This year’s call of the Competition for Literary Translation is open in two categories and it lasts until 23rd May 2018.
The competition offers an opportunity for publishers and publishing houses to translate literary works from one officially recognised European language to another. The aim of the competition is supporting cultural and linguistic diversity in Europe, promoting transnational circulation of high-quality literature, and also improving accessibility of literary works so new audiences are more easily reached.
Eligible expenses include translation, production and promotion of European fiction, novels, short stories, children’s fiction, comic books/graphic novels, poetry and drama. Support is especially offered to translations of books written by authors who won the European Union Prize for Literature.
If you are interested in applying and would like to know more:
– read about technical steps in applying in order to submit your application successfully;
– also find out which project received support during previous years;
– subscribe to our newsletter;
– Culture Desk Serbia offers free advice and support to publishers and publishing houses from Serbia. If you intend to apply, we can schedule a one-on-one meeting, or consult over the phone and Skype.
Detailed information on competition procedure and the required documents can be found on the website of the Education, Audiovisual and Culture Executive Agency (EACEA) managing the Creative Europe programme.
Creative Europe Desk Serbia and the Office for Cooperation with Civil Society of the Government of the Republic of Serbia in cooperation with the City Government of Novi Sad will organise an info day about the programmes Creative Europe (sub-programme Culture) and Europe for Citizens, on Thursday 29th March in the Cultural Centre of Novi Sad.
The programme of the info day will include a discussion about the competition procedure, i.e. about the easiest way to receive funds from this programme.
The call is intended for all interested representatives of cultural institutions and organisations form the territory of the City of Novi Sad and the surrounding areas, and also the entire AP of Vojvodina.
We are kindly asking all interested parties to confirm their attendance by sending an application to the email address email@example.com at latest on Tuesday, 27th March at 1 p.m.
The programme of the event can be downloaded here, see you in Novi Sad!
Europa Nostra, the leading heritage organisation in Europe, and the European Investment Bank Institute have announced the most threatened heritage sites in Europe for 2018: the Post-Byzantine Churches in Voskopoja and Vithkuqi in Albania, the Historic Centre of Vienna in Austria, the Buzludzha Monument in Bulgaria, the David Gareji Monasteries and Hermitage in Georgia, the Constanta Casino in Romania, the Prinkipo Greek Orphanage on Princes’ Islands in Turkey, and the Grimsby Ice Factory in the United Kingdom.
These gems of Europe’s cultural heritage are in grave danger, some due to neglect or inadequate development, others due to a lack of expertise or resources. Experts from Europa Nostra and the European Investment Bank Institute, together with other partners and the nominators, will visit the 7 selected sites and meet with key stakeholders in the coming months. The multidisciplinary teams will provide technical advice, identify possible sources of funding and mobilise wide support to save these heritage landmarks. The specialists will formulate feasible action plans for the listed sites by the end of the year.
This new list of 7 Most Endangered is announced during the European Year of Cultural Heritage, which celebrates Europe’s shared cultural heritage – at EU, national, regional and local level – and aims to encourage Europe’s citizens to discover and engage with the cultural heritage. Previous lists were published in 2013, 2014 and 2016.
The 7 Most Endangered for 2018 were selected by the Board of Europa Nostra from the 12 sites shortlisted by a panel of specialists in history, archaeology, architecture, conservation, project analysis and finance. Nominations were submitted by civil society or public bodies which form part of Europa Nostra’s network of member and associate organisations from all over Europe.
The 7 Most Endangered programme was launched in January 2013 by Europa Nostra with the European Investment Bank Institute as founding partner. It was inspired by a successful similar project run by the US National Trust for Historic Preservation. The 7 Most Endangered is not a funding programme. Its aim is to serve as a catalyst for action and to promote “the power of example”. It has the support of the Creative Europe programme of the European Union, as part of Europa Nostra’s network project ‘Sharing Heritage – Sharing Values’.
New challenges in the European year of cultural heritage
Heritage is a complex and seductive notion. Exactly the latter makes many think they know everything about heritage and that they know how to handle it. However, in the year ahead of us which is called the European year of cultural heritage, I would suggest that everyone in Serbia dealing with this area takes the test of conscientious heritage management. It appears not many actors in this field would pass it. First of all, for something to be classified as European cultural heritage significant academic and scientific efforts should be invested so we could make sense of the transformations of the past and understand the flow of time, then we should do everything so people today through metamorphoses of the past conjoin in something noble. This will be a trial stepping stone of our readiness to be a part of Europe. I know that many will retort to this statement of mine: but we are already in Europe! We are not as long as doors are widely open to those dealing with heritage without consulting the profession, not until we understand that inheriting is a process of cultivating heritage rather than merely owning it. Without professionalism in dealing with this field we will sell our heritage out for a song!
I have spent the last decade pondering the space of the reputable place Tršić with the aim of redefining it, bearing in mind that in the period during the end of XX and the beginning of XXI century it was a derelict ambient lacking ideas. I will share with the readers a short overview of what has been done with the hope that to some of them this could be an encouragement to contemplate and an action model with the intent of cultivating heritage.
Tršić is a reputable place owing its reputation to Vuk Karadžić, the reformer of the Serbian language in the same way Yasnaya Polyana owes its recognition to Leo Tolstoy or Stratford-upon-Avon to Shakespeare. Vuk Karadžić conducted the reform of the Serbian language by creating a standardised language out of a vernacular dialect and by finalising the begun reform of orthography. Vuk collected a vast folk treasure, customs, oral narratives and beliefs and wrote them down and published them in several books. He also published the first Serbian grammar book and dictionary.
Due to his work Vuk Karadžić enabled a different perception of Serbian culture and changed its foundations. Milan Kašanin, a notable theoretician and critic, called Vuk a literary statesman (Kašanin, 2001, p.5) due to this, a man who set completely new boundaries in Serbian culture, language and literature and thus changed its perception not only within Serbia, but also in Europe.
In my perception of Europe, literature and languages make up exactly the strongest basis of the final weaving called diverse cultural heritage of the old continent. Regardless of languages being a barrier, they are exactly what guides us and enable permanent and continuous dialogue between literatures, philosophies, theatrical and other types of creativity and thus, through this dialogue, forge the identity of the community of European peoples. The first lesson on this was delivered exactly by Vuk.
A great mythical and symbolic potential is interweaved in the name and work of Vuk Karadžić. This great symbolic potential is omnipresent in the village of his birth which has been charted on the cultural map of Europe since 1933 when the memorial house of this language reformer was opened and the first Vuk’s gathering of manifestations dedicated to linguistic and artistic creativity took place. Since then Tršić became a space where the real and the imaginary are inscribed in the same location. And in this way they notify our perception about what was happening in the past, but at the same time open a vast field of the possible. Tršić is a space filled with possibility written down by Vuk and his collaborators, opponents, his predecessors and numerous successors and interpreters of his work in the past 200+ years.
Bearing all of this in mind, in the beginning of 2008 I started realising the project of redefining the reputable place. In several points it went on like this:
– Primarily it was necessary to conserve the devastated buildings, including Vuk’s memorial house which was completed in 2008,
– Following this, during the same year, USDIA approved the project of revitalising the buildings at the assembly point: a traditional tailor workshop, gingerbread making workshop, Museum of Vuk’s gatherings (with the aim of nurturing culture of remembering through critical presentation of history of the oldest cultural manifestation in Serbia), workshop of old crafts, study room Vuk and Science were opened. These buildings had no content in the previous period, and through this project the space was revived, offering visitors the possibility to get familiar with a portion of our heritage and to participate in the creation of tradition they are bearers of through work with experts,
– In 2010 the House of Writers was opened which until today hosted numerous authors from: Spain, Great Britain, Greece, Bulgaria, Italy, Japan, Egypt, Australia, Germany, the Republic of Srpska, Croatia, Russia, Israel, Canada… Through the realisation of numerous residential stays of literary writers, translators and artists Tršić is living its grand potential. Through its exquisitely beautiful nature, intertwined with symbols, Tršić became a space which liberated its visitors, according to their own testimonials. Residential stay of artists, their mobility, makes this reputable place a space of great dialogue, a meeting place of cultures and a place of open liberal talks. The mobility of artists and cultural workers is exactly what contributes to the greatest extent to developing of consciousness and empowerment of the feeling of a common European cultural space,
– By opening the Museum of Language and Letters in 2011, additional emphasis of the importance of language was enabled in the domain of immaterial heritage and the story about the importance of the contact between different cultures was expanded. The following activities were initiated in the Museum of Language and Letters: a literary workshop for primary and high school students “Dugo leto za kratke price” (“Long summer for short stories”), sound workshops “Vuk i ZVuk“(“Vuk and Sound”), summer internships for students of ethnology and anthropology, summer language schools, schools of cultural history and translation for students whose mother tongue is not Serbian. They left their art works, their translations, and their texts dealing with different topics and written for different purposes. In this way they multiplied the semantic field of our “small culture”. We are using the notion “small culture” in the sense it has with professor Norris in his work “In the Wake of the Balkan Myth”. Professor Norris said that each small culture is aware that its semantic field is created from the outside and that the space for interaction is minimal (Noris, 2002, p. 105). Of course our culture is from this corpus of small cultures and exactly due to this reason there was a great need to use a flattering recognition to its maximum – UNESCO proclaimed Vuk Karadžić a citizen of the world, a man who through his work moved the boundaries of time and space. Being led by this idea we opened Tršić for interaction, for outside intervention, exchange of ideas, knowledge, and translation on all levels which in Tršić became a synonym for the highest forms of creativity.
– Parallel to this we worked on profiling the manifestation Vuk’s gathering, which in 2012 was added to the List of protected immaterial cultural heritage,
– All of this led to the Museum of Language and Letters being a candidate for the European Museum of 2015, ensued by the opportunity to present our achievements in the field of translation and language as the carrier of immaterial cultural heritage at the conference of the British Association for Slavonic and East European Studies in Cambridge in 2016.
By using this example of contemplating a very rich symbolic potential borne by the work of Vuk St. Karadžić, I hope I demonstrated it is possible to define our heritage, our culture, our identity as an open model and that it is possible to think about this not only through “what we are”, but also through “what we want to be” in the way Jürgen Habermas defined identities as “our own project”.
During the European year of cultural heritage I would like to continue these numerous activities in Tršić. A confirmation that these expectations are realistic lies also in the fact that last year the Educational-cultural centre was opened, which has excellent conditions for work and accommodation of participants of workshops, seminars, scientific gatherings and schools. The only hope that remains is that true professionals will receive an opportunity to express their knowledge and potential in this space.
I would say that we are greeting the European year of cultural heritage exposed to numerous challenges both due to the lack of documents regulating the field of heritage and also due to the lack of money, due to the lack of motivation of experts, however, we have faith that difficult times can also be a reason more for comprehensive changes.
Milan Kašanin, Sudbine i ljudi, Srpsko kulturno društvo „Prosvjeta“, Zagreb 2001, p.5
David Norris, In the Wake of the Balkan Myth: Questions of Identity and Modernity, Springer, 1999, p.105
Dajana Đedović, cultural worker. Graduated philosopher, magister of science in the field of cultural policy and mediation in the Balkans, author of the project of founding the Museum of Language and Letter and the House of Writers in Tršić. Advocate of the idea of open dialogue and within the same spirit the nurturing of culture of remembering.
The purpose of this call for proposals is to select and support an organisation and/or a consortium in organising and administering the European Union Prize for popular and contemporary music for the period 2018-2021 (editions 2019, 2020 and 2021 of the Prize).
The European Union Prize for popular and contemporary music is one of the special actions implemented under the Culture Sub-programme of Creative Europe, the EU programme dedicated to cultural and creative sectors. The general aim of the Prize is to:
– support emerging artists
– promote and celebrate popular and contemporary European repertoire
DEADLINE: 21/04/2018 12:00 CET
Please find more information here.