Culture: artists’ mobility as driving force of the economy / Montenegro / Areas / Homepage

Mapping the current landscape

The idea of ​​considering the cultural industry – or rather the plurality of cultural and creative industries – as a driving force for the economy is certainly not new, and takes inspiration from other contexts and situations. However, to avoid the mistake of transferring development models that perhaps work in large capitals like Berlin, but which would have risked failure in the context in question, the 3Cs project has provided for a detailed mapping of the cultural landscape in the three countries involved.

From music to publishing, from electronic games to fashion, from visual arts to radio, cultural and creative industry productions are already considered an important driver of the economy, capable of producing wealth and jobs. According to a UNESCO study, their economic contribution amounts to 3% of the gross domestic product at a global level and creates almost 30 million jobs. In Albania, however, for example, that percentage does not reach 1% and “the sector is not consolidated and enjoys sporadic attention”. Some branches are managed and financed by the Ministry of Culture, while others fall under other bodies and do not receive any public support.

In this context, even mapping itself was difficult, as it is not clear how many jobs actually fall within the so-called creative industry sector. The main objective was therefore to promote synergy between the different sectors, launching a cooperation and exchange platform to share long-term projects, concrete actions and initiatives. The subjects to be involved are public cultural institutions, public and private radio and television broadcasters, businesses, individual creatives and the non-profit sector.

In Albania, for example, the preferred choice for young people is public employment, given the high business risk and the low level of social cohesion and trust which have hindered the development of cooperative enterprises over the years.

In any case, the exhaustive collection of data remains fundamental, which can be facilitated through concrete policies by institutions, such as: the removal of administrative obstacles, the promotion of the educational system in the design, advertising and artistic craftsmanship sectors, the launch of incentives for individuals and businesses and programmes to promote female and youth entrepreneurship.

Despite the cultural and historical diversity of the three countries involved, or perhaps precisely because of it, the creation of an exchange platform for designers, artisans and artists has proven to be very useful and has already produced interesting results.

Cultural mobility as a driving force

One of the main initiatives of the 3Cs project concerns “cultural mobility”, understood as “the temporary transnational movement of artists and other cultural professionals”. Some forms of mobility concern the individual, as in the case of artistic residencies, while others concern works, such as performances presented abroad.

Support for mobility takes the form, for example, of the possibility offered to artists and writers to be hosted and supported for a certain period; residencies, events, workshops and periods of training and research are organised, and funds have been made available for travel.

The disciplines covered range from performing arts (theatre, dance, opera, circus, street arts) to visual arts, from music to literature, including translation and publishing, from historical and archival heritage to cultural management, up to videos and new media. Several artists have already participated in the residencies hosted in Kotor (Montenegro), Bari and Campobasso, including dance seminars, video storytelling workshops, contemporary music improvisations and fashion designer discussions.