Motivation and Need for the Addendum
The Young People’s Addendum to the Porto Santo Charter — Caldas da Rainha/ Loulé
We are pleased to share the result of this collaboration with you, which was finalised in 2025.
It was an extensive process, lasting 22 months and including several events, conferences, a consultation method, a comprehensive report and a think-tank residency, bringing together more than 350 participants, mostly young people attending in a personal capacity, from 10 European countries and the support of 53 institutions of various scales and levels of agency, including international organisations, national and regional governments, along with universities, foundations, cultural and youth networks and centres. This shows a genuine and democratic commitment to youth-led proposals and actions in cultural governance.
The Young People’s Addendum to the Porto Santo Charter—Caldas da Rainha/ Loulé deepens the principles of the Porto Santo Charter by adding the perspective of young people (16 – 30 years old) currently living in Europe. This makes it more functional and direct. It prioritises proposals for immediate action and offers practical suggestions, including project examples.
Like the Porto Santo Charter, it describes how culture can promote and strengthen democracy by fostering a sense of European cultural citizenship, integrating cultural participation into the democratic process and emphasising the importance of empowering all citizens to shape their cultural landscapes. This document is a political and civic tool to guide decision-making at different levels in the fields of culture and education.
The Addendum sets out six key themes. Each theme presents a contextual overview followed by concrete proposals for action:
1. Cultural participation and citizenship – Prioritising the action of young people in decision-making in the field of culture.
2. Inequalities in access to culture – Bridging the cultural divide.
3. Inclusion vs. Hierarchies and Elitism – Challenging exclusionary cultural frameworks.
4. Digital culture and ethical challenges – Promoting ethical digital engagement and AI literacy.
5. Working conditions for cultural workers – Defending fair and sustainable labour practices.
6. Cultural and Artistic Education – Reinforcing the connection between education and cultural institutions.
This Addendum is coordinated by the National Plan for the Arts, Portugal. It results from the efforts of many authors and collaborators working closely together to fulfil this mission. We acknowledge all contributions and are confident that the proposals of the Addendum will be discussed and transform concepts and practices.
On behalf of the promoters, I thank everyone for their valuable contributions. This is a collective democratic endeavour that reaffirms the importance of diversifying and sharing power to develop democratic action. We are committed to taking the Charter and its Addendum to all political and civic discussion levels. Take it to your communities and territories and make it a concrete instrument for change.
Finally, we would like to thank our partners who co-produced the Addendum, namely LIDA – Laboratório de Design e Artes/Escola Superior de Artes e Design das Caldas da Rainha and the UNESCO Chair in Arts and Culture Management, Cities and Creativity at the Polytechnic University of Leiria, OEI – Organisation of Ibero-American States, Loulé City Council, and all those who made this venture possible, authors and contributors for their trust, commitment and selflessness. The work in constant dialogue, with openness and great joy in doing things together, has been deeply appreciated.
The Young People’s Addendum to the Porto Santo Charter — Caldas da Rainha/ Loulé can be downloaded here in English Portuguese and Spanish.
Full Text of the Addendum
Preamble
a) The Young People’s Addendum to the Porto Santo Charter — Caldas da Rainha/ Loulé, concluded in 2025, is the most recent step of the process established in 2021, when the Porto Santo Charter was published.
b) The Porto Santo Charter was promoted and co-produced by the National Plan for the Arts (NPA), Portugal, together with other European institutions, networks and NGOs, as a political instrument to guide decision-making at different levels: European governments, regional and local administrations, institutional or organisational entities, in the fields of culture and education. This Charter outlines principles, guidelines and recommendations for the implementation and development of a paradigm of cultural democracy in Europe.
c) The Charter was first presented at the Porto Santo Conference From Democratisation to Cultural Democracy: Rethinking Institutions and Practices (27-28 April, 2021) , Porto Santo Island / Madeira Regional Government — Portugal, published under the Portuguese Presidency of the European Council, addressed to European policy makers, and also cultural and educational organizations and European citizens.
d) The Young People’s Addendum to the Porto Santo Charter — Caldas da Rainha/ Loulé aims to deepen the content proposed by the Porto Santo Charter, adding the perspective of young people currently living in Europe, while making it more functional and direct. Within the scope of this document ‘young people’ relates to individuals aged between 16 and 30, encompassing adolescents and young adults, who are at a critical stage of personal and professional development. Young people are active participants in shaping cultural and societal landscapes, and their voices and perspectives are essential for creating inclusive and democratic cultural policies.
e) As per the original document, the addendum is intended for European policy makers at European institutions, national, regional and local levels; to cultural and educational organizations and institutions; and to European citizens to take responsibility for their common cultural landscape . (Porto Santo Charter, Pmbl.).
f) The extensive process that led to the Addendum took 22 months and included several events, conference discussions, a consultation method, a comprehensive report and a think-tank residency, namely: The Youth — Action — Culture: Towards Cultural Democracy International Conference held in Caldas da Rainha (November, 2023); the design and implementation of the Tell Those in Charge method for consulting young people; the transdisciplinary Tell Those in Charge report (2023-2024); and the think-tank residency in Loulé (November 2024). This extensive process reinforces the conviction that both process and content are one — if the essence of the addenda is cultural democracy, then the process of creating it must itself be democratic.
g) The Addendum instigated a collaborative process of debates, research and the youth consultation process, which gathered the proposals of 291 participants from 10 European countries, with different nationalities and backgrounds (involved in the ‘Tell Those in Charge’ consultation workshop method), plus the projects, debates and conversations held in the Youth — Action — Culture International Conference(gathered 950 participants), and the reports by a group of eight observers. These activities reaffirming the importance of diversifying and sharing power to develop the democratic action.
h) The conceptualisation and writing of this document was finally carried out by eight European young people, eight European experts and 4 members of partner organizations.
i) Coordinated by the National Plan for the Arts, Portugal, the organisations that co-produced the Addendum were, LIDA — Laboratory in Design and Arts/ Caldas da Rainha School of Arts and Design and the UNESCO Chair in Arts and Culture Management, Cities and Creativity of the Polytechnic University of Leiria, the OEI — Organisation of Ibero-American States, and the Municipality of Loulé.
j) The Young People’s Addendum to the Porto Santo Charter — Caldas da Rainha/ Loulé deepens the principles of the Porto Santo Charter, especially those related to the participatory model of cultural democracy. It prioritizes proposals for immediate action and offers practical suggestions for solving problems, giving examples of projects already implemented (see An incomplete annex section).
k) The Addendum proposes six key-themes. Each theme presents a contextual overview followed by concrete proposals for action that can also be carried out by young people.
l) The name of the Addendum — Caldas da Rainha / Loulé — celebrates two cities / territories that have been essential to the process, honouring the idea of cultural decentralization and the transformation of peri-urban regions into centers of cultural policy production.
1. Cultural Participation and Citizenship
Acknowledging point 4,5, 7, 8, 14, 19, 26, 2, 35 and 37 from the Recommendations of the Porto Santo Charter: Cultural institutions must break down barriers and invest in a future that truly includes young people acknowledging their diversity by placing them at the heart of decision-making, fostering genuine representation, and transforming engagement into an ongoing dialogue that embraces collective growth. By doing so, young people can commit to cultural rights, enhance their agency, and strengthen their activism in advocating for cultural citizenship.
1.1 Change the methods:Traditional methods may not be effective in appealing to young people in cultural institutions. Therefore, cultural institutions should actively adopt new ways of engaging, collaborating and discussing with youth. Young people need to be seen not just as occasional users/ visitors, but as a fundamental part of the institution. Their contributions can challenge norms, often involving divergent processes and the acceptance of risk as elements of a collective learning process.
1.2 A seat at the table: Putting young people in decision-making positions, including as creators of cultural activities and content, ensures long-term commitment and impact in exercising their cultural rights. Specific attention must be paid to ensure that participation reflects a fair representation of communities and is accessible to those from different socio-economic and cultural backgrounds.
1.3 Under the radar: There is a gap between what young people perceive as culture and what is traditionally recognised as such. Therefore, institutions need to be open to take risks when funding and programming, recognising artistic formats or cultural expressions that happen “under the radar” as new manifestations, even if they do not fit into traditional or institutional frameworks. The “new” is being created and is an important aspect of cultural life for many young people.
1.4 Cultural mediators maintain a bridging role: Cultural mediators have the capacity to transform relationships and practices. Young cultural mediators will make cultural content and practices more accessible, and adapt them to ensure they are engaging, participatory, and relevant. By bridging the gap between organisations, cultural events and audiences, they promote inclusion and strengthen bonds, ensuring that everyone feels represented and integrated.
1.5 Sustainable funding and management: Ensure that funding to support young people is integrated into the long-term strategic plans of institutions. It is also essential to increase global funding for arts and cultural projects and to promote greater accountability and transparency in the processes of allocating, administering and managing these funds.
2. Inequalities in Access to Culture
Acknowledging points 2,6, 7, 8, 11, 19, 21, 22, 23, 24, 25, and 26 from the recommendations of the Porto Santo Charter: Policymakers, cultural institutions and community leaders can bridge the gaps between urban, peri-urban, and rural cultural landscapes by fostering networks, repurposing spaces and ensuring access to cultural experiences for all. This interchangeability is inherent in the willingness to share cultures that flourish in different contexts. It enriches life experiences, and expands horizons of understanding, inter-territorial awareness, cultural agency and production, and belonging.
2.1 Building bridges, digging tunnels: Encourage the creation and expansion of existing cultural networks and improve mobility between urban, peri-urban and rural areas to foster unexpected connections between territories and communities. Grow networks by bringing the peripheries to the centre and the centres to the peripheries and mix it all up, acknowledging that each person has the right to develop and live in their own cultural centre, the one they belong to.
2.2 Culturification: Increasing participatory budgeting for culture, managed by public administrations, local associations and (intergenerational) communities, to develop cultural rights and promote local culture.
2.3 Frankenstein spaces 1 — Bringing back to life: Policymakers at local, regional and national levels have the agency to repurpose redundant public buildings into cultural hubs with the participation and involvement of local communities. These cultural hubs would serve as spaces where creators of different disciplines, ages, cultural and socio-economic backgrounds can collaborate, co-create and cross-fertilise each other.
2.4 Best to bend while it is a twig: Since significant cultural experiences take place within the family or are organised by schools at an early age, policy makers should take measures to facilitate and ensure access to cultural activities for families and school groups, in particular by providing free access to facilities and transport or by reducing prices.
2.5 Go digital, get empowered: Invest in digital resources and empower people by creating platforms to facilitate access to information about cultural and artistic programmes, participation, training and other opportunities.
2.6 Everything, everywhere — access to culture all at once: Urgently improve digital inclusion, physical mobility, accessible transport, and promote differential pricing according to criteria that ensure equal access to culture.
1 Campillos Sánchez-Camacho, Ana (Galaxxia). (2023). Un texto-Frankenstein: alterando el lenguaje de la Gestión Cultural contemporánea . Cultura y Ciudadanía.
https://culturayciudadania.cultura.gob.es/dam/jcr:5a9ec66c-124b-4caf-937c-32137b28febb/ana-csc.pdf
3. Inclusion vs. Hierarchies & Elitism
Acknowledging points 5, 7, 9, 18, 20, 21, 23, 24, 25, 26, 28 and 38 from the recommendations of the Porto Santo Charter: Cultural institutions should commit to counteracting existing hierarchies within the cultural sector that perpetuate inequality or exclusion, from elitist definitions of arts and culture to institutional structures, values, organograms and policies. They must reject labels like “high” and “low” culture as these create barriers and implicitly rank different cultural expressions and those who enact them.
Cultural institutions must embrace radical inclusivity in order to recognise marginalised voices as essential to decision making about culture, and to revise the concept of culture to mean a shared space where all people belong and can authentically thrive.
3.1 What we don’t name doesn’t exist: Include historically marginalised groups in the general narrative as a way of legitimising their cultural rights beyond political polarisation – women, queer, trans, black, Roma, people of colour, disenfranchised, migrants, refugees, neuro-diverse, people with disabilities, from different religious backgrounds, from all ethnic backgrounds, economically disadvantaged, from different territorial contexts, stateless, and other marginalised groups. Recognise the intersectionality within diverse identities. Naming is a way of acknowledging their existence and importance, thus emphasising how plural the cultural panorama truly is.
3.2 Organic inclusion: Often, the inclusion of diverse groups starts with a top-down approach that reflects underlying power imbalances without fully valuing their contributions. To counteract this, there needs to be a framework, guidelines, rules and recommendations for inclusion to be a fundamentally organic process reflected in the institutional narratives. Only in this way hierarchical dynamics can be dismantle in institutions and move forward to horizontal collective forms of representation. It’s not just about being included in existing structures, but becoming an integral part of the institutional narratives and workforce.
3.3 Create safer spaces: Create safer spaces’ policies rethinking and updating the existing physical structures of these spaces to accommodate people with different needs. Upskill the institutions by working in cooperation with experts who specialise in different areas and directly with the people in need. It is important for this understanding to involve every worker in every cultural space and to provide them with training resources. Also encourage institutions to create protocols on how to act when human rights are violated.
3.4 Money to the people — equitable distribution of resources: Cultural institutions need to ensure equitable funding and resource allocation, with a focus on supporting historically marginalised groups. Prioritising these communities in respect of access to cultural spaces and resources provides real opportunities for them to create, showcase and make a living from their work. One approach is to create accessible makerspaces (workshops equipped with the necessary tools for artistic production and cultural participation) in every cultural territory. 2 In this way, young artists can freely access spaces to pursue art (in its many expressions and manifestations) and other creative projects, helping to address long-standing inequalities in participation and visibility within the cultural sector, while promoting art rooted in authenticity and expression.
3.5 Mentors for youth empowerment: Expand and increase funding for mentoring and networking programmes for young, emerging cultural workers in order to transform access and promote diverse participation in the cultural sector. These programmes connect young artists with experienced mentors who can provide guidance, advice and resources to help them understand how to launch and sustain creative careers. Such initiatives can provide young creators with essential skills, networks and encouragement, enabling them to navigate an often exclusive industry, while staying true to their artistic passions.
2 The term ‘cultural territory’ refers to spaces where culture is created, shared and lived, involving the active participation of local communities. These territories can include cultural centres, museums, theatres and other places where cultural and artistic activities take place.
4. Digital Culture and Ethical Challenges
Acknowledging points 3, 6, 16, 30 of the Porto Santo Charter recommendations:
Cultural institutions take a bold stance in shaping a responsible digital future — one that equips young people to critically engage, resist algorithmic constraint and navigate the cultural agency of AI with ethical clarity, promoting a balanced, inclusive and sustainable use of digital.
4.1 Knowledge is power and digital literacy is the in thing: Navigating digital space can be difficult; lack of knowledge about how digital platforms work, and the stereotypes and inequalities they perpetuate, creates vulnerability. Users should understand how digital imagery and content can shape their perceptions and self-representation. Equipping young people, and also their educators, with the tools to critically engage with digital content will give them the power to be more discerning.
4.2 Big little AI lies: Be critical of AI systems as agents of culture! As AI tools become more widely used, they are increasingly becoming shapers and agents of culture and cultural participation, especially among young people. Recognise the risk of narrow cultural representation and misinformation. Cultural institutions are in a position to steer a critical use of AI tools towards younger generations, educating and fostering conversations about the topic, its impact on mental health, and the distinction between reality and fiction.
4.3 Take an ethical lead: Institutional practices should perceive the environmental and social impact of unethical use and development of digital and AI tools. The amount of energy and water used, the displacement of labour and the lack of transparency associated with AI development, are issues that should be discussed internally and appropriate ethical policies implemented accordingly in the institution’s strategy.
4.4 From the screen to the stage — balancing digital and real-life experiences: The digital world can democratise access to culture, although it is important to maintain harmony between physical-world and digital interactions. Encourage people to step outside their screens to promote a balanced lifestyle.
4.5 Call us — Breaking the echo chambers: Cultural institutions should support young people to become active curators of their digital environments, encouraging them to make conscious choices that broaden their perspectives and challenge algorithm-driven echo chambers. By promoting digital literacy and awareness, institutions can help audiences counter the narrowing effects of algorithmic filtering, which often limits exposure to diverse ideas and reinforces existing beliefs.
4.6 Nothing about AI without culture agents:AI models and systems with potential applications in and impacting on the cultural sector should be developed collaboratively with sector representatives and tailored to the sector’s specific needs. Policymakers should make policies that empower creators to control, use and monetise their data on their own terms.
5. Working Conditions of Cultural Workers
Acknowledging points 1, 5, 10, 14, 27, 31, 32, 33 and 37 of the Porto Santo Charter recommendations: Togetherness is the way to build collective impact in the cultural sector. Cultural agents not only produce and experience culture, but also have the power to shift paradigms and renew the dynamics that influence the conditions under which culture is shaped and disseminated. That’s why it is crucial for all of us as cultural agents, formal and informal, to know and understand the legal parameters of the sector. This is necessary for agents to be able to challenge the current framework and demand better working conditions. It makes everyone aware of their needs, rights and responsibilities. Collective change requires collective action.
5.1 Protect cultural workers rights: Cultural institutions must prioritise the rights of their workers and collaborators. To ensure this, governments can reinforce monitoring systems to assess whether the rights of cultural workers are being respected and offer legal support to emerging artists and cultural workers in case of rights’ violations. Meanwhile, cultural workers and civil society must strengthen their collective actions by reinforcing networks and unions.
5.2 Status matters — making culture count: Commit to new legislation that recognises, nationally and internationally, the status and working conditions for artists and cultural workers.
5.3 From volunteer to professional — protecting emerging cultural workers: Young people often take their first career steps as volunteers or through internships. This Addendum calls for the regulation of youth volunteering and internships in the cultural sector to prevent the exploitation of young and emerging workers.
5.4 Get informed to get involved: Create information centres for emerging artists and cultural workers that provide information, guidance and advice on financial matters and labour rights, in order to improve financial literacy and knowledge of fundamental rights and freedoms within the sector.
5.5 We fight for “Bread & Roses”: Providing young people with concrete data about artistic careers and the functioning of the cultural sector is essential, especially regarding its contribution to economic growth and job creation. Additionally, it is crucial to integrate topics such as financial literacy, cultural legislation, and career opportunities in the cultural sector into in secondary education and university training.
These measures can help prepare young people to face market challenges, consciously select their career paths, appreciate the potential of the cultural sector, and realise the positive impact of culture on society and the economy.
6. Cultural and Arts Education
Acknowledging points 1, 2, 3, 12, 13, 14, 15, 16, 17, 18, 19, 25, 26, 28, 34 and 37 of the Porto Santo Charter recommendations: Educational and cultural institutions must work hand in hand. Educational processes are fundamental for cultural institutions. Only those institutions that care, that redirect their productivist interests towards the needs of the citizens around them, and that remain committed to their contexts, will become vital and demonstrate their relevance and the need for their survival.
In addition, schools as cultural hubs promote complementary learning experiences, combining digital tools, fostering emotional engagement and ensuring tangible representation by embedding arts, culture and heritage in students’ lives and their communities – making them not occasional events but a crucial, relatable and enriching part of everyday learning
It’s essential to empower arts and cultural educators and mediators as connectors, bringing diverse, creative, meaningful and continuous cultural experiences into learning, both formal, non-formal and informal.
All of this requires a shared responsibility between the cultural, educational, public and private sectors, as well as civil society. Furthermore, political, legislative, and structural changes must be considered to enable the redefinition and full integration of an intersectoral vision that connects culture, arts, and education.
6.1 In between schools & cultural institutions: Strengthen collaboration between educational and cultural institutions through arts and cultural mediators as relational agents who can facilitate exchange, thereby promoting accessibility, diversity and experiential learning processes that connect institutions, communities, families, teachers, artists and students.
6.2 The school as a mirror: School curricula should reflect the cultural diversity of students locally, nationally and globally to ensure representation and relevance. Through ongoing teacher training in contemporary artistic creation, in diverse cultural fields, content, practices and methods, and increased student participation in decision-making about their learning processes, programmes will become more responsive to the needs and interests of young people and their communities.
6.3 A little arts & culture a day keeps the doctor away: Culture and arts education should not be perceived as an isolated event, but as an integral part of the school life, both within and beyond school premises, acknowledging that all social and artistic environments are educational. Normalise cultural experiences, making the arts and cultures an ongoing, everyday aspect of students’ lives rather than a rare, special occasion. By embedding the arts and cultures in the curriculum, as a cross-cutting practice, students and all educational communities can live their cultural lives more fully; this can increase joy, happiness, mental wellbeing, motivation, a sense of purpose, connection and belonging.
6.4 Success is a feeling: Success in culture and arts education should be measured not only by quantifiable data, but also by cognitive, emotional and sensory impact. Rather than focusing solely on grades or quantitative assessments, teachers could evaluate students’ experiences based on autonomy, creativity, self-discovery, self-expression, joy, curiosity, engagement, bonding and collaboration, in relation to others and to the wider community. This approach values personal, cognitive and emotional growth, alongside capacity building, as core outcomes of culture and arts education.
6.5 Cultural matchmaking: Use digital ‘matchmaking’ to connect schools with local cultural experiences, allowing educators to explore and select relevant activities that link heritage, culture, arts and the curriculum. This portal would allow schools to identify and partner with local and regional institutions that align with their educational goals, ensuring a current, pluralistic and accessible cultural experience for students
6.6 Schools are cultural hubs: Schools must emancipate citizens and make them more active participants in civic life, as cultural agents and promoters of cultural democracy based on pluralism, participation, power-sharing and the valorisation of different cultures. Making this change visible will have two possible effects: it could incorporate greater diversity and cultural richness overall, and it would recognise the creative role of students with diverse backgrounds and contexts, empowering them for a future as culturally active citizens.
6.7 Becoming ex-titutions: Highlight institutions that go the extra mile to better serve the community. Open up and come out. Put people at the centre of what they do, assuming that they are not neutral and that they have a political stance. Cultural and educational institutions must refuse to perpetuate prejudice and exclusion. Invite people as collaborators and not just as consumers. Stop doing “for” and start doing “with”.
An Incomplete Annex
(open to all people who wish to contribute by adding examples)
This Annexe to Young People’s Addendum to the Porto Santo Charter— Caldas da Rainha/ Loulé, although incomplete, presents concrete examples that illustrate the above recommendations. It aims to provide practical and inspiring insights into how the guidelines of the Charter can be effectively implemented in different contexts and scales. We believe that these references will serve as inspiration and guidance for future actions and projects in line with the outlined objectives.
1. Cultural Participation and Citizenship
a) Blikopeners, Amsterdam, Netherlands: This is a group of young people aged 15–19 who are hired by the Stedelijk Museum, Amsterdam. The initiative has existed for over 15 years and is an integral part of the museum. The group serves as cultural mediators and gives tours through the museum to focus attention towards young perspectives on the museum’s art collection/exhibitions. They operate as an independent entity within the Stedelijk Museum, run the TikTok account of the museum and have their own social media team. They are also involved in co-organising many events that are held in the museum.
More info: https://www.stedelijk.nl/en/museum/blikopeners
b) The Youth Advisory Council (YAC) of Modern Art Centre Gulbenkian (CAM), Portugal: YAC is an initiative aimed at integrating the perspectives and voices of young people into the institution’s strategy and programming. The main objective of this council is to engage youth in a collaborative dialogue with CAM’s team about the needs and interests of new generations, contributing ideas and suggestions that guide CAM’s programming, curatorial work, communication, and educational efforts. This collaboration allows young people to actively participate in decision-making processes, helping to shape the future direction of the center and fostering a closer, more meaningful relationship between CAM and its younger audiences.
More info: https://gulbenkian.pt/cam/projetos/imagina/conselho-consultivo-jovem-23-24/
c) Tate Collective Producers, UK: This is a young people’s group aged 15–25 that works regularly alongside artists, devises workshops, organizes events and exhibitions, for young audiences, at Tate St Ives, Liverpool and London. There’s no previous experience required.
More info: https://www.tate.org.uk/tate-collective/producers
d) Youth Program Sesc São Paulo: This is a programme led by teenagers and young adults, from 13 to 29, developed by the museum Sesc São Paulo. It brings together a series of actions designed by, for and with young people, such as festivals, courses, slams, etc. Deconstructing stereotypes and prejudices regarding young people and contributing to the development of youth potential are some of the objectives of the programme.
More info: https://www.sescsp.org.br/editorial/o-que-e-o-programa-juventudes-do-sesc-sao-paulo/
e) Polish Youth Association, Poland: This association strengthens the voice of young people by cooperating with organisations working for youth, and supports their participation in social life through the wider integration of the youth community. By organising various social programmes and campaigns, it implements initiatives that promote cultural education and engagement among young people.
More info: https://en.polishyouth.org/
f) DRUGAJANJE festival by Bunker, Sloveniad: Organized by Bunker, this festival brings vibrant contemporary performance art to younger generations and towns outside Ljubljana, where most of the national contemporary scene is concentrated. Unlike traditional youth-specific performances, DRUGAJANJE maintains a strong contemporary artistic profile, showcasing cutting-edge theatre and dance. Over the years, it has evolved into an internationally focused festival, emphasising process-oriented works that engage with local contexts and provide a fresh, dynamic cultural experience for youth audiences.
More info: Drugajanje – a short festival of contemporary art and dance
g) Generation to Generation (G2G), Slovenia: A youth-focused theatre programme by Glej Theatre in Ljubljana, launched in 2013 to address the lack of creative opportunities for young people. G2G empowers participants to independently explore themes relevant to their lives with guidance from professional mentors, ensuring productions reflect the voices of young creators. The programme fosters international cooperation through European projects, emphasises experiential learning, and removes barriers like auditions or fees, making theatre accessible to all. Its success lies in the youth-driven approach, which has consistently produced dynamic performances that resonate with both audiences and professionals.
More info: Glej, Gledališče – Generation to Generation
h) Kinotrip, Slovenia: A youth-led film initiative by Kinodvor, engaging young people (15–19) in curating and organising cinema experiences for their peers. The programme includes the annual Kinotrip International Film Festival, year-round film events, and the Kinotrip Film Club, where members select films and plan related activities like filmmaker discussions, workshops, and social events. Participants gain hands-on experience in film curation, production, and event organisation, fostering creativity and connection through cinema.
More info: https://www.kinodvor.org/en/kinotrip/
i) ITN, Festival of Engaged Writing by Vodnikova domačija and Institute 8th of March, Slovenia: The festival is curated and organised by young people (16+) and includes breakfasts with authors, a poetry exchange where young poets can choose a poet of their liking and prepare a public reading where they share the poetry with each other and the audience, performances based on literary works and organised roundtables. All events are hosted and prepared by the young people with support of Vodnikova domačija.
More info: https://itn-fest.si/
j) Radio Slovenija, Programme Ars, Podcast ‘Apples, Pears and Books’, Slovenia: In the podcast a high school student (15-19 years old) holds a conversation with a selected writer about their books or other topics. The conversation is held in an accessible and relaxed manner and offers a platform to engage with the field of literature in a curious way.
More info:https://ars.rtvslo.si/podkast/jabolka-hruske-in-knjige/173251517
k) Association of Culture and Education IMPRO, , Slovenia: This NGO supports young people in improvisational theatre, providing platforms for performances, summer camps, and training in performing arts, teaching, event moderation, and technical production. With over 80% of its members under 30, it ensures youth involvement at all levels of organisation, mentorship, and performance. Key programmes include ŠILA (School Improv League), an almost 30-year-old tradition, and ‘Bodi ga treba’, an educational programme focused on mentoring in safe and inclusive spaces.
More info:https://www.drustvoimpro.si/
l) Tantarantana, Spain: This is a centre for theatrical creation and performance that hosts and supports theatre companies and artists in order to allow them to develop their research and creation processes. It is a breeding ground for mutual understanding that works through a focus on youth, on the neighbourhood, the city and new audiences. The concept prioritises artists over products and emphasises the research of new theatrical and stage languages by constantly engaging in conversation with youth, the community and the social environment. A theatre that aims to provide support for the development and training of new talent. This is not just a place to showcase performances, but a centre for creation where new stage projects can be developed in a context of mutual understanding and trust.
More info: More info: https://ajuntament.barcelona.cat/fabriquescreacio/en/fabriques/fabrica-a-fabrica/tantarantana https://tantarantana.com/creacio-i-complicitats/projecte-comunitari-fabrica-creacio/embed/#?secret=9eDUPSE6Yu
m) Pop the Vote! Culture on the Ballot, EU (2023–2024): A Culture Action Europe project co-funded by the European Parliament, aimed at mobilising young Europeans for the 2024 European Parliamentary elections through culture. In 14 EU countries, 44 young artists and art students, called “Changemakers,” organised 103 cultural events, engaging over 46,000 participants. The project empowered young people to use artivism, audience engagement, and public campaigns to strengthen European democracy and inspire civic participation.
More info: Pop the Vote! Culture on the Ballot – Culture Action Europe
n) European Students’ Association for Cultural Heritage ESACH: The activities led by ESACH provide ‘a seat at the table’ for youth, as this umbrella association highlights strategies for empowering youth and newcomers in the field of cultural management. One can explore the findings of the ESACH network to learn from the research and campaigns on the type of skills development needed in order for young professionals to take over the heritage sector.
More info: https://www.esach.org
o) LGBTQIA+ inclusion in European museums − An incomplete guideline’: Alongside an overview of relevant policies, the guide presents scenarios and practical tips for making museums more respectful and welcoming places for LGBTQIA+ people, cultures, and history.
More info: https://www.ne-mo.org/fileadmin/Dateien/public/Publications/NEMO_report_LGBTQIA__inclusion_in_European_museums-An_incomplete_guideline_2024.pdf
p) Emancipated Spectator, Fábrica das Ideias, Centro Cultural de Belém (CCB), Portugal: Emancipated Spectator is an idea from Fábrica das Artes, Centro Cultural de Belém (CCB), which brings together a group of young people (15-18 years old) with the aim of selecting shows in order to build an autonomous cultural project. In order for the program to realize, plenary sessions are held, thematic debates and experimental workshops with a group of invited artists. Thus, in this club, young people and artists and their art come together; they discuss their languages and vocabularies; they participate in creative processes; they get to know what goes on behind the scenes; they question processes — their ways of imagining, inspiring, researching, creating, constructing, experimenting, choosing; they belong to a place; and they have a voice.
More info: https://www.coffeepaste.com/artigo/madalena-walenstein-e-o-espectador-emancipado/
2. Inequalities in Access to Culture
a) Habitar el Palacio, Mancomunidad del Valle del Jerte, Spain: This project was designed to revitalise the Palacio del Cerezal, an historic building that was underused. Through the active involvement of local communities, the space was transformed into a multifunctional cultural centre, providing a venue for artistic, cultural, and educational activities. The process was collaborative, allowing residents to contribute ideas and participate in initiatives that reflected their identity and local needs. The revitalisation fostered a sense of belonging and appreciation for community heritage.
More info: https://habitarelpalacio.wordpress.com/
b) Cultura con Acento, Galaxxia, Spain: Cultura con Acento is a cultural exchange programme that promotes mobility and collaboration between urban, peri-urban, and rural areas in Spain. The initiative focuses on enhancing both physical and emotional connections between these diverse territories, creating spaces for dialogue and shared experiences. By bringing together communities from different regions, Cultura con Acento fosters mutual understanding and highlights the unique cultural expressions of each area. Through collaborative projects, workshops and performances, the programme strengthens relationships between urban and rural populations, bridging gaps and promoting cultural exchange as a tool for social cohesion. More info: https://radio.lacasaencendida.es/programas/cultura-acento/
c) Harinera, Llámalo H, Council of Zaragoza, Spain: Harinera is a cultural project located in a former flour mill that has been repurposed into a community-run space. The project is rooted in participatory budgeting for culture, where both public administrations and intergenerational communities collaborate to fund and manage cultural activities. This initiative allows local residents to take part in decision-making processes about cultural programming and resource allocation, fostering a sense of ownership and empowerment. The project’s approach supports the development of cultural rights and promotes local culture by creating a space where the community can engage in diverse artistic and cultural expressions.
More info: https://harinerazgz.wordpress.com/acerca-de/
d) JOBO, Council of Madrid, Spain: JOBO is a public transport initiative designed to make cultural access more equitable by improving transportation options and implementing dynamic pricing. The programme focuses on providing affordable and accessible transport for residents to reach cultural venues and activities across the city. The dynamic pricing model ensures that cultural opportunities are accessible to all, regardless of economic status, and addresses the urgent need for public transport improvements. By making it easier for people to attend cultural events, JOBO contributes to expanding equitable access to culture in Madrid.
More info: https://www.madrid-destino.com/cultura/jobo
e) Rural Hackers, Spain: This project is aimed at empowering rural communities by providing digital resources and platforms that connect them to cultural and artistic opportunities. The initiative offers tools and training to help individuals in rural areas access information about cultural events, workshops and creative projects, which may otherwise be difficult to reach due to geographical isolation. By fostering digital literacy and enabling rural communities to engage in cultural activities, Rural Hackers bridges the gap between urban and rural cultural access, empowering individuals to actively participate in the cultural landscape.
More info: https://www.ruralhackers.com/
f) MON para Todos, Brasil: This is a programme developed by the Museu Oscar Niemeyer to expand access to the collection and linked activities, offered by the institution for people with disabilities. For people with blindness or visual impairment, the programme has subtitles in Braille, tactile models, audio guides, original sculptures and miniature replicas. The programme offers, by appointment, activities with translation into Brazilian Sign Language for people with hearing impairments. A specific service for people with autistic spectrum disorders provides a Sensory Accommodation Room, a space designed especially for neurodivergent people who need a reserved place, with reduced stimuli, in order to reorganise themselves during a possible crisis triggered by the visit.
More info: https://www.museuoscarniemeyer.org.br/en-us/educativo/programas/monparatodos
g) The Roundhouse, London, UK: This accessibility programme includes several services to ensure a genuine inclusion of people with disabilities in the venue. From architectural adjustments to resources like a visual guide, their commitment aims to make everyone’s experience more enjoyable.
More info: https://www.roundhouse.org.uk/visit/accessibility/
h) Invisible Painting, Art Discussion Series, by Wojewódzki Ośrodek Animacji Kultury, Poland: Winner of an ENCC 2024 Up Grants competition. Participants discuss famous paintings without using their sense of sight, but through other senses. This project was aimed at both visually impaired and non-visually impaired, thus enabling transgressive skills of multisensory and inclusive experiences of art.
More info:https://woak.pl/projekt/niewidzialny-obraz-seria-dyskusji-o-sztuce/?lang=en
i) Chorzów City Museum – From the beginning, Poland: This project marked a full transition toward inclusive participatory practices, led by the Metallurgy Museum in Chorzów. Focused on bridging the generational divide, the museum actively engaged with the youth of Chorzów, incorporating their ideas to create a dynamic, accessible, and interactive cultural space. Young people proposed making the museum an inspiring hub for knowledge and entertainment, featuring a simple permanent exhibition complemented by rotating temporary exhibits and interactive events such as workshops, debates, educational games, and competitions. Youth-driven suggestions included multisensory exhibition experiences with music, town sounds, tactile sensations like simulated rain, and technological innovations such as VR goggles. They also envisioned the museum as a creative meeting place where young groups could use the exhibition as inspiration for creating and showcasing artwork, photography, theatre, or music to wider audiences. This participatory model transformed the museum into a vibrant, youth-friendly cultural space.
More info: https://muzeumhutnictwa.pl/oddzial-od-nowa/
3. Inclusion vs. Hierarchies & Elitism
a) ArtMuseumTeaching.com: This is a digital community and collaborative online forum for reflecting on critical issues in the field of museums, including issues of teaching, learning, community engagement, equity and inclusion, social justice, and reflective practice. Defying a ranking of cultures and freeing oppressed cultural groups is at the core of their mission.
More info: https://artmuseumteaching.com/
b) MArteLive, Italy: This is an Italian and international network, “multi-artistic” and multidisciplinary festival that promotes different types of arts and cultural expressions putting them in the same setting and shaking the silos that create hierarchies.
More info: https://martelive.it/il-format/embed/#?secret=W6TuvTRtY8#?secret=VeygcNgD4C
c) SILO, Belgium: This is an historic Creative Europe project that aimed at making foreign European literature accessible for everyone, especially for groups that do not normally come into contact with such literary works. The participatory approach is interesting whereby the project involved different groups of citizens (refugees, hospital patients, young adults, prisoners, secondary school students, elderly people), organising events within the daily contexts of these groups and creating situations where everyone could take on the role of writer or storyteller.
More info: https://www.warande.be/pQkPrI8/europees-project-silo
d) Future Generations Lab, Leuven, Belgium: The Lab actively engages with young people (aged 17-27) to explore their talents, both in the present and future. A dedicated advisory board, with 10 youngsters actively involved in Leuven’s youth initiatives, collaboratively shapes the future. The town hall serves as the central hub and base from which we envision and shape the city of tomorrow. Within its walls, we seamlessly connect the present with the past and the future. By 2029, it is set to transform into an open house, welcoming Leuven residents, visitors, and tourists alike. A space where stories of the city come to life, encouraging contemplation about the future.
More info: https://www.fti-and.be/en/festival/future-generations-lab-future-fusion
e) European Emerging Ensembles, Ambronay Centre Culturel de Rencontre, France: This initiative brings together a remarkable historic monument and a cultural project based around a music festival. Ambronay is dedicated to artistic creativity, public engagement, research and the development of young talent. Through its renowned early music festival, Ambronay has developed an ambitious programme to support the professional inclusion of young creative artists (notably with its emerging artists project ‘European Emerging Ensembles’). The centre encourages participation by amateurs and public engagement with culture in a rich heritage setting. It also forges links between culture, tourism and the economy, with the introduction of a business club and a conference centre, and manages its own record label, Ambronay Editions.
More info: https://www.accr-europe.org/en/network/Members/ambronay-ccr
f) Trans-Inclusive Culture Guide, UK: Trans-Inclusive Culture: Guidance on advancing trans inclusion for museums, galleries, archives and heritage organisations is an ethical guide created by the University of Leicester’s Research Centre for Museums and Galleries (RCMG), working with a team of legal scholars and experts in inclusion, equality and ethics, regarding developing more inclusive museums for trans people. The guidance includes a series of scenarios with practical strategies and solutions designed to build skills, knowledge and confidence for anyone working in this area.
More info: https://le.ac.uk/rcmg/research-archive/trans-inclusive-culture
g) How to be Many? Belgium: How to be Many? is the key question for programming in the Kaaitheater, Brussels, since 2019. When Agnes Quackels and Barbara Van Lindt took over the artistic direction of the theater, they also made a commitment to having a many-voices theater. “How can we become inclusive from within our factual diversity? How does that translate into ways of being managers and making artistic choices?” were some of the questions they asked themselves. Since then, driven by the question “How to be many?”, Kaaitheater explores new strategies for participation and mediation.
More info: https://kaaitheater.be/en/about-us
h) Iminente Festival, Portugal: With a strong social and inclusive mission at its heart, the festival seeks to create a space where people from all walks of life can come together to connect, share, and celebrate diversity. Through music, art, performance, and dialogue, Iminente fosters a sense of belonging, inviting individuals to experience the richness of different cultures and perspectives. The festival goes beyond traditional entertainment, actively promoting social cohesion and inclusivity by ensuring that artists and audiences from diverse backgrounds are represented and valued. Whether it’s through workshops, collaborations, or open discussions, Iminente provides a platform for underrepresented voices and talents to shine, making it an accessible and welcoming experience for all.
More info: https://www.festivaliminente.com/
i) MAV equality tool, Spain: Since 2003 this group has been developing state, European and international projects that include gender equality, social justice and art therapy as a way of psycho-emotional inclusion. These include projects such as: Divercity, a project on art and diversity in the museum and the city for young people; Power, a project on gender, power and empowerment through art (https://www.explorepower.eu/); Aletheia, an Art, Arts Therapies, trauma and emotional memory project (https://www.ucm.es/aletheia/que-es-aletheia); Brundibar, creative process and art therapy as a way of well-being in the face of trauma in childhood and adolescence. (https://www.ucm.es/brundibar/).
More info: https://www.ucm.es/eartdi/el-grupo
j) Women Change Museums, Ministry of Culture, Spain: From the memory of the object to the memory of women. The 16 State Museums dependent on the General Directorate of Cultural Heritage and Fine Arts of the Ministry of Culture, Spain, are the setting for video-letters produced by women in order to recover hidden memories, sometimes illuminating great female creators and, at other times, noting anonymous creative figures who are everyday but nevertheless vital, and inexplicably removed from textbooks. The video-letters recover the capacity to create a link between the sender and the addressee. And they do so through the cultural heritage housed in museums, through objects which, because of their historical belonging and symbolic value, have the capacity to unite past, present and future, linking in this case the knowledge, voices and experiences of diverse women. In this way, those threads that were interwoven and made invisible by the androcentric viewpoint are now recovered. These video-letters are a powerful inspiration for a renewed interpretation of heritage from a gender perspective.
k) EMPOWER, Spain: This organisation operates in the field of mediation and cultural education, driving actions, methodologies, and practices aimed at transforming cultural institutions into more inclusive, equitable, and diverse spaces. It develops training programmes and initiatives designed to foster a new institutional vision. Furthermore, it creates collaborative links between universities, cultural institutions, communities, and social entities, with the goal of sharing knowledge and increasing the impact of its actions.
More info: https://www.empower.org.es
l) The ŠILA, improvisational theatre programme, Slovenia: This programme with its wide network, provides access to theatre creativity to high school students, and educates young mentors, producers and other theatre creators. It also provides inclusive theatre and transdisciplinary projects (e.g. Everything is fine, Shame on you!), which are artist-led works with high-school students within the framework of the European project ConnectUp of the Ljubljana Puppet Theatre, Radio Študent programme, specifically their yearly educational programmes providing professional training for speakers, technical staff and young journalists. Also included is the educational programme of the Kersnikova Institute RampaLab, which trains young mentors and intermedia artists to facilitate workshops for children.
More info: https://www.cd-cc.si/en/culture/theatre-and-dance/sila-grand-final-2425
4. Digital Culture and Ethical Challenges
a) EducaMidia, Brasil: This media education programme was created to train teachers and educational organisations, along with societal engagement in media education for young people, developing their communication potential in different formats. The programme actions focus on giving agency to young people and making them feel empowered to navigate different media.
More info: https://educamidia.org.br
b) Teaching AI in School, Piauí / Brasil: The public school network in the state of Piauí, started teaching AI to their students. Most of the teachers come from different backgrounds and connect the teachings to their landscape, encouraging students to think critically and to take advantage of this kind of technology. In a television report made by Globo Repórter, students, teachers and parents tell how they learned to be ahead of AI.
More info: https://www.pi.gov.br/noticia/unesco-reconhece-piaui-como-primeiro-territorio-nas-americas-a-implementar-o-ensino-de-inteligencia-artificial-na-educacao-basica
c) Público na Escola, Portugal: This is a media education project founded by the daily newspaper Público. It started in 1989 and, since the beginning, it has been focused on supporting the production of school newspapers as a way of understanding the media from within. The motto is “learning to do by doing”. Through digital tools, it promotes encounters with other people outside bubbles, teamwork and critical thinking.
More info: https://www.publico.pt/publico-na-escola
d) Ethical AI Alliance: The Charter of AI Ethics is the first of its kind, a non-profit alliance of leading tech companies, academic institutions, and advocacy groups, united by a commitment to ethical AI development. One of their priorities is community engagement, which resonates with this Addendum. . More info: https://ethicalaialliance.org/charter
e) Action Group on Digital and AI: Culture Action Europe and Michael Culture Association launched this advocacy group in order to bring a more ethical approach to EU digital policies, from the perspective of the cultural and creative sectors. Their Mission Statement is available here.
f) ENCC Digital Ethics Working Group: This group, convened by the European Network of Cultural Centres, gathers to discuss and develop strategies to implement more ethical and sustainable digital tools in their daily work as cultural organisations. One of the first results of these discussions has been a paper illustrating ways for cultural institutions to begin their own journey in this domain.
More info: https://encc.eu/articles/digital-ethics
5. Working Conditions of Cultural Workers
a) Gravedad 13, Galaxxia, Spain: This is a project focused on providing young people with an opportunity to begin their careers in the cultural sector through internships and volunteer work. It also highlights the importance of regulating these opportunities to prevent the exploitation of young workers. The initiative advocates for fair compensation, mentorship, and a structured framework to ensure that emerging professionals are not subjected to unpaid or unregulated labour. By addressing the challenges young cultural professionals face, Gravedad 13 calls for proper regulation and protection for youth entering the cultural workforce.
More info: http://wiki.galaxxia.org/index.php?title=Gravedad13
b) A música dá trabalho, Portugal: The ‘Music means Work’ project title highlights the double meaning of the original Portuguese phrase, as music both requires effort and dedication to create, and generates employment opportunities across various roles in the industry. Through showcases in schools the project aims to familiarise school audiences with the whole process that goes into putting on a musical show, from the creation of the material to the concert. From the lighting technician to the social media manager, from the sound engineer to the stage assistant, from the composer to the agent, there are 22 characters who guide the students in discovering who does what before the music reaches their ears, as well as outlining their career opportunities and working conditions. All students receive a copy of the book ‘Music Means Work’, with descriptive texts and graphic illustrations.
More info: https://omnichord.pt/a-musica-da-trabalho/
c) Youth work: This is a broad term covering a wide variety of activities of a social, cultural, educational, environmental and/or political nature by, with and for young people, in groups or individually. Youth work is delivered by paid and volunteer youth workers and is based on non-formal and informal learning processes focused on young people and on voluntary participation.
More info: https://www.coe.int/en/web/youth/youth-work
d) EU Diversity Self-Assessment Tool, European Union: This is an EU initiative designed to promote diversity and inclusion in cultural institutions by monitoring whether the rights of workers are being respected. This tool is part of a broader strategy to ensure cultural workers’ rights are protected and to provide legal support for emerging artists and cultural professionals. By allowing institutions to self-assess their adherence to diversity and workers’ rights, the tool facilitates an ongoing evaluation process and encourages accountability within the sector.
More info: https://monimuotoisuusarviointi.fi/en/ e http://eudiversity2024.eu/eu-diversity-self-assessment-tool/
e) Estatuto del Artista, Ministerio de Cultura de España, Spain: The Estatuto del Artista is a legal framework created by the Spanish Ministry of Culture to grant artists and cultural workers a specific status that recognises their contributions to society and ensures they have access to social protections and financial support. The statute includes measures such as tax relief, social security benefits, and financial support for creative processes. This legal recognition provides cultural workers with the necessary protections and resources to pursue their careers sustainably and with dignity.
More info: https://www.cultura.gob.es/destacados/estatuto-del-artista.html
f) Programa Emplea Cultura, Fundación Banco Santander, Spain: Initiatives developed by Fundación Banco Santander aim to build a more equitable, inclusive, and sustainable society. These initiatives are grouped into three key areas: promoting culture as a tool to understand the world around us, social action to support vulnerable groups, and fostering higher education, employability, and entrepreneurship to drive progress for individuals and businesses. Within its cultural area, Fundación Banco Santander offers the Santander Emplea Cultura Program, which aims to create employment opportunities for young professionals in contemporary culture and help cultural organisations grow sustainably. The programme is carried out through regular calls, including one for organisations seeking to fill positions within their structure, and another for candidates applying for these positions.
More info: Santander Emplea Cultura | Fundación Banco Santander
g) Fair Practice Code, Netherlands: A code of conduct developed by the Dutch cultural sector to ensure fair pay and working conditions for artists and cultural professionals, promoting transparency and sustainability in the arts.
More info: https://www.beroepkunstenaar.nl/en/tools/faqs/faq-what-is-fair-practice/
h) Young Creatives, Barbican Centre, London, UK: This is a Barbican Centre programme providing talent development opportunities that give 16 to 29 year olds the skills and confidence needed to progress in today’s creative industries. More info: https://www.barbican.org.uk/take-part/young-creatives
6. Cultural and Arts Education
a) The National Plan for the Arts, Portugal: This is a Portuguese government mission structure with a time horizon of 2019-2029 under the tutelage of the Ministry of Culture and the Ministry of Education, Science and Innovation. It includes partnerships with local government, private organisations and civil society, to give the arts and heritage a central place in lifelong learning, thereby reducing inequalities of access. The mission of the National Plan for the Arts is to promote social transformation by mobilising the educational power of arts and heritage in the lives of citizens: for everyone and with everyone. The main objectives are to guarantee citizens’ access to the arts and cultural production, to expand culture and art education and to promote the integration and sharing of cultures.
More info: http://www.pna.gov.pt
b) PLANEA, Spain: This is a state art and education network which develops projects in public schools, whereby the arts are empowering learning places for empathetic, liveable, democratic development, and are able to fully address the challenges of our societies.
More info: https://redplanea.org/
c) Escuelita para Boomers, Spain and Italy: This is a pedagogical methodology that transforms traditional learning through community workshops, blending artistic education with other disciplines. Its goal is to understand how young people navigate the eco-social crisis and how to support them more consciously. The programme reverses traditional generational roles, with young people designing the curriculum and methodologies for adults. It operates in two stages: (1) a group of teenage volunteers, supported by a mediation team, creating a school programme for adults; and (2) adult educators, families, and caregivers assisting young participants in the school programme designed by adolescents.
More info: Hamacaonline | projects | ESCUELITA PARA BOOMERS. Pautas para un proyecto de educación invertida sobre salud mental y justicia ecosocial en Vallecas (ES) y San Siro (IT)
d) Deslizar, Prado Museum, Spain: Deslizar is an initiative developed by the Museo del Prado that focuses on fostering collaboration between educational and cultural institutions through the use of cultural mediators. These mediators serve as relational agents who facilitate communication and exchange between institutions, teachers, artists, and students. By improving accessibility and promoting diversity in the learning process, Deslizar ensures that students can engage with art and culture in a way that is educational, meaningful, and inclusive. This project helps bridge the gap between the formal education system and cultural experiences, offering a platform for students to learn in an interactive and dynamic environment.
More info: https://www.museodelprado.es/recurso/deslizar-23-24/ee78d910-33ff-4589-ba7e-8a2a49a373a9
e) Studio 13/16, Pompidou Centre, Paris, France: This is a space designed within the Pompidou Centre exclusively for young people. It is committed to helping teenagers discover creativity, and demonstrating that cultural spaces are also great for socialising, having fun and sharing experiences. The activities happen inside the museum (workshops, debates, concerts and masterclasses with contemporary artists) as well as in schools and other cultural spaces.
More info: https://www.centrepompidou.fr/en/visit/children-and-families/studio-13/16#8652
f) PECA, Belgium: PECA (Parcours d’Éducation Culturelle et Artistique) is a digital platform designed to connect schools with local cultural experiences. This “matchmaking” platform allows educators to browse and choose cultural activities that align with their educational goals, offering a wide range of options from local and regional institutions. By providing easy access to relevant cultural programming, PECA ensures that students are exposed to a variety of cultural experiences, enriching their education and fostering deeper connections with the arts and culture in their communities. The platform makes it easier for schools to find, select, and partner with institutions that best fit their curricular needs.
More info: https://www.peca.be/peca-english/
g) UCL Museum Wellbeing Measures Toolkit, UK: This resource has been developed by University College London to assess the emotional and sensory impact of cultural experiences on students, particularly in museum settings. This toolkit encourages a shift in how success is measured in cultural education, focusing not just on grades or quantitative data but on the personal and emotional growth of students. By evaluating students’ experiences based on their levels of joy, curiosity, and engagement, this approach highlights the importance of personal well-being and sensory development as key outcomes of cultural education. It underscores the value of fostering a holistic learning experience that goes beyond traditional assessments.
More info: https://www.ucl.ac.uk/culture/sites/culture/files/ucl_museum_wellbeing_measures_toolkit_sept2013.pdf.
h) Arts Award, UK: A programme that encourages young people to grow as artists and arts leaders, offering qualifications that recognise their development in the arts and creative sectors. More info: https://www.artsaward.org.uk/site/?id=64
i) Youth Exchange Center (YEC), Poland: YEC is an international organisation established in 2002 that provides services in education, cultural exchange, trainee programmes, volunteer work experiences, and travel tourism. The Cultural Exchange Programme offers opportunities for participants to share their native language and culture with local communities, fostering greater international understanding and cultural awareness. More info: http://yec.pl/about-yec/
j) Foundation “Music is for everybody”, Poland: This focuses on the obligation, opportunity and path to building the creative capital of the local community. Creativity, innovation and the ability to cooperate are features that are necessary for Polish society. A proven path to achieving this is artistic education in school, which is part of a local cultural education programme. In order to develop a strategy in this area, it is necessary to engage municipal cultural institutions, educational institutions and non-governmental organisations. Their cooperation should be based on three assumptions: actions based on public-private partnership serve to fill gaps in school education; cultural institutions join the programme and offer new forms of educational activity; cultural education is focused on building a local identity, increasing the level of identification residents develop with the commune or housing estate.
More info: https://www.muzykajest.pl/
k) The Cultural Bazaar, Slovenia: This serves as a national crossing point for culture and arts education. It brings together and connects educational institutions, cultural institutions, and cultural professionals. The project is initiated and organized by the Ministry of Culture, the Ministry of Education, and the National Education Institute of Slovenia. The executive producer is Cankarjev dom Ljubljana. The project is carried out in collaboration with over 300 professional cultural institutions and cultural workers active across all areas of culture. The Cultural Bazaar platform serves as a comprehensive information point for the entire national project. It provides updates on culture and arts education, as well as information on related websites and projects (Golden Wand, Kinobalon, The Golden Pear Label). It includes an online catalogue of culture and arts education programmes. Each year since 2009, Cankarjev dom Ljubljana provides the venue for the Cultural Bazaar, a one-day national professional training event, aimed at teachers and other education staff and cultural workers, as well as students and the wider specialised public. Since 2017, the Cultural Bazaar national professional trainings have been held biennially in one of Slovenia’s regions. Since 2014, the project has focused on developing a National Network of Arts and Cultural Education Coordinators. This network connects educational institutions, cultural organisations, and local communities.
More info: https://kulturnibazar.si/en/
l) Creadores EN RESiDÈNCiA, Spain: Since 2009, the Barcelona Institute of Culture (ICUB) and the Barcelona Education Consortium (CEB) have been running Creators EN RESiDÈNCiA in Barcelona secondary schools. This pioneering programme introduces contemporary creation into public secondary education through direct and continuous interaction between a creator and students. EN RESiDÈNCiA, designed in collaboration with the Associació A Bao A Qu, invites artists to conceive a work specifically designed to be developed alongside a group of secondary school students (ESO). Throughout the academic year, and as part of the regular school schedule, students participate in the conception and creation of the artwork. The creators engage in the schools as authors, developing their own work, while transmission happens primarily through participation, dialogue, and direct interaction with the artwork and its creator. Reflection and analysis are also essential components of the learning process, and in order to document and share these, blogs have been created.
More info: https://www.enresidencia.org/es
m) ‘Cinema en curs’, Spain: This is an educational programme that introduces children and young people to cinema as art, creation, and culture, while exploring its educational potential. The programme brings filmmakers into schools to lead workshops during school hours, working closely with teachers to connect creative practices with film viewing. By integrating cinema into the curriculum, the initiative also provides teacher training and serves as a research laboratory, where workshop experiences are analysed to develop methodologies and materials adaptable to various educational contexts.
More info: https://www.cinemaencurs.org
n) The Charter of Arts in Education Catalunya, Spain: The Charter emerged from the Forum of Arts in Education, held on April 1-2, 2022. This document seeks to promote the integration of the arts into the education system, recognising their crucial role in the holistic development of students. The Charter underscores the importance of incorporating artistic practices into school curricula, fostering creativity, critical thinking, and cultural expression among young people. It also highlights the need for collaboration between cultural and educational institutions to ensure equitable access to artistic experiences, regardless of students’ socio-economic backgrounds. By implementing its proposed guidelines, the Charter aims to make the arts an essential component of education, contributing to the formation of more culturally engaged and socially conscious citizens.
More info: https://drac.cultura.gencat.cat/bitstream/handle/20.500.12368/31061/FAE_carta_EN.pdf?sequence=6&isAllowed=y
o) The Barcelona Culture and Education Action Plan, Spain: This is a strategic vision aimed at strengthening the relationship between culture and education in the city. This plan promotes the integration of cultural activities into educational environments, emphasing equal access to artistic and cultural experiences for all children and young people. The document focuses on fostering creativity, participation, and critical thinking through cultural initiatives and collaboration between schools, cultural institutions, and community organisations. It highlights the importance of education as a driver for cultural democratisation and the arts as a tool for personal and collective growth. Through structured programmes and innovative approaches, the plan aims to make cultural education a core part of learning, ensuring that all citizens, regardless of their background, have the opportunity to engage with and benefit from Barcelona’s vibrant cultural life.
More info: https://www.barcelona.cat/barcelonacultura/sites/default/files/carpeta_mg_culturaeducacio_plaaccio_af_hr.pdf
12 th March, 2025
Authors
Alex Martínez
Anabela Conceiçao
Andrea De Pascual
Anis Oepkes
Carolina Franco
Catherine Stilmant
Clara Passarinho
Inês Câmara
Inês Carvalho Costa
Jade Aura Nunes
Karolina Rozek
Lígia Afonso
Marco Fiore
Miguel Santos
Muriel Lima
Pedro Manuel Colaço
Sara Brighenti
Urša Strehar Benčina
With the contributions of
Ana Petrovčič
Belén Soto Cachinero
Carlota Quintão
Catarina Figueredo
Corine Szteinsznaide
Edwin van Meerkerk
Gemma Carbó Ribugent
Julia Pagel
Katarina Gorenk
Kim Komljanec
Lígia Ferro
Luiza Moroz
Magdalena Różycka
Margarida Fragoso
Maria de Assis Swinnerton
Marián López Fernandez-Cao
Marine Sonet
Maud Ntonga
Milda Laužikaitė
Miruna Găman
Nada Požar Matijašič
Natalie Giorgadze
Nataša Bucik
Noa Brighenti
Patrícia Paixão
Paulo Pires do Vale
Piotr Knaś
Piotr Michalowski
Sarah Lockhart
Sergi Díaz Plaza
Stefan Gies
Telma Pereira
Úrsula Mendoza Balcázar
Promoters
National Plan for the Arts – Ministry of Culture and Ministry of Education, Science and Innovation – Portugal – with:
LIDA — Laboratory in Design and Arts/ Caldas da Rainha School of Arts and Design
UNESCO Chair in Arts and Culture Management, Cities and Creativity of the Polytechnic University of Leiria
OEI — Organisation of Ibero-American States
Municipality of Loulé
Co-Producers
UNESCO
Federal Ministry of Austria, Arts, Culture, Civil Service and Sports
Creative Scotland and the National Lottery Home
Culture Institution of the Małopolska Region
Kunstbende Holland
Latvian National Centre for Culture
Ministry of Culture of the Republic of Estonia
Ministry of Culture of the Republic of Slovenia
Parcours d’Education Culturelle et Artistique, Fédération Wallonie-Bruxelles
Calouste Gulbenkian Foundation
Daniel and Nina Carasso Foundation
Fondation des Sciences du Patrimoine, University of Bucharest
Jedność Foundation
European ACEnet Network
European Network of Observatories in the Field of Arts and Cultural Education (ENO)
Network of Cultural Centres (ENCC)
MCA Network
The Network of European Museums Organizations (NEMO)
Mazovia Observatory of Culture, The Mazovia Institute of Culture
School of Educational Sciences, Tallinn University
Radboud University Nijmegen
Complutense University of Madrid
University of Edinburgh, College of Art
University of Porto
A3S
Article 27 Région du Centre
Central La Louvière
Centro Cultural e de Congressos das Caldas da Rainha
Camões High School
Comédias do Minho
Espace Jeune Binche
Forum des Jeunes
Galaxxia
HAMACA
Heritageeks
Iminiente Festival
Jagora
Kūrybinės Jungtys (Creative Connections)
Maison des Jeunes Soignies
Mapa das Ideias
Michael Culture Association
Mj Soignies
Municipality of Ljubljana
Municipality of Lisboa
Pedagogías Invisibles
Pionirski dom Centre for Youth Culture, Eslovenia
ULB Engagée: L’IRAQUI
Youth Empowerment Participation
General coordination of the Young People’s Addendum
Sara Brighenti – Plano Nacional das Artes
Editon and translation
Julie Ward
Maria João Nunes
Úrsula Mendoza Balcázar