Like sport, music knows no frontiers. It is a common language shared by many across Europe's borders, instantly understood and appreciated. Europe's cultural history is intertwined with famous musicians throughout the centuries from Mozart to Schubert and Elgar. Today it might be Mick Hucknall or the Spice Girls. It's even possible for an Englishman to sing "It's great to be a Belgian" and go to the top of the charts in Belgium. And yet successful as the music industry is at a commercial level, there is a role for the European Union. MEPs and Ministers across the continent are anxious to see the EU support budding musicians and see music festivals as one way of bringing people from different cultures and backgrounds together.
In 1992, the Maastricht Treaty introduced a new Article 128 which reads: "The Community shall contribute to the flowering of the cultures of the Member States, while respecting their national and regional diversity, and at the same time bringing the common cultural heritage to the fore". This strongly reinforces the idea that the EU is not just about economic and social interests but also concerned to bring European people together within a shared cultural domain. However, national sensitivities are to be carefully respected and progress is to be entirely voluntary. In other words, there is no intention of Brussels meddling in national affairs and common policies can only be adopted with the agreement of all the member states.
But progress, perhaps understandably in view of the different national concerns, has been relatively slow. As the Commissioner for Culture Marcelino Oreja put it in a recent speech: "These concerns and apprehensions do not make the endeavour an easy one. However, I would make it clear from the outset that I respect them and, indeed, they must be respected. For I do not share the views of those who think that our countries are engaged in a process of cultural levelling linked to the globalisation of the economy and that it is old-fashioned to strive for the survival and flowering of one's own culture and language". Mr Oreja's approach is for the EU to take on the role of "guarantor and protector of cultural diversity". This means bringing out shared cultural roots entrenched through a common history rather than the EU trying to impose a European cultural policy.
Funding project
Commissioner Oreja believes that European support for artistic creation and cultural exchanges based on respect for diverse traditions, can help clear up misunderstandings and enable culture to make a positive contribution towards enhancing European integration. Requests for European support for particular projects are therefore carefully vetted to ensure there is no clash or interference with national policy. Each country is free to chose whether or not to participate; at the same time, the intention is that those not taking part in a project should not prevent others from doing so. Some 1,428 EU cultural programmes have been backed by the EU over the 19961998 period. The most active participating countries were Italy, France, Germany and the UK (which had 142 projects). To allay fears that EU funding would be used as a milch cow to finance projects that should come under the domain of national governments, EU financial contributions are only available to programmes involving a number of countries with a common European aim.
It is against this background that the Kaleidoscope cultural programme was born. When it was launched with a small budget of ecu 26.5 million for the 1996-1998 period, the Commission was soon swamped with applications for assistance from organisers of 9,000 different projects. While support could only be provided for just 1,400 requests, the EU did manage to help the Edinburgh Youth Orchestra undertake a tour of Scandinavia and provide assistance for a further 125 musical events. Perhaps the "jewel in the musical crown" is the European Youth Orchestra composed of musicians from across the continent.
Thanks to an Ecu 600,000 grant the EYO has been able to go on tour in Europe. Similarly, the Baroque Orchestra received 300,000 ecus. The new Chamber Orchestra, made up of young musicians, has also been supported. The European Opera Centre based in Manchester and the Wexford Opera Festival have also been supported. There can be no charge of "elitism" as classical forms of music have not been alone in receiving funding.
The Kaleidoscope programme has also assisted a wide variety of regional musical traditions such as the O'Carolan Harp Festival in Ireland and the Lahti Organ Festival in the Baltic Region. Festivals backed by EU assistance cover a broad spectrum of musical styles ranging from ancient to contemporary music, including jazz and popular music. Solidarity with the people of Bosnia has been expressed since 1994 through an annual Ecu 50,000 grant to the Sarajevo Festival. In 1996 performances by some 1,000 musicians attracted crowds of 76,000.
A high priority is now placed on teaching and training with backing for some 27 projects over the 1991-1997 period and the provision of 1,500 grants. The Mozart Foundation based in Wroclaw, Poland is also helping with training each year for some 80 young musicians coming from both Eastern and Western Europe and other corners of the world.
Dublin piano competition
Not only does Kaleidoscope back training and musical festivals, it also supports international events such as the Dublin piano competition and "World Music Days" organised by the International Society for Contemporary Music. These are dedicated to exploring new ideas using orchestral music, chamber music and electronic music. Other projects go to the heart of new technology with a view to enabling wider audiences to gain access to classical jazz and rock concerts. Technical developments pioneering the use of 16:9 video format enabled high quality productions of prestigious performances such as Berlioz's Requiem, Tosca and Carmen to be broadcast. In addition, support for European cinema productions has enabled films with a musical theme, including "Backbeat", the story of the early life of the Beatles, to go ahead.
The therapeutic role of music has also been recognised with help being provided to a project involving co-operation between Belgium and Portugal providing musical training for blind and autistic people. More generally, musical training has been incorporated into certain youth training programmes. One programme in Italy was concerned with the restoration of old keyboard instruments. Music is also seen as one way of connecting with young unemployed people living in run-down cities. Renovation programmes for Marseilles, Palermo and Cork have included a musical element centred around the "City of Music" theme, while the creation of the Arts Technical Centre in London, and help with the building of the Tannahill Centre in Paisley, Scotland, have helped bring musical performances to new audiences.
The scheme has been so successful that the Commission has proposed a considerable increase in the budget to €167 million for the years 2000-2004. But even this figure was considered insufficient by Parliament when the programme came before it earlier this month. MEPs overwhelmingly voted to increase the amount to €250 million. Nana Mouskouri (Gr, EPP) was charged with the responsibility of presenting the views of Parliament's Cultural Committee on the expanded Kaleidoscope programme. She argued in favour of giving the scheme a cutting edge by supporting events designed to encourage more active participation by Europe's citizens, especially young people and those from disadvantaged backgrounds. Exchanges covering musical activities should take on a multi-cultural dimension by involving participants from third countries. More emphasis should also be given to promoting mobility, she believes, and these points were taken up in Parliament's amendments to the programme.
The Council of Ministers however has not yet indicated that it is willing to go along with Parliament's view and is so far reluctant to agree to any amount above the €167m, with the Dutch holding out for a lower figure supported by the UK in the face of opposition from countries such as Spain and Italy.