San Sebastian 2016 proposed application for the title of european capital of culture

San Sebastian 2016 proposed application for the title of european capital of culture

waves of energy culture to overcome violence

2—

dss 2016 eu

waves of enery—Dss2016eu

Dss2016eu— waves

of energy

—3

Iñigo Ibáñez

institutional declaration

Odón Elorza Mayor of San Sebastian

Markel Olano Leader of Gipuzkoa Provincial Council

Patxi López President of the Basque Government

transforming culture for a decade of coexistence San Sebastian, the city behind this bid, the Provincial Council of Gipuzkoa and the Basque Government all face an important collective challenge in the coming years: to achieve peace and create a model of coexistence that we can share with other European cities. This model will be based on respect for Human Rights, the culture of peace, education in values and linguistic and cultural diversity; all factors that enrich the citizen construction of Europe and provide it with a clear identity.

Despite the fact that, for many years, our everyday life has been affected by violence, first in the Civil War, later under Franco, and today by violence perpetrated by ETA and its terrorist activities, Basque citizens have managed to overcome dejection and misfortune. They have struggled with hope and democratic energy to find a project capable of overcoming confrontation and discord.

Men and women from all situations and origins living in this Basque land play their part in fostering the economic, social and cultural development we now enjoy. They participate in the strength and civic commitment of this European cross-border territory, a natural place of passage between France and Spain.

In the Europe that is currently under construction, badly hit by the economic crisis and its social consequences, we would be unable to function without the activity, responsibility and solidarity of our citizens and the energy provide by their capacity to transform.

These Waves of Energy give our bid its name and the reason for its existence. They provide the en-

ergy, the conviction and the enthusiasm we need to generate widespread hope, to pool forces on a joint cultural project, putting hatred and differences aside to meet the challenge of a decisive commitment to the European Capital of Culture.

We know the importance of culture and education in anticipating and combating the violence, intolerance and conflicts suffered by European citizens, and in converting European cities into spaces for coexistence.

We firmly believe in the above. That’s why, for us, the European Capital of Culture represents not only a major opportunity, but also a major challenge. We are convinced that it will help us to reach that level of civic reconciliation, renovation and cultural transformation in San Sebastian, Gipuzkoa and the Basque Country; factors we would like to share with the rest of Spain and Europe.

Culture to overcome violence will permit us to activate the energy and creativity of our citizens.

With the spotlight steadily fixed on our own particular features, we will collaborate on cultural projects with local and European networks.

We want to strengthen our feeling of belonging to Europe from a bid set on the Atlantic, in a cross-border area standing at the centre of the Bilbao-Bayonne Eurocity. This is an area that understands and highlights European languages and heritage. It also fosters mobility and connections between people, businesses and entities throughout Europe. We want to play our part in guaranteeing a present and future closer to Europe set around the reality and hope of a better tomorrow for the Basque Country.

4—

how to read this document This document contains the DSS2016EU project. The information layout and overall format of the document reflect the team’s endeavour to clearly convey and communicate the project by organising the material into layers for different readers.

This document is divided into two publications. The first, entitled Waves of Energy, contains information on the project, while the Culture to overcome violence supplement details the cultural programme.

In both publications, a page-top text gives a brief, direct and rapid answer to the essential questions. The content appearing in the lower, larger body of text enlarges upon the answers and provides related information.

Finally, the total text of both publications is the equivalent of 132 pages in Word with Times New Roman 12 pt font.

waves of enery—Dss2016eu

Dss2016eu— waves

of energy

—5

dss 2016 eu

basic principles

—11

organisation / financing

—29

infrastructures

—47

communication

—55

evaluation

—69

additional information

—78

editorial

rowing towards 2016 Every year, on the first two Sundays in September, shortly after midday, a few visitors from the Cantabrian coast, lots of people from the surrounding area and almost everyone in San Sebastian come together in a crowd of around 100,000 people to take a seat in the natural amphitheatre of the Concha Bay. They settle down to watch the Estropadak, traditional rowing boat races, dressed in the colours of their favourite team.

All wait anxiously for the crucial moment, when, after going once around the buoy, the fishing boats use the power of the waves to try and make it back to the beach in first place. This manoeuvre requires skill and expertise, particularly if the sea is rough.

San Sebastian’s bid for European Capital of Culture 2016 aims to emulate these boats, to sail the Waves of Energy in times of deep change and guide the city towards a scenario of coexistence, harmony and dialogue from which to face the future.

This newspaper, published in Basque, Spanish, English and French, which will be distributed on the same day that we will defend the project before the Selection Committee for cities that are candidates to be ECoC, is an exercise in democracy and transparency that gives back to society the result of a shared process. It is the voice that encourages us to all row together and spread our projects and hopes all over Europe.

DV

The city of San Sebastian has asked the Basque Government Culture Ministry Heritage Department to try and get the Rowing Boat Races placed on the UNESCO World Heritage List.

6—

trans Santiago Bridge Frontier zone between Irún and Hendaye

waves of energy—Dss2016eu

Dss2016eu— waves

of energy

—7

8—

geo European and Global Network of Geoparks Flysch in Zumaia, Gipuzkoa

waves of energy—Dss2016eu

Dss2016eu— waves

of enegy

—9

waves of energy—Dss2016eu

10—basic principles

Representation of the cultural programme Culture to overcome violence 9 real lighthouses operate as markers and indicate the territorial scope of DSS2016EU. They are located all along the area from Gernika to Bayonne and light up the coast and the interior. These forms cross-beans that recreate 4 thematic lighthouses that our programme is based on: Lighthouse of Peace, Lighthouse of Life, Lighthouse of Voices and Lighthouse of Land&Sea.

lighthouse of peace

Culture to overcome violence lighthouse of voices

lighthouse of life

lighthouse of land&sea

CONVERSING

COEXISTING

The three verbs that covered the programme concept in the previous phase, —coexisting, conversing and converging —, come together in a single, major verb: Coexistence includes all the concepts and values from previous projects and has become the slogan Culture to overcome violence.

CONVERGING

CULTURE TO OVERCOME VIOLENCE

Dss2016eu— waves

of energy

—11

basic principles an ode to understanding

—12

living together on the border

—14

a strategic commitment to culture

—16

love at first sight with Poland

—18

the history of our process

—24

BID

where we come from and where we’re going A year ago, San Sebastian presented its bid for European Capital of Culture 2016 to the Selection Committee, which recognised our work and gave us its vote of confidence on sending us through to the final stage. The committee members were impressed by our first proposals and gave us their best advice.

The Waves of Energy lending our project its name are our capital; they represent the traditional capacity of our inhabitants to make the most of opportunities. That’s why we've maintained this same central idea, a philosophy fully in keeping with our project and its focus on people.

We have decided to stick with our conceptual map, its narrative complexity and poetic discourse. The three verbs of our cultural proposal in the first stage (coexisting, conversing and converging) have now come together under the umbrella of Culture to overcome violence. In addition to marking the direction followed by our bid, this leitmotiv acknowledges the exceptional circumstances in which today’s society has to live.

In the first stage, the Committee appreciated the city’s courage in tackling the serious local problem of terrorism.

In effect, San Sebastian has been battling against this brutality for years through a culture of peace and education in values. In a complex society like ours, addressing crises and challenges has been possible thanks to the courage and effort of our citizens.

While we were applying their suggestions, checked by the Chairman of the Selection Committee, Dr. Manfred Gaulhofer, a number of encouraging changes have taken place in Basque society. It is obvious that we are now on the threshold of a new era in history. Designating San Sebastian as ECoC 2016 would boost the hope created by ETA on announcing the suspension of its violent activities. We are hopeful and trust that the situation will continue. We assume the responsibility of building a Capital of Culture for coexistence to Overcome Violence for all Europe. And we need to do it now.

Antoni Gutiérrez-Rubí Communications Advisor

waves of energy Words can change the world. James Baldwin, an African-American writer and one of the bestknown pioneers of the civil rights movement, said: «We write in order to alter the world (...) If you alter, even by a millimetre, the way people look at reality, then you can change it». The slogan attached to our bid wants to change the world, to contribute to change it, based on trust.

The text addresses the essence of what a European Capital of Culture must represent: a civic glocal hub.

In contact with the waves that bathe the coasts of the European continent, from the Atlantic Ocean to the Mediterranean sea, from the Bay of Biscay to the Baltic, dss2016eu articulates a territory and offers itself as port of Europe. A port for opening closed doors. Without that vital energy, the ability to convert individual limits and contexts into global horizons of hope, it is impossible to build and spread democratic values.

Europe is ageing, that’s a fact, but above all it is exhausted, consumed, waning. We need public and civic energy to revitalise our minds and structures, a human, democratic, civic energy. Life is impossible without it. We need the European Capitals of Culture to be more a flow of proposals, than just a stage, a rendezvous and a programme.

The decision to build our cultural programme as citizen action is a core commitment of the dss2016eu project. The things we share (territory, policies, currency) will not form an integral part of our identity until they are a way of understanding our dimension as citizens. That’s what culture means. It is also why the city of San Sebastian’s bid to host the European Capital of Culture in 2016 is so radically democratic, why it places so much emphasis on the culture of dialogue, of diversity, of meeting, and of peace. A culture of cultures.

Waves of Energy is neither a slogan nor a brand, it is a spirit, a flag. This characteristic makes it a a winning project. Europe needs a new spirit, a spirit we can sing as a choir to raise the flag of culture and democracy as the homeland of humanity. Our bid´s slogan is not simply a potential proposal; it’s a challenge that can’t be put off.

It’s our hope.

waves of energy—Dss2016eu

12—basic principles

Why does San Sebastian wish to take part in the competition to become European Capital of Culture? What would be the main challenge if it were nominated?

What are the cit y’s objectives for the year in question?

1

In these times of hope, when the end of violence seems near, we want San Sebastian and the territory represented by this bid to be a vital space to develop different ways of living in peace, through culture and education. Being nominated ECoC would give us the chance to prove that Basque citizens are firmly committed to a culture of peace and Human Rights, to the end of the violent expression of conflict, to defending culture and education as the instruments of coexistence.

Our objectives are to mobilise that vital energy, creative capacity, business initiative and critical spirit to carry out a social and cultural transforma-

tion process to accompany the progress of Europe.

We want to live in a territory where the European dimension is expressed naturally and enhances the wealth of our cultural policies.

We want to boost our desire to be European and raise our awareness of the need to be more open to Europe. Furthermore, we want to ensure that our territory´s cultural agenda naturally overlaps onto our social and institutional fabric. It is also our aim to establish a unified, regional and cross-border cultural agenda in order to strengthen our territory´s connections with European and international networks.

objectives

an ode to understanding We are committed to celebrating our linguistic, cultural and religious diversity.

We want to turn this wealth to our advantage rather than using it against one another which would lead to irreconcilable confrontation In our territory, three mother tongues are spoken: Basque, Spanish and French, and increasingly English as the lingua franca, in addition to other minority languages brought by new citizens

Our firm commitment to Culture to overcome violence will contribute to celebrating our diversity, our many voices and languages, the wealth and variety of our artistic expressions. In fact, Europe is built on living together.

We must take advantage of our diversity, rather than using it against one another to the extent of irreconcilable confrontation. Culture is a mechanism of translation which, in its complete political extension, implies placing ourselves in the place of others in order to try and understand all their linguistic, cultural and religious peculiarities. Words, dialogue and alternative forms of narration are the best way to accept diversity within our society.

In our bid territory, stretching from Bayonne, in the French Basque Country, to Bilbao with San Sebastian as its nerve centre, three mother tongues are spoken altogether: Basque, Spanish and French, and increasingly English as the lingua franca used by the younger generations. Alongside these languages live other ‑— in our territory less spoken — languages, like Rumanian, Arabic or Chinese.

Also there are the many variations of Spanish itself, a language spoken by new citizens, millions of men and women who live in our towns and cities, a faithful mirror of the European cultural mosaic.

Often this human wealth is seen as a threat. To overcome this rejection, civic education and cultural backing are required from a diversified, cosmopolitan and transforming point of view. European identity is a book permanently being written. Therefore, the priority mission of art and culture is to endow our shared European heritage with creative talents and sensitivities.

The part played by culture in this process is even more crucial in times of crisis, and the situation as things stand today is precisely that, no doubt about it. Culture is not a luxury we can only afford in times of prosperity.

It must be a social right that encompasses human rights and open access to education for all to make diversity seen not as an obstacle but the base of the shared moral foundations for mutual relations.

Today, what honours culture and art is their endeavour to understand the complexities of our times, to imagine solutions that will help us to get along with one another.

peace

culture to heal wounds Ambition has been key to the whole development of our project. That’s why the aims self-imposed on the dss2016eu bid spread well beyond the traditional cultural spheres. Our three major goals are to establish a lasting culture of peace, to celebrate the characteristic diversity of our territory and to highlight our geography and particularly unique landscape. These objectives run parallel to the project of European construction.

Although this year we are enjoying temporary relief from the terror inflicted by ETA, we truly need the tremendous boost that the European Capital of Culture 2016 could give us. With the ECoC, we could harness greater citizen energy and create the conditions for putting an end to terrorism once and for all, fostering coexistence and reconciliation from the culture of peace.

When we talk of confronting violence, we also refer to the many social

Although this year we are enjoying temporary relief from the terror inflicted by ETA, we need the tremendous boost that the European Capital of Culture 2016 could give us to foster coexistence and reconciliation conflicts existing from east to west and north to south in today’s Europe.

This includes the Gypsy Diaspora or the integration of the thousands of immigrants arriving from Africa or South America in search of a better life. A life which we European countries have often gained thanks to our colonial history.

Thus, as we said in our presentation last year, San Sebastian wants to be a laboratory for all European cities suffering problems of coexistence and social cohesion. A cross-border space, the Basque Country, and a time, the coming decade, to draw from our shared thoughts on the challenges facing the future of Europe.

DV

Dss2016eu— waves

of energy

basic principles—13

Explain the concept of the programme which would be launched if the cit y was nominated European Capital of Culture? Could this programme be summed up by a slogan?

2/3

Our proposed cultural programme essentially focuses on the concept of culture based on the creative potential of people and on their ability to activate spaces of coexistence through freedom, where dialogue can make itself effective. We want to encourage shared places, where our multiple identities, values and objectives cohabit and constantly keep redefining one another. Places where cultural diversity or political and religious differences find respect and encouragement.

Our goal is to achieve equality and the participation of all people. Our project and our slogan are based on recovering the social effect of both

Garden of Remembrance´s opening in march 2011. A 3.5 hectares extension to honour the memory of the victims of terrorism. A Japanese style garden in the new Riberas de Loiola neighbourhood, in San Sebastian.

culture and education. The project´s slogan wants to highlight the enormous power of creativity as a way of consolidating civic agreement and contributing to coexistence in the whole European continent.

This is the result of a collaborative, open and demonstrable process thanks to involvement of many people, groups, organisations and institutions in our society. These combined values and proposals form the Waves of Energy representing the strength, perseverance, courage and openness of our Atlantic Ocean. They also give our project its title, colour and meaning.

Santiago Eraso Artistic Director of DSS2016EU

culture to overcome violence «people, and saying what we think in our everyday lives, are the driving forces of democracy. And culture, as the ability of human beings to inhabit the world, is their best tool»

Iñigo Ibáñez

UNIQUE LANDSCAPE

the value of our unique geography We want to draw attention to the importance of our unique geography and landscape. Here we live in the centre of a cross-border territory, bathed by the waves of the Bay of Biscay from our position on the Atlantic Ocean.

This is a place mid-way between Northern Europe and Africa, a natural place of passage between France, Spain and Portugal; a place of transit free from borders standing at the very centre of a new cultural Eurocity. Ours is a complex territory which, in the framework of general reflection on sustainable Europe, requires specific attention. This is something we want to address through the programme of the ECoC 2016 by increasing education

in values and placing greater stress on the culture of peace. A curved coastline embracing all sorts of bays, cultural parks, coastal walks and a chain of lighthouses make this an exceptional area. The epicentre of this area is the Concha Beach, the first of four bays lending shape to the crossborder area ending, in this case, in Saint-Jean-de-Luz in the French Basque Country. We want to advance with the construction of Europe with examples of models of governance and care of the natural environment. Caring for our natural environment, land and sea, would also permit us to improve our cities and make them better places to live in side by side.

We live in times of democratic uncertainty, when we have lost trust in our politicians and the economy is in tatters. These are times of scepticism. Today, we all too easily forget that democracy is a system of political organisation, where the main characteristic is that the ‘ownership' of power resides in all members of a governed group. In other words, the efficient application and consistent development of power concerns us all.

Power is used to structure factors affecting us as individually and as groups. Although this power is gained through a system of representation regulated by periodic elections, it is also a comprehensive way of understanding and activating human personal and universal relations. Democracy, in the widest sense, is a form of social coexistence, of community construction, between free and equal people. It is built on memory; things are the

their everyday lives, speaking out, their capacity to transform, are the driving forces behind it. And culture, as the ability of human beings to inhabit the world and relate among themselves, is its best tool.

In his book Geo-philosophy of Europe, the Italian philosopher and repeatedly elected Mayor of Venice, Massimo Cacciari proposes a Europe taking its inspiration from the ethics of solidarity. In his opinion, no education, culture or democracy can exist if its essential constitution fails to assume antagonism. An idea of Europe, with no other common basis than the contrast between different people, where, more than tolerance, the prevailing factor among those who recognise themselves as being equal and different is solidarity.

We must ask ourselves how we can reinvent an emancipating way of being European in today’s world.

We must find a way to overcome

«Modern democracy is a way of living that is not shaped around a finished product or certainties; it is founded on its own uncertainty, on its constant evolution. It is a process in constant construction» way they are today because of the action and responsibility of many people down the years.

Modern democracy is not a way of living shaped around a finished product or absolute certainties; it is founded on its own uncertainty, on its constant evolution. It is a process of permanently renovating social innovation that requires constant redefinition, a continuous reinvention of forms and concepts. So much so that it is still unresolved, still in the making, always open to the presence and challenges of the emerging, the insurgent, and the unexplored. people, the activity of

what is merely a rhetoric declaration of abstract rights, a way to define an «us» without comparing it to a «them».

We must endeavour to recreate a shared culture and education in values that recognises the differences and unique features of people rather than trying to erase them.

Europe is a place of diversified, yet often overlapping identities. It has the mission to construct a place of shared living, one that will never be complete but, in the end, one which can offer us a framework for sharing at least those things that can unite us.

waves of energy—Dss2016eu

14—basic principles

Which geographical area does the cit y intend to involve in the «European Capital of Culture» event? Why? What area are we going to involve?

4

The whole city is and will be actively involved, from the centre to the outskirts, and particularly the individual districts. The project will encompass the entire province of Gipuzkoa and the Basque Country. It will also unfold in the part of our coast marked by nine lighthouses running from Matxitxako in the neighbouring territory of Bizkaia, to Bayonne in the French Basque Country, a strategic geographic location at the centre of the cross-border corridor. We want the San Sebastian conurbation, in its widest sense, to be the core of a project embracing the transnational area between Bordeaux and Bilbao.

Our bid proposes a Basque Eurocity project, because we share a past and a geographic area, a language, a history, liberal tradition and culture.

Because the challenges of today in the areas of culture, economy, mobility, sport, leisure, services, activities and feelings are factors common to us all.

And because our future is also a common future involving projects aimed at developing a true European life that will permit us to activate structures in the city, in governance, in commercial and social services. We must make a reality of the fact that our everyday lives experience no change on crossing the border.

1

cross-border

living together on the border In the border area between San Sebastian and Biarritz, a place where wars were fought for many years, the institutions of today are working to construct a Eurocity occupying a strategic geographic location in the centre of the European Atlantic corridor. The very existence of this endeavour contributes to thinking of a new Europe For centuries, the border area between San Sebastian and Biarritz was a setting for wars and battles.

Today, the people who live in this area cross the border by day to have a few «pintxos» (miniature gastronomic bar snacks), take in a cultural event or enjoy the great surfing offered by San Sebastian.

The scar on the waters of the Bidasoa has healed over to leave soft, smooth skin.

Border awareness has played an enormously important part in the construction of local identity.

That altered with the constitution of the Treaty on European Union in 1992 and the subsequent disappearance of administrative borders. It brought deep social and psychological changes, not to mention the economic crisis caused by the restructuring of sectors linked to the former customs posts.

In this context, municipal, provincial and regional institutions in France and Spain set about creating a cultural Eurocity comprising San Sebastian, Biarritz and Bayonne. A Eurocity occupying a strategic location in the centre of the European Atlantic corridor running from Bilbao to Bordeaux.

The simple existence and normality with which this Eurocity is treated by its citizens contributes

to thinking of a new Europe; a place where borders represent an opportunity rather than a barrier for achieving greater cultural wealth and social diversity.

Our project for ECoC 2016 overcomes part of the border effects of the old Europe and moves towards a shared geography where people no longer suffer from the distrust once felt for one another.

Jean Baptiste Salaberry, Mayor of Hendaye, the first French town over the border, recently said in a newspaper interview: «It is difficult to calculate the number of Spanish people who live in Hendaye.

I think that between 35% and 40% of Hendaye's population comes from the other side. people tend to get on well, and there are usually no problems, but the situation will be fully accepted as normal when the children who attend school here grow into adults. Fifteen years from now the generations will be a lot more integrated».

Creation of the Eurocity has already been started by its citizens. We must take advantage of the initiative, rationalise and share resources on both sides of the border, and create common ideas and projects contributing to general prosperity.

I hope that San Sebastian will create a big new cross-border wave in 2016!

Barely a month after the Tamborrada drums parade in San Sebastian, a January festival celebrating the evacuation of Napoleon’s troops from Gipuzkoa, Basque clubs defend their future in the Top 14, the French rugby league, at the Anoeta Stadium.

First, Aviron Bayonnais play to win the French championship, followed by Biarritz Olympique Pays Basque for the European Cup! Later, buses full of French-Basque people unload their passengers into the Gipuzkoan cider houses. From spring to autumn, popular races like the Sara Korrika or Behobia-San Sebastian gather regiments of sports enthusiasts who cross the administrative, not natural borders.

Borders that no longer exist for the curious, tourists, visitors, lovers of classical music, because today, almost two centuries after Napoleon Bonaparte passed away, French people come to San Sebastian to enjoy its famous «pintxos», or to take a walk round its bay and delight in one of the most beautiful cities in Europe.

This flow of citizens over both sides of the border has grown naturally since the European border

Dr Jean-Marie Izquierdo University of Pau and Pays de l’Adourr

2

posts were done away with almost fifteen years ago. But the cross–border institutions still exist, even if we don’t really know what each one offers to citizens these days.

Institutions and agreements like The Pyrenean Work Community (1983), the Aquitania-Euskadi logistics platform (1989), the Bayonne-San Sebastian Eurocity (1993), the Bidasoa Txingudi Consortium (1998), the Atlantic Trans-Pyrenean Conference (2007) have been created.

All these institutions and agreements coexist in an amalgam of cross-border institutions. Unfortunately for the citizens living in this cross-border territory, these bodies are nothing but an adminis-

«Two centuries since the death of Napoleon Bonaparte, the French come to San Sebastian for a stroll along the Concha Bay»

Dss2016eu— waves

of energy

basic principles—15

fusion between the centre and the outskirts Our project and its desire to do away with borders stretch well beyond the border marked by the River Bidasoa. Our project will remove the lines that separate the centre from the outskirts. We will draw the districts into the city which stands at the heart of the ECoC 2016. Our activities are not limited to the city centre.

The city is progressing towards sustainable mobility thanks to improved public transport, increasingly better facilities and more environmentally friendly ways of travelling. We are constantly creating more paths for walking and cycling in the urban and rural areas. We want the city neighbourhoods and the outer districts to be completely involved in the project.

1 Bike-path, between Irun and

Iñigo Ibáñez

Rafa Zulaika Director of the Museum of Basque History in Bayonne

Cross-border Choreography Centre

Hendaye.

2 Cross-border bridge,

between Irun and Hendaye.

museums for generating questions

San Sebastian City Council and the French Basque town of Biarritz signed an agreement to create a Cross-border Choreography Centre, the first of its kind in Europe. This initiative is promoted with funding from the European programme Interreg IV and is the result of the agreement between San Sebastian’s Victoria Eugenia Theatre and the Malandain Ballet Biarritz. It will house workshops, master classes, exhibitions, conferences and public rehearsals.

Natali Canas

trative mille feuille adding their names to the list of local public institutions.

Institutional response is slow and marginal, despite the fact that territorial challenges in terms of sustainability and reciprocity are very real in the territory. Waste management; air, rail and road infrastructures; higher education; competitiveness, all of these areas require tangible, efficient collaboration if they are to serve a territory of increased size.

In 2010, the environment NGO, SurfRider Foundation Europe, born in Biarritz, opened branch in San Sebastian, in order to have a general overview of the problem affecting the Basque coastline.

Cross-border cooperation must take steps to address the true dimension of sustainable development. From now on, politicians must abandon their fancy speeches to prepare a sustainable future for this natural cross-border Basque coastline.

Europe is an enormous project, locally and globally. It must demonstrate that citizens can influence the direction followed by the democratic institutions. The dynamics of our Waves of Energy

Iñigo Ibáñez

defends the values of openness and tolerance that are so essential to European identity. A Europe like the one imagined by its fathers, Alcide De Gasperi, Jean Monnet, Robert Schuman, founded on cultural exchange and reciprocity for the benefit of all Europeans.

I hope that in 2016 San Sebastian will cause an enormous cross-border wave bringing improvements for its citizens, and for a new Europe! Napoleonic occupation belongs to the past. Later, the fathers of Europe saw their dream come true in this corner of the continent. Now it’s the turn of the political institutions to do something for the citizens, who urgently need Europe.

«Politicians must abandon their fancy speeches to prepare a sustainable future for this naturally cross-border Basque coastline»

«We live in a cross-border country, considered as the north by those in the south and as the south by those in the north; a country that has full right to its place in a Europe without barriers» Culture as the answer to a physical environment, to a social context. That’s what we studied way back, but I’m increasingly more interested in culture as a question and its endless whys.

Perhaps that’s because we live in a country full of questions arising from its cross-border nature.

Here we are considered as the north by those in the south and as the south by those in the north.

This is a country that has full right to its place in a Europe without barriers. The troubled history of Europe is constantly evolving. Construction of the Basque Eurocity is like a Russian doll in the Basque Euro-region running from Bordeaux to Bilbao, which is in itself part of the Europe of Regions. This area has a great deal to say in establishing models of development and fairer international relations.

In the field of culture, I love museums, their ability to generate and share questions, mainly on social and collective subjects, but also on personal, unique matters. This subject interested me as far back as 25 years ago when, following my university studies, I joined the team at the Fine Arts Museum in Bilbao. And it continues to interest me today, in 2011, at another museum, the Museum of Basque History in Bayonne, which is, depending on how you look at it, in another country or just over the Bidasoa. Between these, another two museums have influenced my life, my city, San Sebastian: the Naval Museum, opened in 1991, and San Telmo Municipal Museum, which celebrated its centenary in 2002 and is now undergoing major renovation. In all of them, without exception, I have seen how museums can serve as agents of social transformation. Based on their vocation of offering a service to the community, museums are «by people for the people».

One of the greatest concerns in our societies is undoubtedly difference, whether of identity or cultures. Curiosity has taken the human being on long roads, over mountains, across oceans, to meet other people, other cultures. However, fear is another of their traits, and the fear of others is rife.

This is something we know can grow into hatred.

We continually hear how in these times of uncertainty culture continues to make sense, perhaps more than ever. The ECoC 2016 can channel a great deal of citizen energy into improving living together, getting to know one other again and in peace. Let’s open museums to the thoughts and concerns of people. Let’s integrate their desires and their interests. Let’s take creativity and curiosity as our basis. And each time we find an answer, let’s ask another question and find another explanation.

waves of energy—Dss2016eu

16—basic principles

Please confirm that you have the support of the local and/or regional political authorities?

5

As we indicated at the pre-selection stage San Sebastian’s bid is unanimously supported by the City Council, the Provincial Council of Gipuzkoa and the Basque Government, the three most important institutions in the area affected by the European Capital of Culture in 2016.

However, our bid is also backed by other institutions: the General Assemblies of Gipuzkoa, the Basque Parliament, Eudel (the Association of Basque Municipalities) and the Cross-Border Development Agency for the Basque Eurocity, the Agglomération Côte Basque-Adour, and The Communauté de Communes Sud Pays Basque.

The City Councils of Bilbao and Vitoria-Gasteiz, the capitals of Bizkaia and Alava provinces respectively, would also enjoy the benefits of the European Capital of Culture 2016. If San Sebastian is selected they guarantee their support for our dss2016eu project.

Finally, we have the backing of the Bayonne and Biarritz City Councils, two of the most important in the French Basque Country. This area is essential to the European dimension of our project. It would form an integral part of the project and would lend people, agents and infrastructures to our cultural programme.

PLAN

a strategic commitment to culture San Sebastian recently published a vision of what it wants to be in the coming decade. The Strategic Plan 2020, defends a united city, devoid of social exclusion and violence, with active citizens who participate in discussing public matters that affect the whole community. Citizens who want to contribute their grain of sand to a global and changing world.

However, parallel to this is a city proud of its past as an innovative metropolis in the early 20 th century, and of its liberal-progressive tradition.

It is also proud of its Basque identity, which has the duty to adapt with the new times, to share its cultural identity with modernity, globalisation and the demands for integration of citizens who have come from other countries.

However, this adaptation process must occur without it losing its unique personality and singularity. The Plan for the next decade of San Sebastian covers not only the social needs of the city, but also the need to design an economic policy. The Plan is intended to guarantee the future prosperity enjoyed nowadays by the city, put to the test by the economic crisis that has affected the whole world the last few years.

Thus, taking advantage of the boost from preparing the bid to host the European Capital of Culture in 2016, we are taking the opportunity to rejuvenate and update our cultural policies, to place the city at the vanguard of Europe as a reference in activities related to the economy of the cultural sector.

San Sebastian will be a place that makes people sit up and take notice in areas of culture, education, knowledge and innovation thanks to its research centres, universities, technology and cultural parks. A city with infrastructures dedicated to research, development and innovation on sustainable energy, tourism, gastronomy and sport. A place where new business initiatives are introduced for collaboration and coordination leading to greater synergy between companies of all the mentioned economic sectors.

The guiding vision in the development of the Strategic Plan 2020 has been an open, dynamic, welcoming city full of diversity, a perfect place for its citizens to live in and enjoy, but also a model of environmental, social and economic sustainability, a city with a future, capable of seducing and attracting young people.

All aspects of culture are central to this vision of the city for the next decade; from the cultural industry to different artistic expressions, from languages to gastronomy. The world economic crisis underlines the need for a commitment to values and a strong community capable of meeting challenges by creating projects based on the strength of its social capital.

The institutions trust in their citizens, their talent, and their ability to be enterprising, to generate new ideas. That's why dss2016eu is firmly committed to creative economy.

economy

transport

designed in San Sebastian

connected city

The objective is to create an economic fabric based on creating, producing and exhibiting a cutting-edge cultural offer

Introduction to the city of the high-speed train and underground system will completely change travelling over long and short distances

Despite its medium size, San Sebastian is already a national and international reference in cultural spheres. Bearing this strength and the potential of its citizens in this field, the city aims to mobilise its assets. The aim of the city is to create an economic fabric based on creating, producing and exhibiting a cutting-edge and constantly evolving cultural offer.

One of our major objectives is to create an audiovisual industry at the Audiovisual Innovation Center and the Tabakalera Contemporary Audiovisual Culture Centre, due to open its doors in 2015. The Basque Culinary Center, the only one of its kind, will attract international talent from the world of gastronomy. The Plan also focuses on the culture of knowledge, in particular on the most innovative economic sectors already present in the city, including nanoscience, bioscience, information and communication technologies and neuroscience.

San Sebastian needs to open up, connect itself and gain international recognition for its R&D&I activities. That’s why an international approach is crucial for the city. The coming years will see great improvements in transport round the city and its surroundings with the development of major projects.

This progress is possible thanks to the decisions of the relevant institutions, to the green light on construction of the San Sebastian Region Underground and to the creation of the Gipuzkoa Transport Authority. Introduction of the highspeed train and of the topo / underground system will completely change travelling over both long and short distances.

Further, for years San Sebastian has been working to foster a marketing and city branding strategy whereby an image related to science, culture and innovation will join the traditional image of commercial and tourist services.

Dss2016eu— waves

of energy

How does the event fit into the longterm cultural development of the cit y and, where appropriate, of the region?

6

basic principles—17

San Sebastian’s Strategic Plan, designed with a vision of the city for 2020, follows a parallel road in perfect harmony with the European Capital of Culture 2016 project. The four major lines of the strategic plan (Designed in San Sebastian, people and Values, Connected City, Live and Enjoy) are woven with the same threads as our dss2016eu project and demonstrate the city's commitment to our bid.

The lines of the Strategic Plan completely coincide with both the Gipuzkoa+20 provincial plan and the EcoEuskadi 2020 plan for the Basque Country, the core concept of which is to boost the

The municipal Plan for 2020 addresses a time when the city will have become a place that makes people sit up and take notice in areas related to culture, education, knowledge and innovation thanks to its research centres, its universities, its technology and cultural parks; an open, dynamic and sustainable city

city’s already important cultural-creative economy.

This is a strategic decision perfectly coherent in keeping with the spirit, history and concerns of San Sebastian.

We are committed to making San Sebastian an international benchmark in the defence of human rights and culture, to achieve understanding between all kinds of people. Projects soon to open, like the Basque Culinary Center, and others still at the preparation stage, like Tabakalera, the Audiovisual Contemporary Culture Centre scheduled to open with the European Capital of Culture 2016, are all perfectly in tune with the project.

2020 strategies at provincial and autonomous community level The plans designed by the Provincial Council of Gipuzkoa and the Basque Government share the desire to include the proposals made by all agents in our society

Iñigo Ibáñez

PEACE

qualit y of life

people and values

live and enjoy

The citizens afflicted by violence have the opportunity, the duty, to become a reference in the field of education in values

A road map in order to ensure sustainability and care services responding to the new challenges facing society

Peace is a shared goal, a need, but it must be built on an appreciation of values, the suffering of the victims and the importance of respect for all the community.

The citizens of San Sebastian, who have been afflicted by the effects of violence, have the opportunity, the duty, to become a reference regarding education in values. A duty to become an international reference in this field represents not only an opportunity as a city, but a duty to ensure that no community suffers the ravages of violence and intolerance.

On the other hand, San Sebastian has also set itself the task of becoming a reference in caring for people with disabilities, within Spain, and in some cases internationally, and in so doing promoting tailor made strategic actions. The city will similarly reflect on the impact of immigration as a phenomenon that plays an essential part in the dynamics of the city and its future.

San Sebastian fully assumes the environmental challenge, and is progressively introducing the concept of sustainability and energy saving to the development of its actions. Evidence of this process is the creation of the Fundación Cristina Enea, approval of the Plan against Climate Change, and the introduction of alternative energy systems in public buildings.

The city has also designed a road map to ensure a network of care services for meeting the new challenges facing the whole community. We are faced with an increasingly large population of elderly people who generally live alone and for longer. And there are new social circumstances of vulnerability, people facing difficulties, single-parent families or immigrants at risk of exclusion.

As a pledge to the future, the city will promote a rise in the birth-rate with a view to balancing out numbers and to fight the aging process that faces our society.

The plans currently on the drawing board to ensure that our territory will remain competitive in the coming decade share the desire to include the proposals made by all agents in our society. The Gipuzkoa Strategy Office, with its G+20 plan, and the Basque Government, with its EcoEuskadi 2020 plan, apply a process of citizen participation which involves companies, universities, specialised professionals and other social players. The aim is to follow a clear, well planned course of action, that doesn’t deviate despite changes in the political leadership of the institutions.

The plan for the autonomous community is split into three parts: eco for economy, eco for ecology and eco for the voice of society. The process, already involving the participation and collaboration of over 400 agents, addresses a balance between the three dimensions to ensure that the growth of one dimension has no negative effect on the other two. Events have already taken place in Bilbao, Vitoria and Mondragon, including three participatory meetings, one for each province.

Autonomous community agencies such as Ihobe, the Public Corporation for Environmental Management; Eustat, the Basque Statistics Institute; and Innobasque hold a central role in this process.

The Provincial Council ran a diagnosis of the economic-social situation in Gipuzkoa and, in 2008 and 2009, started a participatory process to create a strategy of action for the coming decade, the G+20 territorial plan. The plan, which has now completed its third stage, addresses TRANSformations in the areas of economy, social demography, environmental/territorial sustainability, learning/ knowledge, and the public-political space. It also envisages the end of political violence and a lasting peace.

waves of energy—Dss2016eu

18—basic principles

To what ex tent do you plan to forge links with the other cit y to be nominated European Capital of Culture?

7

The dss2016eu team has drawn up general terms and specific activities with each of the Polish candidate cities. In general terms, we will share the responsibility of communication. Each ECoC will concentrate the efforts of both bids on the reality of their local areas, and of the States in their surrounding areas. This results in improved returns from resources.

We will also make a joint assessment based on the methodology of Am Framework International and we will apply custom built tools. We will organise exchange programmes between university students, professional centres and primary and secondary

schools. We will create a position in an external committee for the nominated Polish city and will exchange staff for the purposes of shared experiences.

Finally, we will cooperate on cultural and business aspects.

As far as specific aspects are concerned, we have set aside €1 million from the budget for joint activities with the nominated Polish city. Part of this initiative is mentioned at the foot of this page. We have already made strong contacts with the candidate cities for 2015, and we expect to enjoy strong links with the two cities, one in Malta and one in Denmark, designated for 2017.

EUROPEAN DIMENSION

love at first sight with Poland At first, the dss2016eu team asked itself what a city like San Sebastian could have in common with a Slavic city in Eastern Europe.

However, it wasn’t long before we fell in love with Poland, discovering all sorts of similarities between us

dss2016eu has prepared collaboration projects with the five Polish candidate cities to host the European Capital of Culture

Every year the candidate cities for ECoC are encouraged to work together as an opportunity to get to know each other through culture and create links bringing richness to all involved. For 2016, the EU has forwarded the idea that the nominated Polish and Spanish cities should be even closer to one another.

At first, the dss2016eu team asked itself what an average-sized coastal city like San Sebastian, with the typical challenges of Basque culture and traditional connections with the Mediterranean, South America and Africa could have in common with a big Slavic city in Eastern Europe. But it wasn’t long before the team fell in love with Poland, discovering all sorts of shared similarities.

In the last three years we have come to an understanding with all of the Polish candidate cities (although recently we have enjoyed closer contact with Gdansk, Katowice, Lublin, Warsaw and Wroclaw) to work on an association with the winning Polish city if San Sebastian is designated ECoC 2016.

Naturally, we have started with the warmer, more personal relations with the Polish people who live and work here. For example, the Polish musicians belonging to the Basque National Orchestra, students, workers at Basque companies with

branches in Poland and the Polish researchers at our universities. We discovered that, being on the coast, San Sebastian is particularly attractive for landlocked cities in Central Europe. In terms of structure, the transformation of industrial premises into culture centres in the Basque Country and in Poland have many similarities.

For the Polish cities, our city's vast experience in the fields of participation, human rights, gastronomy and multiple languages is particularly interesting. For all too long these Europeans were locked behind the Iron Curtain. Today, the extreme competition in these times of economic crisis is no help to finding shared places.

San Sebastian and its partner Polish city will work together on the ECoC projects to observe and compare one another, in an exciting environment of socio-cultural change. These ties will include the exchange of creations, compared ideas and studies of coexistence between the Polish, Basque and Spanish cultures. We will establish cooperation in the fields of culture, education and employment, but also in areas related to entrepreneurship, research and innovation. Our budget features a sum of €1 million for the purposes of association with the Polish Capital of Culture between 2011 and 2018.

Wroclaw

Katowice

Lublin

If the city of Wroclaw is designated European Capital of Culture in 2016, at dss2016eu we have located areas of potential cooperation in a number of fields that go beyond culture including gastronomy, the audiovisual industry, music, peace and sustainability. We have established exchanges under the framework of the Bertsojazzaldia activity of our cultural programme and the Quincena Musical programme, a classical music summer festival which will dedicate its 2016 programme to Polish classical music composers. We have also singled out an important opportunity for exchange through the soon to be opened Basque Culinary Center and have planned a joint exhibition on violence and the history of conflict. Further, our programme contains a number of activities on the environment, ecology and sustainability, with the focus on river networks.

This Polish city has proposed a project entitled City of Gardens in its cultural programme which is perfectly aligned with our cultural parks network, a system or working methodology key to our European Capital of Culture project that features our parks and green zones as substantial areas. We have also detected similarities between our projects in the areas of art and sports. These shared features have led to plans for a joint exhibition on the contemporary sporting world. Additionally, our train will carry cultural containers across the whole European continent, from Katowice to San Sebastian. The train, one of our three ambassadors for international culture, will concentrate on eco-mobility, audiovisuals and pluralism. It will also house seminars and displays on solving conflicts, fields in which there are also potential areas of cooperation.

Should this city be designated European Capital of Culture in 2016, our Singing Street programme would head for Lublin to work with its citizens on the concept of social movement and its political impact seen from the region’s own choral and musical tradition. We would also cooperate with this Polish city through our travelling embassy. The circus of life! would visit Lublin, where the magician of their bid would act as master of ceremonies of the circus show. Moreover, our Soinumapa programme is also being developed in collaboration with their bid: a digital European sound map on which we would join forces in 2016. Further, given its similarity with Gernika, the town of Frampol, very near Lublin, would be sown with sempervivum (live forever) seeds, also known as the flower of peace, as part of the Rain of poetry activity on our cultural programme.

Dss2016eu— waves

of energy

As regards The European Dimension, how does the cit y intend to contribute: to strengthen cooperation bet ween the cultural operators, artists and cities of your country and other Member States, in all cultural sectors; to highlight the richness of cultural diversit y in Europe.

8 A/B

basic principles—19

Our project aims to find its place at the heart of the European debate. Using our three mobile initiatives, we aim to strengthen cooperation with European artists and cities. Our boat, train and circus will travel across Europe, strengthening cooperation between cultural operators, artists, researchers, companies and entrepreneurs, NGOs and universities. Additionally, the 4 major lighthouses, peace, life, voices and land & sea will permit us to efficiently identify the most important operators for each of the activities detailed on the programme.

We will highlight the wealth of European cultural diversity by creating networks of collaboration and

rozumiemy się bez słów! :)

Gdansk

Warsaw

We would like to break away from the clichés surrounding both cities. In our case, we would shift the focus from the image of our beautiful bay to show the districts and outskirts. Here we would export the B Side of both cities using what we call our Off-Guide Project. We would organise a rendezvous in Strasbourg between our train and another one leaving from Gdansk to celebrate a get-together of young thinkers. We would also arrange a pilot experience by introducing our model of Gastronomic Society to the Polish city. We would invite society to find spaces for sharing while recovering the local gastronomic culture, and even merge it with ours. Groups of young Basque singers will travel to Gdansk in an exchange programme with musicians from the city, who would then come to the Basque Country and sing here in Kashubian.

Our collaboration proposal lies in launching a process running from 2012 until 2016, the year of the event, where the two ECoC 2016 projects will feel themselves to be complementary to one another, importing and exporting cultural activities and proposals in order to improve the richness of both projects. We plan to draw up a White Paper on the European Capital of Culture 2016 where, manifesto-style, we will list all the proposals, activities and experiences developed and those that are seen as missing from the two cities. Accordingly, we will also join forces to develop and implement joint cultural activities. The entire process will be comprehensively documented to permit future European Capital of Culture bids to develop this kind of experience and learn from the extensive collaboration between the cities of San Sebastian and Warsaw.

mutual cooperation between institutions, cultural operators and companies. We are convinced that this will help to unite Europe, respecting diversity, as advocated by the UNESCO Convention on the Protection and Promotion of Diversity of Cultural Expressions.

Taking our local dimension as a base and as a part of international networks, our project is underpinned by slow innovation. We address common challenges, finding answers that benefit the construction of Europe set around the greatest diversity, with the constant focus on European connections.

With the constant focus on European connections, we address common challenges, finding answers that benefit the construction of Europe

lines of work with European cities →

While the Polish cities focus their communication policy on Central Europe, San Sebastian looks towards Southern Europe, the Atlantic, North Africa, the Mediterranean and South America. Thus, communication aimed at Russia, the USA or Asia will be addressed jointly to organise conferences, travelling exhibitions, press articles and events.

→

Assessment will be carried out jointly based on the research established in Am Framework International and the European Capitals of Culture Policy Group. Yearly workshops will be organised to guarantee a strong exchange of experiences. In late 2015 we will organise a bilateral conference to assess European Capitals of Culture and establish an initiative of personal exchange between staff on our assessment teams.

→

Intense cooperation already exists at educational level. Basque educational institutions will work closely with the university and educational centres of the designated Polish city. There will be exchanges between university students, those at educational and vocational training centres, and primary and secondary school pupils. It is enormously helpful that the Autonomous Community of the Basque Country is one of the five leading European regions as far as student and trainee mobility is concerned.

→

Regarding the exchange of staff and cultural operators between the two cities, a system will be established to facilitate their travel and stay. The aim is not only to improve coordination between ECoC 2016 but also to increase the number of experiences and projects exchanged.

→

In the field of learning, we will organise joint cultural/business events. We will encourage active roles in areas where Polish and Spanish companies work together. We will also organise joint activities on artistic interventions in companies. We will establish activities and cooperation frameworks for promoting artistic interventions in companies from both countries and in collaboration with others.

waves of energy—Dss2016eu

20—basic principles

As regards "The European Dimension", how does the cit y intend to bring the common aspects of European cultures to the fore? Can you specify how this event could help to strengthen the cit y's links with Europe?

8 c/d

We understand culture as an excellent tool for combating conflict and for encouraging peaceful coexistence between all kinds of people across Europe. Our reality and that of Europe are obviously based on our peculiarities and complexities, due to not only to economic, political and social networks, and also to cultural networks. Our Culture to overcome violence project seeks to strengthen ties with programmes and activities contributing to equality between all Europeans and to overcoming the negative effects of the former borders. As we stand at the centre of a cross-border territory, our experience can contribute to new forms of management that will

help overcoming contradictions of identity arising from the national fragmentation of the European continent.

We can also contribute to shared linguistic policies in Europe which allow minority languages to live alongside the dominant one(s). We also recognise gastronomic wealth as a mosaic of shared flavours. Similarly, social cohesion, Europe’s heritage par excellence, can be enriched thanks to our Lighthouse of Life actions. We will do everything in our power to direct the cumulus of energies towards achieving a stronger European cultural and social fabric.

European dimension

an example of diversity Languages are key elements of our project, since our territory is home to three official languages: Spanish, French and Basque. We will exchange experiences with other minority languages: Frisian, Welsh, Galician, Luxembourgish, Gaelic and Breton, among others

cooperation with the EU The DSS2016EU project is run by experts with a great deal of experience in European institutional programmes related to culture, education, social affairs, employment, entrepreneurship and regional development. The city and its cultural operators have created synergies with their European counterparts in the last 15 years, working on themed networks in fields like human rights, democracy, participation and multilingualism.

As far as audiovisuals are concerned, the city has experience in the Media Programme, and Gipuzkoa is enormously active in European initiatives related to minority language networks.

In the last year, our bid team has actively participated in debates on the future of culture in Europe through the Culture Action Europe cycle in September of last year and preparing the seminar on the future of Cultural Capitals in Brussels, Culture WatchEurope and Youth on the move 2020.

Iñigo Ibáñez

At dss2016eu we believe that the territory of our bid is the perfect example of European diversity. The culture of our continent lies in recognising and accepting cultural diversity in a constant collaboration of conflicting interests and historical perspectives.

We therefore believe that one of the strengths of our dss2016eu project lies in its ability to recognise that diversity.

Languages are an indication of the way our project underlines the wealth of cultural diversity in the European continent. In our territory we speak Spanish, French and Basque as mother tongues. In view of the leading international importance of Basque among the community of minority languages and the general crisis affecting other minority languages, our project will make an objective of highlighting the European wealth of linguistic diversity.

To enforce this commitment to linguistic diversity, our project includes a number of cultural activities that feature exchanged experiences with institutions and people dedicated to upholding other minority languages like Luxembourgish, Frisian, Welsh, Galician, Gaelic and Breton. We will also include other linguistic realities. For example, the growing use of Arabic, Rumanian or other languages in our society spoken by immigrants now living among us.

Another aspect of our project highlighting European diversity is one of our greatest cultural assets: our gastronomy. This is a combination of know-how and experiences for which the Basque Country and particularly San Sebastian are famous the world over. Our project will use already established networks to share gastronomic traditions in Europe and beyond.

The dss2016eu project aims to unite Europeans by accepting our differences. The project will highlight the challenges and openings of a territory offering equal opportunities for development to all citizens. Taking our own complexity as a starting point, the project offers a place in which to test socio-cultural programmes for improving coexistence in Europe.

We hope to meet this objective by creating links between the city, the region, local operators and their European partners. While preparing our project and during the year of the event, citizens, groups, schools, organisations and institutions will join forces to explore all of the possibilities offered by culture in solving conflict.

The dss2016eu activities include the dissemination of local cultural policies in Europe, movement between artists and organisations and the preparation of seminars and conferences between NGOs dedicated to peace.

In fields like media, new technologies, theatre, dance and music, DSS2016EU believes it is essential to create synergies with the cultural activities backed by the European institutions. In February 2011 in San Sebastian an Info Day was held about the European Culture programme.

Culture is intimately linked to education. Given the educational nature of our project, we will use the Erasmus, Leonardo and Gruntvig student exchange programmes to encourage movement among higher education and vocational training students. The European Commission’s Lifelong Learning Programme will play an essential part in connecting with partners in Eastern Europe who share similar pasts when freedom was restricted, through educational projects on human rights.

Continuing with the Rotterdam initiative and the Maribor example, San Sebastian intends to link the ECoC and the European Youth Capital. We are in conversation with the European Youth Forum regarding the possibility of our city participating in the bid for youth capital in 2015. We have chosen that year to highlight the importance of this group in our project.

Our bid has actively participated in a number of European debates and is directed by experts with European and Community experience

Dss2016eu— waves

of energy

basic principles—21

How does the cit y plan to get involved in or create synergies with the cultural activities supported by the European Institutions?

10

[QUESTION 09 PAGE 22]

In Brussels, San Sebastian will have a dedicated team at the Delegation of the Basque Country which will act as a catalyst for participation in cultural activities promoted by the European Institutions. Our project and its cultural programme will boost connections with the European networks with which the city already collaborates, particularly in the areas of human rights, interculturality and citizen participation: the Council of Europe Intercultural Cities Network, the Mayors for Peace Network, and the UCLG (United Cities and Local Governments) Committee on Human Rights, Social Inclusion and Democracy. The European Commis-

sion Directorate General of Justice, Freedom and Security already fund programmes related to the victims of terrorism, recognition, awareness and memory which have been developed for some time

by San Sebastian City Council. The invitation for San Sebastian to join the Club de Strasbourg, when San Sebastian was asked to chair a Committee on Citizen Participation and Human Rights, will make it possible to develop cultural projects with its over forty member cities. We will also strengthen our already-existing collaboration with networks like Culture Action Europe, IETM, Soul for Europe, Banlieues d'Europe and EUNIC España.

Yvona Kreuzmannova Art Director of Pilžen 2015

from the Atlantic to the heart of Europe «Culture is essential to sustainable development, as has finally been realised by economists and the more reserved among us, who now believe in the concept of cultural, creative industries.

That’s why the European Capitals of Culture can contribute to achieving profound change in society»

Iñigo Ibáñez

1 Souvenirs in a local Chinese

shop.

2 Saharan kid from the local

host family programme.

3 Romanian migrant selling

flowers in the streets .

At around this time last year, I was desperately trying to define the concept of European Dimension. That’s when I met three marvellous women from San Sebastian. I also discovered the problems and challenges shared by the inhabitants of the city with those of the people living in Pilsen. Although it isn’t all that obvious at first sight, the two of us share many similarities: we both are medium-sized, conservative, cross-border cities whose youngsters migrate to the bigger metropolises. We both suffered totalitarian rule in our recent pasts. Besides, San Sebastian is a city associated with the threat of ETA, so ill-fatedly notorious in Europe.

What can a city with these attributes contribute to Europe, and vice-versa? I would say a great deal, depending on the bid´s proposal. Particularly if they have no fear of shaking off deep-rooted stereotypes and venture into new and innovative endeavours.

There is a chance if they have the courage to stop wasting energy on political conflict and concentrate on other factors. I am convinced that the best investment is human capital.

San Sebastian, City of Science and Innovation Award

The city is one of the 10 Spanish cities with over 100,000 in habitants to have been awarded the «City of Science and Innovation» Award by the Ministry of Science and Innovation. This Award represents strong backing «of its important effort and commitment in the field of R&D&I» given its contribution from the local sphere to «changing the model of production».

people, human energy and their creativity have enormous potential for an the friendly, open and lively Basque society.

After years of concentrating on fulfilling the contents of the Lisbon Strategy, Europe seems to find itself at a dead end. As the Czech proverb says, «Europe is forgetting where the first violin plays».

It forgets what it is that visitors from all continents of the world travel here to admire. It forgets the marvellous cultural roots and traditions developed in its lively, vibrant contemporary art, in all genres; different from country to country, from region to region, from city to city, and even from district to district. It is Europe’s great privilege.

Culture is essential to sustainable development, as has finally been realised by economists and the more reserved among us, who now believe in the concept of cultural, creative industries.

It is obvious that true development is only possible if there is investment in culture and creative education.

Culture is a condition sine qua non for

long-term sustainable development.

That’s where I see the attraction of the European Capitals of Culture. If we could succeed in making more candidate cities undertake profound social transformation based on culture, they would become cases worthy of study, not only in Europe.

They would become a great inspiration that the leaders of the 2020 Strategy would be unable to ignore. In the reverse sense: What does Europe offer to all the cities committed to its creative potential? An enormous variety of cultural networks in which to find different examples of good and bad practices, gain experience and become involved in international cooperation projects.

I admit that I am not disconcerted by today’s European Dimension, but by how to maintain so many contacts between all of the genres and sectors.

How to make the partners more motivated and not lose sight of an omnipresent society educated in culture.

This is a challenge that will take years to meet, both for the cities designated ECoC and for those that are not. Cities that trust in the importance of culture.

waves of energy—Dss2016eu

22—basic principles

Indicate how the cit y intends to ensure that the programme for the event attracts the interest of the population at European level and encourages the participation of artists, stakeholders in the socio-cultural scene and the inhabitants of the cit y, its surroundings and the area involved in the programme

9

[QUESTION 10 PAGE 21]

On a European scale, our main commitment for approaching citizens and involving creators and professionals of the cultural sector is the three potent mobile platforms: a ship, a train and a circus. Travelling ambassadors for dss2016eu, these platforms will make it possible to spread our project throughout the European continent, activating networks and awakening interest in European citizens, attracting them to San Sebastian.

In order to involve citizens and local agents, for the last three years we have maintained a process of participation which has produced our cultural programme. A process taking specific shape from 2012

onwards as a series of distinct laboratories focusing on the development of many social processes; meeting and prototyping; new technologies and an open code culture; language as a mechanism of cultural production; the network of cultural parks as spaces for knowledge and healthy living; and art as a mechanism for expressing new dreams and internal thoughts.

Furthermore, we will also launch a mobile office taking us all over to meet the citizens living in the territory of our ECoC bid. The entire dss2016eu project is a balancing act between national and international impacts.

audiences

dss2016eu citizens

Orfeon Donostiarra´s performance with other choirs of the territory during the Rompeolas/Olatu Talka Festibal, in 2010.

groups by sector From a more operational perspective, DSS2016EU will focus on another kind of public and other sectors particularly important for a project of these characteristics and size → Financial agents

Public or private, from the companies or individuals, for the general programme or specific activities, based on financial agreements and/ or collaboration in kind, offering a variety of incentives (tax, social, advertising, innovative). → Communication agents

Whether they work with the big media groups or with others, local and specialised (culture, human rights, geography). From professional journalists to citizens, while placing particular importance on social networks and personal communication. → Tourist agents

Local, national, European and international. From sectorial associations and the big tour operators, to the numerous areas of the hotel and catering trade, leisure and local tourism. We will work with these PEOPLE to design a tourist strategy of improved, more specialised quality with greater focus on experience and individuals. We will focus on social and environmental sustainability, as a tangible and intangible heritage, following criteria established by the European Commission since 2007 with its Agenda for Sustainable and Competitive Development. We will launch all kinds of offers highlighting regional strong points, the opportunity to visit the area as European Capital of Culture 2016 and the different ways of doing so depending on the time of the year, the activity programme and personal interests. → Agents related to the cultural sector and the

creative industries Particularly those related to the programmes in our project: the audiovisual sector, digital and multimedia technologies, literature and theatre, visual arts and music.

DV

We want people from any point of the territory of our bid, from Spain, from the rest of Europe or beyond to feel the project just as the citizens of San Sebastian will do We intend to involve people who come here looking for new experiences, and those who visit the city for the purpose of work, something which is quite normal in the creative field The local public is our foundation. We want the dss2016eu project to extend throughout the city, to actively involve inhabitants in all districts, in the entire territory and in places over the border. Proactive participation from the community would ensure the success of dss2016eu project and its cultural activities, most of which are conceived as transformation initiatives, to directly involve people rather than simply to offer spectator events. We want people to assume the spirit of the European Capital of Culture 2016 as their own, to apply it to their everyday lives and to create their own proposals in order to enrich the whole project. dss2016eu is not a project for citizens, but by the citizens.

But we also want to involve people who travel in search of new experiences, driven by their interests and hobbies, by their curiosity, by the desire to learn. people who, by actively enjoying themselves and participating, learn more about the place they are visiting: its history, its culture,

its people. We want to be inclusive with visitors, to offer tourism for everyone, along the same lines as the European Commission's Calypso social tourism initiative.

We will particularly endeavour to draw the attention of the group of people who regularly travel for reasons half-way between work and free time, professionals who take «workations», attracted by major cultural events or by specific, specialised activities. This is a characteristic commonly found among people dedicated to the world of culture and the emerging creative class, a large part of the visiting public we address.

In fact, San Sebastian enjoys a thriving conference and congress industry thanks to the highquality management of this kind of events at the Kursaal Congress Centre, located in the Zurriola beach. This facility is perfectly catered for by our famous hotel and services sector, an ideal complement for those visiting San Sebastian for work purposes.

Dss2016eu— waves

of energy

basic principles—23

Are some parts of the programme designed for special target groups (young people, minorities)?

Specify the relevant parts of the programme planned for the event

Our programme has clear-cut multidisciplinary and intergenerational aims. However, many of our activities target specific publics. The opening celebration itself, with the Drums of Peace activity will focus on the joy of children as thousands of European boys and girls celebrate together the event in San Sebastian. Specific activities will address the youngsters: for example, the Kite Festival, and the Donosti Cup, an enormously popular annual football championship for children and youths.

The Feministaldia festival will offer a celebration of women throughout the city. Also for youngsters,

11

a key audience, we have programmed specific activities like Holidays with René, with the focus on Human Rights.

Immigrants, youths and other specific publics can also voice their concerns in activities like Living city or Screening Reality, spaces for debate on the public arena. Immigrants will also actively participate in fun activities like Kebab pil-pil style, or gastronomic celebrations such as Open Societies. The disabled will have their say, making their needs visible in activities including Ibilika, a race for all publics, and GPZK (in)accessible, a multimedia map of architectural barriers.

cultural industry

local professionals and European experts Since the beginning, the cultural agents who operate in the territory have been working to shape the cultural activities and produce the dss2016eu projects. They have lent their specialised knowledge and relations networks to making connections and informing people about our initiative throughout Europe and the world.

We seek balance between local, European and international experts and specialists, between the most academic knowledge — universities play an essential role — and the most applied practices. To guarantee the success of our project, we will foster mobility, exchange and inter-relations between creators and professionals from wherever. We will also work to ensure the true acceptance of our projects in the social and institutional infrastructure, both locally and in public and private European networks.

participation

all publics The dss2016eu project has been designed to suit a wide and varied audience of different people and bodies.

We want to involve a variety of publics, general and specialist audiences, cultural tourists and immigrants.

We want to attract professionals, amateurs, spectators and proUsers (new technology users who generate and share their own information in online networks). Our dss2016eu project places strong emphasis on its local surroundings without forgetting its connection with the global world.

That's why the European dimension is enormously important for our project to host the European Capital of Culture in 2016. It’s also why we want to involve European people and bodies in our project.

We strive to include intercultural and intergenerational aspects. The diversity of youths and the elderly are an essential part of our commitment to the transformation of society through culture. We will place special attention on groups with accessibility needs, striving to reach people who are generally reticent about participating in cultural activities due to various reasons.

Iñigo Ibáñez

cross-cutting objectives PEOPLE, their ideas and their actions form the core of our European Capital of Culture 2016 project. We will generate social cohesion, be more open to Europe, promote the learning of open culture and ensure that the programme becomes a natural part of our lives

1.

2.

3.

Propose a collective challenge generating social cohesion and helping to overcome the violent expression of conflict and the stigma left by terrorism on all strata of society. On the road towards peace and moral reconstruction, and based on the essential disappearance of ETA, we seek civic agreement while contributing, with our experience, to improved COEXISTENCE in the rest of the European continent.

Highlight and mobilise vital energy, creative capacity, business initiative and the (self )critical spirit of PEOPLE. Through our DSS2016EU project we aim to achieve a process of social and cultural TRANSformation to accompany the progress of Europe, where culture is understood to lead to democracy. Citizens, their ideas and actions, will form the core of our project for the European Capital of Culture in 2016.

We intend to increase our proEuropean slant and open up more towards Europe in a project in order to share challenges and problems.

Furthermore, we want to help find solutions to these challenges based on exchanging experiences and pooling efforts with other PEOPLE, agents and institutions. All of this without forgetting other areas on the shores of the Atlantic Ocean, particularly South America and Africa.

4.

5.

6.

Promote an open source (public domain) culture produced thanks to shared learning and knowledge in our city, the whole territory of our bid and, by extension, in the European continent. We want to generate synergies of active cooperation taking advantage of those knowledge flows, optimising resources, pooling efforts on common projects, fostering public/ private interaction around open relations and participatory systems of governance.

We want to ensure that the cultural agenda naturally overlaps our social and institutional structure; we also intend to create content for our present cultural infrastructures and for those to be completed in the coming years; We aim to establish a unified, regional and cross-border cultural agenda. We will highlight local cultural agents and their networks with a view to fostering connection with other European and international networks.

We want to back research and diversified, qualified training, setting us apart in different areas of culture and the creative economy, placing particular importance on artists and the creation of symbolic capital; we intend to foster the mobility of European cultural agents; focus on emerging sectors and social innovation, without forgetting the intrinsic potential of the province in its most deeply rooted sectors, such as gastronomy and tourism.

waves of energy—Dss2016eu

24—basic principles

What contacts has the cit y established with: cultural operators in the cit y? cultural operators based outside the cit y? cultural operators based outside the country? Name some operators with whom cooperation is envisaged and specify the t ype of exchanges in question.

In what way is the proposed project innovative?

12/13

Cultural and social agents in the territory have given shape to our cultural programme and activities in our project. Two examples of this participation are the auzolab (laboratories), as a display of collaboration and involvement with the creation of our project and Rompeolas, as a showcase of practical initiatives demonstrating our citizens’ creative energy. At the foot of this page we list the most important local agents and networks. Later, with the description of our cultural programme, we identify the international agents and networks collaborating on and forming part of each of the proposals according to their field.

dss2016eu is an innovative project: it will make use of a set of transformative working methodologies in order to achieve a model change in our social and cultural system. We propose a project based on flat organisation and decentralization that aims to involve both the public and the private sectors in management systems that favour coexistence among citizens.

During the development of our project we have designed new evaluation and communication systems that favour social impact and relations among people, institutions, businesses and civil society organisations.

INNOVATION

the history of our process The dss2016eu project is committed to the creativity of people. That's why our process has involved open innovation with all sectors of society: judges, chefs, writers, musicians, artists, historians, scientists, technologists, anthropologists, hackers, Web 2.0 experts, philosophers…

The dss2016eu bid is committed to a model of culture that promotes the value of creativity and believes in the capacity of people, based on participatory dynamics, to achieve the shared construction of new models of cultural policies.

We want to act as a social catalyst for a territory with active people who participate in debates and build transforming models of culture set around coexistence between different disciplines, sexes, origins, religions and political opinions. All in all, start a social transformation process based on culture and via participation of all social sectors in our territory.

Our project started taking shape in autumn 2008 when the first meetings of our participation process with local citizens took place in the historical Victoria Eugenia Theatre. Those meetings were also attended by various representatives of several key economic, cultural and social sectors of local society. In that first stage, we also consulted several political heads and technicians from the public institutions participating in the dss2016eu project to compare their objectives with our proposals.

The laboratory shaping our dss2016eu project received ideas from architects, biologists, publicists, communication experts, judges, chefs, writers, musicians, multidisciplinary artists, historians, scientists and technologists, anthropologists, hackers, Web 2.0 experts and philosophers, among other citizens.

Those encounters formed a process that led in December 2009 to ten meetings with representatives from all sectors of society. These people subsequently sent us reports with their contributions to the various themes that had been discussed, from feminism to inter-generational relations, including the promotion of Basque or of cultural events.

Our bid continued to function around a participatory movement, with the difference that, this time, the debates, proposals and conclusions were more detailed. Our aim was to precisely detail the project content in areas like Basque, innovation, art, culture, architecture and participation. This multidisciplinary dialogue also involved a wide selection of artists and publicists, local cultural operators, universities, research centres, state-ofthe-art companies, cooperative companies, personalities, social agents, independent initiatives, financial entities and representatives of the major

cultural institutions in the territory of our ECoC 2016 bid.

For the second stage of the process of the project´s development, participation took the shape of a 2-month laboratory involving joint work by the local agents responsible for the lighthouses and systems (contributing their knowledge, programmes and international networks), giving shape to a completely inter-related cultural programme.

In addition to this there were another four participation laboratories focussing on more technical questions regarding the project: the communication plan, a tourist strategy, an evaluation system and an organisational and financial model. Lastly, we held several study sessions on the project involving various European experts with whom we have worked throughout the whole process in order to contrast our proposals.

Until now, over 900 people have worked on the dss2016lab, either personally or representing bodies from most sectors of society: schools, universities, tourism, theatre, music, dance, artists, representatives of social movements, district associations, businesses, youngsters, Erasmus students, Polish people living in San Sebastian, European experts, people with disabilities, immigrants, elderly people, technology centres, cultural management companies.

In conclusion, a wide selection of people who have gradually enriched our dss2016eu project and who will be responsible for its implementation if San Sebastian is designated to host the European Capital of Culture in 2016.

For the second stage of the process, participation took the shape of a 2-month laboratory involving joint work by the local agents responsible for the lighthouses and systems giving shape to a completely inter-related cultural programme

the city forms part of the following networks Asociación Internacional de Ciudades Educadoras (AICE) / Red de Ciudades Interculturales / Alcaldes por la Paz / Club de Estrasburgo / CGLU / FAL / OIDP / CIDEU / Urbal / Red mundial de Ciudades Amigables con la Edad / Red Europea para la Promoción de la Diversidad Lingüística / Conferencia de Ciudades del Arco Atlántico / ERNACT / Eurocities / Vitalis / Aeneas (programa IEE) / Iniciativa Civitas / FEMP / Kaleidos Red / Red de Ciudades por la Bicicleta / Red española de Ciudades por el Clima / AFCI (Association of Film Commissioners Internacional) / European Music School Union (EMU) / EuFCn (European Film Commision Network) / ORACLE-Network of European Cultural Managers / Carta Europea de los Derechos Humanos en la ciudad / Internacional Congress & Convention Association / Asociación Española de Festivales de Música Clásica / Asociación Europea de Festivales / European Cities Marketing / ICCA / Spain Convention Bureau

Dss2016eu— waves

of energy

what would be the medium- and longterm 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? How was this application designed and prepared?

14/15

basic principles—25

In these times of crisis, the event will have a positive effect in different areas. Regarding the socioeconomic field, it will effect the drive of creative people. It will boost the European orientation and reach of the city’s new socio-cultural facilities, such as the recently opened San Telmo Museum, the Basque Culinary Center and the Tabakalera Centre for Contemporary Culture, to open in 2015.

Moreover, it will involve an urban regeneration process in the surroundings of these facilities and a boost in the impact from tourism. European references will help us to reform our great festivals and cultural events. It will also help us reinvigorate

our local sociocultural system. Local institutions have foreseen a legacy/declaration, with its own budget in order to extend the effects of the European Capital of Culture and lengthen the transformation process during the next decade.

The dss2016eu project is the final result of a long participation process started in 2009. It has gone all the way until the right up to of the contents of this document. The whole process will become structural in our participation laboratories called auzolab.

At the same time the citizen participation has kept active with events such as the Rompeolas Festibal.

Juan Freire Doctor in Marine Biology University of A Coruña and the EOI, School of Industrial Organisation, Madrid

citizens’ laboratories «Cultural institutions have started to change, and today artists work with their peers and publics» «To address this change, laboratories are constituted as spaces of collaborative production»

Iñigo Ibáñez

creativit y

collaboration

open innovation processes

the role of digital culture

Open innovation originally emerged from the need to reduce costs and accelerate innovation processes. But it has finally shown that the main advantage of these open models is increased creativity set around the creation of platforms where ideas are generated by wider, far more varied collectives than the few represented by a major university or the R&D Department at a big company. We are witnessing how the relation between the world of culture and its publics has changed, shifting from exhibition and consumption to participatory production of contents. The public has become an active user who participates in producing culture.

Citizen participation is currently at the revitalisation stage. The public is no longer a passive subject, but has become an autonomously participating proactive agent. Sometimes their participation moves in the same direction as the authorities, while at other times it clashes with their political representatives.

These changes and convergences permit us to identify the importance of new information and communication technologies, particularly the aspect we now know as digital culture. More than technology, the change comes from new practices set around collaboration processes on distributed networks and on the values emerging from these practices and technology. This means we must understand the digital aspect as something that facilitates and provokes these processes of transformation. It reduces the barriers to and the costs of information exchange and flow, permitting efficient coordination between groups often not organised into institutions, or at least into traditional structures. Free software and the Wikipedia free encyclopaedia are obvious examples of the ability of digital culture to produce technologies, information and knowledge.

They also demonstrate the effect that these models of organisation are causing in tangible worlds and physical spaces.

Cultural institutions have started to change, causing production processes to turn completely inside-out. The process becomes visible; artists work in collaboration with their peers and with their former public. The public acts recursively, given that in their consumption they also create and return their production to the group.

To address this change, laboratories are created which receive very different names, but which are constituted as spaces for collaborating on production processes. These laboratories represent the evolution of production centres where artists find resources to create, but where no change is made to the conventional paradigm of individual and unidirectional creation.

The emergence of these alternative models and practices arrives at a time when we are obsessed, largely by public institutions, with the need for innovation as a motor of driving force for economic growth, and less often as an essential factor in development, a more inclusive and complex concept than that of growth.

In fact, what happens with companies, culture or even citizens themselves shows us that innovation (which, when it doesn't have an adjective normally refers solely to business, commercial innovation) and social innovation are not independent or even different concepts. Only an innovative society will be able to participate actively and critically in its own political construction and serve as the platform for an authentically innovative economy.

It is therefore necessary to foster the idea of citizen laboratories as platforms for facilitating social innovation. These laboratories would be, and already are in many cases, small spaces distributed throughout the whole territory; hyper-local centres in the sense that they permit small-scale work within global networks thanks to digital technology.

These laboratories develop an open programme adapted to local interests and needs for those who contribute with material, intellectual and organisational resources to the process. We must therefore define these laboratories as spaces for collaboration between citizens, cultural agents, scientists and technologists, and between both professionals and amateurs. And they will, in time, become living media libraries where all of their activity and creations will be constantly documented, networking to create open knowledge bases.

26—

coop Lockers Tabakalera International Contemporary Cultural Centre, San Sebastian

waves of energy—Dss2016eu

Dss2016eu— waves

of energy

—27

28—organisation/financing

waves of energy—Dss2016eu

Iñigo Ibáñez

Dss2016eu— waves

of energy

—29

Organisation/financing the strategy is organisation

—30

a project for each person

—33

towards a new approach of financing

—36

solid financial commitment

—37

the search for common values

—40

TRANSFORMATION

public leadership for innovation

The Basque Country is known for its ability to innovate in terms of organisational models. Ranging from the development of industrial and consumer cooperative society management models to traditional groupings. This variety includes what has been called the «new Basque company organisation model» with more employee participation.

It is a wide horizontal structure with power distributed across the hierarchy that has clearly demonstrated its use.

Based on this innovative organisational culture the dss2016eu proposes a highly professional operational and financing model, managed by the public sector through an institutional Consortium but with a high degree of involvement of local stakeholders, citizens and the business world. This model is designed to safeguard awareness of the value of democracy as a cultural element. Central elements are also the role that coexistence and creativity play within it.

Our financial structure is not only oriented towards administration and contracting of resources to invest in the project but also towards the generation of new sources of funding in relation to our project management model. We not only start off and manage programmes from a cultural content perspective, but also from a pedagogic, communicative, relational and financial angle, involving the business world in all these areas, and not just for cash flow reasons.

We propose an innovative organisation for authentic social innovation. «Slow innovation» that is deeper, closer to people, more radical, more deeply rooted, with sufficient guaranteed resources adapted to reality.

It contains an open and collaborative approach to innovation processes that focuses on the long term and on social change; a process that not only seeks improvements but also changes in social, productive, public and private organisations. It does so based on a framework of values and behaviour that are accepted by the experts and volunteers, promoters and collaborators within the dss2016eu team.

Koldo Saratxaga Founder and Consultant of «K2K emocionando» Basque Country The changing era we live in clearly makes it more urgent to find new paradigms in which individuals take on real protagonism. This phenomenon requires a cultural change in our society, a New Style of Relations in which both public and private organisations draw up shared projects that contain inspiring challenges and efficient objectives.

This is in contrast to other social driving forces of our times that have been characterised by consumerism and wastefulness. The New Style of Relations is a different way of understanding life inside —and between— different organisations where values, creativity and the ability to share are the basis for success. Teamwork, exercised with freedom and responsibility, transparency and trust, enables every individual inside the organisation and society as a whole to develop. San Sebastian European Capital of Culture 2016 is a great opportunity to experiment with and explore these values in depth.

Ana Carla Fonseca International Consultant in Creative Economy Sao Paulo, Brazil The paradigms of antagonisms (local or global, public or private, tangible or intangible) are no longer valid. Solutions that give people quality of life and solve structural problems increasingly emerge from joining forces, ideas and inspirations. In this kaleidoscope of new perspectives, convergences and shared experiences play a key role.

Living in this period of transition is a gift and a responsibility at the same time. A whole new range of opportunities for dialogue and models opens up to us, and this leads us to realise that, of all the resources available in the world, creativity is the one that increases most whilst using it. It has a powerful knock-on effect and generates sustainable solutions. Many of these emerge when the private sector realises that culture is not a cost but an investment.

Culture and creativity provide a myriad of complementary values: cultural, economic, social, and urban. Being able to make use of them is a challenge and an example. This is why, from here in Brazil, I am delighted that San Sebastian has coexistence and creativity as the guiding principles in its candidature for ECoC 2016.

waves of energy—Dss2016eu

30—organisation/financing

What t ype of structure is envisaged for the organisation responsible for implementing the project? What t ype of relationship will it have with the cit y authorities?

1.1

In April 2011 the city of San Sebastian, Gipuzkoa Provincial Council and the Basque Government signed a protocol creating the San Sebastian 2016 European Capital of Culture Consortium in the event of San Sebastian being granted the title. This protocol includes aspects such as the Consortium’s governing bodies, participation by private entities, contributions and the main budget lines for the event.

The Consortium is a public entity with its own legal status and full capacity to act. It allows participation of non-profit-making private entities. It organises the management of services, agreements

and contracts, and also of the legal entities it needs to set up. Despite being an independent body, in order to guarantee transparency it is run according to public management and control criteria.

Another advantage is that the know-how generated during the development of the project remains as a legacy through seconded civil servants.

The Consortium’s governing body is the Executive Council, consisting of 9 members: 6 representing the public institutions that fund the ECoC title, 2 representing private non-profit-making entities, and 1 expert elected by the other 8 to act as Cultural Chairperson (CC).

INNOVATION

the strategy is organisation political structure/ legal entity

dss2016eu is a project planned for the 2011-2020 period, a long one in which there may be many social, economic and technological changes leading to amendments to budgets and programmed activities.

That is why it is important to have firm commitments and set up valid development strategies. In dss2016eu we believe —above all— that there is no better strategy than a solid and straightforward organisation that can adapt to changing situations; an organisation that values people and is imaginative, able to differentiate itself and promote ideas (both its own and others). An organisation that is proactive, able to anticipate the needs and wishes of our citizens, collaborators, sponsors and cultural and

social operators in the territory. One that is flexible and permeable, always evolving, where people can change direction as the project goes forward, adapt to change and set up the playing field according to emerging needs.

We propose a responsive, dynamic organisation that can take quick decisions, welcomes diversity and has a wide-ranging perspective; one that takes on challenges and responsibilities both individually and as a team; one that works based on the values it stands for, and able to recognise itself and be proud of what it sees. An organisation oriented towards citizens, visitors, artists and creators, collaborators and sponsors. Together we can satisfy their needs, create memorable experiences, feelings, emotions, knowledge, relations and pose new questions. We set out to manage the internal and external factors to lead a transforming project in a highly complex social context.

We have designed an organisation in the territory with a public vocation and new ways of thinking about supporting and accompanying our citizens’ ideas; an organisation capable of breaking with orthodox approaches in the culture sector. It is a process of learning and unlearning, of generating knowledge and then sharing it. Basically, an organisation able to take the European Capital of Culture 2016 project forward and leave a strong legacy in terms of shared experience and participation, not only responding to an idea of how our citizens pick up on our proposals but basically of how dss2016eu constructs a collective project hand in hand with citizens and their organisations. There are no clearly marked paths: organisation is the strategy, and that is the essential element of innovation.

Within the informal distribution of roles that the main cities of the Basque Autonomous Community have always had, the capital of Gipuzkoa province, San Sebastian, has always been considered the «cultural capital».

Everyone knows this, but it is worth emphasising it because its experience in the organisation of top-level cultural events has been a highlight of the last thirty years. The three public administrations in the Basque Country (Municipal Council, Territorial Administration and the Basque Government itself) that make up the core of the Consortium have a long-standing tradition of working together in several areas (including culture), have a strong and healthy financial structure (especially when compared with the rest of Spain), enjoy excellent knowledge resources and are also entities that have —for many years now— made a commitment to innovation and improving levels of transparency.

This extensive «inter-institutional» experience clearly backs up the setting up of this Consortium.

The joint efforts of the three institutions, together

with the incorporation of the non-profit-making private entities, augur a very strong construction in terms of its objectives and excellent results.

The Consortium, being a common institutional solution in public law, offers clear advantages in terms of flexible management and also incorporates a powerful idea: the value of what is public or, if you prefer, the importance that institutions have as a way of setting up social infrastructures that foster development, which in this case is cultural. A cultural projection that, based on the city, spreads out to its immediate and nearby surroundings.

This organisational form means versatility, enables the insertion of other instrumental forms (commercial companies, foundations, etc.) into an «umbrella structure» with a view to improving the management of an enterprise and, by extension, allows the candidature to highlight the public sphere before the citizens who are the ultimate —and main— target in this collective adventure.

consortium executive council cultural chairperson

ex ternal committees

PRIVATE ORGANISATIONS

public institutions

agreements/alliances

managing director

Legal services International relations and Networks General coordination

creative director

Project managers

Digital strategy

Marketing, communication and development

The best strategy is a good organisation: proactive, flexible and permeable. It must be able to assess and use others´ ideas as well as its own.

It must anticipate and manage changing situations

the San Sebastian 2016 Consortium*

Rafael Jiménez Asensio Professor at Pompeu Fabra University Consultant and Director of the Democracy and Local Government Foundation * The opinions expressed in this article are purely of a personal nature.

Finance and administration

Dss2016eu— waves

of energy

Organisation/financing—31

an organisation for a «project culture» 3 3. Public legal entity

2 2. Operational Technical structure

1 1. «By project» management matrix structure

Good project management requires an organisation that is capable of incorporating design thinking into the way it works and of developing a project culture, both internally and among the social and cultural organisations around it. It is a case of fostering individual and collective initiative, applying creativity to the construction of projects that energise people within a framework of understanding the social context and its evolution, providing incentives to the search for flexible responses to changing realities overcoming the ever more generalised aversion to taking risks.

Above all, to focus the future not so much on the next steps to take but, as an Arabic proverb clearly says: «which star do we attach the plough to?».

FLEXIBILITY

orientation, leadership and project the cultural chairperson Our organisation is based on three key elements: a public initiative entity with private participation, an heterarchical professional structure and a «by project» management model Ridderstrale and Nordström claim that «Organising is the art of achieving extraordinary things with ordinary people». Our bid is full of ordinary people, local professionals (some of them national and international references in their sectors) who are working to construct a collective project. people capable of driving things forward and facilitating new forms of personal and community development, working with a variety of other people and organisations. From institutions or citizens’ movements to the worlds of education or business, creating synergies between expressions and ideas that generate for us new —and shared— meanings.

Our organisation is based on three key elements: a public entity governing the project with strong private participation, a heterarchical management structure, and a sound and solid «by project» management model. The first element is the Consortium that creates value for the public based on values that steer its work: coexistence, joint responsibility, transparency, an integrated process, creativity, being rooted in the community, openness, Europeanism and leaving a legacy.

The second element is a sound and solid management structure that is clearly positioned, characterised by flexibility when bearing quality of cultural programmes and the project as a whole in mind. It starts from a heterarchical approach, where the place in the hierarchy is not the determining factor in the day-to-day management of the programmes, where people intervene not by virtue of their position in the organisation but in relation to their ability to add value with skills and solutions to challenges. It is a distributed and creative leadership where the legitimacy of authority is moral rather than hierarchical and can be found, therefore, in any position in the organisation.

Thirdly, the project management approach of our organisation and partnering organisations is the keystone. Although the programmes vary in geometry, life cycle, aim/impact, target group and public, each part contributes with support from the technical structure to achieve the objectives of dss2016eu. This model makes it possible to share leadership not only within the technical team but also among the participating individuals and organisations.

The person responsible for the project´s global development, in charge of guaranteeing a clear and coherent vision in order to promote our principles: COEXISTENCE, participation and social TRANSformation The Cultural Chairperson (CC) is responsible for the overall development/implementation of the project, for guaranteeing that the vision is clear, continuous and coherent, and for ensuring that its guiding principles and its mission are applied on the basis of the concepts of COEXISTENCE, participation and social TRANSformation. (S)he is capable of bringing together elements and perspectives, of creating trust and inspiring PEOPLE to commit to action. (S)he is also the Chairperson of the Consortium, developing relations with stakeholders and institutions in the territory, sounding out and identifying the possibilities of incorporating new members into the Consortium, making agreements with public and private organisations operational and encouraging a cooperation network along European lines. The drive of volunteers is welcomed through collaborating social organisations, and is understood both as an example of citizens' commitment and a collective challenge.

The CC is the link with the technical structure created around the Managing Director (MD) and the Creative Director (CD) of the project’s Management Committee. (S)he informs – and makes proposals to – the Executive Council in liaison with the MD and the CD. (S)he is further responsible for the coordination of the External Supervision Committees, with an important role to play vis-à-vis the External Committee for Education, Legacy and Sociocultural Sustainability. Relations with the institutional, social and business world are also the CC's responsibility.

Like other professionals in DSS2016EU, it is essential that the CC should be a good team player. The CC has an important communication role vis-àvis the public, together with the AD. For the role of the CC we are not thinking of a figure with a political profile, rather someone who is able to bring together different areas of know-how and practice and get PEOPLE on board. Therefore, (s)he needs to have extensive management experience, in-depth knowledge of public institutions and private companies and a wide network to enable him/her to mobilise support for the project. The CC is appointed by the governing body of the Consortium –the Executive Council- and is part of it, as one of the 9 members.

Iñigo Ibañez

waves of energy—Dss2016eu

32—organisation/financing

If an area around the cit y is involved in the event, how will the coordination bet ween the authorities of the relevant local and regional authorities be organised?

1.2

Current members of the Consortium are San Sebastian City Council, Gipuzkoa Provincial Council and the Basque Government, and semi-private organisations such as the Kutxa Foundation, owned by the local savings bank, the University of the Basque Country and the Employers’ Confederation of Gipuzkoa.

This Consortium establishes partners through cooperation agreements with a wide range of public, private, non-profit-making or commercial entities in order to carry out the project and help it grow throughout its life cycle. For example, there are already cooperation agreements with other

cities in the dss2016eu territory such as VitoriaGasteiz and Bilbao and the main cities in the French Basque Country: Bayonne and Biarritz.

The Consortium also establishes cooperation agreements with several municipal councils in the province of Gipuzkoa, focused on specific programmes, and also with a wide range of Basque, Spanish and European groups with which it shares interests through the dss2016eu project. Examples are Irún, Tolosa, Zumaia and Alkiza at a local level; Hendaye in the French Basque Country or Strasbourg and the Spanish and Polish European Capital of Culture 2016 candidate cities.

Map of functions

a 360º organisation

agreements for an effective contribution: external committees The setting up of arrangements with a number of stakeholders is not so much a theoretical exercise but a way of creating links for effective contribution. DSS2016EU project sets out to work on creating a real cultural community. To achieve this, it involves third parties in work with the DSS2016EU team to ensure the best possible monitoring and control of the local as well as the European institutional mandate. The following external committees are set up: → Education, Legacy and Sociocultural

Sustainability Committee. Its remit is to exploit the educational potential of the programmes, encouraging the evolution and TRANSformation of the way PEOPLE do things in the territory. It works to develop cultural behaviours that are respectful of diversity –in all its aspects– and the generations of the future. It is coordinated by the Citizens’ Participation Department of San Sebastian City Council.

Dani Blanco

We will establish a classical organisation chart, with horizontal organisational dynamics and «by project» management. We have designed a matrix organisation rather than a pyramid one which is able to clearly define the hierarchies and focus more on stimulating than on control.

It will also be efficient in order to adapt to the management requirements that could arise

→ Science and Innovation Committee. Charged

with promoting interaction between the sciences, arts and thinking in DSS2016EU, and also to encourage creativity and innovation processes, especially in the cultural and creative sectors. It consists of representatives from science and technology centres in the Basque Country and the French region of Aquitaine, plus organisations that work in social innovation and the creative sectors. The Basque Agency for Innovation and the Basque Science Foundation are also involved here. → Evaluation Committee. Its function is to

Although this functional organisation chart shows a hierarchy of positions along classic lines, it should not be interpreted as the structure for the organisation of the project. It is a map of the functions undertaken within the framework of the ECoC 2016 project. The organisation will work with a collaborative approach towards external stakeholders, support cooperation between work areas, and offer an overall vision of itself around the collective challenge.

Within the autonomy of each work area, it is clear to all those involved, as well as to the public, that our citizens are the heart of the programmes.

It is therefore important to strengthen consistency across the programmes. This is one of the tasks of the managing director (MD): to provide incentives, in line with the Mission of the Consortium, to promote an agreed artistic and creative approach, and to ensure that all team members work in the same direction based on a 360º vision. The work to be done is conceived as a people–focused space for learning and knowledge transfer, and the MD actively supports the authentic development of strategies accordingly.

The 360º organisation is a flexible, solution-focused organisation that responds quickly and takes

well-informed decisions on the implementation of programmes. We expect a high number of projects, some of them on a large scale. The day–to–day management of the project is structured with a circular matrix rather than pyramid. This matrix describes hierarchies very clearly through a focus on promoting and measuring developments instead of a focus on control, but without affecting the day-to-day management of the project. It functions efficiently, optimised the use of resources and takes advantage of any opportunities that may arise.

The organisation is independent, with its own management and supervision mechanism, and has sufficient economic and professional resources.

Its remit includes locating and generating new resources and orienting and coordinating aspects of the programmes harmoniously according to its own criteria for prioritisation. It is also functions in a network of internal and external connections with local, national and European stakeholders, with its leadership distributed among highly-qualified experts who undertake their areas of responsibility enthusiastically. Basically, an organisation of energetic team players that starts from a shared set of values to mobilise citizens around the concept of coexistence.

lead and expedite the process of evaluation of the different practices and actions carried out under DSS2016EU, and also to propose suitable corrective measures (if required) to the Executive Council. Its constitution is specified in the section on Evaluation. → Infrastructures and Environmental

Sustainability Committee. Responsible for identifying, facilitating and supervising the use of different infrastructures by DSS2016EU, and verifying the environmental sustainability of all the actions organised under the event. → Economic and Financial Control Committee.

Its remit is to ensure that good financial practice is followed in DSS2016EU, together with compliance with any public requirements and guarantees. It ensures transparency and the control of the project’s financial plan. The committee is comprised of the Director of the Chamber of Commerce of Gipuzkoa, the Director of the University College of Business Studies (University of the Basque Country) and the Financial Controller of San Sebastian City Council.

Dss2016eu— waves

of energy

Organisation/financing—33

value-based management A coherent organisation lives, examines and promotes the values it says it pursues through its activity. dss2016eu is a project based and managed on the values of coexistence, diversity, proximity, sustainability, public support and private involvement, transparency and participation. Therefore the dss2016eu project has a Code of Ethics to govern the day-to-day functioning of the Consortium, its decision-making bodies and representatives, the technical and professional structure, and also the

way in which it carries out its programmes. The code does not set out to limit the Consortium’s scope of action, rather it lays down the rules of the game for a project of great importance for the city, Gipuzkoa and the Basque Country, with a strong emotional and economic component. It strengthens the notion of making culture the fourth pillar of sustainable development, ensuring the positive social impact of the event and the passing on of its legacy to future generations.

project management CULTURAL CHAIRPERSON GENERAL MANAGEMENT ARTISTIC DIRECTION

The project managers have a wide range of profiles and make up a multidisciplinary team. Each one gives priority to projects focused through a particular system or method

Projects

Projects

Projects

Systems–oriented – AUZOlab, laboratories of citizens' energy – Hirikia, TRANSmedia laboratories – Pagadi, Art and Creativity laboratories – H(e)IZKUNTZA, language laboratories – Cultural Park laboratories

The project, not the department, is the basic unit of reference in our management system.

The functional structure revolves around it. It does not eliminate managers but generates a heterarchical organisation that is more horizontal with distributed hierarchies.

Each project – Mainly responds to a thematic Lighthouse.

– Has variable geometry –dimension, components– vis-à-vis other projects.

– Applies one or more systems.

– Has a multidisciplinary and autonomous management team (crossed by functional areas).

– Can be managed by an internal, external or mixed team (with other stakeholders).

– Has an identifiable leader.

– Reports to a project manager who advises and monitors its progress.

– The management team orientates and provides resources and a framework, and only intervenes in the event of a conflict that cannot be resolved within the scope of project management.

PROJECT MANAGERS

Projects

Types of projects Own initiative and production Own initiative and produced by third parties Associated projects Projects subject to covenants Supported projects Brand-linked

Dani Blanco

Digital strategy office Economic, financial and administration office Marketing, communication and development office Other general services

CITIZENS

MANAGEMENT

a project for each person, and everyone in a project We will set up multidisciplinary teams that will work in a collaborative fashion. The idea is to guarantee that each project is supplied with the visions needed to enrich it. Leadership in each project will lie in a specific, clearly identifiable person. Artistic direction and project managers will provide resources and working environments. They will also oversee The combination of a matrix organisation that also has a functional structure enables each area to focus on its own activities while allocating people with specialised know-how and an overall vision to programmes. This means that the work teams consist of people from different internal areas and/or collaborating organisations linked to the programme.

The leadership of each of these programmes is independent of their hierarchical position or post in the organisation. Everyone, regardless of their involvement or functional area, is both part of and / or leading an internal (specifically organisational) as well as an external (programmatic, part of the proposal) programme. The aim is to

ensure that each programme contains all possible perspectives and generates enriching crossovers.

Nonetheless, the artistic direction and the project managers undertake the overall supervision of all the programmes .

Moreover, the matrix organisation of the project offers other advantages such as: flexibility of structure, task-based orientation, the development of individuals within the organisation, the development and collectivisation of new knowledge and networks, smoother internal communication, strengthened motivation, understanding of — and a personal commitment to — the overall aim of the project, effective coordination and the best use of resources.

internal committees The operational management structure in DSS2016EU is a project management model based on a matrix structure in which individuals and a range of external organisations intervene, although two are essential for coordination and general management: → Management Committee: Responsible for the

definition of the framework and strategies in the DSS2016EU project, consisting of the CC, the MD and the AD. It works on aspects in which the members have direct competence, but always from the perspective of overall strategies and lines of work. They only intervene in operational matters if it is strictly necessary. Decisions are generally taken by consensus, although in the event of a major disagreement the CC has the casting vote. → Technical Committee: Responsible for the

definition and monitoring of the operational management, coordinating the day-to-day running and planning of activities and selecting the teams for the most important programmes.

It is also the forum for developing internal communication strategies, solving possible conflicts between areas or clarifying doubts on the focus of programmes run by the team or run in cooperation however this might be. Special attention is given to financial control and the orientation of the entire organisation towards communication and the generation of resources.

The development of the different work systems is also monitored, especially in terms of their impact on transversal participation or pedagogical processes.

waves of energy—Dss2016eu

34—organisation/financing

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?

1.3

The role of artistic director has been carried out throughout the bid by Santiago Eraso, a professional of recognised prestige both nationally and internationally. He has extensive knowledge of the cultural situation in the Basque Country, was previously director of Arteleku (a benchmark centre-laboratory for artistic creation) and consultant to a number of very different cultural projects.

With the designation of ECoC 2016 and the creation of the Consortium, the artistic director is appointed by the new Executive Council following a proposal from the Cultural Chairperson. The Creative Director is responsible for implementing

the mission of dss2016eu in the form of a cultural programme, following the criteria of maximum impact in society and the highest possible artistic quality. His/her responsibilities are linked to the creation and identification of projects that incorporate a wide range of cultural realities and expressions, and (s)he carries out, together with the rest of the team, the tasks of selection and definition of the final programmes. Together with his/her team, (s)he decides on work systems, proposes, determines and maintains relations with operators and collaborators in the programme, and supervises the implementation of the different programmes and actions.

LEADERSHIP

thinking globally, but with our feet on the ground artistic direction / creative director Leaders are creators and transmitters of stories that can bring a team together and transform those stories into memorable experiences for the public. These experiences require a willingness to experiment, get involved and take risks, plus the ability to mobilise management skills around the project... and a high degree of trust in people.

Within the «by project» Management framework, the Creative Director (CD) coordinates a team of project managers as well as the programming and production department. The thematic consultants also report to him/her. (S)he also exercises leadership in the functional area of Digital Strategy. (S)he works, together with other functional areas — particularly Marketing — on the overall conceptualisation of the range of experiences on offer.

(S)he is, together with the Cultural Chairperson (CC), the public face of dss2016eu.

Together with the Managing Director (MD) the three make up the senior management, and are thus the conceptual and communicative core of the project responsible for making proposals to the Executive Council.

The CD has extensive knowledge of the artistic-cultural environment and is closely familiar with new trends in the world of art and creative opportunities, interacting with

a wide range of social and economic strata.

(S)he also has extensive knowledge of the themes on which the project is based and will have been a manager of teams organising outstanding, and prestigious artistic projects. The CD, who will be experienced in team management, is someone who is familiar with innovative systems and working methods, plus the ability to apply and evaluate them. Due to the nature of the dss2016eu project, the CD needs to be familiar with international networks related to the sector.

We are talking of someone who can speak several languages and who frequents environments where social innovation takes place.

(S)he should also be a good communicator and educator, and a skilled negotiator.

(S)he works with cultural or social organisations with local creators, getting people involved in the project and giving it an international dimension, using international links where necessary.

The artistic / programmatic orientations are presented by the CD to the Management Committee, in which (s)he participates together with the MD and the CC for their examination and approval together with the other strategic lines of the project.

general management / managing director Effectively managing an organisation is not just a question of control and exercise of authority but about having a clear approach and the ability to focus on what is really important while getting a team on board at the same time. This needs to be done from an overall vision of the organisation, in this case linking citizens’ participation to management, the pedagogic element of the programmes, and a global concept of communication, both internally and externally.

The managing director (MD) undertakes the task of fostering, planning and coordinating work areas and systems and organises and manages resources to achieve the objectives.

The MD will be in charge of management, both in its strategic and operational dimensions. (S)he heads the technical structure and, therefore, the overall management of the project, focusing his/her attention on the areas of Marketing, Communication and Development (fostering all relations with other organisations and businesses in general), Administration and Finance.

(S)he pays particular attention to management training, development and coaching of staff, the financing of culture by local operators, the Development Office and new sources of finance. The MD also runs the Coordination Office, the

legal services and the Tourism Coordination Office with other operators from the cross-border territory. (S) he sits on the Management Committee with the CD and the CC, monitors and fosters national and international relations, establishes alliances and participations in — or encourages the setting up of — networks. (S)he will be able to rely on the team at the Basque Government office in Brussels to reinforce the participation of dss2016eu in the activities promoted by European institutions. The MD heads the Technical Committee, which will be coordinated by his/her staff.

The job profile refers to a person with the following characteristics: a high level of training, knowledge and experience in the management of cultural (and other) organisations and events. Able to coordinate and inspire teams, with experience in project as well as general management. A good communicator, adept at defining strategies for communication, marketing and the financing of cultural events and programmes.

A proactive approach and leadership capacity. Someone who highly values innovation and different working systems (a feature of many of the programmes of dss2016eu project to host the ECoC 2016. The appointment is made by the Executive Council following a proposal made by the cultural chairperson.

Dss2016eu— waves

A.

of energy

Organisation/financing—35

Citizens Communication Participation Mobilization

B. Networks / Consultants / Suppliers C. Cultural, social and economic agents

a citizen-focused organisational structure

A B

C project management

D. Technical office

D

E. Consortium

E

The project is the unit of reference in DSS2016EU. Each one takes on meaning in that it responds to the needs, challenges and concerns of our citizens and is able to involve them in dealing with these. Obviously, our organisation not only provides what is asked of it, it also encourages critical reflection and draws up provocative proposals that introduce creative disruption in and around the DSS2016EU community: citizens, European artists and creators, all kinds of social organisations, universities and the world of education, the worlds of business and work, international networks… generating shared projects that are independent and can have a life of their own beyond the capital status event.

Dani Blanco

PERFORMANCE

technical team It comprises an economic department, a digital strategy department, a marketing and communication department and the project managers. people who work in these departments will be in charge of designing, producing, communicating and financing all the activities, events and projects included in our cultural programme

management office / project managers This is the area responsible for the management of the activities included in our cultural programme to be carried out in any area and modality as well as the cultural programming and production for dss2016eu.

It is also responsible for designing of the working systems and working methodologies. It is headed by five project managers, who operate as advisers to the AD. They have different knowledge and experience profiles (science, arts, technology, pedagogy

and ecology) and need to be able to have an overall vision of the projects and interactions between areas they directly supervise each programme, guaranteeing that it is resultsoriented and functions according to the criteria of a matrix structure and autonomy.

They are the direct link to the project leaders and drive and facilitate relationships, so they need to be versatile and specialised in certain areas, although with an overall vision.

digital strategy department This office works on: the design and development of the digital communication strategy and the social networks of dss2016eu and its cultural programme. Maintaining open channels of dialogue and interaction with citizens and the other operators and agents involved in the project for its implementation in the digital world.

The design of 2.0 and 3.0 collectivisa-

finance and administration department Responsible for the budget and financial management, contributions from institutions, Funding from cultural and non-cultural sources, fundraising, sponsorship in its classic forms, private micro-sponsorship, microcredits to social organisations and private sponsorship with resources other than money. This department also covers General Administration (accounts, tax, information, services and supplies, other assistance, collection and payments), management of

the Intranet (a Social Office application is used extensively currently.

This allows sharing of information and open and collaborative generation of a high level of content), human resources and staff management and anything related to generating income through areas such as ticketing or merchandising.

It also establishes monitoring and examination mechanisms through a control panel with the external financial control committee.

marketing, communication and development department tion and participation strategies, as a separate department from analogue communication.

The design and start-up of a platform that includes processes and results during the whole ECoC 2016 project, and which operates as a «projects bank» as an important legacy of best practice for similar projects in Europe.

Supports the programming and production team in the design and presentation of the offer, providing advice on the policies that guarantee participants’ satisfaction in a particular activity through the definition of the marketing mix.

Specifically, it works on business development and the generation of new sources of finance, promoting

the Foundation for Companies for Culture & Creativity, obtaining sponsorship and patronage and attracting and dealing with the public, press and any other kind of communication system.

This department also designs strategies to promote the visibility, sense of ownership, dialogue and impact of the project.

waves of energy—Dss2016eu

36—organisation/financing

What has been the usual annual budget for culture in the cit y over the last 5 years?

The municipal budget allocated to culture has risen considerably over the last 5 years. The provisions of the Culture Department of San Sebastian City Council have increased from 12 million euros in 2007 to over 21 million in 2011. This is 7.23% of the city’s total budget in 2011. This increase is basically justified by new programmes and activities associated with the refurbished Victoria Eugenia theatre and the extended Okendo Culture Centre or the new Aiete Culture Centre. Other city departments also have large budget allocations for cultural activities or themes directly related to dss2016eu.This makes a total of more than 34 million euros that

2.1

table 2.1 usual annual budget allocated to culture YEAR

current expenditure budget of the city council

Usual annual budget for culture in the city.

Excludes investments in euros

Usual annual budget for culture in the city.

Excludes investments in % of the total annual budget

Culture Dept. San Sebastian City Council

Total expenditure on culture*

Culture Dept. San Sebastian City Council

Total expenditure on culture*

2007

2007

2007

2007

2007

2008

2008

2008

2008

2008

2009

2009

2009

2009

2009

2010

2010

2010

2010

2010

2011

2011

2011

2011

2011

€192,334,190.12 €271,705,151.23 €284,957,723.16 €288,098,788.26 €295,361,339.45

€12,504,951.37 €19,930,190.40 €19,249,650.21 €18,679,951.25 €21,367,116.15

23,803,231.59 € 33,454,263.24 € 32,423,625.61 € 30,744,698.72 € 34,462,883.84 €

6.50% 7.34% 6.75% 6.48% 7.23%

12.38%

have been allocated by the City Council to cultural activities in 2011 and this is 12% of the city’s total budget.

This figure increases considerably if we include contributions to culture in San Sebastian by other institutions. For example, in 2010, if we take into account that expenditure on culture with a direct effect to San Sebastian City Council is respectively 20% for the Provincial Council of Gipuzkoa and 8% for the Basque Government, the total budget would rise to over 54 million euros. This number does not take into account contributions by other bodies such as the Spanish Ministry of Culture.

We have a guaranteed budget of €89,000,000 based on signed commitments by the public bodies that founded the Consortium and the expected contributions from the Ministry of Culture and the Melina Mercouri European Prize

12.31% 11.37% 10.67% 11.67%

*Various municipal areas including subsidies to entities.

commitment

towards a new approach to financing culture in the Basque Country The unusual organisational structure of dss2016eu is also reflected in a certain degree of financial singularity. The strong commitment of San Sebastian City Council, Gipuzkoa Provincial Council and the Basque Government is combined with the pledge made by the private sector to get involved in the project, not just with financial contributions but also by creating permanent structures and channels to link the business world and culture The organisational singularity of dss2016eu is also reflected in a certain financial singularity.

The strong statement made by San Sebastian City Council, the Provincial Council of Gipuzkoa and the Basque Government, guaranteeing 75% of the finance required, is linked to a clear commitment declared by the private sector to get involved in dss2016eu.

This commitment means financial contributions to events (20% of the budget) as well as the creation of permanent structures and channels within and between business, culture and the arts. This ranges from classic or skills sponsorship in hours of staff, to experts driving artistic interventions in productive and social organisations in a search for innovation (through the auzolab and other specific projects). In one sentence, our financial approach includes a budget of public-private sources that promotes a change in the traditions of financing local social and cultural organisations with a balanced price policy accessible for everyone on his or her level.

For this reason, and apart from training in the techniques of sponsorship and financial diversification, we foster participation of professionals from other sectors in our cultural organisations through skills sponsorship. Futher we create our own fundraising platforms (linking them to others already in existence or those under construction) and crowdfunding.

We not only seek to attract sufficient resources for the programming of dss2016eu but also to favour — and where possible consolidate — sound and solid financing of the cultural organisations of San Sebastian and its area of influence.

In line with our slow innovation way of thinking, it is important to take the best expertise the world has to offer and provide what the project has to offer, and at the same time sow the seeds and promote the «genius loci» as Francesco Morace explains in his book La Strategia del Colibrì or The Hummingbird Strategy. A new tradition in management and financing of culture is part of the legacy of dss2016eu.

a prudent financial framework Sources for the budget of €89,000,000 are: signed commitments made by the City, Provincial and Regional Councils -founders of the Consortium DSS2016EU, plus expected contributions by the Spanish Ministry of Culture and the Melina Mercouri Prize to the total of €66,750,000 or 75% of the budget; the companies in our region will contribute 20% or €17,800,000; 5% is expected from ticket sales and merchandising (€4,450,000). A sum equivalent to 4% of the budget for the 2009-2020 period will be used in 2012-2016 as an unforeseen and reserve fund. This guarantee fund (€3,505,000 ) covers unforeseen deviations and exceptional costs. In principle the guarantee fund will only be allocated in exceptional cases and the rest will be gradually allocated in the 2017-2020 period to strengthen the consolidation of the sociocultural footprint or to reduce the contribution of the Basque institutions —depending on the evolution of the socioeconomic framework, taking into account principles of realism, flexibility and responsibility. Extra income would lead to an increased budget of €108,800,000. These budget is the result of adding to the €89,000,000 ordinary budget the additional income forecast.

These additional resources include financial support from other local collaborating public entities in our territory, funding from national and European programmes that projects from our programme are eligible for, donations by individuals or their foundations, contributions in kind (calculated into a cash flow) and the collaboration of companies in the implementation of skills sponsorship in our staff and in competences. This sums up our total budget for the cultural programme of DSS2016EU. This additional revenue will be allocated as outlined in the cultural programme to expand the area of operation, either by enriching some of the proposals or by increasing the number of programmed activities.

Dss2016eu— waves

of energy

Organisation/financing—37

Please explain the overall budget for the European Capital of Culture project (i.e. funds that are specifically set aside for the project). Please fill in the tables below.

2.2

A total budget of €89,000,000 is envisaged for 20092020, with €41,000,000 assigned to the year 2016; this figure is a real and feasible commitment made in times of economical crisis. The solvency of this budget is based on the financial commitment made by 3 public institutions: San Sebastian City Council, the Provincial Council of Gipuzkoa and the Basque Government, guaranteeing 75% of this actual sum for the entire period in a signed document. This bid does not envisage using funds from the annual operational budget for culture of the 3 institutions to co-finance the project. Of course, where possible, running activities from the involved institutions will be brought in

table 2.2 a overall expenditure budget Total expenditure in the budget

Operating expenditure in euros

Operating expenditure %

Capital expenditure in euros

Capital expenditure %

€444,093,000

€89,000,000

20.05%

€355,093,000

79.95%

Only cultural investments

€5,325,556,000 together with urban infrastructures

Only cultural investments

Only cultural investments

tables 2.2 b overall income budget Total income in the budget

From the public sector in euros

From the public sector %

From the private sector in euros

From the private sector %

€89.000.000

€66,750,000

75%

€22,250,000

25%

Income from the public sector

in euros

%

National Government

€11,000,000

12.4%

Commited and planned ammounts Planned, unspecified

City Council

€18,083,334

20,3%

Regional Council

€18,083,334

20,3%

If necessary, commitment up to 25% If necessary, commitment up to 25%

EU

€1,500,000 (Mercouri Prize)

1.7%

Not detailed

Others – Provincial Council

€18,083,334

20.3%

If necessary, commitment up to 25%

San Sebastian City Council, Gipuzkoa Provincial Council and the Basque Government guarantee as institutions promoting dss2016eu that 75% of the budget for the ECoC project will be publicly funded financing budget Melina Mercouri Prize 2%

Sales 5%

Private companies 20%

Ministry of Culture 13%

dss2016eu

Provincial Council of Gipuzkoa 20%

San Sebastian City Council 20%

Basque Government 20%

Private financing + sales: 25% Public financing: 75% Rounded off percentages

line with the Project objectives but without losing sight of the original. The final breakdown of expenditure allocates a figure somewhere above 60% to programming and project costs (a further €1,000,000 is set aside for activities directly carried out with Poland in a number of projects), 20% to marketing, communication and digital strategy, and 16% to structural costs (wages, overheads and administration). Almost 4% of the total budget is allocated to the Guarantee Fund, and 1% of each chapter goes on evaluation. The budget of €89,000,0000 does not include investments, because none of the investments envisaged are conditional on being awarded the status of Cultural Capital.

solid financial commitment by institutions, companies and citizens As well as strong institutions with financial capability, the Basque Country has a solid and extensive business fabric, mainly of an industrial nature but also in services and advanced technologies. Recently San Sebastian is being recognised as a «City of Science and Innovation» by the Ministry. Its companies have deep roots in the territory and are committed to the development of the Basque Country as a whole. The contribution of the private sector to the budget will be 20% from 2009-2020; in the additional budget 26% comes from enterprises, in which we include cash contributions as well as company support through hours of staff for skills sponsorship.

We can currently count on contributions, and a commitment to do so in the future, from Fundación Kutxa, the social arm of the most important financial entity in Gipuzkoa, and major companies in the territory such as Amenabar, Campezo, Euskaltel, FCC, Moyua, Murias, Obegisa and Orona.

If San Sebastian is nominated to be ECoC 2016 we are assured of financial support from many other organisations and large SMEs (since these companies also supported financially in the candidature phase). These are, among others, the Chamber of Commerce of Gipuzkoa, Grupo Gureak, Fundación Ficoba, Industrias Mail, S.A., TT Ejes, S.A., Corporación Patricio Echeverria, S.A., Construcciones Galdiano, S.A., Industrias Químicas Irurena, S.A., Hine Group, Grupo TTT, Lanik, I.S.A., Engranajes Juaristi, S.L., CTI Soft, S.L., JAZ-Zubiaurre, S.A., Ascensores Muguerza, S.A., Hotel Codina, S.A., EZARRI, S.A., TS Fundiciones, S.A., Fresmak, S.A., Reiner e Hijos, S.A., Ibermática Tecnología y Conocimiento, Lagun Artea Grupo Empresarial, S.L., IkanKronitek, S.L., Tratamientos Superficiales Iontech, S.A., Grupo Alfa and Orbea. The way most of these companies will contribute is via the Companies for Culture and Creativity Foundation.

This foundation will be raised with the help of contacts from several member companies of ADEGI (Employers’ Federation of Gipuzkoa).

It is important to mention the strong support of Corporación Mondragón, one of the biggest cooperative industrial conglomerates in the world. Plans have been worked out with the employers’ organisations of Bizkaia (CEBEK) and Álava (SEA) and with the Chamber of Commerce of Bayonne in France.

Contacts are being made with several member companies of ADEGI (Employers’ Federation of Gipuzkoa), and an agreement has already been reached for development of links between the Bid-companies and the creation of a Companies for Culture Foundation, and also with Corporación Mondragón (one of the biggest cooperative groups in the world). Conversations have been started with the employers’ organisations of Bizkaia (CEBEK) and Álava (SEA), and also with the Chamber of Commerce of Bayonne (France).

waves of energy—Dss2016eu

38—organisation/financing

Please explain the operating budget for the ECoC project.

PLANNED Calendar FOR DISBURSEMENTS OF OPERATING EXPENDITURE (aDjustED BEGINNING 2013) WITH GENERAL BUDGET.

2.3

We have divided the operating budget into four sections: Programming and Project expenditure which includes cultural projects and systems, digital strategy and personnel expenses assigned to the cultural programme, Marketing and Communication expenditure which also includes expenses assigned to personnel, organisational structure expenses where the Management Team is found, Staff not connected to projects such as the area of Administration and Financial/Economic (this includes the organisation’s overall expenditure not allocated to projects), and a Guarantee Fund.

The graphs show logically that structural costs

are proportionally higher in the years before and after 2016 since in 2016 proportionally more costs are incurred, especially for activities.

Thus, in the year of the event 67% of the budget is allocated to projects, and the percentage for all the other items drops, with the exception of the Guarantee Fund.

This allocation is made based on a budget of €89,000,000 although, as previously stated above, there is reference to other possible monetary deposits and in kind that make up the increased budget (€108,800,000), which will help to strengthen programming.

table 2.3 a overall operating expenditure Operating expenditure in euros

Programme expenditure in euros

Programme expenditure in %

Promotion/marketing in euros

Promotion/marketing in %

Wages, overheads, admininistration in euros

Wages, overheads and administration in %

Others (Guarantee fund) in euros

€89,000,000

€53,613,000

60.24%

€17,699,000

19.89%

€14,183,000

15.94%

€3,505,000

table 2.3 b1 operating expenditure: planned timetable for spending Programme expenditure

%

Marketing and % promotion expenditure

Wages, overheads, administration

%

Others (Guarantee fund)

%

Total

%

2009-2011

€1,620,000

60%

€675,000

25%

€405,000

15%

€0

0%

€2,700,000

3.03%

2011

€1,210,000

55%

€660,000

30%

€330,000

15%

€0

0%

€2,200,000

2.47%

2012

€1,272,000

53%

€600,000

25%

€408,000

17%

€120,000

5%

€2,400,000

2.69%

2013

€2,332,000

53%

€924,000

21%

€924,000

21%

€220,000

5%

€4,400,000

4.94%

2014

€3,657,000

53%

€1,518,000

22%

€1,380,000

20%

€345,000

5%

€6,900,000

7.75%

2015

€8,162,000

53%

€3,542,000

23%

€2,926,000

19%

€770,000

5%

€15,400,000

17.30%

2016

€27,470,000

67%

€6,970,000

17%

€4,510,000

11%

€2,050,000

5%

€41,000,000

46.06%

2017

€2,850,000

57%

€1,050,000

21%

€1,100,000

22%

€0

0%

€5,000,000

5.61%

2018

€2,240,000

56%

€760,000

19%

€1,000,000

25%

€0

0%

€4,000,000

4.49%

2019

€1,680,000

56%

€600,000

20%

€720,000

24%

€0

0%

€3,000,000

3.37%

2020

€1,120,000

56%

€400,000

20%

€480,000

24%

€0

0%

€2,000,000

2.24%

Total 2011-2020

€53,613,000

60.24%

€17,699,000

19.89%

€14,183,000

15.94%

€3,505,000

3.94%

€89,000,000

100%

table 2.3 b2 operating expenditure: anticipated calendar for disbursements (adjusted beginning 2013) Programming expenditure

%

year n+30%( n+1)

Marketing and promotion expenditure

%

year n+35%( n+1)

Wages, overheads, administration

%

Others (Guarantee fund)

% Total

%

year n+10%( n+1)

2009-2011

€1,620,000

60%

€675,000

25%

€405,000

15%

€0

0%

€2,700,000

3.03%

2011

€1,210,000

55%

€660,000

30%

€330,000

15%

€0

0%

€2,200,000

2.47%

2012

€1,272,000

53%

€600,000

25%

€408,000

17%

€120,000

5%

€2,400,000

2.69%

2013

€3,429,100

53%

€1,455,300

21%

€1,062,000

21%

€220,000

5%

€6,166,400

6.93%

2014

€5,008,500

53%

€2,226,400

22%

€1,534,600

20%

€345,000

5%

€9,114,500

10.24%

2015

€13,954,400

53%

€4,741,800

23%

€3,084,400

19%

€770,000

5%

€22,550,600

25.34%

2016

€20,084,000

67%

€4,898,000

17%

€4,169,000

11%

€2,050,000

5%

€31,201,000

35.05%

2017

€2,667,000

57%

€948,500

21%

€1,090,000

22%

€0

0%

€4,705,500

5.29%

2018

€2,072,000

56%

€704,000

19%

€972,000

25%

€0

0%

€3,748,000

4.21%

2019

€1,512,000

56%

€530,000

20%

€696,000

24%

€0

0%

€2,738,000

3.07%

2019

€784,000

56%

€260,000

20%

€432,000

24%

€0

0%

€1,476,000

1.75%

Total 2011-2020

€53,613,000

60.24%

€17,699,000

19.89%

€14,183,000

15.94%

€3.505.000

3.94%

€89,000,000

100%

This table shows how the cash flows required for the optimal execution of the title process have been calculated. It is designed to provide sufficient financial resources to undertake commissions, preparatory work or personnel needs in line with the planned timetable.

We have estimated that the liquidity requirements of the project from 2013 onwards mean that we need an expenditure budget for each year plus a percentage of the figure set for the following year in order to be able to stay liquid. These estimates take into account the advance payments of 10% on the organisational structure (particularly high in 2015 due to the preparation of events in 2016), 35% in the case of marketing and promotion expenditure and 30% in programming and projects, which also require the prior performance of a multitude of tasks.

We thus obtain a more precise calendar of the financial needs.

The translation of financial needs into the timetable of contributions by other entities and other additional sources of income is reflected in response to question 2.7.

Dss2016eu— waves

of energy

Organisation/financing—39

Overall capital expenditure.

Certainly, coinciding with the period of preparation and development of dss2016eu, the undertaking of a large investment in the city and its surroundings is anticipated. However, these proposed investments do not depend on being nominated European Capital of Culture. It deals with investments already underway or in development. In total, there are more than 5 billion euros planned in investments, which include major transportation and communication infrastructure like the High Speed Train and the metro.

The volume of planned cultural investments from short to long-term, the vast majority com-

2.4

mitted, amounts to 355 million euros. Noteworthy are the creation of the International Centre for Contemporary Culture, Tabakalera (scheduled to open in 2015), which will play an important role in the capital process, the Higher School of Music of the Basque Country, Musikene, the construction of a new university library and the remodeling and expansion of the San Telmo Museum.

The Balenciaga Museum is also of great importance, dedicated to the great designer from Getaria (Gipuzkoa), the Centre of Heritage Furniture of Gipuzkoa, Gordailu, and Ekogune, a project promoted by the Kutxa Foundation.

table 2.4 a overall capital expenditure Capital expenditure

Funding of new cultural infrastructure or upgrading of existing facilities (including museums, galleries, theatres, concert halls, art centres, etc.)

Urban revitalisation (renovation of squares, gardens, streets, public space development, etc.)

Infrastructures (investment in the metro, rail stations, dockyards, roads, etc.)

€5,325,556,000

€355,093,000

€50,000,000

€4,920,463,000

table 2.4 b capital budget: cultural and urban infrastructures

PROJECT

BUDGET

Extension of the Aquarium (third phase)

€48,000,000

Extension of the Kursaal Congress Centre

€10,000,000

Basque Culinary Center

€17,100,000

UPV/EHU Library (University of the Basque Country)

€27,600,000

Woman´s House

€2,000,000

Nature House of Ulia

€2,320,000

House of Peace and Human Rights

€5,890,000

Talent House

€12,700,000

Intxaurrondo Community Centre

€17,000,000

Adapted Sports Centre

€9,000,000

The Garden of Memory

€2,633,000

San Telmo Museum

€25,000,000

Musikene (Basque Country Higher School of Music)

€21,300,000

Ametzagaina park

€9,300,000

Audiovisual Innovation Pole

€20,000,000

Tabakalera

€70,000,000

Ondartxo

€1,250,000

Ekogunea Kutxa Foundation

€15,000,000

Centro de Patrimonio Mueble de Gipuzkoa Gordailu

€14,000,000

Ipupomamua

€1,000,000

Balenciaga Museum

€20,000,000

Lore Toki

€4,000,000

Total cultural infrastructures

€355,093,000

PROJECT

BUDGET

Intermodal bus station

€30,463,000

Local narrow-gauge railway & Metro

€712,000,000

High Speed Train

€4,178,000,000

Total urban infrastructures

€4,920,436,000

Balenciaga Museum €20 mill.

Kursaal €10 mill.

Otros €37,4 mill.

Aquarium €48 mill.

Ekogunea Kutxa Foundation €15 mill.

Basque Culinary Center €17 mill.

Talent House €12,7 mill.

dss2016eu

Intxaurrondo Community Centre €17 mill.

San Telmo Museum €25 mill.

Tabakalera €70 mill.

Gordailu €14 mill.

Musikene €21 mill.

Audiovisual Innovation Pole €20 mill.

waves of energy—Dss2016eu

40—organisation/financing

Have the public finance authorities (cit y, region, State) already voted on or made financial commitments? If not, when will they do so?

2.5

The institutions promoting the project have expressed the financial commitment, through the agreement signed in 2009. Further protocols were signed in April 2011 whereby these entities set up a Consortium in the event of San Sebastian be selected European Capital of Culture 2016. These protocols also determine the guarantee of 75% of the budget (including expected contributions from the Spanish Government and the Melina Mercouri Prize).

The contributions by San Sebastian City Council, the Provincial Council of Gipuzkoa and the Basque Government will be above €18,000,000 each. At the time of writing this document, the contribution of

the Spanish Government to the ECoC title process 2016 is unknown and therefore the candidate cities have agreed a provision of between 11 and 13 million euros. We have applied the lower figure in our budget based on a criterion of caution.

Given the extraordinary nature of the demonstration, this income budget will not affect the normal expense dynamics in any of the three public founding administrations of the Consortium. The 3 institutions seek to develop their daily activities to promote synergies and collaborations that allow to add and strengthen, both in projects and the economy, the outstanding programming of the ECoC.

CHALLENGE

the search for common values and shared meanings

DSS2016EU will explore new funding methods

The current economic crisis and cultural downturn is an acid test for the cultural sector, which will need to be able to apply a good deal of imagination and creativity in its programming proposals and in the way it operates and finances itself. For this reason, we need to understand what motivates the business world in order to link it up with our organisation and how to satisfy business needs by responding better to ours

→ Tax discount

For sponsors and deductions for private contributions making use of the specific tax system in force in the Basque Country.

→ Private mini-sponsorship

management granted directly to artists.

→ Microcredits

For new creative cultural companies and for projects and platforms that encourage open collaborative innovation between artists and companies.

→ Creative exchange

Band to link and exchange ideas, resources, time, pilot projects, companies and artists.

→ Analysis and research

on the economic impact of culture, budget map of institutional culture, self-management versus subsidies, value of cultural volunteers, quantifying the time devoted to commitment to the community.

a ‘companies for culture and creativity foundation’

The current economic (and cultural) downturn is an acid test for the sector. On the one hand, in order to see what space culture and its operators will really have in the reformulation of public policies, and on the other, to test the strength of the discourse on creativity, knowledge, innovation and new models of development based on culture. dss2016eu faces a key challenge here.

The culture and creative sector needs to be able to apply a good deal of imagination and creativity in its programming proposals and the way in which it operates and finances itself. Therefore, going beyond the realm of classic sponsorship and attract highly profitable sponsorships, we need to understand what motivates the business world (or can motivate it) in order to link business up with our organisation. We satisfy business needs by responding better to ours, both from the financial and from the cultural angles.

To generate resources one needs to create value.

To do this a project is needed, not just in cultural or artistic but also financial, educational and communicative terms. The quality of a cultural «product» is

Once constituted, the Foundation will be incorporated into the dss2016eu Consortium, not only as a funding entity that brings together contributions from its members but as a co-promoter of a more open philosophy of relations between culture, the needs of society and companies; basically, a new coexistence between these areas.

The existence of this Foundation does not prevent dss2016eu from reaching direct agreements with companies interested in supporting or becoming linked to some of the aspects of the event, both from the point of view of sponsoring projects or subprojects and thematic areas (Lighthouses) or even Systems (where, nevertheless, there is an excellent space for company involvement through the auzolab).

This ‘Companies for Culture and Creativity Foundation’ will be a key player in the skills sponsorship programme. We aim to reach an agreement that allows the shared responsibility of workers and employers in supporting — through

not enough in itself to attract sponsorship, we need to provide «experiential value» in exchange.

This requires, among other things, the ability to generate shared understanding with companies; developing a discourse, a project with a story to tell that can persuade a wide range and a large number of organisations and people to invest in it; setting up an effective marketing mix, and carrying out communication thoroughly, making use of the great advantages that day-to-day management offers us to ensure that our sponsoring companies get their payback.

Of course not losing sight of the spirit and values of dss2016eu and our Code of Ethics, whilst taking into account the «Voluntary European Code of Good Practices Related to Cultural Sponsorship» of the European Sponsorship Consultants Association and CEREC. Therefore, the sponsorship programme always needs to be linked to an overall communication plan and vision. This route — although not exclusively — opens up great possibilities for developing new forms of finance.

giving their time and knowledge — each and every one of the projects of dss2016eu between 2012 and 2020 (and establishing a dynamic that extends this cooperation to very diverse social organisations in the territory, both now and in the future). In this sense, dss2016eu undertakes to prepare an analysis and comparison of international experiences in this area in close collaboration with the business fabric of the territory of the ECoC.

The Foundation will be incorporated into the Consortium as a funding entity and co-promoter of a more open philosophy of relations between culture, society and companies

Dss2016eu— waves

of energy

Organisation/financing—41

What is the plan for involving sponsors in the event?

dss2016eu has aroused the interest and collaboration of a good number of corporates and SMEs from different sectors. If San Sebastian is selected as European Capital of Culture 2016, there is great potential for public-private collaboration in both the financing and the management of the event. Which steps will we take in this going forward? How can we make this collaboration between art/culturecompany-society possible? How can we ensure that companies commit resources to culture beyond 2016? How can we strengthen these links regardless of one-off downturns or even in the face of changes in economic models?

2.6 diversifying

an open conception of the art/culture-company relationship 9-10-11

1-2-3

Programmes for artistic/cultural intervention in organisations for strategic reflection, change and innovation.

Priority areas

for DS

S 20 1

6 EU

11 CSP for social innovation

10 Productive innovation products, services, markets

9 Changes in work environments and organisations

Programmes to support artistic or cultural projects and organisations: cash, in kind, installations and/or individuals + know-how.

1 Classical sponsorship and CSR

2 Skills sponsorship

3 Collecting

Types of links between the arts and culture and the business world.

Promoting stable relations through a Companies for Culture and Creativity Foundation.

8 Training in management and relational skills

4 Artistic commission: stage, visual, literary…

5 Diverse events; turning services into experiences

To answer these questions entrepreneurs in Gipuzkoa through their main association — ADEGI (Employers’ Federation of Gipuzkoa) — have worked with dss2016eu to promote and raise together with other business organisations a foundation called Companies for Culture and Creativity.

Once the title is granted this private foundation has a vocation of permanence over time which operates cross-border to permanently bring together a large number of SMEs (and corporates who often have their own Corporate Social Responsibility and sponsorship policies). This commitment goes beyond 2016.

Pia Areblad CEO of TILLT (Sweden) and the European Network Creative Clash

art, culture and creativity for social transformation TILLT Europe-Creative Clash shares a philosophy with dss2016eu that promotes artistic interventions in companies and organisations Tillt Europe – Creative Clash promotes a special form of artistic interventions in organisations that is based on a mutual exchange and dialogues between people in their working environment and artists. It is art in its capacity to subvert that is assigned the function to challenge routines, mindsets and traditional management processes. Artistic involvement enables organisations to evolve. In return this social interaction enables artists to renew and transform their vision and artistic expressions.

The end result is not necessarily an artefact for display in a museum or an art gallery for instance, but rather a new perception of the work environment and society which empowers people, enabling individual and collective self-fulfilment for the well being of organisations.

The concrete impact of artistic interventions in organisations has been addressed in TILLT Europe’s previous work.

Examples include:

6-7-8

7 Management and leadership training

Artistic and cultural programmes for internal training and teamguilding in companies.

The business world is nowadays closer to the world of culture and the arts than many people might think. The central issue is the development of creativity. Creativity is crucial to the search for solutions to cover social needs and to generate a suitable context for creation, retention, long term binding and attraction of talent and emotional intelligence for the future of a territory and its people and organisations. This is why so many more options for relations with the business world are emerging.

These options not only take the form of classical sponsorship, which needs to be reinvented anyway so that it is mutually profitable, but also through the intervention of company professionals in cultural organisations in a systematic manner. Other options are artistic commissions oriented towards company communication or participation of artists in the transformation of products and services into experiences. The Basque Country has experiences with these options.

Another rising phenomenon is the use of culture and the arts for the development of internal or external awareness creation projects in companies (the Environment, Health and Safety, the reconcili-

6 Awareness creation (health & safety, conflict resolution…)

4-5

Artistic and cultural programmes as instruments companies can use to design their range of products and communication.

ation of work and family life and gender issues), for training in management skills or communication and public relations, or artistic interventions in companies aimed at organisational change and strategic reflection, or to bring about innovation in productivity (materials, processes, technologies, products, services or markets) and social innovation (alternative economic models, relationships with the community, intellectual and industrial property rights, the four pillars of sustainability). In other words, the incorporation of "design thinking" into social and economic organisations, becoming ‘madeto-measure tailors’ that propose solutions adjusted to our needs and those of our sponsors rather than being ‘anxious prospectors’ for money from companies. All this without relinquishing our objectives, values and creative ideas: among other things because it is that creativity and those values that are highly attractive to companies. dss2016eu opts for diversifying its own funding and that of cultural and artistic organisations, providing highly professional management of sponsorship together with the development of a new strategy of relationships.

— It stimulates creativity in organisations (at management as well as workforce level) and contributes to competence-development (as well as self-esteem) and leadership.

— It reinforces collective spirit and goals by engaging the team spirit.

— It improves social relations and dialogue within organisations which leads to increased motivation.

— It enables disruptive thinking in the way processes are managed thus challenging the management and work life routines, thus improving efficiency in organisation.

— It helps organisations finding their identities and values (DNAs) to achieve shared goals.

— It commits organisations to take risks and change direction. It challenges organisations to innovate.

However the impact goes beyond the mere context of the organisation. Indeed artistic interventions contribute to make the social fabric of a community more resilient.

TILLT Europe – Creative Clash fully supports the candidature of San Sebastian as European Capital of Culture 2016, and will share our experiences for strengthening the impact of art and culture on social innovation and to contribute to the success of San Sebastian as European Capital of Culture 2016.

waves of energy—Dss2016eu

42—organisation/financing

According to what timetable should the income be received by the cit y and/or the body responsible for preparing and implementing the ECoC project if the cit y receives the title of European Capital of Culture? (Please fill in the tables below) (The answer to this question is optional at the pre-selection stage).

2.7

After analysing the cash flow needed for the preparation, the event and the footprint in the period 2011-2020 and adjusting the potential income from sales and private contributions, we have established a disbursement calendar for the public entities. This calendar guarantees the financial balance of the project, given that not all the sources have the same timing. For example sales grow when there are activities.

As shown in the table for question 2.3, work has been done to guarantee liquidity during the implementation and after care of the project. Starting with the operating budget, we made adjustments

table 2.7 a income to be used to cover operating expenses

that involve the payment of various sums, especially in relation to the expenditure of Marketing and Communication, and Programming.

Together with the Guarantee Fund, this provides a solid and sound scenario of foreseeable financial reassurance for dss2016eu.

We would highlight the major expenditure effort to be made by the three Basque institutions in 2015, a year in which the financial needs are very high, bearing in mind that contributions by the Ministry of Culture of the Spanish Government and the Melina Mercouris Prize are expected in their totality in 2016.

table 2.7 b income to be used to cover capital expenditure*

source of income

2011

2012

2013

2014

2015

2016

2009-2011

2012

2013

2014

2015

2016

EU Melina Mercouri

€0

€0

€0

€0

€0

€1,500,000

€0

€0

€0

€0

€0

€0

Spanish government

€0

€0

€0

€0

€0

€11,000,000

€34,900,900

€0

€0

€0

€0

€0

City Council

€404,627

€499,773

€1,506,634

€2,282,854

€6,122,534

€3,118,666

€68,432,000

€4,270,000

€9,000,000

€10,333,000

€5,000,000

€0

Regional Council

€404,627

€499,774

€1,506,633

€2,282,853

€6,122,533

€3,118,667

€48,480,000

€7,255,000

€17,000,000

€16,885,000

€5,000,000

€0

Sponsors

€986,120

€811,680

€1,424,000

€1,820,940

€3,382,000

€6,764,000

€3,383,000

€4,300,000

€4,300,000

€4,300,000

€0

€0

Others / Provincial Council

€404,626

€499,774

€1,506,633

€2,282,853

€6,122,533

€3,118,666

€30,500,000

€4,255,000

€7,500,000

€7,000,000

€5,000,000

€0

*This table only includes cultural investments. €297,093,000 committed altogether. The enlargement projects of Aquarium (€48,000,000) and Kursaal Congress Centre (€10,000,000) are not included because they still don´t have an allocated budget.

additional table cultural programme: budget details for «lighthouses and systems» PROJECT

2009-2015

2016

2017-2020

Total

Mobile culture capital

€900,000

€4,650,000

€450,000

€6,000,000

Lighthouse of peace

€1,350,000

€8,000,000

€1,100,000

€10,450,000

Lighthouse of life

€843,000

€2,700,000

€460,000

€4,003,000

Lighthouse of voices

€1,360,000

€5,120,000

€1,000,000

€7,480,000

Lighthouse of land& sea

€2,150,000

€3,300,000

€480,000

€5,930,000

Citizen energy laboratories Auzolab

€2,300,000

€800,000

€1,000,000

€4,100,000

Laboratories of Cultural Parks

€2,350,000

€700,000

€800,000

€3,850,000

Transmedia laboratories Hirikia

€2,350,000

€700,000

€800,000

€3,850,000

Language laboratories h(e)izkuntza

€2,300,000

€800,000

€800,000

€4,100,000

Art and creativity laboratories Pagadi

€2,350,000

€700,000

€1,000,000

€3,850,000

Total

€18,253,000

€27,470,000

€7,890,000

€53,613,000

The table indicates the distribution of programming expenses in different areas. 34% of total expenditure corresponds to Work systems (different laboratories), almost 10% to Mobile culture capital and 56% to the activities of the Lighthouses. The weight given to Work systems may appear strange at first sight. Please remember that these cut across all the actions and are, to a large extent, the support mechanism for all the processes, guaranteeing citizens’ and companies’ participation… and they protect the legacy.

That is why their distribution over time is clearly different to that of Mobile culture capital or the actions of each Lighthouse. The last-mentioned concentrate most of their expenditure in 2016, while Work systems have greater weight in the years prior to the capital status (if granted), despite the fact that they continue their activities at quite a high level up to 2020. In the budget for cultural programme 1% of the whole budget is allocated for evaluation (€890,000).

additional table income: provisional chart BASIC COMMITTED FINANCING

EXTENDED FINANCING

Other finance from public entities for programmes and agreements

Estimated microfinancing for ECoC Project and local operators

Estimated inputs in kind

Estimated volume of skills sponsorship in ECoC Projects and operators

Total extended financing

San sebastian City Council

€18.083.334

20.3%

€3,000,000

€21.083.334 €

Provincial Council of Gipuzkoa

€18.083.333

20.3%

€1,500,000

€19,583,333

Basque Government

€18.083.333

20.3%

€1,500,000

€19,583,334

Melina Mercouri Prize + other European funds

€1.500.000

1.8%

€1,000,000

€2,500,000

National Government

€11.000.000

12.4%

€1,000,000

€12,000,000

Foundation of entrepeneurs

€6.230.000

7%

Kutxa foundation

€5.340.000

6%

Other companies and foundations

€6.230.000

7%

€500,000

€1,500,000

€8,230,000 €5,340,000

€1,000,000

Individual donors

€1,800,000

€900,000

€500,000

€8,130,000 €2,300,000

Universities

€500,000

Media

€3,000,000

€3,000,000

€500,000

€1,500,000

Other cities and collaborators

€1,000,000

Ticket sales and merchandising

€4.450.000

5%

Total

€89.000.000

100%

€600,000

€1,100,000

€4,450,000 €3,000,000

€1,800,000

€12,000,000

€3,000,000

€108,800,000

Dss2016eu— waves

of energy

Organisation/financing—43

Which amount of the usual overall annual budget does the cit y intend to spend for culture after the ECoC year (in euros and in % of the overall annual budget)?

2.8

like the European Capital of Culture, will have been developed within dss2016eu with the implication of these agents, will allegedly have apprenticeships, new, local and international connections that align projects and activities, and therefore also the normal budgets, with the objectives of coexistence, transformation and a European dimension that we follow. On the other hand, the intention of permanence of the Companies for Culture and Creativity Foundation guarantees a steady flow of resources from the private sector, both monetarily and in kind, or personal contributions that we estimate could reach 1 million euros in 2020.

The dss2016eu project is expected to be extended until the year 2020, with a total expenditure from 2017 to 2020 of 14 million euros so as to ensure the continuity of projects and its legacy. We anticipate that the current municipal contributions to the current culture budget may increase 12% annually starting in 2020, which is more than 2,5 million euros.

Keep in mind that at this time, the budget that the city will invest in culture will have been increased by at least 20 million euros, mainly associated with current expenses for new infrastructure being built in the city (Tabakalera, Ekogune, Lore Toki, Basque Culinary Centre, etc.). Outstanding projects, which

additional table disbursement according to sources: temporary calendar 2009-2010

2011

2012

2013

2014

2015

2016

2017

2018

2019

2020

total

San Sebastian City Council 20.3%

€682,246 3.8%

€404,627 2.2%

€499,773 2.8%

€1,506,634 8.3%

€2,282,854 12.6%

€6,122,534 33.9%

€3,118,666 17.2%

€1,301,500 7.2%

€1,041,667 5.8%

€764,333 4.2%

€358,500 2%

€18,083,334 100%

Gipuzkoa Provincial Council 20.3%

€682,247 3.8%

€404,626 2.2%

€499,773 2.8%

€1,506,633 8.3%

€2,282,853 12.6%

€6,122,533 33.9%

€3,118,667 17.2%

€1.301.500 7.2%

€1,041,667 5.8%

€764,334 4.2%

€358,500 2%

€18,083,333 100%

Basque Government 20.3%

€682,247 3.8%

€404,627 2.2%

€499,774 2.8%

€1,506,633 8.3%

€2,282,853 12.6%

€6,122,533 33.9%

€3,118,667 17.2%

€1,301,500 7.2%

€1,041,666 5.8%

€764,333 4.2%

€358,500 2%

€18,083,333 100%

Spanish Ministry Of Culture 12.4%

€0 0%

€0 € 0%

€0 0%

€0 0%

€0 0%

€0 0%

€11,000,000 €0 100% 0%

€0 0%

€0 0%

€0 0%

€11,000,000 100%

Europe 1.7%

€0 0%

€0 € 0%

€0 0%

€0 0%

€0 0%

€0 0%

€1,500,000 100%

€0 0%

€0 0%

€0 0%

€0 0%

€1,500,000 100%

Total Public Entities 75%

€2,046,740 3.2%

€1,213,880 1.8%

€1,499,320 2.2%

€4,519,900 6.8%

€6,848,560 10.3%

€18,367,600 27.5%

€21,856,000 32.7%

€3,904,500 5.8%

€3,125,000 4.7%

€2,293,000 3.4%

€1,075,500 1.6%

€66,750,000 100%

Companies and Foundations 20%

€653,260 3.8%

€986,120 5.54%

€811,680 4.56%

€1,424,000 8%

€1,820,940 10.23%

€3,382,000 19%

€6,764,000 38%

€712,000 4%

€534.000 3%

€356,000 2%

€356,000 2%

€17,800,000 100%

Sales 5%

€0 0%

€0 0%

€89,000 2%

€222,500 5%

€445,000 10%

€801,000 18%

€2,581,000 58%

€89,000 2%

€89.000 2%

€89,000 2%

€44,500 1%

€4,450,000 100%

Total 100%

€2,700,000 3.03%

€2,200,000 2.47%

€2,400,000 2.7%

€6,166,400 6.93%

€9,114,500 10.24%

€22,550,600 25.34%

€31,201,000 35.05%

€4,705,500 5.29%

€3,748,000 4.21%

€2,738,000 3.08%

€1,476,000 1.66%

€89,000,000 100%

additional table private and public collaboration in dss2016eu CATEGORY

CONCEPT

TECHNIQUE / FORMULA

OVERALL CONTRIBUTION UNIT

ADVANTAGES

Partners [n]

Member of the Consortium, founder or person/entity joining later

Basic financing / Joining the Consortium

Monetary from €1,000,000 up to €25,000,000

Representation on the Executive Council and general presence

Associates [n]

Collaborating public entity interested in strengthening the Bid or representing a territory with a direct influence on it

Sponsorship (in cash and/or in kind) / Collaboration Agreement

From €50,000 or contribution in kind , technical personnel and dissemination

General involvement, or through some project with incidence in their territories

Global sponsor [3]

Public or private entity that finances the global project, different from a Partner

Cash sponsorship / Contract

More than €1,500,000

Global communicative presence.

Tax (and other) benefits

Lighthouse sponsor [4]

Public or private entity that finances the actions of a thematic lighthouse

Cash sponsorship / Contract

From €500,000 - €1,000,000

Communicative presence in Lighthouse project. Tax benefits

Systems sponsor [5]

Public or private entity that finances the use of a certain methodology and also becomes involved in the project where it is applied

Cash sponsorship / Contract

From €300,000 - €600,000

Communicative presence in Systems projects. Tax benefits

Project sponsor

Public or private entity that finances, as the main sponsor, the project.

Needs to be compatible with the sponsors of Lighthouses and Systems

Cash sponsorship / Contract

Depends on the project, with a minimum of €6,000

Communicative presence in project.

Tax benefits

Collaborator

Public or private entity that co-finances, not as the main source, a project, sub-project or a specific action

Cash sponsorship / Contract

Depends on the project, with a minimum of €1,000

Communicative presence in Lighthouses project. Tax benefits

Benefactor

Individual or legal entity that makes a written-off contribution to a project and does not seek benefits in return

Fundraising / Donation

Starting from €50

List of benefactors

Official supplier

Private entity that holds the status of exclusive or highlighted supplier of goods and services required for the title process

Sponsorship in kind and sales promotion / Contract

Starting from €30,000 in kind

Communication, exclusivity in distribution of projects. Tax benefits

Mentor

Public or private entity that puts its professionals and its know-how at the disposal of DSS2016EU projects and social organisations

Skills sponsorship / CSR Agreement

Starting from 20 hours/person

CSR

Micropatrons

Individuals that make micro-donations and/or give micro-loans (against goods or services) to projects by social organisations or DSS2016EU

Crowdfunding, Fundraising, Social Networks / Donation

Starting from €5

Reception of good or service.

Possible Income Tax offset

Social partners

Legal entities that offer to collaborate in the dissemination and presence of brands at local, national and international level

Sponsorship in kind / Collaboration Agreements

Contribution in kind for a minimum value of €20,000

Brand linkage and tax benefits

Ambassadors

Outstanding individuals or organisations in a particular field that disseminate and represent the title process in the course of their activities

Public Relations / Collaboration Agreement

Personal image associated with the DSS2016EU brand

Brand linkage and image of social involvement

Supporters

Individuals or legal entities that manifest their commitment to the title process and its values

Social Networks, Information Office/ Form

Commitment to disseminate and support

Reception of information and list of supporters

Volunteers

PEOPLE who, through social organisations, contribute time and skills to the title process project in a disinterested manner

Social Networks / Agreements with social organisations

Minimum and maximum dedication commitment

Training and certification.

Mention

Helping hands

Gestures of complicity and support in different forms, basically to boost the dissemination of the events in “niches” of interest

Social Networks, Public Relations / Licensing Agreement

In kind

Brand linkage

44—

eko Ekogune sustainability park San Sebastian

waves energy—Dss2016eu

Dss2016eu— waves

energy

—45

46—infrastructures

waves of energy—Dss2016eu

Iñigo Ibañez

Dss2016eu— waves

of energy

—47

infrastruc turEs by rail and road

—48

by plane and even by boat

—49

the bicycle, official transport in 2016

—49

accommodation for every taste

—50

urban and tourist infrastructure

—51

investment

major projects

The strategic location of San Sebastian, 20 km from the French border, is due to its position as a natural corridor between the Iberian Peninsula and the rest of the European continent, as well as to the large amount of existing infrastructure, making the city well connected and easily accessible. New urban infrastructure, either planned or under construction, will improve the city’s connectivity and will complete its facilities in the next years so that San Sebastian and the whole surrounding territory of our bid will be in the very best conditions to host the European Capital of Culture in 2016.

Projects like the High Speed Train (AVE), metro and the intermodal bus station allow fast and comfortable transportation between different parts of the candidacy’s border territory, not only in a radial sense to and from the centre, but also transversally and peripherally, making new hubs possible.

Mobility in San Sebastian and the entire territory will benefit in 2016 from AVE’s new Basque train network, called the Basque Y. This infrastructure was considered one of the fourteen most important projects in priority transport infrastructure for the European Union in 1994.

However, the construction works have been delayed due to terrorist threats by ETA. The metro, already under construction, will go into full service in 2020 and will connect the entire corridor of the Bidasoa river, home of a high concentration of the population of Gipuzkoa. One of its greatest assets is environmental sustainability, as it releases eight times less CO2 per passenger than a personal car.

The metro also offers greater population mobility and high social returns. Together with the promotion of the use of the unified Travel Card, these new additions in transportation infrastructure enable a substantial improvement in mobility throughout the whole territory of our bid to host ECoC in 2016. This system gives priority to public transportation and also fosters the use of different alternatives to the car, essentially with a deterrent policy and real alternatives.

Iñigo Ibañez

accessible city San Sebastian is implementing a sustainable mobility model with a long history of prioritizing public transportation in connection with pedestrian networks and an extensive bicycle lane network. This policy is being executed according to the Accessibility and Urban Mobility plans of the city´s City Council.

San Sebastian is a pedestrian city. Walking is the most common means of transportation for most people and accounts for 43.6% of regular movement in the city. The pedestrian–only zones of the city include the main leisure and shopping areas in every neighbourhood. One highlight is the promenade along the city’s coastline, which stretches more than 7 km and connects the three beaches, Ondarreta, La Concha and Zurriola. This promenade is used daily by thousands of pedestrians and bicycle riders.

The promenade will be extended in the foothills of Mount Ulia, connecting with the Monpas cliffs, to the east of Zurriola beach, by a lightweight and environmentally friendly structure.

Pedestrian access to the city’s neighbourhoods on higher ground is facilitated by a score of escalators and lifts for public use that serve both pedestrians and cyclists. The pedestrian network and vertical mobility systems are connected with the bidegorri (bicycle networks) which already has reached an length of 47 kilometer.

As far as public transportation is concerned, the public bus use rate is one of the highest in Europe relative to the city´s size. San Sebastian has 36 lines that cover all the city including a night time schedule. This network includes a set of specially adapted buses with the European UNE-EN13.816 quality seal for public transportation system.

waves of energy—Dss2016eu

48—infrastructures

What are the cit y’s assets in regards to accessibilit y (regional, national and international transport)?

1

The modernization and adaptation of the rail system in the territory of our bid through the arrival of the High Speed Train and regional metro, connecting us with the rest of Spain and Europe, are our main accessibility assets. In 2016 going from San Sebastian to Bilbao, Vitoria and Pamplona will take around 30 minutes. And it will take only two hours and a few minutes to arrive in Madrid. San Sebastian already has a full regional (RENFE, EuskoTren), national (RENFE) and international (SNCF) railway connection.

The territory is also covered with a dense network of roads and highways that foster accessibility

and a high quality public transportation system.

This system will benefit dramatically from the new intermodal underground station to be built next to the High Speed Train station in the city centre.

In addition to San Sebastian´s own airport, in a 100 kilometer range important airports in Bilbao, Vitoria, Pamplona and Biarritz are very easily accesible, with direct connection to the majority of European countries. From Bilbao and Biarritz there´s a public transportation system with links to San Sebastian´s city centre. Finally, it is possible to arrive in the city also by boat, thanks to the Basque network of leisure ports.

land transportation

by rail and road The main projects will be the High Speed Train and metro, which will stimulate internal and external connectivity. In addition to that, the city has a dense network of roads and highways

Iñigo Ibañez

San Sebastian is very well connected internally and with the exterior by road and various rail systems, to be expanded by 2016, the year the city hopes to host the European Capital of Culture. By this time, the High Speed Train, essential for personal and goods transport, will be a paradigm shift in the Basque Country’s connectivity system with the rest of Spain and Europe, as it shortens distances, increases the flow of visitors to the city and therefore facilitates visits by Europeans.

It will connect the Basque capitals in about 30 minutes and therefore it will increase the visitor inflow to the city. It is worth noting the effectiveness of local services from RENFE and EuskoTren, connected with France via Hendaye, where you can access the country’s high speed and conventional rail network.

The new metropolitan train, known locally as the «Topo» (mole), is planned to feature have two lines based on the current EuskoTren and RENFE commuter lines, creating a metro service for a greater part of the territory of Gipuzkoa. The

future local metro service will provide service, according to Basque Government predictions, to 60% of the population of Gipuzkoa province, a number that may increase to 75% by connecting with RENFE. The area serviced by these rail networks registers more than 1,140,000 trips per day, a figure equivalent to 2.3 trips per person per day, well above the European average (1.9 trips per person per day).

Nowadays, regional accessibility in the territory of our bid to host the European Capital of Culture is based on rail and roads. Our city’s geographic location makes the road network one of our habitual connections with the rest of Europe, both in personal vehicles and by several bus lines.

The dense network of motorways that cover Gipuzkoa and all the Basque Country ensures good road connections, which have been recently complemented with the opening of new city access roads that have eased the city´s vehicle inflow and outflow. San Sebastian already has an excellent net-

work of transportation by bus, «DonostiBus», which has one of the highest levels of use in Europe.

Today 50% of the population travels by public transportation. The city’s public transportation is prepared to cover major events and concerts, proof of that are the concerts by Bruce Springsteen, U2, The Rolling Stones and the Concert for Peace with Bob Dylan, an event attended by more than 80,000 people.

In 2016, the city opens the «Rapid Transit Bus» lines, a service with commitments to meeting schedules, reliability and user information on buses and at stops, as well as by Internet and mobile phone. All buses are environmentally friendly (recycled oil bio fuels and hybrids) with accessibility for all users.

Also in 2016, the new intermodal bus station goes into full operation in a central location of the city, alongside the High Speed Train station. San Sebastian is part of the Civitas City Network of sustainable mobility and the Aeneas European project of efficient mobility.

Dss2016eu— waves

of energy

infrastructures—49

San Sebastian can also be reached on foot, taking the Coastal or Northern Route of the Way of St. James, since San Sebastian is a point along the way. It can also be reached by bicycle through EuroVelo route 3, which leaves Trondheim, Norway, and reaches Santiago de Compostela (Galicia) passing through Oslo, Vyborg, Hamburg, Aachen, Namur, Paris, Tours, Bordeaux, Puente la Reina and León DV

by air

by plane and even by boat The city is in a half an hour range from the airports of Bilbao, Pamplona, Vitoria and Biarritz, in addition to the city´s own. This guarantees an excellent air connections to San Sebastian

Iñigo Ibañez

the bicycle, official transport in 2016 Currently 5% of the trips in San Sebastian are made cycling, thanks to the 47 km bicycle lane network that services the city

Natali Cañas

Within a 100 km radius, with travel times ranging from 20–60 minutes, we find the airports of Bilbao, Pamplona, Vitoria and Biarritz, in addition to San Sebastian airport itself. The latter and the international airports of Bilbao in Spain and Biarritz in France offer direct connections by air to most European countries and can be reached directly from the heart of San Sebastian by public transportation.

All of them offer excellent national and international air connections, with access to a wide range of fares, from conventional to the most economical prices. In 2016, San Sebastian airport will be connected directly with the city centre through line 1 on the metro.

It is important to mention that air connections are not limited to benchmark airlines, such as Iberia, British Airways, Lufthansa and Air France, which offer regular service to nearby airports and a growing market (the Emirates company has announced this year an estimated 10% contribution in sales in Spain from the Basque Country).

Nonetheless, many low cost airlines have perma-

nent services in airports surrounding the city, for connections with both the rest of Spain and the European continent.

Low cost companies like Vueling, Aer Lingus, Air Berlin, Brussels Airlines, Condor and Easyjet operate out of Bilbao. Moreover, other companies like Ryanair and Air Nostrum connect to all airports within operating range from San Sebastian, such as Logroño, Santander, Pamplona, Burgos, Vitoria and Biarritz, including the city’s own airport.

As a singular alternative, it is worth mentioning the possibility of a different kind of transportation to come to the region. It is possible to arrive by boat on one of the ferries that dock in Bilbao, which connect the north of Spain to the United Kingdom.

However, we must not forget an option for the more adventurous of reaching San Sebastian in the year of the European Capital of Culture aboard a private boat, which can dock in the extensive network of marinas distributed on the coast of Gipuzkoa province.

San Sebastian is already a benchmark in bicycle use in Spain. The City Council is implementing a pioneering initiative to boost active policies to promote the bicycle as a sustainable and healthy means of transportation. The use of this two wheeled vehicle currently accounts for 5% of the urban trips made in the city. San Sebastian is a founding city of the Network of Cities for the Bicycle and has a public bicycle rent service spread through the whole city, specially in train stations. The connections with higher neighbourhoods in the city, through escalators and lifts, also permit the transport of bicycles.

The bicycle will be the official transport if San Sebastian is chosen European Capital of Culture in 2016. This commitment has been recently sealed with the signing of an agreement between the City Council and the Basque bicycle company Orbea, a leading company in innovative technologies in the European bicycle sector. By then, the already extensive network of bike lanes (47 km) will be extended to create an internal connection and a connection with the metropolitan area through a 60-kilometre extension.

In 2016 the construction of bike lanes that run along the entire coast of Gipuzkoa and connect with the Atlantic bike path that goes from Norway to Galicia will be completed. Thus, San Sebastian can be a part of the EuroVelo3 bike path and create a line of supplier/hotel services for users of the route.

Also, the city is organising a service of bicycles for transportation of goods and movement of guests in 2016, as well as hosting VeloCity conferences. On the other hand, this will increase the supply of bike rentals at hotels and youth hostels through the integrated travel card.

waves of energy—Dss2016eu

50—infrastructures

What is the cit y’s capacit y for tourist accommodation?

2

San Sebastian has managed to adapt its accommodation industry since the end of the 19 th century in a balanced fashion. The hotels in the city have evolved through the city´s tourism strategy and changes in demand all along these years. The result is a high quality hotel industry with sustainable growth and a wide variety of kinds to suit the different types of visitors to the city.

San Sebastian provides from luxury hotels, to charming guest houses, country houses and youth hostels. Currently San Sebastian´s accommodation industry offers 9,000 beds, plus 1,300 more in university residences and 180 more for researchers

and artists in the Talent House. Soon Uba House, a new residence for young creators and sports people will be opened.

San Sebastian also has a wide range of rental apartments and spaces for vans and trailers. Most of these facilities offer bicycle rental service. The city´s location provides an extra offer of 37,022 beds within just an hour range thanks to hotels in Bilbao, Vitoria, Hendaye, Saint Jean de Luz or Biarritz. This distance will be halved in 2016 thanks to the arrival of the High Speed Train. By 2016 all the accommodation in the territory will be increased with 12 new facilities.

1

HOTELS

accommodation for every taste

Luxury hotels, mid-range accommodation, guest houses, country houses and camping sites: in short, the city has a wide choice of 9,000 top‑quality beds.

In addition to that, hotels in Bilbao and Vitoria add 37,000 beds that complete San Sebastian´s offer San Sebastian´s accommodation industry offers a wide range of possibilities for overnight stays that is tailored to meet the needs of all types of visitors, local and foreign, for business and pleasure and all tastes, interests and budgets. Among hotels in San Sebastian, there are those with a long tradition, leaders in luxury accommodation, and a wide variety of mid-range hotels, charming guest houses, agritourism, country houses and numerous campsites in the area, exceeding 9,000 beds in a wide range but with excellent quality.

In addition, there are 1,300 places for accommodation in thirteen residence halls or dorms and a space created especially for campers in the University area with access by public transport or bicycle to the city centre. Furthermore, this year has seen

the inauguration of the Talent House, a residence for multidisciplinary researchers, artists and creative professionals with a room for 180 people. This residence is joined by the Uba House, a residence with reasonable prices specialising in younger crowds in Ametzagaina, just a few minutes from the city centre.

The infrastructure for accommodation offers renowned quality, comfortable and affordable housing solutions for all budgets.

Within an hour by car and close to half an hour in the future AVE, visitors have a range of 24,617 hotel beds, 3,685 in agritourism and 8,720 beds at campsites. Nearby cities with a selection of hotels like Bilbao and Vitoria add a total of 37,022 places for accommodation.

San Sebastian, winner of an award at the 2010 CIVITAS cities meeting in Sweden

In 2010, San Sebastian received the 2010 CIVITAS Sustainable Transport Award «for the city’s exceptional achievements in the field of Technical Innovation in Transport Management». The CIVITAS cities network, an EU institution, applauded the "obvious political leadership and joint work with local experts and institutions", because the city is «a model to be followed in encouraging measures for Sustainable Mobility in Europe».

On the other hand, right across the border, in Hendaye, we have an Artists’ Residence especially suitable for visitors from the cultural sector.

The city’s flexibility in offering quality accommodation is complemented by a wide variety of solutions, such as housing exchanges and rental houses in the summer months, which has become increasingly important since the emergence of new technologies.

It is worth noting that the accommodation capacity, and the diversification into «family and youth» segments, will be increased in coming years, thanks to the already planned construction of twelve new hotels in the city, a campsite and hostels — a new push for the lodging industry in the city for a strategic sector such as tourism.

Dss2016eu— waves

of energy

infrastructures—51

What projects are planned in regard to urban and tourist infrastructure, including renovations, from now until the year for which the cit y is a candidate for the title of ECoC 2016? What programming is planned to carry out these works?

3

The arrival of the High Speed Train in the heart of the city and the construction of the metro in the region are both part of major urban infrastructure investment. Including the new road connections, already finished, the rail infrastructures will be crucial to improving the national and international connectivity of the city. The regeneration of Pasajes Bay is another strategic project for the medium term. As far as tourism-culture infrastructure is concerned, the transformation of the former tobacco factory into Tabakalera International Contemporary Culture Centre, specializing in audiovisual creation, will be a reality by 2016.

2

1 Main Hall of the Hotel de

Londres y de Inglaterra.

2 Backpackers in a Youth

Hostel.

3 Terraces in San Sebastian´s

Boulevard.

DV

Iñigo Ibañez

projects xxxxx

urban and tourist infrastructure

Tabakalera In 2016 the city will inaugurate one of its most ambitious projects. A new landmark in the cultural sector, the new International Centre for Contemporary Culture, Tabakalera, which will specialise in visual culture. Contemporary art, television, video and film, design and sound will come together in a single space. It is a unique venue for exhibitions and audiovisual programmes and, above all, a place to work, produce and create — an image factory.

Monpas Walkway The San Sebastian promenade runs for 7 kilometres along the coast from one side of the city to the other, from the Peine del Viento (The Comb of the Wind, emblematic sculpture by Eduardo Chillida) to Sagües in Zurriola beach. It is here where the new Monpas walkway is located, a lightweight construction that, along 700 metres, reaches up to the tip of Monpas, at the foot of Mount Ulia, completing the city’s maritime pedestrian route.

more energy, with less CO2 San Sebastian intends to reduce by 20% its carbon emissions by 2020.

The city will take measures to decrease emissions and offset the generated CO2

3

Renewal of the Bay of Pasajes One of the territory’s most ambitious projects in many years is to recover the surrounding area of the Bay of Pasajes, bordering San Sebastian. The bay, traditionally used for industry and its port, is to be freed up for urban land with cultural and commercial facilities, gardens and green areas, walkways and recreational areas, promenades and leisure zones, a marina and new housing. The objective of the whole new urban transformation initiative is to move the port to the outside of the bay in one of the territory’s most ambitious projects.

The new venue for Musikene, the Higher School of Music of the Basque Country, will be opened by 2014. By 2011 or 2012 the gastronomy University Basque Culinary Center will be in full operation.

Also next year the Center for Adapted Sports in the beach of La Concha, the church by architect Rafael Moneo and the Garden of Remembrance will be inaugurated.

Recently the new San Telmo Museum and the Audiovisual Innovation Pole have been opened.

Finally, in the foothills of Mount Ulia a lightweight and environmentally friendly structure will be added to extend the city´s main walkway.

Garden of Remembrance The Garden of Remembrance is a space for reflection and remembrance of all victims of war, violence and terrorism, a testimony for Peace and Human Rights. The first phase of this 35,000 sq. meter park has just been opened and it will feature white flower trees and other flora as a symbol for peace. The second phase will be inaugurated in the coming years.

Zabalegi Ekogunea A park dedicated to sustainability promoted by the Kutxa Savings Bank lying in the area between San Sebastian, Lasarte and Hernani (10 minutes from the city). A laboratory, vegetable gardens, compost area, farm, eco-eatery, energy efficiency simulator... will all stand round the eco-square. 9,000 m2 for leisure, learning and entrepreneurship.

Lore Toki A new facility 10 minutes from the city centre, between the Chillida Leku Museum and the Zabalegi agricultural school, literally named «place of flowers» in Basque language. Thanks to the work of local groups of artists and the young unemployed, the park will transform into a European Campus on Cooperation.

Musikene Musikene, the Higher School of Music of the Basque Country, was created a decade ago by the Basque Government. Although the school will shortly have its own installations in the new building planned for Ibaeta university campus, for the time being it is housed in Miramar Palace, on top of a hill in the centre of the Concha Bay.

Our bid is aimed at reducing CO2 emissions by 20% by the year 2020. To do so, we are undertaking a series of measures, adjustments and partnerships that ultimately aim at generating less CO2, compensating for generated CO2 and launching a coherent message of commitment and coexistence with the environment. With this vision, we have agreed to a partnership with the public environmental Management company of the Basque Government, IHOBE, and the Municipal Environmental Department to help us design sustainable processes throughout the process of creation, development and evaluation of the cultural project before, during and after the European Capital of Culture year, 2016.

Measures to reduce emissions will be employed during project planning and design, during development and celebration and, afterwards, during the evaluation process and creation of value for the city. The commitments made by the city are backed by the experience and learning generated by the San Sebastian City Council and agents involved in recent years. We apply a whole set of measures in the candidacy’s mobility strategy, with the massive use of bicycles and the implementation of bike rental systems. We use official green vehicles, for which we sign agreements with vehicle rental companies. Also, we have reached an agreement with RENFE, EuskoTren and the TGV (French high speed train), setting up special rates and compensation for CO2 emissions.

As for accommodation, we implement Environmental Management Systems for hotels and other accommodation facilities and extend the trade and production of Euskolabel organic farming products and fair trade products.

Cultural facilities also adopt Environmental Management Systems.

We learn from experiences like the World Cup in Germany and its Green Goal 2006 which allowed for the calculation of CO2 emissions before, during and after the event. We want to continue with two decades of work in San Sebastian for sustainability. The city has been recognised for its Environmental Management with, for example, the 6th Sustainable City Award from the Environmental Forum Foundation, the Eco-Innovation award for the project San Sebastian minimizes its waste or the Green Flag from the Federation of Independent Users and Consumers for its environmental commitment.

52—

pop Local products Ordizia Market, Gipuzkoa

waves of energy—Dss2016eu

Dss2016eu— waves

of energy

—53

54—communication

waves of energy—Dss2016eu

Iñigo Ibañez

Dss2016eu— waves

of energy

—55

communication collaboration deals

—56

dialogue with citizens

—56

commitment to urban tourism

—60

an aligned strategy

—63

specific actions

—65

strategy

the strength of sharing Our dss2016eu project is not designed to communicate or sell the decisions of a chosen few but to share. We want to share the things we build together, because communication is part and parcel of the process involved in creating our bid to host the European Capital of Culture in 2016.

Right from the very beginning when we started designing the project, we have applied a strategy which turns its back on vertical communication, where some people send out messages and the citizens do nothing but listen. We want our bid to benefit from communication between all people involved in the project and its cultural programme, starting from the people on the dss2016eu team to all the community of citizens who experience our project directly or indirectly.

Today the experiences with the greatest impact on audiences of all kinds and ages, on all kind of profiles, are based on the strength of sharing. This notion applies to form and content, personal/professional aspects and physical/digital environments. These innovative techniques are achieved by collaborating, by combining the best aspects of every agent, of all resources and actions launched.

That’s why dss2016eu doesn’t stop at creating viral programmes to be communicated and shared, but prefers to join hands with the citizens, with the most important agents in our territory, our country and Europe to construct a way of managing communication.

Our bid also presents an opportunity to redefine our tourist attractions. Here we are not referring to the things we're best known for, but to the experience enjoyed by each visitor. We want to convert every visitor into an agent who will tell the contacts in their networks, their friends and families back home about the wonders of San Sebastian and rest of the Basque Country. We invite you to read on and discover our approach to this exciting challenge. How we plan to make the leap from local to global, set around a mixture of traditional and innovative resources, always bearing in mind that all relations and activities play an important part in meeting the social goals we want to fulfill.

Iñigo Ibañez

our slogan and its inspirational power The first and only slogan launched by our bid, Waves of Energy, unveiled on April 23, 2009, is one of our Project’s major assets. The impression it conveys to communication professionals and non-professionals alike, is that its plastic nature, its harmony with the city's natural setting and surrounding territory, its graphic strength, its suitability and emotional peculiarity, represent the true spirit behind the construction of the dss2016eu project. It reflects the capacity and involvement of the thousands of people who have contributed, and continue to contribute to our bid to host the European Capital of Culture in 2016 in what is clearly a collaborative process.

But, most importantly: it is a banner conveying our enormous commitment to the essential role of men and women, individually and collectively. All these citizens convey the value of civic commitment and the involvement of social capital in constructing a society where every citizen relates to one another. A society with an aim to build a future in peace.

Our slogan represents the perseverance, the ferocity and the openness of our Atlantic Ocean.

It gives our proposal its colour and its meaning.

These concepts join hands in a powerful and emotional style of communication, leaving noone indifferent, stimulating style with mobilizing effect. That's the great contribution made to the project by our slogan and its graphic design. It is not only an identifying label, it is a strategic variable that makes our project easier to understand.

Waves of Energy has not only been applied as an identifying catchphrase, it is also closely linked to the development of our values, our attitudes, and our collaborative approach to work. It has influenced our graphic style and the launch of key communication campaigns over these months of effort. Take, for instance, the People with energy campaign. This campaign can be found on our Website, where hundreds of people share the source of their energy, finding the strength to meet their goals and make their dreams come true.

waves of energy—Dss2016eu

56—communication

What is the cit y's intended communication strategy for the EcoC 2016 event?

Set around the basic messages we share with our priority audiences, our three strategies (visibility, appropriation, resonance) always seek to involve people, to function as a team. To gain visibility, we have signed collaboration agreements with the biggest traditional media, specifically in the crossborder territory. We also apply an online strategy endeavouring to tell citizens everything they need to know about the details of new features of our bid, bearing in mind the need for digital spaces that focus on debate, and enrich the project by participating in social Networks.

Communication in the dss2016eu project makes

1

strategy of resonance work in its favour. In order to achieve this we will try to involve as many agents as possible.

These agents will act as amplifying nodes for our messages. The idea is to implement a communicative activity that provides greater credibility, coherence and permanence. In addition to this we will apply an appropriation strategy with an aim to allow everybody who has a direct contact with the European Capital of Culture, locals or visitors, to have access to communication resources that will let them share and transmit their experiences with their contacts.

Visibilit y in traditional media

collaboration deals Our strategy strives to involve all of the mass media. Our dss2016eu project enjoys several informationrelated collaboration agreements and has created permanent spaces in a long list of traditional media with different contents and formats related to the subjects of our bid (round tables, columns, debates, microspaces). We prefer this method of shared information to simply purchasing advertising space. The dss2016eu Office has worked hard to promote collaboration with the most important media in the territory. Our goal has been to respect the values of our project and to involve all sectors of society in order to implement an efficient communication system.

In a diversified city like San Sebastian, in a territory like Gipuzkoa and the Basque Country, every media outlet has its own specific target public.

Moreover, if we exclude certain media from our strategy, we exclude members of the public, i.e. citizens. Good Management of the media may lead our project to success; however, poor Management could mean its downfall.

Media

Name

Audience

Press

Diario Vasco Berria Noticias de Gipuzkoa

263,000 copies/day 30,000 copies/day 32,000 copies/day

Radio

Cadena SER

Ser San Sebastian: Average of 54,000 listeners/day 40 Principales: Average of 46,000 listeners/day Average of 70,000 listeners/day (in the Basque Country) Average of 40,000 listeners/day (in Gipuzkoa) 201,000 listeners/day 89,000 listeners/day 96,000 listeners/day Average of 40,000 listeners/day

Onda Cero Punto Radio Radio Euskadi Euskadi Irratia Euskadi Gaztea Cope TV

ETB Teledonosti

Average of 652,000 viewers/day 111,000 viewers have tuned into the channel in the last 30 days

The mass media is an essential instrument for achieving our communication targets: visibility, appropriation and stronger relations.

Additionally, maintaining good relations with the entire media spectrum represents both strategic good sense and an opportunity to strengthen our Bid to host the European Capital of Culture in 2016.

A global, integrating strategy with every media outlet constitutes the

driving power and pedagogy of the bid's philosophy.

That’s why, if San Sebastian is designated ECoC 2016, it will continue to reach collaboration agreements with press, radio and television media.

Nationally, these deals include the Diario Vasco newspaper, with the highest circulation in Gipuzkoa, and the EITB public radio and TV Networks, and, Internationally, the European Broadcasting Union.

In the dss2016eu communication team we prefer to sign collaboration agreements and permanent sections with contents linked to the values and working themes of our bid, rather than merely purchasing advertising space

2009

visibilit y on the internet

dialogue with citizens We place priority on direct contact with the public. Digital activity is therefore the logical and natural scenario for unleashing the full potential of the communication strategy we have designed. To make this a reality, the dss2016eu communication plan has been based around five basic pillars: Identity, Activation, Resonance, Visibility and Virality.

The digital identity of our project means, on the one hand, transforming our Website from an information site into a platform for collaboration, personalisation and active participation in constructing the project. On the other hand, we have just opened a blog (olatuenergia.blogspot.com). This new online tool has been conceived as a window onto the kitchen where the project is being cooked. We will set up a special online communication team to establish a dialogue with citizens in our blog and in the social Networks.

Our messages will therefore be discussed, commented upon and improved. We already have thousands

of fans on Facebook and hundreds of followers on Twitter. We will also create a special communication system for mobile devices —phones, pads, tablets—, using the local available Wi-fi Network. We will take the programme beyond our borders thanks to a Network of digital broadcasts— Gipuzkoa Tour. We will also design and manage a commercial space on which for example buying tickets, finding information on events will be possible, as well as placing priority on Facebook and Twitter as dynamic, direct channels.

Digitally speaking, our online strategy aims to establish several links with similar sites in the European sphere. Here we target young, sociallyminded and innovative people with an enterprising profile. Our digital research has identified over 244 relevant Europe-wide spaces considered suitable to have communicative relations with.

In order to achieve this, we will design an action plan that permits us to reach the groups identified in our

Our recently opened blog olatuenergia. blogspot.com, conceived as a window onto the kitchen where the project is being cooked, up and a special team to establish a dialogue with citizens are part of our strategy in the social networks

research. The idea is to generate and attract Web user traffic to our own digital spaces.

As far as digital resonance is concerned, the team will provide contents, elements and instruments ensuring that our current collaborators (institutions, companies and other bodies) and the resonant points identified in cultural projects have the necessary material to use and disseminate in their own Networks.

We also realise that advertising and digital visibility is essential, and that appearing on Google and on the banners of globally visited digital media, for example, is a must. The digital communication strategy will therefore include a digital media plan adapted to the needs of the different stages of our project.

Digital space will play a crucial role in the development of creatively generated elements. Campaigns, digital materials and actions championing the audacious, emotional and eyecatching style required of any action seeking viral communication.

Dss2016eu— waves

of energy

communication—57

Thanks to the immediacy of the Internet, we want to make our thousands of Facebook fans act like a wave of digital energy. We mustn’t forget that many of these fans live outside the city and in other countries. This is a cheap and highly efficient way to spread news of our project in Europe

proximit y

strategic appropriation

resonance The resonance strategy is seen as an investment rather than as an expense. Addressing communication this way makes the actions designed under our strategy more credible, coherent and long lasting.

This figure reflects graphically the wave formed by our three communication routes in time. The confluence of the three will be in 2016, year of the European Capital of Culture we are bidding for.

This is a strategy heavy in services and PEOPLE and organised from the inside out. Having identified a string of major central agents, we work to keep them supplied with content so that they can communicate messages about us and them jointly through their Networks.

Their Networks will help us to make connections and spread word of our project in Europe and across the world. The communication starts from their spaces (calls for events, magazines, Webs, blogs). Thanks to their high credibility, these spaces have far greater power to get PEOPLE moving.

Resonance

One of our priorities is to develop communication Networks and hubs with the Polish city that is also designated as European Capital of Culture in 2016.

These days the Office has already identified essential agents for its resonance strategy that will help us communicate better. These include the Instituto Etxepare (promotion of Basque culture abroad), the Instituto Cervantes, the Erasmus programme and the Cities for Peace Network.

Appropriation Visibility

2016

2020

Anybody who shares a feeling for the values promoted by our dss2016eu project can be an ambassador of San Sebastian's bid to host the European Capital of Culture in 2016 We will accompany the work processes involved in the activities of our cultural programme and the actions of social mobilisation.

The people involved in these processes must feel not only satisfied, but excited at the prospect of truly participating Anybody who shares a feeling for the values promoted by our dss2016eu project can be an ambassador of our bid to host the European Capital of Culture in 2016. Conviction and enthusiasm are the priority goals of the appropriation strategy.

We know that you can only convince if you are convinced yourself. We understand that enthusiastic people have more energy. That’s why the dss2016eu team must respond to an obvious need: to accompany the work processes involved in the activities of our cultural programme and actions seeking social mobilisation. The people involved in these processes must feel not only satisfied, but excited at the prospect of participating to truly be part of the bid. They must enjoy being active members of the bid, and therefore increase our Network of contributors.

Thus, with proper Management of detail, the ap-

propriation strategy is meant to make us think and feel as though we truly belong.

This strategy targets local and International agents, present and future, who help to develop cultural projects and actions. It prompts social collaborators (shops, restaurants, hotel and catering, the media) and sponsoring companies to start getting involved. Getting the right tone is therefore important.

Some important collaborators in the appropriation strategy are Donostia Kultura (with over 65,000 active members), Donosticup (a worldwide youth football tournament organised in our city), the Kutxa Youth Club (with over 42,000 members), Atzegi (an association for people with intellectual disability) and SurfRider (a foundation with over 6,500 Facebook members dedicated to the protection of waves and beaches).

resonance coach team During comprehensive research the DSS2016EU project has identified the keys to the successful configuration of a resonance team. These are PEOPLE that are creative not only with messages but in the way they conceive and design communication instruments.

A team connected to today’s trends, where International presence is key and we know every «face, name and surname» of its members. This dedicated team will identify and manage resonant agent centres, produce attractive, viral formats, design new mobile device applications, manage social media and actively participate in events. Its growth will indicate that we’re on the right track; and that our hub Network is also on the rise. We calculate real impact according to the size of the audience enjoyed by each central agent in their different fields.

waves of energy—Dss2016eu

58—communication

How does the cit y plan to ensure the visibilit y of the European Union, which is awarding the title?

2

Visibility of the European Union must be assumed on two levels. On one level, the city itself can and will guarantee the visibility of the European Union.

On the other, dss2016eu undertakes to promote, as essential, further International recognition of the ECoC title.

Regarding the aspects we can guarantee without depending on others, we continue to include the European image and icons in our actions, materials and support documentation. We will spread news of the Melina Mercouri Prize, dedicated to one of our cultural programmes for the bid — film production — and present it at our most world

famous event, the film festival. We will transform the Victoria Eugenia Theatre Office into the ECoC 2016 Office, inviting cities occupying the position in coming years (2011-2015) to come along and present their activity agendas.

We will also exchange members of staff dedicated to communication with the Polish city designated ECoC in 2016. In particular, we will promote the mixed presence of European representatives at events related to becoming ECoC 2016. As regards greater recognition of the European Capital of Culture title, we consider it essential to promote the generation of a common working space with other

colLaboraTiOn

1 Participants in the cultural

programme´s labs, during the designing of the activities in November and December 2010.

ideas and action: with a little help from the citizens Our communication strategy has evolved through debate and shared work between the Office and citizens in a specifically designed communication laboratory.

Different people who enriched our strategy and made it more innovative with their proposals took part in this initiative Like the words of the famous Beatles’ song, «we get by in our work with a little help from our friends».

Just as in other areas of our bid to host the European Capital of Culture in 2016, the communication strategy has evolved through debate and shared work between the Office and citizens. Thanks to our specific communication laboratory involving people from all walks and sectors, our bid evolved and was enriched, making our strategy more innovative and real.

Working on these strategies brought people together from different fields to combine their expert knowledge. We enjoyed the participation of experts in media Management (specifically digital), in territorial leadership and in managing the communication of cultural policies and installations in our territory. We were able to draw on the experiences of other people recognised for their ability to innovate and create, people who very successfully organise mass events or social proposals attracting large numbers of citizens. The idea was not to miss the possibility to sum up the experience of agents that currently are communicating successfully in their respective professional fields, in order to include their skills and experience in our own strategy.

While developing our plans, we also contacted external experts in different fields driven by the need to create Networks that will be essential to us for a better and more efficient implementation of our actions and strategies while communicating our project.

As communication of our bid process stands today, we continue to enjoy collaboration with the University, education centres and schools across the territory. Youngsters work from their classrooms to propose communication ideas and programmes in their respective fields, and the Office is only too pleased to put these ideas into practice.

The graphic image of our Rompeolas festival, guerrilla marketing actions by Kunsthal and Ceinpro education centres, exhibitions on subjects related to the different branches of our project, and even the dss2016eu bid music are perfect examples of this exchange.

All of these actions have been conceived through shared work with education centres with the aim that they can go on working and collaborating in concrete projects. We are even thinking of integrating in our team students from different education centres in our territory and creating a whole new team of young interns.

visibility with a strong international presence

ity in the Basque Country, like Tecnalia, Euskotren (public transport company with 30 million travellers in 2009), SPRI (the Basque Business Development Agency, with over 27,000 subscribers to its weekly newsletter), Orbea, Fagor and CAF. However, we also want to be audacious, to break moulds, and will therefore propose innovative agreements with Spanish companies with World Wide reach in order to benefit from their communication resources.

Examples are, Inditex, Movistar, Repsol, RENFE, Spanair and Bank Santander. We plan cooperation with locally operating low-cost airlines, such as Ryanair, Vueling, Wizzair, Smart Wings, Air Berlin and Easyjet.

«Don’t buy, collaborate». To achieve this, the Office consulted agents with high profiles and communication capacity to explore the possibility of working together, seeking innovative formulas going beyond the simple purchase of space and services.

We have already made our contacts with Turespaña (International promoters of tourism in Spain) and Iberia to inquire into how their regular communication, promotion and advertising spaces (Website, Iberia’s Ronda magazine or Turespaña’s 33 offices World Wide) serve as exceptional platforms for also disseminating dss2016eu outside Spain. Here, we make agreements with institutions, organisations and companies. This specifically includes our current sponsors and others enjoying everyday visibil-

The values of our project allow us to mobilize collaborating agents in places where otherwise only commercial deals would be signed

2 Detail of a lab.

1

music as a universal means of communication San Sebastian breathes music: from the sound of the waves and its best-known International festivals, such as the Quincena Musical and the Jazz Festival, to excellent choirs like the Orfeón Donostiarra. We offer classical music in big and small formats plus music by groups and soloists famed in all fields. We also enjoy a wealth of music performed at social events, and deep-rooted musical traditions, such as the drum parades on San Sebastian Day or the ancient txalaparta. The city has music in its blood. It has excellent music centres and schools and is home to the Higher School of Music of the Basque Country, Musikene. We know the commu-

Dss2016eu— waves

of energy

communication—59

ECoC Cities so that they may consider, for instance, the possibility of generating an even stronger common logo to be adopted by the different cities.

We will foster an exchange of knowledge and will promote joint online activities given that dss2016eu is in a position to offer cities the mercouri.es, mercouri.com and mercouri.eu domains. We will promote a communication strategy based on collaboration rather than competition, the greatest expression of which will be the pooling among others by combining resources to carry out joint activities for promoting generic advertising campaigns on the ECoC at European level.

2

We will invite staff of the Polish ECoC city to our team and we will promote joint online actions since dss2016eu can provide the mercouri.es, mercouri.com and mercouri.eu Internet Domains

publics

profiles: young spirit and network organisation Dani Blanco

In dss2016eu we are working to reach a massive amount of people and organisations with our communicative actions, that´s why we have identified two important profiles: Young spirit and people organised in a network, in order to achieve greater efficiency of the available resources

Dani Blanco

nicative power of music and that this same music is a legacy capable of crossing borders and leaving its mark well beyond the life of events. Driven by the conviction that music is also an excellent catalyst for social action, the Office challenged students and professors at Musikene: to create a theme for the bid.

The theme for our bid is the result of a free and open process of creation by a mixed group from different Musikene departments (Composition, Classical, Jazz). A piece of music generated to share the spirit of our bid (optimistic and positive, where collaboration and participation are key) taking its inspiration from the dss2016eu values and approach.

The Office challenged students and professors from Musikene music school to create a theme for the European Capital of Culture 2016

The cultural project reaches out to a wide variety of people and entities. We seek cooperation not only at local level, but internationally, involving different publics, specialised audiences, citizens, professionals, amateurs, tourists...

We have progressed from mobilising viewers to mobilising new social profiles, like proUsers. In other words, we place the accent on active citizens who, more than just being users, become producers. In all groups of great importance to the project, our communication revolves around two aspects: a youthful spirit and Networks of people. We focus on these to achieve greater efficiency and the best possible return from the resources and materials available.

The first case refers to active people who like to experiment and get involved, who are committed and in open contact with others, no matter what their age is: Committed, involved, connected people.

The second group profile includes people with shared interests. These are organised into institutional, cultural, economic, tourist, media, public or private professional groups forming digital or physical Networks.

The combination of these profiles and their messages has been key to achieve clear-cut guidance to

select actions for our communication strategies and scenarios.

We also look for emotional, ambitious communicative actions: features specially designed to be shared and to invite viral communication on physical and digital Networks. These formats are transferable at European level, like music or audiovisuals.

three communicating messages

When the leading article involves our communication identity, i.e. the Waves of Energy slogan, the process being used to communicate the news also conveys the idea of our cultural project, its focus on overcoming violence, and its lighthouse programmes.

At the same time we don’t ignore the ultimate objectives and aims involved in leading a project of European dimension. Our communications and messages thus far have always mentioned or featured basic messages. For instance in order to set in motion social transformation we need to partner more in Europe, generate new connections and be active.

The core messages issued by the dss2016eu project are managed like a system of communicating vessels. This communication system has three branches: our identity as ECoC 2016, our cultural project and the European dimension of our project as a whole. Under this communication strategy, each of the messages sent in one of these communicates with the other two.

Depending on the requirement, from a simple review or a full report to a video on the spirit of our bid, a tweet on twitter, a comment in our blog to a briefing for student collaboration, the system enables us to stress the relevant branch whilst complementing it with the other two through the same message.

millennials → Youngsters between the ages of 18 and 24: 2.3 billion

World Wide

→ They form the most plural youths in history → They are a key reference for other segments, the 10-17s

and the 25-45s.

→ They move in an extensive social Network → They want to combine work and pleasure → They are pragmatic and more realistic → Their idols are common PEOPLE who realise small,

possible dreams

→ They are the faces of the new economy, ruled by open

source and crowd sourcing

→ And, with the power of the Internet, can have an

immeasurable impact

The system communicates our identity, our cultural programme and the European dimension of the dss2016eu project as a whole

waves of energy—Dss2016eu

60—communication

«San Sebastian is unique, and that’s the first challenge of any destination: to highlight its distinctive features. The city offers a beautiful natural setting, cultural wealth, a gastronomy all of its own and hospitable people. These are key attractions for boosting tourist development»

DV

Taleb Rifai Secretary-General of the World Tourism Organisation

strategies

commitment to urban tourism The European Capital of Culture 2016 is a unique opportunity to define a model of urban tourism development in Europe: sustainable and responsible so that tourists can experience destinations just like any local citizen Tourism, a dynamic sector, is changing radically.

Tourist activity in Europe is faced with all sorts of challenges: for example, the global financial crisis, competition from other destinations, the consequences of climate change and seasonal variations. Not to mention demographic decline all over the European countries, changing consumer habits and diversification of tourist options. On the other hand, opportunities for European tourism lie in the impact of information and communication technologies. These phenomena represent good opportunities for the development of European tourism and the promotion of our tourism assets.

This is underlined by the enormous potential of increased urban tourism throughout Europe driven by an enormous historical heritage, diverse cultures, gastronomy and the creative industries. A growth which is smart, sustainable and inclusive, also stressed in the new EU 2020 Strategy.

In San Sebastian we conceive the Bid for ECoC 2016 as an opportunity to define one of the examples of a model for developing urban tourism in Europe. A modern, sustainable and responsible model where visitors live in European cities like locals. A model that contributes to fostering European social awareness and the European brand, offering incentives to cooperate and exchange best practices.

Here, the European Capital of Culture 2016 has a mission to boost tourism in the area of San Sebastian and the territory of our bid. This objective can be summed up in four goals or aims.

Firstly, we understand tourism as an experience bringing personal enrichment to the visitor rather than the tourist as a simple observer.

Secondly we also plan to create and foster a new kind of artistic tourism industry, linked to the City’s creative industries and professionals related to culture in the context of the total territory.

Thirdly we are bringing forward the introduction of San Sebastian’s tourism development strategy. We will do this in order to bring a higher quality of life and prosperity to the different parts of local society. Lastly, we are promoting knowledge of the city throughout the European continent to achieve a broader target public.

1

Iñigo Ibáñez

hospitalit y

tourists who feel they belong to San Sebastian Our bid wants to boost our citizens' creativity and articulate a strategy that allows visitors to experience this shared social and cultural energy in a lively fashion. We don´t want visitors to merely coexist, rather we want them to feel part of the city just as the rest of the locals The principle inspiring the tourist strategy applied by San Sebastian's bid for European Capital of Culture in 2016 is based on the twin concepts of citizen/inhabitant and citizen/visitor as recipients of the tourist development policy. What’s good for the locals is good for visitors and vice-versa. This means that visitors feel like just another inhabitant of San Sebastian. They are not simple onlookers, but people who live the city.

The visitor doesn´t only visit monuments, beaches and landscapes ,and doesn´t only follow the indications of travel guides. The visitor enjoys the full potential of the city just as the rest of the locals do.

San Sebastian’s bid for ECoC 2016 boosts creativ-

ity in its citizens and conveys this vital social and cultural energy to visitors. The inhabitants of San Sebastian, known as donostiarras in Basque, don’t just accept visitors; they share their lives with them, making them feel like locals.

The tourist strategy employed by San Sebastian’s bid for ECoC 2016 that is developed with the best and bad practises from ECoC’s so far may be an example of a valid model for contemporary urban growth and improved quality of life in its locals and visitors. This contemporary urban growth must be seen as an opportunity to continue accumulating cultural heritage. It must turn the spotlight on the citizens as catalysts of European urban development in the 21st century.

Dss2016eu— waves

of energy

communication—61

city surfing: the most urban surfing

DV

1 A couple of tourists sitting in

front of the Kursaal Congress Centre, by architect Rafael Moneo.

2 Young backpackers in the

Old Part of the city.

Seeing youngsters heading for the beach with boards under their arms has become a typical scene that reflects the city’s commitment to surfing. This activity combines its strong attraction among the younger sectors from all over the world with tourism conceived as an exchange of ideas, cultures and ways of understanding life. Among related activities, the city hosts one of the most important film festivals in the field (surfilm festibal, www.surfilmfesti-

bal.com) and has launched a surfing cluster (Surf City Donostia).

These cluster groups research centres with relevant companies and professionals of this field, who explore experiment and work to boost the economic aspect of the sport. This collaboration between companies has led to new technologies and inventions including the intelligent surfboard and an artificial wave machine.

San Sebastian provides a varied cultural offer and a perfect starting point to gain access to different natural environments related to the sea or the mountains in just one urban tourism destination

2

connected city The European high-speed train Network is set to connect the city to the major tourist markets in Spain and Europe; but also to the nearby International airports Bilbao and Biarritz; and to internal connections thanks to the Basque 'Y' (the Spanish high-speed train Network, AVE) and the San Sebastian Metro will shortly be constructed in the metropolitan area. All these connections contribute to generate a highly attractive and user-friendly touristic destination. And that’s the key to our commitment to tourism.

welcoming city

DV

balance

the proposed tourism development model Our strategy looks at generating experiences, feelings and sensations. It offers to whoever is visiting a stay defined more by qualitative values than quantitative ones The tourism development model proposed by San Sebastian in its bid for ECoC 2016 seeks participation and inclusion. We want our heritage, the landscape, a wide variety of activities, the population, the quality of resources and their conservation to complement one another. This is a tourism model based on qualitative rather than quantitative values. This strategy targets a sensitive audience with interest in different aspects of human identity.

This is a model of joint public/private responsibility and far-reaching participation from the private businesses fabric. Today over 260 companies across the territory actively participate in San Sebastian Turismo, the company that manages tourism in our city. Its representatives in Government bodies of the company play an active part in defining the entity’s strategic lines and plans of action. While this is a model of tourism designed for a territory - in this case San Sebastian - it also

encompasses the rest of Gipuzkoa, the Basque Country and the French side of the Basque Country.

It embraces the different realities and capacities of penetration into the markets (culture, nature, gastronomy, ethical values and citizens...) underpinning the product and tourist strategy. This tourism model has the capacity to include an enormous amount of services, activities and tourist experiences for the visitors.

The model satisfies demands for quality and the highest standards, placing the accent on individual and specialised tourism. Rather than mass tourism, we propose small-scale strategies targeting a demanding public that prefers a more personal option and aims at a different kind of tourism experience. We want to create rich experiences, stories to tell others. San Sebastian and the activities that can be enjoyed in the city and its surroundings are a tool to produce experiences and sensations in visitors.

2010 saw 910,000 overnight stays in the city hotels and a total of 1,637,000 in all the region of Gipuzkoa.

This breaks down into an average of 2 nights per tourist in the current 9,000 hotel places available in the territory. The sustainable and balanced range of accommodation options means that, by 2016, we will have over 15,000 places and a total of 37,000 beds to offer within one hour's travel from the city. In addition to this there are 1,300 University residence places, 3,500 places in agrotourisms and 8,000 campsite spaces. This constitutes an attractive and varied selection of accommodation for the visitors to the ECoC 2016 and means that the overnight stays yearly, according to our calculations should hit the 2,500,000 mark in the metropolitan area.

a walk among the stars 16 Michelin stars (including three 3-star restaurants) are the best light for the gastronomic Milky Way running across our territory. And the Basque Culinary Center, the University Faculty of Gastronomy at the University, is the light that guides, welcomes and fosters its wisdom.

Sara Santos

waves of energy—Dss2016eu

62—communication

a tourist destination without borders

Iñigo Ibañez

strategies

For years now, San Sebastián Turismo has been working hard with tourist organisations on the French side of the Basque Country to create a single tourist destination.

Experiences like Fly Côte Basque, a Website on the tourist attractions of destinations around Biarritz airport, or the different commercial and promotional campaigns launched in different European

San Sebastian proposes a set of initiatives to boost a notion of tourism that is more sustainable and related to visitors´ experience and sensations. In addition to that we want to share this new vision with other Spanish cities

1

action plan We intend to make the most of assets like our heritage, our culture, our gastronomy and contemporary creativity.

Our aim is that visitors should have more varied, enriching quality stays in San Sebastian dss2016eu is convinced of the importance of excellence in tourism as a European strategy. This strategy is backed by the creation of Networks of experts and destinations that permit the creation, exchange and dissemination of knowledge and information. It also draws on innovation, research and technology development and an exchange of best and bad practices in order to remain competitive in the tourist sector.

One of the core aspects of the Action Plan on the tourism strategy adopted by dss2016eu is the diversification of tourist proposals and products. To do this, we must make use of our heritage, culture, gastronomy and contemporary creativity, all set around a cross-sectoral approach to proposals and actions in all fields.

We aim to encourage visitors to make more varied, exciting, quality stays. Therefore we must offer a wider choice of tourist services, placing greater emphasis on tourism related to culture, heritage, gastronomy and those other areas with enormous growth potential.

We will promote cultural activities for locals and visitors related to destinations and resources in the European Capital of Culture in 2016 area. This will include fostering new tourist/cultural hubs and tourist/cultural attractions like Tabakalera Contemporary Culture Centre and San Telmo Museum. It will also involve the creation of spaces for interpreting the city and the territory. In this section, services for visitors will be enormously important. Therefore we will launch a plan to get European volunteers through Universities to create teams that provide tourist information. These teams will be made up of students from the Basque Country and from all over Europe.

Another of the challenges faced by San Sebastian is to boost tourism fostering social inclusion through mobility to permit access to all social groups, including youngsters, families, the elderly and people with disabilities. In its tourism Management strategies section, San Sebastian will focus on decentralising the tourist office and protecting consumers' rights.

As far as raising awareness is concerned, importance will be placed on tourism as a source of cultural exchange, and of personal and social enrichment for the communities visited.

cities together with the tourist offices in Bayonne, Biarritz and the French Pays Basque-Bearn region, consolidate the image of a unique, complementary destination on both sides of the border.

This claim will become a reality in 2016 with the introduction of a City Card for use on transport and admission to all tourist resources in the cross-border area from Bayonne to Bilbao.

DV

2

a few highlights DV

3

the shared city We aim to work with other Spanish cities to convey the new vision of the tourist-citizen. This is something that one of the biggest tourist countries in the world wishes to contribute to Europe.

the city in the world

DV

4

The 33 Spanish Tourist Offices across the world will be the main advertising channels for San Sebastian's bid for ECoC 2016. This is part of the strategy to market and re-position the Turespaña brand organised in collaboration with Basquetour and San Sebastián Turismo.

the city that talks to you Platform providing constantly updated multimedia information on aspects including local spaces, infrastructures and events for a unique, personal experience.

the city that listens to you DV

Personalised Tourist Attention based on a European Volunteer Plan where local and foreign volunteers form mixed couples to provide tourist information on the city.

the city without borders

1 Aizkolaris in Trinidad square,

San Sebastian.

2 Kids´ Tamborrada.

3 Market in Tolosa.

4 People walking in La

Concha beach.

We will create tourist itineraries all over the territory and in the cross-border area. These itineraries will highlight new options permitting tourists to discover the territory at large while continuing to foster the tourist-citizen concept at city level. This includes the creation of the 2016CARD, a tourist card for access to all touristic options in the area (Bayonne, Biarritz, Anglet, the other two Basque capitals and Gipuzkoa as a whole).

Dss2016eu— waves

of energy

communication—63

San Sebastian´s bid has showed from the beginning a strong commitment to Europe in guaranteeing that all contents of its currently most international platform, its Website www.sansebastian2016.eu, are available in 5 languages: Basque, Spanish, English, French and Polish. An effort in human and financial resources that backs our European vocation

colLaboration

1 A village in the heart of

Gipuzkoa.

an aligned strategy The city´s tourism strategy is designed in full coordination with the Governments of Gipuzkoa, the Basque Country and Spain. This guarantees efficient communication of San Sebastian as a cultural and urban destination The tourist strategy of our bid is perfectly incorporated into the policies of the bodies responsible for promoting tourism at other institutional levels.

Regionally, the Marketing Plan underway at the Tourism Department of the Provincial Council of Gipuzkoa defines the San Sebastian brand as its positioning line. The Provincial Council considers the destination in its full, cross-cutting extension, ranging from Bilbao to Biarritz, and places the accent on tourist products based on culture, gastronomy and on the territory itself.

Within the autonomous community, the Plan for Competitiveness and Innovation in Basque Tourism, recently presented by the Basque Government ViceMinistry of Tourism, similarly defines several points of action that reflect the essential strategic lines of our proposal.

And, finally, the Marketing Plan launched by Turespaña (the Spanish Tourism association) turns its spotlight on re-positioning the brand ‘Spain’ in priority markets with a concept based on urban and cultural tourism and its commitment to innovative, unusual and experience-specific proposals.

2 View of Bayonne, France.

tourism blocks → City identity. San Sebastian’s project puts the

accent on maintaining our local identity as a unique feature not easily found elsewhere. This will attract tourists for cultural and social reasons; PEOPLE who wish to discover something different.

It will also give us a strong competitive advantage. →

Sustainability. Understood in the broadest sense of the concept. In the fields of economy, social matters, the environment and culture.

→

Cooperation and participation. DSS2016EU has involved all economic sectors, institutions and citizens in drawing up and implementing the project underpinning its bid. It is also conceived in the framework of cooperation and collaboration with the rest of Gipuzkoa, the Basque Country and the French Basque Country.

1

→ Territorial and urban balance. San Sebastian

realises the need to create new spaces and attractive features in the city. We also realise that areas must be decongested if we are to balance the positive effects with the negative consequences of any tourist activity. →

Quality, Innovation and High Added Value.

Innovation and quality are essential to new products. The same applies to their Management, implementation and marketing.

→

Supply and demand. Knowing the needs and behaviour of markets today and potentially tomorrow is key to knowing what to offer.

→

Synergies with other sectors. The San Sebastian project understands that tourism will act as a catalyst in strengthening other sectors, fostering entrepreneurial initiative and job creation. Tourism is not an isolated industry, but a cross-cutting activity interacting with many sectors, and must find a way of working with them.

Andy Wright

2

San Sebastian, «best quality tourist destination 2010»

Last year, the city won the Award for «best quality tourist destination» following its selection from among the 106 cities in the Quality Tourist Destination Programme promoted by Turespaña and the Spanish Federation of Municipalities and Provinces (FEMP). With this Award, San Sebastian was recognised for its remarkable efforts to improve tourist quality and for its demonstrable merits in managing activities related to its improved competitiveness as a destination.

DV

waves of energy—Dss2016eu

64—communication

communication and tourist action plan

2009-2011

2012-2015

end of 2015

2016

2017-2020

Communicative visibilit y

Presence and image

– Presence in urban city spaces

– Maintenance of classic activity

– Presence at events

– Public International presentation of the project (2013)

– Advertising in press, radio and TV in the bid territory

– Dissemination of the cultural programme – 1st semester

– January 2016, Opening event, call for International press

– October 2015, call for International press

– Media plan for advertising to go with the activity of the year – April 2016, Dissemination of the cultural Programme 2nd semester

– Areas: Waves of Energy, Culture to overcome violence/ PEOPLE with energy Campaign MC agreements

Dss2016.Eu digital space

– Spaces for news coverage

– Spaces for news coverage

– Spaces for news coverage

+ Specials with the “local” media

+ Specials with media in the cross-border territory and in the rest of Spain

+ Specials with European media and Networks

– Informative Website

– Evolution towards the relations platform and an open work space

– Relations platform (informative and work)

+ Blog /Facebook/ Twitter + Strengthening of digital presence on the Websites of Institutions and collaborators

Agreements with Agents, strong presence

– Current sponsors

Special actions

Music of the bid

+ Management of the digital map of Europe + Microstories 2016

+ Management of the digital map of Europe + Virality

– Global Management of agreed spaces

– Presentation of results, progress and maintenance information

– Relations platform

– Consolidation digital coverage and new projects

+ Keys to navigability + Microstories 2016 + online merchandising space

+ Commercial platform

– Sponsors

– Sponsors

– Sponsors

+ Major companies, organisations in the bid territory with “outside” presence

+ Major companies in Spain with presence across the world

+ Special agreement with International company

– Identification and launch of the experts Network

– Intensified Management of the communication Networks

– Film presentation Melina Mercouri

+ Promotion of a space for communicative collaboration between European Capitals

– GipuzkoaTOUR – DSS2016EU seeds – One from here One from there – Conversing in Europe – Prime time – TRANS-merchandising

– GipuzkoaTOUR – DSS2016EU seeds – One from here One from there – Conversing in Europe – Prime time – TRANS-merchandising

+ COEXISTENCE hosts reception plan

+ TRANS-merchandising

– Presentation of results and maintenance for the closure

– Moving forward in European COEXISTENCE

Appropiation

Accompaniment ­–development of cultural activity

– Activities fostering the micro-mobilization of local citizens

– Activities fostering the micromobilisation of citizens in the bid territory

– Special mobilising action

Special devices

– Rompeolas Festival

– Rompeolas Festival

– Mobile devices

+ COEXISTENCE hosts

– Mobile devices

+ Travelling companions

+ Travelling companions

– Adapted audio-guides

– Adapted audio-guides

Resonance

Resonance services

– Identification and Management of “local” resonant Networks

– Identification and Management of themed and Bid territory resonant Networks

– Intensification of resonant Network

– Global resonance Management

– Mantaining involved agents management / continuation cultural activity

+ European Network Management

Visibilit y on the TOURIST SCENE

Tourist markets

– Consolidation of traditional markets

– Penetration of new geographic and segmented markets: Scandinavia and Central Europe, cultural consumers

– Plan of Actions with Turespaña and Basquetour

– Reception plan

– Consolidation of new markets

Tourist products

– Creation of tourist products: San Sebastian Film Route/San Sebastian Flavours Route/the image of an artist

– Network of Cultural Parks for Knowledge

– Emphasis on touristcultural itineraries

– Development of creative tourism products

– Development of new experience–creating products

– Positioning with regard to City Break

– European conference on the challenges and opportunities of urban tourism (biennial as of 2012)

– Promotion of the UNESCO declaration as Creative Capital

– Policy and Management of the San Sebastian brand

– Policy and Management of the San Sebastian brand with the ECoC

Branding and image

+ Launch of new tourist proposals: Jazztronomy, Passport to the stars, Golden Line.

– Online community www.mercouri.eu on the ECoC Operational marketing

– Plan to promote City Break

– Plan to promote cultural and creative tourism

– Fostering of inter-institutional cooperation agreements with Basque Industry, the University and online communication platforms

– Special plan to market and promote DSS2016EU

Organisation and management

– Management of Excellence: Best Tourist Destination Award 2010

– Accessibility and Mobility Plan

– Tourist services: off / online

– Local platform for providing contextualised multimedia content in real time on spaces, infrastructures and events.

– Creation of the Tourist Observatory (assessment chapter)

Training and raising awareness

– Raising awareness: visiting citizen

– Platform development and perfection – Assessment follow-up Tourist Observatory

+ European Volunteer Plan The city hears you – Plan for Lifelong Training in the sector

– Unique culture card 2016CARD: citizens (locals/visitors)

– Plan to improve the tourist fabric in the areas of excellence, innovation and creativity

Dss2016eu— waves

of energy

communication—65

global strategy

specific actions In dss2016eu the communication strategy has been designed to cover all the fields capable of transmitting our bid´s values and spirit.

That´s why several lines of work have been established linked to fields as diverse as merchandising, volunteering, sports, online communication, literature or even the sowing of seeds merchandising

internet

inclusion

hospitalit y

my Own Souvenir

dss2016.eu

adapted audio-guides

hosts of coexistence

Project facilitating access by the sensory impaired to language, communication and cultural activities. Here we work with local companies and the ONCE association for the blind and sight impaired.

For 2016, we will create a kit to raise awareness and provide information on the ECoC for the resonant groups who generally come into direct contact with those who visit us. This includes people who work in tourism, hotel and catering services, shops, public transport, taxi-drivers, the forces of law and order. We will make the city friendlier, a place where visitors are warmly welcomed. The idea is not only to provide them with information, but to ensure that they enjoy the open spirit of getting along together with the values of our project.

Our project addresses a global merchandising strategy suited to the spirit of our bid. This communicative action means that, as well as the classic products, we will also offer a special line of specifically devised articles. These will all be designed by the themed laboratories collaborating on the creation with the Design Capitals from 2012 to 2015.

The sea, the beach and surfing are major themes of our bid. This values related to the sea and San Sebastian have inspired us to think of a line specially related to the sea and watersports: swimwear, surfboard covers, towels, sunshades and beach bats.

We also offer a series of promotional products around the official vehicle of dss2016eu: the bicycle. Here we consider saddles, biking accessories, saddlebags, chains, padlocks and other products related to the world of the bicycle.

We will also design a line of products related to mountain climbing, trekking and hill walking, very popular sports in our territory, including outerwear, boots, shorts, caps and books of recommended routes. But we won't forget products related to eating well for which we’re so well known: we offer new versions by young designers of traditional kitchen utensils: cooking spoons, ceramic junket pots and cooking dishes, milk urns.

We also propose books of recipes by 'amona' (grandma in Basque) and hints from gastronomic societies on virtual recipe pages.

Our project will particularly focus on ‘street style’. San Sebastian has always been known for its elegant style and its particularly well-dressed citizens. We know we can't compete with cities like Barcelona, London, New York and Tokyo in harnessing trend hunters. Nevertheless, European Capital of Culture 2016 helps San Sebastian to be known as the city of creative trends, style and design. We won’t only offer t-shirts and trousers. Our idea is to create books on the styles and ideas created jointly by young regional designers and established professionals. These books will go on sale so that the citizens can apply the ideas to their own wardrobes in the purest of do-it-yourself spirits.

And we offer the young amongst us our «chachitoys/txupigames» product line, consisting of amusing educational toys, traditional games and toys from across the world conveying the values of overcoming violence. A range of toys made by designers and educators the world over to transmit values to girls and boys.

Understood as a multimedia platform, this is the main hub for conveying information about our project. It offers direct access to information and helps to establish open, interactive channels of conversation and participation. It will also serve as a repository and living memory of the activities carried out. An accessible space in the Internet with a live connection with the rest of the world. A space adapted to reality, a gathering place for people who are unable to physically travel to San Sebastian, but who want to know about and share the spirit and legacy of our European Capital of Culture of 2016.

literatura

microstories 2016 The digital platform permits us to work in a format that can be shared at different levels, available to everybody through the Internet. Thanks to a Language seminar to be celebrated in San Sebastian, we will invite a different European author to write a story each month. We will also offer a digital space limited to a maximum of 10 lines, where anyone wishing to participate can write a brief description of their 2016 experience. Periodical voting systems will serve to choose the 16 best stories of the year. This literary communication activity will be directly promoted by the working space configured by the «hosts».

values

seeds dss2016eu A gift-box available off and online displays a selection of seeds that symbolically will help to overcome violence from all over the European continent. Every country will be represented by a seed and every seed will represent a value for overcoming violence in Europe. A handbook will also be designed and published for the occasion on «Sowing seeds to overcome violence». This communication element could become an innovative formula inviting all kinds of people to find out more about the European Capital of Culture 2016 project and the territory hosting it in 2016.

distribution

gipuzkoatour An online system of digital broadcasts intended to decentralise events on the dss2016eu cultural festival calendar.

This means that the programme would be extended, to include and permit access by the entire territory (and other parts of Europe and the world). Our objective is to harness/connect potential specialised audiences spread over the region, encouraging feedback and reaction.

diversidad

conversing in Europe A digital game set around verbal expressions which either can’t be translated or don't have a direct translation from the different European minority languages – Basque, Galician, Catalan, Breton, Frisian, Luxembourgian, Lithuanian, Welsh, Icelandic. Using original resources, videos and animations, we look at the identity and linguistic diversity of Europeans as a channel for improved communication.

sports

San Sebastian urban surfing Marketing action principally targeting youngsters, the perfect carriers of digital virality. A «member-getmember» action placing the onus on youngsters in the territory so that they may act as the ambassadors of our bid, telling friends and European contacts about the possibilities and cultural proposals it involves.

Designed in an attractive, modern, seductive tone and style, based on the latest in urban surfing trends.

The action could take place monthly, and may be launched prior to 2016, continuing throughout the year. It will offer participants exclusive merchandising elements and special invitations to the big activities of the moment.

television volunteering

travelling partner A people-specific bid must have an extensive volunteer programme. We will offer active involvement to those wishing to contribute their grain of sand to ensuring that dss2016eu goes as smoothly as possible. Volunteers in the information-providing and PR areas will play an enormously important part on the programme. They will have the essential task of dealing with people, informing them and generating their interest in the project.

prime time dss2016eu has set itself a challenge: Is it possible for a prime time television show to broadcast a programme on common European values? A space for big audiences set around our most important themes? For this communication activity we’re considering two options: firstly, to contact the producers of Spongebob and ask them to dedicate an episode of the series to our topics. Secondly, to invite one of the most successful European TV production teams to devise, propose and design an attractive TV competition. A formula perfectly compatible with TV Networks in different countries.

66—

lab Fish market San Sebastian harbour

waves of energy—Dss2016eu

Dss2016eu— waves

of energy

—67

68—evaluation

waves of energy—Dss2016eu

Iñigo Ibáñez

Dss2016eu— waves

of energy

—69

evaluation a pluralistic and multi-strategic evaluation

—70

the dss2016eu toolbox

—72

the first steps

—74

details of economic and financial control

—75

learning

about the meaning of evaluation Oficina Estrategia DSS

To evaluate is to compare the result obtained with the expected result in order to reasonably establish the value of a process, method, hypothesis or theory, or the action of a person or team. We evaluate in order to improve the decision making process and generate a holistic learning process, therefore prior planning is essential. Furthermore, evaluation presupposes an effort to become thoroughly familiar with our environment, and the will to organise mediumand long-term policy actions in order to increase their effectiveness.

Based on these premises, we have established three operating principles for dss2016eu that guide the development of our evaluating process. They help us answer questions about what and why we evaluate: Accountability, Monitoring and Learning.

Given the public nature of this project for the European Capital of Culture 2016, and based on the principle of transparency, we are accountable to the citizens for what we do, the resources we use, and the results we obtain. Moreover, we intend to monitor the whole project and its different cultural programmes so that we always know whether we are on the right track, and we can always change course if it is needed.

This project is an opportunity to attain knowledge and lessons learned, that will be useful and transferable to our own city, to other entities involved in the project, and to other Spanish and European cities.

Incorporated into our daily practices rather than as a forced abstract exercise. It is a continuous process that suggests the need for knowledge to be generated through practice and debate between the many participants in the project. We seek methods, instruments, simple activities, understandable to everyone, that are worth undertaking because they offer greater value than the goal they aim to achieve. We will generate an organisational culture in which evaluating becomes an indispensable task, strategic in scope.

transferability has already been activated!

We regard Impacts 08 and An International Framework as generated by the ECoC Policy Group (20092010) as landmarks in the area of evaluation.

They help us to compare ourselves with other ECoC projects and assess the main effects of the programme in terms of legacy and long-term impact. We incorporate what we have learned from other evaluation models we know (for example, the FEMP Guide for the Evaluation of Local Cultural Policies within the framework of Agenda 21 for Culture), and the evaluation programmes in which we participate (the OIDP Practical Guide for Evaluating Participatory Processes, the Globernance/ San Sebastian Institute for Democratic Governance Human Rights Compliance Indicators). We also apply specific questions arising from our project, pointing to the need to open new debates, which we also believe will contribute to the European dialogue on ECoC evaluations.

We are not starting from any absolute certainties. While acknowledging and taking advantage of the valuable legacies that precede us, we want to contribute to the exploration of new paths. There will be moments of uncertainty and insecurity, and we know we will have to take risks, test things, accept trials and errors, and gradually build on what we learn through practice. We also know that it is part of the ECoC evaluation legacy to assume the difficulties of evaluating, to calculate the direct shortand long-term impacts of the project, and to capture the intangibles.

We don´t start from absolute certainties. We want to contribute to explore new ways making the most of the valuable legacies of other processes. Uncertainty moments will come.

We know it is crucial to risk, to try new things and accept mistakes to build bit by bit through practice, to assume the difficulties in evaluating, to monitor the project´s direct impacts and separate them from the effects produced by other events to happen in the territory. We will study those impacts to capture the intangible effects we want to produce.

ECoC 2016 will offer us an opportunity to improve in the evaluation field. Our proposal´s strength lies in our commitment, in our will to learn and share the lessons we will learn.

waves of energy—Dss2016eu

70—evaluation

Indicate whether the cit y intends to establish a specific system to monitor and evaluate the impact of the programme and its consequences.

1

Yes, we have put an evaluation system in place that covers the actors involved, the objectives, areas, strategies, instruments, size of impact, and the extent to which we met our targets. This will enable us to evaluate the efficiency and effectiveness of our actions and the most relevant impacts. We will monitor the projects in order to correct potential deviations from our objectives. We have established systems to monitor and control financial management, and generate learning that might be transferable to other cities, and to other similar projects in the field of culture. We use a toolbox with instruments and methodologies specific to

the various elements of the evaluation process.

The system itself is a strategy for social change we hope to achieve with our project because it promotes understanding among different agents, analysis, reflection, debate and action on the programme itself. It helps to improve coexistence.

This proposal is the result of collaboration between university experts (University of the Basque Country, University of Deusto, the Institute for Governance and Public Policy at the Autonomous University of Barcelona), research centres (CIC Tourgune), cultural operators, artists and experts with experience in evaluating EU policy.

transformation

a pluralistic and multi-strategic evaluation The evaluation of a project such as dss2016eu is a very complex process. In calculating what would be the most appropriate strategy, we had to take into account the fact that it is citizen-oriented, with contents largely based on intangible issues. Other considerations were the process-based working method, and the fact that we are working in multidisciplinary fields and on several territorial scales.

The one we have designed is based on a system that links several levels so that the evaluation itself can be another instrument for transforming and improving coexistence between different groups. Diverse actors, methodological strategies and instruments that are also diverse, and specific scopes and impacts will help us to structure the information and activate the evaluation and learning process.

To begin with, we prioritise the involvement of a wide range of actors representing different positions and interests within the European Capital of Culture programme who have an active role in the evaluation process. Stakeholders are institutional promoters, partners and collaborating institutions, cultural operators, artists and creators, participating citizens, families, social and economic agents, universities and research centres, the media… all of these groups are called upon to actively participate in the evaluation of the programme, and even in the development of the system itself, so that they can contribute their views and perspectives and listen to and understand those of others.

Our toolbox for the evaluation includes assorted methodologies, instruments and activities based on quantitative, qualitative and participatory elements. That is why we describe it as a multi-strategic system.

For the thematic areas, we are following An International Framework as generated by the European Capital of Culture Policy Group (2009-2010), a landmark model that has proven its value, and will also provide us with comparisons and lessons shared on a European scale. Nonetheless, we intend to make contributions in specific areas such as Mobility, Identity, Image and Place, and Cultural Participation.

This is possible due to the development of tailor made methods of measurement, especially in areas related to human mobility, the use of public space, opinion monitoring, participation on the net, and City branding.

Finally, we would like to highlight two more aspects in order to conclude this introduction to our evaluation system from a more operational perspective. First, we will distinguish between impact (or finalist) evaluation and intermediate (or process) evaluation as a necessary condition to make learning possible.

Second, we will organise the evaluation based on control panels with key questions to unify and ensure the consistency of the overall evaluation system. All of the evaluation mechanisms should focus on answering these questions.

Thematic fields

Desired impacts

Vigour and cultural sustainability

→ Emergence of new professional and creative profiles linked to cultural activity. → To generate original and innovative cultural and artistic productions. → To establish new collaborations to promote culture and the arts

among the cultural institutions in the territory of the bid.

Cultural access and participation (cultural inclusion)

→ High accessibility to and proactivity from citizens and visitors in the

ECoC 2016 proposals, with regard to the cultural event in general.

→ For culture to become a vehicle for social inclusion: promoting

access to cultural capital programmes and events for social groups more isolated from cultural practices due to their socioeconomic status, age, level of education or sensory disabilities.

→ Increasing platforms for cultural creation and production on all scales (multilevel).

Identity, image and place

→ Reducing the city’s image associated with violence. → Strengthening the city’s image associated with Human Rights

and cultural production, creativity and innovation.

→ Improving citizen participation, the social climate, and the acceptance of diversity.

Process philosophy and management (governance)

→ Enough financial implication and commitment to the ECoC

project from public and private agents alike.

→ Durable improvement of the local management and

cultural promotion instruments and strategies.

→ Active presence of the citizens in the design and evaluation of the project.

European dimension

→ Activities linked to the ECoC 2016, conducted jointly with European cities

and institutions, and especially with the Polish city to be chosen.

→ New cultural productions based on collaboration between European artists. → Contributing to the ECoC legacy.

Economic impact

→ Creation of new economic activity and employment, and improving the city’s

ability to attract business in the creative industries, science and innovation.

→ Creation of new economic activity linked to tourism. → Increasing visits to the city and visitors’ expenditure levels.

a deliberative evaluation strategy

We promote a pluralistic evaluation incorporating different voices with an interest in the programme: operators, businesses, citizens...

As a project for a democratic city, dss2016eu must be subject to deliberation by citizens. This is why we promote a specific Deliberative Evaluation strategy, a pluralistic evaluation incorporating the voices with an interest in the programme. Stakeholders are among others, cultural operators, entities and associations, businesses and participating citizens.

San Sebastian is experienced in the development of this type of strategy. In 2005 and 2006, the municipal Citizen Participation Department coordinated a working group on the evaluation of citizen participation for the International Observatory on Participatory Democracy, with assistance from the Institute for Governance and Public Policy at the Autonomous University of Barcelona. The project was financed by the European Commission within the framework of the Urbal programmes. We cooperated with these programmes in the cities of Porto Alegre, São Paulo, Buenos Aires, Cuenca (Ecuador), Barcelona and Saint-Denis. The final result was the publication of a Practical Guide for Evaluating Participatory Processes.

Dss2016eu— waves

of energy

evaluation—71

the project´s evaluation system Actors involved

Objetives

Strategy

Instruments

Institutional promoters Partners and collaborators Cultural operators Participating citizens Families Social and economic agents Observatories Universities Research Centres

Accountability → Effectiveness → Efficiency → Impacts

Quantitative Qualitative Participatory

Statistics Interviews and focus groups Control panels Web analysis. Monitor 2.0 City Congress Transformometers Indicator Subsystem

Monitoring → Verify the process (perform continuous follow-up) → Change course Learn/Improve → Transfer

Our strategy is based on the idea of a system that links different elements so that the evaluation process is in itself a tool for transformation and improvement of coexistence. Our evaluation tools and methods are supported by qualitative, quantitative and participatory elements 1

Michel Lafortune Social Circus Director. Cirque du Soleil Elisa Montruli Social Circus Programme Evaluation and Quality Advisor. Cirque du Soleil

evaluating social circus programmes.

Why?

2

Marcos Morilla

«Stimulating content production and evaluation are important challenges in order to maintain dynamism and motivation in projects»

Marcos Morilla

3

1/2/3 Situation Rooms, in CCCB

(Contemporary Cultural Centre of Barcelona).

situation room

The information generated by dss2016eu will be monitored in a control panel located in San Telmo Museum to be updated until 2020

Once a system is in place, the information generated during the evaluation process will be systematically monitored through a control panel based on key questions that will be kept permanently updated until the programme closes in 2020. This control panel will reflect the status of the relevant information in a global, visual and accessible manner.

Our inspiration was a project by Pablo de Soto (Hackitectura). The room will be installed at the San Telmo Museum, the municipal museum that has been renovated and inaugurated in April of this year as a museum of society and citizen.

The room will be equipped with a set of screens and panels for viewing the data collected on the control panel of our European Capital of Culture project. This Situation Room is an open installation, inviting citizens to participate in an experience that will foster knowledge common to artists, geographers, architects, economists, sociologists and computer scientists. This initiative will help us provide access to information, and balance data capture and display technologies.

(…) For the past 15 years, we have observed how the social circus has evolved through our Cirque du Monde programme and many other social circus organisations around the world. We saw that projects develop at very different speeds, and that their evolution is due to a range of factors. One of the first is the development of the knowledge that allows projects to continue to progress. There is generally great enthusiasm at the beginning of any project, which eventually runs out without an injection of new knowledge at certain intervals. (…) This is why creating stimulating content and conducting evaluations are important challenges for maintaining dynamism and motivation within a project.

There are four internationally recognised aspects of a programme that must be evaluated.

The first is the effectiveness of its actions. Did the programme achieve its established targets?

To judge the efficiency of a programme, we must weigh the completed activities against their costs. (…). The impact of our actions refers to all repercussions. (…) Finally, we must judge the appropriateness of the programme. Is it appropriate to implement or maintain a programme in light of its effectiveness, efficiency and impact? (…) In order to develop their knowledge, social circus programmes also take advantage from good collaboration processes with university researchers. (…) For a project to evolve significantly, a strong commitment is required from the actors involved in the process. They play an important role in choosing the questions to be answered during the evaluation. (…) The actors in a project can also perform different evaluation tasks while the programme is being implemented. It is important to remember that evaluation is intended to serve the programme, and not the other way around.

Finally, the evaluation process must be perceived as an evolutionary tool that constantly provides us with a critical analysis of our actions (…), allowing us to constantly adjust our orientation and methodology in order to achieve our social transformation objectives.

Excerpt from the article published in Revista de l’ateneu popular de 9 barris. January, Issue No. 122, p. 4. [www.ateneu9b.net]

waves of energy—Dss2016eu

72—evaluation

learn and share

We are interested in the evaluation for attaining TRANSferable learning on: 1. The role of culture, creativity and participation in urban TRANSformation processes.

2. What kind of practices and strategies facilitate change in the social climate, promote encounters and COEXISTENCE among different groups, and put a stop to violence.

3. The potential of cultural inclusion as a strategy against inequality and social exclusion.

4. Culture for boosting the city’s dynamism and expressing its nature as a cross-border territory.

5. The potential and limits of city projects based on major events as true catalysts for rethinking cities and boosting the local economy.

6. Elements that facilitate and put up resistance to organisational change (transversality, public and private sector partnerships, networking, management

PARTICIPATION

the dss2016eu toolbox TRANSformometers There will be a menu containing several devices (TRANSformometers) for extending the congress, motivating deliberation, capturing opinions and emotions of the city and the citizens, and participating on-site: a. Activities from the cultural programme, such as Living City, Downtime and the AUZOlab system are also exceptional settings for evaluating and monitoring the effects of the European Capital of Culture 2016 cultural programme. b. Emotionometer: visual interpretation and electronic representation system for measuring the emotions of the city and its citizens through touchpoints distributed on the streets of the city. c. TRANSquestion: we will use buses, train cars and the «topo» (cross-border train) as voting booths, encouraging group debates during the journey and using electronic devices to ask a basic question and provide alternative responses.

Iñigo Ibáñez

In addition to the more traditional quantitative and qualitative evaluation instruments, our proposal includes reflective instruments in which citizens are the main subject. These are where the city, as a congress, learns, debates, evaluates, proposes and acts.

In January 2012, a congress is organised to plan its activities throughout the European Capital of Culture 2016 period up until 2020. Its objectives are twofold: to promote active citizen participation in the role of culture in the city as an element for coexistence in diversity, and to evaluate the programme.

Some examples of the activities to be included in dss2016eu in congress are listed below.

Family debate Kids are the way We are promoting the active participation of 2,016 families from San Sebastian and the rest of the territory of our bid in an exercise of reflection and debate. This will take place in the family home, and will focus on the value of culture in the families’ everyday lives and surroundings, how it contributes to coexistence in diversity, and how they assess the process and impacts generated by the European Capital of Culture 2016 cultural programme.

We seek dynamic participation from children and students in the debate, and the necessary support from schools and other entities where children and adolescents are present. We focus on involvement of all generations. Working with educators and families, dss2016eu will provide physical and digital media to facilitate family debate. These will contain the necessary elements (information, instructions, questions.) to make such debate possible.

Sócrates café In community spaces, in facilities located near neighbourhoods and in gastronomic societies and other public facilities, spaces for debate will be organised to exchange ideas and learn to express, argue and listen to opinions, both in agreement with and contrary to the theses expressed by the central themes expressed in the European Capital of Culture 2016 project.

Congress on the Net Digital devices and the Internet will be used to promote an active debate on the social networks.

Debate on the cultural state of the city There will be a biannual event calling for accountability and open deliberation, open to all citizens.

This process will be based on a report on the current state of affairs, and will allow participants to play an active, reflective and purposeful role.

(Imagine the Kursaal Congress Centre full of people!) in the evaluation process.

d. BAIalaEZ (YESorNO): A citizen polling system for reflecting citizen opinion, through provocative questions, using mobile devices and screens located in heavily trafficked urban spaces. e. ASOMO: monitoring and analysis of public opinion on DSS2016EU mobilised on the Internet, particularly on social networks, through the ASOMO (About Social Movement) tool. [www.asomo.net] All of these instruments seek a permanent dialogue to continuously correct and improve on the programme and orient the city’s future cultural activities. Collaboration from artists and cultural creators, and between institutions and citizens, is essential to the development of such dialogue. The municipal Citizen Participation Department will direct and promote this deliberative evaluation and the DSS2016EU activities in congress.

The Situation Room located in San Telmo Museum will act as an exhibition room to give back to the citizens all the activities in the city congress. It will also stimulate dialogue and receive feedback

Dss2016eu— waves

of energy

evaluation—73

by projects), and the rise of citizen participation processes, in the institutions and organisations promoting the development of the project.

7. Strategies that favour open and slow innovation processes.

8. Systems for capturing resources and generating new economic sources, linked to cultural and artistic programmes based on the value of COEXISTENCE. 9. The role of cultural observatories.

10. New evaluation instruments that promote joint programmes between artists and creative professionals, citizens and all types of local agents.

11. How to improve networking and make it more effective in the European context.

12. The communication of projects based on the idea of a process, and on intangible content.

13. Literacy in the application of other technologies to cultural activities.

14. The implementation of systems that contribute to the activation of creative talent, prompting it to (re)think traditional cultural policies.

Iñigo Ibañez

José Ángel Achón Insausti Dean of the Faculty of Social and Human Sciences University of Deusto

1/2/3 Woka Experience in Kursaal Congress Centre.

1

how do you measure the intangible? how do you evaluate the impact of a project based on values?

2

3

Kursaal

indicator system

We will develop indicators inspired in the «European Capitals of Culture Policy Group» as a part of the global evaluation system

We use the An International Framework as generated by the ECoC Policy Group (2009-2010) to define the six areas of impact for the project: 1 – Cultural vibrancy, 2 – Access and participation, 3 – Identity, image and place, 4 – Philosophy and project management, 5 – European dimension, and 6 –Economic impact.

Starting from these areas common to other European Capitals of Culture, we define our aspirations and desired impacts, and commit to the development of a system of indicators based on the legacy, prescriptions and learning generated by the ECoC Policy Group (2009-2010).

The dss2016eu indicator system will be a subsystem within the overall evaluation system. It will include the priority indicators proposed by the ECOC Policy Group, as well as tailor made indicators that we define to collect key information on subjects unique to our local context. We strive to define and perfect common methodologies that enable us to feed these indicators, in addition to broader, complementary ones that address the multiple dimensions of the project.

This is not a trivial question because dss2016eu is a project that essentially understands that the ECoC 2016 event is not an end in itself, but an excellent opportunity for achieving a transformation in citizens in the long run. A transformation based on the development of values that are none other than those of the European project.

As a result, dss2016eu will act as a laboratory in the cosmopolitan experiment that is the European Union itself, in which a population united in diversity learns that inward and outward cooperation is the key to finding our place in the world. This is a world where each border is experienced as a meeting place and an opportunity for mutual enrichment, rather than a separation. Where people, aware of the social and cultural transformations that surround us, pour all of their energy into creativity, innovation and knowledge. Where it is understood that without social cohesion, and unless we face with integrity the old and new social gaps that threaten us, no development will be socially and humanly sustainable.

The evaluation of a project with these characteristics is a challenge that is not unknown to us at universities. I am reminded of a number of experiences from my work at the University of Deusto in recent years. These experiences range from our participation in the European Values Study, when we were responsible for applying the questionnaire throughout Spain, to the corporate social responsibility studies for the Centre for Applied Ethics.

Another project on evaluation that I remember was Geitonies, under the Seventh Framework Programme, where we explored the influence of the types of urban neighbourhoods on the development of intercultural and interethnic relationships. We have also started an interesting 3600 self-evaluation project internally, to assess our training processes. All of the affected interest groups are participating (management, professors, students, families, support personnel) The key to addressing this challenge is not to regard evaluation as an external phase, added on to the project, but rather as its culminating moment. This is when all participants internalize the scope of the transformations achieved.

We take responsibility, realize what has been accomplished and, once again, decide to cast ourselves into the future.

Evaluation is when people who are participating internalize the extent of the achieved transformations

waves of energy—Dss2016eu

74—evaluation

the role of observatories

Iñigo Ibañez

In the territory of the candidacy, there are several observatories linked to the topics addressed by the ECoC 2016 project (culture, coexistence, urban affairs, cities). These observatories, with their many origins and areas of expertise, conduct regular, systematic exercises of critical reflection, trend analysis, information, dissemination and good practices, and monitor and track activities in their respective fields.

For dss2016eu, these observatories are key allies for discovering and evaluating the impacts of the ECoC 2016 programme.

We accept the challenge of promoting a common frame of reference for these observatories. We also intend to act as a nexus for relations with other observatories in Europe, which are important sources of information and research on cultural policy. In this way, we will stimulate the exchange of the knowledge generated, as well as innovation and cooperative work based on common quality criteria and parameters.

leadership

the first steps

We intend to establish a culture of evaluation in our territory that bridges the gap between the theoretical consensus on its benefits and real practice. We are already looking at a milestone schedule in the evaluation process

strong points of the evaluation system → Participatory evaluation

Places and events are planned for the participating citizens, cultural, social and economic operators to evaluate the project and its impacts. The learning achieved, in terms of skills and knowledge, guarantees its legacy and sustainability.

→ Process evaluation

The system seeks both an integrated evaluation of processes and a strategy for generating transferable learning.

→ Transparency and accessibility:

Communication is intrinsic in the process. We will add tailor made formats to reports, for display and in real time, which will always be understandable, simple and easy.

→ Innovation orientation

We have adopted a multi-strategic system (quantitative, qualitative and participative), and the testing of specific measuring devices associated with information and communication technologies.

→ Comparability and transferability

Adaptation to the recommendations contained in An International Framework as generated by the ECoC Policy Group (2009-2010) guarantees comparability, while the transferability of new learning is a strategic aspect of the system.

There will be an online platform for encouraging and facilitating the transfer of the knowledge, linked to others already existing among the European Capitals of Culture.

→ Teams and networks of researchers

We are working with experts and researchers from the Autonomous Community of the Basque Country’s university system (University of the Basque Country, University of Deusto, University of Mondragón) and the two universities in the Aquitaine region (Bordeaux and Pau). All seven already share projects on the Aquitaine-EuskadiNavarra (AEN) university network.

The evaluation process begins with the designation of San Sebastian as European Capital of Culture in 2016. And consists of many activities throughout the whole ECoC period and beyond 2020. We intend to establish a culture of evaluation in our territory, that bridges the gap between the theoretical consensus on its benefits and what is in practice useful. That is the great challenge.

With the city’s designation as European Capital of Culture 2016, the team that prepared this proposal takes a leadership role. They boost the creative process of comparison and validation in order to specify the final evaluation system.

On the operational front, this group combines academic members (Universities and Research Centres) and practical experts (the dss2016eu team, cultural operators and artists), who will organise a variety of activities in 2012. These include a citizens’ workshop for debating key aspects, impacts, and priorities; system instruments and activities to ensure that the

that will make up the definitive system. They will also present the operational schedule for the overall evaluation strategy for system implementation.

However, we can already name some milestones in the process. The family debate will begin in 2013, the year we celebrate the bicentennial of

With the city's designation as European Capital of Culture the team who has developed this proposal will set itself up as a steering group and will assume leadership for contrasting and validating the final evaluation system evaluation is useful and adds value locally; working sessions with artists and creators for implementing the transformometers; contacts with local and international experts on evaluation; a discussion workshop with experts of the ECoC Policy Group; and a mapping of information and data sources.

The group will analyse ideas that arise from this process. In late 2012, they will present the impacts, indicator system, instruments, methodologies, research projects and activities

the reconstruction of the city. In 2014, we aim to have detailed information on the state of the city prior to the ECoC 2016 event. 2015 will be a key year for collecting data and communicating with the European Commission. We also expect to host the Spanish Evaluation Society Conference that year. 2016 will be a year for exhaustive data collection, and 2017 will be the year that the final analysis is completed. In 2022 and 2026, we will evaluate the medium- and longterm legacy.

The dss2016eu team, which regards evaluation as a central aspect of the whole dss2016eu project, will actively participate in the evaluation process, directly assuming the task of mediating between actors and certain aspects of boosting the process. An External Evaluation Committee will be responsible for the General Management of the evaluation process.

It will also report the results generated to the Consortium, and will make them public in order to make accountability easier. The evaluation team will combine research-oriented and practical professionals, and will be in charge of boosting the process, preparing the reports, and organising and transferring the knowledge generated.

To ensure sufficient resources for the development of the evaluation process, a sum of the amount of 1% of the total budget is reserved for this purpose. We hope to obtain additional financing, and particularly non-cultural funding. We plan to use funding from the European Commission DG Employment, DG Social Affairs and Inclusion and DG Regional Policy, as well as the DG Research and Innovation for the use of technological instruments and creation of virtual networks.

Dss2016eu— waves

of energy

evaluation—75

Indicate whether the cit y intends to establish a specific system to control and evaluate its financial management.

2

The European Capital of Culture 2016 project involves a high level of economic and financial complexity. First, there is a long period of project development (2011-2020). Second, there are a large number of programmes to be developed and linked to the programme. Third, some of these programmes are large-scale (over one million euros). And fourth, there are a wide variety of agents involved in their development (cultural entities, management companies, technological centres, sponsors, volunteers, among others).

The project’s economic and financial management will be monitored using public criteria, given

the public nature of the Consortium, on three levels.

The first will be that of the specific programme, with analytical accounting applied at activity level. The second level of control and evaluation is linked to the overall economic and financial management of the dss2016eu project, and the control panel of the management team. This will include permanent analysis, particularly of cash flows and treasury. The third level is developed by the External Economic-Financial Control Committee, which will ensure the transparency and financial control of the whole project.

MONITORING

details of economic and financial control The main element that guarantees the process is the fact that the financial-economic monitoring of the dss2016eu project is linked to the public legal framework in its contract and agreement establishment policy

Iñigo Ibañez

Air view of the city.

The economic and financial monitoring of dss2016eu is intimately linked to the legal framework of the Consortium as a public entity. As a consequence, its policies for public procurement and contracting are legally limited on price and financial investments, just as in its contract and agreement establishment policy.

This is the first safeguard of the whole process.

Project management implies that each activity in the cultural programme has its own economic and financial control process. After each separate budget is approved, each project must take into account the tendering criteria for the bids, if appropriate, or the guarantee of the necessary establishment of agreements.

The economic and financial responsibility for each activity is with the Project Manager. For larger activities, an Economic-Financial Management expert participates in the implementation in order to supervise and monitor the ongoing

Fitch Ratings recognises the financial solvency of San Sebastian City Council

One of the most prestigious risk assessment agencies in the world, Fitch Ratings drew up an analysis of the financial situation in San Sebastian and assured, in a detailed study, that «the qualifications of the City Council reflect a favourable institutional framework translating into a level of income above the national average, a solid budget and a moderate level of debt».

operations. Therefore the schedule, cash flow conditions, sums and irregularity rules, along with the analytical accounting, the amount and conditions of payments are decided by the team in charge of each activity. Their decisions will be based on a general framework established by the Economic-Financial Management. The system is therefore based on independent management criteria.

However, operations, extraordinary or large, must be authorised, by General Management.

Moreover, there is a general dss2016eu control panel that includes economic and financial management of the whole project. It is particularly concerned with the management of treasury funds, opening and closing each project for accounting purposes, opening and closing the fiscal year, processes for requesting disbursements and justifying amounts received and compliance with all project commitments.

All of this is managed within the

various legal frameworks of the whole territory involved in our bid (Europe, Spain, the Basque Country, Gipuzkoa).

An External Economic-Financial Control Committee will also be created to ensure good practices in the field, compliance with all requirements, and the precise guarantees required for public organisations, and to oversee the transparency and control of the project’s financial plan.

The Committee will consist of the Director of the University College of Business Studies (University of the Basque Country), the Director of the Chamber of Commerce, and the Municipal Controller for San Sebastian City Council.

This Control Committee intends to hold a meeting in 2012 with the five European Capitals of Culture for 2008-2012 to share experiences and assess the viability of a European Network of Financial Experts on Cultural Capitals in order to organise the accumulated know-how.

76—

net Residents’ association Egia district, San Sebastian

waves of energy—Dss2016eu

Dss2016eu— waves

of energy

—77

waves of enery—Dss2016eu

78— additional information

additional information

What, in your opinion, are the strong points of the cit y's application and the parameters of its success as ECoC and what, on the other hand, are its weak points?

1 Does the cit y intend to develop particular cultural projects in the coming years, irrespective of the outcome of its application for the title of ECoC? Please comment.

2 Please add below any further comments which you deem necessary on the subject of this application.

3

We believe that Culture to overcome violence is our best tool in order to prevent violence and its negative effects. Our cultural heterogeneity is a faithful showcase of European diversity and the integrating cross-border potential of the geopolitical territory covered by our bid to host ECoC 2016. This is an added value we offer to the construction of a Europe without borders.

The entire project focuses on accumulating cultural experiences capable of overcoming the contradictions generated by violence. It is the best way to put ourselves in the place of others and develop new forms of territorial governance. Our project is based on a permanent process set around the participation of people, companies and institu-

tions. A project stemming from a consensus that guarantees its continuity, no matter what political changes may occur.

However, we mustn’t forget our weak points.

The standard of living in our territory and the complacency deriving from it has generated a number of self-sufficient conservative attitudes. These dynamics have distanced us from international contexts, meaning that we must look outwards to fill our lungs with fresh air and the winds of renovation. We also realise that our society is largely senior and, to a certain extent, set in its ways.

That’s why the European Capital of Culture in 2016 would bring a breath of youthfulness to our social fabric.

If our project doesn’t win, we will fulfil our responsibility of continuing to work on the process of change already underway through the elaboration of this project. In this case, the process would have fewer resources, and would therefore be more selective in meeting the objectives of our project: starting a new decade in peace and coexistence based on culture and education in values. We will continue to draw strength from our Waves of Energy in applying the values of our Culture to overcome violence programme.

No matter what the decision of the Selection Committee, the essential commitment linked to the legacy of our endeavour to become European Capital of Culture in 2016 will be to make a reality

of our five major transformation systems: the laboratories on citizen energy —auzolab—, the transmedia laboratories —Hirikia—, the art and creation laboratories —Pagadi—, the language laboratories —h(e)izkuntza— and the cultural parks laboratories. Five systems which, whether or not we finally carry out the activities on our cultural programme, will contribute to transforming our socio-cultural system.

We believe that the values defended by the transformation project promoted by dss2016eu have an unlimited potential to generate an intense explosion of cultural programmes and activities in order to set the territory of our bid on a firm course towards 2020.

The scenario opened for the coming decades by ETA and its ceasefire announcement is a unique and unrepeatable chance to launch a new period of democratic regeneration and socio-cultural transformation. The European Capital of Culture will permit us to progress from being a fragmented society to become a new political stage helping us to create a mosaic of coexistence and understanding in a situation of peace, where antagonisms will dissolve in a culture of peace and education in values. Becoming ECoC in 2016 would bring enormous European backing for this process to overcome violence.

In this new scenario it will be necessary to activate a creative fabric in order that our emerging

talent, and particularly young people and adolescents, will see San Sebastian and our territory as a place to live and grow personally and professionally.

In this respect, fortunately, recent generations of our society combine their local ties with adherence to international networks. San Sebastian therefore wants to be a place for European coexistence, in a territory with big ideas despite the fact it is small.

During the last three years the people involved in building this dss2016eu project have worked enthusiastically. For those people the last three years have meant a shot of life that has been an unforgettable experience for each of them.

San Sebastian, finalist in the Google «Model your Town» competition

San Sebastian was one of the five cities worldwide to reach the final of the Google «Model your Town» competition for its Google Earth application, alongside Barranco-Lima (Peru), Braunschweig Niedersachsen (Germany), Dursley (UK) and West Palm Beach in Florida (USA). San Sebastian was the first Spanish municipality to offer users a 3D view of all buildings on its General Urban Plan.

Dss2016eu— waves

of energy

—79

ACKNOWLEDGEMENTS

dss2016eu Supporting Institutions

Management Team

Publication

San Sebastian City Council Provincial Council of Gipuzkoa Basque Government

Coordinator-Manager Eva Salaberria

Editorial coordination Joaquín Gáñez, Ainara Martín

Cultural Programme Director Santiago Eraso

Editor Fernando A. Busca

Creativity and Innovation Ainara Martín

Photography Iñigo Ibáñez

Citizen Participation Amaia Agirreolea

Illustrations Arkaitz Barriola, BIT&MINA, S.L.L. Leandro Alzate Mikel Casal

Sponsors Centro Kursaal-Kursaal Elkargunea Construcciones Amenabar Construcciones Moyua Euskaltel Fomento de Construcción y Contratas Grupo Campezo Ibercom Orona Obegisa Orbea EITB (Euskal Irrati Telebista) El Diario Vasco Fundación Kutxa Murias

European Networks Mattijs Maussen Communication Loreto Rubio

Pictorial editors Debolex Films y Yosigo Graphic design Joaquín Gáñez Page layout Didart Translations Careen Irwin ITZULIKA, S.L.L. David Griffiths Tania Tate Ric Giner Susana Fernández Oliván José Luis Padrón Proof reader Alicia Pinteño Allan Owen Susana Fernández Oliván Françoise Seguette Dubert

This project has been made possible thanks to the outstanding contribution of so many people who have accompanied us through the different stages of the process. Here they have each left their tiny but highly valuable mark. It is a pleasure for us to thank them warmly. We would also like to end with a special acknowledgement of Donostia Kultura and its work.

Mila esker denoi!

San Sebastian 2016 proposed application for the title of european capital of culture Programa cultural

culture to overcome violence

culture to overcome violence — Dss2016eu

2—

What structure does the cit y intend to give to the year's programme if it is designated ECoC? How long does the programme last?

1

The Culture to overcome violence programme is structured into four themed lighthouses encompassing our 62 proposed activities: lighthouse of peace, lighthouse of life, lighthouse of voices and lighthouse of Land&Sea. Some of these initiatives have already set out on a journey taking them to 2016. Others will be launched in the coming months or years to join those celebrated in 2016. And some of them will go on even beyond that year.

All of the activities are set around 5 systems or cross-cutting work methodologies aimed at transforming local socio-cultural reality and fostering creative talent: the citizen energy laboratories

lighthouse of peace lighthouse of voices

(auzolab), the transmedia laboratory (Hirikia), the art and creativity laboratory (Pagadi), the language laboratory (h(e)izkuntza) and the Cultural Parks laboratories.

In order to connect with the world at large, a number of mobile initiatives (office, boat, train and circus) will travel beyond our territory to spread news of the cultural programme across Europe and gather the best experiences in other European cities.

We want dss2016eu to be a nomad brand, globalised and connected to the world thanks to networking, international connections and the new communication technologies.

lighthouse of land&sea lighthouse of life

Culture to Overcome Violence

Pagadi art and creativity laboratories

auzolab citizen energy laboratories dss2016eu mobile the whaling 'San Juan' boat trainbideak the circus of life!

Hirikia transmedia laboratories

Cultural Parks laboratories h(e)izkuntza language laboratories

activities dimension depending on time and budget

Figure representing the Culture to overcome violence programme themed lighthouses cross-cutting work systems laboratories auzolab | Hirikia | Pagadi | h(e)izkuntza | Cultural Parks laboratories

Our project transmits certain values represented by the light shed by our 4 themed lighthouses. This light spreads through our territory thanks to our activities. The power of this light will be proportional to the resources of each one.

A new injection of funds would permit us to embrace a bigger shaft of light and offer a wider range of events.

Dss2016eu— culture

to overcome violence

What main events will mark the year and how does the cit y plan to choose the projects/events which will constitute the programme for 2016?

2/3

—3

In the coming pages we detail all of the activities proposed in the cultural programme, the local and European agents and networks who are collaborating with us, when they will take place, our budget for each one of them and the dimension we expect them to achieve.

This said, collaboration between the different working laboratories will allow some of the initiatives listed in our cultural programme to adapt their planned action, generating a larger social dimension and international impact giving them greater capacity to mobilise citizens and to attract tourists.

The work of citizens and of cultural agents participating in the laboratories activated in 2012 will generate several changes or modifications in the activities of our project. dss2016eu will apply changes to its cultural programme based on 3 essential criteria: artistic-creative value, social impact and the capacity to mobilise, and the possibilities of our budget.

Ours is therefore a programme fully developed, but one which leaves sufficient flexibility as the start of a process capable of guaranteeing excellent results. Certain activities have already been earmarked as large-scale events.

project

cultural policies of social importance and European potential for the capital of culture 2016 selection of activities

Our project, Culture to overcome violence, aims to reformulate existing cultural policies. It seeks new and more open models to meet today’s social demands and to supply solutions for conflicts and cultural policies that promote creativeness and collaborative and participative tasks to address different activities for all publics. The European vocation of our project has two streams. We send our message abroad, to export it. But we also import and demonstrate other experiences which, despite seeming far away, are actually closer than we think.

Four European embassies to overcome violence, or dss2016eu mobile platforms, will travel around the European continent on themed journeys. A train, a boat, a circus tent and a mobile office will mobilise experiences on peace, the environment, audio-visual culture and industry, gastronomy and linguistic diversity.

In 2012, we will activate all five methodologies. These working systems combined with the 62 activities in our programme will extend the area of impact throughout the whole territory of our bid. They will reach as many social strata as possible. The objective is to generate maximum participation among citizens. We will take as much advantage as possible of new information and communication technologies, promote creative and artistic value and underline the Basque language as the best cultural connection in our cross-border territory.

The cultural programme will take place in a far broader area than the limits of the city itself. A territory of geopoetics, embraced by the 9 lighthouses lying between Bayonne and Gernika, on the coast and inland. The activities to take place from 2012 to 2016 cluster around 4 themed lighthouses: lighthouse of peace, lighthouse of life, lighthouse of voices and lighthouse of land&sea.

We see our cultural project as a flexible process sensitive to the dynamics and events that will take place in the years before 2016. We believe it has unlimited potential for generating an enormous explosion of programmes and activities sending our territory firmly off towards 2020.

Lighthouse of peace The year will start with Drums of Peace, the huge opening celebration coinciding with the departure of our first European ambassadors and the rain of poetry in Europe. In February, following the first journey of the train for COEXISTENCE to Oslo, we will open our major exhibition, Peace Treaty, on representations of war and peace in the history of art. The circus of life! will return home in summer to coincide in Lore Toki with the European Campus on Cooperation, a G20 summit between NGOs across the world. Before the end of the year, we will hold the inter-religious meeting From Assisi to Aranzazu.

Lighthouse of life The main activities organised for this lighthouse will begin in March with Cooperarock 8/8/8, a multidisciplinary event at the new Tabakalera.

Summer will see the big sporting events on the programme, Committed to sport and Ibilika, an inter-generational walk focussing on PEOPLE who are obliged to take things easy in life. The end of the year will bring the feminist festival, Feministaldia, a concentration of artists and activists from all over the world, and opening of the European Banquet, an event fusing art and gastronomy in a single exhibition.

Lighthouse of voices In spring, Rompeolas, the festival of amateur culture, will open the activities of this lighthouse. The International Congress on minority languages, Heri Hotza, endangered language, will coincide with the opening of the exhibition on Basque and languages around the world. Just before summer, the Topic Puppet Festival in Tolosa will offer the performance Alzo Giant, tale of the Alzo Giant portrayed by a combination of choral music and puppets. On August nights, in Cristina Enea Park, there will be a tribute to Shakespeare to commemorate his death 400 years earlier with a version of A Midsummer Night’s Dream. The Film School Meeting will run parallel to the Film Festival, as will the final of Eurovisions, on our train’s return from Poland. Towards the end of the year, the results of DSS2016EU will be displayed in an exhibition at Tabakalera.

Lighthouse of land&sea Trekking in the Eurocity, walks taking in the cultural parks and coastal paths of the cross-border territory, will see its first stage in January, ending in June to coincide with Festimar. This is a 48-hour celebration of cultural diversity and a meeting on the problems of climate change to take place in the natural amphitheatre formed by our beaches. In September, coinciding with the return of our ship after sailing round the Iberian Peninsula, we will celebrate Elevenses, a huge popular event. The Lighthouse of Land&Sea will end with the international meeting, Collective Architectures and closure of the Screening Reality initiatives.

culture to overcome violence — Dss2016eu

4—MOBILE CULTURE CAPITAL 4—

MOBILE CULTURE CAPITAL dss2016eu mobile

—5

the whaling 'San Juan' boat floating cultural capital

—6

trainbideak the train of peace, knowledge and values

—8

the circus of life!

—9

our travelling embassies

We are building a mobile, nomadic European Capital of Culture. We propose travelling units which act as mobile embassies for the European Capital of Culture 2016.

san sebastian

A ship rebuilt with Waves of energy designed to take to the sea with a mission: to reduce differences and promote similarities in a Europe of diversity.

A cross-border train with carriages set up as themed divisions or departments in which to imagine, discuss, talk and produce actions en route. This train will invite all those wishing to join in and finish the journey together to get on at the next stop.

An mobile office shaped like a container that changes and moves to different parts of the territory. Here, cultural activists on bikes talk to citizens in the street and propose exchanges with experts on local knowledge. The activists also facilitate spaces in which to work more efficiently together.

A travelling circus tent where performances and activities focus on the miracle of life, the connection between generations and different cultures.

THEORETICAL FRAMEWORK

connecting Europe

Our bid has been launched with a firm European vocation, aimed at achieving mutual understanding among different people. We also intend to celebrate the diversity of people as social capital to face future challenges

Our bid is firmly committed to Europe.

We would like to make the most of this opportunity to underline our feeling of being a part of Europe, our desire to tackle shared challenges based on our similarities and on our differences. We want to be more Europe, a connected Europe, united in its complex diversity.

The European continent is a cultural mosaic. The huge variety of languages and shared memories still preserved in Europe constitutes the very essence of our unity. Thanks to the wealth of our heritage, we enjoy a cultural complexity inseparable from our European identity. San Sebastian, Gipuzkoa, the Basque Country and Spain are faithful reflections of a Europe where difference and equality rub shoulders.

Europe is rapidly evolving as a network of information and technology. It is a space for culture, science and new learning that will re-shape our multiple maps of knowledge. It is impossible to imagine a Europe of the future without taking up the challenges of the emerging technical-scientific society. Both main fields of knowledge, science and culture, come together at a third branch of knowledge opening the way towards unusual social in-

novation. In view of this new technological reality, Europe must encourage new development strategies for its cultural policies and a creative economy.

In a world where connections permit access to any information from any place, we must invent new ways of producing and spreading knowledge.

We require new innovation processes.

We place due importance upon the social and educational potential of digital tools.

Our European continent is a map of small towns and villages, average-sized cities like San Sebastian, and big metropolises. All these urban areas where the majority of Europeans live, belong to a natural environment exhausted by the excesses of what we could term a predatory economy. We need a new understanding with nature if our towns and cities are to become spaces for sustainable life.

Europe is an evolving territory and an unfinished geography with constantly moving borders. Globalisation, with its social and economic effects, is modifying international maps. The administration of these new spaces of coexistence demands constant renewal of their organisation and governance models. San Sebastian, Gipuzkoa, the Basque Country and Spain lie at the

centre of this territorial complexity.

We live in a cross-border space on the edge of a continent where the Pyrenees hit the Atlantic: mid-way between Madrid and Paris, at the same distance from Lisbon as to Brussels, and only a step away from the African continent.

Understanding the world. If Europe keeps a hold on its important role in the globalized world, it must start by understanding that world and working to improve our understanding of one another first. Putting our colonial memory to one side, we can redefine our economic and socio-cultural relations with the southern hemisphere of the world.

Africa and Latin America must play a central role in shaping the international map of the future. Our bid to host the European Capital of Culture in 2016 stresses its desire to achieve cross-border cultural solidarity that will help to humanise globalisation.

Europe, with its long and complex history, its experiences and its contradictions, could make an excellent laboratory for inventing a new model of supranational, intercultural democracy.

Dss2016eu— culture

to overcome violence

travel! change countries!

MOVING CULTURE CAPITAL—5 —5

The Portuguese author Fernando Pessoa reminded us in his poems that to travel and change countries means that we «can be forever someone else». Similarly, Pio Baroja, one of our greatest writers, born in San Sebastian, also wrote that «the best way to escape self-complacency is to travel».

Travelling is a form of knowledge, no doubt about it.

Our European Capital of Culture wants to travel, to move. It will travel to towns and cities throughout

Europe and the cross-border Eurocity. It will bring us closer together and stress the synergies arising from collaboration between local and international networks.

A travelling tradition, particularly by sea, is an inseparable part of our culture. The Basque Coast consists of a chain of ports, bays, estuaries and beaches giving shape to a landscape with close links to the sea and its past. The first whale hunters to cross the Atlantic were Basque. Our

fishermen and the culture acquired by their experience on that crossing were, and still are, a human legacy we incorporate into our cultural programme.

In fact, several institutional coats of arms of many towns and villages in our territory, including San Sebastian City Council's, feature images and references to the sea and its history. The San Sebastian City Council´s own coat of arms is a perfect example of this.

FLEXIBILITY

mobile culture prototypes dss2016eu is being built on two bedrocks: mobility and flexibility. Our office will travel around our territory to detect conflict, get to know the surrounding environment and propose ideas to test, imagine...

Our dss2016eu project has a mobile, flexible spirit. It proposes activities and solutions intended to solve culture conflicts, overcome violence and achieve mutual understanding among different people.

An adventurous culture set around local particularities, with a clear-cut global vocation, able to move and foster the energy of citizens inside, as well as outside the territory of our bid for European Culture Capital of 2016.

We propose cultural models for the real-time testing of pilot experiences to solve culture conflict through new ideas. Facts and events that happen here, but which could just as easily take place anywhere. Culture designed, activated and prototyped from a multidisciplinary angle, from all areas of knowledge. We want these areas to devise imaginative, efficient solutions, to create improved scenarios in which to plan and solve social needs and problems. We also want to be able to transport ideas and resources where the solution is needed.

The effectiveness of culture and its models lies in the ability to detect and anticipate problems and provide solutions. It must convert these problems into opportunities from which to generate ideas capable of stimulating the motor of change and transformation of society.

We therefore create a mobile space to detect and approach areas of cultural conflict in the territory of our bid.

Once there and from a flexible perspective, this mobile space will study and understand the different situations; it will assess, propose ideas and activate the necessary mechanisms and facilitate the appropriate solutions for the transformation processes needed in each case. Research, Learn, Understand, Imagine, Devise, Propose, Make-Prototype, Test, Apply.

Leandro Alzate

BY LAND

dss2016eu mobile A point of connection with the Waves of Energy and a participation forum where citizens can offer criticism and leave their contributions An office leaving the rigidity of four walls to mingle with the environment, the people and the landscape, moving around the territory and detecting interesting work spaces where new and creative ideas may apply. A container of cultural activists who ride around on bikes, interacting with the milieu and talking to citizens. They go about their actions in the street, research the environment. They let the information flow

and they propose exchanges and connections. They also make experiments in situ based on creativity and efficiency and keep record of the results.

The mobile office therefore acts as a point of connection with our Waves of Energy and as a space for providing real-time information on the ECoC 2016 Project. It will also act as a participation forum where people can offer criticism and leave

their contributions to the development of activities or to other aspects of the project.

This initiative will be designed as a short-lived, sustainable structure, adding its strength to the different initiatives already underway in different points of our city and across the territory. The aim is to generate new research and development dynamics for creating energetically efficient, sustainable structures.

culture to overcome violence — Dss2016eu

6—MOBILE CULTURE CAPITAL

BY SEA

the whaling ‘San Juan’ boat floating cultural capital

We will build a replica of a nao constructed in the 15th century in the shipyards of the nearby port of Pasajes using ancient traditional techniques. The boat will act as one of our travelling ambassadors and will set sail on three journeys along the Atlantic arc. It will also be the setting for several culture projects about coexistence and European diversity FORMAT

Floating cultural capital Timeline

2016 LOCATION

Roaming Agents and Net works

Fundación Albaola / Gipuzkoa Provincial Council / Basque Government / San Sebastián City Council / European Boating Association / The European Atlas of the Sea / South Baltic Programme / Federación Galega pola Cultura Marítima e Fluvial / Federación Andaluza por la Cultura y el Patrimonio Marítimo y Fluvial / Various International Floating Maritime Museums / ADCEI (Association pour le Dévelopement Culturel Européen et International) Budget

€2,640,000

3

voyages

The fact that UNESCO chose the San Juan as a symbol of world underwater cultural heritage is definitely no mean matter. The San Juan, a whaling boat built in our ancient port of Pasajes (currently being rebuilt in an exact replica ) sunk in 1565 in the waters of Red Bay, Labrador (Canada). For many years its remains were studied by the Canadian agency for the preservation of natural and cultural heritage, Parks Canada.

Our travelling, mobile programme proposes the new San Juan as the flagship of San Sebastian for the European Capital of Culture in 2016. The old San Juan took part in the Indies run for gold and in the Newfoundland run, fishing cod and hunting whales. Today a new boat is destined to become an

enormous floating cultural centre; a meeting place travelling all along the Atlantic coast, from the north of Europe to the foothills of the South Atlantic, until coming to Boujdour on the Sahrawi coast.

A boat, designed as an exhibition space and laboratory of culture, docking in different European and African ports, will carry out activities forming part of our programmes on Culture to overcome violence. This is a strategy seeking decentralised collaboration similarly aimed at attracting people to San Sebastian for a rendezvous with the city in 2016 as European Capital of Culture.

The construction of the boat will be carried out by the Albaola Association and the Ontziola Centre

for Traditional Vessels in Ondartxo, Pasajes San Pedro, a few kilometres from the city centre. During this work, a study will be made of ancient traditional reconstruction techniques for their study and application to the rebuilding process of the ship. The finished vessel will lay the way for the Waves of Energy produced by all the citizens that give sense to our Project.

This is not just a project to build the replica of an old boat. Its sustainable construction aims to show a commitment to ecology and a stance against planned obsolescence. It will also serve as an artisanal nod to future renovation of the port of Pasajes and take the shape of a cultural gift for Europe. The San Juan is our top-ranking ambassador in the sea world.

European citizens, public institutions and private companies will be able to contribute to the ship’s reconstruction by sponsoring different parts of it. This great sea ambassador will therefore not only belong to San Sebastian and its Waves of Energy, but to all seas, all territories and the whole European continent.

Three voyages for three different projects. We will carry out extensive technological and scientific activity on board the San Juan: sea energy studies, gastronomical research, experimental and informative laboratories on various fields and a record of European linguistic diversity

1

January - may 2016 Launch

The San Juan will take to the sea to coincide with the events organised to launch our year as European Capital of Culture on San Sebastian Day. Having left Pasajes shipyard and before taking to the open sea, the ship will visit the Concha Beach, where the thousands of boys and girls participating in the Children's Tamborrada Drum Parade will bid it farewell.

Languages and diversit y

from the Bay of Biscay to the Baltic Sea studying languages and the sea

Route 1 January-May 2016/Launch From the Bay of Biscay to the Baltic Sea learning languages and the sea Route 2 May-August 2016 / Back home to celebrate our shared ECoC We are all cultural capitals/Hamaiketako Route 3 September-december 2016 / South Atlantic Crossing from San Sebastian to Boujdour Promotion of the creativity and Sahara´s development

Like the species in a biological ecosystem, all of the languages in a cultural ecosystem play an essential part in maintaining balance of the system. If any of them were to disappear, the system would gradually run down, eventually causing irreparable damage to the cultural habitat shared by all. Protection and development of languages is an investment in the future and our shared cultural wealth.

The San Juan, by then a floating cultural centre, sails to the north of Europe, along the Atlantic Coast, from Galicia in the far west of the Bay of Biscay, to distant parts of

northern Europe and the Baltic Sea. There, it makes a special stop in Poland, turning the spotlight on Kashubian as a specific example of a minority language.

A voyage to discover the map of protected marine spaces and languages making up our Atlantic environment, so rich in diversity of all kinds. The San Juan carries an audio-visual exhibition on the different languages spoken on the European coast of the North Sea: Galician (A Coruña); Spanish (Santander and Gijón); Basque (Bilbao); French, Breton (Le Havre); Dutch (Amsterdam); Flemish (Bruges); Frisian and German (Hamburg); Danish (Copenhagen); Polish and Kashubian (Gdansk); Russian (Saint Petersburg); Latvian (Riga); Lithuanian (Klaipeda); Estonian (Tallinn); Finnish (Helsinki); Swedish (Gothenburg); Norwegian (Oslo); Icelandic (Reykjavik); English (London).

This is an exhibition which acts as a place for «conversation» for the

When it comes back the boat will open its doors to children, and a great multicultural festival will take place on our beaches and ports

Dss2016eu— culture

to overcome violence

MOVING CULTURE CAPITAL—7

3

September - december 2016 South Atlantic crossing from San Sebastian to Boujdour

Relations between Europe and Africa pivot around our shared memory. A long history giving shape to a myriad of irregular connections. These connections, often unfair, also include other moments of coming together in solidarity. From the first colonial incursions to today’s reactions by the Arab world as different countries rise against their dictators, Europe has played an essential part in shaping the political map of Africa and its economic, cultural and social development.

Given that San Sebastian aims to become a new international reference in the field of human rights, we make the most of being twinned with the Sahrawi city of Boujdour to construct a bridge of solidarity with Africa.

We also want to join forces with the African continent through gastronomy researchers from the Basque Culinary Centre. During the trip, these researchers will work to identify and gather new flavours, smells, colours and forms for their fusion and integration with local gastronomy.

On this voyage, the ship will also stop at the biggest ports in this border area, ports which constitute barriers/walls: Algeciras, Gibraltar, Ceuta, Melilla, Tangier and the Canary Islands.

solidarit y

promotion of the creativity and Sahara´s development

Arkaitz Barriola

people who visit it, as a meeting place and a travelling laboratory in which to exchange experiences on the sea and its care.

Further more, it also guides us through the map of flavours and cuisines lying along the route presented as a mosaic of gastronomic varieties.

It will create records of the diversity of the European continent through languages, food and other expressions of culture.

The crossing stops off at ports with past connections to create relationships and ties in the present.

Schoolchildren come on board to enjoy interactive educational activities specially prepared for the occasion.

These activities will constitute a dialogue among our European Capital of Culture and the people of Europe.

A crew of researchers on marine energy from the technology company Azti-Tecnalia will gather data on wave energy. They will also work on research projects related to sustainability, test prototypes, collect samples...

On its return, the boat will open its doors to workshops with schoolchildren. All of the information and items gathered during the voyage will be brought together in a big laboratory on the energy of the sea and of words. A festival of traditional folklore and sport will gather representatives from all countries in our cultural parks network in order to participate in sports competitions, concerts and dances.

2

May - august 2016 Back home to celebrate our shared ECoC

The San Juan will come home in spring to join hundreds of traditional vessels coming together on the Basque coast. This will be a special celebration gathering thousands of PEOPLE doing grassroots activities in an enormous sea fiesta to take place on the beaches of San Sebastian.

In the summer months, the floating cultural capital will travel round Spain, stopping at the ports of Santander, Oviedo, Las Palmas, Malaga, Murcia, Mallorca and Tarragona.

shared culture

«we are all cultural capitals» and «elevenses» This voyage will carry an exhibition on different activities organised in the other Spanish bids to host European Capital of Culture in 2016 to have participated in the selection process. The route will start and end in San Sebastian. However it will make stops on its way to highlight the most relevant activities of the 15 Spanish cities which competed for 2016 (Alcalá de Henares, Palma de Mallorca-Baleares, Burgos, Cáceres, Córdoba, Cuenca, Las Palmas, Málaga, Murcia, Oviedo, Pamplona, Santander, Segovia, Tarragona and Zaragoza).

This route will end back in our bay with the celebration of a European Elevenses in the month of September, the same day the city celebrates its traditional rowing races which gather tens of thousands of people in La Concha bay.

Thousands of ships and boats, yachts and fishing boats from all over Europe will accompany us on this return voyage making the home journey lots of fun.

The locals will empty the harbours, taking to the sea in all kinds of vessels with sails, oars, motors all along the Basque coast. The same will occur all along the Basque coast in a shared celebration of the sea as a space for living together without borders.

The second voyage of the San Juan will exhibit the bids proposed by the other Spanish candidate cities to host ECoC 2016.

The third one will take the boat to the Sahara, with different solidarity projects

The San Juan will sail to Boujdour with artists who will participate in the Tindouf Film Festival. FiSAHARA was created 7 years ago to disseminate knowledge of the situation of the Sahrawi people and to offer a partial solution to the needs detected in the areas of leisure, cultural activities and audio-visual training among Sahrawi refugees in the Tindouf camps, where they have now been living in precarious conditions for 35 years. The artists will also participate in Artifariti, the international art festival taking place in the Liberated Territories of Western Sahara. This is a yearly meeting of public art reflecting on creation, artistic practices and society. A reference for artists interested in the ability of art to question and transform reality. It seeks fusion between artists and other citizens to create ways of relating to one another and build a multicultural social fabric. It also focuses on promoting a coming together of cultures, fostering the exchange of experiences between artists locally and from other parts of the world. It contributes to disseminating Sahrawi culture and reality and to promoting the development of this people through their cultural heritage.

Having finished these wanderings along the African coast, the San Juan will return to San Sebastian for an African music festival. An AfroEuropean picnic will be prepared for thousands of families in the city’s cultural parks and public spaces.

The size of the event is important for the fun culture part of our programme.

culture to overcome violence — Dss2016eu

8—MOBILE CULTURE CAPITAL

BY LAND

trainbideak

the train of peace,knowledge and values Another ambassador of our cultural programme: our train will cross the European continent and all along the journey will offer spaces for knowledge, coexistence and entrepreneurship FORMAT

Train of knowledge, peace and values Timeline

2016 LOCATION

Roaming Agents and Net works

ATOC (Association of Train Operating Companies) / Association of European Rail Agents / AEIF (European Association for Railway Interoperability) Budget

€1,800,000

Trains are an essential part of European lives and our collective imagery.

The word ‘train’ is virtually the same in English, French, Dutch, Spanish or Italian. Its development is directly linked to the progress of Europe, to its connections and shared history.

For centuries trains have been to continents what ships have been to the oceans. Today there are cars everywhere and airplanes that speed us all over the earth. But, before these two means of transport were invented, ships and later trains brought us our earliest knowledge of and later connections with the world.

On 15 August 1864, the MadridIrun and Hendaye-Paris lines came together in Hendaye. It was the first time that a communication route had been opened from the Pyrenees to the south of Europe. It represented the paradigm of a new and connected Europe that knew no obstacles or

borders. It was also there, in 1940, that Franco and Hitler met to negotiate their collaboration in constructing Nazi Europe. The memories of that long and terrible period are closely linked to trains of war and death.

We celebrate life, the free circulation of people, moving ideas and innovative connections. Our culture train will be a space and a time people for living side by side, bringing people closer to one another. Its carriages will be areas of knowledge, spaces for living side by side and places for taking action. This European train of values, culture and science will serve as a mobile platform connected in real time to relevant social networks. A moving TV/net unit, offering live broadcasts on San Sebastian 2016 as ECoC and mobile education stages reaching beyond the official forms of teaching. A nomadic university where we will organise take education beyond

official forms of teaching with conferences, meetings, summer courses and congresses, where there is also space for research by anthropologists, sociologists, scientists and technologists.

Spaces for entrepreneurship (companies and new entrepreneurs will exchange ideas and lead the way in new business possibilities); a space for artistic imagination and production (creative mini-laboratories); experimental spaces (open to design, use and definition en route). At the end of the day, a return journey to a connected Europe.

This train of values is a special prototype, based on the parameters most suited to sustainable mobility. Basque companies related to the transport and mobility industry are recognised worldwide for their quality and innovative skill. Examples are Corporate organisations like CAF, Tecnalia, Orbea and Irizar. The train will make several journeys over the year, planned around the goals of our programme. It will return to the city coinciding with events, meetings, concerts, performances and celebrations related to the reasons for each trip.

4

trips

1 Route 1 Europe for Peace Route 2 European mobility Route 3 Europe of film Route 4 Europe without borders

Europe for peace

A voyage to Oslo, European home of the Nobel Prizes, with representatives of various peace organisations and movements who will discuss human rights and their development in Europe and the world.

On this voyage we will visit a number of European cities who have signed the European Charter for the Safeguarding of human rights.

Seville, Valencia, Santa Coloma de Gramenet, Grenoble, Geneva, Venice, Ljubljana, Vukovar, Tuzla, Nuremberg, Lille, Bobigny, Nantes, La Rochelle.

2

European mobility

A voyage to explore and create connections among other European cities with exemplary, consistent strategic mobility plans. The train as a moving laboratory on sustainability where researchers, experts and representatives of ecological movements can discuss, learn, exchange and propose new mobility models, systems and solutions.

Stops in Barcelona, Nantes, Lyon, Bologna, Ferrara, Graz, Ljubljana, Krakow, Stockholm, Aalborg, Aarhus, Copenhagen, Munich, Fribourg, Hannover, Berlin, Amsterdam, Eindhoven, Zwolle, Delft, Groningen, London, Edinburgh, Brighton, Bruges.

Dss2016eu— culture

to overcome violence

MOVING CULTURE CAPITAL—9

PARTICIPATION

Strasbourg, central station The French city, symbol of Europeanism, will be our Seedbed for Peace and Human Rights in Europe, as well as the central station for our train The political and democratic capital of Europe will be our Seedbed for Peace and Human Rights in Europe and the central station for our train of life, knowledge and values.

The French city of Strasbourg has offered official backing to our bid to host the European Capital of Culture in 2016.

Largely because of its own past, the city shares the values of our project and the joint commitment to local democracy and citizen participation, the defence of human rights, cultural and social diversity, and cross-border cooperation.

Strasbourg is home to the Council of Europe and its Parliamentary Assembly, the European Court of Human Rights, the European Ombudsman and also specialised bodies like the European Audiovisual Observatory and the Arte European TV network, among many other European institutions. On top of that, Strasbourg places special importance on fostering the universal values of peace and human rights, shared by our bid, particularly through the Club de Strasbourg, a network intended to accompany extension of the European Union towards the East. Strasbourg has invited the city of San Sebastian to join this Club and to chair the future commission on citizen participation and human rights.

Leandro Alzate

ROAMING TENT

the circus of life!

Format

Great circus tent Timeline

2016 LOCATION

Roaming/Circus tent in Lore Toki, San Sebastian Agents and Net works

FEDEC (European Federation of Professional Circus School) / ECA (European Circus Association) / Ateneu Barcelona Budget

€1,500,000

Arkaitz Barriola

3

Film Europe journey

A voyage to connect students and teachers from Film Schools, Audio-visual Centres and from the human rights Film Festival network. Here participants will study the latest TRANSmedia experiences and advances and their application to democratic values.

Paris, Geneva, Bologna, Naples, Sarajevo, Belgrade, Budapest, Warsaw, Nuremberg, Glasgow.

4

Europe without borders

A voyage to Strasbourg, symbol of Europanism and our seedbed for peace and human rights in Europe, via the European Intercultural Cities Network.

With political and technical representatives from Lisbon, San Sebastian, Lyon, Lausanne, Neuchatel, Reggio Emilia, Patras, Lublin, Oslo, Copenhagen, Tilburg, Brussels, London, Strasbourg.

The biggest show on earth will constitute a vehicle to show the challenges and difficulties of everyday life, which is full of impossible balancing acts

The supermarket’s about to close. I’ve got to take my mother to the doctor’s. Don’t forget to water the plants. Pick up the kids. Can Miren sleep over tonight? Cook food for the week (I’ll freeze this part). Remember to hand in that important report tomorrow. A moment to sit down. No! There’s a neighbours' community meeting. How do I get past here with my wheelchair? We’re getting dangerously close to red numbers. I’ll only iron things if I’ve got time, but the shirts have to be well ironed.

Dinner’s ready! One wash is done; I'll do another, white this time. Have you taken your medicine?

Everyone’s gone to bed, now I´ll finally be able to answer those emails.

An everyday life with too much to do. And the most difficult part - walking the tightrope between personal and working life. Working magic with time. Deadly ramps with no protection and transhuman prostheses. Let’s take it with humour. Tame the beasts you come across every day. Careful balancing acts of providing care. The one-woman band... Come in and see The circus of life!

A social circus with performances devised and designed to reflect the ethics of good living. A circus where we can laugh at ourselves, with symbolic performances reflecting the things most women have to do every day and recognising their work. A circus highlighting the exceptional and surprising aspects of everyday tasks; a place to watch your own life as if it was a circus turn.

The programme has several stages. In 2014 we start designing the activities at socio-educational and circus workshops with social circus groups throughout Europe. In 2016 we present the show in San Sebastian, in a circus tent set up on the Lore Toki European Cooperation Campus. This extravaganza also involves outdoor circus acts and street parades, combining The circus of life! with life in the city and taking it to other municipalities throughout the territory.

Later, on completion of the year as European Capital of Culture, the circus and its life performance tours other countries as a legacy and gift from dss2016eu to Europe.

10—work systems

culture to overcome violence — Dss2016eu

Dani Blanco

to overcome violence

Citizen energy laboratories auzolab Will seek participation and compared experiences for encouraging processes of change drawing on our citizens’ energy. transmedia laboratories Hirikia Will promote access to an open-code culture based on the opportunities presented by new technologies.

Art and creativity laboratories Pagadi Will foster mechanisms of symbolic invasion based on contemporary art and creativity.

Language laboratories h(e)izkuntza Will advocate greater use of Basque as a vehicular language for highlighting the importance of the cultural, social and economic networks to which it belongs.

Cultural Parks laboratories Will extend our programme throughout the territory, in parks, on paths, in lighthouses and on coasts, all within the cross-border framework of the Eurocity.

These laboratories will be organised with the appropriate local and international agents and will be based on the most suitable strategy in each case, all with the target of meeting the dss2016eu goals. These work systems, applied to our activities and together with them, boost and generate impact. They will have the ability to cultivate renewed activities in the years following 2016.

—14

Pagadi art and creativity laboratories

—16

—20

2016

2020

Legacy

Cultural Parks laboratories

dss2016eu

—18

Project

h(e)izkuntza language laboratories

2011

Any cultural programme with a vocation to transform is continually faced with having to renew the usual ways and manners of doing things, the need to combine traditional systems of work, formats or environments with others that break with convention.

To deal with these needs we launch a series of work systems or methodologies that will help us pilot our programme beyond the usual roads.

Hirikia transmedia laboratories

Micro labs

work systems: transforming methods to achieve new results

—12

2010

INNOVATION

auzolab citizen energy laboratories

Macro labs

Work systems

work systems—11

2009

Dss2016eu— culture

From the river to the bay

dss2016eu an increasingly effervescent process The social mandate embraced by our bid to become European Capital of Culture 2016 and meet our objectives obliges us to take action with a focus on a short, medium and long-term process.

We see our programme as an increasingly effervescent process: a constant flow of activities introduced to the medium which will grow in bubbling frenzy until reaching their critical point —even more effervescent and spectacular— in 2016, before dissolving and spreading their curative, transforming effects throughout the organism, the body and the cultural system. Like a river fed by the tributaries of collective work continuous and sustained in time, running in 2016 into a large bay, with even more festive and/ or multitudinous events. This will be the celebration of a job well done or of a good harvest, just like the deep-rooted tradition of our forebears in days long gone.

And while making our way from the river to the bay, we aim to strengthen our socio-cultural fabric with the focus on a more fertile, diverse ecosystem to which we dedicate increasing amounts of effort leading up to and stretching beyond celebration of the twelve months as ECoC. In this respect, it is important that the programmes surrounding dss2016eu are adopted and developed in their natural incubators and containers by active local stakeholders in local culture and social centres. Although we carefully nurture our own initiatives, we are prepared to take the plunge and tackle other, emerging enterprises creating the finest of connections with European and international networks.

The idea of this process —whether or not we are chosen as European Capital of Culture— is already a challenge for the future of the city and of the Basque Country. Whether we are chosen as ECoC or not that’s why the programmes and activities in our project have not been uniquely created for this bid, but fall within the rationale of our Strategic Plans, of the general and particular objectives and lines of work carried out by the different social players and institutions up until 2020.

culture to overcome violence — Dss2016eu

12—work systems

COORDINATION

unlikely connections

Unlikely Connections is a platform of collaborative research and co-creation initiatives for innovation and social responsibility. It is based on the paradigms of open innovation, on the principles of intersection between different fields, disciplines and people.

The aim of Unlikely Connections is to relate art, thought, science, business and government in the search for new questions and answers to the needs of all kinds of organisations. To achieve this, they include three complementary strategies: reflection on and proposal of new methodologies and tools for hybrid creations; connecting and mediating

between different agents considering environments of interaction for specific projects, and educational dissemination of this kind of processes at international level.

Unlikely Connections is part of the European Network Creative Clash. The partners in this network include artists who mediate in relations between artists, thinkers and all kinds of organisations.

Unlikely Connections is led by ideologists and creators coming from Disonancias (Dissonances), a similar programme chosen as an example of best practices in 2009 as part of the European Year of Creativity and Innovation.

PARTICIPATION

citizen energy laboratories auzolab An image of the Ideiazoka project process. A public meeting between different people to boost and link problems, solutions, organisations, people and technologies of the region.

The process helps the creation of new products and companies based on local collaboration in a intersectorial way. Ideiazoka project was created by Platoniq, in collaboration with the Politecnic School of Mondragon in the Disonancias framework, in 2009.

The citizen energy laboratories will run between 2012 and 2020 based on disruptive open innovation methodologies.

The objective is to create unlikely connections between different agents who contribute to social transformation underpinned by cultural action The transformation process we promote with the dss2016eu project is committed to relational and collaborative work environments using several methodologies activating imagination and creativity in citizens for their application to the various areas of life.

The auzolab are experimental laboratories based on the collective development of prototypes applied to specific problems. We use processes of open, collaborative innovation to promote intermingling, exchanges and hybridisation. These methodologies are not only applied to the contents of the four themed lighthouses, but also to the organisational structure, communication plans, funding and appraisal of the event.

These laboratories are based on the potential of the arts, culture and thought in social and produc-

tive innovation processes. They are intended to modify ideas and environments (acting not only as aesthetic-political expressions, but also as endeavours with the ability to shape processes, ways of doing things and living). They therefore highlight the ability of culture to act as a catalyst that stimulates creative possibilities offered by all of the agents involved. This is a slow innovation of the deepest, most radical and disruptive nature –like the slow food movement-, based on joint research and experimenting, on values and people.

The auzolab methodology is based on exchange between different agents. It involves comparing knowledge and expectations, and seeks synergies for the shared construction of new projects in the future.

The auzolab are organised via a continuous call

for all local organisations (associations, companies, public administrations and local groups) to present specific transformation plans that affect their own activities and/or environments.

Each auzolab develops through processes of collaboration with artists and other kinds of specialised creative teams, putting an accent on coworking, new methodologies, prototyping and the transfer of both knowledge and experiences. These auzolab vary widely both in time and in format: from small workshops empowering people in the field of creativity, to sophisticated R&D&i processes in any other field.

At the end of the day, this is an endeavour to connect strengths and stimulate creative freedom. It will permit the city to think towards its future and overcome self-complacency in order to favour the anticipated understanding of changes. The idea is to forget about the «retro-narratives» that trick us into believing that things have always been as they are now. We want to break away from this inertia and achieve transformation. To provoke unlikely connections between people who are different and/ or opposites, who generate new, enriching ideas and contribute to social transformation from the springboard of cultural action.

Dss2016eu— culture

to overcome violence

work systems—13

timeline and calculation of the type and volume of AUZOlab 700 AUZOlab over 8 years of work

2012-2015

20%

20%

2016

3 inter-independent levels

3 days / 25% less than a month / 15% three months / 40% 1 year / 20%

3 areas in the territory San Sebastian / 60% Gipuzkoa / 20% Rest of the DSS2016EU territory / 20%

production / 60%

Processes of...

60%

4 duration periods

2017-2020

communication / 25% assessment / 15%

examples of potential AUZOlab Level 1 getting to know one another, recognising and legitimising one another Level 2 relating and sharing programmes Level 3 inventing new collective futures The DSS2016EU Office

Do we leave our car at home?

Neighbourhood, associations

School, education

Visitors and tourists

Family, friends

Networks and agents in emerging and developing countries

Networks and agents in Europe and the West

Public Administration

Research centres

Major companies

Shops, SMEs

Social organisations

School, education

Neighbourhood, associations

Family, friends

Individual citizens Individual citizens

Do we take home our homework and housework back to class?

Discovery, experimentation and collaborative creation. → Individual responsibility in challenges shared collectively. → The value of imagination and creativity. → Bringing conflict and disturbance to an end. → Learning and empowerment of the agents involved.

Do we optimize work to improve our lives?

But perhaps the most important characteristic of these labs is their openness and desire to foster diversity. This diversity is achieved by:

Major companies Do we produce our own energy?

Public Administration Networks and agents in Europe and the West

Does Europe really exist?

How can we unite business, investment and development?

Networks and agents in emerging and developing countries Visitors and tourists

Can small businesses be nodes for cultural exchange?

The idea of the auzolab citizen energy laboratories comes from the play on words obtained by combining the concept of auzolan —a Basque word meaning shared work by neighbours generally from the same village or area— with the idea of a laboratory.

Auzolan is an ancient practice typical of Basque rural areas, where people would gather to help one another. It provides a framework for getting along together between people who know each other and who recognise reciprocal needs.

Auzolan is a forerunner of the cooperative thought widely developed in the Basque Country in the second half of the 20 th century by the Mondragon Corporation, a real international reference if ever there was one. A great community laboratory intended to generate «unlikely connections» where people must be given power and knowledge merged in order to face new challenges and exciting futures.

The type of relations between agents is split into three inter-related levels, each deriving from an indepth study of the above: → Level 1: getting to know each other, recognising

The DSS2016EU Office

from community work (auzolan) to proactive training of citizens (auzolab)

Always involving more than one different agent in each lab, placing priority on uncommon relations, seeking unlikely connections (we have identified 13 different kinds of agents, listed in the attached table). → Introducing different, multidisciplinary profiles and creative disturbance to conventional fields and processes. →

What do you think about our territory after your visit?

Do we rethink relations between public and private sectors?

Research centres

Each project, each challenge, if it is to be approached from the angle of TRANSformation, must find its own specific solution. Additionally, the very way we deal with problems must often be innovatively renewed. That’s why there is no single methodology for approaching these laboratories.

However, there is a general philosophy of action based on the following points: →

Social organisations

Shops, SMEs

a look at the AUZOlab's methodology

W h at

1st stage: recognising and legitimising one another 2nd stage: relating / sharing programmes 3rd stage: hybridisation / unlikely connections

W i t h w hom

In the neighbourhood (local, nearby) Between similar profiles → Locally, regionally, in Europe, internationally → Between different profiles → →

and legitimising one another based on situations encouraging PEOPLE to introduce themselves, meet or debate. These include Open Space, the World Café or the Pecha Kucha night. → Level 2: relating with one another and sharing programmes based on situations created to encourage the pooling and exchange of knowledge, skills, visions, projects. Here we have the Common Knowledge Bank, collaborative games or the application of group creativity techniques. → Level 3: invention of new collective futures based on more speculative and experimental situations, such as those used in the practices of artistic and cultural creation.

→

Part of the Laboratories on Citizen Energy processes will be displayed each year at San Telmo Museum. In 2016 we will organise a large documentary exhibition, accompanied by one of the meetings between participating agents and representatives of similar laboratory projects existing internationally.

Typical auzolan characteristics Additional contributions by the AUZOlab

Additionally, we will make a periodic analysis of the processes developed and create indicators to help us progressively adapt the methodologies according to the results obtained.

Why

Mutual help Management of common property → Invention of new collective futures →

culture to overcome violence — Dss2016eu

14—work systems

We still have a long way to go before becoming an open code territory (inter)connected with the rest of the world in 2016. We must therefore overcome the gap between the growing possibilities offered by technology and the practices adopted by citizens to produce and exchange contents. It is important to address alternatives to the legal framework that penalises these uses. We must develop institutional policies for digitally managing public resources and the common scientificcultural heritage, and infrastructures to facilitate accessibility, interconnectivity and the flow of information.

dss2016eu Capital Commons

institutional commitment to free culture and shared knowledge

To achieve this, dss2016eu assumes a firm institutional undertaking to create a legal and structural framework adapted to these objectives; a framework translating into accessibility and transparency as cross-cutting values and the use of free software and liberation of source code for the projects developed; a record of the content produced with creative commons licences; network, archive and format interoperability; licences and the implementation of high-speed information infrastructures and promotion of distributed citizen networks.

TECHNOLOGY

transmedia laboratory Hirikia A system set around New Information and Communication Technologies (NICTs) to develop free, open-code, public domain culture built on shared knowledge. This network of cultures and cultures in a network support the open city we seek to achieve Based on the words «hiria» and «irekia», which mean «city» and «open» in Basque, we have adopted the concept of hirikia (open city); a metaphor related to the development of Europe as an intelligent territory, a society based on shared knowledge, in an era of access and collaboration. Here, NICTs (New Information and Communication Technologies) are the main tools and the channel of interconnection between agents.

We know that the knowledge society of tomorrow will only exist if public Administrations commit themselves to creating the necessary infrastructures to achieve a major change. Further, we must generate mechanisms prompting citizens to accept the new modes of communication as their own, to understand them and apply them in their everyday lives. This will permit them to freely develop their full potential.

Perhaps the most essential aspect is the empowerment of citizens and digital accessibility. San Sebastian and Gipuzkoa as a whole must become an open-code territory, building its information and knowledge network in a distributed, interconnected fashion between institutions, companies, cultural agents, technology centres, universities and citizens.

Therefore Hirikia must serve to tackle many challenges and paradoxes deriving from the prolifera-

network of cultures / cultures in a network

1

2

5

9

3

6

10

4

7

11

13

8

12

14

15

tion of NICTs, from the change in cultural and social frameworks; emergence of the «proUser» (producer and user) as the lead player in this context; the new modes of digital production and distribution, often based on collaboration or co-creation; the role of languages and artistic languages in a context of transmedia convergence; intellectual property and the diversification of copyright licences; the need to foster multimedia learning processes helping digital natives to make a more conscious use of advanced languages.

Additionally, to overcome the dangerous digital gaps affecting different groups inside our societies; and, mainly, to progress towards a science more strongly based on access and the possibility of sharing knowledge. These challenges will be developed based on open innovation processes. This will involve physical and virtual platforms, places to meet, learn, interconnect, archive, disseminate and create visibility.

At the end of the day, the transmedia laboratory Hirikia is a complete system for the transformation of society and promoting an open, shared culture through digital means.

It will foster the coming together of platforms, media, languages and empowerment. It will also give freedom to citizens as «proUsers» in the era of access and collaboration.

calendar, landmarks, projects, agents

2012

Action areas Tools Key concepts

IS

SLIC

2013

2014

2015

2016

Action areas Digital infraestructures, free network access Archive/memory Technosocial laboratories

1. Open code

9. Remix

2. Free software

10. Archive - Memory

3. Transparency

11. Techno-social labs

4. Convergence

12. ProUsers

Local agents

5. P2P

13. TRANSmedia education

6. Free network

14. Mobile Labs

Tabakalera (as the main hub of Hirikia) / Plan Gipuzkoa 2.0 / ESLE / Gipuzkoa Encounter / IK4 / i2-basque / Ikerbasque / Innobasque / Tecnalia / Apprendices / Eskola 2.0 / KZGunea / Pintxos&Blogs / Arteklab / ÚbiQa / Gisa Elkartea / OpenDataEuskadi / Pro Bono Público

7. Digital skin

15. Co-creation

8. Accessibility

International events SLIC 2013 / Free software and cultural institutions Meeting IS 2015 / International Internet Society Meeting CC 2017 / International Creative Commons Meeting

Dss2016eu— culture

to overcome violence

work systems—15

NICT democratisation and particularly the Internet have caused a digital revolution. But the real revolution is yet to come, with application of NICTs to the physical world — or what is known as the «Internet of things». This will completely change the way we understand life and the environment.

As a result of widespread internet use, we now live with philosophies like hacking, DIY philosophies and home automation. The spirit of scientific knowhow is spreading to communities that share widely varying interests, who can therefore develop creative and experimental projects with a high potential for social impact. Phenomena like tech gardens, biohacking

MovilLabs

or home astronomy prove that the popularisation of science and collective research processes and participatory construction are developments destined to become commonplace in the near future. To bring NICTs closer to new publics and environments, a small fleet of DSS2016EU mobile laboratories will travel to different parts of the DSS2016EU territory and across Europe. MovilLabs in which to organise training, design and prototyping workshops (design-implementation-testing), equipped with 3D printers, tools for electronics and automation, for programming (scratch, processing, pure data) and for multimedia production and dissemination (cameras, editing stations).

The Hirikia methodology consists of several interconnected actions related to open culture, communications infrastructures and empowering citizens to develop digital skills

Deaddrops, Aram Bartholl

DV

CC

2017

2018

2019

2020

Commemorations In 2015 the World Wide Web will be 25 years old In 2016 the GNU/Linux system will be 25 years old In 2016 Creative Commons will be 15 years old In 2016 Wikipedia will be 15 years old In 2019 we will celebrate the 50th anniversary of the Internet

International agents Creative Commons Europe / European Network of Living Labs / FOSDEM - Free and Open Source Software Developers’ European Meeting / Arduino / HUB International / Free Software Foundation / Safe Creative / SLIC - Free Software and Cultural Institutions / EDEN - The European Distance and E-Learning Network / ERNACT - European Regions Network for the Application of Communications Technology / Conecta Joven / guifi.net / Telenoica / TERENA / GIANT

dss2016.eu

Wireless waves of energy

A web of websites, of superimposed digital layers, understood as a multimedia platform to serve as the main hub for our communication. It provides access to information; produces cultural programmes in the public digital space; establishes open channels of conversation/ participation. It also serves as a repository and living memory of the activities carried out. An accessible space, with live international connection, fostering a coming together between PEOPLE unable to physically travel to our city, but who nevertheless want to discover and share the spirit and legacy of DSS2016EU.

Efforts to close the digital gap and guarantee access to networks is an essential part of ensuring full participation of citizens in the information society. It makes it also possible to meet the goals of the European Digital Agenda 2020.

Here, the key elements are to promote community connections permitting not only the creation of citizen networks but ultrafast access for all, and at affordable prices. To achieve this, we will extend Wi-Fi cover from San Sebastian to all Gipuzkoa by 2016. We aim to achieve wireless, distributed, interconnected, open and neutral Wi-Fi networks between institutions, companies and citizens.

Laboratories on techno-social creation

MediaTBK

A series of physical, travelling, e-learning workshops.

Collaborative in nature, these workshops seek new producers, learners and users. Interactive spaces developing digital skills in citizens, teaching them how to consciously communicate, participate, consume and produce based on New Information and Communication Technologies. Programmes developing values related to free digital culture and technology, communication and social skills, TRANSmedia in nature, associated to skills in new areas like programming, interaction, video games, gadgets, computers, virtual worlds, robotics or 3D printers.

Will connect and unify archives in the different media libraries across the territory. The aim is to create a shared collection with free licences, open to the public and to use by anyone wishing to consult, interpret or remix it. We hope to achieve new stories, new works based on existing material. An R&D&i project on files and intangible cultural heritage taking on great importance in 2016 with the 15th anniversary of Wikipedia.

To celebrate the event, an attempt will be made to beat the Guinness Record of files uploaded in a single day to the free encyclopaedia, the perfect example of a collaborative public archive.

Ikusi eta Ikasi

CultureOnTour

A platform creating visibility and interfaces for viewing the digital skin, «the other territory». This involves real-time interpretation of the diversity and complexity of information flows in sources and databases, of the interdependent processes underpinning the workings of an urban environment and what happens between its inhabitants. New maps for articulating enormous masses of abstract information using, among others, visualisation tools, augmented reality and geolocation, application programming interfaces (API) for their filming on urban screens, projecting onto buildings for use as Internet applications.

An online system of digital broadcasts for decentralising events on the DSS2016EU programme, making them accessible throughout the entire territory (and in other parts of Europe and the world). The aim is to unite-connect potential specialised audiences in different places. We want to group these audiences wherever they are so that they may attend and participate from a distance – but as a group and live – in activities suited to their shared interests. Here we shall boost the concentration of critical mass through the possibilities offered by NICTs, generating feedback and interrelation between similar agents.

Third connection

DSS2016EU Open Data

An intergenerational educational and social project, where young volunteers introduce the elderly to NICTs. This event will run in the public KZgunea computer classrooms. It is developed to: involve youngsters in socially developing their environment; reduce the digital gap among the elderly population; create links between citizens and encourage an exchange of knowledge and relations between generations; lend value to and digitise the memory of elderly PEOPLE; and to promote networking and collaboration between entities in the tertiary sector, the educational community and the civil service.

This initiative will make it possible to consult and reuse all data related to DSS2016EU. The publication of open, usable data (XML, CSV, XLS, RDF...) will permit free access to the information generated by the public administrations. Further, we will organise periodic international calls and programming marathons at which to create digital applications for interrelating and interpreting data, propose new ways of understanding and visualising these and offer new derived services.

culture to overcome violence — Dss2016eu

16—work systems

Art and artivism

reflection on public life and the reshaping of democracy

Our Culture to overcome violence programme aims to lend art a space for autonomous, exceptional creation. We want this to be a disciplinary practice that ends where reality starts. However, this endeavour will also involve artivism. The idea is precisely to intervene in reality, using creative means with the express intention of transforming it. These two positions are increasingly interwoven, particularly since the insurgence in the 60s of situationism, happenings, and the subjectivising organisation of black, feminist and homosexual groups. They also stem from social artistic practices falling within the framework of conceptual art.

We see art as something that pierces conflict, as a possibility for mediation. Art as the counterscreen for projecting the concerns of certain communities, as the catalyst of collective activity and as the stimulus for public controversy. Art made to be public, intended to prompt reflection on public life and democracy. We will start working in this direction in 2012, taking part in events to commemorate the 75th anniversary of the bombing of Gernika. This will include the Year of peace and cultures promoted by the Basque Government Department of Culture in collaboration with groups working from the crossroads of art and artivism.

CREATIVITY

art and creativity laboratories Pagadi Pagadi means beech forest in Basque. The art and creativity laboratories are a system precisely entering this forest as a metaphor for the unknown and an adventure into the future We will take a look at things hand-in-hand with artists and art as an experiment to stimulate imagination and critical thought.

This will open alternatives and generate new lines of thought, asking questions which don’t always have a perfect answer

Here at dss2016eu we know that real transformations are not always planned. They are not always the result of political decisions or administrative measures taken by institutions.

Rather, based on emerging practices between different agents, they interact in an ecosystem of formal and, almost always, informal relations. That’s where we find time and space for art ­—understood as a specific field. This is an opportunity to generate symbolic creations based on other forms of narration, new subjectivities helping us to think in other times and transform reality.

The idea is to leave the comfortable, organised city space and civilisation for the forest of the unknown and of the invisible; to take up the challenge of travelling to the extraordinary territories of the future, to the necessarily unexpected, and drifting to who knows where. Places in which to fertilise a transformation helping us to dream of other imaginary geographic forms shaped by art and creativity.

We work together with other artistic programmes —like the Basque Government’s new plan for the visual arts, Eremuak— to back development of the local art world. However, we always relate this world to international networks, placing the accent on creation and the central role of the artists community. We encourage discussion on the different notions of «cultural policy» and their relation to public function and private initiative. We concentrate on differentiating and articulating creation and creativity or art and culture. We will take note of points of contact and meeting with other crea-

tive contexts (geographic, historical, cultural) to provoke professional, interdisciplinary synergies.

Based on the thread of the digital paradigm and new archiving models, we reconsider the notion of contemporary heritage and the place of art in creation, experience, conservation, restoration and transmission.

We consider new modes of distributing contemporary art and how it is viewed by today's society, the presence of art in the media and in the public space. We particularly focus on highlighting the figure of the artist, whether professionally or in his or her function as a generator of tangible and intangible values.

Gender Art Maps

creation factories

nouveaux commanditaires

GenderArtNet is an experimental artistic practice map connecting artists, projects and organisations who explore the links between gender, ethnicity, race, class and sexuality in contemporary Europe.

This project is financed by the European Cultural Foundation and works closely with Postdam University and Cluj-Napoca node (Romania) of the Euroalter organisation. This institution organises the Transeuropa Festival: a participation and youth initiative on European issues happening simultaneously in twelve different European cities.

A programme fostered by the Basque Government Department of Culture. This programme reuses abandoned industrial premises as spaces for creation. These spaces have a publicprivate model of management and are the shared responsibility of the administration and groups from the world of culture. A network of different kinds of centres across the Basque Country in which professional and amateur creators of all disciplines meet, dialogue and interact with one another and with different social agents. Interacting on subjects including training and advisory programmes or the providing of technical resources.

A Fondation de France programme –being introduced in the Basque Country– with the objective of offering anyone interested in doing so the opportunity to commission an artwork from an artist for its use by their community. A programme of mediation between civil society and artists aimed at generating public works.

Dss2016eu— culture

to overcome violence

art and nature

interventions in the public space of the cross-border coastline

work systems—17

Set around the premises of our Land&sea Lighthouse, we are organising a varied selection of events linking public art and nature to take place along the 150 kilometres of public space forming the cross-border coastline running from Bayonne, in the French-Basque Country, to Urdaibai in the province of Bizkaia. Here, we pay special attention to interventions carried out in the Cultural Park Network. A cross-border programme based on relations between the Bienal D’Anglet, organised in the region of the French-Basque Country since 2003, and Urdaibaiarte (Bizkaia), to take place for the first time in 2012.

We propose a destructured system, like a beech forest, for use by artists and creators. We seek interrelation between local, European and international creators based on nonmonumental, nonhegemonic attitudes for approaching the dss2016eu values

what is the role of public art in today’s world?

The DSS2016EU project joins hands with other cultural bodies supporting the ENPAP-European Network for Public Art Producers, a new non-institutional European network, backed

by EACEA-Education, Audiovisual & Culture Executive Agency as part of the EU Culture Programme. This cultural network is composed of a series of different bodies dedicated to producing contemporary art: organisations like Mossutställningar and BAC from Sweden; Vector from Rumania; Situations from the UK; Skor from Holland and Consonni from Spain (based in the Basque Country).

The aim of this network is to combine different ways of working, to foster cross-border collaborations and cross-cutting between disciplines. As a starting point, the idea is to open a debate on the controversial term «public art», and then examine the conditions for its production via meetings, work sessions, publications, a website, a symposium and the production of a series of specific projects.

Olaf Breuming / consonni

All in all, we propose a destructured system, similar to that of a beech forest, for use by artists and creators: a metaphor for the unknown and an adventure into the future. We seek interrelations between local, European and international creators based on non-monumental, non-hegemonic attitudes for approaching the dss2016eu values and topics from another angle.

Here, we will launch different programmes stemming particularly from the contents of our Culture to overcome violence programme, focussing on the themed Lighthouses: Peace, Live, Voices and Land&Sea which thematically group all our activities.

This programme has two complementary objectives. On the one hand, we want to stimulate simultaneous intervention on cultural and artistic policies in two neighbouring regions, in two countries. Here the spotlight focuses on relations between institutions, cultural agents and artists in the Basque Country and Aquitaine.

On the other hand, we will produce a constellation of short-lived and, in some cases, permanent artistic interventions. This initiative also encourages a more intense exchange of residences and communication between local and international artists and researchers.

We only Move When Something Changes!. It´s a portrait of part of the artistic community in the Basque Country, presented as if it were a nomadic village living on the outskirts, under the bridge, under a great peace symbol. The image was taken in November 2002 for Begoña Muñoz's music project Begoña, produced by consonni.

We approach public art, not as something limited to a specific place, but as a factor linked to dynamic, constant interaction with society.

This will be a complementary reflection on art in public places and on the public place of art.

Here we ask ourselves, in different ways: What is the role of public art in today’s world? An essential question for an ECoC project, and even more so if culture is to play an important part in TRANSforming public life.

beautiful losers

EUROPA(n)

mugatxoan

A programme set around the different expressions of young urban cultures as critical, groundbreaking mechanisms for reflecting on the increasing regulation of our lives and our cities. An eclectic container encompassing post-modern sports (skate, break-dance, parcour, fixie), the «ugly» arts (graffiti, tattoos, customization, DIY cinema) and their music and sounds (punk, hip-hop, reggaeton, electronic). A cross-cutting approach to pushing limits, encouraging free creativity and the power of independence lying somewhere between (il)legality and institutional assimilation.

A process of reflection through artistic, curatorial, educational contributions exploring different concepts of identity in its respective contexts. And the cultural, social, economic and political implications of identity in what we call Europe. An approach, based on analysis, discursion and artistic practices, reflects concepts like national culture and cultural differences, or the dissolution of topographic and geopolitical limits. A collaborative programme between nine cities (Berlin, Brussels, Istanbul, Lodz, London, Novi Sad, Oslo and San Sebastian), launched in 2011 and promoted by the Goethe Institut.

In Basque «On the little border». This initiative has been proposing shared experiences between visual and performing artists, set around the body, transitory spaces and situations as the guiding thread. It´s an experimental adventure into unknown territories of creation in order to explore new artistic practices beyond traditional dance. It´s an open essay on the border of the classic body artistic disciplines researching beyond conventional backgrounds, normal academic rules and the classic limits of performing arts.

culture to overcome violence — Dss2016eu

18—work SySTEMS

Intangible heritage

basque and minority languages in Europe

Basque is considered the only surviving pre-IndoEuropean language in Western Europe, and therefore, as having the oldest roots in this region of the world. Today, nearly one million people use it in their daily lives with varying degrees of knowledge.

It is spoken in the Basque Autonomous Community, Navarre and in the French Basque Country, a part of the Pyrenees-Atlantiques. A linguistic and cultural geographical unit called Euskal Herria (Basque Country) which provides a large cross-border consistency to the whole project of dss2016eu.

However, our message to Europe is not that Basque is the oldest European language. It is also a

revitalised, open, connected, and modern language that lives with tradition (without depending on it) and has made the leap to multilingualism. In short, it’s a language that has evolved in an exemplary way in recent decades. First of all, it made this leap through civil society, in significant cases such as the movement of ikastolas (schools that teach in Basque), a prime example of our waves of public energy. This revitalised Basque is, without a doubt, the most important intangible heritage in our culture. Its allegiance to a diverse linguistic map of Europe is one of our main contributions to the Europe of diversity.

Basque

language laboratories h(e)izkuntza h(e)izkuntza, the fusion in one word of the Basque terms «language» and «education», is a transversal system to assess the linguistic dimension of culture and contribute to the development and socialization of Basque as an element of social cohesion Since the restoration of democracy in Spain and under the autonomous communities framework, Basque institutions and civil society as a whole are making a continued and fruitful effort towards the recuperation, progress and normalisation of our ancestral vernacular language. The formal teaching system and learning centres for adults are highlighted. Media, traditional and digital, emerging cultural expressions and agents of the creative economy are also important. Strategic policies designed as laws in the institutional sphere are crucial too. Basque society is gradually reviving the Basque language, incorporating it naturally in life, as a primordial ingredient of a complex Basque identity, as an asset for the future of local society.

Cultural production in Basque plays a vital role in the resurgence of the desire to want to live in a minority language, feeding the imagination and the dream of a linguistic community. It’s a culture that finds itself better than ever, in terms of quantitative and qualitative data. Weak in many respects compared with other languages, but strong in terms of having achieved a critical mass, business conditions and social influence.

But despite the efforts and considerable progress, several indicators show a generally pessimistic outlook for minority languages in the European

Basque Center on Cognition, Brain and Language.

3

Etxepare Institute.

minority languages in Europe

Creation

– Specific and general information channels to achieve referentiality.

– Media in Basque.

– Adjustment of consumption parameters and cultural market.

– International position.

H(e)IZKUNTZA

Diffusion – Public and private, real and virtual socialisation spaces.

– Communities of practice, digital natives and immigrants, from an intergenerational perspective.

– Technological tools of translation and communication.

– Living memory of cultural activity.

2

continent and the rest of the world. Actually, the same is true for all languages that fall outside the hegemonic linguistic map of international power relations. So, being able to continue maintaining the linguistic diversity characteristic of the European culture, while living with the predominant languages and incorporating linguistic richness brought by immigration, is one of the greatest short-term challenges in Europe. This means finding ways to communicate that do not favour hegemony of any one language and also, giving life to languages on the continent that, for economic or political reasons, find themselves in a weakened state and a situation that is threatening their very survival.

With this aim, compared to the general predicted crisis of minority languages, h(eizkuntza articulates itself is structured as a system that tries to open alternative and informal routes in addition to official language policies. We want to approach Basque from within, so that, without regulatory prejudice, it can face up to itself and, at the same time, to other languages. From dss2016eu we want to work, together with numerous public and private agents, to strengthen the creative, social and economic fabric produced in Basque.

Hobby, practice, enjoyment and desire to live in Basque.

Emergency, diversity and quality of creation.

Exchange of experiences, connection among agents and mobility.

Integration of creators and receivers.

An image of the popular running march, Korrika.

1

from language to culture, three fields of action

– – – –

1

Transmission

Alsatian Basque Breton Catalan Cornish Corsican Faroese Franco-Provencal Frisian Friulan Galician Gagauz Irish Gaelic Kashubian Ladin Limburgish Low-Saxon

700,000 (Fr) 614,000 (Sp); 70,000 (Fr) 200,000 (Fr) 8 million (Sp); 125,000 (Fr); 18,000 (It) 2,000 (UK) 125,000 (Fr) 45,000 (Faroe Islands, to Dk) 68,000 (It) 400,000 (NL) 700,000 (It) 3.1 million (Sp) 7,000 (bg) 1.6 million (IE); 95,000 (UK) 50,000 (PL) 30,000 (IT) 900,000 (NL) 1.7 million (NL)

Dss2016eu— culture

to overcome violence

work SySTEMS—19

Contrary to how it might seem, globalisation and technology do not necessarily exclude minority languages, but they provide important opportunities for revitalisation. Thus, although Spanish is Spain’s dominant language and English also continues to be the lingua franca on the Internet, there is an increasing presence of other languages online (the majority of Basque Internet users navigate in Spanish, 24% also do so in Basque and 22% in English). This growing multilingualism is facilitated by continued advances in translation tools and linguistic engineering, which make it possible to open hopeful horizons for the integration of

Basque 2.0

revitalising the language in everyday life, with the help of new technologies

minority languages, ensuring natural simultaneous communication in two or more languages.

In addition, web 2.0 and social networks facilitate more informal and free usage of the language, increasing its use. This is reinforced by the advancement of Basque in software and free culture, creating sub-communities and networks to share content and resources. One challenge we must also pursue, working under the logic established by «digital natives» is reaching agreements with major Internet platforms, in which to formalise the use of Basque; or achieving the implementation of a «.eus» linguistic domain.

h(e)izkuntza is a methodology based on transversal work among a wide range of public and private agents with activities based around the related issues of Basque language teaching, investigation, production and promotion of the local culture

DV

Languages, estimated numbers of speakers

Luxembourgish Maltese Manx Meänkieli Mirandese North Frisian Occitan Rusyn (or Ruthenian) Sámi languages Sardinian Sater Frisian Scots Scottish Gaelic Sorbian Ulster Scots Welsh

300,000 (LU) 370,000 (MT) 1,700 (UK) 50,000 (SW) 10,000 (PT) 8,000 (DE) 583,000 (FR); 3,000 (SP) 55,000 (SK); 6,000 (HU); 1,100 (CZ) 11,000 (SW); 2,000 (FI) 1 million (IT) 2,000 (DE) 1,500,000 (UK) 60,000 (UK) 50,000 (DE) 36,000 (UK) 610,000 (UK)

2

Progressively learning Basque

The festive vindication of Basque

Teaching Basque is the main tool for the social advancement of the language and for the recovery of Basque in the Basque Country. Several organisations have done great work for decades in this field, from citizen movements that gave impetus to education in Basque in schools called ikastolas (grouped into Ikastolen Elkartea), up to teaching for adults through organisations like AEK or HABE, which have hundreds of euskaltegiak (Basque academies) throughout the Basque Country. These organisations have adapted their teaching methods to suit all kinds of plans and groups through online courses, barnetegiak (boarding and intensive courses) and self-learning systems.

Support for Basque language has always been accompanied by popular and crowded events, such as festive marches held to raise funds for ikastolas that eventually have become a cultural tradition: Herri Urrats, Ibilaldia, Araba Euskaraz, Kilometroak and Nafarroa Oinez. Chief among these is the Korrika, organised by AEK since 1980. It’s a vindication march in favour of Basque, which is carried out by running day and night throughout the Basque Country, passing a baton from hand to hand, from village to village, mobilising thousands of People in a great atmosphere with music, entertainment and parallel cultural events along a 2,300 km route that covers all the Basque–speaking territory.

Basque Cluster

Research in and on Basque

A space from which to structure professional relations between different agents involved in the development of economic and business dimensions in Basque (audio-visual, multimedia, editing, translation, media, educational content).

An emerging sector from which to promote R&D of Basque; to identify new ways to promote its use in various fields as research, technology and enterprise; to define business strategies for products and services, especially regarding marketing and distribution, and to do this based on the logic of the growing social process of digitalisation as a competitive opportunity.

A diverse public-private fabric formed by agents such as: Euskaltzaindia, the Basque Language Academy, whose goal is to foster and standardise the language for its modernisation; Eusko Ikaskuntza, the Society of Basque Studies, whose objective is to develop Basque culture, promoting social cohesion and shared identities; Elhuyar, a foundation seeking to combine science and Basque, research and dissemination, society, education and enterprise; UNESCO Chair of World Linguistic Heritage, from UPV/EHU (University of the Basque Country), whose goal is to carry out research and provide training and documentation on languages.

Internationalisation

Basque media

The best way to ensure the survival of Basque is its relationship with other languages and its international projection, knowledge and culture. With this aim, the Instituto Etxepare was created, inspired by the motto of Beñat Etxepare (author of the first book printed in Basque in 1545): ''Euskara jalgi hadi plazara, Euskara jalgi hadi mundura'' (Basque, go out into the square, Basque, go out into the world). An institution related to others like the Instituto Cervantes, Institut Français or Polsky Institute; in contact with universities around the world; and approaching the Basque diaspora, mainly through the Euskal Etxeak (Basque centres).

Media plays a key role in the socialisation and transmission of a language. It provides a standard presence in public life, articulates information and generates knowledge and written/audio-visual memory. In the Basque Country, there are more and more public and private resources that are committed to Basque as a single or shared language. Media like EITB, the public Basque radio and television; Berria, the only daily newspaper published in Basque; or Argia, the doyen magazine in Basque. These and many others are undergoing an important process of transformation and digitalisation, both in infrastructure and models for production and content distribution.

BCBL

Mintzola

Founded by the Provincial Council of Gipuzkoa, Innobasque, Ikerbasque, and UPV/EHU and located in San Sebastian, the Basque Center on Cognition, Brain and Language is an international centre dedicated to cognitive neuroscience from a scientific-educational perspective. Its main lines of research are directed towards the study of allegiance, representation and processing of language, speech disorders, learning and neurodegeneration, as well as bio linguistics and social linguistics. It also conducts research on Basque and bilingualism, especially in speakers of two completely different languages.

A foundation headed by the Provincial Council of Gipuzkoa, based in Villabona, a 20 kilometer drive from the city in the centre of the province, which also hosts the Euskal Herriko Bertsozale Elkartea and Xenpelar Dokumentazio Zentroa on its premises. Its mission is the analysis, research, dissemination and documentation of oral Basque, and interaction with other international oral centres. The centre starts from the richness and specificity of (improvisational song in Basque), but it goes beyond, this becoming a dynamic observatory of the oral tradition and responding to the needs of modern society on oral communication.

3

culture to overcome violence — Dss2016eu

20—work systems

contex t

the European Landscape Convention, a framework from which to approach and interpret our Ruburbia

The ELC (European Landscape Convention or Florence Convention) was created in 2000 with the general purpose of establishing a framework to protect, manage and plan European landscapes, and therefore conserve and improve their quality.

The Convention recognises all forms of European landscapes: natural, rural, urban and peri-urban, emblematic, ordinary and deteriorated. In Article 1 of its statutes of association, it defines landscape as: «an area, as perceived by people, whose character is the result of the action and interaction of natural and/or human factors».

The Network of Cultural Parks for Knowledge

offers us a geographic system spread across the entire territory through which we can approach and interpret our landscape. The sea and the mountains, countryside and the city, rural and urban culture: our Ruburbia, an area linked to the imaginary cities left to us by the literary universe down through the years.

In this system we will network with European entities and programmes including: Natura 2000 network, Atlantic Arc Cities, Euromontana, European Federation of Environmental Interpretation Centres, ICLEI (Local Governments for Sustainability), Oceana Europe and At-Lights.

TERRITORY

laboratories of Cultural Parks for Knowledge A system of parks interconnected by paths running between the hills and the sea is an important space where the project will take place. These parks will form an eco-cultural network, a framework for action and a decentralised setting for the activities contained in the cultural programme dss2016eu With the Network of Cultural Parks for Knowledge, we refer to an important system of natural environments and eco-cultural installations spread across the dss2016eu territory. In addition to this is the dense woven system composed of all kinds of paths, with the coast as a cross-cutting shaft illuminated by different lighthouses.

This is a network system of parks and paths designed to unite the dss2016eu territory in order that it may serve as the framework and important decentralised stage for an important part of our programme. It refers to a green area containing important features of our cultural heritage as the physical framework of a spectacular landscape.

This is a way of highlighting our historic, cultural and natural heritage. It will attract citizens to use and enjoy natural public areas and installations for leisure, learning, sport, business endeavours and all kinds of cultural activities.

The concept of the Cultural Park for Knowledge refers to a green area spread over the entire territory of our programme, containing relevant elements of our natural heritage integrated in a physical framework with a singular value as a landscape.

This system contains elements focused on entertainment, knowledge, archeological remains, cultural infrastructures and companies dedicated to R+D+i. All the package respects all the sustain-

COHESION

a complex network of paths The Way of Saint James, the city of the 4 bays and lighthouses, as the major landmarks on this crossroads connecting all of the hubs in the Network

1

Image of the Flysch on the gipuzkoan coast.

2

Castle of Abbadie in Hendaye, a 20 minute drive from San Sebastian.

3/4 Youngsters in the

Cristina Enea Park.

4

ability criteria. It is much more than a mere green space for the contemplating the landscape or a casual promenade. The network has its main crossroads in the parks of the city of San Sebastian, some of which are undergoing major renovation work (Miramar, Cristina Enea and Aiete), while other new ones have added their names to the long list (Ametzagaina and Lore Toki). The green spaces in the hills around San Sebastian are also turning into parks thanks to the work carried out by the City Council in recent years (Urgull, Ulia, Miramón and Igeldo). And we mustn't forget Santa Clara Island– the island in our famous La Concha bay. Moreover, the Network also includes other parks and geoparks in the territory, recognised and protected by the Natura 2000 Network. Running from Mutriku to Sokoa in the French-Basque area of Labourd, we have several of these green areas: Chillida-Leku, Jaizkibel, Txingudi, Aiako Harria, San Marcos, Artikutza, Landarbaso and Zabalegi.

In addition to these are the Urdaibai Bio-sphere Reserve, in Bizkaia, and Abbadie, in the border city of Hendaye, located opposite the town of Irun, the first Spanish town across the border.

By connecting the different parks and paths, value is added to the whole network and we are able to propose a diversified and thematically complementary eco-cultural offer.

Given its rugged nature, the area is known for its long history of difficult connections. In days gone by, travellers had to follow paths and tracks that still exist today. These have improved in the last two centuries thanks to new infrastructures and roads, motorways and railways. But we mustn't forget the coast and the sea as the main form of connection between all parts of the territory.

We now therefore have a dense system formed by all kinds of paths. Paths of memory, shared paths, paths of the senses, information motorways, green ways, night rounds, emotional arteries, riverbeds, romantic trails, educational roads, country roads, short-cuts... A complex system — for which maps and signposting will be designed — providing connection between the different parts of the Network of Cultural Parks for Knowledge.

Whether on foot, bicycle, train or car, each of these systems covers the distances at different

speeds. Sometimes the road itself may well be the destination.

Probably one of the main paths crossing the territory is The Way of Saint James. Today boasting the title of cultural heritage and historical-artistic ensemble, this route has been followed by European pilgrims since the 9 th century. It offers lovers of active tourism and hill-walking the opportunity to discover the territory and its cultural and natural heritage in a more relaxed fashion. The Way enters Gipuzkoa in Irun, splitting into two routes: the Tunnel Way, making its way through the entire territory to join the French Way in Santo Domingo de la Calzada (La Rioja), and the Northern Way running along the coast through San Sebastian. (The Basque Government has applied to have this way added to UNESCO’s intangible cultural heritage list).

This route follows part of the coast linking the dss2016eu cross-border territory. It has sev-

Dss2016eu— culture

to overcome violence

work systems—21

objectives of the Network of Cultural Parks for Knowledge

1

→ Protect, preserve, disseminate and highlight our

→ Encourage games, participation, diversity, sharing

historic, cultural and natural heritage. → Attract citizens to our parks. We will foster their enjoyment and free use for all kinds of activities and prompt PEOPLE to learn about their environmental values and history. → Promote a network system of connection, shared synergies and to create a comprehensive regional plan that highlights and fosters the diversity and complementary nature of the different park-hubs.

rather than competing, through activities designed to unite rather than separate. → Achieve sustainable development in the areas around the Cultural Parks. To rectify differences in conditions between different urban and socio-economic areas and to improve the idea of «greenness» in the area. Particularly, to advocate sustainable mobility and accessibility. → Create a European Network of Cultural Parks for Knowledge with its headquarters in San Sebastian.

2

3

Iñigo Ibañez

Paul Bert Claude Levêque

Gorka Bravo

network of green spaces for culture The network of parks and paths encompasses different kinds of natural settings and installations for leisure, learning, sport, business endeavours and all sorts of cultural activities

Dani Blanco

eral sandbanks and estuaries running from the Urdaibai Biosphere Reserve in Bizkaia to the River Adour in the French-Basque Country. With four emblematic bays: San Sebastian, Pasajes, Txingudi and Saint Jeant de Luz, the area has earned the name of «The city of 4 bays»; four excellent settings for stating major leisure activities and cultural performances, for example, the rowing competitions in the Concha Bay. A coastline dotted intermittently with the several lighthouses standing between steep cliffs and the choppy sea, from Cape Matxitxako to Bayonne, with no borders. Lighthouses that illuminate and guide us, symbolically representing our waves of energy. These structures translate the challenges floating in to the shore and cast their «light» upon the territory. Lighthouses which, by 2016, will have become a network of interpretation centres not only on the territory, but also on the different topics addressed by our bid.

The Memory Garden

Zabalegi Ekogunea

A garden occupying 3.5 hectares in the area between the Urumea River and the new church designed by the architect Rafael Moneo. This garden is designed by Lur Paisajistak together with the Local Forum of Victims of Terrorism and Violence. A space to think and remember, planted with whiteflowering trees and bushes brought from all over the world, where running water will play an essential part in creating a serene atmosphere. The first stage of construction will end this year with the planting of 1,000 trees by locals. In 2016, activities in this garden will include an international exhibition on memory gardens and peace parks.

A park dedicated to sustainability promoted by the Kutxa Savings Bank lying in the area between San Sebastian, Lasarte and Hernani (10 minutes from the city). A laboratory, vegetable gardens, compost area, farm, eco-eatery, energy efficiency simulator... will all stand round the eco-square. 9,000 m2 for leisure, learning and entrepreneurship. A place to progress from environmental awareness to sustainable practice and action. Its activities will tackle sustainability in cross-cutting fashion set around 8 areas of action: ecological agriculture, composting, renewable energies, energy efficiency, linguistic ecology, sustainable transport, natural water treatment and responsible consumption.

Lore Toki

Mount Urgull

In Basque, literally a place of flowers. A new installation 10 minutes from the city centre, between the Chillida-Leku Museum and Zabalegi. This is an estate formerly used by the army and dedicated for decades to breeding race horses. It has been purchased by San Sebastian City Council for its TRANSformation into a public park named European Campus on Cooperation. It will house work by local artists’ groups and young unemployed PEOPLE. A place for exchanging knowledge and social activism, where non-government organisations will play a leading part. Eight buildings and stables adapted as multipurpose work spaces and hostels, and a marquee for holding meetings.

This hill stands at one end of La Concha Bay. It is a privileged vantage point, direct witness to the local memory and history. A hill embraced by the sea and connected to the port, birthplace of the city that grew in its shade. A walled hill, sporting the remains of several forts and the «English Cemetery» bear witness to its military past. Mount Urgull is topped by an enormous statue of the Sacred Heart of Jesus and surrounded by the Paseo Nuevo promenade. A cultural park, home to the Museum on the History of San Sebastian, the Children’s Library and an educational/playing area for children. On the sides of this hill we can find San Telmo Museum, the Aquarium and the Naval Museum.

Green Belt

Flysch Geopark

Vitoria-Gasteiz, capital of the Basque Country, has spent years working to achieve sustainable interaction between PEOPLE, the city and nature. An endeavour which has earned it the name of Green Capital of Europe 2012. This is something we will celebrate in the shared programmes taking us to 2016.

One of these shared projects is the Green belt, highlighting peri-urban parks as ecological-recreational-educational spaces.

Recovery of the banks of the River Zadorra, opening of the Ataria Salburua Wetlands Interpretation Centre or the Olarizu Botanical Gardens will all offer opportunities to develop joint activities.

A flysch is a geological peculiarity comprising formations in vertical strata alternating layers of soft and hard materials and containing remains and fossils dating back 110 million years. A continuous fringe on the Gipuzkoan coast that changes colour according to the rocks that form it: yellow on the cliffs of Jaizkibel, white on the Deba-Zumaia tidal platform and black in Mutriku. This internationally important geological heritage hopes to join the European Geoparks Network and is presently being recognised by UNESCO as a new model of territorial development.

Abbadie Castle

Urdaibai Reseve

Standing in the French border town of Hendaye, the castle of Antoine d'Abbadie was built in Gothic style according to plans by the architect Eugène Emmanuel Viollet-le-Duc between 1860 and 1870. It was conceived on request by Antoine d’Abbadie d’Arrast, an astronomer and explorer, but also an anthropologist and linguist, member of the Academy of Sciences, who wanted a Gothic-style castle-observatory. It has three different parts: a library, an observatory and a chapel.

Today the castle is owned by the Academy of Sciences to which it was left by Antoine d’Abbadie in 1895, on condition that the observatory was directed by a priest.

Was named Biosphere Reserve by UNESCO in 1984. This marvellous space occupying the area round the River Oka is one of incredible natural interest including not only the landscape, but all sorts of fauna and flora. Here, different varied ecological conditions and habitats live side by side; their marshes and forests form a unique environment for numerous animals to breed, particularely birds. Here you can also visit the famous caves in Bizkaia, Santimamiñe, and the idyllic Oma valley with its painted forest, the fishing village of Bermeo, once head of Bizkaia, and the sentimental and symbolic capital of the Basques, Gernika.

culture to overcome violence — Dss2016eu

22—ACTIVIties

ACTIVITIES lighthouse of peace

—22

lighthouse of life

—30

lighthouse of voices

—35

lighthouse of land&sea

—42

general objectives and relevant questions

dss2016eu will be a European Capital of Culture...

— well presented, but above all with plenty of pizzazz.

— serving as a model for changing cultural paradigm.

— that doesn’t allow itself to be sucked in by the dynamics of commodity fetishism and cultural consumption.

— that talks to the world from our territory's specific experience.

— that recovers the social effect of cultural activity.

— that recovers culture as a source of knowledge and exchange.

— that fosters all sorts of different viewpoints with a focus on contradiction, antagonism, subalternate narration.

— capable of setting an example, consistent with the moral responsibility demanded of us by today’s world.

— that takes a deeper look at the questions of the future and addresses an open dialogue with the coming generations.

areas of action → Theoretical

thought, reflection, debate, research, meeting, discourse, ideology, critique, knowledge, forum, publication... →

Symbolic subjectiveness, poetics, representation, aesthetics, imaginary, metaphoric, expositive, creation, abstract...

→

Empirical-practical application, innovation, specific, laboratory, workshop, trials, prototyping, case studies, methodology, systemisation...

→

Participatory co-authoring, cooperation, collaboration, empowerment, implication, proactive, action, community, networks, coworking, mobilisation...

→

Communicative information, awareness, documentation, cataloguing…

Some of the questions to be kept in mind when designing the programme are: — Activities focussing on exhibitions, education (formal and/ or informal), leisure, dialogue, participation.

— Activities focussing on art, humanism, science, technology, environment, gastronomy, sports...

— Off and/or online communication strategies based on conventional means and supports, using Web 2.0 applications or ad hoc actions.

— Care with regard to institutional relations and to publicprivate agents active in the networks of each field.

— Diversified location of the project activities: centralised in San Sebastian, its neighbourhoods, in the territory of the dss2016eu or disseminated throughout Europe depending on the agents with whom they are co-produced.

— Different formats and languages, generalised or more adapted to specialised audiences as required.

— Cross-cutting or highly specific programmes.

— Big events and/or small actions.

agents and networks →

Natural strengthen relations with already existing networks and agents

→

Desired identify potentially interesting contacts in the fields of knowledge, activity development or shared values

→

Real contact and verify that the desired agents and networks are real

Dss2016eu— culture

to overcome violence

ACTIVIties—23

01—

PEACE

drums of peace The opening ceremony of the ECoC 2016 to be held on 20 January, the day the city celebrates its patron saint's festival. More than 9,000 children from all over Europe will begin a year of cultural celebration by beating their barrels and drums

lighthouse of peace

prominent activit y FORMAT

European Festival with opening and closing, massive popular celebration, carnival parade TIMELINE

20 January 2016 and 20 January 2017 LOCATION

The Streets of San Sebastian tags

without violence

human rights

conflict

difference

COEXISTENCE

empathy

BUDGET

€1,800,000

description and objetives

The activities on the lighthouse of peace are part of our Culture to overcome violence programme. We believe that culture and education help to humanise conflicts and that they are the best expression of civic rebellion against any kind of exclusion, barbarity and violence.

For San Sebastian and the Basque Country the coming decade of hope will be essential. The lighthouse of peace aims to help build the new scenario of reconciliation and harmony in the potential new setting without ETA, now visible in the future of Basque society. This lighthouse aims to promote new social ethical codes linking up with the progress and development of human rights in Europe.

We intend San Sebastian to become an international benchmark in the culture of peace and education in values. We want to establish this position based on the ethical superiority of non-violence conceived as the rejection of war and terrorism and of all other forms of violence.

NET WORKS AND LOCAL AGENTS

House of Peace and Human Rights / UNHCR / Asociación Gitana Kamelamos / Ammnesty International / Center for Lantin Hope / Asociación de amigos y comunidades inmigrantes / Intercultural City Network of the Council of Europe / International Association of Educating Cities / Directorate-General Justice of the EU / International Network for Peace / European Coalition of Cities Against Racism / Artamugarriak / Baketik /Bidea Helburu /Círculo de las Sillas / Comisión Especial de Derechos Humanos del Ayto. de Donostia-San Sebastián / Human Rights Film Festival / International Film Festival / Local Forum of Victimes of Terrorism / Gesto por la Paz / Pedro Arrupe Human Rights Institute / Fundación Pérez Esquivel / Fundation Culture of Peace / Fundación Rigoberta Menchú / Ana Frank Foundation / UNESCO/ Lokarri / Oficina de atención a las Víctimas de Terrorismo (Gobierno Vasco) / Unesco Etxea / UPV-EHU: Departamento de Resolución de Conflictos / Agipad / Arrats / Cáritas / Erroak Sartu / Emaus Fundación Social / Fundación Zorroaga / Hospital Aita Menni / International Institute for the Sociology of Law / Proyecto Hombre (Fundación Izan) / Salhaketa SOS Arrazakeria (Mugak) / Vicuña / Cruz Roja / AVICGE / DK Festak.

NET WORKS AND INTERNATIONAL AGENTS

Eryica (European Youth Information and Counselling Agency) / European Network for Civil Peace Services / Festival Ars Non violens Maribor 2012 / Film Cities Network / Human Rights Film Festivals Network / Human Rights Watch / International Association of Educating Cities / International Association of Peace Messenger Cities / International Institute of Human Rights / International Network for Peace / IPRA (International Peace Research Association) / Lycée René Cassin (Oslo, Bayona, Estrasburgo, Gonesse, Guenange, Wizernes, Toulouse) / Mayors for Peace / MEDIA Programme / Redesearte Paz / The European Network of Peace Educators / The Parents Circle / The Peace People / A Soul for Europe / Amnesty Ïnternational / CPT (European Committee for the Prevention of Torture and Inhuman or Degrading Treatment or Punishment) / ECLN (European Civil Liberties Network) / ENAR (European Network Against Racism) / Ferrocarril / Network of Social Street Workers / Prison Art Network / Kids Gernika / Le Club de Strasbourg.

tamborrada

Iñigo Ibañez

Nobody knows exactly when nor how the Tamborrada started. According to some people, it began when girls who fetched water in the fountains and men who accompanied them started mocking the drum sound of the occupying French soldiers with barrels and other tools. However, there are indications that it started in 1836 as a carnival group in San Sebastian and from then on continued as a tradition. The melody played at that time was a zortziko

by José Juan Santesteban, but later, in 1860, Raimundo Sarriegui wrote The March of San Sebastian. The Tamborrada celebrates the Napoleonic occupation during the war of independence in the early nineteenth century. The festival consists of dozens of groups, organised by gastronomic societies and other associations, that play their drums while marching through the streets for 24 hours every 20 January. Typically, groups consist of a company of drummers dressed in military costumes inspired by some of the armies of the time, and another of coopers dressed as chefs and jugs of water. The festival has a entire repertoire of songs that are only played on the day of San Sebastian.

The opening events of the ECoC 2016 will take place on 20 January to coincide with the Tamborrada drum parade on San Sebastian’s Day. Throughout the entire 24 hours of these festivities, the most important of the whole year for the locals, thousands of people take to the streets with drums and barrels in their hands to have fun in a way that somehow resembles Carnival while recalling the Napoleonic occupation during the War of Independence (1808-1812).

In 2016, our Tamborrada will be even more special than usual. In 2016 boys and girls from different parts of Europe and Africa will join the over 7,000 local children forming the different regiments in the Children’s Drum Parade, one of the main events of the Tamborrada day.

Children from the Polish city with which we hope to share the Capital will also join in the parade. Dressed as multicultural soldiers and chefs, all performing together, in front of the City Hall and through the streets of the city. The festive melodies of peace and friendship characterising these drum outfits serve as a prelude to Carnival.

This is a spectacular, multicoloured, musical event of loud drums and songs of peace that fill the city. Along with the Tamborrada, we will solemnly launch the San Juan boat, sending it off on its first voyage on the programme to northern Europe.

Continuing with the tradition of presenting a Golden Drum to an outstanding figure, in 2016 the Iñigo Ibañez honour will fall upon an anonymous woman representing the economy of reproduction, mother of one of the 9,000 girls and boys who will participate in the children’s drum parade.

Throughout the week prior to this we will organise grassroots activities to illustrate the programme which will inundate the whole territory of our bid over the coming year. Openings, concerts, workshops, performances, publications, visits... A sort of Express Capital warming us up to take the plunge in full knowledge that 2016 will be a busy year packed with cultural activity.

A year later, on 20 January 2017, we will bring dss2016eu to a close, joining forces with the cities taking up the baton that year. We plan an enormous fiesta at which to assess and above all celebrate the effort, drive and energy shown by the citizens the previous year. It will constitute a continuing paragraph in our transformation process started by ECoC 2016.

culture to overcome violence — Dss2016eu

24—ACTIVIties

02—

03—

PEACE

PEACE

challenges

a reconciliatory embrace

A cultural study programme and forum for disseminating knowledge related to the challenges of the world in which we live, addressing the topics marked by the dss2016eu lighthouses

A human chain will link the towns of Aduna and Tolosa, both in Gipuzkoa, in memory of the first victims of the Basque conflict prominent activit y FORMAT

FORMAT

Forum of study and debate, interactive game, 60 topics.

TIMELINE

2012-2016 LOCATION

San Telmo Museum of San Sebastian, Network of cultural centres of the territory.

SPECIFIC NET WORKS

UPV/EHU University of the Basque Country BUDGET

€800,000

Challenges will ask a question a month to be developed in different formats spread over several events: a conference, a workshop, a conversation, a seminar, a debate, an audiovisual presentation or stage performance and an itinerary through a specific part of our region related to the subject at hand.

This ambitious proposal will run from 2012 to 2016. It will address 60 different topics combining the knowledge of important international thinkers with the equally important contributions of local experts. Thus, in the coming years, an important amount of documentation will be generated and recorded. It will also be freely available for consultation by the public.

This material will take different shapes. Some of it will be broadcasted live on the Internet. Other parts will take the form of summaries of talks given, educational or explanatory material and scientific publications. The diversity of this format will provide easier access and the democratisation of the generated knowledge.

In the run-up to 2016, San Telmo Museum will house a multimedia installation containing an archive with all of the generated documentation. The installation will be presented as an interactive game, also available online, allowing anyone who so desires to contribute their questions and answers to the challenges.

Human chain, festive cultural activities TIMELINE

7 June 2016 LOCATION

Along the 26 km that separate Aduna and Tolosa. Gipuzkoa BUDGET

€150,000

Dani Blanco

04—

Major Bonnet

Side activit y

PEACE

truth and memory

festival against war and racism

International gathering of commissions of truth, justice and reconciliation that will discuss universal jurisdiction at the recently inaugurated House of Peace in Aiete FORMAT

Truth commissions, International Gathering, International Rights Forum, music and audiovisual festival TIMELINE

June 2016 LOCATION

House of Peace and Human Rights, Kursaal Convention Centre, Zurriola beach, San Sebastian SPECIFIC NET WORKS

Instituto Vasco de Criminología, International Association of Penal Law BUDGET

€800,000

Jorge Oteiza and Eduardo Chillida were unquestionably two of the leading contemporary Basque artists. One sculpture by each (Empty Construction and The Wind Comb) stands at either end of La Concha Bay. Shortly before their deaths, after several years without speaking to one another, they were reunited in fond reconciliation. That historical encounter-embrace between both world famous sculptors will be used as the symbolic front page for all sorts of widely varying activities.

On 7 June 2016, political conditions permitting, and if there is a suitable atmosphere of consensus, we will repeat the initiative proposed some years ago by Jorge Oteiza: a human chain linking the Gipuzkoan towns of Aduna (Villabona) and Benta Haundi (Tolosa).

These two places, twenty minutes from San Sebastian, mark the spots where, in a period of only 3 hours in 1968, the first Civil Guard, José Pardines Arcay, was killed by ETA, and the first ETA activist, Txabi Etxebarrieta Ortiz, was killed by the Civil Guard.

This human chain and the festive activities accompanying it fall within the framework of the International Meeting of Truth, Justice and Reconciliation Commissions. It will also mark the end of the permanent workshop, Seedbeds of peace for reconciliation.These are twenty-six kilometres for peace and reconciliation symbolically reflecting the desire to humanise confrontation and find a common meeting place for the future.

Since 1974, over 36 research or truth commissions have been created in the world to address the irrefutable right of all society to know what really happens in situations of conflict: wars, terrorism, genocide... These commissions strive to achieve recognition of personal suffering and reconciliation, based on truth, justice, repair and as much cooperation as possible from all involved in different conflicts. Their common goal is to try to prevent situations like these from repeating themselves in the future.

In 2016, as a core event in the launching of the Observatory on Reconciliation in the House of

Peace and Human Rights in Aiete, San Sebastian is to host an International Meeting of Truth, Justice and Reconciliation Commissions. This event will unite commissions of truth, justice and reconciliation from all over the world, pacifist organisations, victims of violence and jurists involved in the development of jurisdiction worldwide. The proposed forum includes seminars, exhibitions, concerts and workshops for analysing the role of these commissions and the extent to which they fulfil the objects for which they were created. It also allows for monitoring their place in International Law.

The main complementary activity of Truth and Memory will consist on a Festival against War and Racism. During this weekend-long event of music and fun, artists arrived from different parts of the world who are involved with questions concerning the end of conflicts will meet on stage. These artists including videojockeys, performers, groups and set designers will come together and interact with one another. Different artists and groups will get together on stage to perform live.

Woody Guthrie

Dss2016eu— culture

to overcome violence

ACTIVIties—25

05— PEACE

seedbeds of peace for reconciliation

In 2016 we will organise different international meetings to address the questions dealt with at the permanent workshop.

Two of the most important will be

A set of initiatives for coexistence that will take place in three local reference points that inspire an end to conflict: Gernika, Arantzazu and San Sebastian, which will be joined by Strasbourg

side activit y

The Nobel Peace Meeting For this action, we will invite all living recipients of this award in order that they might explain the importance of the thoughts underpinning their personal struggle against conflict.

We will also invite various civilian organisations working to achieve peace and Human Rights across the world. The background to this meeting will be the monographic exhibitions dedicated from 2011 until 2015 to five Nobel Laureates. These people, who preside over the gallery of San Sebastian’s House of Peace and Human Rights, are: Wangari Maathai, René Cassin, Martin Luther King, Anne Frank and Mahatma Gandhi.

side activit y

conference on Intercultural Cities for Coexistence Iñigo Ibáñez

FORMAT

Idea Labs, permanent workshop, Nobel Peace Prize, Intercultural Cities TIMELINE

2011-2020 Nobel Peace Prizes in February 2016, Intercultural cities in July 2016 LOCATION

Peace Museum in Gernika (Bizkaia), House of Peace and Human Rights (San Sebastian), Arantzazu Monastery of Oñati (Gipuzkoa), Network of Cultural Centres and Community Centres, René Cassin Institute in Bayonne (France), Bayonne and Strasbourg (France) and the UPV/EHU University of the Basque Country.

SPECIFIC NET WORKS

Intercultural City Network of the European Council / International Association of Education Cities / European Charter for the Safeguarding of Human Rights in the City / Majors for Peace / Red de ciudades contra el racismo / Le Club de Strasbourg / Northern Ireland Local Government Association / Ciudades de Apartado (Colombia) / Vukovar (Croatia) / Tuzla (Bosnia) / Boujdour (Sahara) / Forum 2000 Foundation (Czech Republic) / People in Need (Czech Republic) / Artfactories BUDGET

€1,300,000

San Sebastian was completely razed to the ground by fire on 31 August 1813. The fire broke out following an assault by English-Portuguese troops intended to free the city of French occupation in the War of Independence. The so-called «allied» troops triggered destruction, pillage and death.

challenge: to fulfil our dream of peace in freedom. For almost the last 200 years, San Sebastian has yearned for just that.

We therefore want to promote the three main Seedbeds of peace in our territory: Gernika, sadly famed for its destruction by bombing during the Spanish

After long years of disagreements amongst ourselves, we need to achieve our main challenge: the dream of peace in freedom In the last two centuries, the population of San Sebastian has experienced the effects of three wars, particularly the prolonged sufferings and sieges of the Carlist Wars. Following a period of renaissance the city walls were demolished in 1863.

The Spanish Civil War broke out in 1936, and this, along with Franco's long dictatorship, resulted in the dead of disappearance hundreds of people, and all manner of violations of their Human Rights for decades. Later, the city of San Sebastian and the whole Basque Country entered a long period of violent acts and terrorism, still continuing today. However, there are now feelings of hope that finally ETA will lay down its weapons.

In this land, coexistence has been and still is under threat.

We have to meet our own main

Here, we will compare good and bad practices in using culture as an instrument for achieving social unity and civil coexistence based on diversity. We will organize a meeting to reflect on cities, understood as places of refuge and integration, as well as the stage where the forces of globalisation and interdependence are pushed forward. It will also be a place to express the antagonism, contradictions and conflicts typical of today’s world. An exchange of experiences seeking to overcome the obstacles preventing men and women from fully exercising their basic rights. It will also serve to condemn violent, intolerant and xenophobic attitudes. The meeting will end with approval of the 2016 Declaration on principles and demands of European cities for coexistence.

Civil War, and home to the Museo de la Paz and to the pacifist group Gernika Gogoratuz; Arantzazu in Onate, site of the Franciscan monastery of the same name and home of the Baketik peace organisation; and the city of San Sebastian which, from its new House of Peace and Human Rights, various pacifist groups and different NGOs, will act as laboratories to produce ideas and programmes regarding coexistence and the end of war and conflict.

These seedbed cities will join forces in 2011. They will come together in a permanent workshop contributing to reflection, debate, academic research and citizen awareness. They will also promote commitment to concepts like peace and human rights, with no exceptions.

Berna Vazqueze

culture to overcome violence — Dss2016eu

26—ACTIVIties

06—

PEACE

between sands Six large haima tents will form a bridge between San Sebastian and its sister city, Boujdour in Western Sahara, where there will be a special edition of its film festival, FiSAHARA FORMAT

Intercultural Festival, Grand Championship of haima tents on the beach, educational programme, concerts, outdoor cinema, forum for discussion, food festival and educational workshops TIMELINE

May 2016 LOCATION

Zurriola beach, San Sebastian SPECIFIC NET WORKS

Fedissah /Africa House / House of the Arab World / FiSAHARA BUDGET

€350,000

07—

San Sebastian is twinned with the African city of Boujdour, on the Western Sahara coast. Part of its population fled to the desert 35 years ago following war with Morocco, sparked by the decolonisation process. Once there, they set up an enormous camp of haima tents beside the town of Tindouf in the Algerian desert, as a recreation of their lost city.

Our friendship, dating back more than 25 years, has shed light on the suffering, shortages and dignity of that people with whom we share goals and the desire for freedom.

The European Capital of Culture 2016 is a unique opportunity to assume Spain’s moral and political debt and increase European awareness of the Sahrawi people, their problems and their needs.

Here we will concentrate on the failure to obey the United Nations Resolutions on self-determination, the constant violation of Human Rights, and international indiffer-

PEACE

holidays with René An international and creative labour camp to promote coexistence and the gathering of young people from all over Europe FORMAT

Human Rights International labour camp, trainbideak TIMELINE

August 2016 LOCATION

Oslo (Norway), Bayonne (France) and Lore Toki, San Sebastian SPECIFIC NET WORKS

The Peace Camp of the Universal Forum of Cultures / World Youth Choir of Unesco BUDGET

€150,000

René Cassin, born in the FrenchBasque city of Bayonne, was principal author of the Universal Declaration of Human Rights. He received a Nobel Peace Prize in 1968.

To commemorate this figure, in summer 2016 we are organising an international work camp. This funfilled, creative event will bring all sorts of people together. The event will foster exchange, work shared and a union between youngsters from all over Europe, as essential agents for constructing a future in peace.

This month-long work camp is organised in collaboration with the Lycée René Cassin in Bayonne.

During the first two weeks of the camp, our train will travel across Europe, uniting the two branches of the Lyceé, one in Oslo and the other in Bayonne. We will collaborate at each stop with local youth organisations. The other two weeks will be dedicated to collective work based on the experiences and materials gathered during the voyage. This takes place in San Sebastian, at the former military terrain of Lore Toki.

Mikel Casal

ence to the fact that the Sahrawi people are condemned to die in the desert. This is the intention of Between Sands, a festive, educational, intercultural, colourful, emotional programme strongly featuring the sand that plays such an important part in the lives of both cities, whether in the desert or on the beach. A cultural bridge spanning the Atlantic to connect the lighthouses of Boujdour and San Sebastian.

The main activity will take place in springtime with the installation on the Zurriola Beach (San Sebastian) of a camp comprising six large haima tents.

These tents will house activities explaining life and coexistence in the desert settlements, their cultural development (music,

08—

dance, literature, gastronomy), the problems and challenges of the Western Sahara, and of the African continent as a whole. The Human Rights Film Festival and the Sahara Film Festival (FiSAHARA) will also join hands to present a film cycle on colonialism, with open-air screenings taking place at the same time in the desert.

In collaboration with European NGOs responsible for carrying out projects in Africa, we will organise a discussion forum entitled Afrikandugu on relations between the two continents. Here the subjects will be: colonialism and its effects; the dreams and risks of immigration; processes of economic development and democratisation, and fulfilment of the Millennium Goals in Africa.

PEACE

Lore Toki, European campus on cooperation An open 37 hectare space that will become a meeting place for NGOs and other solidarity organisations

DV

prominent activit y FORMAT

European Campus. International cooperation, NGOs and social activism TIMELINE

July 2016 LOCATION

Lore Toki, San Sebastian BUDGET

€500,000

Lore Toki will be a place of homage to the culture of cooperation and solidarity; particularly people, entities and NGOs in the European continent dedicated to generous, humanitarian kinds of work. In summer 2016, the 37 hectares of Lore Toki will become a European campus for meetings, reflection and debate around the Millennium Goals and the impact of cooperation in the various countries of the South.

Thus, a formerly military-run estate, will become a place for exchanging knowledge and social activism set around the rehabilitation of local groups of artists and the young unemployed.

The recently inaugurated Lore Toki Campus has eight buildings and former stables adapted as hostels, and a marquee for largesized meetings. It will host the G-20 summit on solidarity, made up of the leading entities in cooperation projects, such as UNESCO. An International Observatory on Cooperation will also be created, in the shape of an open assembly.

Dss2016eu— culture

09—

to overcome violence

ACTIVIties—27

PEACE

peace treaty A great exhibition about violence and peace through the history of art. This activity will also consist of seminars, production workshops and film cycles, as a contribution to Culture to overcome violence

Nasser Nouri

prominent activit y FORMAT

Large exhibition, art history, specific productions, violence TIMELINE

February-May 2016 SPECIFIC NET WORKS

Bulegoa/BNV LOCATION

Tabakalera, San Telmo Museum, Guggenheim Museum of Bilbao, Artium Museum of VitoriaGasteiz, Peace Museum of Gernika and other museums in the territory BUDGET

€1,300,000

The programme we propose is based on an important exhibition addressing the definition of violence seen from the memory of art history to the latest expressions of contemporary art. Peace Treaty will run in the biggest art centres in the territory. This ambitious activity will encompass different forms and formats demonstrating a large, deep and varied expression of artistic resources.

The main feature of this project will be a great exhibition conceived as an approximation to the graphic and visual history of peace. It will be an iconographic and symbolic route towards peace that bears an implicit representation of certain forms of violence. Only by understanding the violence concealed behind peace will we be able to overcome direct violence and save ourselves from its excess.

The exhibition theme will be set around two major historical events of the European history: firstly, the creation in Europe of classic international law in the 16th century and secondly the Peace

network of participating entities Given the size of the programme we have designed, we will invite active participation from museums, art centres, schools, archives, organizations or associations housing works or documents that have developed works related to some of the semantic fields and issues featured in this exhibition.

The two main sources of works will be: the Museo del Prado: for its important collections of works by Goya (The Disasters of War) and Velázquez (The Surrender of Breda), and also because of its connection to one of our fields of work, economy and war plunder. The other is the Museo Nacional Centro de Arte Reina Sofía.

Chosen because it houses an emblematic work, Guernica, and because of the contextual work carried out by the new Museum executive. Chosen also, for the rearrangement of its collection, particularly highlighting Guernica and the Spanish Pavilion at the World Fair in Paris in 1937, representing avant-garde as an exercise

of resistance to fascism in Europe. In addition to these two are other important cultural institutions like: Army Museum, Toledo/Armory Museum of Alava/Civil War Archive, Salamanca/ Imperial War Museum, Tel Aviv/Müller Museum, Arnhem/Deutsches Historisches Museum, Berlin/Musées Royaux des Beaux Arts, Brussels/Hessisches Landesmuseum, Darmstadt/Imperial War Museum, London/Tate Modern, London/Tretyakov State Gallery, Moscow/Mayakovsky Museum, Moscow/Musée National d’Art Moderne, Centre Georges Pompidou, Paris.

The exhibition will run in different parts of the DSS2016EU territory, such as Tabakalera, San Telmo Museum, Sala Kutxa and Koldo Mitxelena, San Sebastian/Artium, Vitoria/ the Museum of Fine Arts and the Guggenheim Museum, Bilbao/the Peace Museum, Gernika/the Basque Museum in Bayonne/Museo Oteiza, Alzuza (Navarre).

of the Pyrenees, signed in 1659. It will also take as its basis a painting, Pieter Brueghel’s The Magpie on the Gallows, 1568. We believe that these are excellent examples for understanding our proposed itinerary through violence and peace.

In the 16th century, Europe created a legal system, called classic international law. These first treaties were largely drawn up by Francisco de Vitoria, a teacher considered by many to be the father of people's law.

The so-called Peace of the Pyrenees, bringing an end to 25 years of war between Spain and France, was negotiated and signed in the mid-17th century. The document was signed on a very special island, the smallest in the world, split in two by the old French/Spanish border and lying at the very heart of our Eurocity, only 20 km from San Sebastian: Pheasant Island, little more than a sandbank at the mouth of the Bidasoa, the natural border between Spain and France.

Velázquez was commissioned to decorate the kings’ abodes for the signing ceremony.

The Magpie on the Gallows was painted by Pieter Brueghel in 1568. This painting illustrates the Flemish proverb dancing beneath the gallows. The gallows divides the painting in two and could be considered to represent two realities: violence and peace. On the gallows a magpie, the symbol of greed, looks down on the peasants.

Despite all of this, the whole landscape breathes a feeling of peace.

The choice of these events will help us to begin the temporal and conceptual itinerary of the exhibition, which unfolds in nine thematic areas.

An attempt to understand the different kinds of violence and the complex interaction and interdependence between them. Is the learning task we have set ourselves with this programme.

Violence is often identified with acts of crime or terror; disturbances, terrorist attacks, wars, rape and pillaging. But perhaps this is only the visible peak of another, hidden, underlying violence. A violence forming part of life, language and its forms, of desire and our relations with others.

We will try to show that there is an anonymous violence coming from our system, an abstract violence developed in times of peace.

A violence not deriving from difference (cultural, sexual or gender), but from inequality: between races, between those who enjoy and those who are excluded from the right to a legal system, between those who do and those who do not exist, between those who have and those who have not had the privilege of being «cried for».

nine themed areas Territories No subject, organisation or government can exist without there being some kind of control over their limits. Here we will exhibit maps, graphic and metric displays, photographs, maps of desire, resistance and geopolitical situations.

History Humanity has passed through several stages with different structures that have always been solved with violence, war or revolutionary action.

Here we will exhibit: paintings of battles and victory and mutinies.

Militias The dead, unknown and wounded soldier represents not only the beliefs of those for whom he fought, but also of the enemy. Here we will exhibit: canvases, drawings, propaganda and recruitment campaigns.

Population Although the civilian population has the status of "non-combatants", its members are always the victims of these conflicts and their settlement.

Here we will exhibit: films, documentaries, photographs and artwork.

Weapons Here we will exhibit: armour, nuclear disasters and disarmament campaigns.

Treaties Peace treaties are normally imposed upon the defeated party. We will exhibit the most important of their kind, alongside other versions: capitulations, agreements, charters, diplomatic documents, writings and other kinds of notes. We will also display rules of games treatises chess and duelling code.

Economy Merciless persecution to achieve wealth and benefit lies at the origin of all conflict and many wars. We will exhibit war plunder, images of looting, application of the technology of war to the domestic and everyday fields.

The Dead Not all lives or all deaths have the same worth. Injustice associated with this difference takes several forms and shapes. Here we will exhibit aspects related to death: cemeteries, mausoleums, relics, and also mass graves.

Emblems When we witness a violent scene or a war, we mustn’t forget the banners, symbols, signs and flags that justify and underpin acts of violence.

In this last field we will exhibit: various symbols of war and symbols of peace.

specific productions In addition to the history-documentary exhibition, we will commission 27 specific productions, 3 for each of the nine fields of work. These will be commissioned from the same number of creators, researchers, writers, artists, social movements, activists, PEOPLE or movements dedicated to features on violence and peace.

Our intention with these specific productions is not to offer clear-cut solutions, but to experiment. In certain cases they will function as artwork conceived specially for the programme.

Other productions will be work platforms with the focus on creating meeting points between philosophical, political, visual and academic practices capable of generating critical discourse on violence.

culture to overcome violence — Dss2016eu

28—ACTIVIties

10—

PEACE

culture in the clouds, rain of poetry A fleet of balloons, aircraft and nonmotorised gliders fly over the skies of Europe, watering its cities with poems FORMAT

Poem bombing TIMELINE

19 and 20 January 2016 LOCATION

European cities SPECIFIC NET WORKS

EUNIC / Cultura Action Europe BUDGET

€250,000

11—

A small plane will take to the sky. Leaving from any airport in the world and from all of them. A plane bearing messages related to overcoming violence; to achieving peace, understanding, love, hope, pardon and reconciliation. Hot-air balloons, gliders, paragliders and kites will fill the skies of Europe with poetry.

Messages written at schools on pieces of coloured paper, fragments of books and magazine cut-outs, with pleasant words and suggestive images of the landscapes inhabited by all of us, common spaces, bright smiles, confetti balls and mini-kites bearing poems of peace.

Poland will be showered with different kinds of messages and poems of peace, kites and colour, massively and invasively. They will occupy the air space and the smiles of people who share a close understanding with us, no matter how far away they may be.

The plane, loaded in the town of Gernika, will set out for Poland...

Mikel Casal

just like the plane that made the opposite journey so many years ago; although on that occasion it certainly brought neither poems nor smiles.

More than half a century after totalitarianism showed undprecedented seen power with the destruction of large parts of the European continent, we are embarked on an integration process that has united European countries based on values such as Human Rights, respect for human diversity and coexistence between different peoples and nations.

But that belongs to the past, to a history that has drawn us closer to places that are suffering conflict; a process based on understanding thanks to which we can now bring

messages of hope and conciliation.

A rain of poems to overcome violence coinciding with the Tambo­ rrada (20 January 2016) will mark the start of the cultural programme by our European embassies: the boat, the train and the circus.

This will announce to all Europe that the dss2016eu project is on the move, heading beyond our borders to other places, invading them with Culture to overcome violence.

Our fleet loaded with messages for peace will shower European cities throughout 2016 thanks to the collaboration of the Network of Intercultural Cities and the Intenational Association of Educating Cities (Paris, London, Madrid, Berlin, Belfast, Lisbon, Vienna...).

PEACE

film with human rights The Human Rights Film Festival of San Sebastian, which will complete its fifteenth anniversary in 2016, will open its doors to activities proposed by the Human Rights Film Network FORMAT

Film festival, audiovisual production, Melina Mercouri prize, international youth and educators TIMELINE

April 2016 LOCATION

House of Peace and Human Rights, Main Theatre, Tabakalera, Victoria Eugenia Theatre, Kursaal Convention Centre SPECIFIC NET WORKS

FERA (Federation of European Film Directors) / Jana International Film Festival for Youth & Children BUDGET

€1,500,000

San Sebastian is intimately linked both to cinema and to Human Rights. One of the main commitments in our programme will be the gradual increase and diversification of parallel activities in the programme accompanying the Human Rights Film Festival. The event celebrates its 15th anniversary in April 2016. A space for understanding, offering a critical and plural view of the widespread violations of Human Rights in many parts of the world and the enormous challenges that people face in the planet.

For the 2016 edition, to mark the celebration of ECoC 2016, all cities belonging to the International Human Rights Film Festival Network are being invited to propose an activity for the Festival. They are also being asked to send a delegation of youths and educators to actively participate in the programme, in

After The Rape, Catherine Ulmer

order to help strengthen relations and foster exchange within the network.

Our core commitment is to dedicate the Melina Mercouri Award to one of our most ambitious projects: co-production, in the framework of the MEDIA Programme, of a film related to the tags and key concepts of our cultural programme, Culture to overcome violence.

These films co-directed by European directors, forming a tandem between new and established filmmakers, will be released as central events on the Human Rights Film Festival programme. They are intended to form an international reference for our European heritage.

Human Rights Film Network Germany / Perspective Nuremberg Film Festival, Nurneberg — Austria / This Human World / Viena — Bolivia / El Séptimo Ojo es Tuyo, Sucre — Bosnia Herzegovina / Pravo Ljudski, Sarajevo — Burkina Faso / Cine Droit Libre, Ouagadougou — USA / Vermont Human Rights Film Festival, Burlington — USA /UK / Human rigths Watch Festival, New York - London — Ethiopia / Addis International Film Festival on Just and Sustainable Development, Addis Abeba — France / Alliance Cine Festival du Cinema de droits de l´Homme, París — Holland / Movies that Matter, La Haya — Italy / Human Rihts Nights, Bologna — Czech Republic / One World, Praga — Western Sahara / Fisahara — Serbia / Free Zone Belgrade Film Festival, Belgrado — South Africa-India / Tri Continental Film Festival, Johannesburgh - Cape Town - Durban Pretoria - Delhi - Mumbai — Switzerland / Festival International Films Droits Humains, Ginebra — Ukraine / DocuDays Human rights Documentary Film Festival, Kiev

Dss2016eu— culture

12—

to overcome violence

ACTIVIties—29

PEACE

from Assisi to Arantzazu, through Loiola.

Inter-religious dialogues Inter-religious gatherings in the two holiest places in Gipuzkoa to conceive an ecumenical prayer against fanaticism

14—

PEACE

kites for the unity and diversity of Europe A massive event featuring flying machines in order to celebrate Europeanism on the beaches of San Sebastian FORMAT

Kite Festival, massive event. DIY FORMAT

Intercultural peace and ethics, Interreligious gathering, liberation theology TIMELINE

October 2016 LOCATION

Sanctuary of Loyola (Azpeitia), and Monastery of Arantzazu (Oñati), Gipuzkoa SPECIFIC NET WORKS

World Council of Churches/UNESCO/Alliance of Civilisations/Culture of Peace Foundation/ Parliament of Religions/Universal Ethics Foundation/Pax Romana BUDGET

€300,000

13—

Inter-religious and intercultural dialogue has taken important steps forward since the Assisi meetings and the Chicago Declaration, and on through the Parliament of Religions, before formulating the concept of world ethics. However, the challenge of finding a universal code that could ease the achievement of a minimum understanding between different religions has not yet produced the desired results.

For good or ill, religious communities in the Basque Country have played a central part in our history. Worldwide, Ignatius of Loiola, founder of the Society of Jesus, is possibly the best known Basque person. There is no doubt that, beyond fundamental orthodoxies, religious communities have generated important forums of ecumenical and inter-religious discussion. Liberation theology, many advocates of which were Jesuits, and the Muslim reformists, and also including initiatives of other religions, have tried to find common ground and points on which they can agree.

PEACE

no places, no time

TIMELINE

September 2016 LOCATION

All beaches on our coastline SPECIFIC NET WORKS

Local parachute and paraglide association / International Kite Festival / The Draghen Foundation / AIREZ BUDGET

€200,000

San Sebastian’s three beaches: Zurriola, the Concha and Ondarreta, are public spaces par excellence for coexistence and social interaction as well as three of the most popular public spaces in the city for the local population. In May 2016 the three of them will become the setting for an impressive airborne show, a display of solidarity and hope in the future of the European Union with the International Festival of Kites for Unity and Diversity in Europe. A hugely popular event, featuring thousands of kites, paragliders, wind gardens and all sorts of flying contraptions will bring a weekend full of joy, poetry and colour to the beaches and skies of San Sebastian. Music by bands and orchestras from local and European music Schools and Conservatories will accompany their flight in harmonious fashion.

There will be three levels of participation. We will call on all kite festivals in Europe and on other continents, inviting them to send people to participate in this unusual event. We will organise an international competition inviting students to design all kinds of flying objects representing the values of European diversity. Lastly, we will launch a set of creative workshops at local schools, at installations and on the beach, so that all citizens can design and fly their own kites.

Assessing the symbolic creation of interned or excluded people to promote greater social awareness of their situation FORMAT

Workshops, archive, exhibition, Irritated Art TIMELINE

2012-2016 Creation process archive 2012-2015 Exhibiton October 2016 LOCATION

Detention centres in the area and the House of Peace and Human Rights, San Sebastian SPECIFIC NET WORKS

Prison Art Education Network / Sensibili Alle Foglie Cooperative / AGUIFES BUDGET

€950,000

In developed countries, internment and segregation have regained an important presence on the political agendas of several governments.

Prisons are continually reinvented, centres for minors, for foreigners, and psychiatric centres are considered as the only alternative for managing groups classed as abnormal or dangerous.

This programme highlights creation and invention in new, symbolic worlds by people suffering some kind of confinement. The aim is to achieve social and cultural appreciation for the expressive languages produced by people who are locked away in institutions, sometimes in extreme conditions of social exclusion and abandonment.

We wish to raise social awareness of the mechanisms of exclusion, but also of the creative resources that help us to examine them.

The programme is launched with an extensive exhibition of the more than 600 works listed in the Archive of irritated writings, descriptions and art started over 20 years ago by the Sensibili alle foglie cooperative.

Mikel Casal

culture to overcome violence — Dss2016eu

30—ACTIVITIES

15—

LIFE

ibilika A popular march meant to go slowly and draw attention to people who cannot move quickly through life

Mikel Casal

prominent activit y FORMAT

lighthouse of life tags

healthy and solidary living

gastronomy

feminist ethics

inclusion vs. exclusion

Massive march TIMELINE

June 2016 LOCATION

The entire territory SPECIFIC NET WORKS

European Trans-regional Network for Social Inclusion / Korrika / Herri Urrats / AEK / Club Fortuna / Gentle Actions (Noruega) slow life

citizen empowerment

communit y conciliation

DESCRIPTION AND OBJEcTIVES

Activities on the lighthouse of life fall within our Culture to overcome violence programme and its contribution to the challenges and transformations arising in the European welfare state. The population is ageing in the Basque Country, in Spain and in Europe. We therefore propose an intergenerational approach highlighting solidarity from infancy to old age.

We are committed to a sociocultural model that understands quality of life as a network of community solidarity and as a civic space for coexistence between different people. This model is also an opportunity to activate policies with a stronger focus on gender equality and joint responsibility in everyday life. Gastronomy is one of our major cultural values and a deeply rooted popular tradition.

The supreme metaphor for the «cuisine of life», it is also a driving force in the economy. It contains a combination of popular knowledge, social experience, business initiatives and innovation projects we wish to share with Europe. Here, the top features are healthy cooking consistent with sustainable development. Our city also has a strong sporting tradition that can be seen from the numerous popular events and citizen organisations we also wish to stress.

BUDGET

€250,000

16—

LIFE

with the same currency?

An experience that allows people to try alternative forms and formats of financing that allow experimentation with different economic relations: micro-loans, time banks, dss2016eu currency...

FORMAT

International gathering, fair trade, stocks, monetary alternatives, micro-finance platform TIMELINE

2012-2020 Operating as a platform, 2012 International Gathering, February 2016 LOCATION

NET WORKS AND LOCAL AGENTS

Aspace / Atzegi /Banco del Tiempo DSS / Deshazkundea / Donosti Cup / EGHAM / Emaus Fundación Social / Gautena / Gaze / Gehitu / Camelamos Adiquerar / Elkartu / GASG / Kirolgi / Gizonduz / Gureak / Intercambia / Intermón Oxfam / Medeak / Mugabe / MIK / Once / RSC Gipuzkoa / Arroces del mundo / Biolur / EHNE / Ekolapiko / ACASGI / Euskal-label / Basque Culinary Center / San Senbastián Gastronomika / Slow food Gipuzkoa / Pintxos&Blogs / Grupo IXO / Villa Yeyete.

NET WORKS AND INTERNATIONAL AGENTS

Ashoka / CGLU (United Cities and Local Governments) / City of Women /CSR Europe / Du Côté des Filles / Euro PRO-Ferm / European Feminist Forum / European Social Forum / Eurored del Deporte / EVAH (Espace de Vie pour Adultes Handicapés) / Gender Art Maps: Constant (Association for Art and Media-Bruselas) / Inclusion Europe / International Association of Educating Cities / International Museum of women /R&D Research and Degrowth / SIX / Time Banking UK / WHO Age-Friendly Environments Programme / Biodiversity International / Euro-Toques / European Network of Regional Culinary Heritage / Banlieues d'Europe / Oresdun Food / IPC (International Plannig Committee) / Slow Food Intenational / Via Campesina / 1000cal 1 $ / ENCC (European Network of Cultural Centres).

Ibilika is a popular walk in favour of «citizenry» as an inclusive, supportive society where caring for people comes naturally. This walk takes its inspiration from the Korrika, a popular relay race held every two years since 1980. This race to support the Basque language makes its way round the Basque Country, and all sorts of festivities are organised as it passes through the towns and villages.

Ibilika will be a slow race because the elderly, people pushing babies in prams, the disabled, or people with reduced mobility, will mark the rhythm of the event.

This walk will take place over a one-month period, every two years, starting in 2012 and ending with its third edition in 2016. The commissions responsible for organising the relay teams and stages come from villages and districts. During the walk itself, a number of entertaining cultural activities will be organised around healthy, good, supportive life, looking at the reproductive economy, feminist ethics and inclusive diversity.

The entire territory Kursaal Convention Centre SPECIFIC NET WORKS

Economist of the Commons / Dyndy / Open Money / Time Banks / Goteo / Flattr BUDGET

€750,000

Within the framework of our commitment to a fairer, more responsible economy, we want to explore and highlight alternative funding forms and formats such as crowdfunding, microloans and community currencies.

Among others and as a pilot experience, we will create an alternative currency which will join our general tender and circulate throughout 2016. This will permit the inhabitants of Gipuzkoa and visitors to participate in a different economic system and also generate other ways of establishing relations and living side by side.

A coin can be obtained in exchange for time and personal skills lent to the community; economic transactions will be developed in relation to volunteering and sponsoring competence. All this in order to experience the difference between the value conferred to the usefulness of things and the currency value of things.

We will also organise an international meeting entitled Can we live without money?, a place for reflection based on specific examples of potentially less currency-oriented models of financing using systems other than money.

Dss2016eu— culture

17—

to overcome violence

ACTIVITIES—31

LIFE

cooperarock 8/8/8 A transdisciplinary cooperative artistic platform that will develop a show as a rock opera with all kinds of scenic and musical expressions that will be premiered in the new Tabakalera prominent activit y FORMAT

Multidisciplinary artistic process, artist cooperative, opera rock TIMELINE

March 2016 (Easter) LOCATION

Tabakalera, San Sebastian SPECIFIC NET WORKS

MCC / Ars Industrialis / Audiolab / MúsicaExMacchina / Buenavista / Escuela de Música of San Sebastian / Pearle (Performing Arts Employers Associations League Europe), Musikene BUDGET

€350,000

Modern Times, Charles Chaplin

Cooperarock is an invented word combining «cooperative» and «rock opera», two terms a priori with little in common. The former refers to the social cooperative movement, an economic movement with deep roots and long tradition in the Basque Country, specially around the town of ArrasateMondragon, near the border with the neighbouring province of Alava.

From the 19 th Century, this economic model proposed a formula whereby work is managed according to the general principles of solidarity, mutual help, democracy, personal effort and equality. The latter term refers to the desire running through the world of rock music in the 70s to offer a complete stage performance, thus breaking away from genres and conventions. Rock music, a phenomenon enjoying an enormous fan base, therefore tried to enter the sphere of high culture.

The 70s also saw the birth of a whole series of deep-rooted changes in ways of organising work and a rise in the outsourcing of the economy, specially in agriculture and industry. At the same time the new economic environment pushed the economy towards the service industry.

«8 hours of work, 8 hours of leisure, 8 hours of sleep». That was the slogan launched by the workers’ movement in the late 19 th century as it called for a shorter working week, regulated hours and more free time for workers, in order to liberate the proletariat. Today, this slogan ironically symbolises total control over our existence leaving no place whatsoever for our desired emancipation. We now live in a time where the different areas of life overlap one another. The social fabric functions non-stop, 24 hours a day. Thus, work, dreams and comfort (real, imaginary, symbolic),

Quadrophenia, Franc Roddam

Metropolis, Fritz Lang

are all productive in a process of a changing paradigm leading to a society dominated by «intangible work».

Ways of making and thinking of art now occupy a privileged instrumental place in this model of the knowledge society. Art is a sort of field operation or laboratory on new ways of doing things and understanding and rethinking production, training, emancipation and the creation of subjectivities. Artistic practice based on a rock opera format will therefore reflect on different issues. These will include the unsustainability of things as they currently stand; the systemic economic crisis; the deregulation and precariousness of employment; the progressive loss of social achievements; the energy crisis and the ecological imbalance making it increasingly urgent and necessary to reconsider these notions.

As a specific case study, we suggest the first cooperative system; one of the specific examples in the Basque Country with the «Mondragon Experience». This internationally important example launched by Father José María Arizmendiarrieta in 1956 and studied at the most prestigious universities worldwide, takes its ideological origins from the Christian work ethic.

The Mondragón Group describes itself as an all-encompassing social model embracing all of the links in the production chain (for example, training, manufacture, services). It also offers its workers the chance of belonging to a protected environment. This is a successful model which, like so many others, is undergoing a profound process of redefinition.

Here, cooperative values are adapting to a globalised economy and its production systems, while psychological outlines are adjusting to a post-Fordian economy increasingly based on intangible factors.

To compose this Cooperarock, we will form a cooperative, cross-disciplinary artistic platform to create a comprehensive performance involving all kinds of expressions: radio sitcom, essay, film, sound piece, choreographic performance, concert, theatre, video-screening, polypoetry, painting, puppets.

Students and teachers from the Higher School of Music, Musikene, and other European schools, as well as young multimedia artists from European art and film schools will join actors, dancers and creators to create a creative laboratory.

The result will be premiered in 2016 at Tabakalera, a building with its own evolution as a place of tangible (tobacco factory) into intangible production (social factory dedicated to culture).

Through artistic practice we will try to reflect on the progressive loss of social achievements and ecological imbalance

18—

LIFE

open societies

DV

Our traditional gastronomic societies will open their doors and their thousands of secrets to all sectors of local society and all visitors FORMAT

Discussion areas, gatherings and gastronomic forums, intercultural coexistence gatherings TIMELINE

1 day a month throughout 2016 LOCATION

Gastronomic Societies of San Sebastián, Euskal Etxeak network around the World SPECIFIC NET WORKS

Gastronomic Societies / Pintxos&Blogs / Basque Culinary Center / Euskal Etxeak Network BUDGET

€88,000

Gastronomic Societies are a typical feature of Basque gastronomy.

They are the highest expression of cuisine as a social activity serving to safeguard traditions. These societies, occupying a space midway between the public and the private spheres, bring people of different origins and social classes together round a table.

Taking advantage of the process of updating and extending them to new members currently underway at these societies, we want them to become places of reflection and interaction, open to citizens, to Erasmus students, to immigrant workers and to whoever else may visit us over the year.

In addition to eating, different discussions will be held on a variety of contemporary issues related to our program Culture to overcome violence. These gastronomic and cultural meetings will take place simultaneously in Euskal Etxeak (Basque Culture Centre Network) across the world.

culture to overcome violence — Dss2016eu

32—ACTIVITIES

19—

LIFE

feministaldia A whole set of feminist practices and activities that will attempt to draw attention to issues related to the presence of women in public life and reconciling work and family life through art FORMAT

Expanded programme, gatherings, festivals, exhibitions, workshops, performed activities, gender TIMELINE

December 2016 LOCATION

Women’s House of San Sebastian, public spaces in the territory SPECIFIC NET WORKS:

Women’s House of San Sebastian / Medeak / La Strada International Network / Gender Art Map / WikiStories / Futuramak / City of Women / Euro PRO-Fem / European feminist forum / International Museum of Woman / IFA (International Federation of Actors) BUDGET

€200,000

20—

Feministaldia is a long-standing sociocultural feminist programme which, backed by dss2016eu, takes a qualitative step forward to reach a less-specialised audience but which is possibly in greater need of familiarity with feminist theories. It will look at creative practices on accessible urban environments, sexual freedom, non-sexist communication, the presence of women in public life, joint responsibility in domestic tasks and care, and reconciliation between family, working and personal life.

In 2016, Feministaldia will run throughout the whole year.

Activities of all kinds ending with Futuramak, an international meeting between futuristic mothers and fathers who, given the ageing process in Europe, will propose the adventure of rejuvenating, exciting, educational and happy maternity. A promise for the future.

Feministaldia

In order to strengthen local and international networks, we will work to develop and pool programmes that combine experiences. These will include Wiki-stories, a platform-archive of stories and tales related to contemporary art in the Basque Country told first-hand by artists and mediators. Besides this platform we will offer Gender Art Maps, an interactive proposal on artistic practices, programmes and organisations exploring the interrelationship between gender, sexuality, race and ethnicity in contemporary Europe, funded by the European Cultural Foundation.

Feministaldia

LIFE

enjoy your meal!

Increase the public's knowledge of the primary sector in our region: farmhouses, gardens and local markets, in order to rethink our eating habits forced by the dynamics of modern life FORMAT

Educational programme, Slow Food, gastronomic tours, We Are What We Eat TIMELINE

2012-2016 Beginning of the educational programme 2012 Four seasonal packages. January, April, July, Oct 2016 LOCATION

The entire territory SPECIFIC NET WORKS

Basque Culinary Center / Tolosa City Council / Ordizia City Council / Ikastolen Elkartea / Ekolapiko / Kutxa Foundation /Rural development agencies BUDGET

€650,000

A formal and informal education programme looking at the idea that «we are what we eat». This means taking a closer, more conscious and responsible look at our food and addressing a change in eating habits. Here we must remember that the Basque Country is home to some of the best in the field who could make a daring, courageous and unusual proposal in this respect.

The idea is to increase knowledge of the primary sector in our region: farmhouses, vegetable gardens, local markets. To rediscover our typical products and learn about those from other places which are becoming increasingly more available in our shops. We will learn to recognise the products corresponding to the different seasons, how to combine them for a balanced, healthy diet and how to cook them in order to get the most from their nutritional qualities.

However, we will also study smells, flavours, textures...

Visits to farmhouses, different

Mikel Casal

kinds of markets, restaurants. This activity will recover traditional recipes and reinvent them with new products. It will also involve learning about gastronomy in the countries of origin of other pupils in the class. Alternative breakfasts and snacks. Workshops on survival cookery. Tastings. Drawing up calendars of seasonal fruits and making an analysis of food labels.

Organisation of consumer groups in different schools.

The educational programme

will be complemented in 2016 with an international congress on Gastronomy/nutrition and the sovereignty of food. This will include an enormous European food market offering a spectacular number of stalls and variety of products. This event will particularly highlight Polish and Slavic gastronomy and will include other festive activities, such as: Mother Earth, a yearly event celebrating International Slow Food Day; and Santo Tomás Fair, a huge celebration of farmhouse culture.

Dss2016eu— culture

21—

to overcome violence

ACTIVITIES—33

LIFE

commitment to sport Emphasising the importance of physical activity from a perspective more closely related to friendship, leisure and health.

Promoting sports activities that favour inclusion and cohesion among citizens prominent activit y FORMAT

Popular mass sports, mural of theme marathon TIMELINE

2016 Children’s Beach Football Championship, May 2016 Special Edition of Donosti Cup (football championship between teams of kids from five continents), July 2016 Special Edition of the popular Behobia/San Sebastian race, November 2016

LOCATION

Football pitches of San Sebastian. Route between Behobia, France, and San Sebastian BUDGET

€250,000

22—

One important feature of Gipuzkoa is the large number of people who regularly get together to play non-competitive sports. These practices are specially performed collectively placing greater emphasis on leisure, friendship and health: running, trekking, cycling, surfing, skating, playing football... Numerous enormously popular sporting events take place throughout the year in our territory, organised by a huge number of clubs and entities with massive participation by both men and women. people of different origins, ages, cultures and ideas who come together, without exclusion, to participate in sporting events underpinning social values such as inclusion and unity among citizens.

Throughout 2016 we will do our best to get people from other countries to sign in three of these

LIFE

DV

events. We place particular stress on greater participation by clubs and sportspeople from different European cities, and particularly from Poland. In spring, the European Adapted Sport Meeting will take place in the municipal adapted sports installations opened in 2011 alongside the Concha Beach.

In summer, the Donosti Cup will make an open call continuing its tradition to bring together tens of football teams composed of young boys and girls from the five continents. This event encourages integrity and sportsmanship in these young participants who live side-by-side for ten days. And, in autumn, the Behobia-San Sebas-

23—

tian race possibly the most popular and traditional event in the area will take place, with more than 25,000 participants attracted by its long tradition and its great popularity, its starts out on the border, as it does every year.

Cross-cutting this and other sporting activities, we will launch the Slogan Marathon where all participants in sporting events will decorate the numbers on their backs with a slogan or image of Europe related to coexistence set around diversity. The participants choose a slogan of their own. Over the year, these slogans or images will serve to form a collective mural.

LIFE

take care! looking after

the European banquet

Street micro-activities that draw attention to places and experiences related to people that take care of others, assessing the collective effort made by those dedicated to looking after of others

Project which merges art and gastronomy and tries to disseminate innovative experiences through roaming activities

FORMAT

Workshops and performances, creative action, urban interventions, visibilisation of care TIMELINE

Workshops 2012-2016 Urban interventions, January 2016 LOCATION

Local centres and urban spaces in the territory BUDGET

€200,000

Iñigo Ibañez

Our cities are places generally dedicated to flow and production. They are not designed to facilitate caring for ourselves and others. This is a reality we must try to change, by demanding and fostering a more receptive and accessible public space.

We therefore propose a series of micro-actions in the street. Activities for locating and indicating the places in our environments, already existing or taken over by the «citizenry», which lend themselves to providing care. We make these places visible with creative actions to make us aware of the need for their existence.

This activity not only will focus on care of others, it will also concentrate on self-care. Very frequently those in charge of taking care of other people are the ones who most suffer from a lack of attention. Women who care for and attend to their children and grandparents, immigrants who care for our sick, grandparents who care for their grandchildren...

FORMAT

International food exhibition, archive, creative activities TIMELINE

October 2016 LOCATION

San Telmo Museum, Basque Culinary Center SPECIFIC NET WORKS

Food Cultura Museum / Tolosa City Council / Ordizia City Council/ Ikastolen Elkartea / Ekolapiko / Kutxa Foundation / Rural development agencies / The Glutton Club BUDGET

€200,000

An artistic project about food and its many symbolic, social and cultural connotations, beyond the mere act of physical gratification.

The flavours and languages used in the art of cooking, the source of different goods, their production methods and distribution, folk character and identity, its connection with feelings like desire and power, its role as a laboratory or rituals bound to socialising around meals so popular in our territory, but also as a social, festive and ceremonial activity.

The project is structured as an exhibition-laboratory-kitchen based on the experiences of different artists that have worked with food in the past and may become a part of our gastrocultural living memory.

This exhibition is conceived as an open format and roaming activity that will generate a local satellite kitchen where art and gastronomy will be fused together in a new creative gastronomic experience.

One of these exhibition kitchens will be established permanently in the new University Basque Culinary Center to be inaugurated in 2011 in San Sebastian.

culture to overcome violence — Dss2016eu

34—ACTIVITIES

24—

26—

LIFE

LIFE

talented answers

GPZK(in)accesible

Portrait of people and their experiences that have inspired mankind through their awesome achievements and that serve as a mirror and ethical benchmark for communities worldwide

Multimedia map of places in the territory that pose an obstacle to the handicapped in their everyday lives

prominent activit y FORMAT

Sociological research, International gathering, Roaming exhibition, web archive TIMELINE

2012-2016 research April 2016 LOCATION

San Telmo Museum SPECIFIC NET WORKS

Transition Cities / Clubture Network / London School of Economics / Polytechnic of Milan / UPV/EHU University of the Basque Country BUDGET

€250,000

A project designed to identify people, group and citizen movements which have internationally contributed to bringing about changes big or small, but always important, to the history of their own communities Once we have identified these relevant cases, we will try to generate a web-based archive, a roaming exhibition and a meeting with all the representatives of these movements in order to improve our knowledge of their experiences.

Throughout 2016 we will invite them to come to San Sebastian in order to let them talk about their experiences in schools and cultural centres.

FORMAT

Exhibition, workshops, web archive TIMELINE

October-November 2016 LOCATION

Tabakalera and nearby regional centres SPECIFIC NET WORKS

Blast Theory / Zexe.net / UbiQa BUDGET

€175,000

27—

This activity revolves around the use of mobile phones and geolocation devices. Apart from promoting the transmedia empowerment of people with disability as victims of the digital gap, it also serves as a tool for reporting and reflecting upon the difficulties of living in a city experienced by certain groups.

The aim is to create an open multimedia map of places in the territory constituting an obstacle to going about their everyday lives for people with disabilities or reduced mobility. An exhibition on the process will be organised in 2016. This exhibition also indicates the steps taken in the territory over that time as regards improving inaccessible areas.

LIFE

everything at €1 Research project on healthy nutrition and food sovereignty to be carried out in our culinary laboratories FORMAT

Research, culinary laboratories, congress on food sovereignty, recipe contest TIMELINE

Congress November 2016 Recipe contest July 2016 LOCATION

Kursaal Convention Centre, Ficoba, urban spaces in the city François Jégou / Ezio Manzini, Collaborative Services

25—

Basque Culinary Center / Grupo IXO / Tecnalia / San Sebastián Gastronómica / Asociación Loiolatarra LIFE

kebab pil pil-style Great festival of international gastronomy designed to celebrate the blend of culinary flavours and customs found on the new European sociological map drawn up by social phenomena such as immigration FORMAT

Gastronomic contest, great festival, fusion cuisine, reconstructing traditional recipes TIMELINE

August 2016 LOCATION

Boulevard, bars in the city’s old town, main squares of San Sebastian region SPECIFIC NET WORKS

Basque Culinary Center / Innkeepers Association of Gipuzkoa / Regional City Councils BUDGET

€150,000

SPECIFIC NET WORKS

BUDGET

€300,000

A research project to be carried out with some of the many different people who nowadays are developing culinary laboratory processes in Gipuzkoa. This gastronomic research programme would be oriented towards producing a piece of food that meets all of a person's daily nutritional needs at an affordable price.

Presentation of the work involved in the research will take place in 2016 as the Congress on gastronomy, nutrition and the sovereignty of food is being held. There will also be a competition at which to invent simple-energetic-healthy recipes meeting the said characteristics, such as garlic soup or scorpion-fish pie.

Gastronomy competitions form part of our most festive culinary traditions. We will organise a competition abandoning the idea of «There’s no food like ours», to widen our horizons, recreate traditional recipes and reinvent «international cuisine», by taking a popular festive bold approach.

Participants will learn how to combine food and cultures, share recipes and show creative daring by mixing and merging aromas and flavours from all over the world with our own. A really festive where, as well as cooking, eating, dancing and singing, participants will also be able to mix and meet new people.

Mikel Casal

Dss2016eu— culture

to overcome violence

ACTIVITIES—35

28—

VOICES

rompeolas olatu talka festibal Amateur cultural festival based on people’s energy and sharing their creative ability with one another prominent activit y FORMAT

Grand Festival, citizen participation, multi-format, DIY, DIT TIMELINE

lighthouse of voices tags

languages

transmedia

cultural diversit y

translation

Basque

May May May May May

2012 2013 2014 2015 2016

SPECIFIC NET WORKS

Various public spaces in the territory BUDGET

€1,800,000

artistic languages

archive

DECRIPTION AND OBJETIVES

The activities in the lighthouse of voices correspond to our Culture to overcome violence programme. This is because our linguistic and cultural plurality unfolds in a framework of complex identities represented by an extensive wealth of artistic languages holding enormous interest for constructing the Europe of diversity. Based on the leading position of Basque among minority languages worldwide, we will ask ourselves several questions, dream and play with words, make up and tell stories and sing. And all this in a city where oral tradition (Bertsolarismo or improvised verse), schools, conservatories and music festivals feature strongly in the cultural system.

Based on this potential, this initiative will serve either to create new songs and stories or to reinterpret those that already exist. It will transmit new values, invent new myths and seek new morals for the 21st Century, and it will do so not from one, but from all artistic practices.

This programme is intended to reach all kinds of publics. It will involve people coming here from other parts of Europe and the world to get to know us better or to share their future with us.

Our Rompeolas/Olatu Talka Festival held its first edition in April 2010. It has consolidated itself, and clearly aims to carry on

A cultural festival in springtime, centring on the creative capacity of our citizens, principally amateurs and emerging artists. Here, DIY (Do-it-yourself) and DIT (Do-it-together) formats will draw on people's individual and collective imagination.

We will let the creativity of our citizens run free to become the star of the show in a broad selection of eclectic, cross-cutting activities.

A rich exhibition of talent arising from a giant crossbreeding, mixture and amalgamation of different creativities where almost anything goes as they pound over the breakwater to flood the city with free and diverse attitudes.

The first edition of Rompeolas/ Olatu Talka Festibal was held in April 2010. The goal in 2016 is to interconnect with other DIY cultural festivals across Europe and organise a major event in April on free citizen culture, with works and activities produced jointly between groups from different places.

This first edition of this popular festival was held in 2010 when just a year had passed since the beginning of our quest to be nominated European Capital of Culture in 2016. In May this year, a few days before the visit by some members of the Selection Committee the second edition of the festival is being held. This activity was created to accompany our bid and the aim is clearly to continue this in the next few years, no matter if the city is finally selected or not.

NET WORKS AND LOCAL AGENTS

AEK / Bagera / Basque Center on Cognition Brain and Language / UNESCO Chair on World Language Heritage at UPV / EIZIE / Elhuyar / Euskaltzaindia / Consejo Asesor del Euskera / Basque Writers' Association / ESCIVI / Euskal Eskola Publikoak / Eusko Ikaskuntza / HABE / Ikastolen Elkartea / Kontseilua / UZEI / Basque Writers´ Association / Bertsozale Elkartea / Buenavista Prollekzions / Easo Choir / EHME (Asociación de Escuelas de Música del País Vasco) / Eresbil / ERTZ / Basque Choir Federation / Euskal Herriko Kontalariak / Gaztemaniak / Literaktum / Orfeón Donostiarra / Aprendices / EITB / Eskola 2.0 / KZGunea / Red de Centros Culturales / ESLE / Gipuzkoa Encounter / IK4 / Research Alliance / Ikerbasque / Innobasque / Tecnalia. / Musikene

NET WORKS AND INTERNATIONAL AGENTS

Basque Clubs Network / Mercator (European Research Centre on Multilingualism and Language Learning) / Network to Promote Linguistic Diversity / AEPO (Association of European Performers Organisations) / Cape Clear Island International Festival – Cork / Culture Action Network / EFNYO (European Federation of National Youth Orchestra) / EMU (European Music School Union) / Europa Cantat / European Association for Music in Schools / European Writers’ Council / Festival at the Edge-Shropshire / Festival International du Conte en Uzege-Uzès / Festival of Narrating Arts GrazNierderösterreich / International Federation for Choral Music / International Storytelling Festival-Kozani / International storytelling network / Maratón de los cuentos de Guadalajara / Scottish International Storytelling Festival / The European Association of Conservatories / (un)common Sounds Network / World Shakespeare Festival (London 2012) / World Storytelling Day / EBLIDA. Dani Blanco

culture to overcome violence — Dss2016eu

36—ACTIVITIES

29—

VOICES

heri hotza, endangered language Writers who use minority languages in their literature will speak with creators in other fields of expression to produce demonstrations of various disciplines FORMAT

Gathering of writers and minority languages, Grand Festival, parade TIMELINE

May-july 2016 LOCATION

San Telmo Museum specific net works

Conseil Européen des Associations de Traducteurs Littéraires BUDGET

€250,000

30—

Minority languages are in constant danger of extinction. Given the threat of disappearance, among the many alternatives available for highlighting their value is one which could be classified as either heroic or suicidal. Here we refer to assuming the disappearance of a language as the possibility of its reincarnation.

Taking this hypothesis as our basis, we will unite a number of writers from different languages who regularly use these minority languages in their work. These writers will in turn meet creative people in other areas of expression to join forces on narrative experiences around the subject of disappearance. This is a symbolic exercise to create a new language reborn from its predecessors like a new species, a new mythological animal.

The project will lead to the visual and literary definition of a new myth around that new beast with its several heads, arms, languages and legs, a being who will grow with dialogue and will go beyond its own extinction.

In 2016 this new mythological animal will come to San Sebastian as part of a theatre performance which will take to the streets of the city. We will also dedicate an exhibition to this new animal species, accompanied by a printed and digital publication.

From a more academic point of view, we will organise an International conference on minority languages at the Mintzola Foundation, where international experts will get together to discuss positive alternatives for reviving minority languages endangered by factors such as globalisation.

Mintzola oral workshop Centre for Documentation on the Basque Language and its Oral Tradition promoted by the Mintzola Foundation, will open its doors in 2020.

It will house the biggest documentary archive on the orality of a minority language. Prior to opening, research will take place in several stages: → 2010-2014. Analysis, diagnosis

and strategy, the collection of material, work with local agents and definition of future activities.

→ 2014-2016. The research and

collection of material will extend to include Spain and France, with particular emphasis on the crossborder area.

→ 2016-2020. extension of the

initiative to Europe and the rest of the world. The Heri Hotza project corresponds to the last of these stages.

VOICES

a story for every day International storytellers' meeting that will bring together transmitters of oral tradition from around the world in order to interpret classic old stories, and to invent and disseminate new oral narratives FORMAT

international storytellers' meeting, virtual narrative area, intervention in public space, Book-crossing, speakers corner TIMELINE

2016 international gathering, june 2016 LOCATION

Public spaces in San Sebastian, Ekogune, Network of Cultural Centres, Tabakalera SPECIFIC NET WORKS

Acción Exterior Gobierno Vasco / Gremio libreros de Gipuzkoa / Bularretik Mintzora / Escuelas Oficiales de Idiomas / El club de los cuentistas de la Aula de Cultura de Algorta / Zabalegi Ipupomamua / EWC (European Writers Congress) / Guadalajara Storytellers´ Marathon BUDGET

€400,000

Stories are traditional ways of transmitting culture and values; tales and stories told all over the world and personal stories tend to be similar to one another, yet different.

A story for every day is an International Storytellers’ Meeting within the framework of the Literaktum Festival. Here, over a whole week, a long list of different storytellers, professional short-story writers and various people will come together to read traditional tales in new and creative ways or invent new versions reflecting the problems, joys and specific particularities of our time.

Throughout the year, we will also encourage the active participation of as many citizens as possible by introducing everyday life activities related to the art of storytelling and the transmission of culture such as reading, writing and listening. These initiatives will include: To be continued... a project based on the continuity format of regular TV series. The idea is to intervene in the public space and to stage short sketches on dss2016eu topics in the street, leaving them unfinished for people to invent their own ending; Tell the Eco. Listen to the Concha, an outdoor

Mikel Casal

project with the emphasis on sending and receiving messages, informal communication between citizens so that they can make their voices heard; Narratzaileen txokoa, where elderly people can convey their long experience in the art of living; The storytellers’ club for the cheeky and those who tell us lies in entertaining farces; and My digital me, a virtual space where anyone can —anonymously— tell their other «me» things about their «real» lives.

In just a few words, we will create different spaces and mechanisms for the exercise of free expression and communication between different kinds of people, such as group readings, reading out of context, short-story competitions, their publication, speakers’ corners.

literaktum Literaktum is a festival of letters and languages. It is designed to combine major names from the conventional literary field (Henning Mankell, Anne Perry, Manuel Vicent…) with more daring aspects linking literature to other artistic forms (the rapper El Chojin, the cartoon artist Mauro Entrialgo, or the audiovisual poet Stephen Watts).

Here we want to encourage the active participation of citizens (primarily seeking new readers) and to introduce reading to everyday life.

In 2016 the Festival will focus on Polish literature. One of its core activities will be to organise bookcrossing between the winning Polish city and San Sebastian. Over 10,000 books in Kashubian, Basque, Spanish, Polish and English, containing messages and landscapes marked by their previous owners will therefore be available for exchange.

Dss2016eu— culture

31—

to overcome violence

ACTIVITIES—37

VOICES

le adventures of Alicia in miresgarri world Lewis Carrol's classic made into a multimedia pastiche in different languages that results in a new work performed through writing, video, theatre and other artistic practices prominent activit y FORMATO

Grand exhibition, creative laboratory, fragmented megaproduction, remix of languages, international conference on translation TIMELINE

2013-2016 exhibition, May-Sep 2016 conference , September 2016 LOCATION

Arteleku-Tabakalera, the Network of Culture Centres and Kursaal Convention Centre SPECIFIC NET WORKS

Arteleku / Bilbao Arte / Action Network / Azala / Mugatxoan BUDGET

€550,000

32—

Based on Lewis Carroll’s novel, The Adventures of Alice in Wonderland, about an imaginary world which is in fact our reality, and about how to influence this reality with our imagination, we will launch a collective process of translationinterpretation using different languages and forms of expression.

The book will be split into fragments and distributed to local and international individuals and groups (artists, creators, anthropologists, philosophers, schools, universities, schools of design, creative laboratories, theatre groups, film schools, cultural associations, illustrators, videocreators, anonymous people who collect the fragments uploaded to the website...).

The fragments will be brought back together again, but in a completely different order, to create Le Adventures of Alicia in Miresgarri

An attempt to bring new multi-platform formats to audiovisual education centres within the framework of the Film Festival FORMAT

Grand audiovisual project chain, international call, European youth production in social networks, laboratory for new audiovisual processes, fragmented authorship TIMELINE

September 2016 LOCATION

Tabakalera, San Sebastian SPECIFIC NET WORKS

San Sebastian International Film Festival / Tabakalera / NISI MASA / EIKEN / Media Programme / Audiovisual Innovation Hub (PIA) / Opensource Cinema / Open Video Alliance / Embed / International Network of Film Schools

€500,000

Mikel Casal

side activit y

more than words To accompany the exhibition, in 2016 we will organise an International Conference on Translation entitled More than words, at which we will analyse the part played by translators as cultural mediators in different social areas. The presentations will be executed in the same format as TED Conferences and they will feature perspectives and concrete cases in order to open discussions. The aim is to assess the new professional challenges that translators have to assume in their working life.

VOICES

international film students meeting

BUDGET

World, a multimedia pastiche, a discontinuous story of different tales told in several languages (Basque, Spanish, French, English, Polish, Luxembourgish, Kashubian, Galician, Breton, Arab, Frisian, Esperanto, Chinese, Catalan, Argot, and many more). It will also use a whole variety of expressive forms (poetry, sms, braille, graffiti, video, graphic design, twitter, performance, puppetry, essay, painting...).

The result will be compiled as an expanded book. A cross-cutting exhibition drawing us into Alice’s world and offering us off and online access to the complete file so that we can add and/or mix up those that already exist. An exhibition will run in San Sebastian before setting out to travel as an unfinished project open to new translations and interpretations as it goes.

The International Film Students Meeting has been underway since 2009.

Running for 3 days at the San Sebastian International Film Festival, the meeting offers a busy schedule of different activities to film students and young professionals through out the world.

The main activity of the Meeting is the transmedia Training Forum. The aim of this forum is to promote the introduction of crossplatform and transmedia formats in to syllabuses at advanced audiovisual education centres, most of which continue to focus on more conventional formats of capturing images. This situation fails to meet the needs of the latest generation of students who have already naturally adopted these new means and models of creation and interaction (television, social networks, mobile phones, video games...) in their everyday lives. It also highlights the need for all kinds of professionals in the audiovisual sector to be trained to

deal with these new situations, new processes and new methodologies.

Among the many other activities organised at the event, we name three as specific examples: An international short film contest which, in its last year, received 147 shorts from 59 schools in 24 countries, a selection of which are screened for the Festival audiences, with the Panavision Award going to the winning short. Within this contest, three directors are chosen to present their works in the Short Film Corner at the next Cannes Festival. A programme for Specific training for a new generation of up-and-coming producers and distributors on today’s strategies as regards selecting screenplays, funding, production, distribution and marketing. All with a view to creating a future network of European partners. A residence programme in different stages running throughout the year, at the end of which short films are made with different Basque production companies for their screening on international circuits.

In 2016 the Meeting will focus on relations with film schools in Poland and other Central and Eastern European countries. It will also concentrate on producing short films related to coexistence and the dss2016eu themed lighthouses. This endeavour will actively participate in other activities in the programme, such as Eurovisions, the European Train of Values and the Human Rights Film Festival.

Gorka Estrada

International network of audiovisual and cinema schools Aalto University, Finland — Andrzej Wajda Master School of Film Directing, Poland — Academy of Dramatic Art Zagreb, Croatia — Beijing Film Academy, China — Beit Berl Academic College of Arts, Israel — Columbia University School of the Arts, USA — Centro Universitario de Estudios Cinematográficos CUEC-UNAM, Mexico — ECAM, Spain — École Supérieure des Arts Visuels de Marrakech, Morocco — ECU-Escuela de Cine del Uruguay, Uruguay — EICTV, Cuba — Escuela De Cine Black María, Colombia — Fachhoschschule Mainz, Germany — HFF-Muchen Hochscule für Ferinsehen und Film, Alemania — Hochschule Luzern Lucerne University of Applied Sciences and Arts, Switzerland — La Femis-École Nationale Superieure des Metiers de L’image et du Son, France — La Metro, Argentina — Master Media, Spain — National Film and TV School, UK — Pontificia Universidad Católica, Chile — Pwsftitv - National Filmschool Lodz, Poland — Tel Aviv University, Israel — The Puttnam School of Film, Singapore — The Sam Spiegel Film and TV School, Israel — Tisch School of the Arts NY, USA — Ucla Extension, USA — Universitat Autónoma de Barcelona Máster en Documental Creativo, Spain — Universidad Nacional de La Plata, Argentina.

culture to overcome violence — Dss2016eu

38—ACTIVITIES

33—

35—

VOICES

VOICES

re-play/re-mix

bertsojazzaldia

A project of reinvention of songs that manage to move people, from Beethoven’s Ode to Joy to Mori Kanté’s Yeke Yeke.

A gathering of jazz musicians and bertsolaris to create joint repertoires based on the themes featured in our lighthouses

FORMAT

International project, musical adaptation, European peace anthems, creative commons, digital archive TIMELINE

August 2016 LOCATION

Network of Cultural Parks in the territory SPECIFIC NET WORKS

Musikene (Higher School of Music of the Basque Country) / Creative Commons Europe / EMC (European Music Council) BUDGET

€250,000

Iñigo Ibañez

34—

A project to adapt, modify and invent new odes to joy, songs of peace and other musical formulas that have been related to the notion of coexistence. Here new anthems will be created based on official versions of Beethoven’s Ode to Joy, John Lennon’s Imagine, Carol King’s You’ve Got a Friend, Yossou N´Dour and Neneh Cherry´s, Seven seconds, Mori Kanté´s, Yeke Yeke and Michael Jackson/Lionel Richie’s We Are the World. Once free of copyright protection, we will make new, remixed versions of this new set of anthems, opening the way to varied interpretations, mixed meanings and adaptations reflecting the different socio-political realities of Europe's growing diversity.

We will work on the basis of the music composed for our ECoC 2016 by teachers and students at the Higher School of Music of the Basque Country, Musikene. This project will work with a long list of conservatories, music schools, orchestras, choirs and groups from all walks of music to generate new songs for their upload to a website, where they will be available to every body under a Creative Commons licence. In 2016, the results will be published in a book-CD on the history of the anthem, containing a wide selection of versions. We will also organise a festival with a difference, featuring the authors and performers of the different versions.

VOICES

put it in the toilet An invitation for people to express themselves with micro-stories and poems on bathroom doors in bars, which then will be displayed at the Literaktum Festival FORMAT

Alternative literary constructions, spontaneous micro-stories, poems, bathroom doors TIMELINE

May 2016 LOCATION

Bars and premises in the city SPECIFIC NET WORKS

Asociación de Hosteleros de Gipuzkoa / Literaktum / Network of Cultural Centres in the territory BUDGET

€125,000

A play on words in the Basque language. This phrase can either mean «to put something in the toilet» or «to pool something» with others.

The privacy of a toilet and the moment of intimacy and reflection it offers combined with the opportunity to express ourselves on public toilet walls and doors creates the perfect setting for giving vent to and exchanging opinions or casual thoughts.

During the Literaktum Festival, in different bars throughout the city, people will be invited to express themselves, make demands, to leave their comments, to write mini-stories and poems on toilet doors. These will later be collected to form an exhibition in the cultural centres in San Sebastian and the rest of the territory of our bid to host the European Capital of Culture in 2016.

FORMAT

Music fusion festival, jazz, oral improvisation, Basque TIMELINE

July 2016 LOCATION

Anoeta Velodrome and various outdoor locations and Culture Parks SPECIFIC NET WORKS

Jazz Festival of San Sebastián / Bertsolari Elkartea BUDGET

€150,000

Alberto Elosegi

36—

Bertsolarismo, or Basque improvised verse, as an oral transmission tool of incalculable value, will constantly merge other artistic genres to increase its power of transmission and convey its legacy to future generations.

This improvisation of words leads us, almost automatically, to the musical improvisation genre par excellence. Of course we mean jazz, a style of music dearly loved not only in the city of San Sebastian with its International Jazz Festival, named locally Jazzaldia, but throughout the whole Basque Country and its numerous prestigious jazz festivals.

Bertsojazzaldia will feature on the programme of the International Jazz Festival of San Sebastian in 2016, where famous professionals from the worlds of jazz music and Basque improvised verse will come together to create new repertoires on the dss2016eu themed lighthouses.

A specific programme concentrating on orality, improvisation and music education will also be created for children. To promote international networking, work groups of schoolchildren in the Basque Country and youngsters from music schools in Poland will be set up, culminating in summer camps in San Sebastian in late July, and ending with an open air concert featuring the results of the previously completed shared work process.

VOICES

fathers and daughters are in the pub, mothers and sons in the square Reinterpretation of traditional songs to create new popular tunes that will be sung in a large street karaoke festival FORMAT

Reinterpretation of traditional music, free downloads for technological gadgets, spontaneous citizen karaoke TIMELINE

11 October 2016 (day of the Txikitero) LOCATION

Bars and public squares in the territory SPECIFIC NET WORKS

Innkeepers Association of Euskadi / Gastronomic societies / EAEA (European Association for Adult Education) / Donostia Kantuz BUDGET

€75,000

Singing helps us to relate with one another in public and private spaces. We sing in bars as txikiteros (drinking groups), in the shower, to send a baby to sleep, to celebrate. These songs represent the stereotypes of those who sing them. That's why the objective of this project is to de-construct these stereotypes. We will reinterpret and lend new meaning to traditional songs, creating other new ones suited to the values advocated by dss2016eu. We want to create a new book of popular songs that we can sing together throughout 2016, in bars, restaurants and squares, and at a great popular street karaoke event. The songs produced will be available for download by anybody on technological gadgets, copyright-free.

Dss2016eu— culture

37—

to overcome violence

ACTIVITIES—39

VOICES

beautiful losers An approach to urban cultures in order to free spaces and aesthetically rehabilitate rundown urban areas that will lead to a festival of concerts, showrooms, workshops for customising bikes, skateboards…

FORMAT

Grand international exhibition, urban culture, parallel activities, underground expressions, grafitti, hip-hop, skate, parkour, surf, street style TIMELINE

Oct-Dec 2016 LOCATION

Ficoba, Tabakalera, San Telmo Museum SPECIFIC NET WORKS

Parafernalia / Wall Management Office of Madrid / Orbea / Quicksilver / Surfilm Festibal / Cluster of Sliding Technology / Bienal de Arte de Rua (Brazil) / Murals Arts Program (USA) / Fame Festival (Italy) / Visual Street Performance (Portugal) / Nuart Festival (Norway) / NEMO (Network of European Museum Organizations) BUDGET

€350,000

38—

Urban culture swings between rebellious underground, outsider and activist expressions with little care for established rules and regulations, and its assimilation by the market and highly institutionalised forms of representation.

Graffiti, hip hop, or post-modern sports like skating and parkour are perfect examples of the dichotomy between the situationist approach of experiencing a city through its transformation and the capitalist consumer tack. Both kinds ‘live’ the city, but in completely different ways.

This project on urban cultures analyses with a historic perspective the last 40 years of urban cultures and their artistic expressions. The results of the research work will be compiled into an archive highlighting its short-lived cultural heritage to be displayed in an exhibition

VOICES

Mikel Casal

organised in 2016. The exhibition will take to the street on the walls, buildings and run-down corners of the city, on standby as they wait their turn for an aesthetic improvement.

From 2012 onwards we will constitute a laboratory on critical intervention in public spaces. The visible expression of this laboratory will be a festival on urban culture and lifestyles running over 3 days

39—

with all sorts of fun-filled events inviting participation by citizens.

Selected urban spaces and reused architectures will set the stage for a myriad of concerts, catwalks and street style showrooms. We will also see coolhunting meetings, bike and board tuning workshops; skate, surf, parkour and breakdance championships; exhibitions, short film screenings, artistic interventions, walls prepared for graffiti...

VOICES

a midsummer night's dream

on-off

Unique representations of William Shakespeare’s play in the context of the city's cultural parks

The contrast of a temporary silence in the media and a collective cry at The Wind Comb, in flashmob style

prominent activit y FORMAT

Grand theatrical representation, contemporary multidisciplinary reinterpretation, William Shakespeare TIMELINE

August 2016 LOCATION

Cultural Parks and coastline beaches SPECIFIC NET WORKS

Basque Actors' Union / Theater companies of the territory / ETC (European Theater Convention) / UTE (Union of the Theaters of Europe) BUDGET

€600,000

Iñigo Ibañez

A beautiful theatrical dream performed on alternative stages as people stroll round Cristina Enea Park at night in the fire and moonlight. Walking through the trees and their shadows, music and light, they will discover dancing elves and fairies on the bends in the path. They will be accompanied by actors giving a magical performance of A Midsummer Night’s Dream before crossing the bridge over the river returning them to «reality». The romantic comedy by William Shakespeare will celebrate the 400 th anniversary of his death in 2016.

This non-conventional adaptation of Shakespeare’s play will be co-produced and performed by different theatre, dance and music companies, schools and workshops from all over Europe. It will overcome the traditional isolation between groups by uniting professionals and amateurs, public and private spaces. Set around a festive, intimate and mysterious tone, this event will focus on publics other than the big theatre-going audiences to make this a highly unusual experience. Fabulous European nights of creative acting in tribute to Shakespeare with simultaneous performances in cultural parks throughout the territory.

FORMAT

Experimental project, noise and disturbance, silence, citizen mobilization, digital sound collage TIMELINE

2015-2016 LOCATION

Public spaces in San Sebastian BUDGET

€175,000

Dani Blanco

Noise as a disturbance, as a sign of progress or as a sign of life and energy. ON-OFF, two sides of the same coin on which dss2016eu wishes to reflect by creating two actions. hust (empty), a project endeavouring to break through the fear of silence reigning in our society.

This will simply involve a moment of silence in (all) the mass media. A minute with no picture, no sound, a white page, an empty moment for no particular reason. Simply a space for reflection. A downtime.

A vacant space at a time when it seems that everything should be full. This action can be repeated with no specific regularity until and throughout 2016.

DSS Shouts!!! A project on citizen participation and mobilisation demonstrating the extent of the energy accompanying our bid.

We will raise our voices with the abstract goal of making ourselves heard in all European cities as a call to come and visit. A deafening physical scream, a shouting flashmob assembled at The Wind Comb sculpture, renamed The Comb of Shouts for the occasion. We will also create a digital, seemingly neverending collage of shouts using webcam recordings by people in any part of the world who wish to add their energy to dss2016eu.

culture to overcome violence — Dss2016eu

40—ACTIVITIES

40—

VOICES

liet international 2016 A festival of song in a variety of minority languages, broadcast on local television ETB, that will also schedule Polish music groups that sing in Kashubian and local groups that sing in Basque

42—

VOICES

alzo giant A puppet opera about popular Basque tradition and coexistence, starring the mythical giant of Alzo prominent activit y

FORMAT

Alternative Eurovision festival, minority languages TIMELINE

November 2016 LOCATION

Tabakalera, San Sebastian SPECIFIC NET WORKS

Liet International (Holland) BUDGET

€350,000

41—

The Liet International Festival runs each year with a similar but alternative format to the Eurovision Song Contest. The event features groups and solo singers who sing and play in minority languages, celebrating difference and the wealth of diversity founded on respect and coexistence.

The first event took place in Friesland (the Netherlands) in 2002.

The venue in 2010 was Brittany, with 11 participating groups. This Festival will come to our city for a weekend in November 2016. Poland will open the event in Kashubian and San Sebastian will bring it to a close in Basque. It will be broadcasted by ETB (Basque public television) and will be available online on the dss2016eu website.

During the week prior to the gala, parks and public spaces throughout San Sebastian will serve as stages for the groups participating in the Festival. Not only we will enjoy their complete repertoire, but all of the songs and their words translated into different languages will be available for download to mobile phones.

FORMAT

Puppet opera choir, International Puppet Festival TIMELINE

July 2016 LOCATION

Victoria Eugenia Theater and Kursaal Convention Centre (San Sebastian), TOPIC Museum (Tolosa) and Arriaga Theater (Bilbao) SPECIFIC NET WORKS

TOPIC / UNIMA Spain / UNIMA Internacional BUDGET

€300,000

A puppet opera telling the story of the mythical Alzo Giant, born in the 19 th century in the Ipintza Farmhouse in the village of the same name, 30 km from San Sebastian. At 2.42 metres, the Alzo Giant was considered to be the tallest man in Europe. A story lying somewhere between truth and fiction in the history and tradition of Basque culture, but also a tale of how different kinds of people coexist. This production will be created jointly by people from the worlds of choral music, puppetry, theatre and musical composition.

This opera will enjoy its premiere at the International Puppet Festival, attended by puppeteers the world over. The Festival is organised every four years by the International Union of Puppets (UNIMA International) and will take place for the first time in Tolosa, Spain, in 2016.

VOICES

the singing street Activity that recycles local choral tradition in order to explore new forms of protest or social analysis FORMAT

Performing choirs, social mobilization TEMPORALIDAD

August 2016 LOCATION

Public spaces in the city SPECIFIC NET WORKS

European Federation of Choirs / Basque Choir Federation / Tolosa Choral Contest / World Youth Choir / General Assembly of the State Choir Confederation / National Youth Concert of Spain / International Study for Young Conductors / International Forum for Young Coral Managers BUDGET

€125,000

Europa cantat DSS2016EU will emphasise its commitment to choral culture by participating in the Europa Cantat Week with a view to fostering dialogue, and musical creation among the different cultures of the world with workshops, themed concerts or master classes.

In the Basque Country we have a deep-rooted tradition of choir singing which we must not only nurture, but spread to include new audiences. We will take choir singing out of its usual context into the places where people go about their everyday lives. We hope that the experience of using and enjoying public space for singing will help to create new songs and forms of singing.

The people who frequent markets, health centres, company reception areas, technology parks, university dining rooms, bridges, beaches and parks will be serenaded by all sorts of singing groups and choirs... A complaints choir in front of the City Hall will sing out the demands of those people living in different districts; a vegetable choir will sing recipes alongside the fruit and vegetable stalls in the Bretxa market. On the Zurriola bridge, a choir will sing to the fisherman as they wait for their catch to bite, while on the Paseo Nuevo Promenade another choir will perform a sea storm. In the Technology Park, the choir will tune their voices into ones and zeros...

Mikel Casal

TOPIC

International Puppet Centre, Tolosa

TOPIC is the International Puppet Centre of Tolosa, a unique, attractive and interesting project that focuses on imagination, innovation and originality, being the only comprehensive centre for puppet arts in Europe.

As a comprehensive vocational centre, TOPIC also wants to become a meeting point for puppeteers from around the world. A place to learn, display, research, produce and share experiences, information and work in a cutting edge, comfortable, functional space with highlevel equipment.

Topic

Dss2016eu— culture

43—

to overcome violence

ACTIVITIES—41

VOICES side activit y

word waves

European day of languages

A quick learning programme for learning words and basic phrases from other languages taking advantage of downtime in daily life, at bus stops, playgrounds, the market…

FORMAT

Multilingual quick learning, technological devices, professional language fair, European Day of Languages TIMELINE

final quarter in 2015-2016 LOCATION

Public transportation, urban furniture, public spaces in the city SPECIFIC NET WORKS

Tecnalia / Lurraldebus / Euskotren / EBLUL (European Bureau for Lesser Used Languages) BUDGET

€450,000

44—

Basque society has always been known for its nobility and hospitality. However, although we are friendly people, we don’t always seem that way at first impression.

It may be a question of character, but also because most of us only speak local languages, Basque and Spanish.

San Sebastian therefore wants to show Europe that it’s ready and willing to team up with visitors from all over the world in 2016.

It also wants to learn about the cultures of those who decide to stay — however briefly — or even live here and show them ours.

From our neighbouring France to any country in the European community, and also from further field; we are ready to make a good first impression and help to ensure that

the experience of their visit will be truly unforgettable.

To achieve this, we will launch a quick-learning language programme making the most of the downtime in our everyday lives.

Rather than obtaining in-depth knowledge of the different languages, the goal of this activity is to grasp a basic idea of words and expressions: hello, welcome, foodrelated words, brief indications, colloquial expressions... in different languages. The experience will operate in places where people have to wait for some reason or other: taxi ranks, bus stops, city benches, play-parks, markets... taking advantage of existing mechanisms and technologies (electronic bus trackers, ATMs, touch screens, mobile phones).

45—

VOICES

Coinciding with the European Day of Languages on 26 September, the entire dss2016eu territory will be filled with waves of words in different languages. These waves will inundate shop windows, balconies on houses, building-site fences and awnings.... A demonstration of citizen energy which will take words out for a walk in a friendly welcome by the city to linguistic diversity.

side activit y

expolingua dss2016eu In December 2016, parallel to the Durango´s Basque Book and Music Fair (the biggest commercial get-together and celebration of Basque culture and cultural products), we organise Expolingua dss2016eu in Irun. A professional language fair covering every aspect of the market, with particular focus on the content produced and/or distributed through NICT's: platforms for disseminating and marketing content, digital devices, media libraries, producers of multimedia educational material, language teaching platforms, producers of learning and translation software.

VOICES

mobileTerritory

eurovisions

Digital literacy programmes for newcomers and artistic production programmes on the Internet for digital natives

A «broken telephone» audiovisual that weaves a story about the feelings of youth and their views on Europe

FORMAT

Gramática TRANSmedia, digital education on values, roaming workshops, collective production network, audiovisual production for mobile phones, on-line news TIMELINE

2012-2016 film debut in Sep 2016 LOCATION

Arteleku-Tabakalera and Kursaal Convention Centre SPECIFIC NET WORKS

Amasté / San Sebastian International Film Festival / Tabakalera / Centro Cultural Larrotxene /Andoain cinema and video school BUDGET

€600,000

Dani Blanco

The immediate future will be populated by digital natives who spend most of their time online. That’s why it’s important to progress in the conscious, creative and constructive use of digital media by youngsters.

This is the target of our project on transmedia grammar and education in values for adolescents, based on learning through practical experience and active participation. A multi-format event on understanding the (new) media as a channel and platform for expression and communication. We will teach youngsters how to develop the ability to criticise (themselves) and to value respect for others, for different cultures, equality and the eradication of all violence. We want them to realise the importance of team work, of creativity, imagination, sharing and exchanging, of social involvement and responsibility, and of individual and collective identity.

For 2016 we will launch two specific projects: Europa2016, produced as a network by youngsters from all over Europe. This will take the shape of a science-fiction movie made with mobile phones on the future of Europe, to be released at the San Sebastian Film Festival. And an online newscast across Europe presenting news specifically designed for young people, with articles produced by them, encouraging exchanges and knowledge between members of the European Union.

FORMAT

European Road Movie, open call, production remix, fragmented authorship TIMELINE

Presentation, December 2016 LOCATION

All Europe BUDGET

€355,000

Dinamittak

A play on words between the famous film about the Cold War, our relations in 2016 with a Polish city and the children's game of «broken telephone», also known as «Chinese whispers», where a message is whispered into the ear of the person next to you in a circle. The message is passed on, changing as it goes, drawing further and further away from its original meaning the more participants there are in the chain.

Taking the game as our basis, we will launch an audiovisual project in chain format addressing youths and what they think about the construction of Europe. We will create a network of 50 people from the European audiovisual world who will be responsible for releasing local weekly calls through social networks and shared interest groups, using a common online platform for the entire project. The message will leave San Sebastian in the first week of January and arrive in the Polish ECoC 2016 in late November. Each hub will use its own network to choose the message it wants to send to the next recipient on the chain from among those produced in the previous week.

A final call for participation will be issued in December. For this call, a selection of 50 fragments from among all those produced will be remixed to make a collective road movie by different authors forming an immense mosaic of thoughts on Europe.

culture to overcome violence — Dss2016eu

42—ACTIVITIES

46—

LAND/SEA

the pearls of the Concha A great choreography of synchronised swimming prepared and performed

by San Sebastian's beach regulars FORMAT

Water Musical, Visual Choreographic Archive, digital fragmented representation TIMELINE

August 2016 LOCATION

La Concha bay

lighthouse of land&sea tags

territory

governance

sustainable mobilit y

town planning

SPECIFIC NET WORKS

Waterpolo Donostia / Lonja de Pescadores / Club Fortuna / RCTSS / Atlético SS / Centro de Deporte Adaptado / Gondolin BUDGET

€175,000

landscape

cit y and nature

From swimmer and actress Esther Williams to synchronised swimming champion Gemma Mengual.

A musical in the bay, a synchronised swimming choreography starring people who take a dip every day. This process will start with the definition of the content and choreography in the changing-rooms, all self-produced and amateur, highlighting the things each person knows how to do. For summer 2016, we will organise a performance in the bay, a fiesta paying tribute to the beach and the sea by the people who enjoy it every day of their lives: The Pearls of the Concha.

The choreography tutorials and videos of the final performances will be uploaded to Youtube. All European pearls can send us their performances from other waters for their addition to a visual archive of the choreographies performed by European citizens.

borders

DESCRIPTION AND OJECTIVES

Activities on the lighthouse of land&sea correspond to our Culture to overcome violence programme. San Sebastian stands at the centre of a cross-border region of enormous ecological value for rethinking a new Europe, where borders are not seen as obstacles, but as opportunities to reshape political, social and cultural maps, to overcome the border effects of old Europe and to progress towards a common geography. We want the sea and the mountains, the countryside and the city, rural and urban culture, to rearrange themselves into a kind of third, responsible nature.

We also want to learn about, observe, care for and protect the wealth, biodiversity and potential of the Atlantic Ocean, of our seas and landscapes. At the end of the day, they belong to all Europeans and constitute a natural universal heritage.

DV

47—

LAND/SEA

downtime?

NET WORKS AND LOCAL AGENTS

Agencia de Cooperación Transfronteriza / Consejo Asesor de Movilidad / Consorcio Transfronterizo Bidasoa-Txingudi / Dantza Hirian / Dunbarri Elkartea / Euskal Kultur Erakundea / Asociación de Viandantes A pie / Asociación de Amigos del Camino de Santiago de Gipuzkoa / DBUS-Compañía del Tranvía / Euskotren / Fundación Kaleidos / Kalapie / Lurraldebus / Observatorio de la Bicicleta de San Sebastián / Postgrado en Deporte de Deslizamiento (MU) / Red de Ciudades por la Bicicleta / Renfe / SNCF / Albaola Elkartea / Aranzadi / Azti / Ciclo de Cine Submarino / Club Vasco de Camping / CPIE Littoral Basque / Euskal Herriko Surf Federazioa / IHOBE / Itsas Gela / Mare Urdina / COAVN / Hiria Kolektiboa / M-etxea / Red de Arquitecturas Colectivas / Rulot.

Providing train stations, bus stops and trips on public transportation with cultural experiences and exhibitions FORMAT

Multidisciplinary cultural proposals TIMELINE

2016 LOCATION

Public transportation and stations in the territory NET WORKS AND INTERNATIONAL AGENTS

BUDGET

€225,000

Eures / Euromot / Interreg IVG-Sudoe / Youth in action / Aeneas / Cittaslow International / Civitas Archimides / EPOMM (European Platform on Mobility Management) / International Observatory on Participatory Democracy / METREX (European Metropolitan Regions and Areas) / Open Space Network / PRO-EE / UITP (Unión Internacional del Transporte Público) / VelóCity / AICA (International Association of Art Critics) / Atlantic Arc Cities / ENPAP (European Network for Public Art Producers) / Euromontana / European Cultural Foundation / Federación Europea de Centros de Interpretación del Medio Ambiente / Greenpeace / ICLEI (Local Governments for Sustainability) / ICOM (International Council of Museums) / Les Rencontres / Oceana Europe / Red Natura 2000 / Surf Rider Europe / UPPA (Universidad de Pau et des Pays de l’Adour) / Voluntary Arts Network / ACE (The Architects’ Council of Europe) / EUKN (European Urban Knowledge Network) / Eurocities / European Landscape Architecture Student Association / European Landscape Network / Guerrilla Gardening / NECS (European Network for Cinema and Media Studies) / Tenantspin / Interarts Foundation.

Every day we spend a large part of our time on small trips in public transport. These are times when we normally chat, read books, listen to music, watch films on our mobile phones, play electronic games or do nothing. Apart from encouraging these activities, we will also introduce new elements in the dss2016eu programme by using different ways of public transport or its stations as stages for activities and performances (an exhibition, mini-concert, performance, group reading or perhaps an exquisite corpse), providing specific reading matter and games to play on the way.

We will launch a pilot experience, converting buses and trains into stages and creative laboratories, to coincide with the centenary of the train line locally known as the Topo, running between San Sebastian and the border city of Hendaye since 1913.

Dss2016eu— culture

48—

to overcome violence

ACTIVITIES—43

LAND/SEA

screening reality An annual programme on the intimate connection of architecture and urbanism with art, the image and representation.

In 2016, it will be dedicated to analysing cities as a space for interaction FORMAT

Yearly programme, activities, screenings, workshops on place analysis and their representation TIMELINE

2012-2016 programme September-December 2016 LOCATION

Public spaces in the city, Tabakalera, Cristina Enea Foundation, Green Areas of the city of Vitoria-Gasteiz SPECIFIC NET WORKS

Arteleku-Tabakalera / Cristina Enea Foundation / Basque Film Library BUDGET

€475,000

49—

In a world largely influenced by images broadcast by film, television and internet, spaces and places can only be understood when represented as image.

Screening Reality is a yearly programme running since 2009 with the focus on analysing places and their representation. Different activities, mainly screenings and workshops, look at the history of connections between architecture/ town planning and the world of images. They will also look at how town planners and architects have drawn support from the filmed

image in developing ideas for their work.

Audiovisual screenings helping us to understand places related to peoples' lives. And a way of understanding films through the architectural settings in which they are shot. Alliances and cross inspiration between images and town planning serve to experiment, to interpret time past and present and to imagine the future, with the aim of revealing and consolidating relations between symbolic, political and economic powers.

Several editions of Screening Reality will focus on a variety of events and topics related to dss2016eu. For example: 2012 will be dedicated to sustainable cities, coinciding with Vitoria-Gasteiz as European Green City; the 2013 edition will concentrate on destruction and reconstruction to coincide with the 200-year anniversary of the date on which San Sebastian was razed to the ground by fire; and the edition of 2016, will analyse cities as spaces for coexistence.

Iñigo Ibáñez

50—

LAND/SEA

LAND/SEA

trekking in the Eurocity

soinumapa

Treks on dynamised border paths with micro-activities that promote interaction among people

Record and locate sounds found in forests, cities and coasts in the territory to be displayed on a geolocated map online.

The beginning of the creation of a future great European sound map

prominent activit y FORMAT

Trekking, treasure hunts, interactive routes TIMELINE

March-October, 2016 LOCATION

Atlantic Axis, Basque Eurocity SPECIFIC NET WORKS

Club Vasco de Camping BUDGET

€225,000

A cross-border trek in stages on the Atlantic side of the Basque Eurocity.

A healthy, educational and entertaining way not only to discover the area, its history and secrets, but to get to know people on both sides of the border and create closer ties with them. A set of small trips livened up with a variety of interactive micro-activities along the way: themed lunches, geocatching (GPS) treasure hunts, the creation of interactive travelogs...

A whole world of different possibilities for creation and interaction between people while they walk the ways and paths that have linked since ancient times along both sides of the French-Spanish border. A border that today unites rather than separates people. This activity will reach its peak on occasion of the Fête de la Corniche.

Club Vasco de Camping

FORMAT

Sound archive, acoustic map of landscape, digital platform, audio guides of the territory, workshops and concerts TIMELINE

2016 Platform presentation December 2016 LOCATION

The entire area, Europe SPECIFIC NET WORKS

Tabakalera Audiolab / World Forum of Acoustic Ecology / PLANB Performance Group BUDGET

€250,000

Soinumapa

Sounds, noises, silences, are all part of our everyday landscape.

Although we're used to hearing them as the soundtrack of our lives, we have to learn to listen to them. We will promote and stimulate the phenomenon of sound and active listening in the endeavour to get to know societies through the different sounds they create.

That’s the purpose of Soinumapa, an interactive map of recordings made by citizens in various locations. people from very different walks of life who, as part of specific workshops or by themselves, record and upload a geolocated online sound archive containing the sounds of their neighbourhood, the sea, a factory, a road, a park at night, a hilltop, a traffic jam...

In addition to the website and workshop for mapping specific places or phenomena, this programme will include a monthly radio programme, concerts and other activities helping us to understand the world of sounds that accompanies our everyday lives. In the year of the European Capital of Culture 2016 we will create audio guides introducing people to the dss2016eu territory through its sounds.

A sound map of European capitals will also be made with the intention of creating a sound file of all the European continent in the future.

culture to overcome violence — Dss2016eu

44—ACTIVITIES

51—

LAND/SEA

festimar, oceanic initiatives on the ecological corridor A project to raise social awareness about the effects of human activity on the coast, with workshops, concerts and sculptures.

It will be closed with seven floating whales drawn by traineras to Zurriola beach prominent activit y FORMAT

International event of citizen mobilization, awareness programme, management and integrated strategy, sustainability of coastal beaches, festival of marine diversity, city gathering in Atlantic Europe, White paper book on good practices TIMELINE

March-June, 2016 LOCATION

Coastline and Atlantic arc SPECIFIC NET WORKS

SurfRyder Europe Foundation / Itsas Gela / local NGOs/ Aquariums of the Atlantic arc / Tourisme & Handicap / Coastwatch / Barrera cero / ALGORRI BUDGET

€550,000

52—

The ecological corridor on our Atlantic coast (27,000 hectares covering 120 kilometres between Urdaibai and Bayonne), is home to over a hundred marine habitats and around a thousand marine species, more than a hundred of which are protected.

Oceanic Initiatives is a project led by the SurfRider Europe Foundation on the problems affecting the Atlantic Ocean that washes our coasts. It raises awareness on coastal fragility, on the ecological consequences of our acts, on contamination of the sea waters, the origin of waste found in sea, the disappearance of marine species and other phenomena related to human activity and its negative consequences on marine ecosystems.

A yearly event (San Sebastian was European Capital of Oceanic Initiatives in March 2010 and will repeat the experience in 2016) involving all kinds of associations, universities, companies and institutions on both sides of the FrenchSpanish border, all committed to these ecological messages. Activities include cleaning the coast, boat

Backdrop programme in transeuropa festival that takes the bridge as a metaphor and puts its activities on the Avenida bridge and the Santiago bridge, both in Irún, a border town with France FORMAT

transdisciplinary art, International Programme, interventions on bridges and transit areas TIMELINE

July/october 2016 LOCATION

Bridges and territory’s border area SPECIFIC NET WORKS

Consorcio transfronterizo BidasoaTxingudi / Transeuropa Festival / Irún 2000

€450,000

Iñigo Ibáñez

and how it affects our coasts, our waters and the species living there.

In addition to these and other activities grouped in Festimar, we will invite cities from the Atlantic area of Europe to participate in a meeting. Here, we will compare problems caused by climate change, particularly the rise in sea level and its effect on the beaches and coastline. The results of this work will be put together in a White Paper and taken to the European Parliament. This programme belongs to a strategy on the comprehensive, sustainable management of beaches and includes: cleaning the beaches by hand as part of social insertion programmes; application of the OSPAR nomenclature (quantitative and qualitative waste analysis and management) and accessibility to the sand and water of our beaches for all people.

LAND/SEA

crossing bridges

BUDGET

trips to the waters that cover the continental shelf in order to study the heritage of the sea, its culture and natural wealth, creative workshops using waste material collected from the sea, cultural activities to raise awareness and understanding.

Oceanic Initiatives will end with the 3-day Festimar. San Sebastian is a natural setting shaped by long walks round the bay, the sand of its beaches, the island (with its Lighthouse on human rights), Mounts Urgull and Igeldo, the Miraconcha, Miramar Palace and Wharf viewpoints... These spaces can gather altogether as many as 300,000 people at the same time. They have been used for years by San Sebastian City Council as a natural setting for a variety of enormously popular summer events.

Festimar celebrates diversity and will run for 3 nights in the second fortnight of August 2016 on the natural amphitheatre formed by our beaches at Ondarreta and La Concha.

It will start with the arrival on the Zurriola Beach of seven floating whales, pulled by traditional rowing fishing boats (traineras) and representing the different problems suffered by our coastline. This will be followed by a 48 hours Festival featuring all kinds of world music performances.

Torches, small bonfires, fireworks, sand sculptures and music by well and less well-known groups will take place on the beach stage, on floating stages and in small haima tents. Throughout Festimar, a waste collection zone will be created to form a sculpture in constant evolution helping us to understand in an entertaining and participatory fashion the enormous amount of waste our societies generate everyday

An international programme on art, culture and politics in the framework of the Transeuropa Festival with the focus on borders and crossborder areas. It will take bridges as a metaphor and as a venue for several activities.

Bridges understood as elements that connect or separate places, cultures, languages, generations and ideologies. Places of transit on which to analyse questions as yet unsolved in contemporary debate.

These include: citizenship and community, mixed cultures and integration, cultural translation and diglossia, hegemonic and subalternate discourses, identity and post-colonialism, limits between

individual freedom and control.

They are the perfect setting for a symbolic approach to questions on the past, present and future of cross-border areas.

This programme will therefore run in open format on bridges throughout the territory of our bid to host the European Capital of Culture. The Avenida and International Santiago Bridges, both spanning the natural border between France and Spain, the River Bidasoa, will take on particular importance for this event. Both of these bridges have at some time in their history separated France and Spain, depending on the political situation of the moment. However, today they are seen as a place of union, of solidarity and of trading and social relations.

The Crossing Bridges project will start with a guided tour for selected artists led by experts who will explain the characteristics of the bridges, their location and history. The artists will then create contextual performances designed to encourage the people who cross these bridges every day to participate and interact.

Iñigo Ibáñez

Avenida Bridge Built in 1916, it was used as an escape route by the many spaniards who fled to France to escape the Civil War. There, the Gestapo delivered Lluis Companys to Franco’s police force. Years later it would become an escape route for the Nazis pushed back by the advancing allies.

Santiago International Bridge Built in 1966 by the engineer René Petit. It is the principal crossing point for pilgrims heading towards Irún. This bridge has a milestone designed by the sculptor Jorge Oteiza. It is marked with a symbolic «kilometre 0» and indicates the distance to Santiago de Compostela.

Dss2016eu— culture

53—

to overcome violence

ACTIVITIES—45

55— LAND/SEA

LAND/SEA

living city

just a mo(nu)ment!

A social observatory that will contribute to finding solutions to problems such as the loss of values or the housing problem

An act of magic that will make the Sacred Heart of Urgull disappear to reflect on the symbology of buildings

FORMAT

Techno-social observatory, mediagraph workshops, urban imagination and exhibition TIMELINE

2016 Expo: December 2016-January 2017 LOCATION

Neighbourhoods of San Sebastian and municipalities in the territory SPECIFIC NET WORKS

Gorga / Okupgraf/Network of Culture Centres in the territory BUDGET

€450,000

Iñigo Ibañez

54—

A wander down memory lane in the city districts, but also a social observatory on many other burning topics from which to consider the keys to the future of our coexistence: the ageing population, the housing problem, relations with outsiders, gender problems, citizen's relations with the institutions, the loss of community values, the economic crisis and its repercussions on the family, urban deficit, the disillusion following the early years of the transition, the problem of violence, the difficulty of conciliating reconciling family and working life...

A mosaic of questions addressed from the impressions of those who live in the city districts. Participatory workshops and urban research activities based on «urban imaginative worlds» will gather data from a perceptive focus combined with graphic stories and emotional audiovisuals. Those are local phenomena which simultaneously affect other areas similar to ours.

Data which can help us to reflect on unrest in the so-called European welfare society.

The result of these research processes will be gathered and displayed at the recently reopened San Telmo Museum, in the old part of the city. Experience in the districts of San Sebastian will join hands with others in districts throughout the entire European continent.

FORMAT

Monumental and memorial art, artistic platform of reflection and creation TIMELINE

October 2016 LOCATION

Cultural Park Network and public spaces in the cities of the territory BUDGET

€125,000

DV

56—

LAND/SEA

collective architectures A set of activities aimed to make us think about and activate sustainable models of architecture and urbanism prominent activit y

LAND/SEA

there’s a surprise today at 6!

A programme dedicated to the unknown.

Surprise actions like the colouring of the river transform public space

FORMAT

International gathering, exhibition, WikiSquare, workshops TIMELINE

2016 exhibition, November 2016 LOCATION

Tabakalera, Cristina Enea, Donostia-San Sebastián FORMAT

Artistic interventions, workshops, surprise street acts TIMELINE

2016 LOCATION

Public spaces in the city agentes SPECIFIC NET WORKS

Ideatomics / Mugatxoan / Consonni / C2+I / Funky Projects BUDGET

€150,000

The year 2016 will be packed with surprise situations, unexpected and unforeseeable events, not publicised but passed on by word of mouth by rumours that will provide clues.

An endeavour to bring magic and emotion to everyday life, to experiment with ways of using public space, rules, customs or conventions. An improvised beach alongside the fountain in the Plaza Bizkaia, a situation repeated every 15 minutes as though it were déjà vu, a river that changes colour, a long line of people leading nowhere... All of these surprises will be the result of creative workshops concentrating on the idea of surprise, the desire to transform and perform in public spaces.

Following the thread of this programme, we will create lucky dips for informal distribution throughout the city containing invitations with hints and clues on cultural activities.

Monuments are symbolic elements erected in public spaces to commemorate events related to our history. They reflect the power and ideology prevailing at different historical times through political, religious and other figures representing a specific and often problematic moment in our shared memory.

To build on the idea of the monument and memory as transit elements linked to the territory, we will create an artistic platform for reflection and creation; a work group to study the case of the Sacred Heart of Jesus statue and monument on Mount Urgull, at the very heart of the city. Recent years have seen growing debate on whether to remove this statue or leave it as a solidly established feature on the city landscape.

This programme will start with a magic show hiding the Sacred Heart of Jesus statue from view for a few moments so that we can imagine its absence from everyday life.

SPECIFIC NET WORKS

COAVN / Collective Architecture Network / Department of Architecture of UPV/EHU (University of the Basque Country) BUDGET

€380,000

DV

A major International Collaboration of Collective Architectures. A laboratory of workshops and interventions in public spaces with professionals related to the urban and natural worlds whose work shuns standard practices and conventional architectural limits. Various groups focusing their attention on collective and collaborative practices will work on a variety of different subjects ranging from social revitalisation of the public space to the definition of sustainable housing models.

The meeting involves two presentation and communication mechanisms: The first one will feature an exhibition grouping collective architecture, self-build and community planning proposals. The second one will comprise a WikiSquare, designed as a virtual communication square-hub for installation as a film, set in squares throughout the city to encourage and intensify the urban open code philosophy.

Other activities will be organised: film and video cycles, workshops on city gardens, ecological self-build proposals and urban acupuncture. All planned activities are aimed at lending new meaning to the public space we all live in and the part played by architecture in shaping contemporary cities.

culture to overcome violence — Dss2016eu

46—ACTIVITIES

57—

59—

LAND/SEA

overlaid itineraries A side of the city that will trace routes through literature, film or art. An expedition into remote places and into poetic journeys to the other side of the urban environment FORMAT

Expeditions around the territory, thematic routes, artistic reinterpretations, archive, publication TIMELINE

2016 LOCATION

The entire territory BUDGET

€425,000

58—

The reality of present–day cities is quite complex. The urban environment where many of us live is a mixture of marked paths, of A and B roads, of high-speed motorways and places for taking a peaceful stroll, personal itineraries, others as yet unexplored, all superimposed on unfolding maps inviting us to drift and discover what a city has to offer.

Maps of a forbidden city, micropolitan routes, maps without borders for an unstable territory, flow charts, mind maps, daring routes through the unknown and the (in)visible, other tourist guides, the sewers, the paths of personal affection, the city of those who live in the streets, the route of victims and reconciliation, the city

interpreted by visitors... Other perspectives, other points of view, other systems of representation, of visualisation and interpretation of reality, other landmarks to indicate on the road map of present day urban areas.

Throughout the European Capital of Culture celebration year, we propose numerous expeditions that will let us take a different look at the landscape or to discover places we didn't know, guided by other people. Different itineraries for addressing different subjects, visits to places well known for their social, industrial, political or perhaps literary past or present.

These itineraries will include reconstruction itineraries offering a new look at a book, play, film, documentary, sculpture, performance, article... These materials will be the starting point for another type of possible interpretative representation, other questions, other languages, other readings, other symbolisms.

Guided by a group of artists, all of these urban itineraries that all of us experience will be compiled into an archive and publication suggesting different ways of discovering the territory of our bid to host the European Capital of Culture in 2016.

LAND/SEA

Europe, a great river brain Celebrate the network of life constituted

by Europe’s rivers by valuing their history as a conduit for social and commercial relations and their conquest as a space for the development of city life FORMAT

Expert gatherings, activities of historical river recovery, activities and creativity on the Urumea TIMELINE

2014-2016 Activities : 2016 LOCATION

Rivers in our territory SPECIFIC NET WORKS

Cristina Enea Foundation /New Culture of Water Foundation / European Federation of Landscape Engineering / Donostia Kultura / EFAP (European Forum for Architectural Policies) BUDGET

€450,000

Rivers are often the origin of what are now our towns and cities. Our history and memories flow in their waters. Rivers are not only the visible form for the naked eye, but enormous basins shaping the landscape, ecosystem and ecology that accompany them from source to mouth. These rivers serve as connections between the urban and rural landscapes. Their banks provide living spaces for nature and citizens.

Here at dss2016eu we will look at rivers starting with our own: San Sebastian’s Urumea, followed by the rest of rivers in Gipuzkoa and the ones on the European continent. All these rivers create a map of liquid and neuronal connections binding shared memory, life and knowledge. A network that doesn´t respect borders. We will focus on the European river network from two different angles: one related to the conservation and regeneration of nature; and the other to the central part played by rivers in the develop-

DV

ment of European and world civilisation.

The activities will start in 2014 with an International meeting of experts on the recovery of river habitats. This initiative will involve different activities related to our rivers. people will discover rivers, learn to take care of them, help to recover their basins and their riverside vegetation. They will lose their fear of rivers, but not their respect for them thanks to creative, recreational activities encouraging groups of volunteers to clean them.

In 2016, as a culmination of the work process, we will organise a European meeting on Rivers in the history of Europe. This meeting will link rivers to evolution of the continent, its values, considering them as a source of commercial and cultural relations, of conflicts and coexistence.

Several cross-cutting cultural activities with moving stages will also be organised in the Urumea basin.

LAND/SEA

astero The town of Alkiza will serve as our micro-laboratory in the middle of Gipuzkoa to place the rural world at the heart of Europe FORMAT

Laboratory-town experiences, laboratory activities, citizen empowerment, cultural gathering. Open Network of Cultural European Towns TIMELINE

weekly, 2016 LOCATION

32 small towns in Gipuzkoa, with centre in Alkiza SPECIFIC NET WORKS

LandaGipuzkoa BUDGET

€320,000

LandaGipuzkoa is the term used to describe the 32 municipalities with under a thousand inhabitants currently existing in the province of Gipuzkoa. Small, typical country villages in the heart of the Basque Country which have seen their agricultural and livestock activities, closely linked to the primary sector, lose their importance in the last 50 years. These are municipalities where typical rural characteristics now rub shoulders with elements of the it world. A phenomena that is completely changing their traditional rural identity.

The goal of Astero is to highlight these villages, making them an active part of our programme. Each one will organise a specific weekly programme of activities promoted and/or produced by agents from the village. The activities will be designed in collaboration with outside agents at workshops forming part of the auzolab system. The villages will be visited by travelling activities on the dss2016eu general programme.

Alkiza, a small village near the town of Tolosa, in the middle of Gipuzkoa province, will function as the centre of activities of this programme. For years Alkiza has been working on a social and cultural village-laboratory based on participatory governance, the ancient Basque notion of auzolan (work between neighbours) tradition and the inter-generational recovery of memory.

In addition to the different activities-laboratory, Astero will specifically promote an open network of European Cultural Villages (Why only Capital Cities?). A network focusing on the rural environment as a place of modern life. These activities will reflect a desire for sharing experiences, developing joint projects, enjoying cultural exchanges and closer ties with towns and villages throughout the whole European continent, culminating in a big cultural meeting in the village of Alkiza in 2016.

Dss2016eu— culture

60—

to overcome violence

ACTIVITIES—47

LAND/SEA

elevenses Thousands of boats will celebrate a great popular lunch to ask Unesco to declare our rowing races a world heritage prominent activit y FORMAT

Massive sea excursion, boat gathering, festival and lunch TIMELINE

September 2016 LOCATION

Along the Bermeo and Bayonne coastline SPECIFIC NET WORKS

Club Náutico de San Sebastián / Cofradías de Pescadores / Aquarium / Red de Puertos Deportivos de Euskadi y País vascofrancés / Piratas / Museo del Mar de Biarritz / Clubs de Remo / Cocineros con 17 estrellas Michelín BUDGET

€350,000

61—

In the Basque Country we like to meet for elevenses. Breakfast is more of a private matter, but elevenses are something to be shared. These elevenses are called «hamaiketako» in Basque. A daily meeting, a pintxo, or perhaps two, in a bar at 11.00, with a glass of wine (a txikito) or beer (a zurito).

We also enjoy these elevenses on weekends. A morning walk in the hills, a bike trip with friends or going fishing, is never the same without some potato tortilla, a tin of anchovies, some chorizo sausage, wine, cider...

With the simple excuse of meeting for elevenses, our aim is to bring all sorts of people together in the sea, along the coast of the Eurocity and beyond, from Ber-

LAND/SEA

meo to Bayonne. We will cast off our moorings, head for the sea, to navigate and share a few hours in this dynamic, changing and fragile place where borders dissolve.

An outing to celebrate the sea, observe the coast and change the usual way we look at it in order to celebrate a collective get together for lunch in an unusual environment.

Everyone will participate: families, friends, members of sports clubs, in all sorts of vessels, traditional or modern, with sails, oars, motors, kayaks, fishing boats, surfboards, floating contraptions of our own making... We don’t want to see a single vessel left in the harbour. We will invite other people to join us for these elevenses, treating those who have never sailed to their first experiences, people who live inland, immigrants... With us, we will take music, like the Bebés de la Bulla (carnavalesque parade group) who accompany the fishing boat races on the Concha, and the groups that celebrate the arrival of batelekus embarkations in Saint-Jean-

62—

Mikel Casal

de-Luz. This will be an outing full of energy, just like the youngsters who attack the beach from the harbour in all sorts of home-made contraptions during the Big Week in San Sebastian. For the occasion, and as a lead up to the Fishing Boat Races in September, we will ask Unesco to recognise these races on its World Heritage list.

LAND/SEA

the rhythm of the sea

restop festival

An artistic project focusing on the seascape and a research platform on tidal and wave energy

A programme of performances and cultural events in the network of gas stations and service areas for in-transit public

FORMAT

Artistic project, sea installation, exhibition and workshops, energy laboratory, sociological research, sea energy research TIMELINE

2016 January-April , 2016 LOCATION

La Concha Bay, Aquarium, Cristina Enea SPECIFIC NET WORKS

Cristina Enea Foundation/ Artek (lab) / Arduino / AZTI-Tecnalia / EVE (Ente Vasco de la Energía) / Aguaçadura Wave Farm (Portugal) BUDGET

€650,000

Gorka Bravo

The sea and its waves are acutely present in San Sebastian, its life and customs. They create infinite forms spreading their energy throughout the streets and marking the rhythm of the city.

The rhythm of the sea is the artistic project that lends visibility to this rhythm. It will enhance the creativity of the sea currents to highlight the energy of the waves giving our Bid its title, the power of the sea and the tremendous beauty of the Cantabrian coast. An installation of luminous buoys will bob in the water at the entrance to La Concha Bay, alongside the Paseo Nuevo, a gathering point for nature, inhabitants and visitors to the city. At night, the buoys will appear and disappear from sight, accentuating the current with their rhythmic flashing.

The project includes two branches of research: on the one hand, the local development agency, and the AZTI-Tecnalia technology centre already study potential use of wave and sea energy. To turn this inexhaustible power into an accessible force to generate clean energy. On the other, research and development work is underway on free hardware technology to permit the use of this energy, thanks to the Arduino platform.

In 2016, in addition to the buoy installation, we will organise an International meeting on clean energies, self-build workshops and an exhibition on autonomous energy production systems.

FORMAT

Festival of Contemporary Culture, TRANSdisciplinary art, crossing bridges, cross-border areas TIMELINE

June/September 2016 LOCATION

Service areas in the territory BUDGET

€245,000

Asier Gogorza

A festival running through the summer in motorway service stations across the dss2016eu territory in the shape of short performances offering entertainment when we stop for a break in the journey. These activities will tell the public caught by surprise things about the area surrounding the service station; teach them some local cultural expressions, or transport us to another place (a service station in Poland for example).

Gas stations and service areas constitute a complete network of services for travellers. An oasis where one finally can get a rest and get some supplies for the trip.

However they are also a place to exchange a word with strangers, to talk about the match being shown on TV, or to get some information about the current state of the local road network.

Restop festival will use those spaces located on the side of motorways and roads in order to offer activities and cultural events that seek the public on the go. A mental state that is sensitive and favorable to new discoveries.

This is a strategy prompting us to see a place with different eyes.

The service stations are conceived as information hubs, as the starting point for alternative, perhaps slower itineraries, but packed with experiences. Here the focus is more on the idea of the journey than on tourism. It is an invitation to stop and discover (ourselves).

culture to overcome violence — Dss2016eu

48—Annex

INFRASTRUCTURES

facilities The city is immersed in an intense process to equip itself with infrastructures related to contemporary culture, peace and values, gastronomy, art and audiovisual production. From now until 2016, these projects will collaborate on developing the cultural programme and house dss2016eu activities

Contemporary culture

mUsic

COOPERATION

Tabakalera

Musikene

Lore Toki

This project, scheduled to open its doors in 2016, will convert San Sebastian's former tobacco factory into an International Centre for Contemporary Culture specialising in visual culture. Contemporary art, television, video and cinema, design and sound will all come together under the same roof in a unique concept of audiovisual exhibitions and programmes above all serving as a place to work, produce and create. An image factory. With the aim of creating contemporary culture specialising in the audiovisual field, this centre will generate knowledge and innovation through interaction between different spheres.

Musikene, the Higher School of Music of the Basque Country, was created a decade ago by the Basque Government. Although the school will shortly have its own installations in the new building planned for Ibaeta university campus, for the time being it is housed in Miramar Palace, in the centre of La Concha Bay. This infrastructure is conceived as a centre committed to quality music teaching in the fields of performance, creation and research. The Musikene staff comprises teachers of renowned prestige in creating and performing music, and many of them are members of the top European orchestras.

A new facility 10 minutes from the city centre, between the Chillida Leku Museum and the Zabalegi agricultural school, literally named «place of flowers» in Basque. This former military-run estate was dedicated for years to the breeding of race horses. It has been acquired by the San Sebastian City Council for its conversion into a public park.

Thanks to the work of local groups of artists and the young unemployed, the park will be transformed into a European Campus on Cooperation. A place for exchanging knowledge and social activism, where non-governmental organisations will play the leading part.

COEXISTENCE

Heritage and culture centre

GASTRONOMY

House of Peace

San Telmo Museum

The House of Peace and Human Rights in Aiete Palace represents the expression of San Sebastian's commitment to promoting, educating and raising awareness in the values of peace and respect for Human Rights. It is a political and ethical commitment to peace, particularly in a city that has suffered and continues to suffer the pain of terrorism.

The House of Peace and Human Rights, former summer residence of the dictator Francisco Franco, is part of an interesting new cultural project intricately linking the Aiete Cultural Park-Space for the Culture of Peace to the new Aiete Culture Centre.

The programmes and services of both initiatives will concentrate on Human Rights.

Having celebrated its centenary in 2002, San Telmo Museum has recently reopened its doors following major renovation work. The first thing that will catch the eye of the locals and visitors who knew the Museum prior to its renovation is the contrast between the new wing, with its contemporary materials and design, and the building as we have always known it: a16th century Dominican convent, home to the Museum since 1932. However, the Museum concept has also been completely revamped to bring it a new definition, objectives and function. Apart from its educational function, the Museum is designed for enjoyment by those wishing to spend their free time on a cultural activity.

Basque Culinary Center The Basque Culinary Center is the foundation created by Mondragon University in collaboration with leading Basque chefs. It will open this year with a Faculty of Gastronomic Sciences and a Centre for Research and Innovation in Food and Gastronomy. The Basque Culinary Center aims to guarantee continuity for Basque and Spanish cuisine as a cutting-edge centre for haute cuisine. It will promote research among professionals and businesses; generate sustainable development in gastronomic culture and help to make the Basque Country internationally famous as the Mecca of haute-cuisine worldwide.

Dss2016eu— culture

to overcome violence

Annex—49

The other cities in our bid territory, from Bilbao in Bizkaia, to Bayonne and Biarritz in the French Basque Country, have a variety of cultural, artistic and research institutions, including some of proven international renown, a number of which will multiply the transforming effect of our programme

CONTEMPORARY ART

ethnographic

ART REFERENCE

Guggenheim Museum Bilbao

Bayonne Basque Museum

Artium

The symbol of Bilbao’s vitality since its industrial revitalisation and the best known international face of culture in the Basque Country. The Guggenheim Museum Bilbao belongs to the Guggenheim network alongside other museums in New York, Berlin and Venice. This cultural infrastructure generated an authentic revolution in Bilbao’s services sector. Not only is the building itself a major attraction, but its galleries periodically house the most important modern art collections owned by the Guggenheim Museum Network.

The biggest ethnographic museum in the Basque Country, takes us on a tour of Basque customs and traditions and their evolution in time thanks to a splendid selection of objects and art works. Standing in the centre of Bayonne, in the French Basque Country, it contains over 2,000 objects and works of art collected since 1922. All of the material is exhibited in the approximately 20 galleries and gives detailed insight into Basque identity, its society and traditions. The museum takes a particularly close historical look at the Port of Bayonne´s history.

Ever since it opened in 2002, Artium Museum of Modern Art in Vitoria has been a reference for contemporary art in Alava and the rest of the Basque Country. The project enjoys the strong institutional backing of Vitoria City Council, the Provincial Council of Alava, the Basque Government and the Ministry of Culture. Artium Museum of Modern Art stands in the centre of Vitoria, the Basque Country´s capital, beside the medieval quarter and the city’s bustling social and commercial areas. The Museum forms a cultural hub with the Montehermoso Culture Centre and other museums in the Old Quarter.

INTERNATIONAL CENTRE

THOUGHT

Maritime musEUm

Topic, the Puppet Centre in Tolosa

Montehermoso Culture Centre

Biarritz Maritime Museum

TOPIC is the International Puppet Centre in Tolosa, a town half-an-hour from San Sebastian, in the heart of Gipuzkoa province. A unique, attractive and interesting project with the focus on imagination, innovation and originality, it is the only one dedicated to puppetry in all Europe. As a centre with a comprehensive vocation, TOPIC also wants to become a meeting point for puppeteers across the world. A place to learn, exhibit, research, produce and share experiences, information and works in a highly modern, comfortable and functional space complete with the very best of equipment.

This influential culture centre belongs to Vitoria City Council Department of Culture. It has the mission of producing, exhibiting and disseminating art and contemporary thought. This culture, thought and social institution, characterised by an intense activity, has as one of its main objectives a focus on the application of policies of equality between sexes. Montehermoso Culture Center is housed in a 16th century Renaissance palace in the Old Quarter of Vitoria, connected by underground passageways to the city´s former Water Cistern, built in 1885.

Biarritz Maritime Museum has evolved constantly since its creation in 1933. Concentrating on all aspects of marine life, its temporary exhibitions focus on subjects related to current affairs. Its collections, regularly added to, are designed around the sea as a link between the past and the future. In its aquariums, always in their preferred habitat, the Museum houses over 150 species of fish and invertebrates from the Bay of Biscay. Some of its installations have recently undergone renovation work to improve the quality of service.

culture to overcome violence — Dss2016eu

50—Annex

festivals

(extra)ordinary programme Our project addresses the European Capital of Culture 2016 as a tale of extraordinary initiatives coexisting with the activities promoted by the city in its ordinary life. Throughout the year, San Sebastian already offers an agenda of cultural activities that are highly appreciated in international circles

2

Classical music 1

The Quincena Musical

Iñigo Ibañez

Our Culture to overcome violence project is designed as an opportunity to experience the European Capital of Culture like a tale of extraordinary initiatives coexisting with the events regularly organised by the city in its everyday life. San Sebastian already offers an excellent agenda of cultural activities running throughout the year and recognised the world over. Thanks to the backing of its citizens, the city created in the past a number of cultural landmark festivals which have gradually found their place in the international arena in a wide range of different fields. These include the International Film Festival, The Quincena Musical classical music festival and the International Jazz Festival. Following many years of existence, all three remain in place as the major cultural events on our calendar. In recent years, other initiatives have added their names to this cultural programme: the Human Rights Film Festival, the Fantasy and Horror Film Festival, the Sol Latin American Festival of Advertising Communication, the Surfilm Festibal.

These activities are joined by the International Choral and Puppet Festivals running in the neighbouring town of Tolosa, in the heart of Gipuzkoa province, and the Latin American Film and International Jazz Festivals in Biarritz, in the French Basque Country.

We also have an extensive network of locallybased socio-cultural facilities offering an excellent selection of activities and services and an important network of culture centres, libraries, civic

The Quincena Musical International Classical Music Festival, which will celebrate its 77th edition in 2016, envisages several themes often coinciding with the essence of our project for European Capital of Culture 2016. In 2013 the theme will revolve around the 200th anniversary of the fire responsible for razing our city to the ground. The music will reflect on the ability of people to overcome adversity, of a society to forge ahead despite all setbacks, or, in other words, on how the human spirit refuses to give in.

The music on this occasion will feature works by Mahler (Symphony no. 2, Resurrection), Nielsen (Symphony no. 4, Inextinguishable), Gerhard (The Plague), Strauss (Death and Transfiguration).

The Quincena will celebrate its 75th anniversary in 2014, coinciding with the outbreak of the Great War, the biggest massacre known to man until then.

That year, the Freedom, peace, coexistence programme will include Beethoven’s Egmont, with a text by Goethe, Nilsen’s Symphony no. 5, Schöenberg’s A Survivor from Warsaw, and an endless string of Requiems (Mozart, Brahms, Ligeti...).

In 2015 the Quincena intends to work on how we Europeans have viewed other cultures, immigration and exile (there have always been large numbers of emigrants and exiles among musicians). The programme will include works by Mendelssohn, A Midsummer Night’s Dream; Beethoven, Pastoral Symphony; Mozart, Abduction from the Seraglio, Debussy, La mer, Zemlinsky...

2016 will be dedicated to Poland, and mainly to three Polish composers: Chopin, Szymanowski and Lutoslawski, while other less known names will be brought to our attention, like Moniusko. The Quincena is also studying the possibility, mirroring the spirit of the lighthouses on our cultural programme, of tracing an imaginary shaft of light between San Sebastian and the Polish city sharing the European Capital of Culture. Under this initiative, music from these countries falling directly within the shaft of light would be included in the programme.

All of the festivals and the broad network of social and culture centres in the city will form a natural part of the activity agenda promoted by dss2016eu. Many of them have already joined forces with our team to study their special and specific collaboration in 2016 centres, nature and cultural parks dotted all over our territory with busy activity programmes for all citizens. Diverse, intense culture for singing, composing and playing music; for painting, sculpting, photography, writing, theatre, producing video, other visuals arts and cinema; for reflecting on matters, asking questions and finding answers (or not).

All of these festivals and the broad network of social and culture centres will form a natural part of the European Capital of Culture 2016 activity agenda. Many of them have already joined forces with our team to study their specific collaboration options in 2016.

5

DV

jazz

International Jazz Festival Jazzaldia, San Sebastian’s Jazz Festival, will celebrate its 51st edition in 2016. During the second fortnight in July, the Festival will bring 80 concerts to the assortment of stages erected in the busiest parts of our city, specially active in the summer season.

As usual at this long-standing festival, jazz logically forms the backbone of the programme, although other musical styles will complete an agenda that must continue to draw large music loving audiences.

The most popular concerts are of course the ones on the Zurriola Beach, on what’s known as the Green Stage, with its decidedly indie programme targeting a younger public. But the most important Festival stage, the one that the audience and critics believe takes the temperature of the standard and interest of each edition, is the Plaza de la Trinidad, in the old part of the city. That’s where the Festival took its first steps over fifty years ago and where, July after July, delighted locals and visitors from all over Europe come together after dark to enjoy an enormously varied first-rate jazz programme.

In 2016, thanks to musical exchanges with other European regions and countries, the Festival will serve as an extraordinary showcase for European Jazz, with particular focus on contemporary, cutting-edge styles. Lastly, it is important to point out that, in 2016, the Festival will almost exclusively advertise itself through social networks in accordance with a system underway since 2009.

Dss2016eu— culture

to overcome violence

Annex—51

CINEMA

International Film Festival 1 Reharsal of Les Ballets de

Montecarlo during the Quincena Musical festival.

2 Image of Allegro Vivace play,

during the last edition of Quincena Musical festival.

3 Javier Bardem and Julia

Roberts receive the actress´ Donostia Prize during the last edition of the Film Festival.

4 Liza Minelli acclaimed after

her performance in 2008 edition of the Jazz Festival.

5 Jazz Festival at la Zurriola

beach.

Our city’s International Film Festival, also known as Zinemaldia, is one of the oldest in Europe and, undoubtedly, the biggest cinematic event in Spain.

It is one of the three European Festivals, with Cannes and Berlin, classed as «A category» for international festivals. In the fifty long years of its existence, the Festival has welcomed Hollywood stars, accursed directors, European geniuses and representatives of cinema in other parts of the world, like Iran or China.

Moreover, the Festival is the most international stage for the Spanish cinema industry. In 2016, the Film Festival will celebrate its 64th year with a special edition reflecting the European Capital of Culture programme.

Some of the collaborations already in place between the two events are: as part of the International Film Students Meeting, several special joint projects will be organised between Spanish and Polish film schools. Contacts have already been made with the Andrezj Wajda Master School of Film Directing Pwsftitv, the National Filmschool Lodz and the Faculty of Radio Television of Silesia.

A retrospective will also be dedicated to a selection of audiovisual works from countries in Eastern Europe. Finally, the programme will include the eurovisions activity and screening of the material reflecting the thoughts of European youth gathered by our train on its journey across Europe.

French Basque Country

Festivals in the French Basque Country Iñigo Ibañez

3

4

DV

the Film festival receives the Gold Medal of Merit in the Fine Arts

The International Film Festival, the only one to hold an A category among those taking place in Spain, was presented with the Gold Medal of Merit in the Fine Arts by the King and Queen of Spain. The Festival, also known as Zinemaldi, was considered to deserve the Medal for its «broad and productive work in disseminating and promoting film culture».

DV

The French Basque Country and its cities offer an intense, wide and interesting programme of cultural activities and festivals. Latin-American film finds a magnificent European showcase at the Festival Biarritz Amérique Latine, now on the go for two decades. Another important event in the audiovisual world is the Festival International de Programmes Audiovisuels in the same town. As far as the performing arts are concerned, Bayonne and Biarritz host the Festival du Théâtre FrancoIbérique et Latino-Américain and Le Temps d’Aimer.

Events in other places apart from these two cities include the Errobiko Festibala, the Xiru Festibala and the Biennale d’Art Contemporain in Anglet, dedicated to the visual arts.

culture to overcome violence — Dss2016eu

52—Annex

CROSS-CUTTING OBJECTIVES*

Social cohesion and overcoming the violent expression of conflict Vital energy, creativity, initiative and the (self )critical spirit of people A real multilingual society, from Basque and minority languages Communication and dialogue in the cross-border Euro-region Desire to be more European and more open to Europe Free open code culture and digital interconnection Cultural programme from local agents and their international networks Research, training and mobility in different areas of culture and creative economy LIGHTHOUSE OBJECTIVES*

San Sebastian as a European and international reference in human rights A more supportive, sustainable and healthy socio-economic model Plurality of languages and artistic expressions for diversity in Europe Discontinuous structuring of the landscape, knowledge of the natural environment and enlivenment of the public space SYSTEMS

AUZOlab, citizen energy laboratories Hirikia TRANSmedia laboratories H(e)izkuntza, language laboratories Cultural Parks laboratories Pagadi, art and creativity laboratories AUDIENCES

Children Youths Adults Families Creators Specific publics All publics DISCIPLINES

Interdisciplinary Plastic arts Visual arts Performing arts Music Literature Architecture and urban development Gastronomy Craftsmanship Design Humanities Science / Technology Sport The environment FORMATS

Exhibition Festival Performance, action Conference, forum, meeting Work process Open school, workshop, laboratory Traditional fiesta Game and role-playing Travel

14— kites for the unity and diversity of europe

13— no places, no time

12— from Assisi to Arantzazu, through Loiola

11— film with human rights

09— peace treaty

10— culture in the clouds, rain of poetry

08— Lore Toki, European campus on cooperation

07— holidays with René

06— between sands

05— seedbeds of peace for reconciliation

04— truth and memory

03— a reconciliatory embrace

02— challenges

01— drums of peace

lighthouse of peace

D— the circus of life!

B— the whaling 'San Juan' boat

C— trainbideak

dss 2016 eu

Basic

A— dss2016eu mobile

Medium /

mobile culture capital

Priority /

Prominent activit y—

*Level of intensity:

62— restop festival

61— the rhythm of the sea

to overcome violence

60— elevenses

59— astero

58— Europe, a great river brain

57— overlaid itineraries

56— collective architectures

55— just a mo(nu)ment!

54— there’s a surprise today at 6!

53— living city

52— crossing bridges

51— festimar

50— soinumapa

49— trekking in the eurocity

48— screening reality

47— downtime?

46— the pearls of the Concha

lighthouse of land&sea

45— eurovisions

44— mobileTerritory

43— word waves

42— alzo giant

41— the singing street

40— liet international 2016

39— on-off

38— a midsummer night's dream

37— beautiful losers

36— fathers and daughters are in the pub...

35— bertsojazzaldia

34— put it in the toilet

33— re-play/re-mix

32— international film students meeting

31— le adventures of Alicia in miresgarri world

30— a story for every day

29— heri hotza, endangered language

28— rompeolas, olatu talka festibal

lighthouse of voices

27— everything at €1

26— gpzk(in)accessible

25— kebab pil pil-style

24— talented answers

23— the European banquet

22— take care! looking after

21— commitment from sport

20— enjoy your meal!

19— feministaldia

18— open societies

17— cooperarock 8/8/8

16— with the same currency?

15— ibilika

lighthouse of life Dss2016eu— culture Annex—53

culture to overcome violence — Dss2016eu

54—Annex

activities 2016 timetable

Legacy 2017-2020 citizen energy laboratories—auzolabs

the whaling 'San Juan' boat

transmedia laboratories—Hirikia art and creativity laboratories—Pagadi language laboratories—h(e)izkuntza Cultural Parks laboratories PROMINENT ACTIVITY

dss2016eu mobile

ALL year

2016 JANUARY

OPENING/CLOSING

FEBRUARY

MARCH

the whaling 'San Juan' boat

VOYAGE 1. From the Bay of Biscay to the Baltic Sea studying languages and the sea

trainbideak

trip 1. Europe for peace

the circus of life!

APRIL

may

JUNE

voyage 2. We are all cultural capitals / Elevenses trip 2. European mobility

TOUR 1

TOUR 2

TOUR 3

San Sebastian

Mons 2015*

Pilžen 2015*

02 challenges

01 drums

of peace

lighthouse of peace

10 culture in the

05 seedbeds of

peace for reconciliation

11 film with

human rights

06 between sands

09 peace treaty

clouds, rain of poetry

03 a reconciliatory

embrace

04 truth and

memory

18 open societies

20 enjoy your meal!

lighthouse

16 with the same

currency?

17 cooperarock

8/8/8

15 15 ibilika

20 enjoy your meal!

24 talent answers

22 take care!

looking after

of life

39 on-off

43 word waves

31 le adventures of Alicia in miresgarri world 29 heri hotza, endangered language

lighthouse

28 rompeolas/

of voices

olatu talka festibal

30 a story for

every day

34 put it in the

toilet

47 downtime?

54 there's a surprise today at 6!

57 overlaid itineraries

61 the rhythm of the sea

lighthouse of land&sea

58 Europe, a great river brain

59 astero

62 restop festival 49 trekking in the Eurocity 51 festimar

Dss2016eu— culture

to overcome violence

02 challenges 15 ibilika

Annex—55

05 seedbeds of peace 19 feministaldia

28 rompeolas

20 enjoy your meal!

49 trekking in the Eurocity

AUGUST

11 film with human rights

14 kites for the unity and diversity of Europe

21 commitment to sport

32 international film students meeting

48 screening reality

JULY

08 Lore Toki

41 the singing street

50 soinumapa

septembER

53 living city

56 collective architectures

octObER

novembER

59 astero

dEcembER

2017 JANUARY

voyage 3. South Atlantic Crossing from San Sebastian to Boujdour trip 3. Film Europe journey

trip 4. Europe without borders

TOUR 4

TOUR 5

TOUR 6

TOUR 7

San Sebastian

Poland 2016*

Denmark 2017*

Chipre 2017*

05 seedbeds of

07 holidays

peace for reconciliation

with René

14 kites for the

unity and diversity of Europe

08 Lore Toki,

European campus on cooperation

01 drums

to Arantzazu, through Loiola

of peace

13 no places,

no time

20 enjoy your meal!

12 from Assisi

25 kebab

20 enjoy your meal!

pil pil-style

21 commitment

to sport

19 feministaldia

21 commitment

to sport

26 GPZK(in)accesible

27 everything at €1

23 the European

27 everything at €1

36 fathers and

40 liet

45 eurovisions

56 collective

50 soinumapa

banquet

41 the singing

street

35 bertsojazzaldia

daughters are in the pub, mother and sons in the square

32 international

film students meeting

33 re-play/re-mix 44 mobile Territory

42 alzo giant

38 a midsummer

nigth's dream

international 2016

37 beautiful

losers

architectures

53 living city 52 crossing bridges 46 the pearls of

the Concha

48 screening reality 60 elevenses

55 just a

mo(nu)ment!

10 culture in the

clouds, rain of poetry