59th Trans Europe Halles meeting - 5-8th May. Buenaventura, Castelfranco Veneto, Italy.

<big>"The DNA of Independent Cultural Centres"</big>

 An Independent Culture Centres Guide to Art, Community, Buildings,
Finance, Politics, Structures and Everything!

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Here are the five **WORKING GROUPS**


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 <big><big>"A - Role and worth of a cultural centre":WorkingGroupA</big></big>

  See the [Working Group A] web page for more info

  Role and worth of a cultural centre in the community. 
  What is the commitment of a cultural centre to the community of where it is active? 
  What does a cultural centre WANT to do, what CAN it do, what SHOULD it do?
  Linked to territory and public space.

  Group leader: 

   <img src="sandy_picture.jpg" /> 
   **SANDY FITZGERALD** ("City Arts Centre":http://www.cityartscentre.ie, Dublin)


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 <big><big>"B - Architectual solutions":WorkingGroupB</big></big> 

  See the [Working Group B] web page for more info

  What architectural key features should be considered when building 
or renovating a cultural centre? Where do you start? What needs to be taken into consideration? What is important in contact with the architect and the building developer? What is required for a space to be suitable for cultural activities?

  Group leader: 


    <table>
<tr>
 <td>
  <img src="sigrid.jpg" />
 </td>
 <td>
   <img src="junction_robin.townley.jpg" /> </td>

</tr>
<tr>
 <td>
**SIGRID NIEMER** ("Ufa-FABRIK":http://www.ufafabrik.de, Berlin)
 </td>
 <td>
**ROBIN** ("The Junction":http://www.junction.co.uk, Cambridge)
 </td>

</tr>

</table>

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 <big><big>"C - Involving people":WorkingGroupC</big></big>

  See the [Working Group C] web page for more info

  Tips and tricks how to get the people involved – volunteers.  How can you get the people involved –both volunteers and employed? How can you make people enthusiastic, particapatory? Should there be rewards for voluntary work? Can we find new ways of employing people? How do you you involve the community, the neighbours and the people in your surroundings? Is it necessary for a culture centre to develop into a more professional structure? Is it inevitable?

  Group leader: 

  
  <img src="natasa.jpg" />
  **NATASA SEREC**  ("Metelkova":http://www.metelkova.org, Ljubljana)


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 <big><big>"D - Relations with public institutions":WorkingGroupD</big></big>

  See the [Working Group D] web page for more info

  How can you relate to public institutions (primarily the municipality), establish cooperation and handle conflicts? How to convince these bodies - go to confrontation or negotiate? Use the press, community and try to make a scandal or win the politicians on your side? What would be the long term strategies and the short term strategies? 

  Group leader:  

   <img src="andrea 083.jpg" />
   **ANDREA GANCS** ("A38":http://www.a38.hu, Budapest)


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 <big><big>"E - Fundings":WorkingGroupE</big></big>

  See the [Working Group E] web page for more info

  Where can a cultural centre find other sources of income than public funding? How can you earn money when public bodies wont support you? Creative ideas about membership cards, wardrobe etc...

  How can you create a control system for the flow of money in the venue that doesnt diminish the trust and confidence that is built up between the volunteers?


  Group leader: 

   <img src="Junction_Paul.Bogen.jpg" /> 
   **PAUL BOGEN** ("The Junction":http://www.junction.co.uk, Cambridge)


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Common Documents for all working groups:

 [Instructions on how to use the mailing list]

 [Concept for Buenaventura meeting] presented at the Berlin-TEH meeting

 [Task for the group leader]

 [Proposal of time plan before the meeting]

 [Time plan at the meeting]

 [General tendencies in Italy] By Elena di Stefano (work in progress)

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