a bit of their city identity in the Tartuvian way. tists, but also online and offline community leaders of Tartu and Southern Estonia;/. hosts of our hospitality project Külas Containers of Arts distributed in partnerships with infra- as well as major festivals, events and sports teams from the structure and transportation organisations. We will involve region. We mobilise all of them to speak for Tartu 2024 and Management 91 provide them with merch along with a digital toolkit to repre- home page so that visitors could find events matching their sent us. Most of all, though, we want all of the Ambassadors interests and get all the required logistical info with ease. to be genuinely informed and inspired to share the stories Additionally, we are going to develop thematic campaign and activities of our ECoC that they find the dearest. sites with engaging content such as video, photo and essay contests on Tartu 2024 programme lines for youth, crafted Through our national tourism board Visit Estonia or local together with our Street Team. tourism board Visit Tartu, Tartu 2024 will be represented at tourism fairs in Germany, Russia, Finland, Latvia, Starting from 2022 Lithuania, at the international Hanseatic Days in Poland and in Tartu’s twin towns. The Tartu 2024 app with smart and engaging content – games, polls, tests, augmented reality – based on our ECoC Advertising campaigns, guerilla marketing and road programme will be launched in Autumn 2022. The content shows at specific target markets will be carried out in coop- of the app is designed so that engaging with it records the eration with Visit Estonia. Special business-to-business con- cultural preferences of the user. This, in turn, helps to create tact events with Russian and German travel bureaus will be more customised offerings of real-life experiences to audi- organised to promote ECoC-related group travel and tours. ences and tune the marketing messages so that various groups will be activated. Cooperation with previous and future ECoCs brings along more artistic collaboration and guarantees us further The app doubles as the main ticketing solution for Tartu 2024 media attention abroad as has already been proved by our events. Even though the programme is going to have a lot of mutually beneficial link with Kaunas 2022. Likewise, Tartu will free entrance occasions, most of the events still require reg- engage the UNESCO City of Literature network in promot- istration so that the organisers would be able to study their ing our ECoC programme’s ramp up and title year literary audiences. If required, tickets can be bought in-app. For an events such as the utopian/dystopian 1984/2024 festival. extended offer, the app will also have access to the database of kultuuriaken.tartu.ee, Tartu’s cultural calendar which is going Involving multinational companies active in Estonia, we see a to expand to include events from across Southern Estonia. high potential in developing incentive tourism partnerships that see the enterprises presenting their top employees with PARTNERSHIPS WITH MEDIA fully paid culture trips to Tartu and Southern Estonia, e.g. to see the exhibition based on Ryoji Ikeda’s artistic residency at Tartu 2024 has commenced the initial discussions and has the Estonian Genome Centre. received pledges of support from the most important media organisations in Estonia and is developing tactics for inviting SOCIAL MEDIA, WEB AND APPS journalists and influencers from all across Europe. Together with Tartu’s booming ICT scene we aim to design Estonian and Baltic media organisations cutting edge digital content and platforms for the ECoC arts and entertainment, information and ticketing, but also team We are negotiating an agreement for a long-term partner- and communications management. Tartu 2024 aspires to ship with ERR (Estonian Public Broadcasting) with the aim become an ambassador for well-crafted Estonian software of assuring both national and international visibility for the while providing the ICT sector with good marketing mes- European Capital of Culture. The partnership should encour- sages for their possible employees about Tartu as a culturally age covering and broadcasting cultural content from Tartu vibrant city and a desirable environment for living. and Southern Estonia in ERR’s various TV, radio and web channels. ERR’s involvement is crucial, because they have Starting from 2020 both a dedicated media production house/department in Tartu as well as regional correspondents in Southern Estonia. The social media platforms Facebook, Instagram, Twitter, ERR also has English and Russian channels. As Estonian Public TikTok and possible emerging sites will be used extensively Broadcasting is also a member of the EBU, their contacts in from day one for building, informing and engaging the Tartu the network could be beneficial for disseminating the cultural 2024 audiences. Photos, videos and stories will be crafted by programme Europe-wide. a dedicated Tartu 2024 content creation team. In association with Visit Estonia, our international visibility will be boosted We have commenced talks with Postimees Grupp, the pub- by culture and lifestyle influencers invited from around lisher of a number of newspapers ranging from national to Europe to take part in exclusive Külas tours curated by locals regional, and county newspapers with a view to covering (see further below). Imagine vlogs and blogs about practic- Tartu 2024 programmes and events both in print and online, ing everyday Arts of Survival such as picking berries in a both in Estonian and in Russian. Postimees Grupp also has bog or jumping over a bonfire at a village party! a dedicated media production department in Tartu, which allows for better access and more diverse collaborations. Websites and campaign pages. Considering the user In addition to print media, future collaborations might also experiences of previous ECoCs, we’ll pay special attention to include Postimees Grupp’s radio and TV channels and their developing a clear and intuitive search tool for the Tartu 2024 news portals in Latvia (TVNET) and Lithuania (15min). 92 Management We also have initiated discussions and received prelimi- National Geographic Estonia is a major partner in Yellow nary pledges of support from a number of other important Windows Arts Programme. national or regional media organisations: Stemming from discussions with media organisations, we see Ekspress Meedia: publisher of the daily newspaper that Tartu 2024 needs a special media Content Creation Eesti Päevaleht, the weekly newspapers Eesti Ekspress, Team to fully utilise the channels opened with these agree- Maaleht, the topical magazines Anne & Stiil, Eesti Naine, ments and quickly provide content for foreign news and Oma Maitse, Kroonika, Tervis Pluss, Maakodu, Jana, Pere media agencies of groundbreaking events such as the record ja Kodu and the Estonian and Russian news portal Delfi breaking Kissing Tartu or Tartu World University visionary (Delfi.lv in Latvia and Delfi.lt in Lithuania). talks in the wilderness. Õhtuleht Kirjastus: publisher of the daily newspaper European coverage Õhtuleht and the weekly newspaper Linnaleht. Also pub- lishes news portals and magazines. To attract journalists from other European countries, we are going to team up with Visit Estonia and Southern Estonian Ring FM: a commercial radio station from Tartu with fre- tourism boards to organise press trips. We aim to fully use quencies across mainland Estonia, and Ruut FM, a local the potential of Visit Estonia’s international communication radio station from Valga. and media relations contacts and best practices to create a continuous information offer on Tartu 2024 to European Вестник Тарту: a Russian language Tartu newspaper journalists and media all over the world. published twice a month. In addition, we ask every project included in the Tartu 2024 SA Kultuurileht: publisher of a number of culture cultural programme to identify, contact and invite leading periodicals, such as the weekly newspaper Sirp and the European journalists and channels relevant to their field(s) monthly publications Müürileht, Akadeemia, Looming, or genre(s), so that the publicity potential of each and every Vikerkaar, etc. project is fully realised. The projects will receive extra funding for this branch of media work. MTÜ Loodusajakiri: publisher of the nature and popular science magazines Eesti Loodus, Eesti Mets, Horisont and Горизонты Эстонии. Management 93 Q40 How our citizens are the communicators of Tartu 2024 to the outside world As described above, we systematically plan to mobilise people and organi- sations on many levels, from inviting them to become ambassadors to mak- ing them co-owners of the ECoC cause via a major crowdfunding campaign. We are going to use the networks of existing student, professional and trade associations to invite their partners to experience Tartu 2024 and spread the word on social media. This is also greatly fostered by the extent of pre-title year capacity build- ing among cultural managers and the quality of the build-up events of the cultural programme, due to start in 2020. In addition, we propose two initi- atives to Southern Estonian people for contributing to our European Capital of Culture build-up in creative and meaningful ways. Külas centre, explore the bogs and woods Hello, Europe! Külas means either “visiting some- while picking berries or mushrooms, one” or “in a village” in Estonian – and learn the use of herbs from a grand- ...is a campaign for Wikipedia arti- both can happen to you if you choose mother, take part in a traditional village cles on Southern Estonia. Tartu 2024 to follow this adventurous path! It’s a party in Setomaa – a region known for its would also partner up with Wikimedia programme matching curious tourists UNESCO Intangible Cultural Heritage Eesti, a chapter of the Wikimedia with volunteer guides on a special web list singing traditions –, visit the verdant Foundation dedicated to developing site. The project draws inspiration from bohemian gardens of the Karlova and Wikipedia in both the Estonian as well Leeuwarden–Friesland 2018’s success- Supilinn wooden neighbourhoods, the as the regional languages of Võro and ful Leen en Fries (project by Friese noisy student bars at Rüütli street or Seto, therefore also supporting the Bibliotheken) as well as from public wander around the Soviet-era panel survival of these languages in the era discussions with our villagers who are district of Annelinn in Tartu. of digital data. Wikimedia Eesti has a wondering whether they can offer any- long history in organising thematic thing to the ECoC aside from their vivid Külas goes into the heart of the article writing campaigns. In Hello, country life. Southern Estonian contradictions of Europe!, starting from 2020, we annu- self-sufficiency going hand in hand ally invite our citizens to join in and Well, why not? with self-doubt – heartfelt hospitality write an article or few in their fluent in the middle of the tough realities of foreign language(s) on their favourite How do we translate our towns and living on the edge of Europe. The pro- Tartu or Southern Estonian subject, villages, culture and customs, every- gramme does not require high invest- thereby expanding the greatness day joys to a Frenchman? A Swede? A ment, allows for volunteer involvement of our story for the potential visitors Japanese? We challenge ourselves and on a grass-roots and a regional level, of our European Capital of Culture. invite them to be a part of Külas. builds trust towards foreigners among Article by article we make ourselves locals, generates social media buzz more visible in Europe! Külas can take on applying visitors to and lets us pilot the related themes live in a Southern Estonian farmstead or and topics of Arts of Survival before a former Soviet kolkhoz (collective farm) the main title year. 94 Management Q41 How we highlight the European Capital of Culture as an action of the European Union The visibility of the European Union in our proposed ECoC to host the key events of the programme: the conference programme will be guaranteed by a number of placements Estonia in EU 20 and special events to highlight how bor- and initiatives: derless Europe has shaped the life of a whole generation. The programme would benefit from coinciding with the If we receive the Melina Mercouri Prize, we plan to use ECoC events and it will be developed in cooperation with the funds in 2024 to thoroughly videograph the ECoC the European Commission Representation in Estonia and creative processes and events. By funding high quality the Republic of Estonia Government Office, which also recording and editing, we amplify the potential social organised the Estonian Presidency of the Council of the and economic impact that our content can have on social European Union in 2017 and Estonia’s centenary celebra- media and elsewhere. A well documented and published tions in 2018–2020. ECoC cultural programme also has a better legacy that stems from it. All this content will bear the EU logo. To the Tartu 2024 opening and closing ceremonies we intend to invite leaders of previous and future ECoCs With the possible support of the Melina Mercouri Prize and our partner ECoC from Austria, as well as from either we plan to start an European Arts and Innovation Fund Norway or Bosnia and Lithuania, Luxembourg, Hungary, for Tartu. This fund will continue supporting residencies Slovenia, Germany, Slovakia and Finland. Members of for lecturing artists from Europe after the ECoC year the European Commission and Parliament and leaders of 2024. The aim of this residency programme is to support our European partner institutions will also be invited to education and innovation at Southern Estonian universi- celebrate the biggest European event ever to take place ties while also sustaining the international aspect of the in Southern Estonia. region’s cultural vibrancy. By giving the Melina Mercouri Prize an importance for years to come, we will highlight The logo of the EU will be present on all Tartu 2024 com- this as an EU contribution for a long period of time. munication materials and platforms to signify Tartu as the ECoC in 2024, while the EU flag will be flown at all major As Estonia, Latvia and Lithuania celebrate 20 years of cultural institutions in Tartu and Southern Estonia. European Union membership in 2024, we propose Tartu Management 95 Capacity to deliver Q42 Continuous political support and commitment to Tartu 2024 The Tartu 2024 bidding team was ambassadors of the process. The City has clarified the plans of the bidding formed by the Tartu City Government Council has been regularly informed with all the municipality leaders and a Department of Culture. The city gov- about the new developments of our pro- wide range of municipalities’ cultural ernment has clearly indicated that the ceduresat the meetings of the Cultural managers. On April 29, 2019 the sum- ECoC bidding process is the number Committee, which represents all parties mit of Tartu and Southern Estonian one priority of cultural policy and the in the Council. The key projects aiming leaders of 19 municipalities signed Department of Culture is supporting to make significant temporary or per- the Treaty of Support for Tartu 2024 it through funding as well as through manent changes in the urban space on Munamägi, the highest peak of the several policy initiatives. All recent (Toomemägi Revisited, Postmarket Baltics. The treaty states the commit- fundamental decisions are driven by Street Festival, Curated Biodiversity, ments after designation, including the the endeavour of Tartu to become a Growing With Your Food) have been joint financing plan for 2020–2025. The European Capital of Culture in 2024 introduced and cleared with the depart- city of Pärnu has reassured its will to including the Kultuurikompass capac- ments of the city government. The city continue as an associated supporter of ity building programme and the new level financing plan of Tartu 2024 for the Tartu 2024 bid at the regular meet- cultural subsidies system devised to the period of 2020–2025 is regulated ings between the leaders of cultural provide more international reach, by the City of Tartu Financial Strategy, departments of both cities. more security for the long term activi- with the strategy for 2019–2022 having ties and investments for accessibility. already been confirmed. The ECoC funding decision on the state level has been confirmed We have included members of the city In the Southern Estonian region, we regardless of the change of govern- government in every major decision initiated an intense discussion with the ment, as it is included in the state of the final round. Both the Mayor and municipalities right after the desig- budget strategy for 2020–2023, the Deputy Mayor (Culture, Education, nation for the final round. The Tartu approved on 30 May 2019. Sports, Youth) have been the main 2024 Southern Estonian coordinator 96 Capacity to deliver Q43 Infrastructure projects and how they are linked to Tartu 2024 Tartu and Southern Estonia have built up a strong capacity to museums and schools, but also open-air venues, extended accommodate and deliver cultural events – including large- light traffic road networks and river/lake port networks. scale international events, as proved by the recent Metallica gig for 60,000 people in the Estonian National Museum area. The key Tartu 2024 legacy object is going to be the new Several smart renovations, expansions and extensions of multifunctional City Cultural and Community Centre in the existing infrastructure are due for 2020–2024 (see also the heart of Tartu, intended as the „living room” of the city, budget data above). open to public access and providing a platform for different events, discussions and makerlabs. According to the latest Our cultural programme is designed to make good use of time frame, pre-construction preparations for the Cultural the various new or upgraded infrastructure objects, includ- Centre take place in 2020–2024 and the construction starts ing more traditional cultural and educational venues such as in January 2025. Infrastructure Project Planned timetable Links with Tartu 2024 Completed Public bike rental Biggest city-wide bike rental 2019 Touristic and local mobility; between bid- system system in the Baltics: 750 bikes, Curated Biodiversity, Through ding phases 69 stations across the city. the City, Arts of Survival Urban Nature Festival, Postmarket Street Festival, Surrealism 100 Ongoing University of Tartu Renovation and updated 2019 Toomemägi Revisited construction Museums exhibition of the history of the University of Tartu and Toomemägi Hill in the Morgenstern Hall University of Tartu IT New university hub of informa- 2019 Enlivening the banks of Centre Delta tion technology, mathematics, Emajõgi; European Students’ and economics, which supports Opinion Festival advancing science in entrepre- neurship and innovation The Onion Route Development of museums 2019–2020 Lake Peipus Arts Route – Region of Three and tourism infrastructure in Cultures project Peipsiääre municipality Suur Munamägi, Refurbishing the observation 2019–2020 Yellow Windows Arts the highest peak of tower and its surroundings Programme Estonia Tartu St. Mary’s Rebuilding the church tower Reconstruction Sound Our Souls, Wedding: Church destroyed in WWII, reconstruct- started in 2019 and is The Estonian-Latvian Song ing the interior of the birthplace ongoing with annual Festival church of the Estonian Song public funding and Festival tradition crowdfunding Capacity to deliver 97 Reconstructed Värska port, Development of four Lake Peipus 2019–2021, Reclaiming The River Emajõgi or renovated Räpina port, ports 2019–2022, And The Great Lakes Luunja port, 2019–2022, Kasepää port 2021–2024 Tartu Vintage Car Private exhibition of around 150 Opening 2020 Beetroot Washing Machine Museum items from Soviet era in a former (Men’s Shed Mobile industrial building Workshop), Diversity Land Line Tähtvere Leisure Park Investments to improve physical 2020–2021 Arts of Survival Urban Nature movement activities City Festival, Walks Of Survival Contemporary learn- Major reconstruction of four Annelinna Psühhoteek, Walks of Survival, ing spaces schools; major reconstruction of Gymnasium and Shared Path cluster of educa- a stadium for two schools in the Variku School in tional projects panel district of Annelinn, 2020, Karlova School in 2021, stadium for Hansa School and Descartes’ School in 2023 Tartu City Museum Renovation of the main building 2022–2023 Beetroot Washing Machine, and building new permanent Emajõgi - The Birth and exhibition Death Of Tartu Tartu New Theatre Reconstructing the current 2022–2023 Performa Borealis (Tartu Uus Teater) building bought with the help of crowdfunding into a new per- forming arts centre Tartu Elektriteater Renovating a building to become 2023-2024 Arts of Survival Art House Cinema the centre for Tartu’s art house Documentaries, Kissing Tartu, cinema 1984/2024 Literary Festival, Stand Up For Your Mind New Lodjakoda New shipyard for traditional 2020 Enlivening the banks of infrastructure boats, traditional craft workshops, Emajõgi; Arts of Survival rooms for events Urban Nature Festival, Emajõgi – The Birth And Death Of Tartu, Reclaiming The River Emajõgi And The Great Lakes Expanding the net- Projects with budgets allocated 2020–2023 Touristic and local mobility, work of pedestrian amounting to 2,6 million euro. making the discovery of and light vehicle the city easier on both foot roads in Tartu and bike. Walks of Survival, Surrealism 100 Tartu wayfinding Comprehensive wayfinding sys- First signs in 2020, Touristic and local mobility, system 15 minutes tem that approaches the entire implementation of making the discovery of the Tartu city systematically, connecting the whole wayfinding city easier on both foot and remote districts with the centre system 2021–2024 bike. Walks Of Survival, Surrealism 100 Legacy City Culture and New building planned in the city Architecture compe- Helps to strengthen the ECoC Community Centre centre around 500 m from the tition 2021, building long term impacts; Tartu as a main square (including library and project 2022–2023, gateway to Southern Estonia art museum services, community construction venues) 2025–2026 98 Capacity to deliver Additional information Q44 Tartu - inspiration for transformation TRANSFORMATIONS The waning crescent moon sets; morning tiptoes in. He’s been walking too much, and something’s gone a bit The boy has been sleeping in a nest of chair cushions cattywampus in his left knee, what should be attached isn’t. between cases that display old photos and letters In the gray crepuscular light, he imagines the burgundy in the front room of the museum. Outside, a blackcap mattress enfolding him is her arms reaching him back merrily flutes its pre-dawn hymn to the coming sun. to her. “You’ve grown thin,” he thinks she’d say. “You The boy stretches – a long full stretch – and imagines should eat; you can’t live on coffee and words, darling.” there is a wolf waking beside him. The wolf is stretching, He imagines there are worse ways to go. It would be he is stretching. His muscles tingle; he feels strong grand to live on espresso with a brita kook now and then, and good. Something has shifted in his body overnight. writing poem after poem until he was skin and bones The long bones of his legs ache pleasantly and there’s and everything he’d always wanted to say was said. something stirring, something electric twitching to life He would finally have time to sleep. “I could walk into from the base of his spine through his belly and groin. the woods,” he thinks. “I’d curl up against a juniper, It’s as if he has visited the underworld in his dreams, inhale the spruce and larch. A scarred lame sinewy old swallowed a magic potion, and returned to this world wolf with no words in the silence of the forest.” And this mid-transformation. “I think I’m becoming a wolf,” is how sunrise finds them in their separate corners of he whispers to himself. “This happens in Estonia. the Karl Ristikivi Muuseum, each watchfully awake, Perhaps I should sneak out and get a tattoo before each quietly wondering what comes next. my body is covered with hair and tattoos are entirely out of the question.” The old man is covered in tattoos. He’s had most of them so long he forgets they’re there until he catches scarf-wearing old women, businessmen staring at him. He wakes in the back room of the museum, listens to the early train rattling in from Valga. He has made a bed on the futon sofa where too many have sat; he’s laid it flat but still wakes prisoned in the deep crease. Ron Whitehead (UNESCO City of Literature resident writer in Tartu, Spring 2019) with Jinn Bug 29th poem from NIGHTS AT THE MUSEUM or, the Fabulist Adventures in Tartu, Estonia of the Old Man from Kentucky Additional information 99  Final selection stage bid book, 2019 Photos by Heikki Leis (2, 26, 27, 40) Jan Henrik Pärnik (4, 19) Oliver Kuusk (5) The applicant Mana Kaasik (10, 28) Gabriela Liivamägi (11 (from Kaksismaa/Kaksoismaa Tartu City Government in partnership with by Anni Mikkelson/Meriteatteri/Must Kast), 77, 86) 19 Southern Estonian municipalities Kerttu Kruusla (12, 18, 37) Kiur Kaasik (12, 13, 14, 17, 18, 34, 36, Tartu 2024 European Capital of Culture 45, 46, 55, 57, 59, 60, 63, 79, 87, 91, 92) Candidate City team Ruudu Rahumaru (15, 44) Timo Toots (16) Kaspar Aug Kristjan Teedema (20) Erni Kask Tartu Kunstimuuseum, Peeter Allik (22) Annela Laaneots paranoia publishing (24, 51) Merje Laimets Maris Savik (25, 33 (from “Peks mõisatallis” Kalle Paas by Birgit Landberg/Must Kast), 94) Triin Pikk Mana Kaasik, Delfi (26) Berk Vaher Rasaa Etten (29, 47) Tiit Grihin (30-31) Special thanks to contributors of the Kristina Haan (32) content of this project: Kermo Vahula (35) Juhan Voolaid (37) William Nunes (43) Silver Tõnisson (50) Tõnu Runnel (64) Taavi Muide (67) Adam Illingworth (70) Ove Maidla (73) Raino Orav (74-75) Mikko Leo Selg (82) Tuuli Jõesaar (93) Published by Printed by Tartu City Government Department of Culture Chaser Print Agency Design by Martin Rästa, Baas Design Lauri Järvlepp, Bassein Photo curator Kiur Kaasik Useful links Tartu 2024 pre-selection visual identity by www.tartu2024.ee www.facebook.com/tartu2024 Jakob Päll, Homne www.instagram.com/tartu2024 100 Q 101 102 Q City of Tartu and Southern Estonia Population: 97,000 (City of Tartu); 260,000 (20 municipalities) How to get here: Helsinki (FI)-Tartu - 1 ight per day; Tallinn-Tartu - 37 coaches and 11 trains per day; Riga (LV)-Tartu - 6 coaches per day General education: 95 schools with 18 000 students Higher education: 10 universities and colleges with 17 200 students Vocational education: 10 vocational schools with 6200 students 65+ year old citizens: 33 400 or 20,5% of population Annual overnight visitors: 560,000 Share of foreign overnight visitors: 45.4% (Tartu); 28.3% (Southern Estonia) Accommodation: 350 facilities, 6500 rooms Average wage: from 1289€ (City of Tartu) to 1009€ (Southern Estonia) Museums: 56 museums with 858 000 annual visits Theatres: 263 000 annual visits Tartu is a UNESCO City of Literature. Struve Geodetic Arc belongs to UNESCO World Heritage List. Seto Leelo, Seto polyphonic singing tradition and Smoke sauna tradition in Võromaa belong to UNESCO Intangible Cultural Heritage Lists. Q 103 104 Q European Capital of Culture Candidate City European Capital of Table of contents Culture Candidate City Introduction 6 Cultural and artistic content 17 European dimension 34 Outreach 38 Management 41 Capacity to deliver 59 Q1 Why does your city wish to take part in the competition for the title of European Capital of Culture? Q2 Does your city plan to involve its surrounding area? Explain this choice. Tartu is commonly regarded as the main cultural and economic hub of Southern Estonia. The effects have been mixed. Tartu drives the region but also drains it. Tartu 2024 stands for a more even distribution of resources, infrastruc- tural developments and media coverage in the country. Recently, however, vital services such as hospitals have been withdrawn from smaller municipalities and centralised into Tartu. So we are acutely aware how much more poig- nantly Arts of Survival resonate in the greater South. Tartu. Nice and quiet for many. Nice and dull for so many more. cute, cosy but unexciting. This is certainly true of Estonia where That’s not the way we want it – not the way we were. Tartu has a lot of smaller towns and rural areas are already supporting We need to grow with the region, not at attract wanderers from across the Tartu. The sum total of its inhabitants is been the place to figure out who you are and who you can be. our bid. It also holds for our numerous partners abroad. Those the expense of it. We want to share ECoC world. The environmentally conscious 260 000, with Tartu the largest (99 401) The space to be different. To stand out and speak up. We can „other“ cities, rich in history but refusing to become heritage with Southern Estonia so it could thrive ECoC we want to become seeks a third and Setomaa vald the smallest popula- and must still deliver this space, all across Europe, now more theme parks, brain drained and marginalised. It takes a major and prosper. Tartu is the European way beyond urban/rural lifestyles and tion (3369). The region is already deve- than ever. But this needs to come from a major jolt out of the cause and goal such as ECoC 2024 to urge us out of a rut and gateway into the region – but it can for this, the region presents a rich array loping programmes of cooperation for smug routine. revise our myths of „being fair enough“. also promote its cultural and natural of great practices. joint international activities and mar- diversity in Europe. The dialects and    keting for tourism. Estonia’s oldest academic hub. Intellectual capital. Tourist Time and again in the 20th century, Tartu has been the hub of customs in Võromaa and Setomaa (the The bidding area covers the territory darling. Those are the tales we’ve liked to tell. Now let’s face dissent and resistance. A site for critical thought and direct Obinitsa village in Seto region was the between the two largest lakes of Estonia Also, the city of Pärnu in Western the facts. Our population fails to grow. Arts centres and events action. This year once more, Tartuvian artists, scholars and Finno-Ugric Capital of Culture in 2015). – Lake Peipus (Peipsi) in the east and Estonia has already approached us lack international audiences and curators. Too many university citizens have had to stand together for humanity and nature, The Russian Old Believer communities Lake Võrtsjärv in the west. Lake Peipus to support our bid. We are happy to graduates are heading for Tallinn or abroad in hope of brighter against backroom decisions of corporate powers. We see now: in the lake Peipus area. The conver- is on the Estonian/Russian border, pre- welcome partners for reaching out to careers. Numbers of overnight visits and foreign students may this kind of counterculture is what we are. We also sense that gence of folk arts, creative industries senting us with possibilities for cultural Europe, as it strengthens the message be on the up, yet the city needs a lot more permanent dwellers. Europe, itself through history nourished by critical thinking and transversal training in Viljandi. The and ecological cooperation. In the south, of Arts of Survival – linking grassroots Fresh blood for a stronger presence in 21st century Europe. and defiance of powers-that-be, needs this courage more marshlands, forest paths and local food the region reaches the Latvian border. activism, local character, international Greater ethnic diversity to combat fear of strangers. Aiming than ever on the global scale. farms across the South that already Most of the region is within 100 km from culture and eco-friendly living. above average in our arts and action. Our people are not born to conform. Tartu’s artistic and schol- In Soviet times, Tartu was a site for military airfield. One of arly culture is known for its lineage of mavericks, outsiders, those notorious „closed cities“ – but with aching memories of dropouts from the system. There are such people everywhere Europe. We still had foreign visitors but they couldn’t stay the and giving them true credit makes for a more diverse Europe. night. Post-liberation in 1991, we truly enjoyed properly host- Yet there are also more „ordinary“ lives only seeming quieter ing them. So Tartu did everything to become a model Eurotown. because they’re not properly listened to – the „silent majority“ Today we realise we’ve been trying too hard to please. Our own who can feel most excluded in the political and media age. media calls us „cute central European doll city“. For all our efforts, we’re just a blip on the big global screen as guests We realise we’re small but we still can think and act big. Our come and go. size has its merits. Tartu can rely on its stability, infrastruc- ture and extended regional community to try out bold new We’ve done too little to strike and startle. This has taken us ways of 21st century living. Tartu can be the ultimate model to the brink of a silent decline and even defeatism. Now ECoC for the human scale city. We can aid in refreshing and reunit- 2024 is making us Tartuvians wonder – who are we really? How ing Europe by learning and teaching Arts of Survival – caring do we matter to the rest of Estonia? How do we make sense for environment, curing social and mental ailments through in and of Europe in its troubled times? We need this ordeal to human interaction and basic skill sharing, boosting cultural find strong and lasting answers. diversity and enjoying maverick identities. We are not alone in this. Besides the newsmaking „stars“ and Breaking with cosy conformism, creating a nature-friendly „bums“, hubs and slums of Europe, there are thousands of cultural city, opening up to the world and giving back to the middling cities looking for self-esteem, stronger identity, even region to reinforce faith in European ideals – for all this we utopian thrust. We relate to all those places tired of being just need and pursue the title of the European Capital of Culture. 6 Q1 Q2 7 Q3 Explain briefly the overall cultural profile of your city. „Why Arts of Survival?” some keep ethnicities have been registered as Tartu. In cooperation with it, the univer- wondering. Tartu looks fine. By far not of 2017. Estonia itself is not mono- sity Centre for Arts in Tartu was estab- the saddest sinkhole. Picturesque neo- cultural. Four different dialects are lished in 2017, reaching out to students classicist old town. Esteemed univer- spoken in Southern Estonia: Mulgi, from all faculties and encouraging links sity (rated best among these in new Tartu, Võro and Seto. We need to abol- between the arts and sciences. Pallas European countries). Grand-scale ish the impression of monoculturality University of Applied Sciences pro- Estonian National Museum making by boosting cooperation with minority vides vocational education in visual global news by transforming old Soviet societies and regional communities. and applied arts, tackling Y-generation military airfield. The only three-genre Tartu has already been forging new issues of Weltschmerz, sellout temp- theatre in the country, with solid attend- links with the Võro and Seto areas as tation and search for the message. The ance rates. So, where’s the snag? well as the Old Believer communities more entrepreneurial proceed to Tartu in the Lake Peipus area where Voronja Centre for Creative Industries and It’s in „splendid isolation”, smug insu- Gallery is a great example of an inter- Aparaaditehas/Widget Factory. larity. We’re minding our own busi- national art space managed by activists Widget Factory (Aparaaditehas) Pocket Park ness but the business isn’t growing. from Tartu, actively cooperating with For many in Europe, street art is Tartu’s The University of Tartu draws close to the local community. unofficial calling card. Stencibility drama, opera and ballet (with a transna- After all, Tartu is a DIY city. NGOs, inter- countercultural identities: rebels 13,000 students from across the land festival promotes the „organic” tional cast). It’s also one of the venues to est groups, neighbourhood societies and outcasts, boffins and mavericks, and abroad (over 1,000 international The Estonian National Museum is like- approach by granting full artistic free- provide English and Russian subtitles and grassroots initiatives ushered dissident samizdat groups and defi- students from 70 countries). Yet their wise open to this diversity. Relocated to dom to local talents and international on a smartphone app – boasting our IT Tartu into 21st century culture. Have ant subcultures. 19th century folk- presence and activity in the arts scene the former military airfield of Raadi, it residents alike, keeping the fertile mid- innovation and praised by our foreigners. they run out of steam? Facing the cult lore collectors awakening the written is underwhelming. Higher education is created a wow with its bold architec- dle ground between „zero tolerance” and Then again, there are plenty who object of success and price tags slapped on consciousness of the common man. In ever more competitive and the race for ture; yet, as Tartu itself, it still combats „commissioned murals” politics of many to seeing glowing smartphone screens everything, people need fresh incen- Soviet times, polymaths banished from the paper hinders students from linger- prejudice of being remote. Featuring cities. Urban festival UIT is pretty much at a performance; a challenge for us to tives and motivation for civic activ- university running clandestine home ing in the bohemian wild of Tartu. Many an art gallery, black box theatre space its twin event with „alternative Tartu” keep achieving international outreach ism. Much to do on a grander scale salons; garrulous bohemians singing pop in and out again, few stick around and concert hall, and introducing novel urban tours, installations and popup for our arts in even more nimble ways. – addressing stronger themes for banned blues or building up alterna- to tough it out as long-term cultural IT solutions for relaunching history, it theatre events. broader European audiences. Then tive art collections. Millennial rockers, operators, even with funding available. also serves as a site for diverse events, Award-winning and adventurous Tartu again, there is a growing local trend ravers and digital pirates. Outsider Foreign students becoming movers yet also focuses increasingly on edu- With its lively literary scene featur- Uus Teater turned 10 this year. Being a of home cafés, exhibitions and poetry multitalents and nocturnal flaneurs. and shakers on the scene – still a rare cation programmes and biodiversity in ing Tartu Literature House, Estonian spinoff of Genialists Club (subcultural readings. Direct human contact valued They and many more have shaped the exception not a rule. the area. City Museum of Tartu, with Literary Museum with its folklore hub initiated by a former rock band), it’s over virtual social networking – dearly cultural „biodiversity” of this city; they its offshoots, is also revamping its take and cultural history archives, inven- keen on taking pop cultural history to needed not just in Tartu. stand for its hidden history and present Not just for academic reasons. To on the rich memory bank, finding 21st tive library network, the yearly Prima the stage with a twist, while the yearly Arts of Survival. apply for city funding for art projects, century ways to enlarge its audiences. Vista Literary Festival, the Tartu Draama festival curated by it brings in To that end, many Tartuvians have cul- you still need to have Estonian ID and Writer’s Union, youth literary mag- selections from Estonian theatres and tural hobbies, be it dancing or sing- Most significantly today, the victo- speak Estonian. To have your say in The Tartu Art Museum, rebranded as azine Värske Rõhk, Russian Poetry could do with upping their game by add- ing in choirs, playing an instrument rious protest movement of united Participatory Budget, you need to be a Tartmus, features research and exhibi- Festival, the Youth and Children’s ing a European dimension. or practicing some handicraft. Tiigi authors and professors, citizens and registered citizen of Tartu. Many insti- tions on the artistic heritage of Tartu and Literature Festival, the City Writer Society House and Tartu Folk High politicians against the superimposed tutions, initiatives and festivals mainly Estonia as well as more edgy develop- and many more, Tartu became UNESCO Some scenes are definitely dwindling School are two of the major centres. industrialisation plans of the Emajõgi operate in Estonian. We rightly hold the ments in contemporary art – but lacks City of Literature in 2015. Three years – although Elektriteater art house Yet again, their artistic endeavours riverside has made us rethink our Arts survival of our language and culture in an up-to-date exhibition space, and on, though, we’re largely still in court- cinema is popular with students and beyond togetherness and sincere of Survival on an ecologically more high regard – but without reaching fur- the contemporary art festival once held ing phase, exchanging niceties with the open-air film festival tARTuFF is enthusiasm can be marred by lack responsible and globally relevant scale. ther out, we’re in silent decline. by it has petered out. Private initiatives partners. It takes more than a couple a summertime crowd pleaser with its of funding and media interest. More We see it’s not enough to remain blandly include Tartu Toy Museum with its own of underpaid enthusiasts and a few huge inflatable screen and top rate pro- ECoC-related, activity-oriented partic- „all right” for us to be heard even in our There are those who celebrate the mono- theatre house, and a hands-on Print writers in residence to make the City gramme, there’s hardly any local film- ipatory budget can help; so can risking own country. We also see it’s not just culturality of Tartu. Never been true. and Paper Museum as well as AHHAA of Literature a widely known, lived and making of note. And for all the music joyful abandon for more poignant sub- us who need arts to survive. Heartless Tartu is ethnically quite diverse. Besides science centre, a popular destination shared reality in schools, at festivals, in schools, pro indie studios, vinyl press- jects and reaching out to the outcasts capital, reckless overproduction and the Russian speaking minority (12,8%), for schools and families. translation and in transcultural Republic ing plant and „night Tartu„ venues, and the alienated beyond the local and xenophobic populism are on the offen- the rest of ethnic minorities (e.g. Finns, of Letters. where are the hot new bands? Awaiting national milieu. sive everywhere. It takes a strong mes- Ukrainians, Germans, Belorussians, Some antidote to academic detach- the ECoC thrust, we believe – those new sage, bold identity and broader creative Italians, Latvians, Poles etc.) constitute ment from the arts scene is provided by Related to verbal arts, Vanemuine is the movers and shakers from around the Tartu’s official history is largely about conscience to survive and thrive as a further 7% of the overall population university’s offshoot, Viljandi Culture oldest theatre in the country and also world, kick-starting the underground all nation- and state-building. But cultural stronghold. For the whole of of Tartu, but more than 80 different Academy around 66 kilometres from its only three-genre theatre, comprising over again. look closer and you see a wealth of Europe, for the whole Earth. 8 Q3 Q3 9 Q4 Explain the concept of the programme which would be launched if the city is designated as European Capital Q5 Describe the cultural strategy that is in place in your city at the time of the application including plans for of Culture. sustaining the cultural activities beyond the title year. Arts of Survival sums up the future path of Tartu but means much more. Culture as we’ve known it hasn’t saved Europe from hatred, fear and manipulation. Yet Europe needs to reclaim its capacity for critical thinking and artistic innovation. The European cities need arts that transform cities to meet 21st century demands. Tartu drew its overall city vision for 2030 already in 2006 and stands for what we believe in; it means educating the next gen- has been regularly updating it, last in 2015. „Creative City” erations while re-empowering the disengaged. Friendliness Our central question is: What can small cities and com- used to be one part of this vision. However, as Tartu set its goal doesn’t mean a permanent state of happy-clappy self-con- munities of Europe do in culture to secure human survival to become European Capital of Culture 2024, we recognised gratulation; we need to rebuild links between generations, on Earth? the need for a fresh cultural strategy ahead of the game. major institutions and grassroots initiatives. That takes patience for hearing out the different interest groups, sceptics Is it too much to aim at? All across Europe and the world, we The brainstorms for what was to become KU30 began in 2016 and dissenters, creating shared paths for seemingly divergent are daily more aware of the human impact on ecosystems. The as a welcome warmup for extensive ECoC bid consultations. objectives while still pursuing the way of existence that cares effects of it are far greater than of any political rift or culture Drafts of the strategy were circulated and published to invite for essential human needs as well as the ecosystems we live clash. The arts can no longer ignore it; just the opposite, we comments both from a targeted working group and, for the and survive in. For a city as compact, as alert, as eager to take believe that arts can take the lead in searching for solutions. whole spring of 2018, from the broader Tartuvian community. the next big leap, all this presents the basis for Arts of Survival. Traditional arts that address environmental issues; age-old On 28 June 2018, the KU30 cultural strategy of Tartu was and brand new survival skills which can inspire arts and be passed unanimously by the City Council. The main objectives of KU30 are: recognised as arts in themselves. So much time, so much input, and just 10 pages? Indeed. Maintaining lifelong intergenerational connections Arts of Survival stands for culture promoting biodiversity, Rather than producing a jargon-heavy „shelf filler”, we have with cultural environment nature-friendly urban development, sustainable lifestyle designed the strategy sharp and concise enough to cue in the and environmental awareness. Tartu 2024 cultural programme aims for transversal, transna- key players in Tartu from all fields to face and address the Improving accessibility within the city, on the tional and transgenerational education and community-build- most crucial cultural challenges across three major themes: national and international scale Tartu with Earth: Ecology before Economy. We firmly believe ing processes. This is the way we hope to tackle migrational Generations, Community and Environment. that future cultural endeavours must seek to minimise and culture clashes, reduce alienation and help to alleviate mental Boosting international cultural contacts revert harmful human impact on the environment. This has health problems. By 2030, Tartu is an open, bold and friendly city of culture. not been said loud and clear enough. Even the latest European Isn’t that the aim of every city? On paper, maybe. In reality, Establishing proper cooperation between the city, cultural agenda speaks of and for culture largely through econ- Arts of Survival stands for awareness of maverick bravado every traveller has seen many cities where it’s not that simply universities and memory institutions omy while ecology is barely mentioned. We put ecology before and DIY ingenuity in Tartu and Europe, evoking new, bold achieved after all. What does it really mean for Tartu? economy – also before cultural economy. „Ecosystem“ for us and open narratives for small and middling cities. To incite the desired changes, KU30 designates seven is not just a metaphor for creative hubs, for smoother-running Open – to be an internationally attractive and intellectually lines of action: cultural identity, international networking, industries; creative hubs and industries must serve real eco- Tartu with Europe: Greater Smaller Cities. Tartu is to Estonia inspiring city with vibrant creative economy broad cooperation, creative economy, community involve- systems. May the new, more sustainable, more inclusive and what Europe is to the world: beacon of critical thinking, civic ment, healthy lifestyles and ecologically aware urban responsible economies grow out of this cultural change. activism and countercultural defiance. With desire to learn, Bold – to welcome new ideas, make sense of heritage in cur- space development. Under each, more specific incentives with drive to mingle, with daring to differ we create unity rent life, live with culture as the driving force of welfare and and measurement principles are indicated. Keeping tabs on Arts of Survival stands for culture in service of (re)learn- through diversity. Does the latter sound like Europe’s biggest development cultural processes while knowing what to measure and give a ing basic human skills – artistic, social, physical and cliché? It’s easy to be cynical about it. Yet this is what needs further surge is the way to guarantee their persistence beyond nature skills. to be reinforced against the tides of superimposed sameness Friendly – to engage citizens and communities in an environ- 2024, into 2030 to proceed to another stage of growth with new and xenophobic conservatism. Everyman’s Europe of small mentally aware and responsible city challenges. Tartu with Humanity: Forward to the Roots. Is taking a stand and middling cities calls for a jolt out of comfort-bound con- for all humanity too pretentious? Or is it just admitting that formism and feeble metro imitations. We’re small enough to These are not just sunny slogans. In each one of them, there The variety of steps to be taken largely overlaps with those the greatest risk in 21st century is losing traits and functions be compact and integrated; we’re big enough for a richer and are tough challenges we haven’t quite managed to deal with by stated in the ECoC bid but the pervasive message of KU30 is: of human being? Tartu is hailed as ICT trailblazer. Great! But more varied range of identities. It’s a challenge for Tartu not now – brain drain, isolation, resignation behind the clean-cut this is what we are going to do anyway. It is a launchpad for is ICT all that human beings need? There’s a growing concern just to preach but practice it but this is how we survive and façade. Openness doesn’t mean just not checking your pass- further plans of action for communities, cultural agents, all with digi-dependency here and across the world. Mental help survive. Our programme will thrive on stories and survival port upon entering the city – we need to counter the impres- responsible departments of the City Council and other stake- health issues largely related to it are harrowing all humanity. skills of common people and grassroots initiatives as well as sion of provincial monoculturalism by creating an ambience holders. The city spreads awareness, incentives, connecting We support responsible ICT innovation and its use in arts but subcultural mavericks and dissident outsiders. where people from diverse backgrounds are welcome to give links and feedback on hundreds of further activities to carry we don’t want it to foster voluntary dehumanization. ICT will their ideas a try, tune in and help us turn visitors into mates, out the commonly acknowledged responsibilities. Becoming still be there in our lives but the only really smart solutions Arts of Survival seeks response to major challenges of tourists into citizens. Boldness doesn’t mean just a flashier European Capital of Culture, however, gives the process a give humans back and forward to themselves, to each other Tartu and the region with strong messages for the whole sales pitch for stale and conformist image – we need to attack much clearer focus, stronger motivation and vastly greater and the real world. Rather than making an app for everything, 21st century Europe and the world. complacent routine by daring to take strong cultural and social possibilities of sharing with Europe. 10 Q4 Q5 11 Q6 Describe the city's plans to strengthen the capacity of the cultural and crea- tive sectors, including through the Q7 How is the European Capital of Culture included in this strategy? development of long term links between these sectors and the economic and social sectors in your city. they have to admit that the local mar- (training, coaching, mentoring; The preamble of KU30 declares Tartu’s candidacy for ECoC development of smart devices and global online communi- ket is too often too small. To reach new conducting surveys and creating 2024 and states: „Being a European Capital of Culture would cation, the mobility of people and the integration of cultures, audiences, CIs in Tartu need more inter- networks; export subsidies, creative be the grand rehearsal for an evolutionary leap involving the extensive changes in the climate and employment trends”. We nationalisation, export development and hackathons and events); living environment, identity and international outreach of Tartu find it essential for our cultural survival to reinforce commu- knowledge transfer. – the testing phase for the lasting solutions intended to tackle nal ties as well as strengthen international contacts; to remind Supporting creative enterprises the challenges of the 21st century.” basic human skills and connection with nature for redefining Meanwhile, TCCI has initiated year- through real estate and urban the manifestations and impacts of culture in 21st century lives. around training programmes with Pallas development policies (reduced rent We have related the current challenges of Tartu, identified University of Applied Sciences (former for locations in city centre; encour- in Q1 as reasons for our ECoC endeavour, to broader and Here is our Matrix for Arts of Survival, linking ECoC-related Tartu Art College), but in order to help aging the establishment of creative largely problematic global processes which the long-term challenges to KU30 strategy objectives and presenting the upcoming artists and managers go hubs in unused spaces in various development of the city needs to address: „the fast-paced principles for solutions by our intended programme lines: further, more international activities and parts of the city); professional expert support is needed. Supporting and implementing initi- Challenges for Objectives in KU30 Solutions by Tartu Solutions by Tartu Solutions by Tartu Tartu is also home to vibrant tech hubs atives of youth entrepreneurship in Tartu 2024 with Earth – Ecology with Humanity – with Europe – Greater like sTARTUp HUB and SPARK HUB schools, youth centres etc. before Economy Forward to the Roots Smaller Cities with its SPARK Makerlab which provide access to community and coworking space. Still, there isn’t yet a hub that’d These actions will be carried out by city Brain drain and Maintaining lifelong Asking big questions Bringing culture more Raising awareness of establish a strong shared path between government departments, public insti- marginalisation inter-generational from, in and with extensively back in maverick bravado and IT-Tartu and Tartu of Arts. tutions and partner organizations. The connections with cul- arts: bringing ecology service of (re)learning DIY ingenuity in Tartu progress will be measured by: „Closed City tural environment strongly to the fore in basic human skills – and Europe Syndrome”, local focus cultural identity and artistic, social, physi- In the previous decade, Tartu has been a Collaboration between City of Tartu, uni- of arts management Improving accessibil- creative economy cal and nature skills Evoking new, bold and pioneer of promoting awareness of the versities and creative centres is slowly The number of businesses and impression of ity within the city, on open narratives for communitarian and regenerative possi- developing and its current highlight is a in incubation monoculturalism the national and inter- Promoting biodiver- Aiming for transver- small and middling bilities of creative industries in Estonia state-wide IT business festival sTARTUp sal, transnational national scale sity, nature-friendly cities in the Southern with theme conferences, publications Day, which brings together over 100 The number of youth initiatives Silent decline and urban development, and transgenera- Estonian region and and establishment of creative hubs. world-class speakers and 4000 attend- and student companies defeatism Boosting international sustainable lifestyle tional education and across Europe, based ees, many of them students, to discuss cultural contacts and environmental community-building on critical thinking, Tartu Centre for Creative Industries entrepreneurship, innovation, creativity The scale and percentage of Comfort-bound awareness processes civic activism and (TCCI) was founded in 2009 and has been and new technologies. Nevertheless, CI (hubs/clusters) subsidies in conformism, fear of Establishing proper countercultural instrumental in creating 170 new busi- much is to be done in linking univer- the city budget change and losing the cooperation between Tackling mental defiance nesses (with 80% still active), with more sity training to the actual long-term status quo the city, universi- health issues through ties and memory arts, skills training than 300 employees and total turnover of demands and needs of the cultural insti- Economic measures (number institutions and community action approximately 10 million euros. tutions, initiatives and creative scenes of businesses and employees, of the city. total turnover, total value In spite of quick development, crea- added, export) tive industries in Tartu are currently in Cultural Strategy and Tartu 2024 – Arts of Survival aims to initiate wide-ranging another „searching phase“. capacity building discussions and genuinely inspiring projects on culture, While acknowledging the incentives ecology, economy and the cities in 21st century Europe. Widget Factory/Aparaaditehas, a private The KU2030 cultural strategy of Tartu of the strategy, our ECoC bid seeks to sector led creative hub, has revived a presents the following incentives for add another layer to it by crafting a Soviet-era industrial site into one of the strengthening the capacity of creative new capacity building programme for most rapidly transforming areas in Tartu. sectors: cultural managers and artists. The pro- Aparaaditehas enjoys visitor volumes gramme aims to bridge the gap between while bringing together creative entre- Developing more support services cultural and other sectors in a num- preneurs, artist and designer studios, for starting creative enterprises, ber of ways including cross-sectorial commerce and entertainment. But even including student companies knowledge sharing and networking. 12 Q6 Q7 13 Q8 If your city is awarded the title of European Capital of Culture, what do you think would be the long-term Q9 Outline briefly the plans for monitoring and evaluation. cultural, social and economic impact on the city (including in terms of urban development)? Our long-term impacts build on the values Arts of Survival present our ECoC programme impacts is how we look at We will be able to measure some of our Audit the stakeholders stands for. Our designated impacts correlate with the new the solutions – groundbreaking results must be achieved desired impacts through this core infor- KU30 cultural strategy of Tartu, especially with the call for in cooperation between different people, organisations and mation. With some of our ECoC contacts Study existing plans and research our European Capital of Culture bid to test the solutions fields. – we develop a shared „core” of cultural, intended to tackle the challenges of the 21st century. social and economic information which Execute further interviews We have positioned the desired impacts of Tartu 2024 on we all collect. This core information Tartu 2024’s bid for ECoC aims to do exactly this. We strive to the shared borders of the categories exactly the way how would comprise: Request more specific data find solutions to pressing cultural, social, mental and eco- we see them play out in real life. With the implementation collection from the stakeholders logical issues in Tartu, Southern Estonia, Europe and around of our proposed programme we are looking to establish new Demographic data describing the the world. shared paths – states of mutually beneficial creative coop- population of Tartu and Southern If needed, develop and carry eration between different fields of life. Estonia out new surveys Shared paths In key areas such as biodiversity or creative industries we Education data – number and Record indicator levels = set Arts of Survival is a concept about finding collective ways look to go further and redefine Tartu and Southern Estonia nationality of school and university benchmarks how to overcome our major challenges. The way how we as Pathfinders, new centres of innovation and competence. students, their course choices and behaviour after graduating in Tartu Using this framework and the subse- quently set benchmarks we plan to Cultural data – number of visits to conduct the next general check-ups our cultural institutions and events and publish reports in 2022 and 2024. In 2026 another check-up will be con- Economic data – number of compa- ducted to measure progress towards nies, employees, revenue and fields the ECoC legacy and the delivery of of activity Tartu’s strategic goals for KU30. Tourism data – number and nation- A designated Tartu 2024 staff member, ality of overnight tourists staying in Social Studies and Outreach Manager, Tartu and the region, also number of will be responsible for the monitor- transport connections ing and evaluation process. Indicators will be developed in cooperation with Arts of Survival University of Tartu Institute of Social Indicators Studies and Smart Tartu, a City of Tartu initiative which develops big data based We’ve chosen the destination. But how Building on the core indicators we indicators for city development. do we know that we’re treading the would develop a set of Arts of Survival right shared path towards it? We need Indicators which would be designed Monitoring and evaluation is likely to to be clear about the kind of indicators around the combination of core strat- be carried in cooperation with an inde- which will measure the impacts of Arts egy objectives and „survival challenges” pendent company and the University of of Survival. Our plan for monitoring and set out in the Survival Matrix in Q7. This Tartu. evaluation is built around 2 distinct sets would provide a more qualitative evalua- of indicators. tion of our success in reaching or moving The Social Studies and Outreach towards Tartu’s more specific and long- Manager will also be responsible for the Core indicators term goals. dissemination of the collected data. He/ she is also expected to present data- Largely quantitative indicators using Our plan is to further develop these more based development plan proposals to the set of core data collected already by advanced indicators and to collect base- City of Tartu and other stakeholders various national and local institutions in line data in 2019-2020. This will involve both before and after 2024. Scheme – impacts of Tartu 2024 Estonia. steps to: 14 Q8 Q9 15 Q10 What is the artistic vision and strategy for the cultural programme of the year? Q11 Give a general overview of the structure of your cultural programme, including the range and diversity of the activities/main events that will mark the year. Tartu’s main challenges – blandness, brain drain, limited outreach within and without – are not primarily caused by lack of attitude, talent or artistic oppor- Tartu 2024: Arts Of Survival has three to be an artist in 21st century Europe – a and programmes as three-way interac- tunities. What we’ve been lacking the main programme lines: creative, caring, skilled and responsible tions between Tartu, our regional and most is the broader perspective, going human being. We remind, celebrate and European/global partners where all beyond the routine of our local habits, Tartu with Earth: promote grassroots ingenuity in repair, can be givers as well as takers, learners cultural practices and urban lifestyle. Ecology before Economy reuse and upcycling. We encourage as well as teachers. We create shared communities, neighbourhood socie- paths for education and science, busi- We need the ECoC process to find the Altering urban/rural environments, ties, hobby centres and home lounges nesses, communities, culture and herit- boldness in arts, education and entre- green areas and our ways of being in to open up to people from around the age institutions, independent operators preneurship to ask big human questions them is for us the main challenge for world, to turn tourists into friends and and international initiatives. We rein- that won’t go away. To seek answers to arts and culture now. Tartu inspires citizens. We inspirez our globally trail- state the University of Tartu as the main them in ways that might well redefine Pure Mind, dir. Renate Keerd (Tartu Uus Teater) Europe to take care of biodiversity and blazing ICT sector to develop towards international portal of fresh transversal the conventions of „venue“, „event“, even reduce harmful human impact on eco- serving the needy rather than pandering talent into Tartu and Estonia – a major „arts“ themselves. We want our pro- Our strategic aim is to make the prepa- and lack of invention. By sharing experi- systems in urban planning; grow our to the gadgeted elite. By strengthening player in the cultural and social scene. gramme to alter the ways people think ration, consummation and legacy of ences and practices across borders, we own food; clear the waters and land real-life, face to face learning and inter- about artistic „career“ and „success“, the Tartu2024 programme: learn as we teach; we welcome a broader from trash to reuse, upcycle, invent and action, we seek to redress some of that This order of programme lines also about greatness and purpose in creativ- range of ideas and agents. It’s not just an create. All this is not just inspiration shaky mental balance in the competi- expresses the steps taken in develop- ity, about cities and cultural interaction Transversal elite project, „only-those-qualified-can- for traditional arts, we regard them as tive world. ing our artistic programme: at home, in Europe and around the world. apply“ – it’s essential everyone entering arts in themselves: Arts of Survival. We Transnational the city could receive community involve- also aim to set the template for creative Tartu with Europe: seeking to alter the urban/rural It's not just to save Tartu. The whole of ment and skills development rather than economy thriving on social and environ- Greater Smaller Cities environments and ways of thinking Europe needs a way out of confusion Transgenerational being left to their own devices (digital or mental awareness. about them and doubt, a revision of what arts can otherwise). Rewriting our narrative and identity and must do to keep up European ide- Transversal: Tartu’s small size and lim- Tartu with Humanity: to inspire and support the Southern fostering processes of action als. Let’s see and act beyond the current ited resources have already inspired Transgenerational: Do we daily realise Forward to the Roots Estonian region and small/middle learning through direct problems of Tartu, the region, Estonia, local Arts of Survival – dense interdis- that we live in the light of historic win- cities across Europe. We remember, communication Europe even – Arts of Survival seek to ciplinary cooperation between insti- dow where grandparents still retain a lot Advancement of basic human skills, bal- respect but also provoke our subcul- make nature matter more in humanity, tutions, festivals and NGOs of diverse of preindustrial skills but can also relate ancing the „digital literacy“ with arts and tures and mavericks. We redefine our defining each programme line with humanity matter more in arts, arts mat- fields; many cultural agents making a to pop culture and contemporary art? crafts, social and nature skills. We pro- humdrum urban spaces and rewire our two flagship Tartu 2024 events – ter more in Europe and Europe matter mark in various arts at once; personal/ Not only many of them were in bands – vide processes of learning what it takes global contacts. We plan our projects one in Tartu, the other in the region. more in the world for the sake of human leisurely social networks across the some still are! – they might have crafted survival on a surviving planet. domains of culture, science, business their own instruments! As the century and environmentalism. Thus, most of proceeds, the window might be closing. All communities, even small commu- our projects do not represent a single art We aim to keep it open. Our programme nities, have global responsibilities. Our – they are already born as hybrid ven- will strengthen the continuity between artistic programme is not meant just to tures transcending boundaries in and generations in passing on the vintage boast our city’s advancement and make beyond arts. skills to provide more esteem for the us attractive at the expense of oth- elderly, more non-digital dexterity for ers. It aims to build more creative links Transnational: it’s time to involve the young and more integrated, diverse between city and the region, town and our social and artistic capital in more and inventive crafts base for the culture country, Estonia and Europe, „locals“ and regional and international networking to come. „foreigners“, culture and nature, humans between arts, academy, innovation and and the Earth. urban planning. Tartu is already a mem- Connected with transversal and trans- ber of UNESCO Creative Cities Network national, these transgenerational Our artistic programme is not mainly as a City of Literature, providing us with practices aim to meet our greatest built around flashy and noisy mega- cooperative contacts. We find that small/ challenges and bring on the European events and superstars. It grows from middle cities can have smaller power Capital of Culture where you find both revived and reconnected basic human distances between city decision makers unique and universal experience – skills in service of communities and and artistic circles; but easy way from and hopefully a home for the century environment. idea to action can also lead to smugness to come. 16 Q10 Q11 17 TARTU WITH EARTH: ECOLOGY BEFORE ECONOMY the Finno-Ugric indigenous cultures, languages and genetic background. Biodiversity and ecology in urban planning, as Inhabiting an immense swath of land artistic inspiration and community incentive from Scandinavia to Siberia, most of them are endangered ethnicities with- out their own statehood. Do some of them even exist anymore or do we will FLAGSHIP EVENT IN TARTU: Nature-Nurture.co.uk (UK) ⁄ ESCITE Network locals shun. They should be lived them into being? Echo of the Urals ARTS OF SURVIVAL URBAN ⁄ Le Nuvole Teatro (IT) ⁄ Kernikova Institute spaces of creativity for people and shares a whole world of cultural biodi- NATURE FESTIVAL (SLO) ⁄ Walk the Plank (UK) nature together. Doing away with the versity and nature-bound ways of life noise of pointless mechanised lawn through environments from indigenous The peak of the festival is largely yet to be Duration: June 2024 (with gradual trimming and leaf blowing, Curated architecture to state-of-the-art digi- invented – or rediscovered? A huge, uplift- expansion in the ramp up years) Biodiversity brings vivid wildness and tal projections. For the ECoC 2024 year ing show for all kinds of people but with- richness of species back to the cen- and ramp up years, the exhibition will out the big noise and excess of fireworks. FLAGSHIP EVENT IN THE REGION: tral park, riverside green areas and be thoroughly updated and expanded An eco-friendly and sustainable arts LAKE PEIPUS ARTS ROUTE other city parks. Involving ecologists/ to become one of our ambassadorial European/international partners: Kaltwasser (DE) ⁄ Kristiina „Tikke” Tuura (FI) ⁄ experience for life. A flagship that would botanists, city planners, architects, events across Europe. Tuula Närhinen (FI) ⁄ Bordalo II (PT) ⁄ Washed go beyond Tartu 2024 to lead the way for Voronja Gallery, the Tartuvian interna- designers, artists, students and sev- COST Framework (Urban Allotment Gardens Ashore: Art to Save the Sea (US) ⁄ Drifters major events in the world. For the whole tional contemporary/environmental art eral other parties, Curated Biodiversity Estonian partners: in European Cities) ⁄ Tukums Urban Food Project (US) festival – go wild in the city! Tartu is loved initiative in the Russian Old Believers will change the face of Tartu and fight Strategy (LV) ⁄ Wagon Landscaping (FR) by locals for its bewildering expanses of region („Onion Route”) near Lake Peipus, urban alienation with scenic outdoor UT Department of Ethnology ⁄ Kaunas 2022 (Happiness Interventions Duration: 2020-2024 and beyond lush and scruffy greenery in all districts turns 10 in 2024 and involves all for- spaces for environmental art, public Urban Gardening Programme, LT) ⁄ Land8 – and opens it up for ramblers interna- mer curators in providing the popular readings, impromptu performances European/international partners: Landscape Architecture Network ⁄ Horticity tional. Transversal arts programme with route with artistic programme for the and small-scale concerts. Tree house (IT) Associazione Culturale Link (IT) ⁄ WILD BITS TECHNOLOGICAL music, theatre and that grand performa- whole year. A wealth of secret gardens, workshops and nature education ses- Finnish and Russian ethnography museums Kooperative GartenCoop Freiburg (DE) ART RESIDENCY tive finale, orientation games, adventure vernacular creativity, local food and sions make it a great place for learning park, walking, biking, canoeing or barge cultural events, workshops and nature Arts of Survival. This will be the most Duration: 2022-2025 Duration: 2020-2024 and beyond Our senses are becoming ever more sailing on river Emajõgi, crafts and spe- trails present one of the most unique visible and inclusive everyday milieu of networked, our bodies scatter amid new cies observation workshops, photo and Southern Estonian areas to European Tartu 2024 – one to turn tourists into technologies. Subsequent generations drawing competitions, eco-food fair for travellers with a quirky and provocative Tartuvians, passers-by into friends. GROWING WITH YOUR FOOD RESIDENCIES: awaken as natives to new technological all-family pastime and awareness-rais- edge. Artistic programme for Lake Peipus SEA CITY TARTU ECOLOGICAL normalities, disjunct to realities of their ing on how to preserve and enrich urban environmental awareness will emerge in Estonian partners: We are what we eat, we art what we eat. ART RESIDENCY predecessors. Digital natives wander in nature. Or you can just get safely be lost cooperation with Russian partners. Consumers in life, consumers in cul- fields of wild bits to explore and expand with a good book and a hammock in our Kino NGO Landscape Architects ⁄ LIFE ture. Our kids can do better. We start It used to be a standing joke: to make what was already there. Wild Bits takes Nordic jungles. Estonian partners: Environmental Governance and Information a network of community greenhouses Tartu a capital of culture we must make place on the frontier of these overlap- ⁄ UT Botanical Garden ⁄ Estonian Fund For open to schools and kindergartens, so it a sea city. Time to make it happen – or ping normalities, inviting international Estonian partners: The Onion Route Network of Lake Peipus Nature ⁄ Estonian Centre of Architecture ⁄ children can grow into growers of clean show it’s been true all along. Even inland, artists to MAAJAAM residency (run by with 24 organisations ⁄ Voronja Art Gallery Nordic Botanical LTD Biodiversity Company local food for the community and eco- we affect oceans and oceans affect us. distinguished Tartuvian tech-artist University of Tartu Natural History Museum ⁄ ambulARToorium gallery ⁄ Varnja Old logical trade. …Yeah but is it art? Food As oceans of life turn to oceans of plas- Timo Toots in Southern Estonia) to con- and Botanical Gardens ⁄ Tartu Uus Teater Believers Prayer House ⁄ Alatskivi Manor ⁄ European/international partners: has been called the new pop, the new tic, the arts must act for survival. Pallas template, question, explore and exhibit ⁄ Estonian University of Life Sciences ⁄ Peipsimaa Visitor Center in Kolkja ⁄ Tartu Art politics, the new… or really the oldest University of Applied Sciences will run a aspects of technological society, its Estonian Naturalists Society ⁄ UNESCO City School ⁄ Peipsimaa Tourism ⁄ Tartu County Mareld Landskapsarkitekter AB ⁄ Göteborg art of survival. We track the process by residency programme for international influence on our behaviour, perception of Literature Tartu ⁄ Elektriteater Cinema ⁄ Development Association (Yellow Windows) ⁄ (SE) ⁄ Riga Urban Institute (LV) ⁄ Raumlabor evoking transgenerational narratives ecological artists, mentoring education and thinking. ECoC twin city exchange AHHAA Science Centre ⁄ Prima Vista Literature University of Tartu Viljandi Culture Academy Berlin (DE) ⁄ Strelka Institute Moscow (RU) and creative expressions of this expe- and crafting programme of creative programme will also be launched in the Festival ⁄ Tartu Environmental Education ⁄ 360 degrees (adventure tours organiser) ⁄ ⁄ WILK Open Cluster of Design (PL) ⁄ Joop rience of growing; literary and artistic recycling of trash from Emajõgi river, ramp up years. Centre ⁄ Emajõe Lodjaselts (Emajõgi Barge Peipsiääre Municipality Mulder/Sense of Place (LF2018, NL), Sytze programmes to raise awareness of the Lake Peipus and Baltic Sea. In 2024, a Society) ⁄ Aparaaditehas (Widget Factory) Pruiksma (LF2018, NL) ⁄ Festival of Creative cultural, educational and communal major exhibition will be scheduled for Estonian partners: Hub ⁄ Intsikurmu Park Festival ⁄ VIljandi Folk European/international partners: Urban Living Milton Keynes (UK) ⁄ Kaunas significance of feeding a 21st century World Oceans Day, 8 June. Music Festival ⁄ Seto Folk Music Festival ⁄ 2022 (Fluxus Labas, LT) European city. Maajaam Artist Space ⁄ UIT Urban Festival Environmental Investment Centre (KIK) Gallery Luda St Petersburg (ЛЮДА, RU) ⁄ Estonian partners: Veszprém 2023 (Great Lakes of Europe + Duration: 2020-2024 and beyond Estonian partners: European/international partners: European/international partners: Republic of Freedom, HU) ⁄ Galleria Live (FI) Pallas University of Applied Sciences ⁄ ECHO OF THE URALS – Transition Tartu Civic Movement ⁄ TajuRuum Stencibility Street Art Festival ⁄ KOGO Gallery Kaunas 2022 (Designing Happiness + Matters, European Citizen Science Association Duration: 2020-2024 (with the TRAVELLING EXHIBITION Urban Planning Agency ⁄ Supilinn Neigh- ⁄ Tartu Art School ⁄ Tartu Children’s Art School LT) ⁄ Veszprém 2023 (XX/XXI – Veszprém Network ⁄ Let It Grow Network Europe ⁄ main event in September 2024) bourhood Society ⁄ UT Botanical Garden ⁄ ⁄ Let’s Do It Foundation (World Clean Up Day) Contemporary Art Show, HU) ⁄ House of Arts CityNature.eu ⁄ GBIF (Global Biodiversity Award-winning for its environmen- Jardin Gardening Stores Chain ⁄ Estonian in Veszprém (HU) ⁄ RIXC Center for New Information Facility) Network ⁄ CETAF CURATED BIODIVERSITY tal design and social responsibility, Landscape Architects Union ⁄ Elukas NGO European/international partners: Media Culture (LV) ⁄ FoAM Amsterdam (NE) ⁄ (Consortium of European Taxonomic Echo of the Urals is currently the per- For Urban Biodiversity ⁄ Tartu Public Library Rampa Lab (SL) Facilities) ⁄ EUROPEANA ⁄ MakeCity Berlin Urban green areas don’t have to be manent exhibition of the Estonian (the Seed Library initiative) ⁄ Tartu branch of Bodø 2024 Candidate City (Connecting (DE); ⁄ Oxford Festival of Nature (UK) ⁄ beautified blank spots which even National Museum, offering insight into Estonian Writers Union Waste, NO) ⁄ Folke Köbberling and Martin Duration: 2018-2024 and beyond 18 Q11 Q11 19 TARTU WITH HUMANITY: FORWARD TO THE ROOTS European/international partners: Duration: 12 months in 2020-21, trav- Duration: January 2024 (in association elling exhibition in Europe 2022-2023, with sTARTUPday Festival) with pilot arts and crafts, social and nature skills as the basis Immie Jonkman, Patricia Klomp (through returning to Tartu 2024 events in ramp up years of creative education and community action LF2018, NL) ⁄ Kaunas 2022 (Fluxus Labas, LT) Duration: 2022-2024 SOCIAL MEDIA AND ART RESIDENCIES: EXHIBITION @sTARTUpday THROUGH THE CITY – FLAGSHIP EVENT IN TARTU: Estonia with talks and workshops for curios or can we learn some life hacks COMMUNITY THEATRE AND POSTMARKET OF ARTS STREET the broader audiences on issues such for the 21st century? RIGHT BODY, WRONG BODY Anyone of us regularly online inhabits a RESIDENCY PROGRAMME FESTIVAL as the challenges for culture and educa- world of memes. Is the like-and-share tion in responding to global megatrends, Estonian partners: Body is our primary means for getting to pun culture a symptom of utter der- Residency programme of the young inde- Our European Capital of Culture is about social inclusion and reducing inequal- know our environment. How has culture ivation and death of creativity – or is it pendent theatre troupe Must Kast (Black giving Tartu back and forward to people – ities, and possibilities for regeneration Tartu City Museum ⁄ Estonian Agricultural conditioned us to regard our bodies? To a figment of culture that’s always been Box) for international stage directors to make it a human-scale city for Europe and in small cities and rural areas. But we Museum ⁄ Estonian Road Museum ⁄ what extent are they ours at all if they are there, in some form or other? Is it utterly develop plays in different districts, out the world. Postmarket of Arts reclaims also involve the guest speakers in local Estonian Bicycle Museum ⁄ Estonian National regarded as biological engines, quantifi- alienating or part of our survival strat- of the stories of locals. The plays will be some of the densest streets from car customs and practices, artistic events Museum ⁄ UT Museum ⁄ VABAMU Museum of able and judged by „objective“ parame- egies? Facing the threat of GDPR, may performed in the districts with locals, traffic to celebrate crafts and cultural and friendly community action. It’s the Occupations and Freedom in Tallinn ⁄ SPARK tres? How do cultural interpretations that be the dying art we’ll miss when it’s with special attention on Tartu’s out- diversity with artistic presentations from Folk University but with mutual learning Makerlab ⁄ Tartu Vocational Education Centre and assessments of bodies affect our gone? Imagine memes, GIFs, emoticons, reach target groups – Russian-speaking European and world cultures, amalgama- – and some (literal) stargazing straight ⁄ Põlva Peasant Museum daily lives? From birth to growth to sexu- memojis, orz, emotisounds, ASCII art and international community, „silver tions of all arts, fairground with on-the- from the sauna. ality to aging and death, bodies are rated and other curiosities of your daily feed survivors” and the disabled. spot upcycling crafts of tailors and tink- European/international partners: for their use value in society. They are blown into daunting proportions in the ers, widget and furniture repair, vinyl Estonian partners: testing grounds, even battlegrounds for analog world, turned into 3D, acted out Estonian partners: cleaning, board game hosts etc. Building DDR Museum Berlin (DE) ⁄ Museum of competing health and eating practices. and merged further together. You’ll be on its regular street festivals and sec- UT Centre of Educational Innovation ⁄ UT Communist Consumer Timisoara (RO) ⁄ They are liable to traumas and disfigure- surprised what you’ll find out about our Must Kast Theatre Troupe ⁄ Artist In ond-hand markets, the Aparaaditehas/ Centre of Arts ⁄ UT Viljandi Culture Academy Recycled Materials Museum Kiev (UA) ⁄ The ment. Bodies are also spaces open for world and yourself. The exhibition will Residency Tartu ⁄ Tartu neighbourhood soci- Widget Factory hub joins together the ⁄ Ööülikool (Night University) radio lecture Recycled Museum / Hatton Gallery (UK) ⁄ imagination, transformation, even post- be accompanied by a conference also eties ⁄ Viljandi Culture Academy ⁄ Kodukotus creative cluster of Vanemuise/Riia/Tiigi series (Estonian National Broadcasting) ⁄ ToyCycle (IL) ⁄ Музей из мусора Murmansk (RU) human utopias or dystopias. The exten- addressing the darker side of online cul- elderly people’s union streets (see Q3, 37a), International House Tartu County Tourism Foundation ⁄ Valga sive exhibition will be complemented ture (addiction, cybercrime, bullying). Tartu and outlets for the majority of Tartu County Development Agency ⁄ Development Duration: Spring/Summer 2024 with events and film programme. European/international partners: 2024 main projects for the year’s greatest Centre of Võru County ⁄ Foundation Põlva Estonian partners: cultural fair. County Development Centre ⁄ Village Houses Estonian partners: New Theatre Institute of Latvia (Road Map Network of Southern Estonia SHARING GENERATIONS sTARTUPday Festival ⁄ UT Idea Lab ⁄ Pallas Programme – through Riga 2014 legacy, LV) Estonian partners: UT Institute of Psychology University of Applied Sciences ⁄ Stencibility ⁄ ASSITEJ International ⁄ NORTEAS Baltic European/international partners: More things to make and do, more vin- Street Art Festival ⁄ WikiMedia Estonia Theatre and Dance Institutions of Higher Aparaaditehas (Widget Factory) ⁄ UNESCO tage life hacks from the City Museum European/international partners: Society Education City of Literature Tartu ⁄ Vanemuise/Riia/ Veszprém 2023 (Republic of Freedom – with neighbourhood societies and for Tiigi cultural cluster ⁄ Looming Hostel ⁄ Infor- Project, HU) ⁄ Goethe-Institut Estland ⁄ international audiences, visiting stu- VEMU (The Museum of Estonians Abroad, CA) European/international partners: Duration: 2020-2024 mation Centre for Sustainable Renovation ⁄ Finnish Institute in Estonia ⁄ Nordic Council dents and ECoC children’s camps. Hand ⁄ Veszprém 2023 (Festival of Thoughts, HU) ⁄ SPARK Makerlab ⁄ AHHAA Science Centre ⁄ of Ministers' Office in Estonia ⁄ L’Institut washing linen and splitting firewood, Victoria & Albert Museum (UK) ⁄ Ashmolean TodaysArt (NL) ⁄ Memefest.org (SLO) ⁄ Tartu Experimental Bicycle Repair Factory ⁄ français d’Estonie ⁄ British Council ⁄ Freie making bread and jam – plain and sim- Museum (UK) Intersection (IT) ⁄ Nordichi (NO) SUPERURBAN RENITENTS UIT Urban Festival ⁄ Tour d’ÖÖ urban cycling Universität Berlin (DE) ple? Skills from the past? Or still to be RESIDENCY tour ⁄ Telliskivi creative hub in Tallinn mastered for breakdowns and power Duration: January-December 2024 (in cuts – or just to share more of the world Superurban Renitents camp will be a European/international partners: 12 locations in Southern Estonia and with our „silver survivors.” Involving a new mini-district developed by resid- Tartu) wide range of volunteers for cultural and ing experimental architects who go on TEH (Trans Europe Halles) Network of Cultural language mediation, the wide world is living in the buildings and documenting Centres with more than 100 partners brought to backyards of Tartu for mutual the experience. The camp will serve as BEETROOT WASHING MACHINE learning. an example of a resilient, self-sufficient Duration: 3 days in August 2024 and smart way of life where each dwell- Beet-root-what? Lifting a line from Estonian partners: ing teaches us something about Arts an Estonian novelty hit, this Tartu City of Survival in a multitude of possible FLAGSHIP EVENT IN THE REGION: Museum exhibition will present a wild Tartu City Museum ⁄ Tartu neighbourhood futures, in postapocalyptic or even inter- TARTU WORLD UNIVERSITY variety of post-WW2 Eastern European societies ⁄ Tartu youth centres ⁄ UT University planetary conditions. The district will vernacular invention, grassroots recy- for Senior Citizens ⁄ Nursing Homes of Tartu continue to function as a site for various Only connect! For long, University of cling and creative repurposing – both (Anne, Kalda, Tähtvere, Kodukotus) ⁄ Tartu creative residencies. Tartu has given Estonian cultural lumi- urban and rural. When stuff was hard Science Park ⁄ International House Tartu ⁄ naries a yearly tenure as Professors to get, folks made their own – beat SPARK Makerlab ⁄ Tartu Folk High School ⁄ Estonian partners: of Liberal Arts. We take it to the glocal band guitars and dissident typewriters, ISA (UT International Student Ambassadors) level, inviting internationally influen- moonlighting liquor kits and … indeed, ⁄ Education Agency Archimedes Foundation UT Viljandi Culture Academy Estonian Native tial public intellectuals to Southern washing machines. Are they just past (Erasmus +) Crafts Department ⁄ Estonian Academy of 20 Q11 Q11 21 Arts Department of Architecture and Urban DaDa Fest Liverpool (UK) ⁄ SICHT:WECHSEL ⁄ Tartu Light Festival TAVA ⁄ EELC Estonian TARTU WITH EUROPE: GREATER SMALLER CITIES Design ⁄ Estonian University of Life Sciences (AUT) ⁄ Autism Arts Festival (UK) ⁄ Kettuki Art Evangelical Lutheran Church Forestry and Rural Engineering ⁄ Hobukooli Centre (FI) Rewriting city narrative through its subcultures and mavericks, Park Natural Building ⁄ Nina Straw Houses ⁄ European/international partners: reimagining urban spaces, regional and global contacts Transition Tartu Civic Movement ⁄ Kodumaja Duration: 2020-2025 Housing Construction Company PAF (Performing Arts Forum, FR) ⁄ Under de Toer Church Programme (through LF2018, European/international partners: STAND UP FOR YOUR MIND NL) ⁄ David Toop (UK) ⁄ Sarah Angliss (UK) FLAGSHIP EVENT IN TARTU: sights worth discovering globally as European/international partners: ⁄ Dornbirn 2024 ⁄ De Stichting Alde Fryske STUDENT SPRING DAYS – KISSING well as strengthen regional identity with Veszprém 2023 (Sexy Regional Toolkit, HU) ⁄ Humour may be the ultimate art of sur- Tsjerken (through LF2028, NL) TARTU sense of European belonging. Hamburger Kunsthalle (DE) ⁄ GOAP Gallery Hello Wood Design Studio (Veszprém 2023, HU) vival, and it is needed more than ever in Prague (CZ), Museum of Applied Arts Belgrade ⁄ Tiny Town Urania (DE) ⁄ Raumlabor Berlin tackling fast aggravating mental health Duration: October-November 2024 Inspired by one of Tartu's symbols, the Estonian partners: (SR) ⁄ Arp Foundation Clamart (FR) ⁄ Museum (DE) ⁄ Low Tech Magazine (ES) ⁄ Post Carbon issues. In this high-risk but poten- Kissing Students' statue on town hall Boijmans Van Beuningen (NL) ⁄ National Institute (USA) ⁄ Cal-Earth Institute (USA) ⁄ tially high-gain project, Tartu’s standup square, this peak event brings together Expected main curator: Mari Kalkun (singer Galleries of Scotland (UK) Degrowth.org International Network ⁄ Bodø comedians, medical experts and people HEALING THROUGH ART AND PLAY thousands of couples, triples and other and musician from Southern Estonia) ⁄ Tartu 2024 and Dornbirn 2024 Candidate Cities with mental health issues are brought formations in a massive kissing flash County Development Association (main part- Duration: 2024 together for sharing stories and healing Can contemporary art curb bullying in mob. Europe's greatest simultaneous ner) ⁄ LEADER South Estonian Local Action Duration: 2020-2024 through fun. schools? We make it at least give a try. kissing will be warmed up by an enter- Groups ⁄ Local communities and cultural Tartmus teams up with local schools tainment programme which presents departments in 19 Southern Estonian munic- EUROPEAN STUDENTS’ Estonian partners: and Bullying-Free School NGO to curate the history, arts and science around this ipalities ⁄ National Geographic Estonia OPINION FESTIVAL MENTAL HEALTH PROJECTS an interactive contemporary art exhibi- iconic gesture of endearment, an „art of Peaasjad NGO For Mental Health ⁄ Mure tion and accompanying education pro- survival" in itself. European/international partners: Aiming to become the flagship event Transversal arts projects addressing Pooleks NGO ⁄ Comedy Estonia Stand Up gramme based on extensive research. of the twice-yearly Tartu Student Days’ mental health issues form a height- Comedy Group ⁄ Estonian Youth Movement The exhibition will be designed as a Estonian partners: National Geographic Partners (US) ⁄ autumn half, it involves the international ened-sensitivity subsection of the Tartu of Mental Health ⁄ University of Tartu travelling exhibition and will be offered Causeway Coast and Glens LAG (Northern newcomers in more than pub runs and with Humanity programme line. Department of Psychiatry ⁄ Tartu University to other ECOC cities. An international Tartu Student Days ⁄ OLE ROHKEM (BE Ireland – UK) ⁄ Development Association freshmen’s parties. We welcome them Hospital Psychiatry Clinic ⁄ UNESCO City of conference will be held during the exhi- MORE) Student Organisations Network ⁄ Sepra LAG (FI) ⁄ Association Community as our temporary (and hopefully, perma- HIDDEN WORLDS EXPANDING Literature Tartu bition addressing the role of cultural UT International Student Ambassadors ⁄ Partnership of Rezekne District LAG (LV) ⁄ nent) citizens and as citizens of Europe, institutions such as art museums in pro- Vikerruum LGBT Party Series (Genialistide Rāzna National Park (LV) ⁄ Lubāna Lake and sharing ideas, concerns and dreams on While there is a developed outsider art European/international partners: viding a healthy and supportive learning Klubi) ⁄ AIESEC in Estonia ⁄ Federation of Wetland (LV) student activism, cultural inclusion and scene in Europe, both socially and aes- environment for students. The young Estonian Student Unions ⁄ Estonian National future challenges. thetically aware, the curators in Estonia Yeesi Youth Mental Health Association (FI) ⁄ people’s group of Tartmus (aged 15-18) Youth Council Duration: pilot events 2022-23 and still have trouble gathering works from TILLT Network (SE) ⁄ David Granirer (Stand Up will participate in organising a section main programme 2024 Estonian partners: asylums and care institutions because For Mental Health, CA) ⁄ SIND Ungdom Youth of the conference and accompanying European/international partners: a lot of works and artists are hardly rec- Organisation (DK) ⁄ Hoofdzaken Project (NL) ⁄ workshops. DD Akadeemia Changemakers Summit ⁄ ognised as such. The project aims to give Mental Helse Ungdom Organisation (NO) ⁄ Big AIESEC Network / European Students’ Union University of Tartu ⁄ Estonian University of some credit to those people as artists, to Difference Company (UK) Estonian partners: / AEGEE-Europe / European Youth Forum + SURREALISM100 EXHIBITION Life Sciences ⁄ Estonian Aviation Academy show they deserve kudos not shame and European Youth Event ⁄ Pallas University of Applied Sciences ⁄ stigmatisation – at the very least, they Duration: 2023-2024 (with tour around Tartmus (Tartu Art Museum) ⁄ Bullying-Free In 1924, first Surrealist manifestos were AIESEC in Estonia National Office ⁄ The deserve proper working materials. For Estonia in November 2024) School Association ⁄ UT Communications Duration: last week of April 2024 published. To celebrate it in 2024, Tartu Opinion Festival Estonia ⁄ Federation of some, this can be way back outside the Department and Psychology Department (with kissing flash mob on April 30) revisits its own history as a site for sur- Estonian Student Unions ⁄ Estonian National confines of asylum; for many, the way to ⁄ Educational institutions from Tartu and realism in the visual arts, literature, Youth Council feel happier in a very tough life. Based SOUND OUR SOULS Southern Estonia music, urban interventions etc. through- on the ongoing work of Viljandi’s Kondas out the 20th century and into the 21st European/international partners: Centre of Naive Art, the project results Ambient and electroacoustic sound is European/international partners: FLAGSHIP EVENT IN THE REGION: but brings in the context of largely with the most extensive exhibition and brought to churches and shrines of Tartu YELLOW WINDOWS ARTS unknown Eastern European surrealism. Uppsala University (SE) ⁄ University of Granada cataloguing of outsider art ever to have for transcending boundaries between University of Leicester Museum Studies (UK) PROGRAMME Behind the Iron Curtain, uncovering the (ES) ⁄ University of Tampere (FI) ⁄ University of happened in Estonia. religions and spiritualities, to create ⁄ Forsythe Productions (DE) ⁄ Association for subconscious and advocating free flow Turku (FI) ⁄ University of Latvia (LV) ⁄ University space for contemplation and mental Play Therapy (US) ⁄ Ariel Trust Liverpool (UK) Those iconic yellow frames of National of creativity meant courting trouble but of Helsinki (FI) ⁄ Moscow State University (RU) Estonian partners: exploration. Part of the festival presents Geographic are alive as two-way portals also dodging censorship. Internationally ⁄ St Petersburg University (RU) ⁄ Voronezh leading international electroacous- Duration: 2020-2025 (with major for Europe and Southern Estonia. Some active transversal artist and provocateur State University (RU) ⁄ Kiel University (DE) Kondas Centre of Naive Art in Viljandi ⁄ tic performers on the church organs of exhibition from September 2024 until of them can host a handful on a narrow Kiwa has agreed to become one of the ⁄ Universität Hamburg (DE) ⁄ ULisboa (PT) Centre For Contemporary Arts of Estonia ⁄ Tartu. TAVA Light Festival will curate the January 2025, international confer- plank path in the bog, some of them wel- curators. ⁄ University of Groningen (NL) ⁄ University of Social Welfare Support Centre Juks Tallinn ⁄ complementing visual programme. ence in October 2024) come thousands on a city square – and Szczecin (PL) ⁄ University of Greifswald (DE) ⁄ Maarja Küla Village ⁄ Solve et coagula Pärnu everything in between. Throughout 2024, Estonian partners: Vitebsk State Academy of Veterinary Medicine ⁄ UNESCO City of Literature Tartu Estonian partners: 28 National Geographic yellow win- (BY) ⁄ AIESEC networks ⁄ European Students' dows in six Southern Estonian counties Estonian National Museum ⁄ Tartmus (Tartu Union ⁄ AEGEE-Europe ⁄ European Youth European/international partners: Kirikute Öö (Night of Churches Estonia) ⁄ become sites for the joint performances Art Museum) ⁄ KUMU (Art Museum of Estonia) Forum ⁄ European Youth Event MIM Project Interdisciplinary Art and Sound of artists from every European country ⁄ Estonian Academy of Arts ⁄ UNESCO City of Accessible Arts and Culture Tampere (FI) ⁄ Group ⁄ AFEKT Contemporary Music Festival and local community casts to promote Literature Tartu Duration: October 2024 22 Q11 Q11 23 DIVERSITY LAND LINE LANDMARK PROJECTS National Museum ⁄ Emajõgi Festival ⁄ Barge old cathedral surroundings; Maverick and erstwhile nuclear shelter) Müller’s UNESCO City of Literature Tartu ⁄ Tartu Public (CULTURE BUS) Society (Lodjakoda) ⁄ Estonian Academy of Voices sound installation (see below) Piano (a weatherproof playable instru- Library ⁄ UT Museum ⁄ National Archives of A subset of Tartu with Europe pro- Arts, Department of Architecture and Urban and Curated Biodiversity for the parks. ment for the riverside in the Supilinn dis- Estonian ⁄ Raadi Cemetery of Tartu ⁄ Integra- A „mobile cultural hub” to tour in the gramme line for psychogeographical Design ⁄ AHHAA Science Centre ⁄ Pallas Festivals, popular science activities trict, to commemorate hippie blues bard tion Foundation of Estonia (MISA) city districts and organisations and in and countercultural reimaginings of University of Applied Sciences ⁄ UNESCO City and site-specific children’s playgrounds Aleksander Müller); Psychodiscotheque European/international partners: the region. Each month, it focuses on a Tartu’s identity, landmarks and symbolic of Literature Tartu help to turn the central green area of (a recording programme of people’s sto- minority culture in Tartu and Southern areas. the city into truly polymathic, leisurely ries about their sounds of resistance University of Helsinki, Department of Modern Estonia, promoting its music, food, European/international partners: and inspiring environment; Toome Hill and independence, run by Psychodisco Languages (FI) ⁄ University of Voronezh (RU) crafts and tradition by engaging the EMAJÕGI – THE BIRTH Festival in 2024 held with other insti- Conference, an educative sonic history representatives of the ethnic group. AND DEATH OF TARTU Emscherkunst (DE) / Liverpool Biennial (UK) / tutions in the area, with Light Festival series in Tartu Literature House which Duration: 2019-2024 The River//Cities Platform creating a full-scale hologram of the used to be local KGB headquarters); Estonian partners: What about our Mother River, Emajõgi? cathedral. Night Tartu Strategy (to be drawn in TARTU SPIRIT FILM FESTIVAL It’s there all right. Do we still feel Duration: Spring and Summer 2024 the same building) and Maverick Voices AND CHARACTERS OF DIVERSITY Tartu International House ⁄ Tartu neigh- strongly enough about it? Can we share Estonian partners: (the sound installation on Toome Hill, DOCUMENTARY SERIES bourhood societies ⁄ Transition Tartu Civic its significance with others? The City making audible the bards, poets, boffins Movement ⁄ Aparaaditehas (Widget Factory) Museum psychogeographical exhibi- TOOMEMÄGI REVISITED UT Museum (incl Tartu Observatory) ⁄ Kino and freethinkers of Tartu’s alternative „Tartu spirit“ is a catch-all phrase for the Creative Hub tion is re-flowing the river through our NGO Landscape Architects ⁄ Heino Eller cultural history). quirky genius loci defined by our mav- consciousness. Meandering waves of Another site-specific project is run by Tartu Music College ⁄ Pallas University of ericks. The old and new film portraits of European/international partners: sounds, stories, light and visuals erected Tartu 2024 and Tartu University Museum Applied Sciences ⁄ Tartu Light Festival TAVA Estonian partners: them will be screened at the festival for on the bank of Emajõgi bring on the dual and centres on the old cathedral hill. The ⁄ Elektriteater Cinema ⁄ Estonian Academy international audiences. SKUHNA – Slovenian World Cuisine (SLO) ⁄ nature of the river as the giver and taker theatre productions, festival concerts of Arts, Department of Architecture and Tartu Culture Factory NGO ⁄ Supilinn Neigh- Caisa Cultural Centre Helsinki (FI) ⁄ Monaliiku of life – as area of recreation and trade, and Elektriteater film screenings have Urban Design ⁄ UT Viljandi Culture Academy bourhood Society ⁄ Karlova Neighbourhood Estonian partners: – Welfare and Sports for Multicultural Women inspiration for arts and literature but been popular there but the surround- Estonian Native Crafts Department ⁄ UNESCO Society ⁄ Psychodisco Conference + Psühho- (FI) ⁄ Makers For Change (FR) ⁄ Young Folks also as a trope for departure and deso- ings look drab and have been improved City of Literature Tartu teek Independent Second-hand Vinyl Record Tartu World Film Festival (Maailmafilm) LV (LV) lation as the wet grave for many. little for decades. Toomemägi Revisited Shop ⁄ Tartu Literature House ⁄ UNESCO City ⁄ University of Tartu Institute of Cultural makes it the exciting public space for European/international partners: of Literature Tartu ⁄ Genialistide Klubi Subcul- Research ⁄ Estonian National Museum ⁄ Tartu Estonian partners: arts it deserves to be – with open-air ture House ⁄ Arhiiv Club and Bar Film Fund ⁄ Pärnu Film Festival ⁄ Elektriteater Duration: 2020-2025 (with permanent exhibition based on lifesav- Struve Geodetic Arc Coordinating Committee Cinema ⁄ Supilinn Neighbourhood Society ⁄ monthly popup events) Tartu City Museum ⁄ Estonian Literary ing medical discoveries of Tartu scien- ⁄ Innofest (through LF2018, NL) ⁄ Riga Cathe- European/international partners: UNESCO City of Literature Tartu Museum ⁄ Tartu Public Library ⁄ Estonian tists in the Observatory area and the dral (LV) ⁄ Turku Cathedral (FI) ⁄ Uppsala Cathedral (SE) ⁄ Coimbra Group ⁄ European Bureau Boven Iron Curtain Project (NL) ⁄ European/international partners: Heritage List ⁄ European Heritage Days ⁄ Kaunas 2022 + Esch-sur-Alzette 2022 (No Hansa Cultural Route Network ⁄ Malbork Border Radio Project, LT, LX) ⁄ The Wire CAFFE (Coordinating Anthropological Film Castle Museum (PL) ⁄ UNIVERSEUM Network Magazine/Off The Page Festival (UK) ⁄ Sound Festivals) Network ⁄ University Museums and Academic Collec- Diplomacy international agency tions Network ⁄ University of Voronezh (RU) ⁄ Duration: 2020-2024 (Tartu Spirit Film Uppsala University Museum (SE) ⁄ Voronezh Duration: permanent, with special Festival at Maailmafilm in March 2024) Art Museum (RU) events programme for 2024 PUBLIC HOUSE Duration: 2020 – 2024 and beyond MAPPING RUSSIAN TARTU DOCUMENTARY SERIES (Toome Hill festival in May 2024 ) Cultural mapping of Imperial, Soviet, Series of documentary films about the dissident and contemporary Russian vanishing phenomenon in Tartu and ROOM FOR RESISTANCE speaking Tartu in a form of map/app in Southern Estonia: small local shops the ramp up years, fostering cooperation and bars. The Alternative Tartu is in a lull – few in the diverse local Russian-speaking new bands, alternative clubs and fes- community. Events programme envi- Estonian partners: tivals emerging. It takes a major mem- sioned for 2024. ory reboot and sparking international Estonian National Museum ⁄ Tartu neigh- influx to refresh the scene. Room for Estonian partners: bourhood societies ⁄ Coop Estonia's Resistance is a cluster of initiatives for Consumers Cooperatives ⁄ ETV2 Estonian subcultural research and urban inter- UT Department of Slavic Studies ⁄ TSKA Stories (Estonian National Broadcasting) ventions. It reminds past glory not for Cultural Centre (Тартускии Центр Развития nostalgia but for surpassing; it trans- Социального капитала) ⁄ International Land- European/international partners: forms spaces of Soviet invasion and scape Poetry Festival Tartu (Ландшафтный bourgeois routine into hubs for renewal; фестиваль поэзии) ⁄ Leaf Fall Music Fes- Ipen Doarp (through LF2018, NL) it envisages the Night Tartu for 21st cen- tival Tartu (Музыка листопада) ⁄ Alexander tury Europe. The plans include Varjend Pushkin Primary School of Tartu (Школа Duration: 2020-2024 (screenings (a pop-up indie/rave knowledge centre Александра Пушкина) ⁄ Вестник Тарту in ERR – Estonian National and studio in a former underground club Monthly Newspaper ⁄ V Tartu Portal ⁄ Broadcasting ETV2 ) 24 Q11 Q11 25 Tartu Cathedral on Toomemägi Hill during TAVA (Tartu in Light) Festival There is also a wealth of already thriving festivals in Tartu AUGUST: TARTUFF LOVE FILM FESTIVAL(Tartu) 1st stage (2018-2020) and Southern Estonia. We expect them to continue into and beyond 2024 with their enhanced contributions in the AUGUST: EMAJÕGI FESTIVAL (Tartu) Participants 1. Community managers European Capital of Culture programme. 2. Managers of all-year cultural programming institutions AUGUST: UIT URBAN FESTIVAL (Tartu, Viljandi, 3. Major festival managers, 4. Volunteers, 5. Artists JANUARY: STARTUPDAY FESTIVAL (Tartu) Valga/Valka) Events Lectures, seminars and workshops FEBRUARY: EUROPEAN SAUNA MARATHON (Otepää) AUGUST: SKENERAATOR rock festival (Pala) Topics Contemporary knowledge, challenges and innovation in the FEBRUARY: TARTU MARATON for skiers (Elva, Otepää) AUGUST: TARTU FOOD & WINE FESTIVAL (Tartu) fields of management, environment, resources and audience Speakers Best practices will be presented by cultural managers and artists, MARCH: SCHOOL THEATRE FESTIVAL (Tartu) SEPTEMBER: ESTONIAN THEATRE FESTIVAL DRAAMA but also business and social sectors innovators from Tartu, Southern (Tartu) Estonia and our partner cities in Europe. In addition, lectures will be APRIL: SUPILINN DAYS neighbourhood festival (Tartu) given by experts from universities and private sector (also creative SEPTEMBER: TARTU CITY MARATHON for runners (Tartu) industries and sponsors of culture). MAY: MAY SONG FESTIVAL (Tartu) SEPTEMBER: RESEARCHERS NIGHT (Tartu) Legacy Lectures published as subtitled videos; a handbook of good practices MAY: PRIMA VISTA LITERATURE FESTIVAL based on presentations. (Tartu, with rotating partner city) OCTOBER: LEAF FALL MUSIC FESTIVAL (Tartu) JUNE: ESTONIAN FASHION FESTIVAL (Tartu) OCTOBER: CHILDREN AND YOUTH LITERATURE FESTIVAL (Tartu) JUNE: ESTONIAN AVIATION DAYS (Ülenurme, Tartu) OCTOBER: INTERNATIONAL CONTEMPORARY MUSIC JUNE: STENCIBILITY street art festival (Tartu) FESTIVAL AFEKT (Tartu, Tallinn). JULY: INTSIKURMU music festival (Põlva) NOVEMBER: TAVA LIGHT FESTIVAL (Tartu, Viljandi, Southern Estonia). JULY: VÕRU CHILDREN’S FESTIVAL (Võru) NOVEMBER: INTERNATIONAL INTERDISCIPLINARY JULY: GLASPERLENSPIEL music festival (Tartu) FESTIVAL CRAZY TARTU (Tartu) JULY: VILJANDI FOLK MUSIC FESTIVAL (Viljandi) DECEMBER: TARTU CHRISTMAS CITY (Tartu) Capacity building programme In addition to the artistic projects, the open calls and meet- ings with local artists, managers and community leaders have sparked the creation of a new study and experience sharing programme for our cultural sector. The goals of this capacity building programme are to 2nd stage strengthen the cultural sector of Tartu and Southern Estonia while also supporting the implementation of Tartu 2024 ECoC A new mapping of culture management knowledge, skills and startups, where investors often mentor and support enter- programme. needs will take place in 2020 and this time also Southern prise leaders. The School of Spectacle, led by Walk the Plank Estonian cultural managers will be surveyed. The new stage (UK) is a potential international capacity building partner. We aim to bridge the gap between cultural management and of capacity building programme will see the events expand other fields by cross-sectorial and international knowledge to all the counties included in our bid to prepare the regional Capacity building programme will be co-managed by Tartu sharing and networking. On the other hand, this programme artistic programme. 2024 (providing the artistic programme guidance) and City of builds a path between formal management education given in Tartu Department of Culture (guaranteeing its continuity and the universities of our region and „learning as you go“ attitudes Step by step the participants of the programme should also inclusion in public policies). and experiences recorded across all fields of arts and culture. see it as a platform for new cooperative projects addressing the gaps between sectors. Potential partners: University of Tartu and its Viljandi To prepare the first stage of the capacity building programme, Culture Academy, Tartu Business Advisory Services a thorough survey was carried out among Tartu cultural man- Another new branch will be the mentorship model for major (Tartu Ärinõuandla), Tartu Centre for Creative Industries, agers in Summer 2018. Participating managers assessed that festivals – managers of aspiring local events will be paired DD Academy, TEDxTartu, Network of Estonian Nonprofit their biggest shortcomings are including volunteers, carrying with experienced leaders of big events from around Europe Organizations, Changemakers Academy, Enterprise Estonia, out ecologically sustainable cultural management and finding to get guidance on how to make definite steps towards Kaunas 2022 Tempo Academy of Culture and Fluxus Labas international partners. European audiences. The model draws inspiration from tech and other ECoCs. 28 Q11 Q11 29 Q12 Explain succinctly how the cultural programme will combine local cultural heritage and traditional art forms Q13 How has the city involved, or how does it plan to involve, local artists and cultural organisations with new, innovative and experimental in the conception and implementation cultural expressions? of the cultural programme? Arts of Survival is also survival of arts. Literary Museum, with the Estonian streets“? Those are ongoing concerns participation in a number of Tartu 2024 Currently, many galleries, theatres, live National Museum and city museum on which the ECoC endeavour helps projects. How – that’s what we keep venues, museums, publishing houses, network, with Tartu’s status as UNESCO to sustain attention, boost inventive finding out. festivals and other arts institutions are City of Literature, we can rely on treas- approaches but also urges to act now. struggling to increase or even maintain uries of recorded voices and stored arti- A key factor in the success of our planned audience numbers, reach out to more facts from the lives of common people, For this, we held an open call for pro- ECoC year is regional artistic engage- detached interest groups and attract mavericks and luminaries throughout jects in spring 2018 which brought in ment and capacity building. Yellow younger generations taken in with the some of the most tumultuous peri- more than 100 ideas, some of which Windows Arts will be a large-scale virtual world. Digital art may be all the ods in Estonian and European history. came to form the core of the intended series of events to include a wide range of rage now (and we are keeping it on Those voices will be included and recast programme and some will undergo fur- artists from Tartu, Southern Estonia and board with programmes such as Wild in Room for Resistance, Beetroot ther development. A few ideas were Europe. Tartu already has diverse and Bits) but for Tartu, the survival of arts Washing Machine, Emajõgi – the more about social outreach and audi- promising input from Viljandi, the site of lies in connections with environmental- Birth and Death of Tartu, Toomemägi ence development than large-scale University of Tartu Culture Academy, ism, multi-skill education programmes, Revisited, Hidden Worlds Expanding artistic events but naturally also present a major theatre Ugala, Kondas Centre community action and unconventional and Tartu Spirit Film Festival. new challenges for the creative sector. of Naive Art and a thriving crafts/crea- venues/exhibition spaces. Projects such tive industries scene. Lake Peipus Arts as Nature Festival, Growing with Your Rewriting our narrative is largely an act In several cases, a specific institution Route and Tartu World University are Food, Sharing Generations and Healing of anamnesis. Yet it’s far from merely having proposed a project is indicated flagship projects of broad cross-sector Through Art and Play seek to involve nostalgic – the voices of the past are Painting by Alar Tuul in Q11 as its potential centre/curatorial regional cooperation. new generations in practices beyond meant to amplify, not drown out the team (e. g. City Museum for Beetroot traditional arts and schooling, gathering courage of people to speak up now and in a smaller scale, are Postmarket of Arts The Tartu2024 – Arts of Survival con- Washing Machine and Emajõgi – the Perhaps most crucially though, we need fresh inspiration for public events. the future. We are glad to see a string of (currently Aparaaditehas festival) and cept emerged in talks with the people Birth and Death of Tartu). However, we ECoC to matter to those yet in school. new daring curators emerging in mem- Curated Biodiversity. Yellow Windows of Tartu, its artistic communities where are already forming larger networks We want them to be among its audi- Most of our major projects are transver- ory institutions and open our projects Arts, Lake Peipus Arts Route and Tartu our ECoC team itself has years of experi- of institutions, curators and artists for ences, artists, curators and managers. sal and not defined through a specific to fresh narratives of transformative World University are major projects for ence. The programme likewise builds on carrying out the projects and address- Their staying on to drive this European field of art. That does not mean we won’t experience. Also, we invite documentary regenerating Southern Estonia in and hundreds of brainstorms on literature, ing the transsectoral capacity building city and region is one of the main meas- have any literature, music or drama crews to record the emergence and con- with Europe. visual arts, theatre, creative industries, challenges. Environmental art network ures for its legacy. This is also why our inspired by ECoC concept in Tartu, region summation of each major project – lur- festivals, student organisations, folk is emerging for Curated Biodiversity, programme highlights transversal, or European twin cities. Some of our ing back many creatives in visual arts While we have invited and welcomed and leisure arts. All of these discussions comedians and psychotherapists col- transnational and transgenerational arts (literature, theatre, street art, choir who have left Tartu, enticing newcomers currently existing institutions and fes- revealed much of who Tartuvian artists laborate on Stand Up For Your Mind, multi-skills programmes as well as music) have solid management base and guaranteeing the survival of Arts of tivals to contribute to Tartu 2024 pro- aim to become and of what we want our subcultural NGOs and alternative ven- environmental education and practice ready to latch on to any major new idea Survival. gramme, we have consciously refrained city to be in 21st century Europe. ues on Room For Resistance. for schools and kindergartens. All for with training programmes, commissions, from copying our cultural calendar onto inciting partnerships of artists with events and free space for experimenta- Engaging neighbourhood societies, 2024 in a magnified way. Institutions Of course, there have been more ques- The City of Literature initiatives are due formal and non-formal education sys- tion. Some (contemporary art, fashion, hobby centres and regional communi- and festivals may disappear, transform tions than answers. How can Estonian for Arts of Survival Nature Festival, tems, to develop new cultural agents design) are actively seeking a crea- ties in cooperation with European artists or multiply. Also, we use terms like „exhi- language and literature persist in Postmarket of Arts, Growing With Your and practices. As we provide them with tive and organisational reboot through and directors already in itself presents bition“ or „festival“ only by default. What Anglicised world yet find more interna- Food, Room For Resistance as well values, knowledge and competencies, strong challenges, wild ideas and poten- both challenge and major potential for we aim for is the spirited and inventive tional readers? What’s the „grand plan“ as Emajõgi and Toomemägi regen- the Arts of Survival themselves are tially international outreach. Some (pop blending tradition and innovation. While presence of traditional art forms in of Tartu as City of Literature for long- eration projects. Pallas University of largely theirs to make.        music, film) need to (re)emerge almost there is a number of recent successes in altered urban environments as well as term international cooperation and for Applied Sciences will work on Sea City from a scratch and a radical change of urban/rural, professional/amateur syn- transversal, transnational and trans- the ECoC year? How to involve University Tartu. The creative industries hot spot scene can be just the push they need. ergy in various arts, we are aware that generational community programmes of Tartu and its students more in mak- Aparaaditehas curates Postmarket the preparatory training and trust-build- – reaching out to diverse audiences to ing and managing globally relevant of Arts Street Festival for the cultural Tartu is built on stories and memories ing processes have to start early on; find out what kind of venues, events arts? How to update and upscale our cluster. And, as indicated in Q12, main even more than is commonly the case several projects are ready to make their and arts are most vital, inclusive and venues for performing arts, exhibitions, theatres, art centres and literary organ- with any city. With the folklore archive first moves this or the coming year. cathartic for the 21st century human community programmes and ethnically isations as well as neighbourhood soci- and vast collections of memoirs in the Wild Bits is already taking place. So, on experience.   diverse audiences? How to „take it to the eties have expressed their readiness for 30 Q12 Q13 31 Q14 Give a general outline of the activities foreseen in view of: a) Promoting the cultural diversity of Europe, intercultural dialogue and greater mutual understanding between European citizens b) Highlighting the common aspects of European cultures, heritage and history, as well as European inte- gration and current European themes c) Featuring European artists, coopera- Lake Peipus (Peipsi), Kasepää tion with operators and cities in different countries, and transna- as the basis of creative education and community action, on rewriting city trans-European cooperation and inte- gration the most – in projects such as worst excesses of 20th and 21st cen- tury urbanisation; we can help smaller tional partnerships narrative through its subcultures and Nature Festival, Lake Peipus Arts European cities and regions find ways mavericks, reimagining urban spaces, Route, Curated Biodiversity, Growing for survival and distinction. regional and global contacts. with Your Food, Echo of the Urals and Can Tartu at all relate to major European might appeal specifically to other In few years, major cracks have emerged Sea City Tartu. The arts, having shown Tartu with Europe. We’ve dwelled in challenges? We’re a country far from European citizens who, like us, feel in Europe, in what seemed a success pro- The EcoC process provides Tartu with a the way to changes in broader European the past a lot. Tartu prides itself for transcontinental migration routes, dig- that we are currently losing momen- ject built to last. We who were so eager great framework for overcoming those and global mentalities for so many rich pan-European heritage and his- itally advanced and doing great in PISA tum in what used to be some of the core to please as a European model town now local fears of global culture clashes. times, get new challenges for creating tory, having survived so much warfare tests. With overall freedom of speech strengths of the united, post-war and have to help find remedies. Those cracks We’ve witnessed how concern for envi- 21st century cities and lives. and destruction. Having incorporated and no violent ethnic conflicts. But nei- post-Soviet Europe: to be the strong- have lead us to think about what culture ronment can unite people across the influences of German, Swedish, Polish ther can we confidently say that we hold of humanistic and democratic val- and arts can do to really promote mutual political range in this city; we believe Tartu with Humanity. The changes and Russian cultures. Having been a are embracing the full potential of the ues, of art and creativity, of environmen- understanding between European citi- that taking care and responsibility for may come hard in the daily comfort of member in the Hanseatic League since Europeanness that Tartu could have. tal awareness and seeking solutions for zens. And, in short, they have lead us to our global ecology transcends all „race, contemporary Western cities, abun- the late 13th century. The University Even with no huge cultural clashes, major human problems. understand that we can tackle our own colour and creed”. Bringing ecology at dance of goods and services taken for of Tartu founded in 1632 as Academia still a foreign-looking student might Tartuvian challenges only in a context the centre of artistic and democratic granted, unheard-of riches of culture Gustaviana by Swedish king Gustav II get strange comments on the street; an We have people in Tartu who have built that not only includes European citizens, endeavour of Europe might not solve and entertainment available via digital Adolf. Yet we mustn’t regard all this as ex-pat might feel excluded from local international connections for decades but the reality of a globalised world with all problems at once; but it’s a powerful means, unprecedented education and laurels to rest on. What’s the point of decision-making because of the legis- – to make our town a hub of ICT innova- global citizens and challenges faced incentive for reviving communities, unit- travelling options. Yet this plenty also this heritage today, what is its noblesse lation; a student from abroad might feel tion, a hotbed for academic and bohe- by the entire humankind. Don’t get us ing cultures and transforming arts. brings on overconsumption and sen- oblige or how much noblesse is left at all awkward at the fact that Estonian and mian cosmopolitanism. There are also wrong: we are not saying that we can sory overload, anxiety and depression, after the Soviet „closed city” years? Tartu foreign students live like ships in the those who still strive to keep it a quiet, solve the problems of humankind, just By sharing our Arts of Survival with growing alienation and sense of root- needs to make sense of those historical night – partying in different locations traditional, conservative and even mon- that looking at Tartu means looking at a Europe, we hope to provide its old and lessness. New generations are increas- ties in Europe for the 21st century. True, and socialising in separate circles. ocultural city. By far not all of the latter city connected to Europe, but also con- new citizens with fresh motivation, ingly affected and not just humanism the programme does highlight discov- are stridently xenophobic. As all across nected to the oceans and their plastic agency and courage to take stronger but humanity itself is under attack. We eries, inventions and scholarship of our We are also very much concerned with Europe, many people are afraid of the waste, to climate change, to glaciers and humanist stands on local, national and need the will and unity of all Europe to best minds, from medical research to major European challenges for the life in unknown. Of losing their identity in the icebergs thousands of kilometers away international matters. counter this. At first sight, our solutions semiotics, from genetics to astronomy cities and rural areas in the 21st century, turmoil of global changes. It’s even more from us and to drought and wars and may seem overly simple: revival of basic (Toomemägi Revisited). Yet, Tartu’s increasing dependence on digitalisa- evident in the Southern Estonian region: poverty that trigger immense displace- The action plan is emerging in our pro- communication, crafts and nature skills, greatest treasure for Europe might be tion, increasing rates of diagnosed men- it’s the „little Europe” that keeps fraying. ments of people for survival, even if they gramme lines: reboosting diverse local communities, the everyman’s history collected in the tal issues especially in the young, and a The divisive and protectionist grudge don’t literally land at our doorsteps. celebrating the variety of identities and vast archive of folklore, memoirs and decreasing set of „survival skills”. emerges from the sense of disempower- Tartu with Earth. The need for fresh artistic practices across urban/rural vernacular literature in the Estonian ment in smaller cities and rural commu- This is why we have taken a broader per- air, clear water and rich ecosystems for boundaries (Postmarket of Arts Street Literary Museum; it’s the survival sto- Our concept Arts of Survival revolves nities. This is what populist forces feed spective on the artistic programme and healthy living environment underlies all Festival, Beetroot Washing Machine, ries, DIY ingenuity and resistance strat- around questions that cannot be sep- on; a turn for closure, attacks on critical concept. This is why our Arts of Survival persistent human activity, all culture, all Sharing Generations, Stand up for Your egies of ordinary people we take under arated from international issues that thoughts and liberal arts might not be is based on ecology before economy, on peaceful interaction between cultures. Mind, Healing through Art and Play). closer observation (Beetroot Washing concern not only Europeans. But they that far away. arts and crafts, social and nature skills This is for what we need and encourage But we believe we can revert some of the Machine, Emajõgi – the Birth and 32 Q14 Q14 33 Death of Tartu). Furthermore, some of the most exciting chapters of Tartu’s saga of Europe lost and regained are written by mavericks, subcultures, underground initiatives – the ongoing international Q15 Can you explain your overall strategy to attract the interest of a broad European and international public? interest in the „Soviet Hippies” exhibi- tion and documentary encourages us to share more of those hidden histories (Room for Resistance, Tartu Spirit Film If we asked our 500 million fellow most of our European far and nearby will also be a part of Lake Peipus Arts Festival). Also, an international exhi- Europeans whether they have heard neighbours and even most of our global Route, our regional flagship project pre- bition celebrating 100 years from the of Tartu before, how many times would neighbours like Curated Biodiversity, senting contemporary environmental art first Surrealist manifestos is in the we hear „yes” for an answer? And how Beetroot Washing Machine or Sea City in the Old Believers villages in coopera- making. This, too, is Europe; we’re with many of them could point to the spot Tartu. tion of Voronja Art Gallery, international you and want you with us. where Tartu is on a map of Europe? We curators and local communities. are not exactly a well-known European Let’s look at some projects that will prob- The partner operators for engaging destination – although tourism is on the ably be attractive for the European arts Our project Superurban Renitents is European artists, curators, teachers rise. But even if we were, would it really aficionados, those who look beyond the bound to attract those interested in and public intellectuals are listed for help us to attract a large international Londons and Parises and Barcelonas of architecture and could also become a each project in Q11 and the list is con- audience to a cultural programme? Europe and go for the adventure in the hit with Sci-Fi fans since we are build- stantly expanding. We have identified a Culture is not the best-selling product in second and third row – they will be our ing an experimental mini-district where set of strategic clusters around which Europe. Moreover, competing with hun- targeted international audience. Projects students and professionals from archi- we have grouped our developments for dreds and thousands of events in sports, like the Surrealism100 exhibition are tecture and engineering but also people transnational partnerships. entertainment and arts is a tough gig for potential crowd-magnets, especially if from our makers space and urban farm- preparing next-stage action plan in line Baltic/Hanseatic cluster ECOCs with a thin wallet for marketing we manage to co-operate on a broad ing will build a city of the future. ECoC partnerships and Twin Cities in with Arts of Survival programme lines. and communication and a project that international basis with museums all ECoC context (Turku, Riga, Kaunas, Network of Hanseatic League is a is not as easy to communicate as a con- over Europe. The Right Body, Wrong Body Whilst Room for Resistance will allow Veszprém, Tampere) Cultural contacts of the Russian- splendid opportunity for bringing Tartu’s cert, an exhibition or a festival. and Echo of the Urals exhibitions at the visitors and locals to walk in the steps speaking minorities in Tartu and the regional background further to the fore, Estonian National Museum have the of our subculture mavericks and their Tartu has a string of twin cities, several of region with the city of Viljandi being our close The most difficult part of ECOC as far as potential to become major attractions as mind-boggling ideas for example which are former or future EcoCs or are ally. During the preparation years (2019- we have seen in our visits to Leeuwarden they travel around Europe already for the through sound installations around currently bidding for the title. Refreshing Be it the Russian intelligentsia at the 2023) we plan to extend the presence 2018 and Aarhus 2017 is to give visitors ramp up years. Wild Bits, under the aegis Toome Hill, Sound Our Souls will invite cooperative ties with them around com- university and in literary circles, the old- of our regional cultural practices on and locals the feeling that they don’t of Timo Toots, our renowned Southern visitors into the churches to listen to mon interests in ECoC-related projects school guerrilla gardeners beyond the Hanseatic Days across Europe. Tartu have to look for the activities of ECOC Estonian artist for interactive and media cutting-edge electronic acoustic and the is already underway. In addition, we have panel house districts or the Old Believer Rural Development Association is also very far – but rather that those present art, will explore the correlations of nature, church organs taken to the next level of made contacts with former ECoC Umeå, communities in the Lake Peipus area, we planning to initiate an international themselves in the public space. So, our human and technology in an interac- evolution. current ECoC Leeuwarden-Friesland regard the Russian-speaking minorities food network in 2019, uniting small- strategy is to spread activities through- tive art show that sets out to push the and bidding city Bodo, and initiated as a great asset but also a great respon- scale producers across Europe for bet- out the year in the open and offer as boundaries of technology use in the arts As a promotional arts activity, Contain- communication with Austrian candidate sibility. Just as Tartu has been a forerun- ter exchange of knowledge and goods many projects for free as possible. Our together with ten artists from different ers of Art with transversal event sam- cities for 2024. (See Q16). ner of European arts, thought and schol- and for raising consciousness of quality, main goal is to offer our programme in European countries. ples from Tartu and Southern Estonian arship in the late 19th century Tsarist sustainability and diversity. One of the a way that we can invite a broad audi- cultural scene – from cinemas to choirs UNESCO Cities of Literature times and part of the „Soviet West” even aims will be the launch of ECoC menus ence to come at any given time through- Just as we already have a lot of visitors to poetry readings and crafts work- in its „closed city” years, it needs to be a in a wide range of restaurants. Partners out the year and promise they will have from Germany in search of the Baltic shops – will tour former, current and Tartu is a member of UNESCO Creative vital intermediator between Europe and are 2600 LEADER action groups across the chance to experience the European German heritage in Tartu, we wish to future ECoCs around Europe in parks, Cities Network as a City of Literature, the supporters of democracy and free Europe, with a market of ca 200 million. Capital of Culture all over the city and attract a Russian audience with our riverbanks, elderly people’s homes etc. with an international residency pro- speech in the East today. The UNESCO Initial agreements have been achieved the region – for example through the project Russian Tartu which, beyond in the ramp up years – but also some of gramme as well as several joint plans literary cities Ulyanovsk (Russia) and with several countries. The National regional project Yellow Windows Arts. offering a map, will be developed into an the biggest airports in Europe and in the with the other literary cities – most Lviv (Ukraine), the cultural autonomy Geographic Yellow Windows pro- attractive and educative tourist route. It Nordic-Baltic region. active partners in Europe including groups of the Finno-Ugric peoples, the ject (see Q11), the, Unio nof the Baltic We also realised in our visits that if you Krakow, Ljubljana, Prague, Utrecht, Russian contacts of the Prima Vista Cities, and Trans Europe Halles (of can involve your own citizens and make Granada and Heidelberg. We value very literary festival and the Lake Peipus which Aparaaditehas is a member) are them feel proud owners of the changes highly our good ties with UK literary cit- area environmentalists are some of the further allies for developing creative and events going on in their city, it will ies – Edinburgh, Norwich, Manchester strongholds helping to extend trans- industries as well as regional tour- be a huge factor in attracting an inter- and, notably Nottingham which bidded national partnerships. Potential areas ism, trade, community action and arts national audience. The strategic goal is for ECoC 2023. It is most necessary for cooperation include projects with programmes. to get a good head-start with our pop- to keep ties with progressive, Europe- former „closed cities” (also in the Arctic ulation in the ramp up years and start friendly forces in the UK post-Brexit, region), Aleksandr Solzhenitsyn and the With many partner cities and operators, 2024 with the locals – including our to show them they are still welcome in dissident history, the heritage of Yuri intense and more clearly focused net- foreign students’ community – ready our common endeavours. The joint pro- Lotman and the Tartu-Moscow school of working is currently in its early stages to welcome and share their city and grammes are currently in action until semiotics, freedom of speech/political and improving the contacts is a priority region. However, we are mainly working 2020-2021 but Tartu team is currently artist asylum incentives etc. for the year(s) to come. with themes and projects that concern 34 Q14 Q15 35 Q16 To what extent do you plan to develop links between your cultural programme and the cultural programme of other cities holding the European Capital of Culture title? Naturally, among our first reference so we expect cooperation on biodi- Potential future collaborations with points for consultation was Tallinn as versity projects. Cooperation between ECoC cities and candidates: the first Estonian ECoC in 2011 and our Wild Bits and Kaunas’ postindustrial team features a person with the experi- Matters project is also being discussed. Containers of Art – Kaunas, Riga, ence from its Creative Council. A num- Veszprém, Leeuwarden, Dornbirn, ber of cultural operators were then and The delegation of Tartu (including the Bodø, Turku, Tampere. continue to be linked to both Tartu and Mayor and Deputy Mayor of Culture, Tallinn, so further cooperation is quite Education, Youth and Sports) paid a Curated Biodiversity – Sytze possible and we also intend to feature visit to Leeuwarden-Friesland in July Pruiksma from Leeuwarden- one of our Containers of Art in Tallinn 2018, to establish connections for Friesland 2018, for his experience airport. developing regional and community of combining the ecological issues aspects of the programme. Tartu 2024 with artistic expression to be Tartu is happy to have several twin cit- also team visited Veszprém in July engaged in Tartu’s urban biodiver- ies among former, upcoming or bidding 2018 with the special focus on find sity project. Joop Mulder and his ECoCs. We have received advice from partnering projects for ECoC collab- landscape project Sense of Place Suvi Innilä of Turku 2011 and Diāna Čivle orations. Consultations for joint pro- (through LF2018) to find new ideas from the Riga 2014 team for designing gramme have since continued, notably for Tartu parks in order to turn them our programme. In 2024 it will be 10 with exchanging art residents under the creative areas. Kuremaa Windmill, National Geographic Estonia Yellow Windows years since the title year for Riga joint Wild Bits aegis. celebration is due where we discuss the Sharing Generations – Immie Growing with Your Food and Emajõgi – The Birth and Death of Echo of the Urals exhibition of impact that the most valued cultural Of other former ECoCs, Tartu 2024 Jonkman, Patricia Klomp Curated Biodiversity – Happiness Tartu featuring The Emajõgi Festival Estonian National Museum will be project in Europe can bring along. The team has officially visited Aarhus in (Leeuwarden-Friesland 2018). The Interventions (Kaunas 2022). – Flowing Cultural Meetings: The offered to ECoC cities, especially in experience of the Road Map project (ini- November 2017 in order to learn of the experience of LF2018 mienskip Exchanging experience of devel- Rivers and Leisure (Kaunas 2022). Hungary and Scandinavia. tiated by New Latvian Theatre Institute) marketing and communication issues (community) programme for Tartu oping urban gardening and bio- Two twin cities share the experience that combined performing arts and of an ECoC. The experience of a suc- 2024 community programme. diversity (Tartu) in order to make and artistic practices based on Wild Bits Technological Art community work serves as an example cessful title city has definitely been the environment in the city more being situated on the banks of Residency – Veszprém 2023 (XX/ for some of the initiatives concerning useful in developing the marketing Sharing Generations – Fluxus livable, human, satisfying and joyful the rivers. XXI – Veszprém Contemporary Art community work in Tartu. and communication structure for Tartu Labas (Kaunas 2022). Supporting (Kaunas). Learning from Fluxus Show, HU), Kaunas 2022 (Designing 2024 concept. With the support of the the community project in Tartu Labas (Kaunas 2022) experience Sea City Tartu – Bodø projects on Happiness + Matters, LT) Kaunas, with whom we share similar Nordic Council of Ministers Office in with the experience of a long-term with community engagement. the artistic use of marine plastic past and have been official twin cities Tallinn, the leader of Umeå 2014, Jan community work in different parts waste. Also, Tartu-based mural Tartu wooden houses neighbour- since 1993, has been a strong sup- Bjoringe visited Tartu in 2018 sharing of Kaunas. Sound Our Souls – two LF2018 startup SprayPrinter taking part of hood societies (Karlova, Supilinn) porter of Tartu’s ambition from the very an experience of a city with a similar legacy programmes Under de Bodø’s Up North street art festival. – Modernism for the Future: spe- beginning. The visits of Tartu 2024 team size and remote location in Sweden. Room for Resistance: Toer Church Programme (through cial architecture programme for to Kaunas in June 2017 and May 2018 Psychodiscotheque – No Border LF2018), De Stichting Alde Fryske Public House Documentaries Series wooden district heritage (Kaunas (European Capital of Culture Forum) With Dornbirn 2024, Austrian candidate Radio (Kaunas 2022, Esch-sur- Tsjerken (through LF2018) to sup- – storytelling and story sharing 2022). With their experience, the have been priceless in establish con- city, we have established contacts and Alzette 2022). A memory programme port new and unusual activities in experience of a grass-root com- wooden housing districts and their tacts with the local team and those of plan to work together on the theme of to value the importance of music in Tartu churches. munity project Ipen Doarp (through neighbourhood societies (Karlova, other ECoC cities e.g. Leeuwarden- literature between our literature insti- breaking the boundaries between LF2018). Supilinn) of Tartu will support the Friesland 2018 and the currently bid- tutions and the literatur:vorarlberg net- East and West. Toomemägi Revisited – Innofest partnering wooden districts of ding Bodø. Members of BE MORE / work. We also agreed to explore themes (through LF2018) to support the Lake Peipus Arts Route – Great Kaunas, e.g. Panemunė, Šančiai etc. OLE ROHKEM Student Organisation like reviving the music scene and fos- Superurban Renitents – Sexy revitalising of Toomemeägi Hill with Lakes of Europe + Republic of in order to preserve local wooden Network from Tartu visited the inter- tering young talent in connection with Regional Toolkit, HU (Veszprém new solutions and tourist appeal. Freedom, House of Arts in Veszprém architecture and value the environ- national youth camp of Kaunas 2022 our project Night Tartu Strategy. Further 2023). Collaboration with interna- (through Veszprém 2023). ment of such districts. pre-programme called „100 First Times” we want to co-operate on Dornbirn’s tionally renowned Hungarian crafts Tartu World University – Republic to forge links and gather ideas Tartu digital project Shared Spaces where design platform Hello Wood Design of Freedom Project (Veszprém 2023) Right Body, Wrong Body exhibition 2024 student programme. Urbanists/ artists from all over Europe can cre- Studio (Veszprém 2023, HU) to sup- to share some of the mutual topics of Estonian National Museum – environmentalists of Kaunas visited ate, perform and virtually meet in port the experimental architecture (e.g. post soviet background) rele- Festival of Thoughts, Veszprém is their colleagues in Tartu in August 2024 digital spaces. project in Tartu. vant both in Hungary and Estonia. interested in the period 2022-2025. 36 Q16 Q16 37 Q17 Explain how the local population and your civil society have been involved in the preparation of the application Q18 Explain how you intend to create opportunities for minorities and disadvantaged groups. and will participate in the implemen- tation of the year. There are three minority and disadvantaged groups we have detected as needing special attention in our ECoC programme: Ethnic minorities and international community People with mental health issues and disabilities Socially marginalised middle-aged and elderly people As indicated in Q3, Tartu is not ethnically a monocultural city. Still, when 71,5% of the total population in Tartu declare themselves Estonians, there’s too little concern for others. It has been part of Estonian national pride, even constitutional claim to expect others to „learn the language” for acceptance – but where and how can they even start? International tour- ists, students and residents as well as locals who don’t speak Estonian don’t get nearly enough information on public events, funding and training options in English or any other language. Above all, Tartu aims to be a people’s ECoC. The large-scale could support their strategies for cultural advancement and We’ve come to realise: this is a „closed city” heritage, not a Tartu as well as in Europe, as many people still refrain from consent, involvement and participation of local citizens is vital European connections. Likewise, we keep finding how they survival strategy for the 21st century. Tartu asserts itself as a speaking out and seeking help in fear of stigmatisation. Yet for Tartu’s bid being genuine and authentic, the will of those can contribute to a more vivid and diverse ECoC programme European city but needs to act as one, too. Open our artistic they are also people of culture in one way or another – in who live here, love the city and want it to improve. The hun- for Europe. scenes and communal practices to those who come in peace need of art therapy, perhaps, but often deserving artistic re- dreds of meetings we’ve held have not just included profes- and friendship. cognition; in any case, in demand of conscious involvement sional artists – we’ve talked to ethnic minorities, international What the people of Tartu want: processes. Physically disabled people may welcome street scholars, urban nature experts, community activists, start-up We have held extensive discussions with Tartu’s main eth- planning and public transport developed to meet their needs businesses, club and „night Tartu” operators, sports and More city gardens, public greenhouses and food growing nic minority group – our Russian-speaking citizens – and but culturally and socially, Tartu is still largely a „closed city” healthy lifestyle promoters and the process is ongoing. Also, in the heart of Tartu. Young people are strong in environ- discovered a community of blurred identities, trying to sur- for them, as several cultural institutions in „heritage” build- Humans of Tartu (based on the Humans of New York project) mental thinking but lack practical skills. vive between Europe and Russia. In continuing to bring the ings lack facilities for them. We foresee a joint investment is a continuous photo series in social media, with brief char- disparate strands of the community together to discuss programme of cultural institutions for overcoming these acter features highlighting ordinary Tartuvians on the streets, A stronger sense of community life in neighbourhoods – their common heritage, in reaffirming the young they don’t problems in the ramp up years. with their sincere thoughts and dreams. 20&24 pilot project public art, more creative city parks, more life with and in have to deny their roots, we expect to guarantee their heart- was run for involving schoolchildren and we expect to take it bars, cafés and restaurants. felt presence in our ECoC endeavour. Together with University It’s common for aspirational cities to have accent on youth. further. Already, many Tartuvians have taken part in developing of Tartu Slavistics department and representatives of Tartu Tartu certainly wants the ECoC title to reverse braindrain the concept and programme but we need to reach many more. A clearer idea of what the city expects from neighbour- Russian community we plan to implement an interdiscipli- and motivate the young to stay, live and create here. But how hood societies as long-term partners in civic capacity nary programme called Russian Tartu to highlight the her- about the middle-aged and the elderly, especially those Tartu is a pioneer in Estonia for its neighbourhood societies building. itage of Russian culture in the city. We have talked to many struggling with health issues, premature unemployment, and they have been our partners from the start. Supilinn, international students from different backgrounds, vulnera- poverty and social exclusion? „Generations” is one of three Karlova, Annelinn and Tähtvere societies have been keen on Higher physical activity amongst citizens: 75 % of pupils ble to random acts of hostility, sometimes all too quick to make „whales” in our KU30 strategy and transgenerational mapping their ideas and future perspectives not just on their of elementary and primary school do not move enough. generalisations on the whole city. Yet we are not all like that, activity one of the main principles of our programme. By own turf but with readiness for region-wide and international we want them here and we find it wrong to keep them almost and large, the „silver survivors” don’t even expect to be sta- projects. It’s essential, though, that they also feel welcome Much better national and international accessibility. segregated in their dorms. They, too, are Tartu. International tioned away with a radically „different” culture; there are with their small-scale activities – home cafés, street concerts, House Tartu is proving a great partner in devising incentives many possibilities for artistic action and experience jointly backyard poetry readings. It’s all in the spirit of Tartu the way Tartu should be a much stronger university city. Students for change. Also, the impending reform of Tartu cultural subsi- for all ages. Sharing basic skills, countercultural history, we want it. Friendlier, bolder, more open. feel their voices are not heard; the experience of student dies system that disposes will bring along a special measure sense of homeliness and community, human touch and urban organisers is underused. to foster cultural initiatives by new arrivals as well as tradi- nature. As a special initiative for men between the age 45-75 Intensive outreach activity has also rapidly expanded our tional ethnic minorities. (but open beyond that), University of Tartu’s Connecting Men regional network. In May 2018, we held a conference Escape The ECoC process could also make entrepreneurs more and Stronger Local Communities (CoMe Strong) project Room to the Future, involving our major strategic partners in interested in students and artists as respectful partners. Today, Tartu has ca 13 000 people registered as having a dis- with Turku, Finland, has initiated a Men’s Garage programme the South and a range of inspirational speakers to challenge ability. That is as many as there are students in University of (as part of the worldwide Men’s Sheds) to resocialise disen- us on city survival strategies. Southern Estonian commu- All those points further confirm our KU30 cultural strategy and Tartu. They don’t have to be institutionalised to seem invisible. gaged men and raise their self-esteem through skills sharing nities are in process of mapping the ways how the Tartu bid support the Arts of Survival concept. Mental health is proving a major and accelerating issue in and cultural leisure activities. 38 Q17 Q18 39 Q19 Explain your overall strategy for audience development, and in particular the link with education Q20 What has been the annual budget for culture in the city over the last 5 years (excluding expenditure for the and the participation of schools. present European Capital of Culture application?) In framing our strategy for audience interviewing school kids on their encouraging the younger generation to development, and especially our links thoughts, dreams and future plans join in the organising process. with younger people, we first need to to save the current thoughts of Tartu Year 2014 2015 2016 2017 2018 acknowledge how difficult this is. We for 2024 when they will be 20 and 24 The larger-scale cultural audience sur- suffer from the usual issue: regular years old. We plan to continue this in veys are much rarer, though there’s some Budget for culture (in €) 8,340,446€ 9,244,370€ 9,721,080€ 10,235,991€ 11,696,590€ but usually limited good audiences of the ramp up years. One of the benefits extensive research on theatre. Although Total City Government budget (in €) 134,663,634€ 139,434,869€ 149,022,014€ 159,660,753€ 174,688,708€ already „culturally connected” people and noble obligations of the UNESCO several cultural institutions provide sta- and an ongoing struggle to reach less City of Literature status is our Writer to tistics or keep logs on attendance, there is Budget for culture, % of total 6.2 6.6 6.5 6.4 6.7% connected groups. The youth, of course, School programme, initiated in 2015, little analysis or gathering audience feed- is all too „connected”, but to something providing city-funded performance back. Inciting programmes of univer- increasingly elusive so even the once- fees for writers performing in schools. sity-based research and providing the These annual budgets include the To meet these goals, City of Tartu sup- Currently all the projects need to reapply cool „night Tartu” venues can’t keep up. This has been further intensified by necessary means will definitely be some funds allocated to culture and sports ports the upkeep and development of every year, but the upcoming reform (see We hope the Night Tartu Strategy in the the yearly and rotating City Writer of Tartu’s biggest and most necessary cul- but also recreational activities for the a six-branch public library, a number of more in Q22) will also provide options making would change that. scholarship involving frequent school tural challenges in the coming years. youth. These budgets do not contain museums, cultural venues and institu- for multi-year funding agreements. The performances – but some authors are direct municipal, state or European tions but also funds for projects directly annual budget for such projects is 1.5 True, the opening of the new National already showing initiative for coop- Our further strategy for audience devel- Union investments to cultural or edu- through the city budget and through million euros. Museum building has given Tartu a real eration with literature teachers for opment will be based on the interlinked cational infrastructure. an arms-length Cultural Endowment audience boost, proving that the injec- more playful and artistic courses. concepts of Generations, Community of Tartu. Culture and sports tion of a major new place or exhibition of Further literary initiatives worth con- and Environment in the KU30 Cultural City of Tartu goals for funding culture, schools for youth huge significance in the city does gener- tinuing and expanding include Tartu Strategy and the transversal, transna- sports and youth activities are: Culture, youth and ate fresh interest from within and with- Tamme Gymnasium’s Ulakass („Wild tional and transgenerational strategic sports projects In addition to five municipal culture out. It has also incited other museums Cat”) competition of literary reviews for vision for our ECoC programme. We seek schools for music and art also 12 pri- but also live and theatre venues to raise 7th to 12th form pupils and the Prima to create the Shared Path between cul- to create conditions for diverse, In 2018, 100 cultural projects, 15 major vate culture schools for ballet, music, their game so as not to be entirely over- Vista literary festival’s annual com- ture, education and ecology, focused on vibrant and active cultural life that sports projects and 110 minor sports dance, nature receive support from shadowed by the „new kid on the block”. petitions for the same age group, with cross-generational, hands-on, cultur- attracts both local citizens and projects received support from City of City of Tartu budget. Municipal culture And education programmes balancing the focus of the 2018 contest on the ally inclusive opportunities for events, tourists; Tartu. These projects are organized by schools have 800 and private schools digital and analogue means to groom future of Tartu in Europe and the world, artistic processes and skills training. almost 200 cultural organisations rep- nearly 2400 pupils. In 2018, 66 youth new audiences are certainly part of and Tartu2024 handing out its special We also find that this chimes very closely resenting a wide cultural spectrum. sport clubs with almost 6500 children the game. award. A children’s and youth litera- with current strategic thinking about to create diverse opportunities for Funded cultural projects include major attending the trainings were supported ture festival started in 2017, seeking the future relationship between educa- young people to spend their free festivals for music, theatre, film and by the city. Around half of underaged This does give us confidence about the to grow on the hotbed of the UNESCO tion and culture at the European level, time and, develop their skills and literature etc, but also smaller scale Tartuvians attend subsidised culture impact of extra quality programming and network. and very much part of the Commission’s interests. events representing subcultural, minor- schools or trainings regularly and the inventive education processes planned future approach to that critical synergy. ity, community and heritage themes. annual budget for this is 5 million euros. for ECoC 2024. But all this has to start Named after a major Estonian writer now. First, we need more research on the and playwright Mati Unt’s debut novel The Viljandi-led regional initiative Field cultural preferences of school kids. In written in Tartu, the expanding Yellow of Wisdom with dance schools in Tartu recent years, several youth surveys have Cat programme of Vanemuine Theatre and Antsla (Võru county) is a programme been conducted in Tartu, including ones is largely aimed at children and adoles- integrating formal and non-formal edu- on the youth satisfaction with leisure cents for initiating them into the world cation by providing flexible ways of activities in Tartu (2016), physical activity of theatre. Tartu Nature House also keeping up with the studies for children among 10-15-year old youngsters and runs several hands-on study groups in touring of dance troupes, thus also the support of youth centres (2017) and for schoolchildren. Software develop- making „hobbies” matter more in the youth work satisfaction survey among ing businessman and visionary from curriculum. young people (2018). However, further Mooncascade, Priit Salumaa has plans and more extensive studies should for launching a network of creativi- Subcultural activities, environmentally be due with artistic and value-based ty-fostering youth clubs in Tartu and responsible student companies, inno- emphasis. We need more youth feedback Southern Estonia, run by the alumni vative combinations of IT entrepreneur- on experiences as audiences and co-or- of Anne Youth Centre in IT and pro- ship with „forward to the roots” outdoor ganisers of cultural events. gramming. Tartu youth centres, sports activities are among further incentives groups and healthy lifestyle initiatives intended for our ECoC endeavour to catch In 20&24, 2024 Time Capsule pilot likewise have a major potential for pro- the interest and deserve the commitment project, the Tartu2024 team has been moting the themes of Tartu2024 and of the next generations. 40 Q19 Q20 41 Q21 In case the city is planning to use funds from its annual budget for culture to finance the European Capital Q23 Please explain the overall operating budget (i.e. funds that are specifi- cally set aside to cover operational of Culture project, please indicate expenditure). The budget shall cover this amount starting from the year the preparation phase, the year of the of submission of the bid until the title, the evaluation and provisions European Capital of Culture year. for the legacy activities. The city does not plan to use funds from its annual budget for culture to finance Total income to cover From the public From the public From the private From the private the European Capital of Culture project. operating expenditure (in €) sector (in €) sector (%) sector (in €) sector (%) 24,500,000 23,000,000 94 1,500,000 6 Q22 Which amount of the overall annual budget does the city intend to spend for culture after the European Capital Q24 What is the breakdown of the income to be received from the public sector to cover operating of Culture year (in euros and in % of expenditure? the overall annual budget)? In addition to being the main partner of by 6,300,000€ from 11,700,000€ to projects. It promotes both innovation our ECoC project, City of Tartu aims to 17,000,000€. This would equal to 7.6% and stability by offering new and more Income from the public sector to cover operating expenditure In € % increase the support available for cul- of the projected overall budget of dynamic funding options for new cul- National Government 10,000,000 43 ture in Tartu and South Estonia in a vari- 225,000,000€. tural operators while also introducing ety of means. First and foremost, the city multi-year contracts for established City 10,000,000 43 intends to increase its annual budget for But it’s not just how much we spend. To cultural organisations and festivals. This culture. Steady growth is planned also progress, we need goals and directions. framework takes full effect in 2020. Other municipalities of the region 1,500,000 7 over the course of the prospective ECoC Tartu City Government’s future fund- implementation years. By increasing its ing focuses will be guided by the new Finally, Tartu City Government is pre- EU (with exception of the Melina Mercouri Prize) 1,500,000* 7 already relatively big cultural budget Cultural Strategy KU30 which states pared to continue funding the most for a city of its size, Tartu highlights its our drive to boost Tartu’s international exciting new events, festivals and initi- Total 23,000,000 100 ambition to be a city recognized for its cultural profile and lifelong inclusion atives that emerge from our proposed culture both in Estonia and Europe. among our citizens. Tartu 2024 ECoC programme. We want our ECoC legacy to last and matter on By 2025, we aim to increase the Further direction will be given by a new the local, regional, national, European annual operational cultural budget City of Tartu model for financing cultural and global scale. * Tartu 2024 projects’ target for co-funding from European Union funds 42 Q21/Q22 Q23/24 43 Q25 Have the public finance authorities (City, Region, State) already voted on or made financial commitments to In the heart of our presentation is the belief that Tartu 2024 is really one of a kind project for our city and the counties around it. Never before has Southern Estonia had such a chance to top 3 most recognized culture brands in Estonia by the end of 2024. For further networking, we plan to engage professionals and exist- Community club In the heart of our SME fundraising strat- egy is club #üheskoos ’24 (#together ’24). It is modelled after Mons’ Club 2015 cover operating expenditure? If be in international spotlight and share ing networks (see below in Engaging which raised 841,000€ from 841 small to not, when will they do so? our cultural vibrancy with so many Experts). medium enterprises, each contributing people from home and abroad. Our bid 1000€. Another inspiration is Galway’s represents the whole region instead of Engaging small to proposed Club 2020, a programme with one city – and this makes it also more medium enterprises the target of getting 2020 Republic of First approval from City Council is The Government of Estonia confirmed appealing for possible commercial and individuals Ireland SMEs on board to contribute in expected in Autumn 2018 with the its commitment on 30 August 2018 by partners. To get them fully on board, the region of 3,000,000€. passing of City of Tartu Budget Strategy agreeing to cover operating expendi- Tartu 2024 team will also have the For budget, it is vital to have the big 2019-2022. This strategy already indi- ture as a matching grant in proportion capacity to come up with creative ways companies on board. But for wider #üheskoos ’24 is designed to raise at least cates the funding of Tartu 2024 ECoC with City input and other sources within for CSR and sponsorship activation. community engagement and fulfilment 300,000€ from 150 Tartu and Southern operating expenditure for these years. 10,000,000 €. Ministry of Culture and of our ECoC goals it is vital to include Estonian SMEs each contributing 2024€. Further approval from Tartu City Council Ministry of Finance will present the bid To get our message across to potential also local small to medium enterprises. To make it more accessible for smaller is expected in Spring 2019 in the form next Spring in the state budget strategy partners, also Tartu 2024 brand needs Seeking support from SMEs but also companies, this contribution can be made of a resolution accepting the presented for 2021-2024. to be fully crafted and communicated. individual citizens is an important way over a period of two years. In addition to budget and city’s share in it for the whole We see our brand as artistic, socially to share our ECoC vision and messages companies, #üheskoos ’24 targets also ECoC period. inclusive, future-oriented, eco-friendly with business community in Tartu and individuals whose contribution of 24€ or and trustworthy. We aim it to be among Southern Estonia. 240€ totals around 260 000€. Q26 Contributor type Value of contribution (in €) Targeted amount of contributors Total contribution (in €) What is the fundraising strategy to seek support from private sponsors? SMEs 2024 150 303,600 What is the plan for involving Individuals 240 100 24,000 sponsors in the event? Individuals 24 1000 240,000 Companies supporting #üheskoos ’24 vision, values and opportunities. Such come up with specific ideas already in As a country which did not have any pri- community-based sponsorship pro- will receive branded Tartu 2024 sig- cooperation develops trust between our final-phase bid book if we are given vate companies 30 years ago, our soci- jects both for Tartu 2024 and among our nage tailored for their needs, business local business and ECoC. Direct partic- the chance. ety is still quite raw when it comes to region’s cultural operators. networking opportunities and exclusive ipation and contribution to our brand private sector sponsoring culture. With access to certain Tartu 2024 events. makes local companies also more open Are there Tartu 2024 projects that will this in our mind, Tartu 2024 is also look- Private sponsorship goal Individual supporters receive Tartu 2024 to become sponsors themselves. be kickstarted by ICOs (Initial Coin ing to be a pathfinder when it comes to merchandise, access to premium seats Offerings) instead of classic funding exploring and developing new relation- We aim to raise 1,500,000€ in private or viewing areas of our main events. In Partnerships in Estonia and abroad schemes? Most likely yes, because ships between for-profit and non- profit sponsorship for Tartu 2024. Two thirds addition, their names will be presented Arts of Survival is also about constant organisations or community. of this support we plan to raise from on a thank-you wall of a special work of In order to carry out presented fund- adaption! from corporate level, one third from public art commissioned and exhibited raising initiatives, craft our brand and Our city is actually showing signs of small to medium enterprises and indi- in central Tartu by summer 2024. network, Tartu 2024 will cooperate with great potential for contemporary fund- viduals. 75% of private sponsorship national and regional business associ- raising. We are home to two biggest should be in cash, the rest should be Engaging experts ations, local startup community, Rotary recent Estonian culture crowdfunding received as in-kind support of goods clubs and marketing communications campaigns. and services. Advisory board experts from Tartu universities. We will also look into foreign private funding Local football club JK Tammeka sold Engaging corporations In order to plan presented fundraising opportunities with the help of Estonian virtual square metres of their proposed initiatives, brand development and net- honorary consuls and Estonian commu- new football pitch and raised 160,000€ We aim to partner up with corporations working in detail, we are inviting market- nity abroad. in only 71 days to support its construc- which agree on the Tartu 2024 values ing and PR executives from top Southern tion. Tartu Uus Teater campaigns to buy and vision presented in this bidbook. Estonian companies to volunteer in a Funding in the future a theatre house and is on the verge of Potential partners include socially special advisory board. raising 335,000€ in a year. responsible or transformative enter- In addition to already available private prises from financial services, food While giving us strategic marketing and funding options, we are studying emerg- We want to build on these Tartuvian industry, telecommunications industry, sales advice, our advisors will also get ing blockchain-based platforms for tick- success stories by initiating similar transport industry etc. a deeper understanding of Tartu 2024’s eting and crowdfunding with the goal to 44 Q25/26 Q26 45 Q27 Please provide a breakdown of the operating expenditure. Q29 Have the public finance authorities (city, region, State) already voted on or made financial commitments to cover capital expenditure? If not, Programme expenditure (in €) 14,950,000 when will they do so? Programme expenditure (in %) 65 Q30 Promotion and marketing (in €) 4,600,000 What is your fundraising strategy Promotion and marketing (in %) 20 to seek financial support from Union Wages, overheads and administration (in €) 3,450,000 programmes/funds to cover capital expenditure? Wages, overheads and administration (in %) 15 Total of the operating expenditure 24,000,000 Some of the commitments are already Capital expenditure budget for the voted on and some are yet in work- region is currently an estimation ing plans. We encourage local munic- based on the annual cultural invest- ipalities to vote on possible capital ment budgets of the 19 included Q28 expenditures as soon as possible to municipalities. Further development What is the breakdown of the income show commitment to our ECoC bid of Tartu 2024 artistic programme for while providing application basis for the region will also provide a bet- to be received from the public sector possible EU co-financing. ter understanding of the required to cover capital expenditure in objects. These investments must then Tartu City Council approved Tartu be included and confirmed by future connection with the title year? Budget Strategy 2019-2022 in Autumn budgets and strategies. To support 2018. Annual updates and votes in con- this, will have a dedicated team mem- nection with the title year are expected ber, Regional Coordinator, starting from in 2019 and 2020. year 2019. Income from the public sector to cover capital expenditure In € % Tartu 2024 will establish a database Estonian Budget Strategy 2019-2022 Mapping European Union funding and of capital investment objects con- National Government 17,940,000 27 was approved by the Government of managing application processes will nected with our artistic programme. Estonia in April 2018. Annual updates be led by City of Tartu Foreign Project Our Regional Coordinator will use this City of Tartu 21,039,238 32 and approvals in connection with Coordination Service and correspond- database to monitor progress and pro- the title year are expected in 2019 ing authorities in other municipalities. vide support to local municipalities Other municipalities of the region 11,440,064 17 and 2020. For better coordination of fundraising, applying for foreign funds. EU (with exception of the Melina Mercouri Prize) 15,528,188 24 Q31 Total 65,947,490 100 If appropriate, please insert a table In addition, Government of Estonia will invest 161,700,000€ gate of Estonia. The funding is indicated in state Budget here that specifies which amounts will of state and EU funds to improve highway and railroad con- Strategy 2019-2022 and the construction will take place in the be spent for new cultural infrastruc- nections between Tartu and Tallinn as the main transportation same period. ture to be used in the framework of the title year. Object Time period Estimated cost (in €) Funding sources Lodjakoda river port 2019-2020 1,524,925 Tartu City Government, European Union Annemõisa Indoors Football Hall 2020-2022 4,150,000 Tartu City Government, European Union, Estonian Football Association, private sector 46 Q27/28 Q29/30/31 47 Q32 Please give an outline of the intended governance and delivery structure for the implementation of the European Capital of Culture year. We have listened carefully to stakehold- implement our proposed programme. all areas except the artistic programme. ers and local citizens. This has led us to This legal status grants our implemen- The General Director is hired and will be design the organisation implementing tation team also further artistic inde- accountable to the Supervisory Council. Tartu 2024 European Capital of Culture pendence required from an European He/she will select most of Tartu 2024 around the following set of values: Capital of Culture. employees and outsourcing partners through public contest. TRUST The Supervisory Council of the Tartu Transparent 2024 Foundation will consist of 7 rep- The Artistic Director leads the devel- Accountable resentatives. One each from the City opment and implementation of the Independent Government and the City Council as well proposed artistic programme, capacity as regional and civic society represent- building and audience development and COMPETENCE atives. The Supervisory Council’s main hires her/his own staff. He/she is hired Capable tasks are choosing the Management by General Director with the approval Effective Board, consulting and approving strate- of the Supervisory Council and has the goal of this board is to foster political, budgets, while also administering development and implementation of Responsive gic decisions. final say in matters regarding the artis- financial and administrative commit- accounts. The Human Resources Man- our proposed programme lines and tic programme. ment of local municipalities by engage- ager oversees recruiting employees, projects. Under their management, VISION Delivery structure ment and information sharing. interns, manages the volunteers pro- both in-house Project Managers but Perceptive To foster interaction between the busi- gramme and serves as a link between also producers from partner organ- Innovative Tartu 2024’s delivery structure is based ness and artistic sides of Tartu 2024, Forum of Business Advisors consists the foundation’s top-level management isations carry out specific projects International around the idea of cooperation and inte- our Communication and Marketing of marketing and PR executives from and staff. and tasks. gration between the arts and business Department has shared leadership. top regional companies who are invited These qualities must be considered sides of our foundation. At the same Although the General Director has the to participate by Tartu 2024 General To achieve the distinct goals described The Head of Production is expected when designing the structures and prin- time, we must deliver effective and pro- final say over these matters, the Artistic Director. The goal of this voluntary board in the fundraising strategy, Tartu 2024 to develop and implement technical ciples for Tartu 2024 European Capital of fessional governance. Director is engaged to represent the is to support the implementation of will have two executives, a Sponsorship plans for large-scale events in coop- Culture organisation. Artistic Programme Department and Tartu 2024 private sector engagement Manager and Crowdfunding Campaign eration with the Project Managers. Management board their proposals for marketing. strategy as described in Q26. Manager. He/she also holds responsibility for Structure of governance the overall organisation of Tartu 2024 Tartu 2024’s Management Board con- Advisory boards Forum of Cultural Advisors is an inter- The Communication and Marketing technical production process: plan- If Tartu is awarded the title of 2024 sists of a General Director and an Artistic national board that consists of 7 people Department will be made up of ning, budgeting, materials and venues European Capital of Culture, an inde- Director. The General Director is respon- Forum of Regional Municipalities con- who are highly respected professionals three middle-level managers. The management, security, evaluating new pendent Tartu 2024 Foundation sible for all administrative and finan- sists of the municipality leaders of our from various arts. The goal of this forum Communication & PR Manager han- technology and tools as opportunities (sihtasutus in Estonian) will be set up cial functions. He/she also has the final bid region. This 20-member high ranking is to counsel the Artistic Director and dles Tartu 2024’s day-to-day pub- for innovation. by Tartu City Government in order to executive level decision-making vote in forum meets at least once a year. The his/her staff when they’re developing lic relations and manages external, our proposed Tartu 2024 programme internal and international communi- The Social Studies and Outreach lines and projects into actual pro- cations. The Marketing Manager is Manager will be the leading researcher gramme. The members of this forum are responsible for developing Tartu 2024’s for the team while also managing and invited by the Artistic Director and they brand. Another task of this position is developing Tartu 2024 and its pro- are paid for their work. designing stakeholder-engaging cam- ject partners’ cooperation with higher paigns. Considering the experiences education and research institutions in Departments and staff of previous regionally inclusive ECoCs, Tartu and Southern Estonia. we will also hire a dedicated Regional A number of middle-level managers Coordinator. His/her work to pursue As is customary, our proposed ECoC organised into three departments are further political, financial and cultural organisation reaches its maximum responsible for further delivery of our cooperation from Southern Estonian staff numbers around the title year. proposed programme. They are selected local governments is especially impor- Therefore it must be noted that in by the General Director through pub- tant in the ramp up years. the first implementation years, the lic contest and are accountable to the Management Board members are Management Board. The Artistic Department Programme additionally responsible for some includes up to 5 Programme Line fields that will later have a dedicated The Head of Finance’s main tasks Managers, who are professionals from manager such as human resources or are planning, reviewing and reporting different fields of culture curating the private sector fundraising. 48 Q32 Q32 49 Q33 What are the main strengths and weaknesses of your project? How are you planning to overcome The artistic community mostly acknowl- edges the need for a leap in city identity and international outreach The capacity to think and act on European scale is still in the developing phase; cultural institutions’ participation in international networks is low; lack of Capacity-building programme (see Q11); increased support of Tartu’s activities in UNESCO CCN and other international networks; making the inclusion of inter- weaknesses identified? internationally experienced contempo- national partners and events matter in rary cultural managers subsidising cultural projects Tartu learned a lot about ECoCs when Inclusive public relations and com- Decision-making boards should not Influx of youth and talents to gymnasi- Insufficient initiative in the education Cultural programmes with schools and keeping a close eye on Tallinn’s ECoC munity engagement have to start be politicised ums and universities (also international system and the universities for support- universities, also promoting Tartu’s ECoC year (with our current team member in from day one of the whole process students) and the potential as staff / ing long-term interest and activity of bid; involving children and students the Creative Council) and witnessed how Bidding and implementation need partners / audiences for Tartu 2024 students in the cultural scene of Tartu; in preparation and implementation of Tallinn largely carried out their proposed Strong vision and goals must be stability of management city project funding limited to people with projects;; extending access to cultural ECoC programme, but struggled with the agreed upon early in the bidding Estonian ID and participatory budget vot- project funding and participatory budget global economic crisis and a number of phase; boards and councils formed The following matrix covers primarily ing limited to registered citizens of Tartu; voting; showing long-term benefits of political and organisational challenges. in the implementation phase have cultural strengths, weaknesses and cultural operators have trouble involving volunteering and active participation Several years on, these were the key to support reaching these goals possible solutions. Bid-related social volunteers conclusions that provided us with a solid challenges/solutions are covered mainly starting ground: Bidding and implementation of the in Q19 and infrastructural issues in programme need wide political Q37-38. Strong will and support of the city for Tradition of private funding for culture is Promotion of culture as an important support ECoC bid; cultural institutions, creative emerging too slowly factor in economy and cultural entrepre- industries and NGOs engaged in the neurship, especially with possibilities of process and many in principle ready for ECoC; fostering public-private partner- Strengths Weaknesses Solutions co-financing ships and crowdfunding. Bold concept and artistic vision which Strong unconventional statements sound Continued public meetings to convince seek to expand and transform the ECoC off-putting and even divisive for some the sceptics of the broad communitarian Tartu 2024 team has also carried out a tradition, arts and the city narrative people and interest groups; cultural oper- basis for the concept and vision and to detailed risk mitigation plan, to address ators lack competence for ecologically indicate the benefits and possibilities risks relating to programme, organisa- sustainable cultural management through more effective European con- tion and marketing on local, national nections; capacity building programme and international level. for ecologically sustainable cultural management Consensus behind and coherence The consensus is largely passive accept- Starting from relaxed and inclusive initi- between the city cultural strategy KU30 ance rather than agreement on instant atives (e.g. with neighbourhood societies) and the ECoC bid action to emphasise that every small input is welcome but the implementation of the strategy and ECoC programme depend on everyone; introducing the major projects in the course of these meetings A varied, inventive, transversal cultural „Curse of the city slogan“ (City of Good Capacity-building programme (see Q11); programme largely co-developed by Thoughts) – cultural operators are often highlighting recent cultural history of people active and experienced in several better at ideas than grand-scale real- people who stayed on, toughed it out and artistic fields and willing to work together isation of them; experienced cultural created what is now taken for granted; with other such people managers and community leaders are raising city culture budget; reformed overworked and underpaid, if paid regu- cultural subsidies system with long- larly at all; lack of attention and coverage term agreements; better financed and from Tallinn-centred national media and promoted cultural awards; reformed city (consequently?) by international media marketing, cooperation with National intensifies defeatism and lack of moti- Broadcasting studio in Tartu, attractive vation, contributes to ongoing shortage media projects (with city subsidies if in funding and breeds promoter/audi- necessary); looking for ways of reaching ence volatility (especially in the younger directly in international media generations) 50 Q33 Q5 51 Q34 Please provide an outline of the city’s intended marketing and communication strategy for the ECOC year. Our marketing and communication Getting citizens of Tartu and peo- national or international academe strategy is built on considerations that ple of Southern Estonia involved in or start-up entrepreneurs. We also determine our concept and programme: the programme as much as possi- stream and record those great how to escape mental and physical isola- ble and fostering their apprecia- offline experiences to spread the Scheme 1. Tartu 2024 marketing and communication strategy actions positioned tion, how to be heard in Europe, and how tion of arts, culture and commu- word, share the vibe and boost on strategy lines of real-life and virtual, individual and institutional. to empower people and connect com- nity. We have to make Tartu 2024 future partaking. munities. We do value real-life human matter and meaningful locally and communication and nature-friendly liv- regionally, as specified in Q8. ing but we don’t shy away from our e-ad- Individual and institutional. We vancement to get the message through. collect and communicate the After all, Estonia has already attracted Involving audiences from Estonia, stories, hopes, needs and visions international interest in how we do taxes neighbouring countries and all of the citizens, cultural managers, and banking online, sign documents over Europe. We have to make volunteers and even ex-Tartuvians electronically with an ID-card and have sense and spark inspiration also as unique individuals. We also rec- an official e-residency programme open nationally and all around Europe. ognise and enhance the capacity for all the people in the world. It’s fair We have to uphold the high stan- of Tartu 2024 institutional partners and wise to meet this interest and use dards of international outreach (universities, theatres, schools, the digital capacity for notifying people and continue the legacy of the companies and associations) for about our cultural vision for 2024, our European Capitals of Culture informing and attracting large wild Estonian woods and bogs close to project in a distinct and valorous audiences. any of our cities, our will to bring peo- way. ple all over Europe together for real-life events and contacts. Strategy lines Grassroots, regional, national, European, international. Our Goals and objectives Real-life and virtual. Our strategy actions involve audiences on var- is to use Tartu 2024 as a plat- ious levels such as subcultures or Establishing a brand. We see Tartu form: we will use the full range of neighbourhoods of Tartu, Southern 2024 brand as artistic, socially communicative means to invite Estonian cultural managers, peo- inclusive, forward-looking, eco- and connect different people and ple of Estonia or citizens of Europe friendly and trustworthy. We aim it communities in our real-life pro- and beyond. No good-willed action to be among top 3 most recognized gramme, no matter whether they is too small or plain for us. We will Scheme 2. Tartu 2024 marketing and communication strategy actions positioned on strategy line of grass-roots, regional, culture brands in Estonia by the are Estonian or Russian-speaking matter locally and be heard around national, European. The volunteer/intern programme refers to welcome and hospitality volunteers; capacity building pro- end of 2024 (see Q26). citizens, Erasmus students, our part of the globe. gramme here is meant to involve services like public transportation, gastronomy, accommodation and taxi services. 52 Q34 Q34 53 Strategies + action lines Express coach operator Lux Express the marketing focus for 2022-2024. marketing messages for their possible from grassroots level up buses are equipped with personal mul- Intended actions include Tartu 2024 employees about Tartu as a culturally timedia screens that can be utilised for presentations at Riga, Helsinki and vibrant city and desirable environment Capacity development programme presenting Tartu 2024 creative content, Berlin tourism fairs but also cultural for living. and audience development pro- home page or campaign sites. Also the exchange with the help of embassies gramme. Getting citizens involved in our main airports servicing Tartu will be the and creative marketing campaigns in We will form a voluntary Forum of ECoC is a priority. Tartu 2024’s already sites for our Container of Arts visits with Tartu twin cities all around Europe, from Business Advisors with marketing and ongoing capacity building and proposed theatre productions, art exhibitions and Pskov in Russia to Lüneburg in Germany. PR executives from top regional compa- audience development programmes libraries, while airport luggage roulettes We will involve existing cultural routes nies. It supports the implementation of focus on discussions and education and lobby areas have creative Tartu 2024 such as Via Hanseatica, stretching from Tartu 2024 private sector engagement through direct communication. branding. St Petersburg to Riga. strategy (Q26) and counsel our market- ing and communications strategy. Volunteer and internship programme, Tartu 2024 Ex-Tartuvians programme. On the local level, cooperation with tour- started this year. Volunteers and Every year thousands of people gradu- ist guides and the involved city govern- Data-driven market segmentation. interns from across the population ate from University of Tartu or other local ments will result in new tours promoting Our aim is to engage more diverse audi- help us create great ECoC experi- higher education institutions. We coop- Tartu 2024 themes and new tourism ences based on their preferences. For ences and are themselves Tartu 2024 erate with universities to contact their products innovated by enterprises par- this we plan to develop a Tartu 2024 ambassadors. If they get good expe- alumni all around the world with the aim ticipating in Tartu Rural Development app with smart and engaging content rience working for Tartu 2024, they of recalling student life memories and Association’s innovation and smart solu- – games, polls, tests, augmented real- are bound to share it with friends and positive perceptions of Tartu while also tions programme. ity – which will also collect cultural families. The internship programme is promoting upcoming Tartu 2024 events. preferences of its users. The content of also a key area of cooperation between With the University of Tartu Museum, a Cooperation with future and previous the app will be based on our ECoC pro- Tartu 2024, the University of Tartu and collecting campaign will be launched for ECoCs. With fellow ECOC cities we can gramme before and during the title year. other colleges. Tartu students can be a digital exhibition on Arts of Survival in go beyond usual tourism marketing and Collected data will be handled with care intensely and extensively involved in student communal life from the 1950s develop more artistic projects and audi- and security and it will be used for cre- our communication team by writing, to now. ence engagement e.g. in cooperation ating more customised offerings of real- carrying out online promotion, editing with Kaunas 2022 and ECoCs from 2023 life experience to audiences. To carry out photo and video content etc. Tartu 2024 Ambassadors programme. to 2025 for Containers of Arts. this marketing action we will partner We started with Humans of Tartu photo up with Estonian platforms and service #üheskoos ’24 crowdfunding cam- and story project depicting Tartuvians Cooperation with other UNESCO Cities providers who already have advanced paign is in the heart of Tartu 2024 fund- in 2018, but in the coming years we also of Literature. Tartu will use UNESCO data and experiences on cultural prefer- raising. It also serves as one of our mar- want to mobilise well known public fig- City of Literature network for promot- ences of audiences. keting highlights on grassroots and city ures and highly acclaimed profession- ing our ECoC programme’s ramp up and level. We aim to raise over 500,000€ by als from Tartu business, science, sports title year literary events. Also, every year Social media platforms Facebook, contacting and convincing hundreds of and culture to be the Ambassadors Tartu selects a linnakirjanik, City Writer Instagram, Twitter and possible emerg- small to medium enterprises and thou- of Tartu 2024. The University of Tartu whom we will involve as Tartu 2024 ing sites will be used for building, sands of people support our cause, also and their International Student Ambassadors and commission them informing and engaging audiences for raising ECoC’s visibility in Tartu. Ambassadors programme are the main to write a collective book summing up Tartu 2024. These platforms will also be partners. Tartu’s ECOC experience. integrated with our Tartu 2024 app. In Media. We aim to establish long-term addition we will invite culture and life- and high profile partnerships with local Partnerships with festivals, events Partnerships with student, profes- style influencers from around Europe and national media already by 2020 and sports teams. Tartu 2024 will be sional and trade associations. Student to take part in tours curated by locals to guarantee TV, radio, print and online presented creatively at large-scale associations and clubs can be our called Külas („in the village” or „visiting”). coverage of our preparations and title Southern Estonian music, theatre, partners in volunteer and internship They are asked to create content for our year. Another priority is to sign long-term sports and business festivals in the matters, but also we be of help as com- Tartu 2024 platform. Original content partnerships with creative agencies ramp up to our title year from Tartu munication channels for engaging audi- will also be provided by Tartu 2024 vide- to supply us with advertising space for Maraton skiing competition, to bike race ences. We will invite Tartu’s numerous ography project for making documenta- reaching wide audiences with reasona- Tour of Estonia to travelling Southern student sororities and fraternities and ries of our ECoC projects and processes. ble costs. Estonian programme of the art house their alumni to support our cause with cinema Elektriteater, but also with top contacts. Web sites and campaign pages. In addi- Partnerships with infrastructure and Tartu sports teams in basketball, foot- tion to our main home page we will transportation organisations. We will ball and volleyball. We will cooperate with another major develop thematic campaign sites such involve gateways of Estonia – airports local initiative, Smart Tartu, which devel- as video, photo, essay contests on Tartu (Tartu, Tallinn, Helsinki), railway stations, Traditional tourism marketing and ops smart city brand, business cluster 2024 programme lines for the youth. ports, highway entry points to Estonia – cooperation with local governments. and new governance policies for Tartu. These campaigns will also be integrated in our marketing strategy. In cooperation We will partner up with regional and Together with their cluster, local IT and into our social media pages. involvement project will be developed mural painting devices for smartphones. with the main Estonian railway company national tourism boards, Visit Tartu startup associations we aim to produce with the lively street art scene of Tartu Street art initiatives and guerilla mar- Elron we plan to use Tartu-bound trains and Enterprise Estonia who have ana- audience engagement platforms such All the Tartu 2024 events in the ramp – Stencibility Street Art Festival and keting promotes Alternative Tartu but for promotional pop-up theatre or dance lysed and defined target markets for as our Tartu 2024 app and web pages up years also add up to the grow- UIT urban festival – and local start-up also raises issues for countercultural productions and stand-up comedy. Estonian tourism and will make Tartu but also provide the IT sector with good ing buzz. A special arts and audience company SprayPrinter which develops urban activism across Europe. 54 Q34 Q34 55 Estonian National Museum in Raadi Q35 How does the city plan to highlight that ECOC is an action of the EU? Q36 Please confirm and supply evidence that you have broad and strong political support and a sustainable commitment from the relevant local, regional and national public authorities. The visibility of the European Union in partner ECOC from Austria, as well as Local authorities have provided strong groups, institutions and experts, bid our proposed ECoC programme will be from either Norway, Bosnia or Albania, backing for the bidding process book writing, external counselling and guaranteed by a number of placements and Lithuania, Luxembourg, Hungary, since its start. On 14 February 2017, media activities. Further funding for and initiatives: Slovenia, Germany, Slovakia and Finland. at the Tartu cultural awards cere- the bidding process is allocated and Members of the European Parliament mony, the Mayor Urmas Klaas publicly planned into the 2019 city budget.    If we receive the Melina Mercouri Prize, and leaders of our European partner announced Tartu’s willingness to bid we plan to use it in 2024 for thoroughly institutions will also be invited to cele- for the ECoC 2024. On 14 September Tartu City Government and the bidding videographing ECoC creative processes brate the biggest European project ever 2017, Tartu city council unanimously team have also found extensive sup- and events. By funding high quality to take place in Tartu. voted for the decision to support Tartu’s port for the bid in the urban and rural recording and editing, we amplify the bid for ECoC 2024 and initiated the pro- municipalities of Southern Estonia. A potential social and economic impact The logo of the EU will be present on all cess for drawing a new cultural strat- number of the representatives from our content can have on social media Tartu 2024 communication materials egy for the city until 2030. those municipalities also attended and elsewhere. Well documented and and platforms. the Tartu2024 conference „Escape published ECoC artistic programme has After the local government elections, Room into the Future“ at the Estonian also more legacy stemming from it. All To signify Tartu as the ECoC in 2024, the the bid for ECoC 2024 was included in National Museum on 9 May. this content will bear the EU logo. EU flag will be flown at all major cul- the new coalition pact. By November, tural institutions in Tartu and Southern the official bidding team was formed The funding decision regarding the With the possible support of the Melina Estonia. and financing planned in the 2018 city operational budget income to be Mercouri Prize we plan to start an budget to facilitate Tartu 2024 office, received from the state was confirmed European Arts and Innovation Fund Finally, as an university city participating schedule of meetings with target on 30 August 2018 (see Q25). for Tartu. This fund will continue sup- actively in Erasmus Programme, we plan porting residencies for lecturing artists to organise the European Students’ from Europe after the ECoC year 2024. Opinion Festival. This event is mod- Q37 The aim of this residency programme elled after the annual Estonian opinion is to support education and innovation festival, Arvamusfestival, which itself is Please confirm and provide evidence at Southern Estonian universities while inspired by Swedish Almedalsveckan. also sustaining the international aspect The main theme of our proposed festival that your city has or will have of the region’s cultural vibrancy. By giving would be the meaning of extracurricular adequate and viable infrastructure the Melina Mercouri Prize an importance cultural participation and activism for for years to come, we highlight this as an European students, student organisa- to host the title. EU contribution for a longer period. tions, universities and policy-makers. This proposed festival would also foster To Tartu 2024 opening and closing cer- European identity, cultural exchange emonies we are going to invite leaders and networking among Estonian and of previous and future ECoCs and our cross-border students. Cultural infrastructure of Vanemuine Theatre (700), Dorpat ECoC activities, both in- and outdoors Conference Centre (560), University e.g. Surrealism100 . There are 7 event Today there are just around 20 major of Tartu Assembly Hall (460). Recent spaces, the largest of which, a lecture events in Tartu per year with more than smaller high-profile venues include hall that doubles as concert and cinema 2,000 participants each. Since one of our the 230-capacity Eduard Tubin hall at hall, accommodates 250 guests. There main challenges is to make Tartu more the Heino Eller Music School and the is also a black box theatre seating up to attractive on national and international National Museum halls. Involving them 200 people. Lobby areas can be used for level, we want this number to grow (both and the related institutions is included in receptions for up to 500. Besides 6,000 in terms of events and participants) even our plans for programme development. square metres of main exhibition space, when our programme also largely sup- there are also 2 additional gallery spaces ports smaller-scale communal events. The Estonian National Museum (ERM), of 900 and 300 square metres. We see situated at the former military airbase the museum and its surrounding area as Altogether there are 4 concert/confer- territory within walking distance of the the potential location for several parts of ence venues in Tartu City Centre which city centre, is one of the most astonishing our programme. can each accommodate over 450 peo- new museums in Europe – a multifunc- ple: Vanemuise Concert Hall managed tional venue with 34,000 square metres The vintage hangars on Roosi street will by Eesti Kontsert (950 seats); great hall of space. We expect it to facilitate various be renovated for multi-purpose event 58 Q35 Q36/37 59 spaces, intensifying the cultural life in further partners from the whole area for its own. All three will continue to serve Accessibility the surroundings of Estonian National the yearly programme of events, resi- as the calling cards for bohemian entre- Museum as well as the whole area dences, educational and experimental preneurship so characteristic of Tartu For over 50 years during the Soviet occu- across the river. programmes as well as providing further and are likely to host a string of events pation, Tartu with its strategic military artistic expansion for the Aparaaditehas in 2024. airfield and classified industries was a On the other side of the river, an Festivals and POSTMARKET fairs. These closed city with only limited civil trans- extended creative cluster starts initiatives will help shift some of the The Vanemuine theatre plans to build port and tourism infrastructure. For already in the city centre with the main major feasts of Tartu 2024 from the a new black box venue next to its main over 25 years of freedom, Tartu’s trans- pedestrian street (Küüni) which is also shopping centre area closer to actual building by 2024. portation and accommodation struc- the site for fairs and other open-air community quarters uptown and tures have been thoroughly redeve- public events. It expands through the involve them in closer contact with the The artistic programme in the making loped to meet contemporary European Uueturu (New Market) park – also to wealth of cultural venues near them. foresees the revival of two landmark standards. Nevertheless, there are be radically redeveloped through our areas of Tartu, historically significant but some major infrastructural challenges Curated Biodiversity programme – along The renovated sports complex for mul- recently underused and strongly empha- that can be best addressed by a major the Vanemuise street and the adjacent tiple use will be opened by the end of sised during the citizen consultations for undertaking such as European Capital Riia and Tiigi streets which includes a 2018 which closes the gap for a proper the Cultural Strategy: the Emajõgi River of Culture. number of the venues we mention in indoor rock/pop concert venue. For and Toomemägi (Toome Hill). Tartu’s biggest accessibility goal is to English is easily accessible with smart- our cultural profile, like the Vanemuine major outdoor gigs, Tartu Song Festival From the rest of Europe – by plane have more direct European flights tak- phones. Buses are low-floor to facilitate Theatre, the Concert Hall, the University ground continues to be most appropri- The City of Tartu has already made a few (via Tallinn, Helsinki and Riga) ing off and landing at our Ülenurme air- access for wheelchairs and baby prams. of Tartu Library, Tartu Literature House, ate and has been undergoing some sub- steps in order to activate the left bank of port. In addition to fostering our sense Gallery Noorus of Pallas, The Widget stantial renovations. Emajõgi in the city centre by the urban Tartu and Southern Estonia are served of connectedness to Europe, increasing Tartu City Government has declared its Factory (Aparaaditehas) creative hub development plan of the Holm Quarter. by Ülenurme airport just outside of the number of flights has been iden- ambitious goal of almost doubling pub- with adjacent Print and Paper Museum As an example of crowdfunding initia- In autumn 2019, the new university ICT Tartu city. Tartu has one regular inter- tified as a major benefactor for the lic bus usage, from 17% to 30% by 2030. and many others which will be potential tive and Tartuvians’ love for performing Centre (Delta) will open, contributing to national line connecting the city to region’s business and tourism, therefore To support this, starting in 2018, Tartu’s venues for our programme. arts, the Tartu Uus Teater is buying our closer connection of the two banks, also Helsinki (Finland). The flight from Tartu also for culture. In addition to the (Tartu public transport system will be reformed its venue with the support of the local potentially serving as an arts space. Our to Helsinki lasts about 45 minutes and City Government financed) Helsinki based on electronic validation and This area also covers the vicinity of Tartu community, entrepreneurs and the city. project Emajõgi – the Birth and Death Helsinki international airport has direct route, Tartu would also require regular mobile positioning data. The aim of the Railway Station, also used for exhibitions The deal must be completed by the end of Tartu (open air exhibition) will also connections to nearly 130 destinations plane connections to Riga and prefera- reform is to update bus routes to match and cultural events. The literary insti- of 2018. Even a rabbit decided to buy a take place by and on the river. all over the world. bly also to Stockholm. contemporary needs. Also, in 2019-2029, tutions have the experience of jointly bit of the the building in order to sup- 64 new low-floor buses running on envi- organising the annual literary festivals port an independent theatre in Tartu… Toomemägi is situated in the very heart The main Estonian international But with Southern Estonia’s population ronmentally friendly methane gas will be – but they also used to run Vanemuise The venue can be used for smaller gigs of Tartu. We plan to revitalise the whole airport is situated in the capital city being only around 300,000 people and introduced. Culture Street network and festival, and literary events, just as Genialistide historic area, make it more attractive Tallinn. It has direct flights to and from the region lacking international part- casualty not just of the economic crisis Klubi in the same quarter; both have and accessible both for locals and tour- 40 destinations in Europe. Tallinn air- nerships, opening new routes is consid- If buses are not your taste, we have of the late 2000s but also of the some- plans for furnishing new rehearsal ists through Toomemägi Revisited. port is connected to Tartu by quality ered a big financial risk by airlines. A real nearly 500 registered taxi drivers waiting what rundown and traffic-heavy char- rooms. The Elektriteater art house cin- coach service at affordable prices. strong kickstart is needed to encourage for your call. acter of the street itself. The network is ema which currently presents its pro- Both areas are heavily on the radar of There are around 30 daily departures launching new destinations. A lasting going to be revived by 2024 to make use gramme on the university premises is Curated Biodiversity programme of from Tallinn airport to Tartu bus station. breakthrough could be achieved here in Discovering Southern Estonia – by of the renewed public space, involving looking out for a three-hall cinema of gardening the green areas of the city. The trip is a little less than 200 km long cooperation with Tartu being in the spot- car, bus, train, bike or on foot and it takes about 2 hours. You can get light as the European Capital of Culture. to Tartu also by using modern trains. Tartu as the regional centre has good There is a station near Tallinn airport Discovering Tartu on foot or on bike bus service to surrounding county cap- with 10 daily departures to Tartu. Your itals as well as countryside. Bus trips trip takes around 2 hours. We highly recommend discovering to the characteristic towns of Viljandi, Tartu either on foot or on a bike. Tartu Valga, Põlva or Võru take a little over an In order to reduce travel time, the is a compact university city. Some have hour. Also modern trains take citizens, Government of Estonia will invest even used the metaphor „campus” visitors or hikers alike from Tartu to cen- 161,700,000€ of state and EU funds to for the whole territory of Tartu. Nearly tres and villages in the counties of Valga improve highway and railroad connec- everything is within walking distance or and Põlva. tions between Tartu and Tallinn. The a bicycle ride – it takes just about 10-15 funding is indicated in the state Budget cycling minutes from the centre to most The region included in our bid, Southern Strategy 2019-2022 and the construc- of the city’s neighbourhoods. Estonia, is all within 100 km from Tartu. tion will take place in the same period. Therefore, good public transport and Discovering Tartu by bus motorway connections make it possi- There is also coach service from Riga ble to effectively include the cultural international airport (Latvia) to Tartu Public transport information is easily towns and communes around Tartu to with four daily departures. This 260 km accessible also to international visitors. our European Capital of Culture bid. bus ride takes about 4 hours and 30 Major bus stops have real-time elec- Also, Tartu is connected to the European Rabbit Villu is listed among the supporters of Tartu Uus Teater's record breaking minutes. Riga airport has around 100 tronic timetables in addition to maps long-distance cycle networks, for exam- crowdfunding campaign which is on the verge of raising 335,000€ in a year. flight destinations. and plans. Also, city bus information in ple route 11 on Eurovelo. 60 Q37 Q37 61 Accommodation There are 25 hotels and hostels in Tartu in addition to a number of guest apartments, airbnb and traditional B&B establishments. Altogether, the city has approximately 1,400 rooms with 3,200 beds in accommodation establishments. In Southern Estonia, there are altogether 5,100 rooms with 13,400 beds. There are four major 4-star and five major 3-star hotels in Tartu, most of them situated in the city centre. Considering that there were few international tour- ists in the Soviet period 1945-1991, Tartu’s accommodation infrastructure and service quality have developed rap- Currently one third of Tartu overnight interest to expand Tartu’s accommoda- idly thereafter. The City’s current accom- stays take place in the three summer tion infrastructure if the city is awarded modation capacity is optimal consider- months of June, July and August. the title European Capital of Culture. ing seasonal fluctuations, but is almost Expansion is considered possible both fully used during biggest annual cultural Having consulted local tourism entre- with a view to time frame and in finan- and business events. preneurs we can report that there is cial terms. and one of the flagship institutions for own harbour with the shipyard and 700 Tartu City Museum the UNESCO City of Literature. square metres building area for tradi- tional boats. The project is co-funded Tartu Toy Museum We expect the issue to be solved by the by the cross border cooperation with Q38 new multifunctional Cultural Centre Russia, Common Peipsi 2 and is meant Tartu Public Library In terms of cultural, urban and in the heart of the city, intended as the to develop tourism and business poten- „living room” of the city, open to pub- tial of the border region, to contribute to Music schools tourism infrastructure what are lic access and providing a platform for the protection and improvement of the the projects (including renovation different events, discussions and mak- transboundary Lake Peipus. Anne Youth Centre erlabs. Its completion is also one of the projects) that your city plan to most cogent promises in the current Meanwhile, as indicated in Q18, we are Tamme football stadium carry out in connection with the coalition treaty between the ruling par- acutely aware that today most of Tartu’s ties; however, the exact timeline and cultural infrastructure is difficult to Annemõisa football indoor European Capital of Culture action budget are still being negotiated. access for people with physical disa- hall and stadium between now and the year of the title? The brand new Tartu sign-posting sys- bilities. We believe that the ECoC pro- cess and the well articulated challenge A. Le Coq sports centre tem will be implemented especially to in this matter will bring on the change, support discovering the city on foot and with cultural institutions making invest- But schools are where it’s really at Promoting car-free mobility and acces- In line with these aims, in 2021-22 the by bike. It is expected to be complete by ments into providing this long-in-de- for the city in making Arts of Survival sibility, the city has made it one of its city will reconstruct the Vanemuise the end of 2018. However, every good mand access.    succeed and Tartu thrive in and priorities to reconstruct walkways and street from the city centre towards signage needs some settling time. By beyond 2024. A focal strategic invest- add bicycle lanes in the coming years. the railway station, also to add bicy- 2024 we hope to have perfected it, so Other city investments in infrastruc- ment in Tartu for the coming decade is The ultimate goal is to have 100 km of cle lanes. This is of vital importance that the cityscape can provide a wealth tural developments for the coming years to renovate all schools as contempo- bicycle and pedestrian road. to Tartu cultural infrastructure as of cultural routes for permanent and involve the following institutions: rary and technically advanced learn- Vanemuise is the high street of arts temporary Tartuvians alike. ing spaces supporting a wide range of Although the first „bicycle enthusiasts’ (Q37a). Tartu Science Park cultural activities. club” was found in Tartu back in 1888, Reviving the cultural significance of we have lacked the public bicycle Both Tartu Art Museum (Tartmus) and Emajõgi River is in part facilitated by a Tartu Centre for Creative Industries A pioneer in the programme, Raatuse rental system to this day. In the spring the Tartu Public Library have been major infrastructure project for 2019- school building in the long marginal- of 2019, it will be in action and we expect longing for their own up-to-date space 2022. The Lodjakoda NGO is one of the Tartu Railway Station ised Ülejõe district, was re-opened this it to come into extensive use for ECoC for decades. Tartmus with its collection leading operators of the river, taking year with a hi-tech hall for concerts and guests in 2024. To start with, there will is currently divided between several care of the survival of the shipbuild- Former Estonian National Museum drama as well as diverse sporting facil- be 600 bicycles (200 electric, 400 ordi- buildings, but none of them is meant ing tradition along with promoting the ities. What we do for our children, their nary bikes), with 60 parking areas. The for exhibiting art in contemporary ways. environmentally sustainable lifestyle main building (to be reconstructed will to learn, create and take action, will goal is to have 10,000 regular users. The The same goes for the Public Library and running the floating club space as folk arts/leisure societies/elderly define tomorrow’s Tartu and our share sites for bike rental stations were picked that has its demands for the activities Sisevete Saatkond (Inland Waterways people’s clubs centre) in 21st century Europe. electronically by citizens themselves. of 21st century as a public institution Embassy). It is now about to have its 62 Q37/38 Q38 63  Pre-selection stage bid book, 2018 The applicant Photos by Tartu City Government in partnership with Jane East (inside of the cover) 19 Southern Estonian municipalities Kiur Kaasik (page 2, 5, 6, 13, 15, 17, 24, 25, 26-27, 29, 39, 42) Gabriela Liivamägi (page 9, 12, 44, 48, 55, 56) Tartu 2024 European Capital of Culture Candidate City team Krista Palm (page 11, 35, 38, 44, 57) Jaak Kikas (page 34, 43) Erni Kask Taavi Muide (page 45, 51) Merje Laimets Kristjan Teedema (page 33, 54) Kalle Paas Heikki Leis (page 15, 30, 31, 47) Berk Vaher Veljo Lamp (page 17) Maris Savik (page 20 13) Special thanks to contributors of the Kalle Paalits (page 56, 58) content of this project: Ahto Sooaru (page 40) Kerly Ilves (page 41) Tarmo Haud (page 58, 59) Oliver Kuusk (page 37, 54) Marek Metslaid (page 20) Tiit Grihin (page 22-23, 52-53) Printed by Caser Print Agency Published by Tartu City Government Department of Culture Design by Martin Rästa, Baas Design Useful links Tartu 2024 pre-selection visual identity by www.tartu2024.ee www.facebook.com/tartu2024 Jakob Päll, Zhakoop www.instagram.com/tartu2024 CONNECTING CULTURES, FUTURE ISLAND Capital of Culture 2024. Application  CONTENTS Preselection questionnaire 3 INTRODUCTION – General considerations 1. Promoting long-term strategies 8 2. Cultural and artistic content 14 3. European dimension 24 4. Outreach 27 5. Organisation 34 6. Capacity to deliver 40 2 INTRODUCTION – General considerations 1. Why does your city wish to take part in the competition for the title of European Capital of Culture? SMALL CITY – BIG DREAM The title of European Capital of Culture would give us the responsibility and obligation to work towards integrated development of Saaremaa. The deve- lopment focuses on culture and its goals have been presented in Saaremaa’s development plan until 2030. Kuressaare’s competing for and winning the title of Capital of Culture 2024 has invaluable importance in developing the city, making it more known, and bringing the local businesses and culture in front of wider audiences and into Europe. It will give us an opportunity to interpret what it means to be an islander and what our identity in the modern world is. We find that the locals currently have a lot of potential for change and being hands-on; we wish to put that to work. 3  SMALL ISLAND IN EUROPE – THE LARGEST ISLAND IN ESTONIA Kuressaare is located on Saaremaa, an island with unique and distinctive cul- ture – it is the largest of the 2,222 islands in Estonia. For centuries, Kuressaare has been observed and admired from a distance. Thanks to being an island, our culture is very rich. Saaremaa has pristine and untouched nature – for 28 years, we have been part of the UNESCO biosphere program. Our islands are UNESCO islands, meaning that the West Estonian archipelago belongs in the network of the global UNESCO programme ‘Man and Biosphere’ (MaB). Only areas that conform to certain conditions are acknowledged by UN- ESCO. The way of life on our islands is unique. For hundreds of years, islanders have been living in harmony with the nature, putting local resources into use reasonably. Sustainable lifestyle is second nature to people who live on an island. We strive towards being an environmentally friendly green island, where the use of renewable energy is promoted and clean forms of life are created both for the current and future generations, also including the urban environment. Everybody feels good and secure on Saaremaa – it is the safest area in Estonia. 2. Does your city plan to involve its surrounding area? Explain this choice. Kuressaare is a part of Saaremaa – it is its capital. At the same time, it is never apart from its surroundings. In 2017, rural municipalities were joined in Saa- remaa, uniting 11 rural municipalities and 1 city into one. Nothing like this has ever been done before in Estonia – the biggest merging, the largest local government, the greatest cooperation. And all this on one big island. The entire island will participate in carrying out and organising the events of Capital of Culture 2024. Everything is connected. All the islands in West Esto- nia are part of the UNESCO biosphere – this unites us and creates the perfect ground for cooperation. We will therefore also involve the islands by the West coast of Estonia – Muhu, Hiiumaa, Ruhnu. We would also involve the surrounding islands in the Baltic Sea that have co- operated with us over the centuries in both good times and bad and whose cultural impact has influenced our current identity and culture. The reason for involvement – our shared history and a lifestyle that is sustainable and closely related to the sea. We also enable the smaller islands to come along with us and give new meaning to their identity. Capital of Culture 2024 means cooperation on the international, regional, and com- munity level. The cultural programme Kuressaare 2024 would be organised on Saaremaa and other involved regions to allow the visitors to fully enjoy our pristine nature – the green island, junipers, the sea, and birdsong – and truly feel that they are in harmony with the nature. Everything that we are so proud of on our island and that is becoming unique in the rapidly moving and urbanising Europe. 4 3. Explain briefly the overall cultural profile of your city. SMALL CITY – GREAT STORY Kuressaare is at the meeting point of many different winds – strong natural, political, as well as cultural winds. The history of Kuressaare is closely in- tertwined with the history of Europe. People from all over have sailed to our shores – among others, Vikings from the Northern border of Europe and ex- plorers from Europe’s Southern border. In the 13th – 14th century, Kuressaare is thought to have hosted an ancient har- bour that joined all the most important waterways in this area. Throughout history, Kuressaare has been under many different rulers, who have all left us their history, strengths, weaknesses, and blood. Each one was unique, and these influences can still be felt today. The history can be divid- ed into periods. From the time of the ancient Vikings on, it can be divided by rulers into the Bishop Era (approximately 1340–1559), Danish Era (1559–1645), Swedish Era (1645–1721), Russian Era (1721–1918), and finally Independent Es- tonian Era (starting from 1918). Historically, Kuressaare was known by its German name Arensburg, which was used in both spoken and written word simultaneously with the Esto- nian name Kuresaar (starting from 1933, Kuressaare). Most of the Soviet time (15 May 1952 – 23 June 1988), the city was called Kingissepa after the Bolshevik revolutionary Viktor Kingissepp, who came from Saaremaa. Kuressaare’s cultural and literary history was founded by the Baltic Germans in the 16th century. The first books and chronicles were published at that time. The first notes about theatre productions in Saaremaa come from the last quar- ter of the 18th century and this is also when the first school drama group was founded. First reports of visual arts originate from the beginning of the 19th century. Thanks to the large number of buildings in the so-called Saaremaa classicism style, the Kuressaare Old Town was placed under state protection in 1973 and is known today as the Kuressaare heritage conservation area. Political changes have placed Saaremaa under the control of various leaders over the centuries and this has made a significant impact on our heritage as well as cultural history. SMALL CITY – GREAT HERITAGE Coming to Kuressaare is connected to our peculiarity as an island. In order for a visitor to come to the island, they must ‘push themselves free’ from the main- land – the island can mainly be accessed by water. This kind of isolation has allowed us to maintain the authenticity of our culture that is mainly expressed by our language and folk culture, as the sea works both as a unifier and separa- tor. Our cultural background – a combination of being an island, the people, and the natural environment – is the reason we are part of the UNESCO heritage. 5  An islander without the sea is like a fish out of water. Kuressaare is a city of the sea and the sea is not only a vital source of income for its people, but also an important companion in our history. The origin story of Kuressaare and Saaremaa began with the legend of Ultima Thule, an island representing the limits of human abilities. In the 4th century BC, the explorer and traveller Pytheas named the northern- most point of the world – a mystical island called Ultima Thule, where he spent at least a year and where the locals showed him a place the Sun had gone to sleep in. Here, he ate the local food and enjoyed a beverage brewed of hon- ey and bread – a recipe that is still known today. Estonian president Lennart Meri and Dr Raul Talvik are convinced that Ultima Thule is Saaremaa and have also stated this in their books Hõbevalge and Teekond Maailma Ääreni. The exist- ing urban environment promotes the development of comprehensive cultural fields and artists and the introduction of more innovative forms of culture. SMALL CITY – LARGE COMMUNITY The independent islanders are used to doing things on their own. The prepara- tion process for the Capital of Culture already showed that working towards a common goal that includes the entire island requires changes – we must bring together different generations and stakeholders. 6 One of the most important goals in applying for the title of Capital of Culture is to unite and involve the community to avoid exclusion and increase social cohesion by tackling problems together. Only recently have we begun to notice and feel greater preparedness for coop- eration and contribution into the society. This shows great potential for mov- ing forward. One good example is the cooperation club Koostööklubi, which was founded by a couple of people to unite the people living in the city and support those who have moved to the island. One prominent idea is mapping the city’s sore points and shortcomings, giving all members the possibility of being included in discussing their city’s plans for the future. Koostööklubi joins active people of Saaremaa, who are willing to contribute their time, ener- gy, and competencies in joint activities that are aimed at stimulating the local social life and contributing to making our lovely island even more attractive. This gave rise to the establishment of various leading stakeholders that initi- ated focus on healthy school food, the sustainable lifestyle festival Hoolides Homsest, NOM Festival aimed at women’s health and well-being, Kuressaare Street Festival, the Coworking Space, development of sports facilities, etc. As a separate goal, we would also like to emphasise the foundation of the Inclusive Education Centre, which is unique in the entire world. One of the most import- ant priorities is supporting diversity and individualism. We put in the effort, as a common goal and becoming aware of problems strengthens integration and solidarity, increases cooperation and communi- cation, and creates great opportunities for a more diverse living environment for the locals, newcomers, and visitors. 4. Explain the concept of the programme which would be launched if the city was designated as European Capital of Culture. EXPLORATION TO THE EDGE OF THE WORLD SEARCHING FOR FUTURISM & NEW WAVE IN KURESSAARE SMILE – YOU ARE INVITED TO THE FUTURE ISLAND In mythical stories, Saaremaa has been known as the end of the world, but it has always been the beginning of the world for the people who live here. The Greek explorer and philosopher Pytheas called Saaremaa Ultima Thule – a place outside the known world. The mystical and mythical Ultima Thule has been the oldest mystery of the Western culture and an incomprehensible destination for centuries. In today’s sense, Saaremaa is neither the beginning nor the end of the world. Today, we are at the centre of Europe (when the most remote islands of Europe are also considered, the centre of Europe would be located on Saaremaa, in Mõnnuste village, 58°18′14″N 22°16′44″E). 7  However, Kuressaare does not want to be the mere geographical centre of Eu- rope, but also the cultural centre. The role of a cultural centre would help us to give meaning to our cultural individuality and importance in the current world. It is as if the current and forward-looking Kuressaare is standing on the edge of the ‘New Wave’ movement, searching for its place through community activism. Two years ago, the initiative and idea of a couple of people to involve people from both the city and countryside led to the foundation of Koostööklu- bi, an association that unites entrepreneurs. The strength of being an island – isolation and limited opportunities – motivates us to do things locally. Getting caught in stereotypes is a weakness. The aim of the cultural programme is to give Kuressaare and the entire region back the belief in themselves and their strengths to allow the cultural unique- ness and identity to be born again and allow us to become a modern future island. Our hectic past and the rapid years of restoration of independence have made us neglect combining art and society, but the need for art and redefini- tion of the society is acute. Our goal is to give the future people freedom of self-identification in a society that is inclusive and open to creativity. Our goal is to make people all over Europe smile when they hear about us. The challenge of the cultural programme: we will produce our future dreams and establish traditions together, creating success stories that will bring joy to future generations. The smiles on their faces will make our today’s production journey successful. The biggest challenge is extending the season, creating cultural content all year round / opportunities related to infrastructure that would enable long- term creation of cultural and artistic content, involving young people who are shaping our future history. Transforming Kuressaare and Saaremaa into a modern cultural island. The application process allows us to tackle challenges such as low wages, lack of jobs requiring higher education, marginalisation, involvement of people with disabilities, emigration, and nature preservation. 1. Promoting long-term strategies Describe the cultural strategy that is in place in your city at the time of the application, including the plans for sustaining the cultural activities beyond the year of the title. In its strategic view, Kuressaare acts pursuant to the strategic planning frame- work of the Saaremaa rural municipality (acting as the local government). Kuressaare is included in the new development plan of the Saaremaa rural municipality for 2019–2030 and this document can therefore be referred to as Kuressaare’s development document in the field of culture. The development plan describes the current situation by different fields and sets goals for 2030. Therefore, the development trends provided in our new development plan can form the basis for preparing and carrying out the ECOC year and continuing the cultural activities after that year. 8 The main development trends and values of the Saaremaa rural municipality, including Kuressaare, were discussed during spring and summer 2018. Over the course of this, a gathering of ideas was organised to involve the residents of Saaremaa and people who are interested in Saaremaa’s development on a wider scale. A working group was formed to prepare a cultural strategy and that work- ing group formulated the main goals, measures, and activities for 2019–2030. The general vision prescribed in the development plan provides a strategic guideline for the cultural sector of Kuressaare and all of Saaremaa as a region: Saaremaa is an island open to innovations, preserving traditions, with a safe and pristine living environment, connected via sea and sky and with a strong community. General strategic coals of Kuressaare city for 2030: 1. Kuressaare is a city with a viable community. 2. Kuressaare is an attractive city in the island’s, Estonian, and global context. 3. Kuressaare has enterprising people, a competing economic environment with secure and fast connections, and great conditions for innovative entre- preneurship and teleworking. 4. Kuressaare is an internationally known sea and resort city. 5. Kuressaare has active and modern cultural and athletic life that has been integrated into our traditions. 6. Kuressaare is a children and youth-friendly city for the whole family that offers diverse education and career options. 7. Kuressaare has a well-developed silver economy aimed at the elderly as well as health services accessible for everyone. 8. Kuressaare has a well-functioning urban space and strategic planning that follows trends. A well-functioning heart of the city will remain the centre of the urban space: the city centre is an attractive service and commercial area that favours movement on foot or by bike. Culture and sports allow creating significant added value in regional develop- ment, tourism, as well as entrepreneurship. The image of different areas is often related to the culture or athletic life in the specific region; the local cultural back- ground also affects the motivation of residents to stay in an area or leave it. Using the opportunities offered by sports and culture therefore mitigates several risks related to regional development. The island is a place people want to visit and its positive image leads to an inviting and pleasant impression that creates the opportunity to develop cultural and sports tourism. The goal of Estonia’s cultural policy is to shape a society that values creativity by maintaining and promot- ing Estonia’s national identity, researching, storing, and spreading the cultural memory, and creating favourable conditions for developing a viable, open, and diverse cultural space, and participating in the culture. Saaremaa is known for its distinctive heritage and the islanders are known for their roots that are deeply connected with the island. Folk culture creates opportunities for future genera- tions of different fields of culture and inspires people to take active part in the cultural processes. The heritage, traditional clothing, dances, songs, and beliefs 9  of the local parishes are all part of the culture that is also supported and valued by the vision of the united Saaremaa rural municipality. Saaremaa has a rich cultural and natural heritage and preserving and protecting this is important for both the current and future generations. It is important to emphasise nature as a cultural value. Culture and sports can be used to draw at- tention to preserving its viability. One of the cultural strategic goals for 2030 of Kuressaare and the entire Saaremaa rural municipality is: year-round active and diverse cultural and athletic life that offers participation options for both the local residents and visitors of Saaremaa. This goal has the following sub-goals: • supporting international cooperation in the fields of culture and sports and implementation of joint projects • supporting cultural tourism and creative industries by developing the neces- sary infrastructure • national and international big events are organised in Saaremaa. Pursuant to the aforementioned goals and sub-goals, it is evident the cultural strategy of Kuressaare and, on a wider scale, the entire region is directly aimed at the international aspect and development of the necessary infrastructure. Both the central government (the state) and the private sector have been involved in renovating and creating a new cultural infrastructure. The development trends of Saaremaa also include emphasis on international cooperation and increase of the relevant contacts, and network participation in all different areas of the local government. We find that it is very important to learn from the experiences of others and, at the same time, empower others through our previous experiences. Although we believe we still have a lot to learn from Europe, Europe can also learn from us. As one outlet, we see coop- eration with the Austrian city Baden am Wien. For this, we have planned the implementation of several cooperation projects in the phase of applying for the title of Capital of Culture. The main goal of the strategy is the well-being of the residents and competitive- ness of Saaremaa. The current identity of Kuressaare is based on the following keywords: safe, green, pristine, calm, children-friendly, family-centred, unique, health-conscious, small and compact, a resort town on an island, well-managed, with good recreational opportunities, historically valuable, open to visitors, with good athletic opportunities and persistent cultural life (theatre, cinema, summer events); its symbols are the Episcopal Castle and the Old Town. The vision provides that all of the values mentioned have been maintained and very clearly communicated by 2030. New innovative values have also been add- ed. The cultural reputation of Kuressaare has been modernised and Kuressaare is known as a small town with the most vivid and modern cultural life in Estonia. We have involved artists who have roots on the island to ensure a constant display of the newest trends in Kuressaare (in the form of concerts, exhibitions, actions, meetings, quick lectures, installations, street art, etc.). Cultural and sports activ- 10 ities allow creating significant added value in regional development, tourism, as well as entrepreneurship; the local cultural space also affects the residents’ mo- tivation in remaining in an area or leaving it and developing the tourism sector. Describe the city’s plans to strengthen the capacity of the cultural and cre- ative sectors, including through the development of long-term links between these sectors and the economic and social sectors in your city. The focus of the development trends of Saaremaa as a region and particularly Kuressaare is on ensuring a balanced development of various fields. Several sub-goals and activities of the cultural strategy are aimed at strengthening the capacity of the cultural and creative sectors to increase the competence and motivation of the workers in that sector, as well as bring possible new workers into the region. The capacity of the cultural and creative sector can be increased with the fol- lowing: 1) Organisation of seminars, trainings, conferences, study visits, and workshops; 2) Active cooperation between sectors, including international active coordina- tion in organising the cultural and athletic life; 3) Events are held and new initiatives created through the cooperation of vari- ous institutions and generations; 4) New cultural infrastructure objects are established in cooperation with the private sector. In applying for the title of the Capital of Culture, Kuressaare also sees oppor- tunities for implementing its concept of creative industries more than previ- ously – there have been attempts at founding a new Creative Centre, but these have not proven to be sustainable. We also wish to learn from the experiences of the previous Capitals of Culture. For us, it is of utmost importance to better integrate the cultural and also the creative sector with the economic sector – how to achieve greater synergy and economic benefits for both parties through e.g. product development and mar- keting. Discussions should be continued with different parties in this field. Here, culture can be interpreted as both folk culture and innovative culture trends. From the viewpoint of integration with the social sector, we see a clear oppor- tunity to use the application for the Capital of Culture title as means for com- bating social exclusion. Applying for the title of the Capital of Culture enables us to plan cultural events in a manner that includes people who have been left out of the cultural scene for various reasons. How is the European Capital of Culture action included in this strategy? Pursuant to the vision of the rural municipality’s development plans, one of our main principles in becoming the European Capital of Culture is joining the old and the new in a reasonably balanced way. In addition, our title year concept places emphasis on connections – both in the direct (infrastructure) and indirect (mental) sense. Therefore, the general focus and more exact de- 11  velopment trends of our new development plan to further the development of Kuressaare and its cultural sector are directly related to the values and goals that form the basis for the title of the Capital of Culture. With relation to the Capital of Culture action, it is important for Kuressaare as a city to see that the use of its urban space by both locals and visitors has im- proved. The development of Kuressaare as a city in the sense of spatial plan- ning requires more emphasis on improving accessibility and creating leisure facilities. The Capital of Culture action helps Kuressaare to discover and ex- ploit places in its urban space that have not been sufficiently used before. For example, renovating the entire town square (ends in 2019) helps to better uti- lise the urban space by uniting a larger number of people who find motivation to come out of their homes and socialise more. If your city is awarded the title of European Capital of Culture, what do you think would be the long-term cultural, social, and economic impact on the city (including in terms of urban development)? One of the biggest challenges for Saaremaa as a whole is stopping the popula- tion decrease and veering it towards an increase. For the cultural and sports sectors, it is to decrease seasonality and diversify the cultural and athletic life across the entire island. Relevant political developments in Kuressaare can start a new trend in the entire region’s development. Until now, approaches towards sports and culture have varied in the different areas of the Kuressaare rural municipality due to local traditions and peculiar- ities. In the fall of 2018, the procedure for applying for operating and project grants aimed at non-profit associations was implemented, creating a unified and concise system. A procedure for awarding grants and recognition will also be implemented, making the application process clearer and more transpar- ent. Saaremaa has also received project-based additional resources from both the state and the European Union funding programmes. We need to continue cooperating with the private sector to organise high culture and sports events and ensure opportunities for carrying out activities promot- ing folk culture and amateur sports by the third sector. Several important infra- structures have been built and renovated, new cultural and athletic events have been initiated and organised, and new sports teams have been put together in cooperation with local entrepreneurs and non-government organisations. The following can be highlighted as long-term effects: Cultural impact • Initiation of new international cultural events, including outside the tour- ist season; launching new regularly held events (e.g. festivals) that would help to make the current cultural events that Kuressaare is known for more diverse. • Passing the skills and experiences of carrying out international projects on to the local representatives of the cultural sector (including representa- tives of the third and private sector); 12 • Establishing contacts and cooperation with various international parties. Social impact • Opportunities for including the residents of the rural municipality (includ- ing children and young people) – projects and festivals stemming from cit- izen initiatives, increased sense of community. • Decreasing social exclusion, bringing more people out of their homes to participate in various cultural events. Economic impact • Image building – for different stakeholders inside and outside Estonia who would (once again) be interested in Saaremaa thanks to the renewed mes- sages and visuals. • Increase in domestic and foreign tourism – a certain increase in the num- ber of tourists can already be predicted during the application process. Tourists across the world are searching for new undiscovered destinations without mass tourism and Saaremaa has potential for this. • Stimulation of the economy – increase in the revenue of all service provid- ers (hotels, restaurants, beauty services, and other accompanying services). Also creating new habits for locals to use, for example, catering services outside their homes. Establishment of possible new services (catering, ac- commodation). • New or renovated buildings / objects of infrastructure – more interest in the private sector to invest; private sector objects being developed/built can be tied to the advertisement campaign. Potential opportunity to apply for different grants for new objects (basis for referring to their importance). Development of the urban environment. • Devising and implementing long-term urban space development, using ob- jects of infrastructure (renovated town square) and the accessibility aspect. Outline briefly the plans for monitoring and evaluation. The resources required for carrying out the development plan are devised in the budgeting strategy of the Saaremaa rural municipality. The goal of this strategy is to ensure a sustainable budgeting policy for the rural municipality that combines meeting the development plan’s strategic coals with existing resources and ensures stable development through realistic planning. Specific resources for implementing the development plan are provided in the rural municipality’s budget, which is prepared annually. Plans are also in place to include resources of the State, the private sector, and the non-profit sector, as well as structural funding of the European Union to achieve the goals provided in the development plan of Saaremaa rural municipality. Saaremaa’s develop- ment plan is reviewed annually and the goals and activities of at least the next four years are specified, if necessary. Each year, an overview of the implementation of the rural municipality’s de- velopment plan during the previous financial year is presented as part of the management report of the rural municipality’s annual report. 13  2. Cultural and artistic content The backbone of the cultural and artistic content is ‘search for futurism and the new wave’ based on legends of Kuressaare and Saaremaa. We will become people of the future, futurists, and trend setters. We will become modern explorers and philosophers, rediscovering our deepest roots, taking new journeys of discovery through the thousand-year-old stories to the present day. We will use this to create new narratives for future genera- tions. The Kuressaare and Saaremaa we see in 2024 will not be the distant and unreachable legend of Ultima Thule, but a valued modern cultural island for all who wish to visit or stay forever. There is a saying about Saaremaa ‘Seafarers arrive – seafarers exchange! We have been discovered, but we have also discovered new cultures. For centuries, ships have sailed to Kuressaare’s harbours, bringing skills and experiences from their homelands. By becoming the Capital of Culture, Kuressaare can create new history and new myths for future generations. We can rediscover our city. Explanation: Ultima Thule means a mysterious island far in the North, in the land of ice and snow, where the Sun never sets. 2000 years ago, the Ancient Greeks believed that the edge of the world is located there. In a metaphorical sense, Ultima Thule also means the limit of human abilities. Life is a journey to Ultima Thule, to the edge of the world. 14 We will reverse the end of the world theme. As the people of Saaremaa say, this is not the place where the world ends, but begins – the centre of Europe. The journey of discovery is our ‘production journey into the future’. We will produce a dream and establish a new tradition together which will become so successful, it will bring joy to future generations. We want to bring a smile on everyone’s face who ‘discovers’ Kuressaare. Their smile will make our today’s production journey successful. Explorers and philosophers – these are all the people of Saaremaa who dis- cuss, participate in, and carry out the topic of Capital of Culture. A modern voyage is much faster than it was centuries ago. The period leading up to applying for the title of Capital of Culture and becoming the Capital of Culture will give us an excellent opportunity to lengthen our voyage and allow us to observe the environment we live in. We will rediscover our island and contemplate what kind of land and culture we will leave for future generations. Searches for futurism in modern Saaremaa – we will be seeking anew how we want to see our city and island. The futurists of the 20th century admired advanc- es in technology and believed in the future. In arts, futurism means the introduc- tion of new art forms and this can metaphorically also be used to formulate the goals of the Capital of Culture. Futurism as an attempt towards innovation. ‘However, the future generations will likely not regard technological advances with naïve enthusiasm that wants to wipe out all previous experiences and we will probably soon start seeing signs of, for example, some kind of humanism of the digital age. Extract from Janek Kraavi’s article ‘Postmodernism – samm ta- gasi’ (Postmodernism – a Step Backwards) from the cultural journal Vikerkaar. In our meaning, the search for futurism is balanced with heritage. Here, tech- nical developments are outweighed by analysis and explanation of what is ac- tually happening in today’s world and how the people and community develop in enriching the island’s cultural space, involving modern solutions for artistic expressions. New Wave – movement in French cinematography, birth of punk bands, modern art, etc. In our meaning, the beginning of a new era; when taken separately, the words ‘wave’ and ‘new’ also hold a meaning in the island life. The word ‘new’ symbolises the energy of new people and their need to contrib- ute to the development and preservation of the island in today’s Kuressaare. The activation of civic society over the past few years and the new ideas and projects established as a result of this also formed the basis for gathering ideas for the Capital of Culture. It is also the opportunity and freedom to implement one’s ideas in all areas of life. The word ‘wave’ is the power that carries the locals forward. Waves can be pos- itive or negative, but they will definitely affect everyone who lives on an island. 15  Waves determine our lives in every sense of the word – it can take over you, wash treasures to the shore, or carry you forward. City and the entire region – Kuressaare is applying with Saaremaa and will in- volve most of the islands in West Estonia: Estonia’s smaller islands – Hiiumaa, Vormsi, Muhu, Ruhnu, Kihnu, and other regions and islands in the Baltic Sea. Global thinking – Kuressaare and Saaremaa as an eco-friendly island. One of the problems of rapidly urbanising areas is overpopulation and facing ecolog- ical disasters. Our challenge would be finding a balance between the city and nature without placing a burden on the existing resources and living in har- mony with the nature. We are making efforts to find substitutes for single-use plastic and general production of disposable objects. For over 28 years, the islands in West Estonia have been part of the UNESCO programme ‘Man and Biosphere’. The living environment that has been pre- served over centuries, unique traditions, and our hard-working and humorous people have been especially acknowledged because we have managed to live in harmony with the nature. Today, the UNESCO programme ‘Man and Biosphere’ invites more and more people to make the choices for a more sustainable lifestyle. To put it more sim- ply, people should choose a lifestyle that more resembles a longer voyage. Ev- eryone plays a part in whether our future generations can inherit the environ- ment that we enjoy today. The areas of the UNESCO biosphere are unique parts of the world where people can experience pristine nature, taste local naturally potent cuisine, and enjoy art inspired by nature. Our greatest symbolic values are a sustainable lifestyle, isolation from the mainland, connectivity, sea culture, and mythical history. Living on the island has taught us to survive on our own. Humans and the environment, preserved language. Today and in the future, we invite more and more people to make the choices for a more sustainable lifestyle. To put it more simply, people should choose a lifestyle that more resembles a longer voyage. Everyone plays a part in whether our future generations can inherit the environment that we enjoy today. Our weaknesses: people leaving – negative net migration, vulnerability, modes- ty in displaying our strengths, cooperation skills, development of cultural con- tent, islanders’ romanticism (speed versus laziness). We mainly lack strong and professional content creators. Although our heritage lives on in families, we need visionaries to spread it. Our strengths: preserved traditions, language, natural resources, people, hu- mour, adaptability, modern infrastructure, preserved cultural values, unique- ness, and a sustainable lifestyle. 16 People on the island live their everyday lives like they are sailing on a long voy- age. They must constantly keep an eye on the wind and weather and consider whether they brought enough food and water. The boat must have equipment that can bring them out of any situation. Nothing is thrown out if it can be recy- cled. Living on a boat is sustainable and thought through – there is nothing on a boat that does not belong there. Whether you live on an island or on a boat, you must be creative and use the resources available. You also have to know the sea – respect it rather than fear it. An islander knows when they should go into the woods and when out to the sea. Nothing happens just because; everything has a reason. Experience tells us to live so that there is something left for tomorrow. A sense of humour is part of an islander’s philosophy of life and culture. New ideas, movements, etc. URBAN SPACE DEVELOPMENT / FUTURE CITY Today, Kuressaare is a nice harbour city with a dignified history. With the emer- gence and expectations of a new generation, there is now a need for creating a more modern and urban cityscape. Although many innovations are underway (restoring the city centre), applying for the title of Capital of Culture inspires us to make our city more modern and convenient for people. We are facing new paradigms in the changing world. In the global sense, the problems of a small town are not as acute, but it is our duty to look into the future. Much like many other European cities, we are turning more attention to the urban space that will become the canvas for the new generation, allowing them to design a ‘liv- ing room’ best suitable for them. For this, we are planning to initiate an interna- tional competition for urban space experiments aimed at young architects and designers to favour the creation of attractive objects in the urban environment. We include people from as many stakeholders and social groups as possible (persons with special needs, socially excluded persons, etc.) in the development and creative processes. Initiating a discussion. We hope that the innovations will inspire the locals and visitors to use the urban space for leisure, enjoying the culture, and doing sports. The urban space becomes a meeting point that offers various opportunities for leisure activities and spending time together. Louis Kahn’s CENTRE OF MODERN ARTS – THE KAHN CENTRE Kuressaare dreams of a modern multi-purpose arts centre that is in the ‘open stage’ style. A place with a multi-functional centre for modern art, performanc- es, dance, and concerts. This would place Kuressaare in a bigger spotlight in Europe as well. Despite its active cultural scene and festivals, Kuressaare re- quires a big push and determination to actually create a presentable concert, art, and creative centre. We need a well-thought-out building to raise Kures- saare’s role from a small town to the status of a Capital of Culture. This big step would significantly increase the city’s capability for hosting guests and supporting and developing existing resources. 17  Louis Kahn is a world-renown architect with roots in Estonia. He was a man who favoured natural materials – concrete, bricks, and wood –, monumental designs, and a clean style. The U.S. architect Louis Isidore Kahn (born as Itze- Leib Schmuilowsky) was born on 5 March (20 February, according to the old calendar) 1901 in Kuressaare and died on 17 March 1974 in New York. YOUTH CULTURAL EXCHANGE With states and cities bearing the UNESCO label. In 2024, Kuressaare will orga- nise one international mini-seminar each month on the topics of sustainabil- ity, nature preservation, future society, etc. We will include young people from different European cities to participate in the discussion on how to maintain and preserve natural resources, how to achieve symbiosis between the city and countryside, and how to live in a future society. FILM FUND “ULTIMA THULE” The purpose of the film fund is to promote the creation of international pro- fessional audio-visual productions and bring investments to Saaremaa. The film fund is launched next year, and movies will have been made by 2024 that promote the development of cinematography on the island and include the local community in movie production. One of the goals of the film fund is also to support international film students, involving multimedia students from the Kuressaare Regional Training Centre and general education institutions. PIANO FESTIVAL “PIANO THULE” Building on the success story of piano manufacturing (Mihkel Salong’s piano factory) in Kuressaare, we will revive the magic of piano music. Piano concerts in the woods, people’s homes, public spaces, shopping centres, etc. The owner of the Estonia piano factory comes from the island of Vilsandi and the Estonia pianos have also been successful in Europe and rest of the world. ART BIENNIAL “FUTURE ULTIMA THULE” Reviving the Saaremaa Biennial helps to use art to bring down language bar- riers and understand interpersonal relations through visual expression. The most recent ‘new wave’ in Saaremaa took place in 1995. SILENT CONCERTS ‘AT THE EDGE OF THE WORLD’ At a time when technology is rapidly developing and fast channels for infor- mation exchange disturb our concentration, finding peace and balance is a great luxury. ‘Concert halls’ in the woods with an imaginary space where the only condition is that people sit amongst the nature and listen to it. We will include young architects in the forest concert hall project and their task will be designing 18 the ‘interior’ of the leisure areas and forest concert halls. The countryside’s proximity to the city allows to go and listen to nature’s ‘concerts’ at any time. RESIDENCY ISLAND FOR COMPOSERS We contribute to creating an international residency that would result in musi- cal compositions dedicated to our history and nature and use the most modern forms of expression. Our mentor will be the internationally known and recognised composer Tõnu Kõrvits, who has written the classical music piece Thule Eleegiad, inspired by the legend of Ultima Thule. SATELLITE ISLANDS PROGRAMME ‘DIGITAL VOYAGE’ We will include all of the islands close to us (Muhu, Hiiumaa, Ruhnu, Abruka, Vilsandi), who will create their own programme and cultural bridges across the sea during that year. The goal is to build ships together to keep old traditions alive and revive them with the use of the newest technologies. The programme involves shipbuilding students from the Kuressaare Maritime Academy and we will also invite students from other harbour cities in Europe. KURESSAARE STREET ART Kuressaare is home to talented and unique artists whose creative ideas need outlets. This is an exceptional opportunity to unite local artists, artists who have found work on the mainland, young design students from the Kuressaare Regional Training Centre, and creative children from the art school to carry out the project ‘Mina kujundan Kuressaaret’ (‘I Design Kuressaare’). During the entire year of the Capital of Culture, the streets of Kuressaare’s city centre will exhibit exciting sculptures, paintings, ceramics, and traditional handicraft. Art will also be awaiting us on the beach and in parks and cafés! Fine arts will get together with sound art – the project will include musicians from various music schools of Saaremaa, hiding inside and in between the sculptures and combining music with the visuals. The meeting and exhibition of artists and young musicians culminates with the Kuressaare Street Festival! SAAREMAA SYMPHONY ORCHESTRA Saaremaa’s very own professional orchestra was founded in 2017, formed by an experienced international conductor and a strong team to offer a consistent outlet for local musicians and enable the audience to enjoy culture all year round. The events of the Capital of Culture year will be joined by the Lääne- saarte Chamber Orchestra and music schools and amateur choirs from Saare- maa, inviting all musicians from Estonia and the Baltic Sea islands to join the international musical project ‘A Sea Symphony’. They will present R.V. Wil- liams’ A Sea Symphony for soprano, baritone, symphony orchestra, and choir. Young musicians alongside experienced artists, wonderful music, and an ex- perience that touches everyone’s soul. 19  JAZZ ORCHESTRA “THE ILLUMINATION” In the 21st century, Modern Classical and Jazz Music have grown nearly in- distinguishable from each other. Maria Faust and Erkki-Sven Tüür have each garnered respect and attention for their unique and inventive contributions to Jazz and Classical Music, respectively. It is only natural, that The Illumination Orchestra was created to combine their musical talents. Faust, the project’s cre- ative leader and musical arranger, will take Tüür´s musical works, and create a musical collage, taking listeners on a musical journey, to experience, that pres- ents the classical material in a modern jazz setting, featuring an all-star band of international acclaim. The project’s mission is to bring new attention and lis- teners to both Tüür and Faust’s signatures, as well as to strengthen the overlap between universes of Jazz and Modern Classical Music. The project has been created especially for Kuressaare’s tenure as the Cultural Capital of Europe, and will be presented in a limited live concert setting, starting from architecturally highly recognized post- modern Saare KEK building, a statue, in Kuressaare, to Tallinn, in coordination with Estonian biggest and most famous Jazz Festival- JazzKaar. The music will also be recorded in the studio, and released by CD-s and vinyyls to the general public already during the concert period. SOLSTICES There is no other place that celebrates the summer solstice (Midsummer Day) as much as Saaremaa. Each community house organises a traditional party that accepts everyone who wants to come. The winter solstice, however, has not received as much attention. A festival of light is held in Kuressaare on the winter solstice, making the light sing and dance. Light artists help to fill Kures- saare’s entire main streets with unique light installations, bringing light to the darkest time of the year and giving people hope that lighter times are ahead. This is accompanied by modern and classical dance and music. With that, we stand together in welcoming days that are starting to become longer again. What is the artistic vision and strategy for the cultural programme of the year? Artistic vision of Kuressaare’s cultural programme The artistic vision and strategy for the cultural programme of Kuressaare fo- cuses on intertwining the traditional with the futuristic, on joining the wis- dom of our ancestors, our clean and organic food and pristine nature with the possibilities of the modern society. As a result, our vision is to put nature in the leading role of our activities. Our goal is to use renewable energy in organising at least 50% of all concerts held. We can use bandstands that carry sound to the audience without using sound systems and create a connection between the people and the nature. We can use innovative means to demonstrate how it is possible to maintain contact with other living souls throughout history when you are isolated by the sea. In short, our strategy is related to our wish to maintain a sustainable attitude to- wards the future and avoid putting an excessive burden on the planet. We aim to 20 give, not take, meaning that applying for the title of Capital of Culture is a unique chance for us to show how we can and wish to be both pioneers in and spokes- men for achieving a balance in what we produce and how we do it. An important role in the strategy is played by young people involved in the project who want their actions to result in a better world and who are prepared to use the wisdom of our ancestors in making their contribution. The strategy cannot be summarised with a few sentences – it is a lifestyle of the people who live on an island. By 2024, Kuressaare has become a forward-thinking European city with a heri- tage-based cultural programme that has achieved a special position among all the cities of the world. Give a general overview of the structure of your cultural programme, including the range and diversity of the activities/main events that will mark the year. Structure of Kuressaare cultural programme The 2024 cultural programme covers a wide spectrum of cultural areas and art- ists. More than one thousand different events will take place both on the in- ternational and community level. International theatre, fine arts, and athletic competitions will be held, aimed at young people, minorities, and everyone else. Saaremaa has 31 libraries that preserve the culture and activities will also be organised in 17 community centres. Community centres are at the heart of the local cultural life – they organise hobby activities related to folk culture and traditional public events as well as screen movies. In addition, a network of clubhouses and village centres has been developed in Saaremaa, bringing cul- ture closer to the residents. Kuressaare forms Saaremaa’s cultural centre and many different cultural insti- tutions are located there. Kuressaare is home to the county’s only professional theatre – the Kuressaare City Theatre. A big part of their repertoire consists of Estonian dramaturgy – mainly incorporating local themes and staging plays and literary material of local authors. Starting from 2019, the theatre, will act as a foundation, allowing it to continue the regular production of own, joint and project-based productions on their home stage and in other theatres. Kures- saare’s cultural centre and the county’s central library are the biggest cultur- al institutions of the rural municipality. In addition to the institutions man- aged by the local government, the private sector is founding the Saare KEK (Kena Elamuse Keskus), centre for alternative history Hõbevalge, and theme park WOW! The new centres will create competition in the local cultural scene, while widening the possibilities and opportunities of the consumers. Fine arts play an important role in the culture and this will be preserved in the centre for modern art, the Islander Centre. The Saaremaa Museum that includes the Saare Archival Library, Johannes and Joosep Aavik’s Memorial Museum, Mihkli Farm Museum, and the symbolically significant Kuressaare Castle will also continue its activity and will be developed. 70,000–80,000 peo- ple visit the castle annually. 21  The possibilities for participating in cultural and sports events have increased. Compared to previous times, more high-quality events are offered: concert series of Eesti Kontsert, Opera Days, Chamber Music Days, performances of professional theatres (including the Kuressaare City Theatre), screenings of arthouse films, concerts of Suvemuusika and Kuursaal, Saaremaa Rally, Saare- maa Three-Day Running Marathon, Saaremaa Cycling Tour, tennis tournament Saaremaa Open, as well as several recognised national competition series and tournaments. In 2008, the organisation of the year-round fitness series Lii- kudes Tervemaks was initiated. The Kuresaare City Theatre is again staging regular plays and has earned a good reputation and the audience’s trust. In order to make the cinema scene more diverse, the Theatre Cinema started reg- ular activity in the Kuressaare City Theatre in 2012, Kuressaare Black Nights Film Festival is held since 2018, and the Kuressaare Kuursaal has an outdoor cinema during the summer. The gallery Raegalerii, the Castle, and several oth- er public galleries regularly hold arts exhibitions in Kuressaare. The central library of Saare County has adapted various modules of the library programme Riks, including an electronic catalogue with borrowing and county-wide elec- tronic catalogue, and created electronic databases for regional studies. Of large events held on Kuressaare, the Saaremaa Opera Days (organised by Ees- ti Kontsert since 2008), Kuressaare Chamber Music Days, Kuressaare Maritime Festival, Saaremaa Rally, Saaremaa Cycling Tour, tennis tournament Saaremaa Open, and Saaremaa Three-Day Running Marathon have been developed and have achieved international recognition. Traditional folk events are equally im- portant: Suvemuusika, literary festival Meretagune Asi, Pärimuskultuuri Suvi, PÖFF, festival of animated films, the city run, etc., as well as the association Saaremaa Saarte Mängude Assotsiatsioon, the city’s representative teams and sports clubs; a grant fund was established for leaders of traditional culture. The activities of the Kuressaare Music School, Kuressaare Art School, Saare- maa Sports School, and other children and youth schools in the fields of arts and sports are aimed at children and young people. Traditional events organ- ised by the community and entrepreneurs include the Sustainable Lifestyle Festival, Kuressaare Street Festival, experience festival I Land Sound, concert venue Triigi Philharmonic, and future music festival Juu Jääb. Explain succinctly how the cultural programme will combine local cultural heritage and traditional art forms with new, innovative, and experimental cultural expressions. Youth self-expression project ‘HERITAGE GENERATIONS’, DIGITAL HERITAGE In order to reach new, innovative, and experimental cultural expressions, we must create a bridge between those passing on the heritage and the new gen- eration. In cooperation with the educational staff and Saaremaa Museum, we will initiate a heritage project between generations. We will involve pupils whose task will be researching and preserving heritage (everyday life, language, traditions, marine lifestyle, etc.) under the leadership of teachers and creating new innovative projects based on this. Meanwhile, 22 everyone can freely choose their own modern form of expression (fashion, de- sign, architecture, visual arts, audio-video, etc.) ‘Heritage Generations’ is an idea competition with the purpose of maintaining the unique culture of the islands of the Baltic Sea and tell this story to future generations in a new language. The competition will be implemented before 2024 and preserving heritage will form an important part of the educational landscape. The traditions collected by children and young people will be preserved in the Saaremaa Museum and new ideas will be communicated via public channels. How has the city involved, or how does it plan to involve, local artists and cultural organisations in the conception and implementation of the cultural programme? The residents of Kuressaare and all of Saaremaa, as well as people from Kures- saare and Saaremaa who live on the mainland and in foreign countries, have been involved in the preparation of the application in the following way: 1. There were a total of 13 comprehensive thematic groups who met once a week starting from April 2018. 2. Information was shared on social media, Facebook, Saaremaa newspapers Saarte Hääl and Meie Maa, on the radio channel Kadi, in Saaremaa Teata- ja, the newspaper of the Saaremaa Rural Municipality Government, and on the blog and website of Saaremaa. The mainstream media newspaper Eesti Päevaleht also wrote about Saaremaa’s application. 3. We participated in the Saaremaa Street Festival (date), Paide Opinion Festi- val (date), and the think tank at the Kuressaare Maritime Festival (date). 4. On the political level, information was presented to the Saaremaa Council of the Rural Municipality and the council’s committees on culture, education, development, finance, and urban life. Employees of the Saaremaa Rural Mu- nicipality Government participated in making proposals. 5. Meetings with entrepreneurs. 6. Meeting with the Kuressaare Koostööklubi, which is currently the largest and most active civic association, bringing together around one hundred volunteers from various areas of life. 7. Kuressaare’s cooperation in Saare County and with Muhu and Ruhnu islands. 8. The areas and islands in and around the Baltic Sea (participation in the asso- ciation of areas around the Baltic Sea, B7, participation in the Island Games since ...) The list of activities of the title year was developed by the thematic groups and individuals based on the aforementioned discussions and proposals. There- fore, inclusion is ensured by the participation of the residents and civic soci- ety in the process and by the fact that the activities are based on the results of group projects. In the future – through public competitions for ideas and projects that will begin in 2020 and are connected to the development trends to 2030 of the rural municipality. Sector-based development strategies will be added 23  3. European dimension Give a general overview of how the planned activities fulfil the following goals: • Promoting the cultural diversity of Europe, intercultural dialogue, and greater mutual understanding between European citizens; • Highlighting the common aspects of European cultures, heritage, and history, as well as European integration and current European themes; • Featuring European artists, cooperation with operators and cities in dif- ferent countries, and transnational partnerships. In the field of culture, the aim of the European Commission is to protect cul- tural heritage and cultural diversity and use the potential of culture and cre- ative industries in creating jobs and promoting economic growth. The political strategies of the EU aim to resolve common challenges, e.g. transition to digi- tal technologies and the development of innovation in the cultural sector. Kuressaare’s application strives to achieve the same goals. On the one hand, it is important for us to value and preserve our cultural heritage and cultural diversity, while on the other hand, we wish to find new solutions in the cultural and creative sectors that would help to create new jobs both in Kuressaare and the entire region. Currently, in developing the economy and creating new jobs, the potential of creative industries in Kuressaare and the entire region has been insufficiently exploited. We see the Capital of Culture project as a chance to create a clearer vision in the development of our creative industries sector and implement more sustainable solutions that would connect elements of folk culture, innovative design meth- ods, and environmentally friendly solutions even after the title year ends. There have been attempts in Kuressaare of establishing a separate creative centre that would bring people from the different cultural sectors together, giving them a place where to create and sell their work, but previous attempts have not been sufficiently sustainable. We hope that the Capital of Culture project allows us to be more productive in moving forward with these activities. 24 Kuressaare’s application for the Capital of Culture title and its cultural pro- gramme are in direct accordance with the aims of the European Commission programme Creative Europe. 1. Help the cultural and creative sectors seize the opportunities of the digital age and globalisation – previously, only a few opportunities of combining various modern technologies with different cultural outlets have been used in Kuressaare’s cultural space. Our cultural programme will use a separate sub-topic for developing and presenting innovative form-related solutions; 2. Enable the cultural and creative sectors to reach their economic potential, contributing to sustainable economic growth of the EU, create jobs, and in- crease social cohesion – promoting economic growth and creating jobs is of utmost importance for Kuressaare and the entire region (Saaremaa), as it would help to mitigate risks related to the uniqueness of the island (pop- ulation decrease due to emigration and aging). Thanks to its small com- munity, social cohesion is strong in Kuressaare, but efforts to maintain the sense of community must be more conscious. One of the aspects of Kuressaare’s cultural programme will be covering mod- ern and social topics using the means of the cultural sector, including reflect- ing Europe’s integration both historically and in the light of recent challenges (e.g. Brexit, emphasis on Europe’s core values). International cooperation and inclusion of other regions from various countries will form an important part of our cultural programme. Throughout history, Kuressaare has engaged in strong cooperation through various networks in the Baltic Sea region, but now, Saaremaa would have the opportunity to cooperate with networks in the rest of Europe and internationally through different island associations’ networks. Several global problems that unite islands (ecological, economical, demographic) are an opportunity to carry out cooperation projects by expressing these problems in the cultural sector, e.g. by mutual concert tours of musicians, exchange of arts exhibitions, etc. Cooperation with the field re- lated to children and young people is also very important. It has worked well in the past in Kuressaare and we wish to continue this. We have also had various successful cooperation projects in the cultural sector (e.g. in the film sector). In Kuressaare, it is possible to study the history and see how different regions have managed to co-exist and cooperate in peace. For example, there have been representatives of various denominations throughout different histor- ic periods who have managed to cooperate in a territorially limited area and small community. Europe will also find it interesting to discover the paths of historic pilgrimages. Can you explain your overall strategy to attract the interest of a broad Euro- pean and international public? For Kuressaare and Saaremaa - as an Baltic Sea city and island - it has always been a natural solution to have active collaboration with other Baltic Sea region states and nations. Historically it has been a living condition and vitality source for the archipelago area cultural, social and economical development. Kuressaare 25  Bishops Caste, through it’s history, is a living symbol of this development and it reminds us for our historical roots, social and environmental development. Through this European Capital of Culture program the target is to strengthen, in- crease and expand also Baltic Sea region collaboration covering all modern life sectors - starting by cultural institutions and organizations and ending with social, technological and commercial co-operation within Baltic Sea region. Through this common collaboration it is also possible to create modern co-operation network and information & resources sharing environment and organization - Kuressaare and Saaremaa target is to increase and expand common co-operation processes and activities in all cultural, social and commercial sectors between Baltic Sea region states and nations - “Estonia and Baltic Sea nations together”. Kuressaare will base its overall strategy related to the context of Capital of Cul- ture on both our cultural heritage and the implementation of innovative solu- tions. We would like to introduce the world to our cultural heritage, which is influenced by urban principles, as well as principles related to the proximity to the natural environment. We would also like to demonstrate that celebration of cultural heritage does not mean getting stuck in our past but creates new perspectives for connecting it to the innovative forms of the cultural sector. Em- phasis on European values also plays an important role in Kuressaare’s strategy – we are Europe, as the European core values are the ones we base our everyday life and organisation of our community on, including in the cultural sector. One of the peculiarities of Kuressaare is the ability to demonstrate the possibil- ity of maintaining our environmentally valuable surroundings while constant- ly renewing and developing our city. We believe we are heading towards finding innovations and balance that is worth introducing to Europe. It is very import- ant to see regional peculiarities and create regional balance alongside large cities in Europe. Kuressaare has great potential for becoming a high-quality dynamic urban living environment with a united and safe community where no one has had to compromise for the sake of others. We support the people’s opportunities to enjoy the urban environments and participate in discussions to avoid the problems large cities have. To what extent do you plan to develop links between your cultural pro- gramme and the cultural programme of other cities holding the European Capital of Culture title? Cooperation with other cities holding the European Capital of Culture title is very important for us, as cultural exchange helps us to significantly improve Kuressaare’s cultural environment and create further opportunities for sus- tainable development. One part of the cultural programme would be devoting separate sub-topics to other cities holding the title, allowing them to design these sub-topics based on their proposals. We are also planning to develop the principles of residencies in the cultural sec- tor that would enable us to directly aim certain residency competitions at repre- sentatives of the cultural sectors of cities holding the title at the same time as us. 26 4. Outreach Explain how the local population and your civil society have been involved in the preparation of the application and will participate in the activities of the year. The residents of Kuressaare and all of Saaremaa, as well as people from Kures- saare and Saaremaa who live on the mainland and in foreign countries have been included in the preparation of the application in the following way: 1. There were a total of 13 comprehensive thematic groups who met once a week starting from April 2018. 1. Children and young people (a children-friendly island, the school net- work, learning opportunities, possibility of acquiring higher education, hobby schools, a sense of home, international school (makes education accessible for people who speak other languages)) 2. The environment (nature, living environment, sustainable lifestyle) 3. Developments/projects related to infrastructure (urban space, public trans- portation, car-free city, sports facilities, real estate developers, architects) 4. Tourism / culture tourism / nature tourism (include tourist companies and tourism farms) 5. Food/drinks/food culture (street picnic) 6. Community of creation and creators (fine arts, literature/authors, musicians/composers, development of the cultural scene, development trends in theatre, main events, etc.) 7. Heritage/roots 8. Business environment/digital island/ IT/ place for teleworking 9. Come and stay (to live here) / Here we are 10. Active life / competitive sports (volleyball team) / amateur sports (Saare- maa Rally) 11. Main events on Saaremaa / large-scale events 12. The elderly / second opportunity / the autumn years (active retired people, entrepreneurs) 13. Cooperation international / national / twin towns, regions and islands in and around the Baltic Sea (domestic/international) / honorary consuls / culture attachés 14. Spokespeople/ambassadors/message-bearers 2. Information was shared on social media, Facebook, Saaremaa newspapers Saarte Hääl and Meie Maa, on the radio channel Kadi, in Saaremaa Teataja, the newspaper of the Saaremaa Rural Municipality Government, and on the blog 27  and website of Saaremaa. The mainstream media newspaper Eesti Päevaleht also wrote about Saaremaa’s application. 3. We participated in the Saaremaa Street Festival (26 May 2018), Paide Opin- ion Festival (10–11 August 2018) and the think tank at the Kuressaare Maritime Festival (10–11 August 2018). 4. At the political level, information was presented to the Saaremaa Council of the Rural Municipality and the council’s committees on culture, education, development, finance, and urban life. Employees of the Saaremaa Rural Munic- ipality Government participated in making proposals. 5. Meetings with the cooperation club of entrepreneurs and volunteers, which is currently the largest civic association. 6. Kuressaare’s cooperation in Saare County and with Muhu and Ruhnu 7. The areas and islands in and around the Baltic Sea (participation in the asso- ciation of areas around the Baltic Sea, B7, participation in the Island games since ...) Long-term cooperation in various national and international organisations. The list of activities of the title year was developed by the thematic groups and individuals based on the aforementioned discussions and proposals. There- fore, inclusion is ensured by the participation of the residents and civic soci- ety in the process and by the fact that the activities are based on the results of group projects. Explain how you intend to create opportunities for participation of marginal- ised and disadvantaged groups. Life in keeping with human dignity is at the core of basic social rights. Ev- ery society has people who need additional support in a certain life situation. Whether it be an inherent or acquired lack of social resources, difficulties due to divorce, or any other situation which may arise. It is clear that the social sector is unable to ensure all stakeholders the support they need. This means that active civic society, adaptability of the cultural and living environment, and individual approaches to resolving complex problems more openly are un- avoidable and expected. Resolving the issues of cooperation will be an activity that requires more thorough analysis and setting of goals during the years of applying for the title of Capital of Culture. Sihtgrupid: • children and young people (with educational special needs, socially ex- cluded, children from single-parent households and children whose par- ents have divorced, children from families where parents work abroad); • people with disabilities (both physical and mental special needs); • socially vulnerable stakeholders (e.g. single parents, divorced families, people with low incomes, long-term unemployed people, people with ad- dictive disorders, national minorities); • people who are in an unfavourable condition due to gender-related issues (including LGBTQ+ minorities); • the elderly. 28 Improving the quality of life of people who are excluded and socially vulnera- ble, avoiding their labelling and isolation, and promoting their inclusion in the society’s activities through improvement of the surrounding environment and strengthening social and cultural networks. Improving the living environment through activities and inclusion, integrat- ing different stakeholders, making the topic of isolation and labelling public and working against it together. Initiating public discussions on this issue and keeping it going through the years of application for the title of Capital of Cul- ture and in the future. As a legacy from the Soviet times, attitudes towards e.g. the mentally ill, single parents, people from the LGBTQ+ community, etc. are still judgemental, the stakeholders are labelled a certain way and isolat- ed, raising the number of people with mental health issues an unacceptable height in Estonia. The development plan of the Estonian Mental Health Strat- egy 2016–2025 supports an approach that favours social inclusion by promot- ing mental health and favouring cohesion and people’s participation in the society. Increasing cultural diversity (immigrants) of the population must be considered and development of positive societal attitudes towards cultural differences must be promoted. Depression prevalence in Estonia is 5.6%. The number of suicides increased during the economic recession – from 18.1 cas- es per 100,000 residents in 2008 to 20.2 in 2009. As of 2010, the suicide rate in Estonia has remained below the 2008 level prior to the crisis (15.9 suicides per 100,000 residents were committed in 2013). The groups at suicide risk are the elderly (34.4% of all suicides committed in 2013 were among persons 65 and older) and young people: according to the 2014 data, 22 young men and one young woman committed suicide in 2014; in 2013, 16 young men and 2 young women between ages of 10–24 (25). http://vatek.ee/wp-content/uploads/2016/04/Vaimse_tervise_heaolu_stratee- gia_2016-2025_30.03.2016.pdf 29  Explain your overall strategy for audience development, and in particular the link with education and the participation of schools. Proposals of stakeholders Children and young people (with educational special needs, socially excluded, children from single-parent households and children whose parents have di- vorced, children from families where parents work abroad). According to the data of the population register as at 1 January 2018, approximately 17% of the res- idents of Saare County were children under 18 years of age, and 4.4% of them are disabled, according to the data of the Social Insurance Board as at 31 March 2018. Participating in cultural life is a vital experience for children and young peo- ple and this is not dependant on age or social group, but rather the person- al needs and background of each individual. Children and young people who come from a warped or violent cultural background have the ability to broaden their horizons when they are involved through education and youth centres and are shown possibilities for consuming and creating culture. Pursuant to the Estonian law, young people are 7–26 years old. Culture is what people need to give their world a meaning. For children and young people, a large portion of culture is related to independence and co- operation. Culture is mainly acquired through upbringing, education, and the media. The best way to teach families about culture is to have them talk about their family’s values and what makes their family meaningful, as well as what their customs and traditions are. Undoubtedly, the most popular cultural institution among the young people in Kuressaare is the cinema. 83% of young people visit the cinema at least once a year. 72% of them visit the library at least once a year, 64% goes to a concert, and 62% visit cultural monuments. Nearly half the young people also visit the theatre or a museum at least once a year. They go to the cinema before 6 p.m., but theatre and concert visits are usually after 6 p.m. On average, 10–14-year-olds spend 4 minutes per day on enter- tainment and culture and 15–24-year-olds spend 13 minutes per day (Statistics Estonia, 2017). Inclusion in the framework of applying for the title of Capital of Culture: 1. Culture and creativity go hand in hand and the opportunity to become a creator is a good instrument of inclusion (educational institutions, youth centres, theatre, cinema projects, etc.). 2. Voluntary support and organisation of activities – people can volunteer with their siblings or friends to help organise cultural or sports events; it can be done in and outside of school or with their family and friends. 3. Creating opportunities for international youth exchange – people can get to know other cultures in addition to learning about their own and use this knowledge to add value to their culture. (Good practice based on the expe- riences of the Kuressaare Regional School and Kuressaare Gymnasium). Expectations: active exhibition of culture with a focus on playfulness 30 4. Organising campaigns is a great opportunity to discuss human values and diversity of outside situations, to learn to notice those in need and the so- cial problems that surround us. For example: discount campaigns for dif- ferent cultural events. 5. Inclusion in hobby activities in cooperation with networks. For example: the programme for involvement and development of non-formal educa- tion, HUviKoolide Kaasamise ja Arengu Programm (i.e. HUKK-AP), a two- year project initiated by the youth agency of the Archimedes Foundation (SANA). The goal of the project is to offer diverse, effective opportunities for non-formal learning that adhere to the needs of young people. The project aims at creating preconditions and effective solutions for inclusion of at- risk youth equally to other young people. Partners carry out various activities in their areas and a development pro- gramme for teams of non-formal education providers is implemented simul- taneously in the framework of the project. This is a training package aimed at people engaged in non-formal education and it is intended to increase the pre- paredness, motivation, and skills for the inclusion of at-risk youth in non-for- mal activities. The teams participating in the programme also develop specific action plans. People with disabilities (both physical and mental special needs). Pursuant to the data of the population register as at 1 January 2018, approximately 17% of the residents of Saare County were children under 18 years of age, and 4.4% of them are disabled, according to the data of the Social Insurance Board as at 31 March 2018. Pursuant to the data of the population register as at 1 January 2018, approximately 20% of the residents of Saare County were people over 65 years of age, and nearly 30% of them are disabled, according to the data of the Social Insurance Board as at 31 March 2018. Considering the population trends, the number of elderly people is bound to increase. Consciously searching for and formulating the strengths of disabled people and using this to give meaning to their lives, increase their self-esteem, and integrate them into society as valued members. It is important to adapt the environment in the current cultural scene, as well as support and develop their social skills and talents. In cooperation with the Kuressaare Chamber of Disabled People and other associations uniting disabled people, and institutions and specialists from the education and social sector. • Adapting the environment (public space) to give all stakeholders the op- portunity to participate. • Adapting places of work and educating employers (in cooperation with the employers, the Unemployment Insurance Fund, and various training insti- tutions). • Adapting learning centres (in cooperation with educational institutions). • Creating and supporting social relations and networks (motivational groups, teaching communication skills, developing positive relationships, etc.) 31  Socially vulnerable stakeholders (incl. single parents, divorced families, peo- ple with low incomes, long-term unemployed people, people with addictive disorders, national minorities) Inclusion of socially vulnerable groups will take place in cooperation with practitioners from the social sector and it will be based on the action plan of the sector, aimed at developing service-based welfare. An important trend to follow when developing welfare services is a community-based approach in taking care of its members. Plans are in place to carry this out by supporting social enterprises and civic associations. • Support of positive parenting for preventing and mitigating risks and par- ticipation in national and regional programmes which support parenting. • Creating a support system for families at risk. • Improving services that support couple and family relationships, including initiation of support groups and seminars. People who are in an unfavourable condition due to gender-related issues (in- cluding LGBTQ+ minorities) Implementation of gender equality to give men and women equal opportunities in both education and employment, as well as when consuming services. The goal is to create an environment free of violence and stereotypes. We will use the 3R method (representation, resources, and reality) that was developed in Swe- den to assist local governments to methodically gather data and facts and anal- yse them to reach our goals and create a more equal and tolerant environment. The elderly Pursuant to the data of the population register as at 1 January 2018, approxi- mately 20% of the residents of Saare County were people over 65 years of age, and nearly 30% of them are disabled, according to the data of the Social Insur- ance Board as at 31 March 2018. Considering the population trends, the number of elderly people is bound to increase. Making culture (including cinema, theatre, books, lectures, initiatives, con- certs, etc.) accessible and promoting participation. Issues that need to be addressed: • Alone or with someone? At events, most of the retired people attending are lonely and alone. Some do bring a friend, as it gives them courage and makes the events more enjoyable. • Changing the opinion that those who do not wish to participate will not leave their homes anyway. For this, we will use an individual approach, written in- vitations with a beautiful design (invited by a respected person), offer door-to- door transport, not by the social department, but by younger peers, students, and other residents, taking advantage of the community’s possibilities. • Health is especially important for the elderly; therefore, we need lectures on the subject. Participation in the lectures of the elderly university has become very prestigious (more than 280 listeners already). 32 • The elderly do not find it reasonable to purchase books and are therefore looking forward to the library bus that allows them to order and lend read- ing materials that they want and need. • Respectful treatment of the elderly and expressing care for them on every level, cooperation projects with kindergartens and schools, connecting ex- perience with courage. Promoting and supporting events for children and grandparents on the development plan level. In addition to involving marginalised and socially vulnerable stakeholders, it is important to involve stakeholders of people who have left Kuressaare for various reasons (work, education, family, etc.) The mainland and the world are full of active people from Saaremaa, including artists, and a few of them have remained on the island or returned. The proposals of the thematic group that included these stakeholders (people who have left Kuressaare) are as follows: • mapping the current situation, formulating the goal, and the involvement of people who could help to achieve this goal; • creating think tanks categorised into different topics. Developing a plat- form where people could come together and exchange thoughts and ideas. Finding a specific format (web- and meeting-based) and leaders; • organising conferences on the topic of island life. One possibility is to hold a one- or two-day ‘inspiration blast’ in TED format, where people from other islands in the Baltic Sea could share their experiences; • acknowledgement of the island lifestyle among many other lifestyles, searching for an answer to the question ‘what does life on an island mean and why could it be regarded as one possible lifestyle among many others?’ • keeping the people in focus and introducing them, maintaining connec- tions and support from their home town. People from Kuressaare who are active and respectable on Saaremaa, on the mainland, or internationally. We tell their stories in different formats, bringing them and their achieve- ments to focus and displaying them on pictures, in speeches, and in the written word. 33  5. Organisation a. Finance City budget for culture What has been the annual budget for culture in the city over the last 5 years (excluding expenditure for the present European Capital of Culture applica- tion)? (Please fill in the table below). Year City annual budget for culture City annual budget for culture (in euros) (% of the overall city budget) < n-4 1 572 395.- 8,2% n-3 2 185 701.- 10,1% n-2 2 411 467.- 12% n-1 2 344 091.- 9,5% current year 7 767 169.- 13,5% 2018 In case the city is planning to use funds from its annual budget for culture to finance the European Capital of Culture project, please indicate this amount starting from the year of submission of the bid until the European Capital of Culture year. The budget for 2018 was 418,000 euros and the percentage remains similar ev- ery year. The budget is confirmed in January of each year. What amount of the overall annual budget does the city intend to spend for culture after the European Capital of Culture year (in euros and in % of the overall annual budget)? It will be similar to the 2018 budget in the upcoming years. More exact num- bers are confirmed in January of each financial year. 34 Operating budget for the title year § Income to cover operating expenditure: Please explain the overall operating budget (i.e. funds that are specifical- ly set aside to cover operational expenditure). The budget shall cover the preparation phase, the title year, the monitoring and evaluation phase, and provisions for follow-up activities. Please also fill in the table below. Total amount of From the public From the From the From the funds required to sector (in euros public sec- private private cover operating tor (%) sector (in sector (%) expenditure (in euros) euros) 12 508 000 12 508 000 100 Possible sponsorship Public sector funds What is the breakdown of the income to be received from the public sector to cover capital investment in connection with the title year? Please also fill in the table below. Public sector funds used to cover oper- In euros % ating expenditures Government/state 10 million 80 City same as region - Region 2 508 000 20 EU (except the Melina Mercouri award)) - - Other - - Total 12 508 000 Have the public finance authorities (city, region, state) already voted on or made financial commitments to cover operating expenditure? If not, when will they do so? The budgets for Kuressaare city and Saare County are the same, as this is a city that forms the county’s centre and has a joint budget. The bud- get and funds for 2018 have been approved, funds are allocated each year in January when the budget is confirmed. The State has consented to supporting the Capital of Culture with up to 10 million euros. 35  Private sector funds What is your strategy to seek support from private sector sponsors? How are you planning to involve sponsors in the activities? There is wide intrest for possible sponsorships, but all agreemets will be signed after the postitive preround. § Operating expenditure: Please provide a breakdown of the operating expenditure, by filling in the table below. Programme expenditure (in euros) 1 861 200.- Programme expenditure (%) 15 Advertising and marketing (in euros) 1 861 200 Advertising and marketing (%) 15 Wages, general expenditures, administrative costs (in euros) 6 824 400 Wages, general expenditures, administrative costs (%) 55 Other (explain) (in euros) Transport, accommodation Other (explain) (%) 15 Total operating expenditure 12 408 000 Budget for capital investment What is the breakdown of the income to be received from the public sector to cover capital investment in connection with the title year? Please also fill in the table below. Annual investments for culture infrastructures are following: 2018 1,3 milion: Renovation for Aste and Lümanda Culture houses 2018/2019 4,5 milion renovation of the City Center 2019 1,7 milion Lümanda Culture House 2021 360 000.- Orissaare Culture House 2022 200 000.- Extra investments for culture infrastructure 36 Public sector funds used to cover capi- In euros % tal investments Government/state 10 000 000 55,4 City 1 800 000 9,9 Region 3 560 000 19,7 EU (except the Melina Mercouri award) 2 700 000 15 Other - Total 18 060 000 Have the public finance authorities (city, region, state) already voted on or made financial commitments to cover capital investment? If not, when will they do so? The 2018 budget has been approved, but the 2019 and future budgets will be approved in January of the respective year. Application for the title of Capital of Culture has public political support and the council is prepared to make a decision on exact amounts to be allocated if the outcome of the pre selection is positive. The State will allocate up to 10,000,000 euros if the city wins. What is your fundraising strategy to seek financial support from Union pro- grammes/funds to cover capital investment? The budget strategy provides using the assistance of as many structural funds as possible when applying for support. If appropriate, please insert a table here that specifies which amounts will be spent for new cultural infrastructure to be used in the framework of the title year. b. Organisational structure What kind of management and organisational structure is envisaged for the implementation of the European Capital of Culture year? The governance structure of the European Capital of Culture functions on sev- eral levels. The Saaremaa rural municipality council will form the strategic po- litical decision-making level and can make substantial decisions with regard to the development trends of the rural municipality. It also assumes respon- sibilities related to the budget. Draft legislations necessary for implementing the Capital of Culture project and information regarding regular monitoring of the project’s implementation shall be presented at the meetings of the council. 37  The council’s committees, mainly the committee on culture and sports, but also e.g. the financial committee, development and communications depart- ments, and other committees can contribute to the project’s content and im- plementation monitoring, including through political input and mandate re- ceived from the voters. As the committees include representatives from the respective fields, this enables wider inclusion in the project’s implementation and monitoring. The rural municipality government as a collegial body and institution handles the ongoing management and operative level of the project. The rural munic- ipality government as a collegial body shall make decisions within the limits of competence determined by the council with regard to the activities carried out and the use of budget during the project year. The rural municipality government as an institution shall manage the project through its cultural and sports department. The manager of that department is responsible for implementing the project schedule and budget and will bring topics that need deliberating in front of the rural municipality government and the rural municipality council. The Capital of Culture project is under the responsibility of the cultural and sports department and a team will be put together to implement it. The project manager is responsible for the prepara- tion and update of the project plan, its implementation, and the preparation of reports. If necessary, the team can create sub-groups to involve experts and local opin- ion leaders of a specific field when implementing certain activities.We also find it very important to cooperate with entrepreneurs and the third sector; therefore, representatives of those fields will be included in implementing spe- cific activities of the aforementioned sub-groups. 38 c. Plan for unforeseen cases What are the main strengths and weaknesses of your project? How are you planning to resolve such weaknesses? Risk Likelihood/ Mitigation measures impact The project team is not Average Sufficient planning of the project team large and competent and ensuring necessary resources enough Project schedule cannot Average Sufficient planning of the project be implemented schedule and use of necessary re- sources Lack of political support Low Wide engagement (also on the politi- cal level) Lack of professionalism Average Inclusion of acknowledged practi- in the cultural pro- tioners of the respective fields in the gramme planning and implementing stage Insufficient funding of High Providing timely input during the activities during the title budget planning stage (both on the year and the years pre- local government and state level), pro- ceding and following it tecting our standpoint during budget negotiations. Use of additional sourc- es of funding. The residents are un- Average LWide-scale engagement, turning enthusiastic about the special attention to creating additional project opportunities for involvement d. Marketing and communication What is the city’s intended marketing and communication strategy for the European Capital of Culture year? The marketing and communication strategy will be based on the vision and goals we have created. A more exact strategy will be developed once we receive a positive decision, so as not to cause unnecessary expenditure for Kuressaare and the Saaremaa ru- ral municipality government, taking into account that the application process is lengthy and we will be using taxpayer money for this. How does the city plan to highlight that the European Capital of Culture is an action of the European Union? Markings and logos pursuant to the requirements for symbols. We will refer to this action pursuant to the requirements. 39  6. Capacity to deliver Please supply evidence of the continuous political support and commitment from the relevant authorities. The Saaremaa rural municipality council and the Government have given their political support to us applying for the title of Capital of Culture 2024 and have allocated 36,000 euros for this in 2018. The funding will be reviewed once we receive a positive decision at the pre-selection. We are also applying to be- come the organiser of Europeade 2024, which would make our programme even more diverse. Please confirm and provide evidence that your city has or will have adequate and viable infrastructure to host the title. To do that, please answer the fol- lowing questions: Explain briefly how the European Capital of Culture will make use of and develop the city’s cultural infrastructure. The identity of Kuressaare is based on the following keywords: safe, green, pris- tine, calm, children-friendly, family-centred, unique, health-conscious, small and compact, a resort town on an island, well-managed, with good recreational opportunities, historically valuable, open to guests, with good athletic opportu- nities and persistent cultural life (theatre, cinema, summer events); its symbols are the Episcopal Castle and the Old Town. The cultural reputation of Kures- saare has been modernised and Kuressaare is known as a small town with the most vivid and modern cultural life in Estonia. We have involved artists who have roots on the island to ensure a constant display of the newest trends in Kuressaare (in the form of concerts, exhibitions, actions, meetings, quick lec- tures, installations, street art, etc.) Cultural and sports activities allow creating significant added value in regional development, tourism, as well as entrepre- neurship; the local cultural space also affects the residents’ motivation in re- maining in an area or leaving it and developing the tourism sector. Kuressaare as an innovative city separated by the sea can assume the leading role in pro- moting work in co working spaces and home offices. Kuressaare has a strong third sector that protects and develops values related to public interest. What are the city’s assets in terms of accessibility (regional, national, and international transport)? State-wise, Saaremaa has ferryboat service to mainland Estonia as well as Ruhnu and Hiiumaa islands, and air service to Tallinn (twice a day) and Ruhnu. Bus service runs between Kuressaare and Tallinn, Tartu, Pärnu, Valga, Viljandi, and Paide. Kuressaare has no regular international transport services. It is most likely that a regular shipping service will be restored between Saaremaa and Latvia, which would be very beneficial in the context of the Capital of Culture. 40 Throughout history, the sea has symbolised good accessibility and openness. The ‘isolation’ of the island is a misunderstood concept and actually means great accessibility by yachts, speedboats, and other small vessels. From the tourism point of view, county-wide bus service needs further devel- opment. Kaali meteorite crater and Angla windmill are the most easily acces- sible sights. Transport services to Panga Cliff, Sõrve Peninsula, and Vilsandi Natural Park need improvement. However, tourists would be positively surprised that car rental is considerably cheap (starting from 25 euros per day). What is the city’s absorption capacity in terms of tourist accommodation? Saaremaa has approximately 350 accommodation providers with 6,500 bed places. Around 120 of these are located in Kuressaare and 230 outside the city. Kuressaare might have a little over 2,000 bed places. Approximately 1,000 of these are in spa hotels. As providing data on home accommodation is not mandatory in Estonia, the number of bed places is considerably larger. In terms of cultural, urban, and tourism infrastructure, what are the projects (including renovation projects) that your city plans to carry out in connection with the European Capital of Culture action between now and the year of the title? The largest and most important development project is the restored city cen- tre, which will be finished in 2019 and will turn Kuressaare into a more pedes- trian and cyclist-friendly, well thought out, and connected space. Other significant projects are the construction of the county’s open-air-stage in Kuressaare and finishing the incomplete city stadium. Both of these sites play an important role in the development of entire Saaremaa. Supporting the renovation of buildings under heritage protection will continue and the use of those buildings by the community for various cultural purposes will become more accessible. Expanding the Kuressaare community centre, renovating the Laimjala community house, Lümanda community house, Oris- saare community centre, Taritu community house, and Tornimäe community centre, and construction of a multi-functional modern arts centre are neces- sary to develop the cultural infrastructure. Creation of sports facilities (maintenance and restoration of existing facilities, support for establishing new ones, supporting the payment of own contribu- tion in projects related to sports and fitness, including creating capabilities to produce artificial snow and construct an ice-skating rink). Development and maintenance of health trails and light traffic roads. 41  In order to improve swimming possibilities, the swimming pool of the Kures- saare Gymnasium needs to be renovated and a new 25-metre swimming pool with 6–8 tracks needs to be built that would allow holding swimming compe- titions of the Island Games. More conscious exhibition of the objects in the Saaremaa Museum and ex- panding its activities. Supplying various historically significant monuments with information boards and references. Allowing events to be organised in the strongholds. 42