BURGOS 2016 CANDIDATE CITY EUROPEAN CAPITAL OF CULTURE
R –EVOLUTION
— Bid Document June 2010
p. 2
BURGOS 2016
RE-DISCOVER RE-INVENT RE-LEASE
— Bid Document June 2010 p. 3
I
Basic Principles Why does the city which you represent wish to take part in the competition for the title of European Capital of Culture? What, for it, would be the main challenge of this nomination? What are the city’s objectives for the year in question?
P. 022
2 / I
Explain the concept of the programme which would be launched if the city was nominated European Capital of Culture?
P. 028
3 /I
Could this programme be summed up by a slogan? (the answer to this question is optional at the pre-selection stage).
P. 028
4 /I
Which geographical area does the city intend to involve in the “European Capital of Culture” event? Explain this choice.
P. 032
5 /I
Do you already have the support of the local or regional political authorities? Or are you planning to ask for their support at a later date? Explain.
P. 033
6 /I
How does the event fit into the long-term cultural development of the city and, where appropriate, of the region?
P. 091
7 /I
To what extent do you plan to forge links with the other city to be nominated Capital of Culture?
P. 139
8 /I
Explain how the event could fulfil the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage). As regards “The European Dimension”, how does the city intend to contribute to the following objectives: - to strengthen cooperation between the cultural operators, artists and cities of your country and other Member States, in all cultural sectors; - to highlight the richness of cultural diversity in Europe; - to bring the common aspects of European cultures to the fore? Can you specify how this event could help to strengthen the city’s links with Europe?
P. 095
9 /I
Explain how the event could meet the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage). As regards “City and Citizens”, how does the city intend to ensure that the programme for the event: - attracts the interest of the population at European level; - encourages the participation of artists, stakeholders in the socio-cultural scene and the inhabitants of the city, its surroundings and the area involved in the programme, - is sustainable and an integral part of the long-term cultural and social development of the city?
P. 101
10 /I
How does the city plan to get involved in or create synergies with the cultural activities supported by the European Institutions?
P. 092
11 /I
Are some parts of the programme designed for particular target groups (young people, minorities, etc.)? Specify the relevant parts of the programme planned for the event.
P. 040
12 /I
What contacts has the city or the body responsible for preparing the event established, or what contacts does it intend to establish, with - cultural operators in the city? - cultural operators based outside the city? - cultural operators based outside the country? Name some operators with whom cooperation is envisaged and specify the type of exchanges in question. (The answer to this question is optional at the pre-selection stage).
P. 138
13 /I
In what way is the proposed project innovative?
P. 094
14 /I
If the city in question is awarded the title of Capital of Culture, what would be the medium- and long-term effects of the event from a social, cultural and urban point of view? Do the municipal authorities intend to make a public declaration of intent concerning the period following the year of the event?
P. 091
15 /I
How was this application designed and prepared?
P. 130
1.1 / I 1.2 / I 1.3 / I
II
P. 024 P. 025
Structure of the programme for the event
1 /II
What structure does the city intend to give to the year’s programme if it is designated “European Capital of Culture” (guidelines, general theme of the event)? How long does the programme last? (This question must be answered in greater detail at the final selection stage).
P. 040
2 /II
What main events will mark the year? For each one, please supply the following information: description of the event / date and place / project partners / financing. (The answer to this question is optional at the pre-selection stage).
P. 047
3 /II
How does the city plan to choose the projects/events which will constitute the programme for the year? (The answer to this question is optional at the pre-selection stage).
P. 090
III 1 /III
Organisation and financing of the event Organisational structure
1.1 /III
What sort of structure2 is envisaged for the organisation responsible for implementing the project? What type of relationship will it have with the city authorities? (This question must be answered in greater detail at the final selection stage, by enclosing in particular the statutes of the organisation, its staff numbers, the curricula vitae of those primarily responsible, information concerning its financial and management capacity, and a graph of the structure with comments on the respective responsibilities of the different levels).
P. 142
1.2 /III
If an area around the city is involved in the event, how will the coordination between the authorities of the relevant local and regional authorities be organised?
P. 145
According to which criteria and under which arrangements has or will the artistic director of the event be chosen? What is or will be his/her profile? When will he/she take up the appointment? What will be his/her field of action? (This question must be answered in greater detail at the final selection stage).
P. 145
1.3 /III
2 /III
Financing of the event:
2.1 /III
How is the event budget to be organised? What is the total amount of resources earmarked for organising the “European Capital of Culture” year? What are the sources of financing and the respective importance of their contribution to the total? (This question must be answered in greater detail at the final selection stage).
P. 146
2.2 /III
Have the finance authorities of the city already voted on or made financial commitments? When will they do so?
P. 146
2.3 /III
What is the total expenditure planned strictly for the programme of the event? The structure mentioned above refers to the organisation liaising with the Commission, in particular during the monitoring phase, should the city be awarded the title.
P. 146
2.4 /III
How much expenditure is planned for infrastructure (cultural and tourism infrastructure, including renovation)?
P. 146
2.5 /III
What is the plan for involving sponsors in the event? What is the estimated level of financial participation by sponsors?
P. 146
2.6 /III
According to what timetable should this expenditure be committed if the city receives the title of Capital of Culture? (The answer to this question is optional at the pre-selection stage).
P. 146
IV
City infrastructure
1 /IV
What are the city’s assets in terms of accessibility (regional, national and International transport)?
P. 154
2 /IV
What is the city’s absorption capacity in terms of tourist accommodation?
P. 156
3 /IV
What projects are to be carried out between now and the year for which the city is applying for the title of European Capital of Culture in terms of urban and tourism infrastructure, including renovation? What is the planned timetable for this work? (The answer to this question is optional at the pre-selection stage).
P. 158
V
Communication strategy
1 /V
What is the city’s intended communication strategy for the European Capital of Culture event? (This question must be answered in greater detail at the final selection stage, in particular with regard to the media strategy and the mobilisation of the public and the inhabitants. At the final selection stage, consideration must be given in particular to the partnerships planned or established with the written press and the audiovisual sector with a view to ensuring media coverage of the event and of the plans relating to this strategy).
P. 166
2 /V
What proportion of the budget is earmarked for communication?
P. 167
3 /V
How does the city plan to promote the award of the Melina Mercouri prize if it receives it? (Information on this prize is given in paragraph VI of the Guide for cities applying for the title of European Capital of Culture). (The answer to this question is optional at the pre-selection stage).
P. 169
VI 1 /VI
VII
Evaluation and monitoring of the event Does the city intend to set up a special monitoring and evaluation system: - for the impact of the programme and its knock-on effects? - for financial management?
P. 174
Additional information
1 /VII
What, in your opinion, are the strong points of the city’s application and the parameters of its success as European Capital of Culture and what, on the other hand, are its weak points?
P. 182
2 /VII
Does the city intend to develop particular cultural projects in the coming years, irrespective of the outcome of its application for the title of European Capital of Culture? Please comment.
P. 183
3 /VII
Please add below any further comments which you deem necessary on the subject of this application.
P. 184
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index
PRESENTATIoN and PROLOGUE
9
A
Fundamentals and concept
21
B
Structure of the programme for the event
39
C
Preparation of the bid and organization and Financing of the event
129
D
City infrastructure
153
E
Communication strategy
165
F
Evaluating and monitoring
173
G
Additional Information
181
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PRESENTATIoN and PROLOGUE
Presentations — Juan Carlos Aparicio Mayor of Burgos and President of Burgos 2016 Foundation — Mª José Salgueiro Cortiñas Regional Minister of Culture — Vicente Orden Vígara President of Burgos Province Administration
Burgos 2016 Candidate City — Mary Miller Artistic Director PrOLOGUE
The City of Origins
— Juan Luis Arsuaga Codirector of the Atapuerca Archaeological Site
The City of Princes and Dragons — Óscar Esquivias Writer
Presentations
— Juan Carlos Aparicio Mayor of Burgos and President of Burgos 2016 Foundation
Burgos presents this project with the desire and the dream of representing the cultural wealth and diversity of Europe. Our bid constitutes a re-encounter with the city’s past, and aspires to make a decisive contribution towards confronting the challenges that we share along with the five-hundred-million people who today form the European Union. Our land, the origin of humankind in Europe and of innumerable adventures that have forged our shared way of doing and living, needs once again to feel the life- force of Europe’s breath. We want to reinvent Burgos and our province through our democratic values - the most precious yet imperfect contribution that we make to today’s globalized world.
Juan Carlos Aparicio Mayor of Burgos and President of Burgos 2016 Foundation
In building our bid, we have mobilized the citizens of our community. We have learnt from the path travelled by those who have had the privilege of preceding us in this challenge, and so we have strengthened our sense of responsibility and imagination, to put forward a project that will be as valuable to Europe as it will be to ourselves. As the elected representative of the citizens of Burgos and president of the foundation which we have created to give leadership to this process, I feel proud of this candidacy which has the unanimous support of the political parties in the city, the province and the region, and which has been prepared thanks to the collaboration of hundreds of people and institutions from the city and its surrounds. We owe them an eternal debt of gratitude. At this significant moment, we feel that the project that we are unveiling here no longer belongs to only to Burgos and Spain, but has come to form part of the aspirations of the citizens of a Europe united by its culture. In 2016, we desire to gather them together once again at their home, in Burgos, where it all began over one million years ago.
Juan Carlos Aparicio Mayor of Burgos and President of Burgos 2016 Foundation
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PRESENTATIoN and PROLOGUE
— Mª José Salgueiro Cortiñas Minister of Culture and Tourism of Castilla y León
Dear Selection Panel Members, I am pleased to address you personally to express the unconditional support of the Junta of Castile-Leon, and especially, my own, as Councillor for Culture and Tourism, for the candidacies of Burgos and Segovia to become European Capital of Culture 2016. This institutional support was unanimously endorsed by all the political groups that make up the Regional Parliament in sessions held on 31 May, 2006, and 7 February, 2007, respectively.
Mª José Salguiero Cortiñas minister of culture of castilla y león
It is a privilege for the citizens of Castile and Leon that two of the most emblematic cities in the region have made a bid to represent a project of such dimensions in Europe There is not the slightest doubt that, to an ever greater extent, cultural management is revealing itself to be one of the most effective tools for economic progress and the social stability of a territory. Culture is now one of the most important keys not only for the future, but for the present day in which citizens decide to assume greater responsibility and participate in the public sphere. We firmly believe in the bids of these two cities, as they constitute an example of economic dynamism; conservation of an historic heritage that situates them among the most beautiful and frequently visited cities of Europe. It is the right moment to support Castile-Leon and its candidate cities showing our commitment towards this project and the cultural programme designed for 2016, because we are firmly convinced that the candidacies of Burgos and Segovia will be capable of working towards their appointment for the success of Castile-Leon.
Mª José Salgueiro Cortiñas Minister of Culture of Castilla y León
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Presentation
— Vicente Orden Vígara President of Burgos Province Administration
The Diputación Provincial de Burgos shares in the efforts and the desire, along with the City Corporation and the other entities that make up the Burgos 2016 Foundation, to represent Europe in that year. The province of Burgos has always been a welcoming and surprising territory, whose network of 371 municipalities and 1,263 population centres is home to an immense natural and historical heritage, the legacy of the different villages and cultures that were founded to exploit its resources and its strategic position. Our challenges today continue to be, not only maintaining and transmitting this legacy to future generations, but sharing it with all those who visit us to enjoy a few restful days, to enrich their knowledge and to settle permanently among us. Vicente Orden Vígara President of burgos province
Faithful to our hospitable and adventuresome nature, all the territory of Burgos is criss-crossed by various routes of different sorts; natural, historic, cultural, sporting, gastronomic, transhumant, etc. both physical as well as imaginary, and all of it, inexorably leading to Europe. For this reason, the people of Burgos have made pilgrimage their way of life, on a journey that never ends, but whose milestone and reference point on that journey is to become European Capital of Culture in 2016.
Vicente Orden Vigara President of Burgos province
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PRESENTATIoN and PROLOGUE
Burgos 2016 Candidate City — Mary Miller Artistic Director
This bid is not the usual story of greatness and glamour – although Burgos’s heritage could well unroll a pageant of grand patrimony and royal intrigue, of trading across grand oceans, of historically important cultural encounters. Our bid concerns the truthful story of how we live now, of Burgos present and future:- who we are, who we want to be, and how we intend to live out our ambitions, and those of our children.
Mary Miller Artistic Director
The team that has written this bid, and has devised the programme which will bring participation in culture into the beating heart of the city and surrounds, has become an unlikely family. Burgos did not choose the path of outsourcing to a consultancy. This bid was written in Burgos, with the noise, sights and smells of the city along with the clamouring voices of artists and citizens permeating its pages. And our family, like any other, ate and drank together, squabbled, sulked, laughed, loved, created, and dreamed. We were, variously: a Burgos born-and bred senior member of the city’s strategic planning team, the Scottish director of a previously successful European Capital of Culture, a Spain-based member of that Stavanger 2008 team, a young Spanish journalist, a culture and tourism expert from Madrid and a highly versatile young heritage graduate from Burgos province. In other words, we combined, between us, the critical experience of having planned and delivered an ECOC, with the imperative of true local Spanish knowledge, both of cultural and political life. The extraordinary and unique attributes of Burgos and its province dictated what we must deliver in the years to come. We inhabit the cradle of man in Europe, discovered in the soil of Atapuerca, along with all the astonishment of life, culture and society, as revealed from over a million years past. The responsibility for us today and tomorrow is critical and unavoidable. However, how we evolve is not inevitable. We have chosen, proudly, to put culture first. So, Burgos bids to become European Capital of Culture in 2016, as a vital part of our long term plan for living as decent, creative humans. The following pages lay out the story of our journey, one of adventure, of challenge – and, most importantly, of evolution.
Mary Miller Artistic Director
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Burgos 2016 Candidate City
Prologue
juan luis arsuaga codirector of the atapuerca archaeological site
The City of Origins — Juan Luis Arsuaga Codirector of the Atapuerca Archaeological Site The city of Burgos is renowned for its monuments and is for a historic centre that is beautifully conserved. Owing to its importance over the centuries, the City is a magnificent example of culture, of the economy and of European life. For this reason alone, it would be a magnificent representative of our continent and deserves to become its cultural capital. Many important events have taken place in Burgos over the centuries, and its streets, palaces and churches have witnessed millions of Europeans pass by on their pilgrimage to Santiago, as they do to this day. And although it is in the meseta, far from the coast, its economic activities have reached out towards the north of Europe through the Consulate of the Sea. It is, therefore, a good place to reflect on our common past and future as Europeans. But Burgos also has a treasure very nearby, in the hills of Atapuerca, where the fossils of the first Europeans and of their successors up until the present have been found. In the month of July, a magnificent museum will be opened in the city of Burgos that will put the complete history of humanity on show for the public. Resources have not been spared on this museum, which aspires to be the most important of its kind in the world. Its vanguard architecture and the rebuilding of the local area have transformed the city. It will serve to respond to the fundamental question of human philosophy concerning our origins, so that as human beings we may deepen our own understanding of ourselves. Globalization is one of the most readily repeated words nowadays. It is not that Europe forgot the other continents in the past, especially America in the case of the Spanish, but that nowadays we no longer see them as playing only a supporting role in our history. We need to resolve the economic, political and environmental problems shared by all on the planet, and seek out what unites us above geographic and cultural differences. Evolution is what all humans have in common, which in truth, also relates us and ties us to the other living species. This planetary dimension of Burgos, which may start to call itself the city of origins, turns it into the ideal place for debate and reflection not only on humanity’s past, but also its future.
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PRESENTATIoN and PROLOGUE
The City of Princes and Dragons — Óscar Esquivias Writer Like all children, when I was small I loved to paint. I used to while away my time imagining scenes of blue mountains and smiling suns, inventing monsters that I used to terrify my small brothers, but above all, imagining cities. I used to always draw the cities at the end of serpentine roads, hugged by ramparts, with battlements, cramped roofs, great palaces and slender towers. I imagined their bustling streets, full of travellers, with a prince in every window and a fire breathing dragon high in the sky. The best thing of all is that I lived in a city like that: Burgos. It didn’t lack anything. Not even the occasional dragon.
ÓSCAR ESQUIVIAS writer
I was a child from the outskirts which grew into the industrial suburbs. Whenever I was approaching the heart of the town, it appeared on the horizon like a mirage: surrounded by trees, implausibly beautiful, with its raised Gothic steeples resembling lances of medieval knights. Burgos seemed like the scene of the best and most adventurous theatrical productions. Edmondo De Amicis had the same sensation when he compared it to a puppet theatre. Is it possible to live in a happier or more enjoyable place? Any child would tell you no. This scenographic air lives on today. Many statues in Burgos have swords in their hands and pose on their pedestals as if they were about to sing an aria. The most famous of our neighbours, El Cid, may well have been able to: the medieval minstrels were the first to sing of their heroic deeds and loves (partly real, partly invented, as we all know how fanciful poets are…) and since then the legend of the warrior has not stopped spreading throughout the world, nearly always accompanied by music. The composer Peter Cornelius managed to get El Cid to sing in German and Massenet and Debussy composed arias in French, a language which our hero had already perfected thanks to Corneille, who had pushed him onto the stage to recite delightful alexandrines to public applause. Spectators and readers of all periods and countries have trembled in delight at this character: the German philosopher Herder, the English poet Robert Southey, the Danish writer Hans Christian Andersen and the Polish poet Wislawa Szymborska declared their love for the legend of this warrior who was exiled from Castile in order to inhabit the land of mythology.
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Everything in Burgos exudes legend, history and art. The streets are a home to a fantastic rhythm of life. On the bridge that leads to one of the arches of the wall, the arch of San Juan, one can see stone lions bearing the coat of arms of the city and of Castile. As a child I loved to enter Burgos precisely because of those wild beasts of the puppet theatre that welcome the pilgrims with their stone roars, and because this little bridge is part of the Camino de Santiago (the road to Santiago) over which the walkers arrive, with their toasted skin and big backpacks. If one should listen to them, one will hear all the languages of the world. Burgos has always been a cosmopolitan city, in which people from the most diverse places mix. The city’s own patron, the Benedictine Saint Lesmes, was not born here but in France in the 11th century; the Castilian kings were married in Burgos to princesses from every court in Europe: Alfonso VIII did so with the English Leonor (Eleanor) of Plantagenet, who must have been tired of the espadones (person of elevated hierarchy in the military) and battles (she was the sister of Ricardo Corazón of León or Richard I and of Juan Sin Tierra or Lackland in English, and her husband never ceased fighting during his whole life). Perhaps to compensate for spilling so much blood, he founded the Abbey of Santa María la Real de Huelgas, where the finest polyphony of the Middle Ages was sung. King Fernando III married Elisabeth of Hohenstaufen and soon afterwards decided to build the Gothic cathedral which earns Burgos worldwide fame. Many of the best artistic works of the city were produced by people who came from outside, who settled and became our neighbours. Their surnames often inform us of their origin: in this way the master architect Johannes von Köln became Juan de Colonia for the Spanish
(John from Cologne) and he was the one who raised the spires of the Cathedral and gave it its own inimitable profile. Gil de Siloe came from Antwerp and sculpted some amazing altarpieces, full of fantasy and beauty; the great dragon on the door of the cloister of the Cathedral is attributed to him, the image of which fascinated me as a child and does so even to this day. Another great sculptor, towards the end of the 15th century was Felipe Bigarny who hailed from Burgundy and dazzled the Castilians with the powerful expressivity of his figures; around the same time, Arnao de Flandes was one of the best glaziers in Burgos, and the printer Fadrique de Basilia published Dante’s The Divine Comedy for the first time in Spanish. Burgos was a hive of creativity. Nothing seemed impossible: the most slender towers, the most beautiful sculptures, the daily literature-and criticism - of Lazarillo de Tormes or the unashamed La Celestina... The Burgos artists also roamed Europe: the sculptors Diego de Siloe and Bartolomé Ordóñez studied in Italy and the great musician Antonio de Cabezón (who at only 16 years of age was already the organist for Isabella of Portugal) accompanied the emperor Charles V and his child, Prince Philip on his journeys abroad. All languages were heard in Burgos: English, French, German, Flemish, Italian, Portuguese and this still rings true. Burgos for many centuries has belonged to the heart of culture of the Old Continent, not only through the historic ties the city has with different European countries nor due just to its name being synonymous with El Cid, the splendour of Gothic and Renaissance art, the music of Las Huelgas, the Camino de Santiago nor the paleontological investigations of the sites of Atapuerca; Burgos also belongs at the heart of culture because people from Burgos (Burgaleses) continue to have a universal vocation, because we know that art and science know no limits nor boundaries. Burgos rises up in an intersection of paths and its doors have always been open to the arrival of those who come from outside. The city wants to continue to be a protagonist of an adventure that has already lasted for centuries: that of making the world a more creative, beautiful, just, tolerant and (why not?) fun place. We want to continue to be a working, vital and - just like a puppet theatre - joyous city, a place where everything one imagines is possible: even a protecting flying dragon, over the roofs, towers and palaces.
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PRESENTATIoN and PROLOGUE
-act -activate -adapt -tune -evolution
A
A
FundamentALs and concept
A1
Objectives and Challenge — Reinventing the city through culture — New values for Europe
A2
Main issues of the programme — Concept — Cultural programme Themes and phases
A3
A Unique Setting
A4
Institutional support
A1 / Objectives
— Reinventing itself through Culture
[ QUESTION 1.1 / I ] Why does the city which you represent wish to take part in the competition for the title of European Capital of Culture?
[ 1.1 / I ]
and Challenge
[ QUESTION 1.2 / I ] What, for it, would be the main challenge of this nomination?
Burgos is a city at a crossroads. The candidacy of Burgos reflects the firm determination of the city and its province to reinvent itself through culture. The City’s strategic plan (2001-2015), has created a framework to guide an important development. Nevertheless, Burgos will have to deal with important challenges in the coming years in order to complete this process, to become a vital and revitalized city which may inspire the new Europe of cities, creativity and human values. A Northern city with an uncertain climate and lacking the sunny optimism of its Southern neighbours, Burgos wears its history with pride, but its present with stoicism rather than delight. Burgos has always been a major centre of human development, trade, and interaction. The region houses the oldest human remains in Europe at Atapuerca and is one of the most biodiverse habitats in Europe. Burgos is the cradle of Castilian (Spanish), a language spoken globally by more than 400 million people from diverse cultural backgrounds, and is a critical resting point along the Camino de Santiago. Between the XII and XVI it was a major trading centre. Since the 1960s the city has emerged as a successful industrial centre.
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The city is also at a crossroads in time. Having helped to create the current globalised economy, we now perceive a future where it may well pose a threat. The skills which have served us in the past may no longer be sufficient to deal with the challenges posed by the 21st century. As an example; our economy is heavily dependent on the car manufacturing industry, something that can not be sustained and which has allowed car component manufacturers to relocate production to other countries. The city of Burgos will not be saved by its rich and glorious past and currently prosperous economic model when jobs are lost to other parts of the world. Our bid to become ECOC provides a much needed opportunity to launch our city into a new phase of change through evolution.
As a city we are no strangers to change; we have evolved through many periods of growth, decline and resurgence, all of which have imprinted their traces on our city and added to its cultural DNA. These influences have developed through trade and communication with Europe and the rest of the world, giving the city an open and enterprising character. Our relative prosperity in this modern age is based on such processes of exchange along with the preservation and valorisation of our past. Now once again, Burgos faces a moment in history where we must react to a new external environment, or face decline, a challenge faced by many other cities in Europe. Lacking the economies of scale and the advantages of attraction of larger and better-connected or better situated metropolises, we need to reposition ourself in the global economy and manage the transition from manufacturing into the new sectors of the knowledge and creative economies. The change demands more than merely an economic shift; it requires the focus of the city to change from attracting firms and industries to attracting and retaining people and talent. Culture must be at the heart of this transformation; culture provides the essential raw materials on which social evolution depends: social cohesion, openness, mutual respect, tolerance, creativity, knowledge and understanding. By developing culture, the city can strengthen its social fabric and human potential in such way that the more extrinsic benefits of economic growth and improved image flow as the consequence of cultural development. The major strength of Burgos has been its role as a vibrant centre for human activity over thousand years. The city has a rich history which illuminates key phases in human and urban evolution. The City’s major weakness is that it has largely looked inwards in cultural terms. Our awareness of this state of introversion drives the desire of the city to change and develop stronger creative links with Europe. Today, Burgos lags
“City, art and technology” — Raquel Rodríguez Burgos Contemprary Art Centre
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Fundaments and concept
behind a number of other cities in evolutionary terms. It is still strongly based in the ‘old’ industrial economy and in ‘traditional and historical’ culture. The major current challenge Burgos faces is that of lack of identity and vibrancy on national and European level. The city must adopt the power of the creative industries and the challenges of maintaining human, ecological and economical sustainability along with preservation of a heterogeneous and demographically balanced population. [ 1.2 / I ]
A NEW WAY OF DELIVERING CULTURE “Mankind as a whole must formulate a new planetary ethic capable of managing man’s future while remembering his origins, his slow and laborious ascent and his vital links with the natural environment, which we must preserve.” — Henry de Lumley Burgos, as the site of the origin of man in Europe and the worldwide reference point on human evolution, wants to share with the rest of Europe the capacity of culture and art to inspire and monitor complex processes of social change. This is how we may perceive human evolution, a natural change process based on the way in which individuals live and interact with their environment. Burgos 2016 must lead a new way of delivering culture which brings active involvement in creativity into the dayto-day lives of citizens. In building this new state of mind towards culture, we want to powerfully implicate Spain,
p. 24
and beyond that, Europe. We want to inspire dynamic levels of citizen participation, building creativity from the ground upwards, rather than just continuing the conventional practice of ‘performers playing to an audience’. We will implement a shift towards a more open, adventurous and curious cultural mentality, reaching out to Europe and adapting our portfolio of cultural resources, instigating a shift in emphasis from infrastructures to organizations and cultural strategies based on human capital. Burgos has a particular demographic and population make-up, driving our critical need to address substantial gaps: — Between the medieval old city, the fast-growing suburbs, which might be described as ‘the geography of nowhere’. — The richness and diversity of the province in natural terms; and the vast geographical extension of the territory. — In the city’s attitude to culture – between an elderly generation comfortable settled as ‘audience’, and a large and active youth sector used to active participation. Burgos needs to ‘put away’ the past by renewing our historic reputation; a process by which its image changes from being Franco’s capital to European Capital of Culture – celebrating the triumph of European democracy by building a better and reconciled future through an exemplary, curious, dynamic and inspiring city for the future.
A1 | Objectives and Challenge
— To Inspire New Values for Europe
[ QUESTION 1.3 / I ] What are the city’s objectives for the year in question?
[ 1.3 / I ]
There are the times when we want (culture) to be not only a surprising variation played upon the world, but a retuning of the world itself. We want the surprise to be like the impatient thump which unexpectedly restores the picture to the television set, or the electric shock which sets the fibrillating heart back to its proper rhythm. — Seamus Heaney Burgos puts at the forefront of its candidacy our conviction that as European Capital of Culture we will tackle the profound social changes that lead to improvement in the dialogue, creativity and the quality of life of our citizens. In support of this, we have formulated the following objectives: ONE To put Culture at the forefront of our local agenda, as Burgos’s principal strategic challenge, according to the vision and principles of our Cultural Plan. Burgos 2016 wishes to lead a new way of conceiving and developing culture through inspiring and enbedding creative involvement amongst its citizens as part of their daily lives. In order to create this ‘state of mind’ we need to decisively reach out to wider Spain and the rest of Europe. TWO To establish Burgos 2016 as a dynamic and daring laboratory of reflection and action concerning human values. We aim to create a laboratory that is sustained through the shared creativity of scientists, thinkers, creative practitioners and citizens from all over Europe, underpinned
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Fundaments and concept
by the international importance of work on human evolution achieved by Atapuerca’s researchers. THREE To establish a solid platform of support for our cultural sector in order to engage creatively with citizens of all ages, skills and interests. As a fundamental pillar in our planning, we will establish and develop solid, sustainable and mutually inspiring partnerships with Spanish and European partners. This is how we will build both new creative capital and strong legacy for our European Capital of Culture. FOUR Through Burgos 2016, to present to Europe a fresh model of the ECOC rooted in the current and future needs of citizens; Europe needs new creativity and re-assessed human values for the next decade. Burgos 2016 aims to maximize the potential of ECOC designation to root these values in creating and sharing culture.
p. 26
A1 | Objectives and Challenge
p. 27
Fundaments and concept
A2 / Main issues
— The Concept
[ QUESTION 2 / I ] Explain the concept of the programme which would be launched if the city was nominated European Capital of Culture?
[ 2, 3 / I ]
of the programme
[ QUESTION 3 / I ] Could this programme be summed up by a slogan? (the answer to this question is optional at the pre-selection stage).
“Evolution continues of course. But now it is above all technical and social. Culture has taken over”. — J. Rosnay Burgos 2016 confronts head-on the city’s critical need to change; the city is currently suspended between its past and the future. The ECOC title gives the city and province the vital chance to reflect on patterns of behaviour across generations, and to embrace new values for the future. Evolution is an important theme for the 21st Century. Just as evolution in the medieval and the industrial age was a result of major external change, so the current tides of globalisation, localisation and economic restructuring are transforming cities in Europe. Culture is an important part of evolution, not just as a new source of meaning and economic activity for cities, but also as an essential enabler of change. Culture is not just a product of the urban way of life, but an essential shaper of cities and their inhabitants. Our R-evolution will drive change, both rapid and gradual; R-evolution must face forward while establishing our bridges between past, present and future. Our R-evolution means that Burgos will evolve into a culturally creative, dynamic city which is environmentally, culturally, socially and economically sustainable, guided by the cultural DNA the city has developed over centuries. The process dictates a city which is creative about all aspects of its daily life; we will be as creative about transport, housing, energy and waste as we are about culture and learning.
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A2 | MAIN ISSUES OF THE PROGRAMME
Why R-evolution? ONE Burgos is privileged to be the centre of human evolution in Europe. Atapuerca’s prehistoric findings date from 1, 2 million years ago; and in 2011 the city will complete work on the new Complex of Human Evolution. TWO Burgos has evolved through the centuries, and is currently at a crossroads in its evolutionary path. Our bid will demonstrate how the 21st Century city of Burgos can evolve. THREE Human evolution and the evolution of cities are themes which are critical for Europe as a whole. European society seeks a more sustainable path, and Burgos aims to act as a model for development. FOUR Evolution implies both change and continuity. Burgos needs to transform the heavy burden of its heritage into a creative resource for the future. We intend to use it as a reference for the future development of our city. FIVE Through the concept of R-evolution, by using evolution as the overarching theme of our bid, we combine the ideas of creativity and heritage as INPUT when facing the current challenges opposing the city, so as to secure and create increased quality of life as an OUTPUT of the ECOC.
Culture has taken over
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Fundaments and concept
— Cultural programme. Themes and phases
Under the overall heading R-evolution our programme will comprise four main themes: — The Authentic City (sharing public space and human values) — The Eloquent City — The problem of Beauty — Journeys in search of truth These potently reflect the city and province’s story and provoke curiosity, strong feelings and thoughts which underpin our objectives: to develop a new state of mind about culture; to gather people across boundaries and generations; to bring people together to explore human values, knowledge and human interaction through mutual creativity; exploration of the living space we share as Europeans. Each of these themes will be developed through a particular phase (lens) and while each theme will feature as part of the overall European Capital of Culture 2016 programme, the themes will also be attached to a specific time-scale. The intention is to create a programme which builds an arch from the ECOC preparatory years, through 2016 itself and build potent legacy: 2011-1015: Re-discover 2016: Re-invent 2017 – onwards: Re-lease Many projects will span a multi-year timeframe: i.e.:- development phase in 2014, project delivery 2015 and 2016, development of outcomes, 2017.
in early February, late April, August and October. These weeks will be themed: 1) music and music theatre 2) children’s week 3) public space and landscape 4) Performing and visual arts. 2015 will follow a programme comprising intense workshop development periods for the first four months of the year, led by both Spanish and international artistic leaders. The summer months will concentrate on showings of work-in-progress, centred round a 10 day festival of work in public space and installation art. Workshop development and rehearsals for the 2016 opening celebrations will begin in early August. November will feature the first Look Up! Festival/series – events comprising lighting, installation and small-scale performance. 2016: The ECOC year will open with a major weekend of activities, culminating in a large-scale event with maximum citizen participation from the entire province, along with local, Spanish and international artists. The event’s finale will take place in central Burgos, after satellite events in a wide range of sites. January to March will concentrate on workshops, events and projects in indoor venues, and on long-term processes towards large-scale events in public space and landscape from April until September. The autumn and early winter will feature a strong international and national performance programme, with highly significant local content. The year will close in early December with another major and highly participatory celebration.
Each year’s programme will in principal follow the natural rhythm of the seasons. For instance 2014’s programme will concentrate on specific weeks of activity:
RE-DISCOVER (2011- 2015) RE-INVENT (2016) RE-LEASE (2017-) p. 30
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Fundaments and concept
A3 / A Unique
Setting
[ QUESTION 4 / I ] Which geographical area does the city intend to involve in the “European Capital of Culture” event? Explain this choice.
[ 4 / I ]
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A3 | A UNIQUE SETTING
Burgos 2016 has chosen the city of Burgos itself and its province as stage to promote the celebration of the European Capital of Culture. The programme and its overall concept Re–evolution reflect the Human Evolution Complex and the archaeological site of the Sierra de Atapuerca the latter declared World Heritage Site in 2000. Atapuerca presents the complete sequence of human evolution, explaining the effects of climatic change, and providing a panoramic vision of the development of technology and communication in the construction of our societies. Burgos 2016 can reflect our voyage through human history that starts in the Sierra de Atapuerca and continues with over a thousand years of urban development in the city of Burgos.
Burgos 2016 comprises a vast and rich territory comprising nearly five hundred municipalities, which encompass three major population centres along the axis of the A1 motorway between Madrid and the Basque Country; Aranda de Duero, Burgos city itself and Miranda de Ebro.
A4 / Institutional
support
[ QUESTION 5 / I ] Do you already have the support of the local or regional political authorities? Or are you planning to ask for their support at a later date? Explain.
[ 5 / I ]
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Fundaments and concept
At the outset of 2007 Burgos City Council passed the unanimous decision of all political parties to set in motion Burgos’ bid to be the European Capital of Culture. This began the process of involving all institutions and citizens. Since then, the city has focused on channelling the will and effort of the city and province into the ECOC project. In support of this, the city council has established la Fundación (The Foundation) which presents the candidacy of Burgos, and which incorporates the provincial administration, the University of Burgos and the principal public institutions
and businesses of the city, bringing both finance and leadership to the project. The regional administration is fully supportive of the candidacy, having expressed their backing through their unanimous declaration in the Regional Assembly and through their executive’s firm declaration of support. In the final selection phase, the commitment of the different administrations and of the private sector will be examined in closer detail, in accordance with the model described in section IV of this document.
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A4 | INSTITUTIONAL SUPPORT
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Fundaments and concept
-place -claim -take -evolution
B
B
Structure of the programme for the event
B1
Guidelines and themes — The Creative programme — What defines our programme
B2
Artistic Programme — Introduction. Four themes – three phases — Structure and samples projects — A shared project — City evolution
B3
Burgos 2016 is innovative
B4
The European dimension —Cultural cooperation within Europe — Richness of cultural diversity in Europe — Common aspects of European cultures — To Strengthen the city's links with Europe
B5
City and citizens —Interest of the population at European level —Participation and the use of the city and surrounds —Citizens and access to the programme —Sustainability and long term cultural and social development
B1 / Guidelines
— Presentation of the creative programme of Burgos 2016
[ QUESTION 1 / II ] What structure does the city intend to give to the year’s programme if it is designated “European Capital of Culture” (guidelines, general theme of the event)? How long does the programme last? (This question must be answered in greater detail at the final selection stage).
[ 1 / I , 11 / II ]
and Themes
[ QUESTION 11 / I ] Are some parts of the programme designed for particular target groups (young people, minorities, etc.)? Specify the relevant parts of the programme planned for the event.
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By taking R-evolution as our overall frame, we wish to explore far beyond ‘the bones’, to consider the essence of being human in the second decade of a new century. Evolution in the widest sense inspires the framework for our planning: Burgos, once a great European hub of culture and commerce, is suspended between its past and the future. R-evolution as a concept fits not only the historic and tangible circumstances of the city: the theme encapsulates the city’s need to address its long-settled values now threatened by shifting global pattern and social trend. The city, then, could be described as a sleeping beauty. Can the European Capital of Culture title provide ‘the kiss’? In wishing to submit an authentic bid to be European Capital of Culture, we want to present a truthful portrait of Burgos, its ambitions and needs. We want to re-discover our city and province, to re-invent it for this decade and the future, to re-lease the flow between the city and Europe, and to establish the lasting and dynamic means to achieve our goals. In short, a revolution needs to occur. We will not create a year of events and spectacles – although we’ll pay due attention to both. Our programme will be premised on building sustainable collaborative projects of the highest possible standards between our local creative practitioners, national and international creators, and community participation of all ages. Involvement of children and youth will be at the project’s beating heart. The province offers extraordinary contrasts, clearly emphasised in our programme, through a strong focus on projects in landscape, and projects which emphasise the city’s old/new architectural dichotomy. Our programme will also acknowledge The Leyes de Burgos – one of the world’s earliest statements of human rights – which were designed to protect the indigenous population of Hispaniola just 20 years after Columbus’s arrival. Today, in terms of diversity, Burgos manifests an intercultural, integrated cultural policy which recognizes diversity, but does not engage in tokenism.
Our programme embarks on a journey of hearts and minds, linking past, present and future – we will examine our roots, and discover how looking truthfully at the past helps us to maximize our present; how we reinvent the present in order to develop our future; how we build and sustain strategies for the future to release our ambitions empower our population. Continually looking outwards to Europe and beyond, we will link with other cities strongly identified with change: Dundee (UK) – a post-industrial city which over the last decade has re-invented itself through digital creativity and culture; Reykjavik (Iceland, ECOC2000) currently in the process of a massive reevaluation of its values and purpose, and Antwerp (Belgium, ECOC1993), a city with which Burgos has ancient trading links, and a city historically rich in culture despite centuries of change.
“An open door” — Jorge y Rocío Domingo Valentín Domingo’s Sons, Boots Makers
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Structure of the programme for the event
— What defines our programme
p. 42
Excellence Burgos 2016 intends that all its projects – the process which creates them, their delivery, management and production – will be of the highest global standards. Whether working with international artists or local children, our aspirations will be unflinching in terms of creative integrity and superb achievement. We want to set new standards – for individual artists, for leadership and for education – and to establish ambitions for the future which soar forward.
Collaboration and Partnership Burgos 2016 will establish long-term and highly productive collaborations which are mutually highly rewarding, and which generate exchange, energy and artistic expansion between artists, organizations and institutions within the city and province with artists in Spain, elsewhere in Europe and beyond. These new initiatives will build on existing relationships, but also will create completely new dialogue and experience.
Citizen Participation Burgos 2016 is premised on participation from Burgos citizens and those of the wider province including people of all ethnicities, ages, skills and abilities/ disabilities – toddlers through to the elderly - as active participants, inviting them to join the projects, local, national or international, creatively in whichever way they wish: as actors, musicians, dancers, thinkers, volunteers, harnessing ideas, enthusiasm and ambitions. While recognising that our activities must serve many constituencies, audiences, diverse groups, interests, and tastes – including both minority and majority inclinations - we are determined to look upon our city as a whole. We will not, therefore, identify ‘target groups’ in this document – it is our profound wish to bring people together across boundaries, rather than to put emphasis on their perceived differences. Our city breathes a rich mix of social, ethnic, educational and political diversity amongst its cultural practitioners and their constituencies. In an Appendix, we list Burgos’s wide range of organizations with whom we are engaged, and whose talents and participation we welcome.
Education Projects Burgos 2016 will integrate projects for children and youth into the wider programme. Building relationships across generations is critical to our overall vision of cohesion for the city and province. However, several of our projects will be built in direct cooperation with schools’ curricula, and therefore will be specific to particular age-groups creating a new precedent for Spanish children’s future cultural activity.
B1 | GUIDELINES AND THEMES
Burgos and the province have an excellent programme already in existence led by the Instituto Municipal de la Cultura (IMC) – collaborating closely with this, we aim to widely expand its range and genre, to introduce strong input from international artists, and to support the programme with both physical and financial resources.
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Structure of the programme for the event
B2 / Artistic
Programme
— Introduction Four themes - three phases
The Four Themes
01. The Authentic City: Sharing public space and human values Burgos is a city of ancient and modern, of splendour and decay, of sensuous past architectural planning and clinically modern speedy building. Its public spaces call people together in clusters, but fail to gather congregations. Natural theatres, they lack art and installation which might encourage participation and interaction, performance – spontaneous or planned – inspiration for reflection, or activity which naturally draws people together. In the old town, narrow streets snake between gracious plazas; in the new, wide spaces abound, and buildings soar. Green spaces, water and nature abound, but their celebration is low-key. The authentic city project will re-value the city and how we as humans connect. We will joyfully explore public space as a place to gather, to create and to build relationships through participation. We will initiate projects across generations, across boundaries of new/old city, nation and Europe – bringing people together to converse, relate, play, perform and enjoy surprise.
02. The eloquent city Burgos is the cradle of the Castilian, the main language spoken by more than 400 million people worldwide, from Caracas to the Sephardic communities of Istanbul –although Spain remains a multi-lingual country. Today Burgos and region remains rich in writers, poets and storytellers. Exploring the evolution of the Castilian language, we will present a comprehensive and wide-reaching project The Eloquent City investigating the city and region’s past and present rich and surprising cornucopia of language, text, music, song and communication. How we communicate has evolved beyond all our imagination – from gilded decorative texts to Twitter, from the Theorbo to Sibelius software, from ballad to rap. We will explore how the Castilian language travelled and shifted, telling the stories of migrants and aboriginals, and showing how such stories support the past and present of cities, tracing their evolution and plotting their future. Taking the Leyes de Burgos, one of the world’s earliest bills of human rights, as our inspiration, we will also explore, across all Burgos’s current generations, the issue of rights, entitlement and equality. And, in focusing on knowledge and communication, we will also have a good look at what we don’t know – aspects of our human brain which continue to mystify, bewilder and surprise.
03. The problem of beauty As citizens at a crossroads in the unfolding story of a city whose history has swerved from defining roles in the evolution of Europe to relative obscurity, from glory to notoriety, we will tackle head on the ‘problem of beauty’ – how glorious architecture and glowing heritage can seduce citizens into becoming sleeping beauties inside a golden cage, oblivious - or ignoring of the making of history within their midst. Beauty can calm us, excite us, inspire us, charm us – but also be profound, sacred and disturbing. It can provoke love and desire – but also a wish to desecrate and destroy. It can mask horror and shyly reveal innocence. Noone remains indifferent to beauty. Citizens take it for-granted, tourists compare and photograph it. Evolutionary psychologists argue about beauty’s effect on our reproductive strategies. The Problem of Beauty will encourage all ages to explore their reactions to the beautiful and the merely functional; to re-assess icons from the past; to explore their perceptions of what inspires today and what is important to value for the future.
04. Journeys in Search of Truth p. 44
Rich physical heritage apart, Burgos also cherishes the intangible heritage of pilgrimage and journeys linked to the Camino de Santiago – itself one of three
World heritage monuments, embracing the vast Cathedral and Atapuerca site. With the Camino de Santiago, and the larger Camino of St James passing east to west through the region, and Burgos city itself a major stopping-off point for pilgrims, the issue of journeys in search of truth is central to the city and province’s dynamic. How such journeys have evolved from mystical or biblical search into explorations of self and artistic creativity will form an important strand in our programme – travels, acquired experience of cultural diversity, inspiration from both urban and rural landscape, shared experience and coincidental encounter will all translate into creative projects of depth and imagination. We will re-evaluate both the romance and the reality of Burgos’s hero El Cid and his complex travels – inspired by both a search for truth and by sheer fortune-seeking. And we will look without sentiment at journeys made by artists and thinkers in flight from Franco, headquartered in Burgos throughout the Spanish Civil War, and a presence still weighty, if little confronted. This impact and legacy will be explored in honest and at times surprising ways in several of our projects. Artists and musicians of all kinds from Burgos and far beyond will lead our travels, uncovering the unseen, shedding new light on the familiar, questioning assumptions, myths and legends, and illuminating, without compromise, some surprising truths.
The Three Phases 01. Re-discover (2011-2015) Re-discover looks at the city of Burgos and the surrounding province through fresh eyes: a city beautiful and rich with heritage, historically critically important in Spain and Europe. We inhabit a province where Europe’s most ancient beings were discovered, where a great language began, where a dictator set up stall, and where a great hero conquistador blazed a romantic trail. In Burgos today, a staid population strolls, chats and clusters, but a new generation of children, carefully raised in fastidious conservatism, break loose into fashion, edgy technology and sport. A large elderly population nurses startling little-mentioned memories and buildings hold secrets. While old and magisterial monuments stand proud, bland new construction grows apace. While old values of human dignity, respect for nature and patrimony, and European citizenship hold fast, youth wrestles with the imperative of seizing every vibration of the future. Re-discover will dig deep below the everyday surface, below our everyday assumptions, and into true rediscovery of Burgos, the province – and most importantly, of ourselves as citizens. Projects are designed to encourage and to build participation. We will create opportunities for all ages to re-engage joyfully with their city, to re-evaluate its story, to discover Burgos through the fresh eyes of Europe, and to present to Europe an authentic city striving for change. Re-discover will make new connections between citizens, artists and their current audiences and build far wider participation through dynamic initiatives for a wide variety of ages. Rediscover will also develop specific creative relationships with the cities of Dundee, Reykjavik and Antwerp – all cities well familiar with the process of change sharing cultural diversity, ideas and projects, and exploring values, city priorities and goals. 02. Re-invent (2016) Building on from a re-discovery of the city and its story, Burgos 2016 wants this old city to become new. With the current perception that the super-sized city heads for crisis, we want to use Burgos as a case study - for the dynamic of the smaller city as the driving force for the Europe of the future. We will do this by creating long-term projects which bring people together to share ideas, values and skills, resulting in inspiring events and presentations, and sustainable productive relationships. We will also build opportunities for comparison and creative collaboration with specific partner cities Dundee, Reykjavik and Antwerp which will continue to feed our exploration.
p. 45
The unresolved relationship of new/old in Burgos will create a wide opportunity to explore and create collaboration and communication – both between neighbourhoods and across generations. While respecting our ornate calles and gracious plazas, we want to imbue them with the energy and excitement of new
impulses – to re-invent them as living, creative and reflective spaces rather than places which function as junctions or passageways. We want to create flow between the old and new – to re-invent the river as an artery, rather than a divider. The city’s new areas are home to thousands, but as architecture and public space relate poorly to the ancient centre. Our intention in re-inventing our relationship to space and architecture is to create interventions throughout the city and region, using energy, art, participation and reflection as the force which holds us together as humans in a shared community. And, reflecting on the city’s demography, we’ll examine beauty as a blessing and a curse – how ‘living in a museum’ both inspires and stultifies us, young and old, and how the new and brash may do the same. Critical to all our thinking is the priority of bringing people together for new experiences – of each other, of the city and of Europe. Projects are designed to consolidate participation between citizens of all ages, schools, Burgos’s creative individuals and organizations, and national and international partner organizations in Europe and beyond. Centred on 2016, the ECOC year itself, Re-invent will also encompass three-year projects begun in 2015, and initiate projects for following years. 03. Re-lease (2017 onwards) Re-lease focuses on the means by which Burgos and the province create dynamic and future-oriented projects, actions and learning in order to grow forward. We’ve examined the process of evolution – now it is time to organize the revolution! Re-lease implements and supports talent, training and opportunities for artists and those involved in their production individually and as part of the creative industries, and continues to concentrate on building a flow of dialogue and activity between Burgos and Europe. Burgos 2016 intends that the body of knowledge, experience and competence accrued during the ECOC should be sustained. Re-lease will ensure that the platforms created for sustainability are well-led and managed, and that the transition back to city and regional leadership is supported, dynamic, and followed through. We will continue to explore new and sustainable ways of gathering and creating together, new venues, and the establishment of artist-led ‘laboratories’ based both in both Burgos and the wider province which create hubs of action for the future.
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B2 | ARTISTIC PROGRAMME
— Structure and samples projects
[ QUESTION 2 / II ] What main events will mark the year? For each one, please supply the following information: description of the event / date and place / project partners / financing.(The answer to this question is optional at the pre-selection stage).
[ 2 / II ]
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Structure of the programme for the event
At this stage, we can only give a general indication of the projects and the organizations and artists involved. The programme will be specified in more detail in the following selection phase.
p. 48
B2 | ARTISTIC PROGRAMME
p. 49
Structure of the programme for the event
Re-dISCOVER
Re-discover brings us together to create, and to explore the past through the lens of contemporary experience, fresh minds, and a new and open approach to being European. Projects will begin the process of building outward-facing collaborations and partnerships, many of which will continue over a defined long-term period. Projects will also focus strongly on a new process of citizen participation and engagement.
The authentic City: Sharing public space and human values –01– Installations by international companies –02– Theatre and Dance –03– Humans, beasts and shelter –04–Burgos Celebration –05–Urban Time Travel –06–Let’s Pretend The Eloquent City –07– Rights and Values –08– The city of the enquiring mind –09– Burgos and calligraphy –10– Franco’s exiles –11– Words and Music: Four Projects –12– Distant Voices The Problem of Beauty –13– Pride and Prejudice –14– Beauty, Fashion and Fantasy Journeys in search of Truth –15– Major poetry project collaboration –16– Artist Pilgrimages
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B2 | ARTISTIC PROGRAMME
The authentic City: Sharing public space and human values
– 01– Installations by international companies Date: 2014-2016 Projects In general these will be spectacular highly visible events entirely new to Burgos’s intricate web of streets and spaces, and will be designed to create surprise, maximum impact and participation from all ages. In many cases, the projects will also involve creative partnerships with local companies. Projects may be highly significant lighting projects, also involving video projection – or subtle interventions. Sample project Look Up! – a winter project where looking up reveals surprises – a tiny performance in a lighted Gamonal shop window; a detail, high up on a building is lit unexpectedly; a deserted stork’s nest resting on a Roman arch is suddenly is inhabited by surprising visitors; upstairs in your usual cafe may have been re-invented; ..... look for performers on balconies, and strange hats on the top of statues. And, by looking up, see your city differently.
Potential Collaborators Burgos theatre, dance, performance art ensembles; individual artists; The Red Ball project NY and Europe, Newcastle Festival of Light, The World Famous (Lighting and Fire); Les Grooms, France; The Bicycle Film Festival (USA, Barcelona and worldwide); Helen and Hard, Norway; Hotel Pro Forma, Denmark; artists from Burgos. Venues Throughout Burgos and province.
– 02 – Theatre and Dance Project Projects will illuminate issues of human evolution through performance. The projects will be a mix of international work new to Spain, and co-productions built collaboratively between Burgos/Spanish artists and companies and international and European artists and companies. Projects will be both site- specific (linking into public space projects) or venue based. They will also include participatory projects for children and students, built through workshops and education projects.
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Sample project The Indian/South African dance director, in collaboration with Handspring Puppets (SA) are researching a project examining the earliest forms of communication through ancient rock gongs, and how the ritual surrounding the sounds and messages produced by these ‘instruments’ carried across vast spaces and across communities. The production would be based around a mixed company of dancers from Burgos, elsewhere in Spain, Denmark, the Netherlands and the UK, and would also involve a similarly diverse production team. Pather customarily works with similarly mixed teams. The composer commissioned will be the South African Neo Muyanga. In each venue, the intention is to build a complementary large-scale community/education performance based project. In Burgos, this will be centred on puppet theatre, dance and ethnomusicology as it relates to human evolution. Using sites around and above Atapuerca, we will create instruments whose sounds carry and transmit messages, and create a large performance piece in landscape with local performers, a Spanish composer, and
RE-DISCOVER (2011-2015)
Artistic Direction various, to be decided by Burgos 2016 artistic director.
Jay Pather in partnership with local dance leaders. The performance period would also include a major puppet seminar for Spanish and other puppet practitioners. Artistic Direction Jay Pather, Handspring Puppets. Potential Collaborators Spanish Puppet Theatres; Xarxo Teatro, Spain; Radu Stanco Theatre (Romania) Theatre/dance ensembles, Burgos; IMC Burgos; Dundee Repertory Theatre, Musiektheater Transparant, Antwerp, Antwerp, Mercat de les Flors, Barcelona; Resad, Madrid; Centro Coreografica de Galicia; La Laboral, Asturias; Festival de Otono en Primavera, Madrid, Escena Contemporánea, Madrid. Venues Casa del Cordón; Teatro Principal; Found spaces in landscape; Atapuerca Foundation.
– 03 – Humans, beasts and shelter
RE-DISCOVER (2011-2015)
Project Projects for children and families, who will re-create ‘green and free’ villages in collaboration with a major site-specific installation company over a series of weekends, which will also feature performances – although the projects will be more concerned with participation and process. The project will be multi-faceted, but focused on the natural environment: food, entertainment, storytelling, adventures in nature. It may involve mythical animals or people, characters from history, or visitors from the future . Projects will be sited in ‘lost’ depopulated villages in Burgos province – villages whose communities disappeared in the 1950s. Sample project The Barcelona company Guixot de 8 works with recycled waste, building highly imaginative projects for children. Over a series of weekends and using found materials, Guixot de 8 will create a temporary theatre and performance space in a selected ‘lost’ village, working with children and families. They will then build a series of devised musical instruments out of all kinds of found tubing, percussive materials, assembled strung instruments etc. Working with a storyteller, local composer and choir leader, the whole team will then create a sung and played performance piece to be performed in the new arena as an evening event to culminate their project. Artistic Direction To be decided by Burgos 2016 artistic director: each village project will be individually curated by a Spanish or European director. Potential Collaborators Burgos musicians, theatre ensembles, performance artists, dance ensembles; Guixot de 8, Spain; Royal de Luxe, Belgium, Lone Twin, UK; Dealbru Betzak, Spain, Festival Mapa, Girona; Mucho Más Mayo, Cartagena; FIB, Benicassim; La Casa Encendida, Madrid. Venues Burgos Province: ‘lost villages’.
– 04 – Burgos Celebration Three year project 2014 – 2016
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Project Along with Spanish and international artists-in-residence, a series of projects will create highly innovative performance/installation events in specific parts of the city - both in the mediaeval centre and the new suburbs, designed to rediscover space and shape, light and shade, sound and sight .The projects will involve interaction and participation with citizens, youth and children, premised on re-discovery of the city’s spaces and those of the province’s conurbations. They will be created through workshops, residencies in schools/university/culture
organizations, and may also contribute to Burgos’s existing annual festivals and special celebratory days. Projects will take place on a number of scales, from intimate, involving small numbers, to projects involving maximum citizen participation. Sample Project A music and dance ‘DNA’ of the city – this grand-scale project could form part of Burgos 2016 opening or closing ceremonies. Using the city’s artistic resources and large numbers of citizens, with major along with artists and citizen representatives from linked European cities, the project will create an artistic ‘DNA’ using the layout of the city, turning its plazas and calles into organs and arteries. Large groups of choral singers, musicians or dancers will devise performance for the plazas ‘organs’, with ensembles and individual performances placed along the linking ‘arteries’. This project will require highly experienced direction from a company skilled in city-scale project management. Artistic direction May be local or international, and will include performance of all kinds. Events will also be created as a themed series linked to overall programme/ evolution topics i.e. The Eloquent City, Journeys in Search of Truth, The Authentic City, The Problem of Beauty, and will be focused on these as appropriate.
Venues Throughout city and province.
– 05 – Urban Time Travel Project In the rediscovery of public space in Burgos, our self-rediscovery may lead to reexamining the meaning of some of the major milestones that have shaped the Europe of today; urban experiences can be experienced as time travel, adventures that help us to understand our own dilemmas, as demonstrated by Ulysses’ journeys or those of Burgos’s great conquistador, El Cid. Lack of synergy between humans and their habitat provokes feelings of isolation and dislocation, risking atmospheres where conflict and misunderstanding blossom. Our aim is to nurture human values and create a serie of projects where we explore how everyday life fuses with our surroundings, creating a thought provoking trip through the city. Sample projects small-scale performance works illustrating breakthroughs and inventions which have shaped evolution: the discovery of fire, the emergence of language, evolving agriculture, the discovery of the wheel, the measurement of time, emerging instruments and the perception of human rights.... Potential Collaborators Multiple local groups; Specific international artists with schools, Centro de Arte Contemporaneo de Burgos (CAB), Atapuerca Foundation, visual artists, the veteran car club of Burgos, The Parralla, Burgos museums; independent local artists; Hotel Pro Forma, Denmark; Rimini Protocol, Berlin; Shared Experience, London. Venue: Burgos, various.
– 06 – Let’s Pretend Two year Project 2015 - 2016
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Project Major urban discovery project for children, re-inventing the stories, myths and legends which are connected to Burgos and the province, and to their buildings.
RE-DISCOVER (2011-2015)
Potential Collaborators Multiple local groups; CPM (France); Rufus Norris (UK/Young Vic) working with La Parrala, Burgos (multiple companies), Chris Smart and Roger Titley (South Africa/Austria), puppeteers/creature-makers working with IMC schools programme, DansDesign (Norway) working with Burgos University; Xarxa Teatre, Spain, and Atristras Teatre, Spain working with Burgos artists.
Actors, artists and musicians will work with children all over the city and province (each school/organization will choose a building or historical character) and will create a new interpretation and performance. Performances will culminate in a weekend festival. Sample project In 1947, the Miranda de Ebro Camp, close to Burgos, was the last Nationalist concentration camp to close. It held prisoners, comprising around 50 nationalities, including major resistance leaders, Nobel prize winners and the some of the elite of the French government. Working with senior school pupils from both Burgos province and from Poland, Barcelona-based director Carlos Wagner will gather a team of historians, elderly survivors who were children in the camp, musicians, actors and film archive to build with the school pupils a re-creation of one day in the life of Miranda de Ebro. Artistic Direction Spanish, Polish and French workshop leaders under the overall direction of Carlos Wagner. Potential Collaborators Burgos musicians, artists, theatre/dance ensembles; associations for the elderly; Burgos and regional libraries and archive centres; Jose Ángel Fernández López; University of Clermont-Ferrant; University of Wroclaw; IMC, Burgos; Municipality of Miranda de Ebro, Sarruga Productions, Barcelomna, Festival Teatralia, Madrid; Festival Titirimundi, Segovia.
RE-DISCOVER (2011-2015)
Venue Miranda de Ebro Camp, Burgos and province schools; homes for the elderly.
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Structure of the programme for the event
The Eloquent City
– 07– Rights and Values Date: Two year project 2015-2016 Project The 16th C Leyes de Burgos were a declaration rights designed to protect the indigenous population of ‘Hispaniola’ 20 years after Columbus’s arrival – one of the first statements of human rights in the world. Sample Project Burgos 2016 will create a major project in secondary schools where all 16 year-olds in Castille-Leon design a new Declaration of Human rights for Spain, with web input from Spain’s ECOC candidate cities. Artistic Direction University of Burgos. Potential Collaborators Burgos and province schools and colleges; The Institute for the Castillian Language; Spanish members of the World Human Rights Council advisory; Burgos city and province schools; Sara Johannesen, Director, Nobel Peace Prize Centre. RE-DISCOVER (2011-2015)
Venue Exhibition/installation in major Burgos venue and schools; interactive website.
– 08 – The city of the enquiring mind Date: Two year project 2015-2016 Project The evolution of the mind projects are based on cognitive neuroscience in general – the evolution of the mind, language and consciousness, and unique human traits and how the brain functions as the power for these activities. Every human has their unique perception of reality, all in the mind, decided by our DNA. Sample projects Burgos 2016 will explore the brain-power of human beings: memory, learning ability, ability to relate and ultimately, the origin of language. We will investigate the evolution of the brain, and how new knowledge of our ancestors is driving recent discoveries: medical research, social understanding and overall the critical issue of continuity. The project will be participatory and science-based, involving a wide range of participants. Project Leadership CENIEH (National Human Evolution Investigation Centre) Atapuerca Foundation. Potential Collaborators Manuel Martin-Loeches, Atapuerca research team; ISCIII UCM, Complutense and Carlos III University; Research Centre and department of Cognitive Neuroscience. Luis Plains (world champion quick memorization and mental calculation); Ramón Alberto Coto and Campayo; Eduardo Punset, David Livingston (philosopher), Alvaro Pascual Leone (Harvard University), Department of Natural Sciences; Hertie Institute for Clinical Brain Research; The Interdisciplinary Centre for Clinical Research, Welcome Laboratory of the University College London Neuro-image.
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Venue Various; Evolution Complex; Cultural Centre of Gamonal; CENIEH auditorium.
– 09 – Burgos and calligraphy Project Burgos museums, galleries, churches and monasteries – and even the city’s hotels – contain an extraordinary quantity of decorated and richly elaborated manuscripts, widely reflecting the city’s status as cradle of the Castilian language and the communication of its early and significant manifestations. Burgos 2016 will contrast this beautiful and revelatory collection with its contemporary equivalent: graffiti in its most creative and explicit form, with participants from all over Europe. Sample Project Installation/exhibition/performances around historic music scores, illuminated manuscripts (i.e. Codex las Huelgas) alongside a national competition for contemporary graffiti. Artistic Direction Spanish curator tbc/ CAB, Burgos. Potential Collaborators Institute of the Castillian Language; Music Conservatories and libraries throughout Spain; Spanish graffiti artists; Spanish Schools of Art, Festival Cultura Urbana, Madrid; IED, Madrid and Barcelona; NuArt, Norway; Kosmopolite, France; Cans Festival, UK; Graffiti Veritie, USA.
–10– Franco’s exiles Date: Three year project 2014-2016 Projects Writers, poets, humanitarians ( + artists and musicians) who fled to European: link to Journeys in Search of Truth; exiles to Europe – composer Roberto Gerhard, Maria Teresa Leon Goyri (from Burgos), The Argentinita, Pau Casals, Victoria Kent Siano; Leon Felipe (Burgos). Sample project A series specifically curated in chosen sites: concert performance, small-scale theatre and music-theatre events, involving directors, film, music/musicians, speakers, storytellers and film. These events are intended to provoke debate and opinion-sharing in many European languages. Some will be specifically directed towards youth, and may involve discussion across generations. Some may involve re-enactment of family stories or actual events. Artistic Direction Overall curation of series in collaboration with Burgos 2016 artistic director: national and international directors. Potential Collaborators Burgos Symphony Orchestra and municipal music schools; Burgos and province theatre, dance, performance artists; Burgos and Spanish citizens; homes and associations for the elderly; Burgos and province schools; Specific European artists, to include actress Vivienne de Munck (Belgium), Casals pupils, Orquestre de Cadaques, chamber music/ Music theatre/dance ensembles from Spanish candidate cities; European poets on conflict. Venues Various throughout Burgos region.
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Structure of the programme for the event
RE-DISCOVER (2011-2015)
Venues Various throughout city and province, including Monasterio de las Huelgas;, Lerma. Sites and Murals for Graffiti to be designated in collaboration with Burgos city council.
–11– Words and Music: Four Projects relating text and music Projects The Burgos Song Canon 2014-2016 Burgos is home to a vast canon of song. The project makes a major exploration of Burgos and Spanish song and text writers, particularly related to nature, human values and rights. The series embrace medieval, classical, world music, folk, rock singer/songwriters, also Latin-American content: Spanish song from the new world. Sample Project Spain and Beyond: The Castilian Catalogue. A large-scale series of programmes tracing the development of Spanish song from its earliest beginning, through to the present day, and the work of contemporary classical writers. Music will be sourced from all over Spain, but also from Latin America and the New World, to include ‘chanson’, folk song, religious and classical material. In parallel, Burgos 2016 will curate a series which traces the origins of popular, world and rock music from Spain, Latin America and the New World. Both series will encompass multiple venues and involve a wide range of artists and ensembles.
RE-DISCOVER (2011-2015)
Artistic Direction The intention is that the first series (i.e. classically based) will be curated by the British pianist, musicologist and vocal music specialist Iain Burnside, who has curated many such explorations with BBC Radio3. He would work in collaboration with Spanish colleagues at RTVE and in Latin America. The second series will be curated by El Hangar, Burgos, in collaboration with various Spanish rock/world music specialists. Potential Collaborators Burgos Symphony Orchestra, choirs, individual artists; Burgos music conservatories; UK, Spanish and Latin American radio, Kings Place, London, Reykjavik Festival, Fest’n Furious, Dundee, El Hangar, Burgos and associated artists and promoters. Venues Various, throughout Burgos and province: Casa Cordón, Teatro Principal, CENIEH new auditorium, El Hanger, club venues in Antwerp, Iceland, Dundee. Rodrigue et Chimène – Early incomplete opera by Debussy, completed by Denisov in 1993 Two year Project, 2014-2015 Sample Project Major opera project based around the opera based on El Cid and Jimena. Workshops, education projects, exploration of the hero re-discovered through art, leading to performances. Artistic Direction to be decided by Burgos 2016 artistic director. Potential Collaborators Burgos Symphony Orchestra; music schools/conservatories; Burgos theatre/ dance ensembles; poetry and literature societies; IMC, Opera de Lyon (who gave1993 premiere); IMC and Burgos schools; University of Burgos; Music conservatories throughout region; Teatro Real, Madrid, Edinburgh International Festival. Venue CENIEH new auditorium; Teatro Principal (workshops). Potentially Opera de Lyon and Teatro Real, Madrid, Europe TBA.
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Chant and Change Burgos as a centre for sacred music The best-selling ever recording of Gregorian chant was recorded in 1973 by the Benedictine monks of Santo Domingo de Silos. Burgos's Codex de las Huelgas is one of the first collections of polyphonic music, written originally for 100 female voices. 16thC Organist Antonio de Cabezon spent two years at the court of Mary Tudor (wife of Spanish King Phillip 11), but his music is unknown in the UK. Sample Project Burgos 2016 will create projects juxtaposing Mozarabic and Gregorian chant with newly commissioned chant for 2015/2016. The new chant will be commissioned from composers (both Spanish and from elsewhere) who use chant in their compositions: i.e.: James MacMillan (UK), Georg Frederik Haas (Austria), and composers from the Middle and Far East and North Africa. Artistic direction To be decided by Burgos 2016 artistic director. Potential Collaborators Burgos and region monasteries and sacred Spanish chant specialists; Burgos choirs and choruses; Santo Domingo de Silos; Burgos Cathedral; Spanish Music Information Centre; Society for Spanish composers; Frie Leysen, Former Director Kunsten Festival des Arts, Brussels and Middle Eastern specialist. Venues Churches, monasteries and sacred spaces throughout Burgos region.
Sample Project Collaboration with The Orchestra of the Age of Enlightenment and Eduardo Portal (young Burgos conductor, recently appointed to OAE as apprentice)/Burgos Symphony Orchestra/ Raphael Fruhbeck de Burgos/ Orquestra de Cadaques. Artistic Direction Eduardo Portal in collaboration with director of Burgos 2016 and European Spanish music experts. Potential Collaborators Burgos music conservatories; Burgos Symphony Orchestra, Orchestra of the Age of Enlightenment, Hesperion XXI, Reykjavik Festival, Festivals in Antwerp, Fest’n Furious, Dundee, Auditorio Nacional, Madrid; Música D’Hoy, Madrid; Instituto Nacional de las Artes Escénicas, Madrid; Museo Interactivo de la Música, Málaga; Museo de la Música, Barcelona. Venues Casa del Cordón, Casa de Gamonal; CIES auditorium, Teatro Principal, public space. Various venues internationally.
–12– Distant Voices Date: Two year Project 2015-2016 Project Skype poetry festival in collaboration with literature festivals throughout Spain and Poland, bringing together eminent poets to read their work. To include Spain and Poland’s ECOC applicant cities. Sample Project Cafe Poetry: Burgos 2016 will identify key dates when Spanish poets are gathered for specific festivals. A link will be established for a two hour period, when poets will read via a Skype link, which will be set up in selected cafes in Burgos and the province, and in a chosen café in each of the Spanish ECOC candidate cities. Each cafe will devise a menu, special setting etc. p. 59
RE-DISCOVER (2011-2015)
The Evolution of the Orchestra Date: 2014-2016 Exploring how the orchestra has developed, through the lens of Spanish music.
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Structure of the programme for the event
Artistic Direction To be decided, and coordinated with participating cities. Potential Collaborators University of Burgos; Burgos and región poetry and literature societies; writers/ poets; Festival Eñe, Madrid; Cosmopoética, Córdoba; Kosmopolis, Barcelona, Palabra y Música, Seville; Hay Festival, Granada; literary and poetry festivals throughout Spain; selected Polish festivals/poetry.
RE-DISCOVER (2011-2015)
Venues conventional and unconventional venues; could also include poets’ homes. Also available as general web project.
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The Problem of Beauty
–13– Pride and Prejudice Project Why do we revere old and ornate buildings and yet often criticise contemporary living spaces and public arenas? Artists-in-residence (individual and ensembles) discover their own versions of beauty – or otherwise: Burgos Cathedral, Centre for Human Evolution; Carrefour Mall; Burgos University; the village of Pineda; Gamonal centre; L’Espolon. Sample Project Les passengers (France) ‘discover’ the Centre for Human Evolution. Les Passenger is an aerial dance company who treat each surface they dance from as a giant blank screen on which they re-imagine the building inside and its dynamics. Working with eloquent video and highly evocative music, they invite the audience to dream – to become weightless, and able to slip through surfaces. The result is a remarkable fusion of observation and fantasy.
Potential Collaborators Local theatre, dance, performance art, music ensembles; El Hangar, Les Passengers, France; Rimini Protokoll, Berlin; Vesterport Theatre, Iceland; The Red Ball project, New York, Gilles Apap, Algeria, Matadero, Madrid; Hangar, Barcelona; La Laboral; Gijon; Tabakalera, San Sebastian; Montehermoso and Krea, Vitoria; Arteleku, San Sebastian; Facultades de Bellas Artes y Arquitectura, Cuenca. Venues Various both urban and rural.
–14– Beauty, Fashion and Fantasy Project A series of projects which look at youthful Spanish and European physical beauty and fashion. Sample Project Zara, Bershka, Massimo Dutti, Custo, Desigual, Loreak Mendian – Spanish fashion designers dominate the European high streets. Is Spain creating an authentic European ‘youth look’ which re-interprets the adult catwalk? Photography, installation art, fashion and design, street performance – and fantasy. Artistic Direction Li Edelkoort, Netherlands/France, with Spanish partners. Potential Collaborators Academy for art, design, restoration and craft; Galería Río 10, Federación de Asociaciones de Empresarios, Asociación de Artesanos. Osadia, Spain; Zara, Spain + Spanish design chains; Eindhoven School of Design, Spanish Art Schools, Duncan Jordanstone School of Art & Design, Dundee, Reykjavik School of Art & Design, Antwerp Fashion School, Museo del Traje, Madrid; Museo de la Indumentaria de Cataluña, Barcelona; IED, Madrid; El Ego de Cibeles, Madrid; Prof. Geoffrey Jones (Author, Beauty Imagined) Harvard Business School.
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Venues Catwalk on Espolon, Burgos, various spaces.
RE-DISCOVER (2011-2015)
Artistic Direction Various international and national directors, to be selected as appropriate to venue.
Journeys in search of Truth
–15– Major poetry project collaboration Date: Two year Project 2014-2015 Project (Ties in with The Eloquent City). Renga is 1,000 year old Japanese form of shared writing. It is based on the ancient travels of the Japanese poet Bashi, who journeyed across landscape gathering local poets, writing, and performing a particular type of verse (Renga) reflecting landscape, specific sites and the human condition. Renga is an art of time and space as well as words and images. Specific Renga days also bring people together to sit, listen, write and read renga together. A recent development includes renga word maps which describe a particular place and community, from industrial workplaces to urban conurbations. Sample Project A project that explores and re-interprets such verse forms through a European lens, and in particular celebrates the relationship between landscape and place, through building collaborations with regional artists, poets, city institutions and children, incorporating film, web-blog and documentary.
RE-DISCOVER (2011-2015)
Artistic Direction Spanish poets in partnership with Ken Cockburn/Alec Finlay (Scotland, Spanish-speaking). Potential Collaborators Literature and poetry societies; IMC; Fundación Oxigeno, Hi-Arts, UK, Atapuerca Foundation (Burgos) Creative Scotland, UK, Camino de Santiago Foundation, Municipalities of Castile Leon and Rioja, artists, poets and writers (professional and amateur); community members and children. Venues Various – urban and rural, industrial and commercial businesses; sites in landscape; Burgos/Gamonal; villages and provincial conurbations.
–16– Artist Pilgrimages Date: 2014-2016 Project Burgos 2016 will commission a number of artists and ensembles – local, national and international – to create personal journeys through the province of Burgos and beyond, including through Spain and wider Europe. These may be presented as a mix of blog, film, video, documentary and performance, but each will culminate in a presentation in Burgos or the province in 2016/17. The journeys may incorporate participation from artists or participants encountered on the way, and may also result in audience travelling with the artist for specific purposes. Journeys may also link the Atapuerca site with other global sites of human remains. The artists/creators will be selected both by commission, and from submissions.
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Sample project Burgos 2016 will create a detailed call for projects, inviting artists of all kinds to submit ideas for journeys to be undertaken during 2007 and the early part of the ECOC year. The call will lay down strict criteria in terms of timescale and documentation, but will also allow for the fact that the journey itself will reflect self-discovery and that the work created will itself reflect that process. The journey could be a slow meditation on a specific area, or a much more wideranging trip. It could specify a starting point – but not have a pre-determined conclusion. What Burgos 2016 will expect to see in a proposal will be
curiosity, imagination, financial realism and evidence of excellent creativity and communication. A simple example might be a composer who records dawn birdsong over a diverse area of landscape, then creates a piece of orchestral music blending technology, natural sound, bird song, the human voice and orchestral texture; a more complex example could be a large-scale interactive installation/sculpture work commissioned from an internationally acclaimed visual/theatre artist which is created in significant religious buildings in an arch reaching across the Iberian/Mediterranean peninsula. Artistic Direction Various – either individual or organization-led. Some to be commissioned, others chosen from submissions. Potential Collaborators Multiple local groups; individual artists and artistic organizations of all kinds: musicians, performance artists, theatre ensembles, dancers, poets/writers, filmmakers, landscape artists, schools, academics.
RE-DISCOVER (2011-2015)
Venues Throughout region and beyond, including journeys incorporating industrial sites businesses/ commercial premises.
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Structure of the programme for the event
Re-invent
2016, as the European Capital of Culture year, will present a programme of high-profile, which shows Burgos and Spain to Europe and the world, and brings Europe and beyond to Burgos. Many projects developed over the previous years will culminate in 2016, and continue into 2017 and beyond – international collaborations which bring the citizens of Burgos right into the heart of the programme as participants. Re-invent’s projects establish Burgos as a Cultural Capital which has driven past its ‘crossroads’, and is enthusiastically embracing a new state of mind about culture and creativity.
The authentic City: Sharing public space and human values –17– Projects involving the whole city and province –18– Green and Blue –19– Burgos and Wine The Eloquent City –20– Debate and discussion –21– The evolution of Video games/Film –22– New music for Old Instruments –23– Burgos and Calligraphy: Calligraphy for the 21st Century –24– Chant and Change –25– Distant Voices (Phase 2) –26– Rights and Values (Phase Two) The Problem of Beauty –27– Sleeping Beauty –28– The Collision Project: Dangerous Beauty –29– The History of the Smile –30– Heroes and Villains Journeys in search of Truth –31– The Collision Project –32– Virtual Europe –33– General Projects in landscape
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The Authentic City: sharing public space and human values
–17– Projects involving the whole city and province Project Projects led by international or national artists/organizations will involve long build up in collaboration with community groups, social service agencies, schools and kindergartens, music schools, education leaders, political groups, choirs, culture organizations, festivals etc. They will involve a wide spread of local leadership, and may also include cultural organizations from all over Spain, particularly performing artists and ensembles. These events are specific to one ‘special’ day or weekend, and are designed for maximum participation, and for the whole population as audience. They need top level, innovative and highly experienced overall leadership. Sample projects: Special occasion events’ i.e. opening and closing ceremonies; notable holiday days; ‘White Nights’; specific celebrations connected to bio-diversity issues.
Potential Collaborators: Multiple local groups; Citizens from all Burgos province municipalities; international artists from across Europe, Burgos schools, Burgos culture institutions and organizations, including theatre, orchestra, free-lance artists, El Hanger, etc. Overall participation on major scale (opening and closing ceremonies). Venues Widespread throughout the city.
–18– Green and Blue Project Celebrating Burgos province’s unique bio-diversity, Burgos invites partner cities to discuss and debate their relationship with nature and with water, and challenges each city to present a project with artists who exemplify their city’s own natural habitat and cultural DNA on the theme of landscape/water. Sample Project Dundee (logo: City of Discovery) sits on the River Tay which flows from the Perthshire hills to the North Sea. Antwerp’s river and major port, which have dictated the historical evolution of the city. Reykjavik and Iceland’s volcanic water provides energy for a nation. Burgos will also host a debate led by the cities’ 16-18 year-olds about the role of the medium-scale city in Europe, the lure of the super-city, and their priorities for cities of the future. Artistic direction To be decided by the partner cities.
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Potential Collaborators Fundación Oxigeno, Fundación Patrimonio Natural Castilla y León, Foundation for the study of Dinasaurs; Fundación Atapuerca Dundee Repertory Theatre, Duncan Jordanestone School of Art, Fest’n Furious, Dundee; Musiktheater Transparant, Antwerp, Tonhielhuis, Antwerp, Antwerp Museum of Modern Art, Fundacion Montemedio Arte Contemporaneo, Cadiz; Centro de Arte y naturaleza, Huesca; Museo Vostell Marpartida, Caceres; Fundacion Biodiversidad, Madrid.
RE-INVENT (2016)
Artistic Direction: Artists of the stature of Roland Breand (France); Orlando Gough and The Shout (UK) Sven Byer/Phase 7 (Berlin) CPM (France), Nigel Jamieson.
Venue The City of Burgos (urban space) and province (landscape).
–19– Burgos and Wine Project A Wine Fair - with a markedly urban character. The goal is to create a large festive umbrella event spread in and around the city, with happenings large and small in selected spaces. Overall, the ambition is to promote the wines of Burgos, and their importance to both the social life and the economy of the region, and of Spain. Sample-projects 1) Live music accompanied by wine tastings from different bodegas (wine houses) in presence/ hosted by the winemakers themselves.; blind Tasting Night featuring some of the best sommeliers in Europe; themed events held in different restaurants and bars in the city; European Competition between young sommeliers. 2) The Opening Event: Burgos in a cup; 3) Closing Event: Awards ceremony (various categories) with all bodegas present 4) Exhibitions: (Virtual) Guided visit to wine museums of the world; design competition for wine labels. Artistic Direction Regulatory Board of the DO’s (denominacion de origen) of Ribera de Duero and Ribero de Arlanza.
RE-INVENT (2016)
Potential Collaborators Regulatory Organization (Denominación de origen) de Ribera de Duero y Arlanza, Asociación La Carrasca; Federación Nacional de Jóvenes Amigos de Wine Awards; Fundación para la Cultura del Vino, The Hispanic Society, bodegas, bars and restaurants in Burgos and province, The Hotel School of Burgos; Tasting Spanish School, Universidad Politécnica de Madrid: Asociación La Carrasca, founder of the National Federation of Young Friends of Wine Awards’ Golden Nose. “ Foundation for the Culture of Wine. Venue City of Burgos.
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“To feel, to create, to love” — Fernando Arahuete Visual artist
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Structure of the programme for the event
The Eloquent City
–20– Debate and discussion Project Burgos 2016 will bring together some of the major global names to discuss human evolution. Sample Project Series of public debates and lectures in relation to authenticity, art and culture. Themes /Questions to be debated such as ‘Is there such a thing as an instinct’ for art? “What is art, and does it mean the same to all cultures?” or “Why does a fine forgery have no value? What constitutes great art? Artistic Direction Fundacion Atapuerca.
RE-INVENT (2016)
Potential Collaborators Burgos and province galleries and museums; CAB; Juan Luis Arsuaga, Fundacion Atapuerca; John Gray, Prof. of European Thought/LSE; Dennis Dutton, Editor of Arts & Letters Daily, Prof of the Philosophy of Art, New Zealand; David Attenborough, film maker; Calixto Bieto, theatre director; Gerard Mortier, Intendant, Royal Opera, Madrid; Oskaras Korsunovas, National Theatre, Vilnius; Osmo Vanska, conductor, Lahti (Finland) and Minnesota (USA). Venues CENIEHs new auditorium; smaller venues for more intimate sessions/lectures. –21– The evolution of Video games/Film Project: A research project leading to a weekend festival which will trace the evolution of visual/audiovisual products from the black and white movie through to present-day and future video games. Sample Project: Research and carried out as a collaboration between Abertay University, Dundee’s department of computer gaming science and interactive technology, Universities of Burgos, Reykjavik and Antwerp. Artistic Direction La Fabrica, Madrid in collaboration with University of Abertay, Dundee. Potential Collaborators University of Burgos and technical colleges; Burgos schools, CAB, Casa Gamonal, Burgos; students and gaming specialists in Iceland and Belgium; Feria Gamelab, Gijon, La laboral, Gijon; Campus Party, Valencia; Filmoteca Espanola, Madrid, Reykjavik and Antwerp. Venues Various, also web based.
–22– New music for Old Instruments
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Project A series of performances in specific venues, ancient and modern. Living composers write for old instruments – exploring sound-worlds, baroque + electronics, rock and recorders, living opera and lutes. Acclaimed European composers and curators will be asked to devise specific and personally designed series for specific venues, which may be unexpected. The project is designed for a wide range of audiences, who may have established preconceptions of how and where
music ought to be presented. The project aims to surprise, without in any way compromising the integrity of the music or performance. The choice of composers/performers/ curators will be a critical factor. Sample project Composer Orlando Gough (UK), Hardanger violinist and improviser Nils Okland (Norway), electric harpist Catriona Mackay, Dundee working with the viola da gamba ensemble Fretwork and a Spanish electronics specialist. Part one of the performance/project to take place in Burgos Cathedral, part two in El Hangar. Both parts of the project will ultimately involve live performance along with a pre-prepared sound-scape using the venues’ highly individual space and acoustic, which will be developed over a workshop period. All the artists will also take part in residencies attached to various institutions in the city. Gough, working with local composers and choral groups, Okland and Mackay with Spanish musicians, and electronic specialists, Fretwork with early music ensembles and local composers. Artistic Direction: Overall curation to be decided by Burgos 2016 Artistic Director, but will be a significant European musician, such as Orlando Gough, working with establish and emerging Spanish project leaders to be determined.
Venues Casa del Cordón, El Hanger, sacred venues in Burgos province, various venues internationally.
–23– Burgos and Calligraphy: Calligraphy for the 21st Century Project Exhibition of graffiti. Sample Project The winning graffiti pieces from Re-discover phase are translated into lighting projections or installations on city buildings: presented concurrently with new lighting scheme for west front of Burgos Cathedral. Artistic Direction Local institutions, examples are CAB. Potential Collaborators Burgos museums, artists, galleries; winning artists from competing countries, Museums of Modern Art, Reykjavik and Antwerp, Dundee Art Gallery; Spanish and European Art Schools; Spanish Schools of Art; Festival Cultura Urbana, Madrid; IED, Madrid and Barcelona. Venues Various in Burgos and Province, Burgos Cathedral, Casa de Gamonal, Burgos.
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Structure of the programme for the event
RE-INVENT (2016)
Potential Collaborators: Burgos orchestras, music conservatories, choirs, ensembles; Jordi Savall and Hesperion XXI (New work for Norfolk and Norwich Festival, UK for 2010); The Shout (UK), Luminato Festival, Toronto, Utrecht Festival of Early Music, The Netherlands; Festival Música Antigua, Aranjuez; Asociation Espanola de Festivales de Musica Clasica, Jaen; Electrosonic, Burgos.
–24– Chant and Change Date: Two year project 2015-2017 Project Burgos as a centre for sacred music – continuing the celebration of Burgos’s long history of chant and polyphonic music, commissioning new chant to be performed alongside Gregorian polyphony, and also the great organ music of Antonio de Cabazon. Sample Projects 1) Concerts of ancient and new chant in the monasteries, chapels and cathedrals along the Camino de Santiago – emphasizing how all roads led to Burgos in mediaeval times. 2) The Codex las Huelgas performance alongside new composition for 100 women’s voices: concerts animated by The Shout (mixed genre voice ensemble, UK). 3) Collaboration with The Sixteen: music for Phillip and Mary: a marriage of England and Spain + music by Antonio de Cabazon (new recording). Artistic Direction Harry Christophers, The Sixteen Potential Collaborators Burgos and region choirs, ensembles, sacred music organizations, monestaries; Orquesta y Coros Nacionales de Spain (Ocne); Museo de la Música, The Shout (UK) Polish Early Music Network; IMC, Burgos, Festival international de Musique Ancienne, France, European Network of Early Music Festivals; Festival Música Antigua, Aranjuez.
RE-INVENT (2016)
Venues Various, along Camino de Santiago, and in Burgos province sacred buildings.
–25– Distant Voices (Phase 2) Project Skype Poetry project 2 – poets from all over Europe come together to read their work for a Skype poetry festival + dedicated website. Readings, in many languages, will be translated into Spanish and English. Following on from the first phase of the project in 2015, the Skype Poetry Festival with collaborate with major poetry and literature festivals in Europe, sending selected Spanish poets to take part in their programme. Readings from the festivals will then be performed via Skype in Burgos theatre and culture centre venues, along with live performances by major poets invited to Burgos. Sample Project Sample Project: StAnza Festival (St Andrews, UK)/Casa del Cordón/Casa Gamonal, Burgos/ Hay Festival (Segovia): StAnza and Hay host acclaimed Spanish poets as yet unpublished in English. Burgos 2016, in collaboration with the two named Burgos culture houses, host UK poets as yet unpublished in Spanish (i.e.: Jen Hadfield, 2009 winner of the TS Elliot Prize; Carol Ann Duffy, UK poet laureate). Each reading is presented on Skype at a designated/well publicized time, and a selection of the poet’s verse is published in both Spanish and English. Artistic direction To be decided by Artistic Director. Potential Collaborators Burgos poets and writers; University of Burgos, Festival Eñe (Madrid), Cosmopoética, (Córdoba), Kosmopolis (Barcelona), Hay Festival, (UK and Segovia), Palabra y Música (Seville), StAnza Festival, UK, Polish poetry and literatura festivals. Venues 2015: Various throughout Spain’s candidate cities, including intimate venues. 2016: Throughout Europe. p. 72
–26– Rights and Values (Phase Two) Project Human Rights conference examining how relevant the Leyes de Burgos are to the world today, and debating in general national declarations of independence and citizens’ rights. Sample Project How are Europe’s ‘new’ countries in Central Europe and the Baltic establishing their values, based on history but also on their new role within Europe? What are the priorities? To what extent does youth have a voice in the process? Artistic Direction Norwegian Institute of International Affairs (NUPI). Potential Collaborators: University of Burgos; Burgos and province schools; Amnesty International; Council of Europe, European Commission; Spanish Universities; Nobel Peace Prize Centre; ISN, Zurich; representatives from Baltic and Central Europe.
RE-INVENT (2016)
Venue CENIEH, Burgos, University of Burgos-, Casa de Gamonal, Burgos Casa de Cultura de Gamonal y Centros Cívicos de Burgos.
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Structure of the programme for the event
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Structure of the programme for the event
The problem of Beauty
–27– Sleeping Beauty Project Burgos 2016 to produce theatrical work in collaboration with national/ international partners. International co-commission to include Poland. Sample project A new adult theatre production co-commissioned between partners, project to be led by an international artistic team. Artistic Direction Mariusz Trelinski and Boris Kudlicka (Wiekli Teatr, Poland). Potential Collaborators Burgos theatres, music and dance ensembles; incidental music: Judith Weir (UK); original text from Gianbattista Basile; Teatro Real, Madrid; Mercat de les Flors, Barcelona; Escena Contemporánea, National Theatre of Scotland/Edinburgh International Festival.
RE-INVENT (2016)
Venue Centre for Human Evolution auditorium/Teatro Principal; Casa de Gamonal, Burgos, major European festivals.
–28– The Collision Project: Dangerous Beauty Date: Three year project Project An exploration of theatre, opera, dance, film, music performances where beauty is violent, disturbing even immoral i.e. Basile’s Sleeping Beauty, Bizet’s Carmen, Britten’s Death in Venice, Strauss’s Salome, Michaelangelo’s David – possible new co-commission with international/Spanish partners, to include Reykjavik and Antwerp. Sample Project Vesterport theatre, Iceland has produced a radical version of Shakespeare’s Romeo and Juliet which combines the drama with elements of circus. while the production respects the beauty of the text, and in many ways the beauty of play, it confronts the ugliness of the families’ relationships, the religious issues (which it ridicules) and does not gloss over the story’s intrinsic violence. Artistic Direction To be curated overall by Burgos 2016 artistic director, with Spanish and international partners. Potential Collaborators Burgos theatre, dance, music ensembles; Fabulous Beast Theatre, Ireland, Vesterport theatre, Iceland, La Parrala, Burgos, Dalziel and Scullion (installation/landscape artists) UK, Haa Gamle Prestegaard, Norway, Teatro Real, Madrid. Venues Various.
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–29– The History of the Smile Date: Late 2016 - early 2017 Project Major exhibition project major exhibition project, curated by Angus Trumbell, Yale School of Art, which takes as its starting point Trumbell’s eponymous controversial book The History of the Smile. The exhibition centres on the icon of the enigmatic Mona Lisa smile, and explores ‘the smile’ in art through the ages. Painting, installation, photography. Sample Project Photography project linking storytelling and images, bringing together the elderly with youth. The project will be created over a three month period, working with organizations/care homes/hospitals for the elderly in Burgos, and primary schools. The children will be shown photographs of Burgos elders, either from their youth or present, in which the elder is smiling. The children will then devise stories which tell the ‘history’ of that smile – what might have happened to cause it? The project will culminate in events both schools and care homes, and will also be created as a web project. Artistic Direction Angus Trumbell, Yale School of Art. Potential Collaborators IMC, CAB, Burgos schools; Burgos and province organizations and care homes for the elderly; Burgos hospitals; Angus Trumbell, Yale School of Art/Victoria & Albert Museum/Burgos Museum/Dundee Art Gallery, La Fabrica, Madrid.
–30– Heroes and Villains Project The legend of El Cid portrays a glamorous figure, the embodiment of the triumph of right over might, the conquering Burgalese hero who saved a nation. In truth, El Cid could be seen as a hired hand, fighting the cause of whoever paid his wages, and often disgraced in the process. Heroes and Villains consider the rose-tinted glasses of memory – and the real stories, glamorous or otherwise – of legendary heroes. Sample project Using poetry, historical biography and music, the great Spanish artist Monserrat Caballe and UK writer/director Jo Clifford (English translator of Celestina and dramatist of Ines de Castro) present an evening in celebration/ condemnation of El Cid. Artistic Direction To be selected by Burgos 2016 artistic director in collaboration with European partners. Potential Collaborators Burgos libraries and literary associations; Burgos theatre ensembles; Institute for the Castillian Language; Fundación Francisco Cantera Burgos; European (also Russian) biographers; National Library of Spain; University of Burgos; universities and theatre companies in partner cities: Antwerp, Reykjavik, Dundee. Venues To be decided.
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Structure of the programme for the event
RE-INVENT (2016)
Venue Burgos schools and care homes/organizations for the elderly; Burgos hospitals.
Journeys in Search of Truth
–31– The Collision Project Date: Three year Project 2014-2016 Project Young artists from Spain are partnered with creators from elsewhere in Europe, along with a group of elders from Burgos –people who well remember the time of Franco, and the time in which he held the city in thrall. Sample project The Dutch director Josse de Pauw and Musiekteater Transparant, Antwerp,, created Ruhe, a greatly acclaimed music theatre work which combined the testaments of unwitting World War11 collaborators with unaccompanied Schubert lied for 12 male voices. This concept will be applied to Burgos, gathering the reminiscences of the elders of the city. The stories, anecdotes and memories about the effect of Franco’s presence in Burgos will be gathered with sensitivity and intelligence, and will be woven into work of music and dance theatre. The music will comprise newly composed material, old songs and specifically chosen chamber music, which will be performed live. Artistic Director Josse de Pauw. RE-INVENT (2016)
Potential Collaborators Burgos and region theatre, dance, music, literary ensembles, Burgos reminiscence organizations and homes for the elderly; similar organizations in partner cities; photography and archive organizations Venues Found space, Burgos
–32– Virtual Europe Project the web has become the means by which new generations find their motivation and purpose. In collaboration with Abertay University (Dundee)’s department of arts, media and computer games, Burgos 2016 and city/province secondary schools will develop a series of web-based European and Latin American explorations. Sample project: Dundee based designer Zoe Irvine, to create a Call Me: Castilian – a virtual 24 hour call centre which will run over three 24 hour periods in 2016 across the international dateline. Using a free-phone mobile number, Burgos youth can call a Spanish speaker worldwide to discuss specifically targeted youth priority topics including the environment, music and urban social issues. Participants worldwide will be solicited on web social networks: YouTube, MySpace, Facebook etc and the entire project will be web-streamed. ‘Actual’ call centres for the project will be set up in popular Burgos/regional cafes especially selected for each of the three events. Artistic Direction Zoe Irvine, Dundee. Potential Collaborators Burgos and region universities and colleges; regional commercial IT businesses; Burgos city and province schools, Burgos University; Latin American partners TBA.
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Venues Various in Burgos and province; Latin American partners TBA.
–33– General Projects in landscape Date: Two year Project 2015 -2016 Project The projects are designed to involve whole rural/small urban communities in collaboration with professional artists. The resulting events will expose the landscape, villages and particular landmarks in new ways, and will celebrate the relationship between urban and rural; community and landscape; manmade and natural. They will highlight the particularly bio-diverse and complex environment, the geographically diverse landscape and the individuality of villages and conurbations throughout the province. Projects will be designed sitespecifically, reflecting the ‘soul’ of the chosen site, be it in nature or a village, but also contrasting that with surprise – a new way of looking, feeling, or hearing the space. Projects will comprise a wide range of genre, from sound- scapes to dance, from installation art to renaissance music. Each project will be built with full community participation, led by a creative director. Sample Project Angus Farquar and NVA devise a specific lighting, video and sound installation project on a chosen section of the Camino de Santiago. This will be walked at night, and will also feature live traditional music and performances from actors, appearing as the ‘ghosts’ of travellers from the past. Artistic Direction To be decided by Burgos 2016 artistic director.
Venues Various throughout Burgos province.
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Structure of the programme for the event
RE-INVENT (2016)
Potential Collaborators Local artists; Angus Farquar/NVA, Scotland; Project Bandaloop, USA; Artichoke, UK; Dogtroep, Belgium; Dafne Kauffman, Tel Aviv.
Re-LEASE
Re-lease projects continue to explore Burgos 2016’s core themes, and will take forward the step-change in ‘state of mind’ that the city and province has made through the ECOC year, and the previous development phase. This document therefore outlines fewer projects for Re-lease than for Re-discover and Re-invent, as the post-ECOC programme will largely evolve from the latter’s outcomes. Re-lease will continue the development of projects connected with the use of urban space, rural conurbations, landscape and urban parkland: installations, visual art projects, performance and citizen engagement projects. Burgos 2016 will also continue to sustain projects from previous phases in Theatre, Dance and Performing Arts, strengthening the relationships built between Burgos culture organizations during the ECOC year and national/international partners. During Re-lease these projects will comprise shared practice workshops, co-production and long-term collaboration, co-commissions and potential touring, all outcomes of the Burgos 2016 process. The previous phases’ Artistic Direction, Project Collaborators and venues will remain in place. Continuing Projects The Collision Project; Burgos and Calligraphy (Graffiti); The Burgos Song Canon; The Evolution of the Orchestra; Chants & Change (The Eloquent City); Artist Pilgrimages; Franco’s Exiles (journeys in search of truth); The History of the Smile; Public space projects.
The authentic City: Sharing public space and human values –34– People Like Us –35– International Lighting Festival –36– Burgos 2016 Scholarships –37– Scholars & Leaders The Eloquent City –38– Artist residencies –39– Dare to be Digital –40– Chants and Change The Problem of Beauty –41– Museums for the future –42– Cities and Film Journeys in search of Truth –43– Camino Culture –44– Burgos and the Bicycle
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The Authentic City: sharing public space and human values
–34– People Like Us Project A congress for citizens of smaller cities focusing on the issues of every day: education, teenage drugs, healthcare and hospitals, employment and the workplace; childcare, internet addiction… The congress is not aimed at city officials or politicians, but at citizens who care about their city, their children and their living space and environment. The congress will also be developed into a web project capturing ongoing dialogue and exchange.
Artistic direction Burgos 2016. Potential Collaborators Citizens from Burgos and the wider region, participants from other Spanish ECOC candidate cities; Reykjavik, Antwerp, Dundee; European smaller cities; community groups, senior schools; activist organizations and associations for youth and for the elderly. Venue Casa de Gamonal.
–35– International Lighting Festival Project Building on the previous years’ experiences, Burgos will launch an international lighting festival, collaborating with light/sound installation artists from a variety of European cities: Lyon, Newcastle, Istanbul, Stockholm, Stavanger. A specific series of internships will be developed with young designers from all over Spain, growing competence and experience, and encouraging networks and exchange. Sample Project Themes, e.g. lighting design focusing on public space and buildings; or landscape and water. Artistic Direction To be decided by Burgos 2016 artistic direction. Potential Collaborators Young Spanish designers; La Fabrica, Madrid; Erik Selmer: Light and Music, Norway; Lyon International Lighting Festival; NVA, Scotland; European Professional Lighting Designers Association.
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Venues Throughout Burgos and province.
RE-LEASE (2017-)
Sample Project Disposable Relationships:- Recently BBC World ran a series examining the impact of the internet. One programme focused on the development of small children – the 5-9 year-olds – and how their ability to connect on a personal level with people of all ages was influenced by internet use. The programme used the term ‘disposable relationships’ – meaning that the children showed an increasing tendency to form short-term internet relationships with peers who they would never meet face-to-face, before moving on to another net friend. According to psychologists, these children were beginning to fail in their ability to bond with school friends and in some cases, family. People Like Us would present a one-day focus on this topic, with informed speeches, interactive workshops, and a plenary session.
–36– Burgos 2016 Scholarships Project Burgos 2016 will create scholarships for artists and those involved in the creative industries: producers, designers, culture managers etc to study in European centres of their choice. Such scholarships will also be available for those who wish to extend their knowledge and competence in areas such as board management, fundraising and financial management, marketing and communications, education and outreach, and administration. The scholarships will be awarded after an open application process, and will be assessed by an independent panel appointed by Burgos 2016 Foundation. Sample Project An existing example of a young Burgos artist gaining experience and competence in Europe is the conductor Eduardo Portal, currently ‘apprentice’ with the Orchestra of the Age of Enlightenment in London. Burgos 2016 will fund artists and practitioners (as outlined above) to gain competence in their field, and also to experience other European cultures. Artistic Direction Scholarships to be curated by an independent expert panel appointed by Burgos 2016. Potential Collaborators Becas Fundacion Marcelino Botin; Becas Fundacion MCU Culturex; Becas MAE; Fresh Minds, UK, The Village of Arts & Humanities, Philadephia, Action Through Learning, UK, Kaos Pilots, Denmark¨
RE-LEASE (2017-)
Venue Various throughout Europe.
–37– Scholars & Leaders Project As part of Burgos 2016’s aim to be a ‘laboratory’ for artists and thinkers, we will work on constructing platforms for developing and training emerging leaders who are motivated by a powerful belief in the power of culture and human values. Art, passion and leadership effectively mobilize thousands of people to become part of changing the society around us. Burgos 2016 will use to competencies it has gained through the ECOC experience to further support strong cultural leadership programmes through mentorship, advocacy, and learning opportunities. Scholarships for social/culture leaders are a platform for encouraging dialogue, building mutual awareness, and engaging citizens in culture. Scholars and Leaders will work with children, youth, marginalized minorities and local artistes under the direction of inspirational established leaders who work throughout the world. Sample Project Two selected students from the University of Burgos’s department of Evolutionary Psychology study in Denmark with Kaos Pilots over an academic term, as part of Kaos Pilots’ new course in Creative Leadership. The Creative leadership programme promotes a culture where people grow and generate new and sustainable solutions in response to current challenges. The students will concentrate on leadership related to realising the potential of culture to motivate teams, organizations and citizens. Artistic Direction To be decided by Burgos 2016 artistic director and independent panel. Potential Collaborators Becas Fundacion Marcelino Botin; Becas Fundacion MCU Culturex; Becas MAE; Fresh Minds, UK, The Village of Arts & Humanities, Philadephia, Action Through Learning, UK, Kaos Pilots, Denmark.
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Venue Various.
The Eloquent City
–38– Artist residencies Project We present two alternatives: 1) In collaboration with the Atapuerca Foundation and the Centre for the Study of Human Evolution, Burgos 2016 will develop a series of artist-in-residence projects for 2017-18, based at the two centres. These will encompass performing arts, but also writers, scientists and philosophers. It is envisaged that each residence period will be six months. Artists-in-residence may be from different parts of Spain, from Latin America, from Europe or further afield. There is also potential for artists to be placed in global sites of human remains, where partnerships exist with Atapuerca Foundation.
Sample project Icelandic composer Askell Masson at Atapuerca. Askell Masson (B.1953) is one of Iceland’s most imaginative and diverse composers, powerfully influenced by landscape, and by the extreme contrasts of nature. His music often reflects stone, earth or water. He is also a profound thinker, and brings to his work a wide meditation on human life, and its connection to our times and environment. At Atapuerca, his chamber works would feature in a number of performances and settings, and while producing a new work commissioned for Burgos 2016/Reykjavik Festival he would also play a participatory role in further developing local music/ music-theatre making in the city and province, in cultural dialogue and in pushing the boundaries of new music. Artistic Direction various; selection of artists to be led by Burgos 2016 artistic director, who will create an international selection panel. Potential Collaborators Museums/Galleries/universities in Spain’s ECOC candidate cities and their Latin American partners; Atapuerca Foundations and partner foundations for Human Evolution and Human Remains at Tautavel Arago (France), Boxgrove (UK) Maver (Germany), Ceprano (Italy) Also if possible: with Zhoukoudian (China), Dmanisi (Georgia), Sangiran(Java)and various African communities. The European foundations may also host Spanish artists-in-residence. Venues Various in Europe.
–39– Dare to be Digital
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Project Burgos 2016, in collaboration with Universities of Spain’s candidate ECOC cities will develop the first Spanish student team to participate in the international video games competition Dare to be Digital. The competition takes place over a 10-week period each summer, with teams of undergraduates from Universities and Colleges of Art. Currently, the event has embraced only the UK, India and China. For 2010, Scandinavian students will participate for the first time. The team's efforts are judged by a panel of games industry experts, and also voted on by members of the public at an exhibition staged as part of the Edinburgh Festival Fringe. The
RE-LEASE (2017-)
2) Artist residencies in commercial businesses: industrial businesses, banks, health centre and hospitals; municipality offices. Artists will be entreated to create a specific plan for their residency which will directly enhance and inspire the community, while enriching their own experience.
three winning teams go on to become the sole nominees for the BAFTA Ones to Watch Award early next year, a category created specifically for this project. The aim is to create long-term participation for the region – and for Spain – in the competition, and in digital development. This project will continue collaboration with Dundee, Reykjavik and Antwerp. Sample Project Teams of five students, usually a mix of artists, programmers and audiotechnicians, assemble in a development hothouse for 10 weeks to develop a prototype video game, receiving daily support and weekly training sessions from industry specialists, developing functioning prototypes of their games ideas. The teams receive support from industry members and access to leading-edge technology. Artistic Direction University of Abertay; Burgos University; University of Reykjavik. Potential Collaborators University of Burgos and regional colleges; Universities throughout Spain Venues Various, Spain, and Edinburgh/Dundee, Scotland
–40– Chants and Change
RE-LEASE (2017-)
Project Antonio de Cabazon: music recorded for new CD by The Sixteen goes on tour as part of the ensemble’s annual Choral Pilgrimage to 24 UK venues, including cathedrals and churches in major cities. Chant commissioned for 100 women’s voices/The Shout becomes part of European project led by The Shout, touring festivals in European member states and EEC countries: each festival builds its own ensemble of 100 female voices that will collaborate with The Shout. Sample Project Event at Utrecht Festival combining organ music by Antonio de Cabazon, Mozarabic and Gregorian chant performed by the Dutch Vocal Ensemble, with new work in chant devised by The Shout (multi-cultural improvisational vocal ensemble who also embrace a wide musical genre, from rock to baroque) working with 100 women singers from Utrecht. Artistic direction Harry Christophers, The Sixteen; Orlando Gough, The Shout. Potential Collaborators Burgos and region orchestras, choirs and ensembles; regional sacred music centres, festivals and monestaries; Utrecht Festival of Early Music (The Netherlands), Cheltenham Festival (UK), Brighton Festival (UK), Wiener Festwoche (Austria), Warsaw Autumn, Poland. Venues Various throughout Europe.
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The Problem of Beauty
Further projects will focus on the future, on trend forecasting, on the future of art and heritage museums, and on performance: how new work and contemporary practice balance with new productions of classic and iconic work – music, theatre, dance, film, etc.
–41– Museums for the future
Sample Project 16year-olds in Burgos are given a gallery space in the city – a ‘white-cube’ space – and asked to curate an exhibition of 2016 objects which sum up their lives to date. This can include interactive technology, mementos of great-grandparents, video diaries, furniture, fashion, models and objects, music. The resulting exhibition will be shown selectively – to an under 21 audience, then to ‘adults’. A debate will follow, moderated by one of the youthful curators, and the director of the V&A in Dundee (this V&A museum will have been open for only four years). What drove the choices? How do you exhibit the past and present in a way that communicates their relationship? What is the power – or otherwise – of bringing objects together? Artistic Direction CAB, Burgos with Spanish and European partners. Potential Collaborators Burgos and region museums and galleries; V&A, London and Dundee; Centre for the Study of Human Evolution, Reykjavik Museum, Antwerp Museums, MNCARS, Madrid; MACBA, Barcelona; Museo del Prado, Madrid, Caixaforum, Madrid and Barcelona. Venues Gallery space to be found.
–42– Cities and Film Project Cities throughout Europe have given their sense of self to film – showing their beauty, but also their darker side. Burgos 2016 will present a film festival of acclaimed ‘city’ films, but also will mount a competition for short films featuring the contrast between beauty and harshness in Spanish cities. The short films will be chosen from an open call by a panel selected by Burgos 2016’s artistic director in collaboration with La Fabrica, Madrid.
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Sample Project City-based films including The Tin Drum (Berlin), Breakfast at Tiffany’s (New York), Trainspotting (Edinburgh), The Italian Job (Turin). Short films – maximum 15 minutes – might focus on fashion, on old/new buildings, on ancient buildings and decay, on the authentic and the reproduced.
RE-LEASE (2017-)
Project Collaboration with Victoria & Albert, London and new V&A, Dundee (opens 2011), ARCO Madrid, Centre for the Study of Human Evolution, museums in Reykjavik, Antwerp. Burgos 2016 aims to collaborate with museums which push the boundary of the perception of a museum as a holding place for the preservation of vulnerable treasures from the present and past. Should the museum be a place of interactivity – or a safe house for antiquities? How do our children value unique objects, contemporary or ancient? Lecture,, debate, exhibitions, education projects.
Artistic Direction Burgos 2016 artistic director, La Fabrica, Madrid.
RE-LEASE (2017-)
Potential Collaborators Local film and video organizations/artists; Seminci, Valladolid Film Festival; Spanish film schools in candidate cities; Escuela de Cine (Barcelona), Escuela Digital Media (Valencia), Mallorca Film Academy (Palma de Mallorca), Escuela Superior de Artes y EspectĂĄculos (Madrid), Zona 6 Digital Media Education (Ibiza).
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Journeys in Search of Truth
–43– Camino Culture Project Burgos 2016 will build on collaborations from 2014 onwards, revisiting the various Caminos – i.e.: Camino de Santiago, Camino Del Cid and Camino Del Castellano. Based on these, artists and organizations will create new creativity-based guides to these historic routes for culture tourists, in collaboration with specific villages, schools, organizations and local artists in the Burgos province and beyond. The guides will involve web and mobile phone technology, site-specific story-telling, artist-guided walks and schools exhibitions. Sample Project A continuation of the Look Up! from Re-discover. Look Up! – a winter project where looking up reveals surprises: by looking up, see your city differently.) Look Up! will provide a walk guided by phone-technology, by a storyteller or by an artist, where the walker is continually encouraged to look up – to see a detail high on a building, to see cloud formations, to see a pre-arranged folk song performance on a balcony, or jugglers on a roof.
Potential Collaborators Burgos and province free-lance artists (video, literature, performance, music etc; La Fabrica, Madrid; Publishing companies and documentary film-makers. Venue Camino routes through Burgos province.
–44– Burgos and the Bicycle Project Burgos is a green city, with an unusually large area of parkland, natural open space, river bank and boulevard. Bicycles abound, ridden by all ages, from small children to the elderly, from tourists who benefit from the voucher city-bike initiative to bikers on the Camino de Santiago. Sample Project Bicycle art back-packs: - artists who ride bicycles (including children, acrobat-cyclists etc) apply on-line to Burgos 2016 for a clear transparent plastic back-pack. Each artist/cyclist then chooses 10 items to display in the back-pack, which illustrate their lives and aspects of their city: i.e.: a small artwork, a favourite pen; a toy; a photograph of a favourite building. The artists will also be invited to decorate/embellish/light their bicycles. The back-packs, along with the artists and their bicycles are then spot-lit, and exhibited in the evening along L’Espolon, each backpack also lit from within. Bicycles/creations may also involve music. Artistic Direction Castille y Leon bicycle organizations; Burgos Tourism. Potential Collaborators Burgos visual and performance artists; Burgos schools and colleges; IMC; Burgos bicycles associations; Vuelta Castille Leon; Burgos and province schools; La Parrala, Burgos; CAB; Burgos and province art schools.
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Venue L’Espolón.
RE-LEASE (2017-)
Artistic Direction Burgos 2016 Artistic Director; IMC, Burgos; Burgos Tourist Organizations.
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Structure of the programme for the event
— A shared project
[ QUESTION 3 / II ] How does the city plan to choose the projects/events which will constitute the programme for the year? (The answer to this question is optional at the pre-selection stage).
[ 3 / I ]
Burgos 2016 has already begun to develop close dialogue with artists and organizations throughout the city, within Burgos province and far beyond. This dialogue will expand and intensify during 2011 and 2012, resulting in pilot projects and workshops, and the development of potential creative partnerships within Spain, and internationally. Based on the mixed experiences of past ECOCs, Burgos 2016 will not make a general open call for projects. We will build our overall programme through wide communication, dialogue and collaboration, locally, nationally and through extensive networks overseas. Certain projects, however, may necessitate a specific call for contributors – for instance, visual art projects involving short film, or exhibitions with specialist curation. While Burgos 2016 will directly produce and manage a range of projects, in particular international collaborations (defined as internal projects) many projects will be managed by independent artists, organizations and institutions (defined as external projects). Such projects will be clearly supported and contracted by Burgos 2016 according to defined criteria, and will have defined artistic leadership, administration and a communication plan. The financial arrangements with each project will be laid out in the contract according to a strict time-scale, and ongoing evaluation. Criteria will include a definition of how the project intends to involve the participation of citizens and of young people, and how the project relates to the theme of evolution, and supports the overall vision and aims of Burgos 2016.The programme contained within this document (first phase of the selection process) outlines such examples of partnerships, collaborations and key participants. We anticipate that Burgos 2016 will appoint an artistic director just after the final phase of the selection process. His/Her profile should match the criteria set out elsewhere in this document. It is expected that he/she will enrich and develop the programme, continuously strengthening relationships with local and regional artists, supporting their partnerships with external collaborators.
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— City evolution
[ QUESTION 6 / I ] How does the event fit into the long-term cultural development of the city and, where appropriate, of the region? [ QUESTION 14 / I ] If the city in question is awarded the title of Capital of Culture, what would be the medium- and long-term effects of the event from a social, cultural and urban point of view? Do the municipal authorities intend to make a public declaration of intent concerning the period following the year of the event? [ QUESTION 10 / I ] How does the city plan to get involved in or create synergies with the cultural activities supported by the European Institutions?
[ 6, 14 / I ]
Burgos 2016 projects’ have medium and long-term development written into their contractual arrangements. This will include a time-frame for mentoring, evaluation and reporting. The overall impact can be summarised in a simple statement: To evolve Burgos into a more liveable city through a participative process of change creating sustainable economical, cultural and urban development that can act as a model for Spain and the rest of Europe. By 2017, The Foundation will assume leadership from the 2016 delivery team with focus on evaluating, sustaining and nurturing the legacy of the ECOC. The Foundation will combine economic support for key artistic projects with the setting up of innovative ventures to aid and support young entrepreneurs. New economic activity will be a key aim in relation to medium and long term goals. The Foundation will be guided by the following strategic objectives and targets: ONE / Situating Culture as the central axis of urban development in Burgos. The city is not only looking to complete its map of cultural facilities. The project as a whole will open new forms of dialogue in order to understand better the fragile urban ecosystem and to develop new relationships among the people of Burgos. We aim to involve creative artists and the citizens themselves in the design and understanding of the city, charging every citizen to consider the value that urban space brings to our lives. TWO / Driving the development of the creative industries. In order to do this, the programme that is being presented will be sustained through the development of open dialogue and robust relations between Arts-Science and business. We will also drive the development of new training facilities for both professionals and amateurs, and develop the productive capacity and international cooperation between our cultural organizations and those of other cities, countries and cultures. In parallel, local public and private organizations will be encouraged to set up similar schemes, e.g. granting stipends, funding organizations, giving advice or providing financial support for young entrepreneurs intent on starting new ventures within the creative industry sector. We also suggest that this scheme should contain a didactive programme (for example, in collaboration with UBU, European Business and Innovation Centre Network (EBN) and local financial entitities which have running programmes providing seed capital for start-ups operating within other business sectors) to include mentoring and mediation. The scheme would insist that participants be based in Burgos or province for a defined period of time. Our overall aim should be to attract young professionals to Burgos so as to help counter the effects of uneven demographics in the city. THREE / Burgos as an international meeting centre for human evolution. The city has made an important investment in infrastructure and facilities in order to enhance its cultural offer and to look outwards to Europe. Through the coordinated strategy of the different administrations and the social and economic agencies, Burgos has now embraced human evolution as a leitmotiv. In this sense, The ECOC title is important in terms of postioning the city so as to enable new, significant and permanent dialogue with Europe and the rest of the world in aspects related to evolution.
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FOUR / Using the European Capital of Culture as a tool of civic dialogue for the good governance of the city beyond its own cultural agenda. Over the last decade (since 2001) Burgos has made an enormous effort to confer with its citizens.
It aims to construct stable platforms of participation to bring about agreement between the different administrative levels, between the public and the private sector, between the community leaders and the citizens and between Burgos and other territories. In this sense, the ECOC will consolidate this process, by developing new capacities and relationships. The result should be the discovery of new forms of understanding of the city and relation between citizens, with the objective to transfer a greater capacity to take active part in the desicion making process concerning multiple aspects of public life in the city. [ 10 / I ]
The Spanish Presidency, this year, hosted a number of cultural policy related debates including the European Forum on Cultural Industries (Barcelona, 29-30 March 2010) an International Seminar on Culture and Development (Gerona 4-5 May 2010) and an informal meeting of Ministers of Culture of the EU (Barcelona 31 March 2010). During this latter meeting, the Ministers of Culture confirmed their commitment “to put culture at the heart of the 2020 strategy” which will act as a framework for a more competitive and sustainable economy during the coming decade. Burgos intends to be at the forefront of debates and consultation on the role of culture in the 2020 strategy, bringing cities together to discuss what the 2020 strategy means for them in terms of culture and economy; the maintenance and conservation of European cultural heritage; supporting cultural industries; cultural training and education among young people; and social cohesion inside and outside Europe. These issues concern all member-states and need to be continuously debated and developed alongside EU policy implementation. A seminar series, led by Burgos 2016, will for example propose revisiting the European Forum on Cultural Industries in 2016. We will assess what challenges have arisen since the recommendation to “implement common cultural policies and a European judicial framework for a sector that generates 5 million jobs and represents 2.6% of GDP of all EU countries”. We will take the opportunity to evaluate the impact of the “Green Paper on Cultural Industries” produced this year by the European Commission. Burgos is also committed to proposing a series of cultural initiatives relating to innovation, competitiveness, the digital agenda and social inclusion. In aiming to become closer to Europe, Burgos works closely with a large number of prestigious and well-established European networks. Burgos 2016 will encourage participation with and from all of these partners with the aim of extending our reach across Europe. These networks include: Banlieues d’Europe (a network of 300 professionals across Europe concerned with culture and social cohesion); Culture Action Europe (a leading cultural advocacy network); Culturelink (a network of networks for culture and development); Culturemundo (international cultural portal experts); Eurocities (a network of 130 cities in over 30 European countries); the European Association of Historic Towns and Regions (a network dedicated to promoting the interests of historic and heritage towns across Europe.); the International Council of Museums (UNESCO-related organization of museums and museum professionals); Les Rencontres – (an association of European Cities and Regions for Culture); Trans Europe Halles (a network of independent culture centres); The United Cities and Local Governments’ Committee on culture as well as formal agreements in place with other European twin cities (see Chapter C).
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“To find, to share” — Moustapha Cisse
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Structure of the programme for the event
B3 / Burgos 2016
is innovative
[ QUESTION 13 / I ] In what way is the proposed project innovative?
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[ 13 / I ]
Within Spain Because we build, through a strategic process, a programme of projects with unprecedented collaboration across boundaries of ability, nationality, generation, skill and interest with longterm outcomes. The programme brings together artists from all over Europe and beyond with local creators, and also with the wider community as participants to create together, to share ideas and imagination, and to build projects on a variety of scales which establish a new perception of Europe, of artistic excellence, and a new state of mind about the meaning of culture.
B3 | BURGOS 2016 IS INNOVATIVE
Within Europe Because, as a once magnificent powerful European centre, Burgos presents an honest, in-depth analysis of the contemporary city and citizens` needs and aspirations as European human beings, and recognizes the powerful need for change. Through the ECOC title and process in attaining such, we can move into a new arena as a strong culture-empowered and influential nerve-centre for Spain, re-embracing our role as a city which is a model for human interaction and citizenship, driven by culture. We feel that Burgos is set to embrace a new European dimension premised on its ancient ability to collaborate and look outwards.
B4 / The European
— Cultural cooperation
[ QUESTION 8 /I ] Explain how the event could fulfil the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage). As regards “The European Dimension”, how does the city intend to contribute to the following objectives: - to strengthen cooperation between the cultural operators, artists and cities of your country and other Member States, in all cultural sectors; - to highlight the richness of cultural diversity in Europe; - to bring the common aspects of European cultures to the fore? Can you specify how this event could help to strengthen the city’s links with Europe?
[8 / I ]
p. 95
Structure of the programme for the event
dimension
within Europe
Burgos will build collaborations with a large number of European creative companies, leaders, artists and ensembles, who will be commissioned to create partnerships and wide participatory projects with colleagues and the wider population in Burgos region. The purpose is specifically to turn Burgos outwards towards Europe by absorbing cultural values – both diverse and shared - knowledge, new thinking, shared imagination and competence, and to encourage European creators to embrace the wide culture, abilities, creative practices and human personality of Spain.
Such partnerships will be sustained over a multi-year period, through the development of Burgos 2016 programme, through to the years beyond the ECOC Year. It is extremely important for Burgos 2016 that these collaborative outward-facing ventures are long-term and strategic in nature. As set out in our conceptual planning, Burgos as a city has powerful ambitions to re-ignite its cultural activities, and to connect the city through creativity. Sustained collaboration with European partners is critical to the city achieving its goals, and to growing confidence, competence and a profound commitment to excellence.
Re-establish communication folows with Europe through creativity
p. 96
B4 | THE EUROPEAN DIMENSION
— Richness of Cultural diversity in Europe
Burgos is a city which has always embraced rich cultural diversity, from our historical past and ancient links through dynastic and royal marriages, to our powerful trade links across the globe. In contemporary terms, Burgos is home to a vigorous migrant population, drawn by strong industrial activity over the turn of the century, but also recently through international ambitions of the university. The Camino de Santiago, has since the 11th century brought travellers from far points of the globe to Burgos as a resting place – the pilgrimage to Santiago de Compostella being part of the tradition of wider European routes, has long surpassed the religious quest which first generated its pursuit, becoming a truly universal phenomenon celebrating cultural and artistic heritage. We have the opportunity, through Burgos 2016’s projects under the theme Journeys in Search of Truth to interact with travellers on the Camino from many countries. Our intention throughout such projects is to embrace different
p. 97
Structure of the programme for the event
cultures and their practices, and to build them into creative and participatory experiences. Burgos’s past position as a major European crossroads, trading post and multi-cultural centre will be explored and celebrated throughout our programme – the Eloquent City project, for instance, will involve detailed examination of how the language, literature and artistic expression of Burgos and Spain has intertwined, shared influence and evolution with the vast range of cultures we Spanish speakers have touched and absorbed. With the overall concept of evolution, and a passionate wish to create an ECOC which is both outward-looking and hungry for new and diverse European impulses, we will seek collaborators who will bring not only contrast and knowledge from their own lives and practices, but who wish to learn, celebrate and share the richness and variety of Spain.
— Common aspects of European cultures
In terms of creative activities initiated as part of the ECOC programme, Burgos 2016 will build specific partnerships which bring together the city and province with Spanish and European partners. We will do this by creating strategic relationships between individuals, groups, schools, organizations and institutions, and their peers in designated parts of the country, and specifically selected European places, including the three cities – Dundee, Antwerp and Reykjavik (EEC member) – with whom we will link in order to explore, in particular, the evolution of human values and the dynamics of change. Such partnerships will create processes leading to projects which will be delivered both as part of the ECOC year, and in the years beyond.
p. 98
B4 | THE EUROPEAN DIMENSION
“Live the moment” — Sonia Macho, José Miguel Ignacio and Julia
p. 99
Structure of the programme for the event
— To strengthen the city's links with Europe
Burgos’s strong European links date back to far pre-history, when the earliest manifestations of European man settled at Atapuerca. The links have continued through rich mediaeval history, trade, travel and war to the present. In the last decade, however, through Burgos’s extensive industries, city initiatives and entrepreneurial activities, we have sustained substantial formal exchanges, dialogues and network connections. In addition, the University of Burgos has established and further developed academic and student links, including between the universities of Dundee, Wroclaw, Warsaw, Reykjavik, Cork, and Brussels. Burgos 2016 perceives the need to more strongly connect the city and region’s cultural and creative actors to a wider
p. 100
B4 | THE EUROPEAN DIMENSION
and more diverse creative community in Europe and beyond. Many of the city’s artists and organizations are actively connected with European partners, but further partnerships and strategic collaborations are limited by finance, lack of confidence and distance.
B5 / City and
— Interest of the population at European level
[ QUESTION 9 /I ] Explain how the event could meet the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage). As regards “City and Citizens”, how does the city intend to ensure that the programme for the event: - attracts the interest of the population at European level; - encourages the participation of artists, stakeholders in the socio-cultural scene and the inhabitants of the city, its surroundings and the area involved in the programme, - is sustainable and an integral part of the longterm cultural and social development of the city?
[ 9 / I ]
p. 101
Structure of the programme for the event
citizens
Burgos is a city of young travellers, and of the elderly who have – by virtue of the swerving fortunes and circumstances of the city and province – always been aware of the nature of their position as a population at a crossroads. A resting place and pivotal centre on The Camino de Santiago which cuts east to west across the province, Burgos also, year round, welcomes countless European pilgrims and those from elsewhere in the globe, so there is the perpetual ambience within the city of being a melting pot of cultures, voices, ages and energies. The city is proud of its ancient status as a powerful influence on European history, and because of our physical position in Northern Spain – equidistant from the cities of the Atlantic coastline and the capital Madrid, and standing on a wide little populated plain, we tend to look beyond Spain for its points of reference. Contemporary Burgos
does, though, suffer a lack of confidence because of its relative isolation. Culturally, we tend to turn inward on ourselves, aware that change is both an imperative, and a challenge. This underlines the city’s burning need for the ECOC title – a status which will assist it to soar past the crossroads in new and dynamic directions.
— Artists and Citizens’ participation in projects, and the use of city and surrounds
Burgos’s application to become ECOC is premised on the participation of citizens of all ages and interests along with creators of all kinds from the city, province, the nation, Europe and beyond. In embracing Human Evolution as our overall concept, our creative programme will explore how city and citizens connect and create across boundaries, sharing values, ideas, expression and emotions through cultural activities. Our projects will concentrate on rediscovering, re-inventing and re-lease the city and the province. Each of our themes, developed through these lenses, will concentrate on the giving of opportunities, on gathering people together and on building community.
p. 102
B5 | CITY AND CITIZENS
— Citizens and access to the Programme
It is the overwhelming wish of Burgos 2016 that the city and province own their ECOC project, and feel expanding pride. The city’s strategic and culture plans have involved a long and thorough process of citizen consultancy and participation, and Burgos 2016 is committed to continuing this process, and to building a project overall which belongs comprehensively to the city and province. In building the programme, the Burgos 2016 team will manage a process of open communication with citizens: community groups, teachers, schoolchildren, social welfare centres and hospitals, restaurants, hotels, taxi drivers – all those who wish to contribute opinions and debate. While Burgos’s programme will aim to actively involve citizens as participants in projects, it will also present major opportunities for all ages as audience. While an ECOC programme cannot please every taste, skill or inclination, Burgos 2016 will create a range of projects, events, happenings, public
p. 103
Structure of the programme for the event
installations and performances which will create points of access for all. Excellence – world class standards – will be paramount. Presentations will include projects for highly specialist interests – specific forms of music, visual art or literature, for example but will also concentrate widely on the broadest dissemination of intriguing, inspiring, enchanting and entertaining projects and events which draw people together and engender shared experience and debate. Because of our wish to gather people to celebrate the city’s public space and the nature in its midst, many projects will be freely accessible and designed with the aim of encouraging collective experience. We will use familiar venues all over the city and province, capitalize on the region’s many beautiful sacred spaces, but also create work in unusual venues, site-specifically, and in found spaces.
— Sustainability and long term cultural and social development
Burgos 2016’s programme is built to complement Burgos’s city strategic plan, and in particular, our strategic cultural plan. The European Capital of Culture title, however, demands a major commitment on a formidable scale on behalf of the entire city and province: we are well aware that the success of sustaining the ECOC project depends on the extent of the city’s ownership of the project, their enthusiasm, pride and input of energy. The programme described in this document outlines specific planning for the European Capital of Culture years which forms an arch from 2011 – 2017 and beyond. However, the critical process of building collaboration and participation amongst citizens and amongst the creative community in the city and province has long since begun, and continues through 2010 with consultations, meetings, debates, focus groups and the planning of projects. In 2011 this will continue with the initial development of strategic partnerships between Burgos companies and institutions, and the same elsewhere in Spain and in selected member states in Europe. These partnerships will, as their strategic planning develops, begin to integrate active participation from
p. 104
B5 | CITY AND CITIZENS
community groups, schools and social welfare organizations. Pilot events in theatre, public space activity, visual arts and music will be designed, in preparation for long-term projects which will be delivered in 2014/15 and beyond. These will be led by Burgos artists and companies, with regular input from the international partners, whose participation will increase, according to a planned schedule of development. In other parts of this document we outline Burgos 2016’s plans for 2017/18, concentrating on training, scholarships and long-term learning in order to build solidly for the future decade.
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Structure of the programme for the event
SECONDARY OBJETIVE
STRATEGIC LINES OF THE CULTURAL PLAN [1] Situate culture as the central axis of urban development in Burgos To consolidate and amplify the map of cultural facilities within the city To promote the territorial dimension of culture To promote Burgos as a Green Capital To strengthen the backbone of Burgos’ and the province’s cultural system
[2] To drive the development of the creative industries, creativity and cultural educational possibilities
To construct, consolidate and enhance the network of creative areas of Burgos To promote cooperation between the creative and scientific sectors, industry and the university To generate all the conditions necessary for the development of creativity in Burgos To strengthen Burgos’ position as a city of cultural education
[3] To promote innovation and accessibility in the cultural programs To promote cultural programs in new civic spaces To strengthen the cooperation of the public sector, the third sector, and the private sector in the projection and expansion of culture in the city and the province To promote the participation and assistance of the citizens in the cultural program To stimulate cultural demand through information and management
[4] To make cultural tourism a key element in the cultural model of the city To strengthen Burgos as a cultural destination To develop specific programs for cultural tourism To improve the cultural information available to tourists To create marketing strategies
[5] To incorporate management relations and governance in the local cultural sector To establish cooperation platforms between institutions and public-private sector To incorporate Burgos in the municipal cultural networks To promote bilateral agreements of cooperation between cities and institutions To create citizen-based networks
Artist Pilgrimages
Major poetry project collaboration
JOURNEYS IN SEARCH OF TRUTH
Pride and Prejudice
Beauty, fashion and Fantasy
THE PROBLEM OF BEAUTY
Distant Voices
Franco´s exiles
Words and Music: Four Projects relating text and music
Burgos and calligraphy
Rights and Values
The city of the enquiring min
THE ELOQUENT CITY
Let´s Pretend
Burgos celebration
Urban Time Travel
Theatre and Dance
Humans, beasts and shelter
THE AUTHENTIC CITY: SHARING
Installations by international companies
MAIN OBJETIVE
RE-DISCOVER PUBLIC SPACE AND HUMAN VALUES
— Impact of the Programme in the cultural plan of the city
THE AUTHENTIC CITY: SHARING
Burgos and the Bicycle
Camino Culture
JOURNEYS IN SEARCH OF TRUTH
Cities and Film
Museums for the future
THE PROBLEM OF BEAUTY
Chants and Change. Phase 2
Dare to be Digital
Artistic residences
THE ELOQUENT CITY
Scholars & Leaders
Burgos2016 Scholarships
International lighting festival
People Like Us
PUBLIC SPACE AND HUMAN VALUES
THE AUTHENTIC CITY: SHARING
Projects in landscape
Virtual Europe
The Collision Project
JOURNEYS IN SEARCH OF TRUTH
Heroes and Villians
The History of the Smile
The Collision Project: Dangerous Beauty
Sleeping Beauty
THE PROBLEM OF BEAUTY
Rights and Values. Phase 2
Distant Voices. Phase 2
Chants and Change
Calligraphy for the 21st Century
New music for Old Instruments
The evolution of Video games and Film
Debate and discussion
THE ELOQUENT CITY
Burgos and Wine
Green and Blue
Projects involving the whole city and province
PUBLIC SPACE AND HUMAN VALUES
RE-INVENT RE-LEASE
— Burgos 2016 Projects by Audiences, Time and Arts Forms PROJECTS
THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES Installations by international companies Theatre and Dance Humans, beasts and shelte Burgos celebration Urban Time Travel Let´s Pretend
JOURNEYS IN SEARCH OF TRUTH Major poetry project collaboration Artist Pilgrimages
THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES Projects involving the whole city and province Green and Blue Burgos and Wine
THE PROBLEM OF BEAUTY Sleeping Beauty The Collision Project: Dangerous Beauty The History of the Smile Heroes and Villians JOURNEYS IN SEARCH OF TRUTH The Collision Project Virtual Europe Projects in landscape THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES People Like Us International lighting festival Burgos2016 Scholarships Scholars & Leaders
ADULTS
TIME PERIOD
2014 - 2016 2014 - 15 and culminate 2016 2014 - 15 and culminate 2016 2014 - 2016 2014 - 2016 2015 - 2016
2014 - 2016 2014 - 2016
2014 - 2015 2014 - 2016
2016 2016 2016
2016 2016 2016 2016 2015 - 2017 2016 2016
2016 2014 and culminate 2016 2014 and culminate 2016 - 2017 2016
2014 and culminate 2016 2016 2015 - 2016
THE ELOQUENT CITY Artistic residences Dare to be Digital Chants and Change. Phase 2
2017 2017 2017
THE PROBLEM OF BEAUTY Museums for the future Cities and Film
2017 2017
2014 and culminate 2016 2017
RE-LEASE
2017 2017 2017 2017
JOURNEYS IN SEARCH OF TRUTH Camino Culture p. 108 Burgos and the Bicycle
FAMILIES
RE-INVENTED
THE ELOQUENT CITY Debate and discussion The evolution of Video games and Film New music for Old Instruments Calligraphy for the 21st Century Chants and Change Distant Voices. Phase 2 Rights and Values. Phase 2
ALL AUDIENCE
2015 - 2016 2015 - 2016 2015 - 2016 2014 - 2016 2014 - 2016 2015 - 2016
THE PROBLEM OF BEAUTY Pride and Prejudice Beauty, fashion and Fantasy
YOUNG
CREATORS
RE-DISCOVER
THE ELOQUENT CITY Rights and Values The city of the enquiring min Burgos and calligraphy Franco´s exiles Words and Music: Four Projects relating text and music Distant Voices
AUDIENCES
CHILDREN
ARTS
AUDIOVISUAL ARTS
FOLK CULTURE
PERFORMING ARTS
SCIENCE AND HUMANITIES
LITERATURE
HISTORY
PROJECTS
MUSIC
PRODUCTION
DESIGN
EXHIBITION
NATURAL ENVIRONMENT
AREAS
THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES Installations by international companies Theatre and Dance Humans, beasts and shelte Espacio Público Viajes urbanos en el tiempo ¡Imaginemos!
RE-DISCOVER
VIAJES EN BUSCA DE LA VERDAD Principal proyecto de poesía en colaboración Peregrinajes de Artistas
THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES Projects involving the whole city and province Green and Blue Burgos and Wine
RE-INVENTED
JOURNEYS IN SEARCH OF TRUTH The Collision Project Virtual Europe Projects in landscape
THE PROBLEM OF BEAUTY Museums for the future Cities and Film
RE-LEASE
THE ELOQUENT CITY Artistic residences Dare to be Digital Chants and Change. Phase 2
JOURNEYS IN SEARCH OF TRUTH Camino Culture p. 109 Burgos and the Bicycle
FORMATS
THE PROBLEM OF BEAUTY Pride and Prejudice Beauty, fashion and Fantasy
THE AUTHENTIC CITY: SHARING PUBLIC SPACE AND HUMAN VALUES People Like Us International lighting festival Burgos2016 Scholarships Scholars & Leaders
CELEBRATION
THE PROBLEM OF BEAUTY Sleeping Beauty The Collision Project: Dangerous Beauty The History of the Smile Heroes and Villians
DEBATE & MEETINGS
LA CIUDAD ELOCUENTE Rights and Values The city of the enquiring min Burgos and calligraphy Franco´s exiles Words and Music: Four Projects relating text and music Distant Voices
THE ELOQUENT CITY Debate and discussion The evolution of Video games and Film New music for Old Instruments Calligraphy for the 21st Century Chants and Change Distant Voices. Phase 2 Rights and Values. Phase 2
EDUCATION PERFORMANCE
BLUE PAGES
— Blue Pages is an invitation to play an enticing game, where the cities, the inhabitants and the culture are the warp and weft of either a united Europe or of a diverse Europe.
Rivers divide our cities, Rivers unite our cities
“You feel them alive. Take them from their earliest infancy, from their cradle, from the wellsprings of their longest branch, and follow them down waterfalls and rapids, through gullies and gorges, over meadows and riversides. The vein of water is something like the conscience for us, sometimes agitated and foamy, other times heavy with mud, turbid, and opaque, other times crystalline and clear, murmuring over stretches. The waters are, in effect, the conscience of the landscape.” — Unamuno. Por tierras de Portugal y de España [Around Spain and Portugal]
Pamplona
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1980 km
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München Innsbruck ör
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Donau
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Linz
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Budapest
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Tr a
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2888 km
D
Banská Bystrica
Wels
Osijek
Bydgoszcz
Koblenz M
Toruń
Rhein
Baltic Sea
1070 km
a
Warszawa
el
Kraków
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B
Wisla
Basel
Ludwigshafen
en ar e
Würzburg
N
Львів
M
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B
Sa
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1230 km
Mannheim
Łapy
Торжо́к
Mikhaylovka
ká
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O
N
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Su
Blue Pages
ga
Рязань
tlu Ve
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Ярославль
d ve
Ры́бинск
M
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Тверь
3700 km
p.2
Penza
M
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Волга
Нижний Новгород
Salamanca
Pavía
Adriatic Sea
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Bremen Banbury he C
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Ústí nad Labem
a Sa
Hradec Králové
Elbe
Ta r
Alessandria
Halle
Magdeburg
Hamburg
Thames
North Sea
North Sea
340 km C
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ld e
de
hu
Su de
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E
M
M
Zwickau
Schwerin
Чернівці
Auxerre
Chartres
París
Atlantic Ocean
Lisboa
Atlantic Ocean
is
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Chimay
ar
A
M
M
Sz
Rouen e
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776 km
g
Seine
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E
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Black Sea
ne
Galaţi
Beograd
Lo
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Pr
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Ip
Нови Сад
ne
České Budějovice
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1165 km
O
Mediterranean Sea
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Pi su e
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Burgos
Piacenza o
652 km a
897 km
Turín
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Atlantic Ocean
Zamora
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Пермь
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Blue pages
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Aranjuez
1007 km
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North Sea
A
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Duisburg Rotterdam
А́страхань
Caspian Sea
Discover Europe
Europe extends from the eastern half of the Northern Hemisphere, from the glacial Arctic in the north to the Mediterranean sea in the south. To the west, it reaches the Atlantic ocean; to the east, it borders with Asia, from which it is separated by the Ural mountains, the river Ural, the Caspian sea and the Caucasian mountain ranges. Civilizations, cultures and peoples extend across this geography, defining a Europe where diversity is our identity.
[1990]
[1939 -1945]
Before Christ
[1.200.000]
Human mandible from the Lower Pleistocene found at one of the archaeological sites at the Sierra de Atapuerca in Burgos. (Spain)
[2800-1500]
Stonehenge. (England)
[850]
Homer’s Odyssey. (Greece)
[112]
The Silk Route. (Europe-Asia)
[58]
Julio Cesar begins the Gallic Wars. (Italy) After Christ
[S II]
Aurelian restores the unity of the Roman Empire. (Italy)
[S X]
The Vikings arrive in North America. (Scandinavia-Nordic countries)
[1095]
Christian crusades.
[1275]
Marco Polo arrives in China. (Italy)
[1440]
Henry the Navigator of Portugal arrives in Africa. (Portugal)
[1492]
Christopher Columbus reaches the Caribbean. (Spain)
[1499]
The first European novel is printed: ‘La Celestina’ by Fernando de Rojas. (Burgos.)
[1512]
Declaration of the Laws of Burgos, prelude to the Declaration of Human Rights in Burgos. (Spain)
p.4
[1543]
[1917]
Nicholas Copernicus affirms that the Earth turns around the sun. (Poland)
Completion of the Trans-Siberian railway, the longest in the world. (Russia)
Dutch navigators see the Australian coastline. (Holland)
First Spanish speaking movie. (Burgos, Spain)
The telescope is invented. (Germany)
The frontiers of Europe and Asia are rolled back. The United Nations Organization is founded. (USA)
[1606] [1609] [1620]
English pilgrims leave for the New World (now Massachusetts) in the Mayflower. (England)
[1930]
[1939-1945]
[1951]
[1675]
European Community of Coal and Steel or ECCS
Greenwich Observatory, most important scientific centre in its day and age. (England)
[1957]
First satellite launched in space ‘ Sputnik I’ (Russia)
The first man who manages to fly, Diego Marín Aguilera, with a forerunner of the Delta wing. (Burgos, Spain)
Launch of the Hubble space telescope (USA and Europe)
[1793]
[1817]
Invention of the bicycle. (Germany)
[1825]
First line of railways. (London, England)
[1836]
Theory of natural selection by Charles Robert Darwin. (England)
[1869]
Suez Canal. (Mediterranean Sea)
[1896]
First projection in Spain of a film in a Lumière Cinomatographe. (Burgos, Spain)
[1911]
Roald Amundsen reaches the South Pole. (Norway)
[1914-1918]
The maps of Europe and its colonies are redrawn. Peace is signed and the League of Nations is founded one year later.
Blue Pages
[1990] [1990]
World Wide Web, created by Tim Berners-Lee and the Belgium Robert Cailliau (Geneva, Switzerland)
[1992]
The former Yugoslavia is divided up unto five new republics: Slovenia, Croatia, Macedonia and Bosnia-Herzogovina.
[2010]
The Museum of Human Evolution opens its doors to the public (Burgos, Spain)
[S X]
[1917]
[1957]
[1911]
[1543]
[1836]
[1606] [1675] [1825] [2800-1500] [1609] [1095] [1817] [1620] [1951] [1990] [112]
[S III] [58]
[1275]
[850] [1869]
[1.200.000] [1499] [1512] [1793] [1896] [1930] [2010]
p. 5
[1992]
Blue pages
Cities and bicycles
Known in history as crude means of transport on two wheels propelled by the feet; at present, there are around 800 million bicycles, twice as many as there are cars. The use of bicycles in our cities is increasingly synonymous with modernity and associated with sustainability.
5/1
500 km
Bike parks (15 users/day) which replace a bike park (6 users/day) in Lyon.
of continuous bike networks in Freiburg along well signposted bikeways.
630,000 / 780,000
100 bicycles / 1 car
inhabitants/bicycles in Amsterdam.
energy ratio needed for their manufacture.
405% / 0 %
500 km
consumption of primary energy of a plane and a bicycle.
2007
of continuous bike networks in Freiburg along well signposted bikeways.
1,000 km
That year Burgos was awarded as Best European City in terms of Sustainable Movility.
of bikeways along the Danube that crosses the heart of Central Europe: Germany, Austria, Czechoslovakia and Hungary.
1,130,000
4,900,000
pedals a day in Copenhagen.
bicycles sold in Germany (82,000,000 inhabitants).
2,000 bicycles
20 / 1
for public use in Copenhagen (city bikes).
space occupied by a bicycle in comparison to a car.
10 %
35 %
of inhabitants use the bicycle for travel in Strasbourg.
32%
1,000
of bike journeys in the Netherlands are made by women.
French municipalities belong to the “Club des Villes Cyclables� [City Cycle Club].
44 %
of women in the United Kingdom have access to a bicycle, but only 25% use them.
p.6
of responsibility of accidents involving bikes is the cyclists.
Blue Pages
10,000 people
are employed in the manufacture of bicycles in Portugal.
Map of Eurobike routes, the European network of bikeways
1.11
66,000 km
bicycles per inhabitant in Holland.
22,000
bike parks in the city of Munich distributed around the city.
50%
of bikeways are planned by Eurobike (European network of bikeways that develops long-distance routes for cycle tourism) in addition to the 20,000 that are in operation.
of bikeways in Copenhagen.
100,000
of all inhabitants in Copenhagen more around on a bicycle.
people travel on a daily basis by bicycle in summer in the city of Stockholm.
28 %
2%
of journeys in Amsterdam are made by bicycle.
8,000,000
of journeys in London are made by bicycle, well below Berlin (5%), and Munich (12%) and a long way off
3,500,000
bicycles in the world. Twice as many as there are cars.
bicycles sold in France each year, of which only 36% are made in the country.
people in Germany use the bicycle on their holidays.
of bikeways in the city of Burgos.
2,500,000
Copenhagen and Amsterdam (28 %).
21,00,00
40 km
900,000
bicycles sold in Great Britain (60,000,000 inhabitants).
bicycles stolen in Holland each year.
9,200,000,000
80%
Euros is the gross annual turnover for bicycle tourism in Germany.
of bicycles manufactured in Portugal are exported. It is the second largest producer in Europe.
1,200 km
1,100 km
of bikeways in Munich.
of bikeways in areas with restricted circulation in Vienna.
400 km
of bikeways in Paris. Construction of a further 200 kilometres is planned for 2013.
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329 km
Blue pages
10,000 people
are employed in Portugal in the manufacture of bicycles.
culture and wine
The secret of an art, the art of wine, a pleasure that delights our senses and that understands and speaks all languages of the world. “Who knows how to taste wine never drinks the wine but tastes secrets” —Salvador Dalí.
D.O. Comandaria
D.O. Styria
D.O. Lower Austria
D.O. Burgenland
CYPRUS
D.O. Rhine
austria
D.O. Ribera del Duero
D.O. Arlanza
D.O. Priorato
D.O. Jerez
GERMANY
D.O. Rioja
D.O. Sicilia
SPAIN
D.O. Veneto
D.O. Chianti
D.O. Valais
D.O. Neuchâtel
D.O. Vaud
D.O. Ticino
D.O. Piemonte
D.O. Toscana
ITALY
D.O. Eger
D.O. Zurich
SWITZERLAND
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D.O. Mosel
HUN
Blue Pages
European Origin
Burgos Origin Denominations
Denominations
D.O. Drama
D.O. Dealu Mare
D.O. Cotnari
D.O. Murfatlar
D.O. Arlanza
D.O. Tranave
D.O. Oporto
D.O. Madeira
ROMANIA
D.O. Douro
Portugal
D.O. Peloponnese
D.O. Macedonia
D.O. Santorini
D.O. Drama
D.O. Bordeaux
GREECE
D.O. Alsace
D.O. Tokaji
D.O. Szekszárd
D.O.Tracia
D.O. Pamidovo
BULGARIA
NGARY
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Blue pages
D.O. Champagne
D.O. Bourgogne
D.O. Rhône
FRANCE
60
Burgo, burgus, pyrgos, pergamo, borough, burgh, burglar, burj...
Etymologically, Burgos encapsulates the idea of city, liberty and protection offered to its citizens. The Burg of the Middle Ages was a fortress constructed by feudal Lords to watch over the territories under its jurisdiction, where groups of merchants, artisans and the like had settled.
North Sea Edinburgh
Atlantic Ocean
Burgh by Sands
Scarborough
Peterborough
Luksemburg Le Bourget
Cantabrian Sea Bourges
Bourg-en-Bresse
0
Burgos
Mediterranean Sea
40 p.10
Blue Pages
Sankt Petersburg
Sarpsborg
Baltic Sea
Borgund
Göteburg Borgholm
Ålborg
Sölvesborg
Helsingborg Flensburg
Dyneburg
Trelleborg
Hamburg
Tilburgo
Oranienburg
Oldenburg Lüneburg
Bruges
Brandenburg
Wolfsburg
Duisburg
Magdeburg
Quedlinburg Marburg Heidelberg
Würzburg
Bourglinster Günzburg Sarrebourg
Aschaffenburg Regensburg
Augsburg
Ludwigsburg Strasburg
Nürnberg
Bürg-Vöstenhof
Salzburg
Freiburg im Breisgau
Black Sea
Fryburg
Adriatic Sea 20
Bourgas
Tyrrhenian Sea
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Blue pages
Viva Babel!
“The library is infinite and periodic. If an eternal traveller were to cross it any direction, he would find at the end of the centuries that the same volumes are repeated in the same disorder (which, repeated, would be an order: the Order). My solitude rejoices in that elegant hope.” — Jorge Luis Borges. La Biblioteca de Babel [The Library of Babel]
Рэвалюцыі
Revolution
belarus
german
հեղափոխություն
Revolucion
armenian
albanian
REVOLUCIÓN
revolúcia
spanish
slovak
revolucija
REVOLUTION
slovenian
danish
επανάσταση
revolución
greek
galician
რევოლუცია
chwyldro
georgian
welsh
револуција
revolūcija
macedonian
latvian
rivoluzione
revoliucija
italian
lithuanian
револуција
revoluţie romanian
революция
revolução portuguese
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serbian
russian
Blue Pages
Estimated number of speakers of each language in Europe
<500.000
<5.000.000
<25.000.000
<50.000.000
REVOLUCIó
revolucija
catalan
революция
croatian
revoluce
bulgarian
czech
iraultza
révolution
euskara
revolutsioon
french
vallankumous
estonian
finnish
Revolution
byltingin
english
icelandic
réabhlóid
forradalom
irish
hungarian
revolutie
rewolucja
netherlands
polish
revolusjon
rivoluzzjoni
norwegian
maltese
революція
עיצול ָאווער yiddish
ukrainian
revolution
devrim
swedish
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>50.000.000
turkish
Blue pages
Sister Cities
Towns or cities from different geographic and political zones ‘twinned’ to stimulate human contact and cultural links. Through fraternal ties between cities, common conflicts were overcome, resources were pooled to carry out numerous projects and above all it promoted the independent persona of each city or village. These “twinning arrangements” are only possible with the active participation of the citizens in the municipalities that are involved.
La Spezia Thüringen Göttingen
Bayreuth
Сочи
Cheltenham
Annecy
Kisumu
Vicenza
Stampersgat
Loudun Częstochowa Valencia
San Juan de los Lagos
Burgos
Pforzheim Berga
Brugge Guernica
تاطس Las Palmas de Gran Canaria Salamanca Gijón Nîmes
Poitiers
Ярославль
Halle Würzburg Cambridge Coimbra
Santiago de Compostela
Zaragoza
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Ais de Provença Padova
Blue Pages
Komitat Győr-Moson-Sopron
Saint-Maurdes-Fossés
Rímini
Hameln
Córdoba
La Louvière
Saint-Maurdes-Fossés
Bojnice Bognor Regis Foligno Kalisz Leiria Grenoble Dijon
Нови Сад Ljubljana
Zagreb
Иркутск
Évian-les-Bains
Salt Lake City
Strömsund Konya
Pordenone
Nevşehir
Pécs
Maribor
בי ִב ָא ל ּ ֵת-ֹופ ָי
Fort Worth
Скопје
ةرهاقلا
Berlin Wien
Osijek
Тузла
Ploieşti
Budapest
Lausanne
Sarajevo
Nitra New York
Lisboa Frankfurt am Main
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Blue pages
Dubrovnik
BURGOS 2016 candidate city European Capital of Culture
-build -walk -create -evolution
C
C
Preparation of the bid and organization and Financing of the event
C1
Preparation of the bid — Citizens’ participation — Participation of the cultural sector — International activity
C2
Collaborations — In the city and the region — Within Spain / Internationally
C3
Structure of the organization
C4
Financing of the event
C1 / Preparation of the bid
— Citizens’ participation
[ QUESTION 15 /I ] How was this application designed and prepared?
[ 15 / I ]
Burgos 2016 is considered a challenge for the city as a whole. The preparation of the bid is an example of a major collaborative effort between public and private institutions in close contact with the civil society. The organization responsible for fostering this meeting of minds and wills is the Asociación Plan Estratégico (Strategic PlanAssociation) an independent entity made up of more than sixty institutions, associations, businesses, political parties and unions. The Asociación Plan Estratégico was in charge of launching the candidacy in 2007, a proposal which generated a high level of consensus in the city and was endorsed by citizens’ representatives in the Full Council meeting in the City Hall in February 2007. The open process behind the design of the ECOC bid has identified four conduits of action: — the economic, political and social agents — the citizens — the cultural sector — the international element A project of this level requires the support of the economic, political and social sectors, which is accomplished through the Strategic Plan Association (Asociación Plan Estratégico) and the creation of the Burgos Foundation 2016 (Fundación Burgos 2016). The support of the citizens has been generated through programmes of mobilisation and participation. The cultural sector within the city has reflected on and produced a document detailing their ambitions and expanding on the the role which culture should have within the city: the recent Plan de Cultura (Cultural Plan). The international dimension has been consolidated through formal agreements and participation in networks, meetings and forums abroad. The establishment of the Burgos 2016 Foundation In October 2007 the city council with participation of all political factions and the Strategic Plan Association created the Burgos 2016 Commission(Comisión Burgos 2016). Its objective was to give a political legitimacy and support to the candidacy and consensualise the strategic lines of work. The work of the commission was concluded by the middle of 2008 and from their report emerged two conclusions, one being the necessity to produce a strategic plan for culture for the city, the second to designate an organization in charge of managing the application and candidacy phase, capable of gathering financial and social support necessary to construct the project. This body is the Burgos 2016 Foundation (The Foundation), which was established by the town council in April 2009, and which counts on the support of more than 20 institutions, businesses and associations. The Foundation is open for membership to any party interested in the project, through a variety of specific membership categories; these are Patrons, Collaborators, Sponsors and other supporters.
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C1 | PREPARATION OF THE BID
“Crossroad of cultures and valuable information” — Pedro Luis Castañeda Castañeda’s Press Kiosk
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Preparation, organization and Financing of the event
Various activities have taken place to create interest and citizen awareness, providing information to the citizens of Burgos about what the ECOC would mean for them and what it might signify for the future of the city. The intention has been to reach out and communicate to the citizens their potential role as participants or collaborators, in the setting up and delivery of the artistic programme. Several profile-raising activities have taken place under the banner of the campaigns Ilusión Burgos 2016 (Burgos Aspire 2016) or ‘Exprésate’ (Express Yourself), some in collaboration with local or national media. Below we summarise some of them. Selection of Foundation’s Logo The logo selection was an open call where those citizens who wished could present their logo designs. The jury studied 159 logos, from which four finalists were selected.In the final phase, the citizens chose the winner via ballot papers, the web or text message. The winning design merged the two great icons of the city: the silhouette of the cathedral with the crosses that represent the Human Evolution Complex. Indeed, these crosses form the Roman numeral XXI, as a symbolic reference and pointer to the city’s intent on moving forward towards the future. Launch of The Foundations website (www.burgos2016.es) One of the main communication vehicles of the candidacy, the site was launched in 2007, and was redesigned and updated in June 2009. The page has more than 150,000 hits per year made by visitors from over 90 countries and is translated into 7 languages: English, French, Spanish, German, Italian, Polish and Portuguese. More than 5000 people have signed up to receive the weekly newsletter with the latest news and information about Burgos 2016.
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Burgos 2016 generation During Christmas 2009, we carried out a wide consultation amongst school children between 6 and 12. 13,900 books were distributed to pupils in 49 centres of teaching and three hospitals within the city. The books dealt with themes such as integration, diversity, discrimination, respect, infant rights and civil ethics. Secondly, a competition was launched amongst school children entitled “How would you like Burgos to be”. They were asked to produce articles and drawings representing their ideal city of the future. Then, a further book
was published comprising the best articles and drawings. Additionally, a travelling exhibition was put on display in 26 learning centres and various civic centres over the course of 2008 and 2009. Social Networks One of the principal methods used to reach out to citizens is activation of a Burgos 2016 profile on Facebook (social networking site). So far, the fan page has over 9000 fans, positioning the site as the most popular Spanish candidate platform on Facebook. Support Campaigns In 2008 an intra-city petition-based campaign was launched. Ballot boxes and forms to be signed were made available for people on the web and around the city in hotels and public buildings. So far, well over 100 000 forms have been completed and returned by people and organizations expressing their backing and support for the candidacy. Local media As mentioned in other sections, Local media play an important role for the candidacy. Our local media provide daily information to the area of Burgos and are a principal vehicle for raising awareness and generating interest around the Burgos 2016 project. Conscious of the importance that this project has for the future of the city, the principal local media have decided to become members of The Foundation. National Media and presence The candidacy of Burgos 2016 has been given national coverage in the media, either through advertisements or through informative reports. Burgos2016 has also promoted itself via a stand at the main national tourist fairs. Team Burgos 2016 and Sport Burgos 2016 has received the support from the city’s sports teams; nevertheless special mention should be made in regards to the Castile and León cycling team which in addition have provided us with an opportunity to promote healthy living and show our commitment to the environment. In return, the professional regional cycling team have taken our project name and has devoted considerable energy to publicise the candidacy on the national and international roads. The racers have contested events, in which stars such as the double winner of the Tour de France, Alberto Contador, have participated, travelling across Italy, France, Holland, and various countries of South America.
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Preparation, organization and Financing of the event
â&#x20AC;&#x201D;â&#x20AC;&#x2030;Participation of the Cultural Sector
Burgos 2016 is not an isolated event. The position of culture in the city was evaluated before the blueprint for the candidacy was designed. We needed to establish a starting point before projecting the city towards the future. The Cultural Plan has produced a situational analysis formulating an action plan for the next decade, including strategies, a set of objectives and examples of cultural projects for the city. It was produced by the Strategic Plan Association in collaboration with The Foundation. The intention was to allow anyone and everybody interested to reflect on and then to devise a new cultural concept for the city in a global framework. The process turned into a great collaborative and participative effort that encompassed more than 500 people. To create and formulate the final document a sample of 55 in-depth interviews were carried out; five days of roundtable conferences with various participants, speakers and topics were held (City and Culture; Creative City; Attractive City and Cohesive City); web forums were opened up through the web; surveys were circulated by mail to over 2000 people; nine participative workshops were conducted and an advisory board consisting of 33 people was formed. The board brought together people from all walks of life: directors
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C1 | PREPARATION OF THE BID
of media communication, political representatives, neighbours, artists, and representatives of savings banks. The purpose was to validate and reach general consensus over the documents produced, which total 12 different reports. All material generated as part of this process is at the disposal of every citizen through the website www. burgosciudad21.org, a reference for any citizens interested to know the process.
— Strategic lines of the Cultural Plan of the City
01 To situate culture as the central axis of urban development in Burgos
To consolidate and amplify the map of cultural facilities in Burgos
To promote the territorial dimension of culture
To promote Burgos as the Green Capital
To strengthen the backbone of Burgos’ and the province’s cultural system
02 To drive the development of the creative industries, creativity and cultural growth
To construct, consolidate and enhance the network of creative areas of Burgos
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To promote cooperation between the creative and scientific sectors, industry and the university
To generate all the conditions necessary for the development of creativity in Burgos
Preparation, organization and Financing of the event
To strengthen Burgos’ position as a city of cultural growth
â&#x20AC;&#x201D;â&#x20AC;&#x2030;Strategic lines of the cultural plan of the city
03 To promote innovation and accessibility in the provision of cultural
To promote cultural programmes for new civic spaces
To strengthen the cooperation of the public sector, the third sector, and the private sector in the projection and expansion of culture in the city and the province
To promote the participation and assistance of the citizens in the cultural programme
To stimulate cultural demand through information and management
04 To make cultural tourism a key element in the cultural model of the city
To strengthen Burgos as a cultural destination
To develop specific programmes for cultural tourism
To improve the cultural information available to tourists
To create marketing strategies
05 To incorporate management relations and governance in the local cultural sector To establish agreements and bodies of cooperation between institutions and the public-private sector and to strengthen their bonds with the cultural sector
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To incorporate Burgos in the municipal cultural networks
C1 | PREPARATION OF THE BID
To promote bilateral agreements of cooperation between cities and institutions
To create citizen-based networks
— International Activity
The Foundation has taken part in meetings and main European forums open to candidate cities since 2007. That year, a delegation from the city visited Sibiu 2007 to attend the General Assembly of ECOC cities. Representatives from the Foundation and city have travelled to meetings in Brussels or to other candidate and ECOC cities all over Europe on numerous occasions to learn from their experiences. Besides references to international partners or collaborators elsewhere in this document, Burgos has established collaborative cultural agreements with the cities of Buenos Aires, Krakow, Lisbon, Vicenza (Italy), Loudun and Pessac (France). It has also initiated
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Preparation, organization and Financing of the event
an exchange of experience in regard to cultural strategic planning with the Chilean city of Concepción. Buenos Aires has acted as reference and inspiration for the Cultural plan in terms of development and planning at a global level. The Polish city of Krakow, ECOC in 2002, and Lisbon, ECOC in 1994, have acted as partners not only in regards to cultural projects, but also in regards to policies concerning sustainable mobility.
C2 /
— In the city and region
[ QUESTION 12 / I ] What contacts has the city or the body responsible for preparing the event established, or what contacts does it intend to establish, with - cultural operators in the city? - cultural operators based outside the city? - cultural operators based outside the country? Name some operators with whom cooperation is envisaged and specify the type of exchanges in question. (The answer to this question is optional at the pre-selection stage).
[ 12 / I ]
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C2 | COLLABORATIONS
Collaborations
Burgos 2016’s programme will be premised on building world-class collaborations within Spain and between Spain and Europe, with strong local citizen participation. Burgos 2016 has already, through the wide consultancy process carried out in the creation and delivery of the city’s cultural plan, worked closely with local artists, the creative industries, organizations and institutions. In building our creative programme for the potential European Capital of Culture, a continuous consultation process is critical. Burgos 2016 intends to create a programme which strengthens, expands, consolidates and inspires the city’s creative community by helping to build and support an unprecedented range of long-term collaborative projects between such projects and external partners, from the region, from Spain and primarily from Europe. These projects will be carefully mentored, strongly directed and produced, and will be supported so that while they may be initially delivered in 2016, they will continue into further phases of development in the years beyond. Burgos 2016 intends to maintain and nurture
the competence and new achievements of the city’s creators for the long term, and for this purpose will continue as a small-scale consultancy organization for a defined period after the ECOC year, working from The Foundation in close collaboration with local leaders. As is evidenced by the programme concept and project examples (see Chapter B), Burgos 2016 plans a formidable programme of collaboration and partnerships throughout Spain, European member states and associates, and beyond. In the long term our intention is to strengthen existing relationships between local and regional artists, organizations and institutions, but importantly to establish new longterm partnerships, collaborations and participative long term projects. The intention is to work solidly with local organizations and creators to build on their strengths and ambitions, while maximizing opportunities for learning, idea sharing, competence enhancement, cultural exchange, European dialogue and mutual knowledge.
— Within Spain / Internationally
[ QUESTION 7 / I ] To what extent do you plan to forge links with the other city to be nominated Capital of Culture?
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Bidding for the title as European Capital of Culture demands that we use the process as a springboard to create new partnerships and collaborations with other cities in other European countries. Our ambition is to encourage European creators to embrace on a wider level the culture, abilities, creative practices and distinct personality of Spain. Such partnerships, as detailed in Chapter 2, will be sustained over a multi-year period. It is extremely important for Burgos 2016 that these collaborative outward-facing ventures are long-term and strategic in nature. As set out in our conceptual planning, Burgos as a city has powerful ambitions to re-ignite its cultural activities, and to connect the city through creativity. Sustained collaboration with European partners is critical to the city achieving its goals, and to growing confidence, competence and a profound commitment to excellence.
Currently, the impact of environmental shift resulting in profound volcanic eruption in Iceland has powerfully affected Europe and far beyond, forcing man to bow to change beyond human control, and new and unpredictable issues for Reykjavik’s own evolution. With Dundee we will concentrate on how the shift to a digital age is changing culture – and how a city can balance its role as a powerful digital entertainment centre while still developing strongly its cultural offer in terms of live performing arts.
Three comparators: As a small city, we want also to share the specific experiences of certain other cities: cities which may be radically different, but which have all faced – or are facing – radical change. Dundee, Reykjavik and Antwerp, the three cities selected are of different sizes, have different challenges and priorities. All, however, have a powerful relationship with their citizens and have embraced fundamental human values and knowledge as their motivation when addressing their need to change. Two of these cities already have strong and ongoing links to the University of Burgos, and the third is in the process of establishing a similar agreement. Of these, two are also former European Capitals of Culture.
[ 7 / I ]
Burgos 2016 will build specifically focused collaborations with the three cities indicated, premised on change, and on the exchange of human values. With Antwerp, we will focus on the 11-15 year-old age group – their aspirations for this century, cultural mores, motivation and changing attitudes. With Reykjavik, we will explore how profound citizen disturbance driven by financial crisis changes a population, and the significance of culture in the process of recovering fundamental values.
Burgos 2016’s perogative is building strong and enduring relationships with creative practitioners elsewhere in Spain and in Europe. Collaborations outlined in this document include Germany, France, UK, South Africa, Denmark, Romania, Austria, Norway, Portugal, Palestine, USA, Italy, Sweden, Poland and Turkey.
In 2010 we cannot to predict which candidate city in Poland will be awarded the title. However, we are currently in contact with the candidate cities in Poland. In phase 2 of the ECOC bidding process, we will build concrete links with the cities selected by the adjudicating jury, building specific projects which bring artists and institutions together. In recent years, Burgos has worked on building multiple types of collaborations with certain cities in Poland, which may influence arenas which we would like to explore and develop. Examples of liaisons are formal inter-city agreement (with Cracow through the CIVITAS/ Agenda 21 project); Partnership agreements (with the city of Poznan); Partnerships between higher educational institutions (formal exchange agreement between the University of Burgos and universities in Krakow and Warsaw); Cultural collaborations (The Burgos Folklore Festival and the Burgos Symphony Orchestra) have agreement with Polish partner organizations in various cities and investments and economic co-operation (three local firms have opened new industrial in Wroclaw / Baja Silesia).
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C2 | COLLABORATIONS
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C3 / Structure of the Organization
[ QUESTION 1.1 / III ] What sort of structure is envisaged for the organization responsible for implementing the project? What type of relationship will it have with the city authorities? (This question must be answered in greater detail at the final selection stage, by enclosing in particular the statutes of the organization, its staff numbers, the curricula vitae of those primarily responsible, information concerning its financial and management capacity, and a graph of the structure with comments on the respective responsibilities of the different levels). [ QUESTION 1.2 / III ] If an area around the city is involved in the event, how will the coordination between the authorities of the relevant local and regional authorities be organised? [ QUESTION 1.3 / III ] According to which criteria and under which arrangements has or will the artistic director of the event be chosen? What is or will be his/her profile? When will he/ she take up the appointment? What will be his/her field of action? (This question must be answered in greater detail at the final selection stage).
[ 1.1 / III ]
The Foundation will set up an external organization in late 2011 – early 2012. The mission will be to organise and run the development of the ECOC for the time period as defined in this document. The day-to-day running of the organization will be led by an executive team of directors consisting of the artistic director supported by three directors. Including the AD, this group of directors will run the main areas of work: programme, administration & finance; marketing & communication. This group will meet routinely to coordinate all areas of work intradepartmentally within the organization, reporting to the Artistic Director. Within each of their extended departments they will stategise, organise and carry out all tasks, responsibilities and detailed lines of work, delegating appropriately. All directors should be fluent in English/ Spanish, both in terms of writing and speaking. This is particularly essential for programme and communications/ strategy/external relations, given the focus on engagement internationally with non-Spanish speaking partners and collaborators. Areas of work and responsibility External relations – The AD will lead the organization in matters concerning international relations with partnering cities, the EU and other ECOCs. He/She should plan and advise the organization in regards to development of the international dimension regarding medium and long – term effects. The organization must take responsibility for hosting international guests from public institutions, partner organizations and national organizations. The AD will be responsible for coordinating and producing the final report, providing documentation about the legacy of the ECOC.
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Administration and Finance The director of this department is responsible for finances and the running of the organization on a day– to day basis. He/She is responsible for the financial base of the project, directing the sponsorship co-ordinators,
managing and monitoring agreements with municipal, regional and national government. The director should have a strong financial background coupled with knowledge of fund raising and investment policies in a wide national and international field. He/She is responsible for sponsor negotiations and delivery of sponsor contracts and all official communications with government, municipalities, politicians, funders and other stakeholders. Programme The programme director will act as liaison between the artistic director and the actual coordination and delivery of the artistic programme. He/She will manage and direct a staff consisting of programme coordinators (project managers), production staff and volunteers. Ideally, he/she should have experience working for a large art institution (e.g. a museum or a theatre company). This position requires a person who is skilled at managing people and who has a keen understanding of artistic process, rather than being an ‘ideas’ person or curator. He/She must have a close and intuitive relation ship with the AD, and the ability to lead a large and inter-dependent team which can interpret, develop and deliver the AD’s vision in the context of the community, local creators and international partners. Marketing & Communication The director will be responsible for telling the world about a unique project. He/She will devise, review, update and implement the organization’s communication and marketing strategy. He/She should ideally be a person with a combination of in-depth knowledge of the city & province with high level experience in working in media or brand marketing in international, so as to put Burgos2016 in a wide context. Critically, the CD should be highly creative with formidable contacts and able to embrace and make full use of digital communication platforms. Times for contraction of the various members of staff 2012: Artistic Director, Administrative Director, Communication Director and Sponsorship Coordinator.
2013: Programme Director, Programme Managers (1-2), Volunteer Coordinator, Office administrator. 2014: Digital Media Manager, Web developer, Financial Manager. 2015: Press, TV and Radio manager, Logistics Coordinator, Production Managers, Hospitality Manager, Programme Managers (the rest ), Administrative staff in various departments. 2016: Media Guides To save costs and to gradually build the organization, staff should be contracted and appointed at various times according to the time-line set up above. The workload is expected to increase linearly as the year of the ECOC approaches, thus an appropriate structure is essential. Priorities within the workload will vary and change gradually and also unpredictably over the 2012 â&#x20AC;&#x201C; 2016 period, so staffing needs may require flexibility.
will be appointed in either 2014 or 2015 depending on the general workload within the Marketing and Communication department. The remaining functions and positions will be filled in 2015, except for Media guides who will be engaged to assist and act as guide / translator for visiting media reporting on Burgos2016. The principal Burgos 2016 staff will be contracted to work until June, 30th 2017, with the final six months of activity purely dedicated to reporting, dissemination and transfer of knowledge, information and archives to the foundation, who will then assume responsibility for managing the ongoing development and legacy of Burgos 2016. The Foundation will additionally fund positions for programme managers acting as support staff for projects continuing beyond 2017.
In 2012, the primary functions will be to secure funding and third-party sponsors for the project, initiate dialogue and create involvement and engagement within the City for the ECOC. Key pillars in the programme must also be put in place, in particular projects with long development phases. 2013 demands intense focus on programme and overall project development. Volunteering will be crucial for the organization; primarily because it gives and offers the citizens a real possibility for active engagement and involvement in the ECOC, creating a small army of ambassadors willing to support and spread information about the event. Volunteers can play a critical role in managing audiences, tickets and facilitating citizen participation â&#x20AC;&#x201C; particularly with children. By 2014-2015 the rest of the organization will become established. The Press, TV and Radio manager
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— Organization Chart of Burgos 2016
Foundation Burgos 2016 [Board Foundation]
Burgos 2016, S.A.
Artistic Director
Administrative Director
Programme Director
Financial Manager
Programme Manager
Digital Media [Manager]
Press, TV & Radio [Manager]
Production [Manager]
Media guides
Web Developer
Office Administration
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Sponsorship [Coordinator]
Logistics [Coordinador]
Volunteer [Coordinador]
Marketing & Communications [Director]
Hospitality [Manager]
Guest Coordinator
[ 1.2 / III ]
The area covered by the potential programme for Burgos 2016 comprises the province’s 371 municipalities and 1,263 villages. The bid is being presented by the Burgos2016 Foundation. The Foundation is now coordinating the steps to be taken with the different municipalities and administrative levels during the preparatory and developmental phase of the European Capital of Culture. This gives the municipalities of the province the opportunity to participate either as members of the business entity that is in charge of developing the plan of action or through collaboration agreements for specific projects. [ 1.3 / III ]
Artistic Director - Personal Qualities and Appointment time-line. The Artistic Director (AD) is the face of the organization, and will be highly visible. This requires a person of intellectual and emotional rigour, charisma and stamina, who inspires both trust and respect. Absolute belief in Burgos and the province, in the concept and vision of the programme, and in the citizens, artists and wide community is a given – this is not about delivering a ‘product’- it is about belief, passion and trust in a city and its people, and a will to realize dreams. The artistic director must have proven international experience of delivering excellence and originality in terms of programming, along with evidence of strong budgetary control. The AD should have an understanding of how communications, and marketing relate to the programme, and how they must be developed, and work together.
trusted both by the creative sector, by community leaders, teachers, school administrators and by those who lead cultural institutions. The AD should be fully aware that ECOCs are not festivals (although they may well include them), and have a clear understanding of project development, management and delivery. A comprehensive network of international contacts is an imperative, along with a proven record of community building, and of having created and delivered projects which have built solid participation across boundaries: i.e.: where international artists and ensembles work over a long-term period with local artists and community participants. Though not necessarily a native Spanish speaker, the AD must understand the necessity of having – or developing quickly – a wide knowledge of Spanish creativity. He/she must be both a ‘starter’ and a ‘finisher’ and have a strong track record of team-building. The AD must have superb and dynamic communications skills, and the ability to transmit the concept of the programme and its detail to political, public sector and financial stakeholders. He/she should have considerable experience of dealing with the media in all forms, and also be a fluent, persuasive writer. Strong experience of fund raising – from governments, local municipalities, foundations and the corporate sector is critical – the artistic director will always be the face of this, communicating the programme content, concepts and vision to those whose support is sought.
The AD should be a ‘people person’ who understands both intuitively and intellectually how the creative process works, and the day-to-day issues of artists. Preferably, the AD will have been a performing/practicing professional artist his/herself, at some career stage. The ability to work hands-on with those who will build projects and create with both artists and the community is an imperative – the AD must be utterly
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Preparation, organization and Financing of the event
C4 / Financing of the event
[ QUESTION 2 / III ] Financing of the event [ QUESTION 2.1 / III ] How is the event budget to be organised?What is the total amount of resources earmarked for organising the “European Capital of Culture” year? What are the sources of financing and the respective importance of their contribution to the total? (This question must be answered in greater detail at the final selection stage). [ QUESTION 2.2 / III ] Have the finance authorities of the city already voted on or made financial commitments? When will they do so? [ QUESTION 2.3 / III ] What is the total expenditure planned strictly for the programme of the event? The structure mentioned above refers to the organization liaising with the Commission, in particular during the monitoring phase, should the city be awarded the title. [ QUESTION 2.4 / III ] How much expenditure is planned for infrastructure (cultural and tourism infrastructure,including renovation)? [ QUESTION 2.5 / III ] What is the plan for involving sponsors in the event? What is the estimated level of financial participation by sponsors? [ QUESTION 2.6 / III ] According to what timetable should this expenditure be committed if the city receives the title of Capital of Culture? (The answer to this question is optional at the pre-selection stage).
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[ 2 / III ]
The estimated budget for Burgos 2016 is about €50million, excluding investments in infrastructure. The city of Burgos will assume 26% of the total costs and makes provision for contributions from the other administrations of about €26million. These figures include the European Commission’s Melina Mercouri Prize of €1.5million. The rest of the programme will be financed through sponsorship agreements and revenue, donations and sale of merchandising and tickets, which represent 18% and 4% respectively.
The vast majority of the budget, 73%, is destined for the artistic programme, which will require €37millions for the period between 2011 and 2017. Our estimates are presented below in a simple table of annual income and expenses, covering the phase of preparation, 2011-2015 ,the year of celebration 2016, and 2017. We have allocated budget for operating expenses, evaluation and artistic programmes and projects initiated in previous phases in 2017.
Relation of expenses and incomes from 2012 to 2017 (UNITS IN MILLIONS OF EUROS) > Expenses
2012
2013
2014
2015
2016
2017
Total
Programme Marketing Staff Others Total
0,3 0,2 0,2 0,1 0,8
1,5 0,3 0,5 0,15 2,45
7 0,4 0,5 0,2 8,1
9 3 0,9 0,3 13,2
18 4 1,5 0,4 23,9
1,2 0,3 0,6 0,1 2,2
37 8,2 4,2 1,25 50,65
Incomes
2012
2013
2014
2015
2016
2017
Total
0,5 0,1 0,2 0 0,8
0,5 1,68 0,2 0,07 2,45
2 3,75 2 0,35 8,1
3,8 7 2 0,4 13,2
5,4 13,5 4 1 23,9
1,2 0,5 0,5 0 2,2
13,4 26,53 8,9 1,82 50,65
Local administration Others administrations Private incomes Others Total
C4 | FINANCING OF THE EVENT
— Relation of Expenses and Incomes from 2012 to 2017
Incomes 2012 - 2017 50,65 Millions
Expenses 2012 - 2017 50,65 Millions
Local Administration Others Administrations Private Incomes Others
Programme Marketing Staff Others
23,90
23,90
13,20
13,20
8,10
8,10
2,45
0,80
2012
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2,45
2,20
2,20
0,80
2013
2014
2015
2016
2017
2012
2013
Preparation, organization and Financing of the event
2014
2015
2016
2017
Definitive figures for the level of financial contribution from the city of Burgos and the Regional Administration’s will be confirmed by written agreement in the final selection stage. The remainder of the model has been built and stipulated in accordance with practice and customs in Spain for the development of major cultural events, such as an ECOC, and the city’s previous experience of constructing collaborative projects with private and public sector stakeholders. The Regional Administration and main sponsors have approved the scheme presented in this document. The Foundation, through its relationships with other foundations and key stakeholders within the country inspires optimism about the feasibility and consistency of the financial planning.
In terms of the budget and financing of investment in infrastructure, the city has made a major effort, and is now well into final stages of initiating building work with a number of approved projects as detailed in Chapter D. With regard to the four new cultural facilities, funding has been secured for the development of the old train station as an artistic space. The University of Burgos is proceeding to renovate the Hospital de la Concepción. The negotiations on a joint agreement with public-private participation which will finance the rehabilitation of the San Juan Monastery and Silo de Capiscol amounting to €15M are also close to completion. Currently over 90% of the 170 million Euros funding necessary for these projects is already in place. We will give a detailed presentation on how the outstanding financing will be secured in the final selection phase.
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C4 | FINANCING OF THE EVENT
— Cultural Facilities Local Administration
Central Government
University
Various Administrations
2015 Silo de Capiscol / San Juan Monastery [ 15 Millions ]
Burgos Museum [7,5 Millions]
2014 Concepción Hospital [5 Millions]
2013 2012 San Juan Library [7,5 Millons]
2011
Old Railway Station [5 Millons]
Human Evolution Complex [130 Millions]
Preparation, organization and Financing of the event
-discover -edit -design -make -evolution
D
City infrastructure
D1
Accessibility
D2
Tourist accomodation
D3
Urban infrastructure and cultural and tourism facilities
D1 / Accessibility
[ QUESTION 1 / IV ] What are the city’s assets in terms of accessibility (regional, national and International transport)?
[ 1 / iv ]
Due to its strategic location, Burgos has always had excellent transport links with the northern and central parts of Spain and the eastern and western parts of the Iberian Peninsula. In recent years, alternative transport routes have been developed to provide travellers an alternative to road transport. The new airport started operations in 2008, a major investment of near €40 million. Work began in 2010 on bringing the AVE (high speed train), carriying an investment exceeding €588million. The Opening is scheduled for 2012 providing the city with new and more fluent connectivity with Spain and the rest of Europe. Sustainable transport is a priority within the city’s borders. For years, as one of its civic strategies, the city has been promoting a culture of healthy transport to its citizens. From 2005 – 2009 Burgos developed the European project for sustainable mobility ‘Civitas’ under the guidance of cities such as Genoa, Krakow and Stuttgart. The result is a city connected by bicycle-lanes and committed to the environment. Cycling is widespread among citizens, thanks to the near 40 kilometres of bicycle-lanes that link the various neighbourhoods of the city and also the free bicycle loan system that has over 5,000 users. Because of this strategy, we are the city in Spain with the most kilometres of bike lanes per capita and we have reduced car use by 3% in the last three years. In addition, the entire fleet of city buses, which number close to 70, use alternative fuels such as gas and biodiesel. Alongside more routes, improved connections and citizen awareness, use of public transport have increased by 16%. This work has been awarded international recognition including the title of ‘Best European City for Sustainable Transport in 2007’ (by the European Commission), and the Energy Globe Award in the category of ‘Air’ in 2009.
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The policy of sustainable transport is in keeping with the philosophy of the Burgos 2016 project in rewarding the
use of public space for citizens. Also, the main streets of the historic centre of the city are pedestrianised to facilitate public access. Roads The city serves as a central hub within the national road network, effectively connecting the centre of Spain with the Basque Country, France, Catalonia, Portugal and Galicia. Burgos’ strategic location allows travel by road to any of the major cities of northern and central Spain, including Madrid, with a time frame of around two hours for most cities. By Air The airport is located just 6 miles from the city. There are scheduled flights to Paris, Barcelona and Palma, with current negotiations in place for the opening of new routes and destinations to Brussels, Berlin, London, Amsterdam and Tenerife. In its first year of activity, and despite the problems faced by most airlines due to the economic situation, 27,710 passengers passed through Burgos Airport. In addition, the airports of Madrid, Bilbao, Léon y Valladolid, as stated, are only about two hours away by road. By Rail The rail network enables travel between the new railway station, which opened in 2008 after an investment of €18.5million, and the principal cities of Spain and offers direct train journeys without transfers to Lisbon, Paris, Poitiers and Coimbra. By Bus The bus station is located in the town centre and offers routes to the major cities of Spain and the various localities of the province of Burgos. There are buses practically every hour connecting the city with Madrid and a wide range of other places, for example, Bilbao and Barcelona. There are also primary international connections with Germany, France, Holland, Belgium, Switzerland, Bulgaria and Romania.
— Communication network
Santander 182 km 2h 00'
Bilbao 158 km 1h 20'
Vitoria 114 km 1h 00'
León
Burgos
184 km 1h 50'
Logroño 115 km 1h 00'
Valladolid
287 km 3h 00'
122 km 1h 00'
Madrid 237 km 2h 15'
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Zaragoza
CITY INFRAESTRUCTURE
D2 / Tourist
accomodation
[ QUESTION 2 / IV ] What is the city’s absorption capacity in terms of tourist accommodation?
[ 2 / iv ]
The supply of accommodation in the city has experienced extraordinary growth over the past five years, going from 2,913 to 4,118 hotel beds today, representing an increase of 30%. Burgos has 77 hotels, 19 more than five years ago. In 2000, the city had only three hotels with four-stars or more. Today eleven hotels are within that category. The sector is poised for an increase in visitors, predominantly thanks to the boost from the Museum of Human Evolution and the setting up of the Convention Centre - Auditorium, which will position the city as a landmark for congresses within the country’s central region. The congress and convention industry underlines this focus by highlighting the quality of the hotels within the city – nearly half of the beds (1,742) are in the four-star category.
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D2 | TOURIST ACCOMODATION
The hotel capacity in the province has also experienced an important surge in the last five years. In 2005, the number of establishments was 504, representing a capacity of 19,414 hotel beds. Today, the province of Burgos has 677 establishments, representing a capacity of 21,888 beds, an increase of 2,474.
—Beds by hotel categories in the City of Burgos 3* Hotels
20,3% Rest
35,4%
4* and more Hotels
44,3%
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CITY INFRAESTRUCTURE
D3 / Urban infrastructure and cultural
and tourism facilities
[ QUESTION 3 / IV ] What projects are to be carried out between now and the year for which the city is applying for the title of European Capital of Culture in terms of urban and tourism infrastructure, including renovation? What is the planned timetable for this work? (The answer to this question is optional at the pre-selection stage).
[ 3 / iv ]
One of the great landmarks of the city in recent years has been the relocation of the downtown train station to the northeast, making it possible to divert the passage of trains that used to pass through Burgos, and to connect the two parts (north - south) of the city that were previously divided by train tracks. This old track space, will now connect the city from east to west through an 11.5 kilometre long boulevard designed by the Swiss architects Herzog and De Meuron. The new public space, which will be fully open by 2012, will connect the University of Burgos and the area around the new AVE train station in a continuous swathe of landscape by bringing together the river and the large natural parks of the city. The project of Herzog and De Meuron, with an investment of €95million, has followed three basic concepts: landscape, public spaces and mobility. As such, it will retrieve much of the urban space for pedestrians and will be planted with 170,000 trees, making Burgos the Spanish city with most trees per capital. Thus, the boulevard will create a new ‘land’artery for the city while the river continues its flow as the natural artery of Burgos, running in parallel with the Camino of Santiago. Significantly, it is around these corridors that the future cultural facilities will be settled. Beside the river the Human Evolution Complex is growing daily, constituting a link between the Site of Atapuerca and the Complex of Human Evolution and the Monastery of San Juan. Also around the boulevard are located the three projects that strengthen Burgos’s cultural offer: The Old Railway Station (Locomotiva), Hospital de la Concepión and the Silo de Capiscol.
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Cultural infrastructure and facilities Burgos has over the last ten years made considerable investments in renovation of old and opening of new facilities in order to encourage the promotion of better spread neighbourhood facilities, to give better access to artistic studies and training, and to provide opportunities for amateurs and professionals.
The City Council ensures wide public access to culture through the four municipal libraries, five civic centres, two cultural centres, nine centres of social action and the Municipal School of Music. From an educational perspective, the University of Burgos, the School of Art and Design and the new Professional Conservatory of Music and Dance of Burgos, which opened in 2008, offers formal professional education to more than 2000 students. Also, the city council promotes new facilities run by the city’s own artists, some of which have been turned into highly significant initiaves for Burgos’s various cultural clusters; examples of these are El Hangar (The Hangar), a Centre for Musical Creation. Launched in 2009, it has rehearsal rooms, a recording studio and a concert venue with a capacity of 1,200 people; La Parralla, an association comprising theatre and circus companies for all ages, located in a listed school building on the outskirts of the city centre, La Parralla provides rehearsal and performance space for these groups and visiting companies; Espacio Tangente, a centre for contemporary art and installation, providing exhibition space, workshops for artists and audio visual production facilities. In addition to programming of cultural events and exhibitions, the Institituto Municipal de Cultura (Municipal Institute of Culture – IMC) manages several exhibition halls, the Marceliano Santa Maria Museum, el Arco de Santa Maria (the arch of St Mary) and two theatres, el Teatro Principal (the Main Theatre of Burgos) and the el Teatro de Clunia (the Clunia Theatre), which present more than 200 shows a year to around 100,000 spectators. IMC is the city’s main cultural promoter, running schools in the city for most art forms, providing grants and stipends to artists, organising competitions and publishing books, educational material and periodicals. Programming carried out by the public sector is often reinforced by private initiatives. The Burgos Savings Bank
“Be Confidence” — María Miguel
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CITY INFRAESTRUCTURE
(Caja de Burgos) took the avant-garde step of opening the Contemporary Art Centre (CAB) in 2003, in a building which successfully integrates modern architecture into a historical area close to the Cathedral. Caja de Burgos also runs multiple programmes of performing arts throughout the year in its two auditoriums and two exhibition halls. Another savings bank Caja Círculo also promotes cultural activity with an infrastructure consisting of six auditoriums and four exhibition halls. In recent years, however, the city has embarked on further new projects that illustrate the transformation of the city. The Human Evolution Complex The Centre for Human Evolution is at the the epicentre of our ECOC candidacy and it reflects the philosophy of the artistic program and the Burgos 2016 project. Burgos brings together in a unique building the largest European example of knowledge dissemination on the subject of human evolution. It is a building where scientific research meets dissemination and inspires art. Three buildings, three messages, one whole, a new human consciousness: the National Research Centre, the Museum of Human Evolution and the Auditorium. The National Research Centre is already operational. The Museum phase of the complex opens its doors in mid-July 2010, and the Auditorium – Convention Centre, in 2011. In total, the complex represents an investment of more than €130million. Locomotiva: The Old Train Station This is an exemplar of transformation of spaces from the industrial era, to facilities for the cultural era and the creative industries. In disuse since 2008, it will become a cultural centre accommodating artists in residence after an investment of €5million in 2012. Locomotiva is located in the southwest of the city, adjacent to the University and close to the Centre of Musical Creation.
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San Juan Central Public Library Located on the Camino de Santiago and near the Human Evolution Complex, the new Public Library will become a reality in 2011, after an investment of €7.5million. In order to erect the new building of 6,000square meters, the current library which was built in 1971 was demolished. It will be recreated in a radical new form, covered by a double glass shell. The Burgos Museum Integrated into the state network of museums, our acclaimed museum is undergoing a period of expansion of space and services which will culminate in 2016. After an investment of €7.5 million, the museum will provide new exhibition rooms, workshops, a library and an auditorium. The collections will show the historic and cultural evolution of the province of Burgos. The Arena Plaza Multi-purpose Centre The City Council will demolish the present bull ring to convert it into a multi-purpose centre that will cost 12 million Euros. The project will be completed by 2012 and will host sporting, cultural and social events for 12,000 spectators.
possible to situate a cultural facility in an industrial area with a shortage of creative spaces. With a surface area of nearly 6,000square meters, the 2016 proposal will develop a centre of audiovisual experimentation, production and editing. Monasterio de San Juan The monastery currently houses the Marceliano Santa Maria Municipal Museum and exhibition space. The development proposal integrates these uses with the transformation of the Monastery into a multi-purpose building with a new Museum of the Pilgrim and of the History of the city. Hospital de la Concepción This building, the first ever surgical faculty in Spain, an emblematic building of Burgos architecture from the 15th century is currently in disuse. The development proposal will transform it into a Training Centre of international standard for performing arts with a residence for professors and students. The hospital will have classrooms, rehearsal rooms, workshops and a library.
Specific Buildings for Burgos 2016 The design of new venues and work spaces for Burgos 2016 has embraced an open procedure. All final-year students of the School of Architecture, in collaboration with the Castile and León Institute of Construction, were involved in an end of course competition. In early May, a jury of 12 professionals decided which proposals for the redesign of three buildings were to be included in the Burgos2016 bid document. In total, each building’s design has been chosen from 30 different proposals: Silo de Capiscol The existence of this unique Silo building within one of the most densely populated areas of the city has made it
D3 | Urban infrastructure and cultural and tourism facilities
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CITY INFRAESTRUCTURE
-interpret -invent -launch -evolution
E
E
Communication strategy
E1
Marketing and comunication programme
E2
Melina Mercouri award
E1 / Marketing and
comunication programme
[ QUESTION 1 / V ] What is the city’s intended communication strategy for the European Capital of Culture event? [ QUESTION 2 / V ] What proportion of the budget is earmarked for communication?
[ 1 / v ]
The communication and marketing strategy for Burgos 2016 supports the overall vision rooted in the evolutionary process, communicating how the city itself and its citizens will reinvent themselves and redefine relationships with the surrounding world. All eyes will be focused on our city, looking far beyond the commercial appeal of the city as created through tourism marketing campaigns. The strategy will seek to increase the city’s attractiveness by focusing on the creative activities, the newly opened and planned cultural facilities, the city’s sustainable urban development programme, and the planned elements of social cohesion and unity which reposition the city as a meeting place for citizens. The ECOC creates a critical focus in the process of the whole evolutionary development of the city. In the coming months (year 2011) a new City Marketing study is in planning to prepare Burgos for the years 20122016 incorporating the ECOC as a key element. This document will complement the Cultural Plan, including an examination of the capacity of culture to interact with tourism, and assessing the need for development of a new city brand bringing together all the city’s attractive elements, both tangible and intangible. The wider city is conscious of the need to place human evolution at the centre of its planning so as to produce a document which engages with the cultural project of Burgos 2016. Burgos2016 will devise its own powerful communication programme, with three distinct strategic phases and objectives:
p. 166
phase of Re-discover During the years 2011 – 2015 The Burgos2016 communication platform expands its operational radius, by seeking a stronger presence on national and international level. At local level, enthusiasm for the project should be generated through dissemination of project information at grass root / citizen level. The Burgos 2016 proposal will be publicised in Madrid and abroad, acting as an ambassador for the city, while the citizens of Burgos will celebrate being part of an international project.
The objective of this phase is to merge communication plans; the Burgos 2016 communication plan and the City Marketing study must be delivered as an integrated strategy, developing a customised image as a ECOC nominated city. The artistic programme’s concept and philosophy must lead the communication, within the context of a city under transformation and demanding to be seen in a new perspective or light. Activities will put equal emphasis on the local, national and international public. phase of Re-invent During the phase of Hosting the ECOC (2015-2016) The R-evolution is about to erupt! – preparations are about to culminate in an unprecedented artistic explosion. Six months before the opening ceremony of the ECOC, the entire communication programme will be geared towards presentation of the final cultural programme; all of our events and the performances planned for 2016. It will be directed at the local, national and international public, with added emphasis and resources made available to strengthen national and international presence. phase of Re-lease During the phase of Sustainability (from 2017 onwards) The city has experienced a profound process of evolution and must now seek further new strategies to consolidate its image. We will capitalise on our achievements to review the MarketingTourism Plan of the city for the post ECOC years, and to maximise the communication of our legacy. While the creative programme concentrates widely on bringing all ages, skills, abilities and ethnicities together across boundaries, in terms of communication, Burgos2016 will both aim broadly and target specifically: Cultural Sector Professional artists or people who have shown interest in developing projects or ideas for the cultural programme emerge from three different areas: Local, national and international.
Dependent on the actual phase of the bid process, their degree of involvement will differ, ranging from developing and leading projects through taking active part by participating in activities. The culture sector will act as ambassadors in publicising the project to the artistic community and beyond. Children and family Children will be an important part of the bid’s communication strategy, since almost all of our projects will be open to them or will have specific elements or parts where they will be actively involved. Additionally, the involvement of children and youth indirectly involves adults, which encompasses a broad sector thus becoming an important communication channel. Youth Youth will be key consumers of cultural initiatives in 2016. Their role is crucial, not just as passive spectators but as creative participants in the artistic programme. In particular, we wish to drive their involvement in digital and new technology projects. Youth will also play a pivotal role as members of the volunteer programme. Senior Citizens Older citizens represent a large segment of the Burgos population, and are a segment with more disposable time available. We hope to engage them on many levels: through new cultural experiences, as active participants in creativity both amongst their peers and across generations, and also as valuable volunteers. Public Services, commerce and leisure sector Burgos aims to present itself as an open and hospitable city. It is therefore vital that all those who have first direct contact with visitors act as true ambassadors of the programme. This group will play a key role in ensuring that the city is appreciated and remembered as a welcoming and friendly community.
new era for the city and may be the main mouthpiece for communicating the values, vision and content of the project, as members of the Foundation. We expect they will involve themselves actively in the development of the programme. Pilgrims Thousands of walkers from all over the world make a stop-over in the city or in different parts of the province. We want to connect them to our programme and will encourage them to become ambassadors for our bid when they return to their home countries. Tourists and visitors Burgos annually receives more than one million visitors. This figure is expected to increase dramatically with the opening of the Museum of Human Evolution and the Convention Centre (Palacio de Congresos). The campaign to engage our tourists as ambassadors for the Burgos2016 project will be dynamic, encouraging them to return with friends and family as active audience and participants during the ECOC year. In the table presented we draw up some of the most important marketing activities and campaigns Burgos will initiate in each phase. These plans considers and links to actions the city has planned for in the forthcoming years, such as the opening of the Human Evolution Complex, hosting of the IFFACA convention in 2014 and the new City marketing plan. [ 2 / v ]
The marketing budget for Burgos 2016 is around 16 % of the overall budget for the years 2011 – 2017. Break-down of yearly expenditure is to be found in a table presented in section D of this document.
Media Local media regard the Burgos 2016 project as the potential opening of a
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COMMUNICATION STRATEGY
— Marketing Programme
National Marketing Advertising
National Marketing Cultural sector
interNational Marketing Advertising
interNational Marketing cultural sector
Fase Re-discover 2011 Advertising Agency Madrid + Madia Plan A + Opening Auditorium
Strengthening Cooperation Agreements
Advertising Agency in France and UK + Media Plan B + Opening Auditorium
Strengthening cooperation agreements
2012-2015 Madrid + Media Plan A2 + World Summit on
Advertising Agency
Cultural Program Development + Participation + World Summit on
Arts and Culture
Arts and Culture
International Agency in France and UK + Media Plan B2 + World Summit on Arts and Culture
Cultural Program Development + Participation + World Summit on Arts and Culture
Fase Re-invent 2016 Dissemination Campaigns Programme B2016
Project Participation
Dissemination Campaigns Programme B2016
Project Participation
New City Marketing Plan
Fase Re-lease 2017 - [ ]
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City Marketing
City Marketing
City Marketing
City Marketing
Update
Update
Update
Update
E1 | MARKETING AND COMUNICATION PROGRAMME
E2 / Melina Mercouri Prize
[ QUESTION 3 / V ] How does the city plan to promote the award of the Melina Mercouri prize if it receives it? (The answer to this question is optional at the pre-selection stage).
[ 3 / v ]
It is important that the Melina Mercouri prize is directly connected to the European and citizen dimension of the programme overall. The funds will be used in connection with key projects which build a strong creative process between Burgos and European partners. Therefore, Burgos 2016 will use the prize to ensure that these projects have sufficient funding to deliver international excellence. The prize will be awarded in conjunction with one of the major events organised by Burgos towards the end of the year 2016. Additionally, our partners and members of the Foundation will be asked to invest in a fund dedicated to providing continuity for these specific projects. The Foundaton fund should also have the financial capacity to support scholarships for creative entrepreneurs and to fund future artistic projects in the city and province which meet specific European criteria. (The criteria will be set out by the board of the Foundation in collaboration with the Artistic Director appointed to lead Burgos 2016).
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COMMUNICATION STRATEGY
-mix -think -new -plan -evolution
F
F
Evaluating and monitoring
F1
Monitoring and Evaluation System of the Ecoc
F1 / Monitoring and Evaluation
System of the Ecoc
question 1 / Vi ) Does the city intend to set up a special monitoring and evaluation system: - for the impact of the programme and its knock-on effects? - for financial management?
[ 1 / vi ]
Through our bid, we demonstrate that for Burgos 2016 the European Capital of Culture is more than an event. For us, it is a process that enables the city and region to stimulate its processes of cultural, economic and social development, to increase our local participation, to raise our international profile and to reflect on our future. For Burgos 2016, the opportunities to learn from and benefit from the whole process of bidding, preparing for and organising the ECOC year itself will have major importance. Primarily, we recognise the importance of implementing an excellent monitoring system to ensure that all our processes are documented, and that results are delivered in line with our strategic plan for the city. In addition to the formal reporting requirements of the EU, the data developed through monitoring the ECOC process will help the city to: — understand its own dynamics — analyse the relationships and synergies between stakeholders — communicate more effectively with the outside world and its residents — maximise impacts and outcomes from the project Our monitoring and evaluation of the ECOC will be thoroughly planned so as to address new demands from Brussels for a more structured process. We intend to reflect on recent examples, such as research conducted by Luxembourg (2007) and Liverpool (2008). This will be achieved by establishing a partnership with the UBU to conduct long-term impact research. Our emphasis will be on capturing experience, process and the learning process for the city as we develop our ECOC, rather than merely measuring outcomes which produce statistics. However we will also capture statistical data as the basis for analytical research. For us, the evaluation of ‘R-evolution’ is an opportunity to develop a more dynamic model which can help Burgos 2016 and other European cities understand more about the processes involved in such programmes.
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In our initial phase the following areas for data collection have been identified:
— Impact sectors Cultural /Economic/Social/Environmental — Stakeholders Residents/Decision makers/ Businesses (creative sector, tourism and others)/Visitors — Processes Networks/Value chains We will monitor these areas over a number of years in order to gather feedback on the process of developing and presenting the bid, and on the organization, implementation and legacies of the ECOC. The emphasis of the data collection and monitoring is therefore likely to change as the ECOC develops through the phases defined below: — Application and nomination phase (2010-2011) — Preparation phase (2012 –2015) — Implementation Phase (2016) — Evaluation Phase (2016 >> ) In the early phases of the ECOC much attention will be given to processes of coalition building, networking and stakeholder support. Opinions of residents of Burgos will be particularly important in assisting us to prepare a solid, authentic and convincing bid. In the preparation and implementation phase a range of indicators will be used for regular data collection. These may include: — Employment and business activity — Cultural and creative sector employment and business activity — Property prices — Infrastructure development, including cultural facilities — Cultural participation — Tourism activity (supply and demand) — Media coverage (initially national, but in the later phases International) — Image of Burgos — Internet traffic to relevant websites — Inward investment — Resident attitudes — Education and training in the cultural industries After the final selection stage, we will focus further on the role of different stakeholders while developing
and producing the project overall. We will assess the effectiveness of marketing activities, particularly in terms of measuring the national and international profile of the ECOC process. Data will be collected from participants in events as well as external publics. The behaviour and opinions of participants will be measured and corroborated with attitudes and participation levels of different groups in the resident population. The combined experience and opinions of local cultural and creative actors will be particularly important. We will consider with the university which type of population and visitor studies to carry out. These studies will subsequently be available as a basis for estimating economic impact as well as the contribution of the ECOC to cultural and social goals. Additionally, regular monitoring of major stakeholder opinions via in-depth interviews will provide vital feedback on the quality and effectiveness of the programme. These types of monitoring and interviews will continue in years after the event to collect the views of major stakeholders on the event and their assessment of impacts in their fields.
through the Association for Tourism and Leisure Education (ATLAS). Similar partnerships and strategies have already been used to monitor the international image of cities such as Rotterdam, Porto, Luxemburg and Sibiu. For the analysis of media coverage, a specialised bureau would be contracted. In order to gauge the responses of major stakeholders, regular interviews will be held with key actors in the cultural, business and tourism fields as well as internal stakeholders in the ECOC organization, the City and the Province. As with the quantitative panels for consumers, these interviews will cover views on major recurring issues (organization, funding, programming) as well as specific questions relating to the phase of ECOC development. We need to determine if information gathered should be used as a basis for more process-orientated research. Information gathered for monitoring purposes can help guide the organization of the ECOC bid and eventually the project and programme of such bid in itself.
Methodology In the early phases of the research process data will be gathered from secondary sources to construct a baseline against which the effects of the ECOC can be measured over time. These data will include factors such as cultural sector employment and activity, tourism flows and consumer spending. In order to gather monitoring data on a regular basis, the research team will make extensive use of broader consumer and business research, such as the Agenda 21 monitoring programme that Burgos currently has in place. For external monitoring, The Foundation and the UBU will consider making use of the network of universities developed
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Evaluating and monitoring
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F1 | ECOC’s monitiring and evaluation system
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Evaluating and monitoring
-unite -visit -live -evolution
G
G
Additional Information
G1
Strengths, weaknesses and success parameters
G2
Socioeconomic and cultural dimensions of Burgos
G3
Regular Programming along the year
G4
Burgos Map of Cultural Facilities
G5
Local Agents we would like to thank for their involvement in this bid
G6
Credits and Acknowledgements
G1 / Strengths, weaknesses
and success parameters
[ QUESTION 1 / VII ] What, in your opinion, are the strong points of the city’s application and the parameters of its success as European Capital of Culture and what, on the other hand, are its weak points? [ QUESTION 2 / VII ] Does the city intend to develop particular cultural projects in the coming years, irrespective of the outcome of its application for the title of European Capital of Culture? Please comment.
[ 1 / VII ]
Strengths The Burgos bid strongly reflects our uniqueness: the globally important work on human evolution at Atapuerca; the status as the cradle of the Castilian language; the crossroads of the Camino de Santiago; the collision of medieval city and new urban growth and biodiverse natural habitat. The Burgos bid presents an artistic programme which is built firmly on collaboration between artists - local, national and international - and on strong participation from citizens. Our programme is fearless in looking outwards. By establishing a sense of adventure, we will build true sustainability, created through longterm processes of new idea development, implementation and follow through. The Burgos bid is authentic because it genuinely recognises the strengths and needs of Burgos and the province - it is not a catalogue of the city’s assets. Our bid acknowledges Burgos’s need for the ECOC title, and states clearly how the city would capitalise on the opportunity. The Burgos bid also drives the possibility of connections to Europe and the world which can be as powerful as those of centuries past. The Burgos bid is well prepared – through participation in European projects, the production of the city’s strategic plans we have worked intensely on defining who we are, what we need to do and who we want to be. These processes have guided our determination to succeed.
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G1 | Strengths, weaknesses and success parameters
Weaknesses The bid for Burgos shows that the city has a long distance to travel in terms of its cultural development. Burgos current cultural environment is relatively inward looking with few concrete international partnerships in place. Artists, associations and organizations within the city have only recently begun to act and work together collectively. There is a need for development of synergies and communication platforms between key institutions. The bid for Burgos acknowledges the need to develop new economical and creative activity. The city is currently withstanding the pan-European economical crisis better than other cities in Spain. But, this relative stability, by and large upheld by old industrial and agro-alimentary income will sooner or later need to evolve new types of business ventures to maintain prosperity. The bid for Burgos reflects that the City lacks a heterogeneous population; this is in some ways related to an absence of attractive jobs and sophisticated cultural offer. We need to concentrate on creating jobs and a vibrant cultural environment to attract and keep an energetic professional middle aged workforce – a vital group for driving change, or the R-evolution at the heart of our bid. The bid for Burgos recognises that currently, culture in Burgos involves little citizen participation. More, it adheres to a conventional audience/ performer model. There are some obvious exceptions, notably for youth engaged in rock music, who greatly benefit from
the new creative possibilities offered by El Hangar. Burgos 2016 plans, for boundary crossing projects which truly bring people together to create, are fiercely ambitious. Our success parameters Are in principal the key terms defining our artistic project; these are (to reiterate chapter B) excellence, citizen participation, collaboration and partnership and education projects. [ 2 / VII ]
Apart from the mentioned Evolution Complex, over the next years, Burgos will instigate many new projects, as described above. Additionally, the city has been shortlisted to host the VI World Summit on Arts and Culture organised by IFFACA for 2014. Nevertheless, the existing City Culture Plan outlines many new projects for the forthcoming years, one of which is the establishment of the new Arts Council for the City, which drive and coordinate the Culture Plan’s activities.
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ADDITIONAL INFORMATION
G2 / Socioeconomic and
Cultural dimensions of Burgos
[ QUESTION 3 / VII ] 3. Please add below any further comments which you deem necessary on the subject of this application.
[ 3 / VII ]
Burgos is one of the most extensive and least populated provinces of Spain, with over 14,300 Km2 and with 375,561 inhabitants. This is shown by the difference in population density, with hardly 27 inhabitants per Km2, a long way off the average of 83 inhabitants/ Km2 for Spain or the 113 inhabitants in the 27 member States of the European Union. The majority of the population, almost 70%, live in the three main urban agglomerations; Burgos (178,964 inhabitants), Miranda de Ebro (39,264 inhabitants) and Aranda de Duero (32,928 inhabitants). The elderly account for 20% of the total population, despite there having been a significant influx of immigrants (9% of the total) over the last decade, responsible for practically all 10% of its growth between 2000 and 2009, given that its natural growth rate is virtually zero as it is in the rest of Spain. The variety of its climatology and its landscapes, through which flow the two principal rivers of northern Spain make Burgos one of the richest natural habitats of the Iberian Peninsula, as is demonstrated by the significant network of natural parks that extend across a large part of its territory such as the ‘Cañón del Río Lobos’, ‘Montes ObarenesSan Zadornil’, the ‘Lagunas Glaciares de Neila’, ‘Hoces del Alto Ebro y Rudrón’, ‘Monte de Santiago’, ‘las Medulas’, ‘la Yecla’, ‘los Sabinares del Arlanza’ and ‘Ojo Guareña’.
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The level of socioeconomic development is among the highest in the country with a per capita income of €25,767 (105% of the European average). Industry represents 26% of all employment, almost twice the average for Spain, thanks to a significant cluster of manufacturing activities, prominent among which are the automotive industry and the agro-alimentary sector with products of exceptional quality. Thanks to the entrepreneurial spirit of the city, Burgos has a competitive industrial base comprising multinational companies of both local and international origin with a business
turnover in the exterior of 2,360 million Euros. Despite the current crisis and some signs of dislocation among certain industries, the labour market remains very dynamic; the unemployment rate, standing at around 12%, is very much lower than the present-day figure of 20% for the Spanish economy as a whole. The participation of women in the workplace is, along with Catalonia, the highest in Spain with a female employment rate of 63%, on a par with the average for all countries of the Union. Thanks to its immense historical heritage, with 436 sites of cultural interest, among which figure Burgos Cathedral, the Pilgrims’ Way of St. James and the archaeological site of Atapuerca, declared a Humankind World Heritage Site by UNESCO, the tourism and cultural industries have been one of the sectors with greatest growth over recent years, attracting more than a million visitors each year and have positioned themselves as leaders of cultural tourism in Spain. The population has certain cultural habits and an educational background well above the average in Spain, with an annual expenditure of €851 per person on culture, 5% higher than the average in Spain, which is equivalent to 7.11% of expenditure on the household budget. With almost 75,000 students, of whom 8,000 are university students, according to the latest surveys, Burgos has one of the very best systems of public education, 23% of the population between 23 and 45 years old having followed university studies. Annual public investment in culture stands at around €150 per person, the main operator being Burgos City Council with an annual budget of over 10.7 million Euros, which added to the private sector and to the rest of the public operators amounts to an investment in culture of over 30 million Euros in current expenditure, and somewhat more than 16 million Euros in conservation, restoration and cultural facilities. Most employment and cultural activity of the province is concentrated in the
Bringing people together to share and make culture
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ADDITIONAL INFORMATION
city of Burgos with 1,200 jobs in the private sector alone, and almost twice as many, 2.3% of all employment if we include all creative industries. These include many firms of national and international renown in the publishing and mass communications industry, engineering and construction services, as well as various technological research and development centres. With regard to artistic training and practice, Burgos has about 700 students of humanities, slightly more than 100 students of art, and almost 2,000 students of music and dance. Alongside mainstream teaching, there are a large number of state schools for drawing, theatre, and music which provide training for more than 500 students and which represent a rich fabric of semi-professional activity or the beginning of professional studies. Burgos has more than 26 choirs, 25 theatre companies and many schools of folklore, dance and music, among which mention may be made of the Orfeón Burgalés, the Symphonic Orchestra of Burgos and the Escuela Municipal de Dulzaina on account of their prestige and tradition. In recent years, the Council has supported the development of various creative centres directed by artists, as previously mentioned; the Centre for Musical Creation ‘el Hangar’, the centre for the creation of contemporary art ‘Espacio Tangente’ and the centre for theatrical arts ‘la Parrala, which contribute their own programmes and organize many educational and artistic activities. In addition to the public administrations, the charitable work of large firms and private foundations provide significant resources, as previously mentioned, to arts education, through their own centres and study grants, as well as in programming and management of cultural facilities. Finally it should be pointed out that numerous private schools and cultural management organizations in the city are responsible for a broad cultural programme that is hardly easy to summarize. They organize a large number of competitions, contests and festivals as may be appreciated from
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G2 | Socioeconomic and cultural dimensions of burgos
the lists of agents, cultural calendars and the map of cultural facilities in this document. Perhaps the result of this rich cultural fabric may be summed up in some final figures that remind us of the 200 books or more published each year, the 80,000 library users, the 5,000 students of languages, the 4,000 students in adult education classrooms and the sale of nearly half-a-million cinema tickets. The surveys themselves show us that 10.5% of the population regularly practice photography and painting, 2.5% practice theatre, 2.6% dance, 6% play some sort of instrument, and 8% write literature, all of which creates a vibrant cultural life with almost 800 performances shared out among the fifty or so cultural facilties which are found in the city.
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ADDITIONAL INFORMATION
G3 / Regular Programming
along the year JANUARY
FEBRUARY
MARCH
APRIL
MAY
JUNE
Festival of Magic
Provincial competitions, of dance, choirs and bands
International Puppet Festival
Provincial Competition of Bell Ringers
Burgos Provincial Photography Competition
Provincial Competition of amateur theater
Carnival
BEM Festival “Burgos, city of the performance”
Book Fair
Dance and Theater Sow
UBU-live Festival
International Audiovisual Festival
St Peter and St Paul Festivity
Youth Music Week
Mira-jazz. Miranda de Ebro Festival
St. Lesmes festivity
Youth Theater Stages
Open Stage Theater Festival
Cycle of jazz music
Fine Wine. International Congress of Ribera del Duero
Marzas Singing Festivity
Curpillos Festivity
Burgos Salson Dance Festival
Schools theater season
Flamenco Nights
University Theater show
Institutions which have a regular Programme all along the year: - neighborhoods, civic centers and libraries - Cordón-Cultural by Caja Burgos - Burgos University
- “The city also teaches” - concerts at The Hangar - CajaCírculo
White Night
Las Piedras Cantan Festival
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
Pure International Art Contest
The Oña Cronicón Historical Theater
Atapercu percussion festival
Sonoroma Festival
Tablero of Music
Regino Saez de la Maza International Guitar Week
Clunia Nights Theater
National Exhibition of Dancers
Pretext Covarrubias Spanish Forum
Poetry Prize City of Burgos
Young Songwriters International Competition
National Painting Competition City of Burgos
Fast Painting “Down Syndrome Burgos”
Teatracciones Festival
Castilla Folk Festival
Early Music Week Burgos
Enclave Street Theater Festival
Schools’ theater
International Folkl Festival City of Burgos
Baroque Month of Lerma
Network of cultural programs for secondary schools
Clunia Summer Festival
Electrosonic Festival
Ebrovisión Festival
Ubujazz. Jazz festival
Unusual Performers and instruments festival
National Youth Literary Contest
Orchestal Music Season
National Choir Competition “Antonio José”
Evoluciona Music Festival
Festival “El Chanter”
Christmas music at the “Casa del Cordón”
From September to June
G4 / Burgos Map of
Cultural Facilities
Box El Mirador Cinema
Círculo Central de Caja Círculo Gallery
Centro de Arte Caja de Burgos, CAB
Julio Sáez de la Hoya Auditorium Castilfalé Palace Library of Municipality Archive
‘Espacio Tangente’ Contemporany Creation Center
Burgos Cathedral San Esteban Church Retablo Museum
Burgos Castle Francisco Salinas Cultural Center Municipal School of Theatre
Sta. Mª la Real de las Huelgas Monastery, Telas Medievales Museum Burgos University
Dulzaina Municipal School
San Juan Monastery Marceliano Santa María Museum
Casa del Cordón
Antonio de Cabezón Municipal School of Music
Instituto Castellano y Leonés de la Lengua
Fadrique de Basilea Book Museum
“Miguel de Cervantes” Public Library
Galeria Mainel Art gallery
Teatro Principal
Aula de Medio Ambiente Caja de Burgos Burgos Public Library
‘La Parrala’ theatre creation Centre
Burgos Museum Consulado del Mar
Complex Human Evolution
Arco de Santa María
Las Huelgas- El Pilar Community Center
Caja Círculo Concepción Auditorium Popular Education and Culture University San Pablo Gallery Obra Social Caja Círculo San Agustín Community Center
‘El Hangar’ Music Creation Center
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Antigua Estación de Tren Arts Creation Center
Real Monastery of San Agustín Concepción Hospital Espolón Gallery Obra Social Caja Círculo
Vista Alegre Community Center
“María Teresa León” Public Library
Music Conservatory and Professional Dance School
Gamonal Cultural Center
Francisco de Vitoria College of Art and Design
‘La Nave’ Center for Circus Arts
Río Vena Community Center
Espacio Jóven
Exhibition Hall FEC (Federación Comercio de Burgos)
“Gonzalo de Berceo” Public Library
Foro Solidario Caja de Burgos
Silo de Capiscol
Capiscol Community Center Van Golem Cinema
Arena Plaza Cultural and Sports Center
[Public Run]
08
01
07
06 05
[Private Run]
08 02
07
03
06
04
01 02 03
05
04
01 – Artists Run
01 – Artists Run
02 – Exhibition Space
02 – Exhibition Space
03 – Library
03 – Library
04 – Scene Space
04 – Scene Space
05 – Creation Center
05 – Creation Center
el camino de santiago
06 – Training
06 – Training
boulevard
07 – Civic Centres
07 – Civic Centres
Arlanzón river
08 – Forseen New Facility
08 – Forseen New Facility
G5 / Local Agents we would like
to thank for their involvement in this bid
–A
– Asociación Alianza Francesa
– Asociación burgalesa de Impulso
– Asociación Centro Cultural
– A tope Producciones
de Burgos
Social
Peña San Vicente del Barrio de
– Academia de Baile Villa Pilar II
– Asociación Alquds Burgos
– Asociación burgalesa de
la Ventilla
– Academia de Danza Body Soul
– Asociación Amigos Catedral
Laringectomizados
– Asociación Centro Juvenil Santo
– Academia de Danza Mayte
de Burgos
– Asociación burgalesa de Ocio
Domingo
– Academia de Música Clavecin
– Asociación Amigos de la Física
y Animación
– Asociación Centro Loyola
– Acampalia. Gestión servicios de
Meteorológica de Burgos
– Asociación burgalesa de
de Burgos
ocio y tiempo libre
– Asociación Amigos del Folclore
Rehabilitación del Juego
– Asociación Centro Recreativo
– Acción en Red de Castilla y León
Castellano Arlanzón
Patológico
Cultural San Esteban
– Agencia Pop. Publicidad
– Asociación Andara
– Asociación burgalesa de
– Asociación Centro Soriano
– Agencia Provincial de la Energía
– Asociación Ande Burgos
Síndrome de Down
en Burgos
de Burgos
– Asociación Antiguos Alumnos
– Asociación burgalesa
– Asociación Círculo de la Unión
– Agrupación Conservación de
del Programa Interuniversitario
Independiente de Músicos
– Asociación Círculo Filatélico y
Patrimonio Ciudad de Frías
de la Experiencia
– Asociación Burgos Acoge
Numismático de Burgos
– Agrupación de Fajas y Blusas de
– Asociación Aquí Sí Burgos
– Asociación Burgos Música
– Asociación Círculo Musical
la Ciudad de Burgos
– Asociación Artistas Plásticos
Antigua
de Burgos
– Agrupación Musical Burgalesa
de Gamonal
– Asociación Cáritas Diocesana
– Asociación Claudio de Burgos
San Fernando Rey
– Asociación Asamblea de
Burgos
– Asociación club 600 Burgos
– AirsoftBurgos
Cooperación por la Paz
– Asociación Carumanda Desde
– Asociación Club Burgalés de
– Amicar 8-Don Pollo
– Asociación Aspaym Castilla
Lejos
Vehículos Históricos
– Amycos Ong para la Cooperación
y León
– Asociación Casa de Europa
– Asociación Club Español Amigos
Solidaria
– Asociación Astronómica
de Burgos
del Perro Perdiguero de Burgos
– Animación y Servicios a la
de Burgos
– Asociación Casa de Guinea
– Asociación Club Juvenil San
Comunidad. Gestión de Ocio
– Asociación Ateneo Libertario
Ecuatorial en Burgos
Julián
– Anuncian Tormenta S. L.
de Burgos
– Asociación Castellana para el
– Asociación Club Natación
– Área de Psiquiatría Hospital
– Asociación Aura Burgalesa
Estudio y Promoción de Iniciativas
Castilla
Divino Valles ( Puro Arte)
– Asociación Banco de Alimentos
de Desarrollo
– Asociación Coarte Colectivo de
– Aresbu Asociación Universitaria
de Burgos
– Asociación Castellano Leonesa
Artesanos de Burgos
– Art de Troya. Organizadores
– Asociación Barriada Juan XXIII
de Amigos del Foro Español de la
– Asociación Colectivo Arbayal
Festival Sonorama
Fátima Lavaderos
Familia
Música y Baile Tradicional de
– Arte Más Diseño. Gestión
– Asociación Belenista de Burgos
– Asociación Castellano Leonesa
Burgos
Cultural
– Asociación Berenguela L.
de Ayuda al Drogodependiente
– Asociación Colectivo Bici
– Asintec Gestión. Sistemas
– Asociación Berit
– Asociación Castellano Leonesa
Aventura
Informáticos de Gestión
– Asociación Boris y yo
de Educación Matemática Miguel
– Asociación Colombia es Pasión
– Asociación Cultural Juan de la
Producciones
de Guzmán
en Burgos
Encina. Miranda de Ebro
– Asociación burgalesa Amigos
– Asociación Castellano Leonesa
– Asociación Comercial Bernardas
– Asociación ¡Que la Sierra
del Caballo
de Partos Múltiples
– Asociación Comisión Católica de
Baile!. Organizadores del Festival
– Asociación burgalesa Amigos
– Asociación Castellano Leonesa
Inmigración
Demanda Folk
del Ferrocarril
para la Defensa de la Infancia y
– Asociación Comité Ciudadano
– Asociación Abuelas de Gamonal
– Asociación burgalesa Amigos
Juventud
Anti Sida de Burgos
– Asociación Africa Camina
del Pueblo Saharaui
– Asociación Castellano-Leonesa
– Asociación Comité de Folclore
– Asociación Agora Teatro
– Asociación burgalesa de
de Matronas
Ciudad de Burgos
Independiente
Afectados por Deficit de Atención
– Asociación Castellano-Leonesa
– Asociación Compañía de Danza
– Asociación Alborada - Ballet
– Asociación burgalesa de Atletas
de Paintball
la Hélade
Folclórico de Burgos
Veteranos
– Asociación Cccclowns y
– Asociación Confusión de té
– Asociación Alcohólicos
– Asociación burgalesa de
Mmmúsica
– Asociación Coral Canticorum
Rehabilitados de Burgos
Bibliotecas Escolares y Lectura
– Asociación Centro Argentino
de Jesús María
– Asociación Alea Improtuso
– Asociación burgalesa de
Burgalés
– Asociación Coral de Cámara
Empresas de Formación
p. 192
de Burgos
– Asociación Coral de Cámara
– Asociación Cultural el
– Asociación Cultural Sol de
– Asociación de Artes Escénicas
Vadillos
Papamoscas
río Vena
de Burgos
– Asociación Coral Liceo Castilla
– Asociación Cultural En Clave
– Asociación Cultural Trovadores
– Asociación de Asistencia a
– Asociación Coral Polifónica
de Música
de Castilla
Víctimas de Agresiones Sexuales
Instituto Pintor Luis Sáez
– Asociación Cultural Escuela de
– Asociación Cultural Tuco y
y Violencia Doméstica
– Asociación Coral Virgen de
Teatro Francisco Salinas
los Definitivos
– Asociación de Ballet Clásico
la Rosa
– Asociación Cultural Espacio
– Asociación Cultural Unión
y Español Antología de Burgos
– Asociación Corea de Huntington
Alternativo de Burgos
Musical de Lerma
– Asociación de Ballet Clásico
de Castilla y León
– Asociación Cultural Familiar
– Asociación Cultural y Artística
y Español Scherezade
– Asociación Cortes Siglo XXI
Tordómar
Condestables de Castilla
– Asociación de Bares de Tarde
– Asociación Covide
– Asociación Cultural Fm Radio
– Asociación Cultural y
y Noche
– Asociación Cruz Roja Española
– Asociación Cultural Gamón
Etnográfica y Artesanal de las
– Asociación de Cabezas de
Burgos
– Asociación Cultural Gigantillos
Merindades. Medina de Pomar
Familia Juan XXIII
– Asociación Cruz Roja Juventud
y Gigantones de Burgos
– Asociación Cultural y Recreativa
– Asociación de Cabezas de
– Asociación Cultural Eduardo
– Asociación Cultural Grupo
de la Tercera Edad Ayer Hoy
Familia la Inmaculada
Martinez del Campo Un Foro de
Flamenco Duende
y Mañana
– Asociación de Casas Regionales
Opinión
– Asociación Cultural Imágenes
– Asociación Cultural y Social La
en Burgos
– Asociación Cultural `La
y Palabras
Mueca de Burgos
– Asociación de Ciudades del
Tanguilla’
– Asociación Cultural Juvenil
– Asociación Cultural, Deportiva y
Camino de Santiago
– Asociación Cultural “Cronicón
Danza Teatro Hojarasca
Recreativa Peña El Crucero
– Asociación de Cocineros y
de Oña”
– Asociación Cultural La
– Asociación Cultural, Ocio y
Reporteros de Burgos
– Asociación Cultural Al-andalus
Buhardilla Teatro
Cultura de Burgos
– Asociación de Comerciantes -
– Asociación Cultural Aldebarán
– Asociación Cultural La Mentira
– Asociación Cum Laude
empresarios de San Pedro de
Música Antigua
Teatro
– Asociación Danzas Burgalesas
la Fuente
– Asociación Cultural Amigos
– Asociación Cultural La Poesía
Justo del Río
– Asociación de Comerciantes de
de la Dulzaina
es un Cuento
– Asociación de Adultos Amigos
la Zona Sur de Burgos
– Asociación Cultural Antimateria
– Asociación Cultural Las
del Arte y la Cultura
– Asociación de Comerciantes
– Asociación Cultural Arlanza
Pituister
– Asociación de Afectados de
Divina Pastora
– Asociación Cultural Bambalina
– Asociación Cultural Latina
Parálisis Cerebral
– Asociación de Comerciantes y
– Asociación Cultural Bonsái
Burgos Radio Cristalina fm
– Asociación de Alcohólicos
Empresarios de las Merindades.
Burgos
– Asociación Cultural Mágica
Rehabilitados de Burgos
Medina de Pomar
– Asociación Cultural Claroscuro
– Asociación Cultural Míster
– Asociación de Alojados en
– Asociación de Comunidades para
– Asociación Cultural Danzantes
Machín
Ducas de Burgos
Rehabilitación de Marginados
de Burgos
– Asociación Cultural Página 98
– Asociación de Alumnos de
– Asociación de Danza Oriental
– Asociación Cultural Danzas
– Asociación Cultural Peña
Nuestra Señora de Lourdes
Samar
Castellanas Diego Porcelos
Antonio José
– Asociación de Alumnos los
– Asociación de Danzas Ballet
– Asociación Cultural de Amas
– Asociación Cultural Peña
Pioneros del Colegio Niño Jesús
Elena Munguía
de Casa San Cristóbal
Poca pena
– Asociación de Alumnos y
– Asociación de Danzas
– Asociación Cultural de Amigos
– Asociación Cultural Primitive
Antiguos Alumnos del Programa
Burgalesas Nuestra Señora de
del Museo Histórico Militar
blues
Interuniversitario de la
las Nieves
de Burgos
– Asociación Cultural Rafael
Experiencia
– Asociación de Danzas Estampas
– Asociación Cultural de
Izquierdo. Organizadores Festival
– Asociación de Amigos de la
Burgalesas
Educación Ambiental Ogea
Ebrovisión
Cocina
– Asociación de Daño Cerebral
– Asociación Cultural de Guitarra
– Asociación Cultural Recreativa
– Asociación de Amigos de San
de Burgos
Tornavoz
3ª Edad Virgen de Guadalupe
Miguel Sucumbios Amisamis
– Asociación de Diabéticos
– Asociación Cultural de Tango
– Asociación Cultural Recreativa
– Asociación de Amigos del
de Burgos
– Asociación Cultural de Teatro
de Danzas María Ángeles Sáiz
Camino de Santiago
– Asociación de Empresarios de
Enebro Rojo
– Asociación Cultural Recreativa
– Asociación de Amigos del
Movimientos de Tierras de Burgos
– Asociación Cultural de Teatro
Peña los Gamones
Castillo de Burgos
– Asociación de Empresas
La Tarasca
– Asociación Cultural Recreativa
– Asociación de Antiguos Alumnos
de Formación
– Asociación Cultural Deportiva y
Peña San Adrián
de la Universidad de Burgos
– Asociación de Encajeras
Recreativa Peña Anímate
– Asociación Cultural Recreativa
– Asociación de Antiguos Alumnos
Burgalesas
– Asociación Cultural
Villafría
del Colegio la Merced y San
– Asociación de Enfermos del
Dracomediama Teatro de Burgos
– Asociación Cultural Scena
Francisco Javier
Crohn y Colitis Ulcerosa
– Asociación Cultural el
burgalesa
– Asociación de Apoyo Lactancia
– Asociación de Escoliosis, Cifosis
Contragolpe
– Asociación Cultural Sin trastos
Materna Madres de la Leche
y Lordosis de Castilla y León
– Asociación de Arrendatarios
p. 193
– Asociación de Familiares de
– Asociación de Slot y Modelismo
– Asociación Entrepueblos
– Asociación Intercultural para
Anorexia y Bulimia
Scalexbur
– Asociación Equalbur
la Cooperación al Desarrollo en
– Asociación de Familiares de
– Asociación de Sordos Fray Pedro
– Asociación Escuela de
Castilla y León ‘Llactacaru’
Enfermos de Alzheimer de Burgos
Ponce de León
Animación y Tiempo Libre Ultreia
– Asociación Ízaro Tierra Viva
– Asociación de Familiares de
– Asociación de Sumilleres
– Asociación Espacio de Creación
– Asociación Joven Ballet Clásico
Personas con Discapacidad
de Burgos
y Muestra de Artes Plásticas y
de Burgos
Intelectual Las Calzadas
– Asociación de Trabajadores
Audiovisuales
– Asociación Juvenil
– Asociación de Familiares y
Inmigrantes Marroquíes
– Asociación Española Contra
Acordeonistas Burgaleses
Afectados de Esclerosis Múltiple
– Asociación de Trasplantados de
el Cáncer
– Asociación Juvenil Aloe
– Asociación de Familias
Corazón Castilla y León
– Asociación Española del penfigo,
– Asociación Juvenil Altai
Numerosas de Burgos
– Asociación de Vecinos Capiscol
penfigoide y otras enfermedades
– Asociación Juvenil Amigos
– Asociación de Familias y Amigos
Bulevar XXI
vesiculo-ampollosas
del Aerobic
del Proyecto Hombre Burgos
– Asociación de Vecinos Conde
– Asociación Espiral Sonora
– Asociación Juvenil Amycos
– Asociación de Fibromialgia y
Belveder del Antiguo Pueblo de
– Asociación Faro de Humanidad
Juventud
Astenia Crónica Burgalesa
Gamonal
– Asociación Federación Española
– Asociación Juvenil Aventuraleza
– Asociación de Folclore Caput
– Asociación de Vecinos de la
de Amnistia Internacional
– Asociación Juvenil Azagaya
Castellae
Barriada Illera
– Asociación Formatio et Labor
– Asociación Juvenil Banda de
– Asociación de Hemofilia
– Asociación de Vecinos del Barrio
– Asociación Foro de la Familia
Cornetas y Tambores Ecos del Cid
de Burgos
de Villayuda
de Castilla y León
– Asociación Juvenil Bloque de
– Asociación de Inmigrantes
– Asociación de Vecinos
– Asociación Foro de la Familia
Estudiantes Castellanos
Marroquíes en Burgos Al Amal
Fuentenueva
en Burgos
– Asociación Juvenil Cultural
– Asociación de Jóvenes
– Asociación de Vecinos La Pérgola
– Asociación Foro de la Juventud
Accorema Exploradores del Reino
Empresarios de Burgos
del Barrio del Pilar
de Burgos
– Asociación Juvenil Cultural
– Asociación de Latinoamericanos
– Asociación de Vecinos las Eras
– Asociación Foro por la Memoria
Aula 51
de Burgos
de Gamonal
de Burgos
– Asociación Juvenil Cultural
– Asociación de Libreros
– Asociación de Vecinos María
– Asociación Foto Club Contraluz
Parroquia de la Anunciación
– Asociación de Mediación para
Magdalena
de Burgos
– Asociación Juvenil Danza
la Pacificación de Conflictos
– Asociación de Vecinos Nuestra
– Asociación Fotográfica
Española Embrujo
en Burgos
Señora de las Nieves
Burgalesa
– Asociación Juvenil de Ballet
– Asociación de Mujeres Hypatia
– Asociación de Vecinos Nuestro
– Asociación Fototramas
Clásico y Español Scherezade
– Asociación de Padres de
Barrio
– Asociación Francotiradores
– Asociación Juvenil de
Alumnos del Colegio Público
– Asociación de Vecinos Parque
del Video
Comisiones Obreras
Venerables
de los Poetas G-2
– Asociación Fraternidad
– Asociación Juvenil de
– Asociación de Padres de
– Asociación de Vecinos San
Cristiana de Personas con
Internautas ZonaBurgos
Alumnos del Colegio Santa María
Juan Bautista
Discapacidad
– Asociación Juvenil de Tiempo
La Nueva
– Asociación de Vecinos San
– Asociación Gastronómica y
Libre Fénix
– Asociación de Padres de
Pedro de la Fuente
Cultural Los Bufadores
– Asociación Juvenil del Círculo
Alumnos Hélade Danza
– Asociación de Vecinos Todos
– Asociación Geocientífica de
Católico
– Asociación de Padres de
Unidos
Burgos
– Asociación Juvenil Deportiva
Personas con Autismo de Burgos
– Asociación de Vecinos Virgen
– Asociación Grupo de Acción
Pato Patín
– Asociación de Padres Francisco
del Pilar de Villimar
Agalsa - Sierra de la Demanda
– Asociación Juvenil el Jardín
de Vitoria
– Asociación de Vecinos y Amigos
– Asociación Grupo de Danza
Secreto
– Asociación de Padres Pro
de Castañares
Debla
– Asociación Juvenil Estrella
Disminuidos Síquicos
– Asociación de Vecinos y
– Asociación Grupo de Danzas
de Castilla
– Asociación de Padres y
Consumidores Camino de la Plata
Burgalesas Tierras del Cid
– Asociación Juvenil Fuensanza
Familiares de Personas con
– Asociación de Vecinos y
– Asociación Grupo de Teatro
– Asociación Juvenil Gamonocio
Discapacidad Intelectual Aspanias
Consumidores del Barrio de Cótar
Encaje
– Asociación Juvenil Gente 9
– Asociación de Padres y Madres
– Asociación de Vecinos y
– Asociación Grupo Tradicional
de Burgos
del Colegio San Pedro y San
Consumidores Villafría
Gavilla
– Asociación Juvenil Grupo
Felices
– Asociación Delfin Club Burgos
– Asociación Grupo Vocal Elijah
de Amigos
– Asociación de Padres y Madres
– Asociación Deportiva Cultural
– Asociación Hechos
– Asociación Juvenil Grupo de
Gamon del Colegio Público
Conde Diego Porcelos
– Asociación Impulso Musical
Montañeros de Santa María
Alejandro Rodríguez de Valcárcel
– Asociación Dinámica de
– Asociación Incógnito Compañía
– Asociación Juvenil Grupo
– Asociación de Periodistas
Formación y Empleo de Burgos
de Teatro
Más Burgos
de Burgos
– Asociación Diocesana Scouts
– Asociación Independiente de
– Asociación Juvenil Honoris
– Asociación de Profesionales del
de Burgos
Mujeres Asime
Causa
Secretariado de Burgos
– Asociación Ecuatoriana
– Asociación Iniciativa Solidaria
– Asociación Juvenil Icarian
– Asociación de Scouts de España
Nuestra Tierra
Internacionalista de Burgos
– Asociación Juvenil Illera
p. 194
– Asociación Juvenil Ilur
– Asociación Nacional en Defensa
– Asociación Prokarde
– Asociación Unión de
– Asociación Juvenil Inocencia
del Niño de Burgos
– Asociación Proyde
Profesionales y Trabajadores
Perdida
– Asociación Ornitología
– Asociación Racing Buslot
Autónomos
– Asociación Juvenil Invierno
Naturalista de Burgos
– Asociación Recreativa Cultural
– Asociación Unión de
– Asociación Juvenil La Roulotte
– Asociación Orquesta de Cámara
y Deportiva Peña el Monin
Radioaficionados Españoles
Teatro
Santa Cecilia
– Asociación Recreativa Cultural
de Burgos
– Asociación Juvenil Lara de
– Asociación Padres de Alumnos
y Deportiva Peña Jóvenes de
– Asociación Unión Gitana
los Infantes
del Colegio Sagrada Familia Safa
San Cristóbal
– Asociación Unión Progresiva
– Asociación Juvenil Montauca
– Asociación Padres y Tutores
– Asociación Recreativa Deportiva
de Igbo de Nigeria
– Asociación Juvenil Musical
Centro Ocupacional
Cultural Peña Zurbarán
– Asociación Universidad Popular
Informe Semental
– Asociación para el Desarrollo
– Asociación Recreativo Cultural
para la Educación y Cultura
– Asociación Juvenil Ondulador
de las Comunidades más
San Bruno
de Burgos
Mcmurray
Desfavorecidas Milpa
– Asociación Red de Ciudades
– Asociación Valdechoque
– Asociación Juvenil Radio
– Asociación para el Fomento de
Catedralicias
– Asociación Zon@burgos
Televisión Cid
la Educación de Adultos
– Asociación Redmadre Burgos
– Asoción de Guías de Turismo
– Asociación Juvenil Recreativa
– Asociación para el Fomento en
– Asociación Reto a la Esperanza
de Burgos
Cultural Interparroquial
Castilla y León de Empresas de
– Asociación Rutas Amigas
– Ateneahost. Industrias
– Asociación Juvenil San Pablo
Inserción
Solidarias Ruasol
Informáticas
– Asociación Juvenil Sendero
– Asociación para el Fomento y la
– Asociación Sagrada Familia
– Autocares Javier de Miguel
– Asociación Juvenil Signo
Educación de Adultos
del Perpetuo Socorro
Moreno
– Asociación Juvenil Sociocultural
– Asociación para el Intercambio
– Asociación San Pedro Cátedra
– Automatismo y Sistema de
Safa Centro de Tiempo Libre
de Estudiantes Técnicos
Barrio de Villagonzalo Arenas
Transporte Interno
– Asociación Juvenil Ventola
– Asociación para la Amistad y
– Asociación Schola Cantorum
– Ayuntamiento de Burgos,
– Asociación Juvenil y Cultural
Ayuda de Separados/as y Viudos/
del Círculo Católico
Instituto Municipal de Cultura
King Lizard
as de Burgos
– Asociación Senegalesa en Burgos
y Turismo
– Asociación Juventud de la Unión
– Asociación para la Defensa de
and Boolo
–B
Sindical Obrera
la Mujer La Rueda
– Asociación Serás más
– Ballet Contemporáneo de Burgos
– Asociación Juventud Obrera
– Asociación para la Defensa de
– Asociación Sociedad Protectora
– Bambalúa Teatro
Cristiana de España
los Ecosistemas Castellanos
de Animales y Plantas
– Banda Ciudad de Burgos
– Asociación Juventudes
– Asociación para la Lucha Contra
– Asociación Sociocultural Centro
– Bardeblás
Comuneras de Castilla
las Enfermedades Renales
Comunitario Espíritu Santo
– Beloaventura. Gestión servicios
– Asociación Juventudes
– Asociación para la Prevención y
– Asociación Sociocultural
de ocio y tiempo libre
Socialistas de Burgos
el Control de Accidentabilidad
Chileno Burgalesa
– BI Comunicación
– Asociación Kalyptopia
– Asociación para la Promoción
– Asociación Sociocultural
– Brumbeck. Comunicación y
– Asociación Kisoro Desarrollo
Sociolaboral de Burgos
Cofradía San Antón
Publicidad
y Cooperación Internacional
– Asociación para la Recuperación
– Asociación Sociocultural
– Burcode. Comunicación Visual
– Asociación Kolectivo Gay
Intelectual y Física Dominique
de Capoeira
–C
Burgos KGB
de Burgos
– Asociación Sociocultural
– C&C Publicidad
– Asociación Kurulumbha
– Asociación para la Reeducación
Liberación de Castilla y León
– Cabildo Catedralicio de Burgos
– Asociación La Casa Grande
Auditiva de los Niños Sordos
– Asociación Sociocultural
– Cadena Cope Burgos
de Burgos
en Burgos
Oratorio Illera
– Caja Círculo, Obra Social
– Asociación La Semella
– Asociación Paraparesia
– Asociación Sociocultural Orvisa
– Caja de Burgos, Obra Social
– Asociación Lírica Cultura
Espástica Familiar
– Asociación Solidaridad con el
y Cultural
y Derecho
– Asociación Paravento
Tercer Mundo Sotermun
– Cámara de Comercio de Burgos
– Asociación Los Mundos de
– Asociación Parkinson Burgos
– Asociación Solidaridad
– Canal 54 Burgos
Anís Teatro
– Asociación Peña Taurina
Educación y Desarrollo Sed
– Cáritas
– Asociación Micológica
de Burgos
– Asociación Teléfono de la
– Casa de Burgos en Valladolid
Burgalesa Gatuña
– Asociación Perla Los Andes
Esperanza de Burgos y de
– Casa de Castilla y León de
– Asociación Misión América
– Asociación Persona Solidaridad
Castilla y León
Sevilla
– Asociación Misión Esperanza
– Asociación Pku y Otm de
– Asociación Tertulia Literaria
– Casa de Valencia en Burgos
– Asociación Movimiento de
Castilla y León
Caleidoscopio
– Casa Regional de Andalucía
Acción Social de Burgos
– Asociación Plan Estratégico
– Asociación Tiritirantes
en Burgos
– Asociación Mujer, Salud e
de Burgos
– Asociación Tornavoz
– Casa Regional de Salamanca
Igualdad
– Asociación Pro Salud Mental
– Asociación Trébede Grupo
– Celiacos Burgos
– Asociación Mujeres en Igualdad
de Burgos
Tradicional
– Centro Alemán de Enseñanza
– Asociación Músicos Unidos
– Asociación Profesional de
– Asociación Unión de
– Centro Burgalés de Bilbao
de Burgos
Terapeutas Ocupacionales de
Consumidores y Amas del
– Centro Burgalés de Buenos Aires
Castilla y León
Hogar El Salvador
p. 195
– Centro Burgalés de San
– Club Deportivo Montañeros
– Consejo Regulador de
– Federación de Discapacitados
Sebastián
Burgaleses
Denominación de Origen de
Físicos de Burgos
– Centro Castellano-Leonés San
– Club Deportivo Patinaje
Arlanza
– Federación de Hostelería de
Fernando de Llodio
Artístico Ciudad de Burgos
– Consejo Regulador de
Burgos
– Centro Cultural Mexicano en
– Club Deportivo Peña Antonio
Denominación de Origen Ribera
– Federación de Patinaje de
Burgos
José
de Duero
Castilla y León
– Centro de Arte Caja de Burgos
– Club Deportivo San Felices
– Consejos de Barrio
– Federación de Unión
– Centro de Creación
– Club Deportivo Socio Cultural
– Consorcio del Camino del Cid
Asociaciónes, Peñas y Casas
Contemporánea ‘Espacio
Militar General Yagüe
– Coordinadora Provincial para
Regionales de San Lesmes
Tangente’
– Club Deportivo Tiempo Activo
la Recuperación de la Memoria
– Federación Hermandad de
– Centro de Creación Escénico ‘La
– Club Rotario de Burgos
Histórica de Burgos
Peñas, Sociedades y Casas
Parrala’
– Club Tragamillas
– Coral Castilla de Burgos
Regionales
– Centro de Creación Musical ‘El
– Cociedad Recreativo Cultural
– Coral de Cámara San Esteban
– Federaciones de Asociaciónes
Hangar’
Peña los Titos
– Coral de Cámara Vadillos
de Vecinos de Burgos y Provincia
– Centro de Danza María José
– Colectivo Yesca
– Coro de Jubilados de la Tercera
‘Francisco Vitoria’
– Centro de Iniciativas Turísticas
– Colegio de Mediadores de
Edad Virgen del Manzano
– FM 24 Radio
de Espinosa de los Monteros
Seguros de Burgos
– Crisol de Cuerda
– Fundación AIDA
– Centro de Iniciativas Turísticas
– Colegio Ingenieros Técnicos
– Cromo Publicidad
– Fundación Ana Mata
de Lerma
de Obras Públicas de Castilla y
– Cultura de Flor
Manzanedo
– Centro de Iniciativas Turísticas
León Oriental
–D
– Fundación Atapuerca
de Silos
– Colegio Oficial de Aparejadores y
– Delegación de Tiro Olímpico
– Fundación Caja Rural Burgos
– Centro de Iniciativas Turísticas
Arquitectos Técnicos de Burgos
de Burgos
– Fundación Candeal Proyecto
Las Merindades. Medina de Pomar
– Colegio Oficial de Arquitectos
– Diagrama. Publicidad
Hombre
– Centro de Interpretación de la
– Colegio Oficial de Ayudantes
– Diana. Gestión de Servicios
– Fundación del Deporte Burgalés
Arquitectura del Vino
Técnicos Sanitarios
– Difadi. Publicidad
– Fundación del Patrimonio
– Centro de Orientación Familiar
– Colegio Oficial de Diplomados en
– Diputación de Burgos
Histórico de Castilla y León
Cáritas
Trabajo Social
–E
– Fundación Entreculturas Fe
– Centro Diocesano Pastoral de
– Colegio Oficial de Doctores y
– Editorial DosSoles
y Alegría
Juventud Santa María la Mayor
Licenciados en Filossófia y Letras
– Editorial Everest
– Fundación Félix Rodríguez de
– Centro Europeo de Empresas de
– Colegio Oficial de Economistas
– Editorial Gran Vía
la Fuente
Innovación Burgos
– Colegio Oficial de Farmacéuticos
– Editorial Monte Carmelo
– Fundación Intered
– Centro Galego en Burgos
– Colegio Oficial de Graduados
– Editorial Siloé, Arte y Bibliofilia
– Fundación Intermón Oxfam
– Centro Nacional de
Sociales
– Educarte Gestión y Servicios
– Fundación Lesmes
Enfermedades Raras
– Colegio Oficial de Ingenieros
– El Mundo El Correo de Burgos
– Fundación Oxígeno
– Centro Nacional de Investigación
Superiores Industriales
– Escuela Alfar Art Terra
– Fundación para el Estudio de
de la Evolución Humana
– Colegio Oficial de Médicos
– Escuela de Animación y Tiempo
los Dinosaurios
– Centro Nacional de Servicios
– Colegio Oficial de Odontólogos y
Libre Ultreia
– Fundación para la Enseñanza de
Avanzados de Burgos
Estomatólogos
– Escuela de Danza Hélade
las Artes en Castilla y León
– Círculo Burgalés de Barakaldo
– Colegio Oficial de Peritos e
– Escuela de Tiempo Libre Pangea
– Fundación Patrimonio Natural
– Círculo Católico Obrero de
Ingenieros Técnicos Industriales
– Escuela Diocesana de
– Fundación Secretariado Gitano
Burgos
– Colegio Oficial de Secretarios,
Educadores de Juventud
– Fundación Siglo para las Artes
– Circulo Ilusionista Burgalés
Interventores y Tesoreros
– Escuela Superior de Hostelería
de Castilla y León
– Club Campista Burgalés
– Colegio Oficial de Veterinarios
de Burgos
– Fundación Silos
– Club Ciclista Burgalés
– Colegio Profesional de Agentes
– EsRadio Burgos
– Fundación Unicef Comité
– Club de Fútbol Ferroplas
de Comerciales
– Estudio de Danza Arabesque
Español
Burgos 2016
– Comisión Diocesana de
– Fantasía en Negro Teatro
–G
– Club de Petanca Arlanzón
Justicia y Paz
–F
– Galería Mainel
– Club Deportivo Autismo y
– Compañía Insomnio Teatro
– Federación Burgalesa de
– Galería Río10
Deporte de Burgos
– Compañía Morfeo Teatro
Jubilidados y Pensionistas
– García Cibrían Informática
– Club Deportivo Bomberos
– Compañía Teatral de Peter
de Burgos
– Gente en Burgos
de Burgos
Nebreda
– Federación de Empresarios
– Ges-Integra. Tecnologías de
– Club Deportivo de Bolos El
– Confederación de Asociaciónes
de Comercio
la Información
Plantío de Burgos
Empresariales
– Federación de Autismo de
– Gisa Consultores Informáticos
– Club Deportivo Dhoom Football
– Consejería de Cultura y
Castilla y León
– Go Guía del Ocio
– Club Pakistán
Turismo, Junta de Castilla y León
– Federación de Comercio
– Granja-Escuela Arlanzón
– Club Deportivo Kenpo y Kali
– Consejería de Educación, Junta
de Burgos
– Grupo Cantollano
– Club Deportivo La Fanega
de Castilla y León
– Federación de Corales de Burgos
– Grupo de Cámara de Acordeones Burgalés Concertina
p. 196
– Grupo de Cámara Divertimento
– Instituto de Investigaciones
– OTR Burgos
– Sociedad Real y Antigua
– Grupo de Comunicación Cultural
Antropológicas de Castilla y León
–P
de Gamonal
– Grupo de Danzas Mª Ángeles
– Instituto de la Construcción de
– Patronato Provincial de
– Sociedad Recreativa Cultural
Sáez
Castilla y León
Turismo de Burgos
Badevil
– Grupo de Dulzaina Bardulia
– Instituto Tecnológico de Castilla
– Peña Burgalesa del Athletic
– Sociedad Recreativa Cultural
– Grupo de Dulzaineros del
y León
Club de Bilbao
Benéfica Santa María la Mayor
Capiscol
–J
– Peña Burgalesa María Pacheco
– Sociedad Recreativa Rincón
– Grupo de Estudios Tradicionales
– JMJ Informática
– Peña Comuneros de Castilla
de Castilla
Atabal
– Joyería Manacor
Río Vena
– Sociedad Recreativa Unión
– Grupo de Intermediación
– Jsound. Sonido Profesional
– Peña Cultural y Recreativa
Artesana
Mediaevum
– Junta de Castilla y León
Las Huelgas
– Sociedad Recreativo Cultural
– Grupo de Rescate Espeleológico
– Junta de Semana Santa de
– Peña de Blusas El Capiscol
Blusas la Inmaculada
y de Montaña de Burgos
Burgos
– Peña Fajas de Huelgas
– Sociedad Recreativo Cultural
– Grupo de Teatro Aquende de
– Junta Vecinal de Tolbalños
– Peña Guitarrista Burgense
Peña los Felices
Miranda de Ebro
de Arriba
– Peña Jóvenes de Gamonal
– Sprintem. Gestión de servios
– Grupo de Teatro Carro de
– Juventud Obrera Cristiana
– Peña los Famosos
de ocio y tiempo libre
Thespis de las Merindades
–K
– Peña los Verbenas
–T
– Grupo de Teatro Con trastos
– Kalyope Asociación Cultural-
– Peña Nuestra Señora de las
– Taller Colectivo el Hacedor
– Grupo de Teatro Cuadro
Pueri Cantores Catedral de
Nieves los Pitufos de Burgos
– Teatro Cal y Canto
Artístico Mirandés de Miranda
Burgos
– Peña Poca pena
– Teatro La Sonrisa
de Ebro
– Kampala-Margarito y Compañía
– Peña Recreativa Castellana
– Televisión Popular de Burgos
– Grupo de Teatro El Duende de
– Kurulumba Teatro
– Peña Recreativa y Cultural
– Tiempo Activo. Gestión de
Gumiel de Mercado
–L
Jóvenes de San Cristóbal
servicios de ocio y tiempo libre
– Grupo de Teatro Espliego de
– La Caixa. Obra Social y Cultural
– Peña Recreativo Cultural
– Título. Imagen Corporativa
Villadiego
– La Fresquera. Producciones
Aramburu Boscos
– Transportes Hermanos Sevilla
– Grupo de Teatro La Hormiga de
Audiovisuales
– Plataforma Cívica en Defensa y
Alcalde
Lerma
– La Letra I. Gestión Cultural
– Promoción de la Familia
–U
– Grupo de Teatro Segundo Acto
– La Mueca-Viandante Clown
– Poesía Sonora Productora
– Unión Cicloturista Burgalesa
de Aranda de Duero
– La Roulette Teatro
– Prevenlabur
– Universidad de Burgos
– Grupo de Teatro Studio 46 de
– Los Kikolas Circo Teatro
– Producciones Salas
– Universidad de Cónsules
Miranda de Ebro
– Ludoland. Servicios
– Proteams
– Universidad de la Experiencia
– Grupo de Teatro Talia Cuadro
socioculturales
– Publinews
– Universidad de Toulouse-Le
Artístico del Círculo Católico
– Luis Portilla Diseño
– Punto G. Publicidad
Mirail Merimeé de Sebastián
– Grupo de Tradiciones Los
–M
–R
– Universidad Popular para la
Zagales
– Maestros Artesanos de Licores
– Real Cabaña de Carreteros
Educación y Cultura de Burgos
– Grupo DMA. Soluciones Gráficas
y Aguardientes
– Rico Adrados
– Universitas Informática
– Grupo Entertainiment
– Marcas de Garantía de Cereza
– Rodrigo Salas. Diseño gráfico
– Uno Publicidad
– Grupo Espeleológico Edelweiss
y Manzana Reineta del Valle de
– Ronco Teatro Producciones
–V
– Grupo Mahou-San Miguel
las Caderechas
– Rugauto
– Videosón. Servicios
– Grupo Promecal
– Mediados Gestión de Imagen
–S
Audiovisuales
– Grupo Vocal Ilhaia
– Menosdiez. Diseño gráfico
– Schola Paleorama
– Vistalegre. Producciones
– Guitar International Group
– Mesón del Cid
– Selecciones Comerciales S.A.
Audiovisuales
–H
– Mimar Espectáculos
– Selectia. Corporación de
–W
– Habitacion Sonora Café Bar
– Modo Estudio. Soluciones
Servicios
– World Sunrise. Gestión Cultural
– Hermandad de Donantes de
Gráficas
– Siburita. Revista gastronómica
Sangre de la Seguridad Social
– Monogáfico.net
especializada
– Hermandad de Veteranos FAS
– Movimiento Scout Católico
– Sociedad Burgalesa Castellano-
– Hermandad del Santísimo Cristo
– Museo de Burgos
Leonesa de Portugalete
de Burgos en Murcia
– Museo de la Evolución Humana
– Sociedad Castellano-Leonesa del
– Hogar Extemeño de Burgos
– Museo del Libro Fadrique de
Profesorado de Matemáticas
– Hogar Navarro de Burgos
Basilea
– Sociedad Cultural Recreativa
– Idea Publicidad
– Música 75. Centro de Estudios
San Pedro de la Fuente
–I
Musicales
– Sociedad Filarmónica de Burgos
– Ilustre Colegio Notarial de
–N
– Sociedad Gastronómica Los
Castilla y León
– Nueve Comunicación
Cucos
– Imprenta Santos
–O
– Sociedad Para el Desarrollo de la
– Instituto Castellano Leonés de
– O2 Estudio. Publicidad
Provincia de Burgos
la Lengua
– Orquesta Sinfónica de Burgos
p. 197
G6 / Credits and
Acknowledgements
Burgos Foundation 2016
Federation (FEC)
Pardo / Eduard Miralles / David
pupils age group)
Members of the board
— Burgos Chamber of Commerce
Dobarco / José María Bermúdez
Cristina Sáez (third cycle
— City Burgos Council
— Burgos Cathedral Chapter
de Castro / Eudald Carbonell /
pupils age group)
Representatives
— Publinews Image and
Enrique del Rivero / René Payo /
Colective Award Scool: Nuestra
Foundation Chairman:
Systems SL
Luan Mart / Alberto Estébanez,
Sra. de la Merced y San Francisco
Juan Carlos Aparicio
— C & C Comunication Group
Alfonso Matía / Antony Price /
Javier Schools.
Vice president of the Foundation:
— Anuncian Tormenta Ltd.
Javier Vicente / Ignacio González
Diego Fernández
— Mediados Gestión de Imagen
/ Marta Sainz / Ignacio de Miguel
Bid Book Design
Members:
— ASINTEC Ltd.
/ Angela Wrapson / José Domarco
and Printing
/ María Martínez / Francisca
— Graphic Design
Bienvenido Nieto (Popular Party) Isabel Abad (Socialist Group)
Burgos 2016
Moradillo / Mari Carmen Ortega
Erretres
and Cristino Díez (Solución
Foundation Team
/ José Luis López / Jesús de la
www.erretres.com
Independiente)
— Artistic Direction
Gándara / Igor Llorente / Jesús
— Proofreading
Secretary:
Mary Miller
Cavia / Julio Andres Izquierdo
Óscar Esquivias
Juan Antonio Torres
— Manager of the
/ Oscar Martín / Fernando
— Printing and
FoundationBurgos 2016
Arahuetes / Igor Torres / Diego
Photomechanics
— Diputación Provincial
Eduardo Escudero
Galaz / Miguel Tudanca / Antonio
TF Artes Gráficas
de Burgos
— Programe Development
Santidrián / Inés Praga / María
— Photography
Vicente Orden
Marilluch Pinto
Pilar Queralt / Fernando Ortega /
Rodrigo Macho
— Provincial Tourism Board
Anders Rykkja
Rufo Criado / Emilio de Domingo
— Photo credits
Javier Izquierdo
— Communication and
/ Rosa Pérez / Jordi Fábregas /
Luis Mena
— Strategic Plan of Burgos
coordination
Emilio Navarro / Eduardo Portal
Municipal Institute of
Mario Sanjuan
Luis González
/ Martha Black / Inés Gálvez /
Culture of Burgos
— University of Burgos
— Administration and
Juan Manuel Rodríguez / Ana
Atapuerca Foundation
Alfonso Murillo
Documentation
Isabel Redondo / Fernando Ciudad
Jordi Mestre
— Burgos Saving Bank
Belén González
/ José María Díez / Rocío Rojo /
Ciudad de la Danza
José María Arribas
Pablo Cantero
Cristina Hernández / Quionia
Marta Vidanes
— Circle Saving Bank
— web manager
Herrero / Manuel Martín-Loeches
Patronato de Turismo
José Rafael Briñas
Estefanía Villasante
/ Concepción Moreno / Daniel
Félix Ordóñez
— Grupo Mahou-San Miguel
— video production and
Conde / María José Castaño / José
Enrique del Rivero
José Manuel Huesa
social networks
María Enseñat / Ignacio Cantera.
— Promecal
Jorge Ferrero
Communication Group
— Documentation Assistance
Winners of Burgos 2016
Gregorio Méndez
Natalia García
Awards:
Legal deposit
— Logo design Burgos
— Atapuerca Foundation Experts Advising Group of the
Foundation 2016
Foundation 2016:
María Gallo Portal
Main Sponsors
— Greg Richards
— Winners of Cultural
— Business Associations
— Bert Van Meggelen
Facilities for 2016
of Burgos (FAE)
— Diane Dodd
Antonio Chumillas
— Burgos Federation of Hotels
— Felix Manito
Simón Salvador
— El Mundo-El Correo de Burgos
— Óscar Esquivias
Jessica Pino
Newspaper
— Juan Luis Arsuaga
Juan José Sánchez
— Schools competition 'How your City Should be like'
— Gente en Brurgos Ltd. Special Thanks
Noelia Seco (first cycle pupils
Other Sponsors
Ferran Mascarell / Xavier
age group)
— Burgos Commerce
Marcet / Gildo Seisdedos / Jordi
Jaime Gazol (second cycle
p. 198
M-30798-2010
p. 199