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Festivals and COVID-19
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Festivals and COVID-19

9 April 2020

Moving, modifying or cancelling? That is the choice many festivals that would take place in the coming months have come to face, as a result of the measures to combat the COVID-19 outbreak. We spoke to the organisers of two festivals supported by the Creative Industries Fund NL about the decision they made, the alternative they developed and about the future.
From 1 to 5 April 2020, Plokta festival would have fully focused on issues of online identity, privacy, desire, technological progress and social happiness. Founder and director Jurian Strik and his team spent a lot of time developing the festival's multidisciplinary programme, in which films are the binding factor. 'That Plokta needed to be postponed was a slowly growing realisation,' he says. 'But when measures were announced that would initially apply until 1 April, but as it's turned out will take much longer, it was clear to me. 1 April was the starting date of the festival. Although some people were still optimistic, we felt it was too much of a gamble as an organisation and we decided to move Plokta. ”

Director Ton van Gool also postponed his festival. STRP, the Eindhoven festival around the relationship between man, experimental technology, society and the future, would've also taken place in the first week of April. Ton van Gool: 'On 12 March, immediately after the Prime Minister's press conference, we decided to move STRP. We had set up a corona team internally a week earlier, a team that collected all the information and thought about safety, measures and possible consequences in advance. We had to decide quickly because we were three weeks away from the start of STRP Festival and a large team of freelancers was working for us. In Brabant we had seen the enormous impact of the virus earlier in than in the rest of the Netherlands. Because of this, we were able to make a clear decision quickly.'

Switch
But moving a festival is easier said than done. Organisationally, substantively, financially and mentally, such a decision has a big impact. Ton van Gool: 'Following our decision, all the people involved, i.e. artists, staff and relations, were informed and after that we sent out a press release. A day later we started to draw up an action plan and we quickly regrouped and focused our gaze forward.

Jurian Strik mainly dealt with the situation in a constructive manner. 'We have a problem and we are going to fix it, was my reasoning. We immediately focused on what was still possible. Fortunately, the funds that support Plokta and our partners were very benevolent. A number of acts and locations also agreed to be moved, for which I am very grateful.
Ton van Gool explains how he took action with the 'corona team': 'We focused on three things: How can we work safely and efficiently in the coming period, what are the financial, substantive and organisational consequences, and what does our plan B look like? It was immediately clear that we would no longer be meeting live at the office. Everyone installed Teams so that we could have discussions and plan everyone's activities effectively. Initially we spent some time looking at how we could make discussions effective, but also at how we could be social and compassionate from a distance. Nobody doubted the correctness of the decision, but of course there was a lot of disappointment, frustration, powerlessness and sometimes anger, and we also had to find a way for that.'

online programme
STRP Festival's Plan B focused on both the short and the long term, up to summer and starting summer, respectively. 'Within a few days we knew that we could and wanted to offer an online programme until the summer. The main question was: What (in our opinion)works online and what doesn't work?', says Ton van Gool. 'Switching energy was very difficult: the high and positive adrenaline level of three weeks before the festival gave way to hard work on damage control, quickly scaling down the organisation and uncertainty about the near future. That is why it was nice to set up the online festival simultaneously. We did that with enthusiasm and it also gave renewed energy. It offered the opportunity to still have contact with our audience and provided a fresh look at the future, in which more possibilities unfolded besides 'physical' programming.'
For Plokta online programming was developed as well. Jurian Strik: 'Doing nothing would have been very skimpy. And in the development phase we had already wondered whether Plokta could be more than a festival. I was able to fall back on an idea we had already played with, namely a TV channel. Still, it was a gamble to develop alternative programming. Would the makers feel like doing that? And was the audience asking for that? Via a chain mail and social media, we called for films to be submitted that we could show on our channel from 1 to 5 April. I had modest expectations; I would have been very happy with 18 entries, but we received 48. Organisationally we were able to take good care of it. Technically, the implementation was manageable and everyone in the team was able to contribute.'
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Besides the enthusiasm of the participants, Jurian Strik was also surprised by the interest of the audience. 'The responses we received were very positive. People watched Plotka TV on several days, for several hours. The combination of films, an atypical selection, was very much appreciated. We showed films from different genres, both new and old. I also think that our extensive preparation paid off here. We spent a lot of time thinking about the programming of the festival. But in this open call, the curatorial view had to be switched off, there was not enough time for that. We were surprised that all but one of the entries fit very well within the theme; we could also conclude from this that the profile we outlined had been understood.'

Ton van Gool also has a positive view. On 2 April, STRP started the live stream 'STRP Scenario #6' and on 3 April, the audience was able to participate in a four-hour audio live stream that was produced together with Ja Ja Ja Nee Nee Nee. Six artists / musicians made special compositions for this radio broadcast. Analysing the range, he can conclude the following: 'The online programming shows that we have a larger (national and international) reach than with offline programming. We now reached participants from 33 countries, something that has never happened before with offline programming. For two lengthy live productions, we scored above average on the socials. The engagement was high, and a wide audience has been actively involved in the content we have shared.'

future
Ton van Gool sees online programming mainly as added value. 'It is a very good and interesting addition to the physical festival but can never completely replace it. What is possible is to develop a programme that is 100% geared to online use. For such an online programme, you develop a different concept, a different form in which you adjust the moderation and perhaps opt for a different length, and in which you use more custom-made videos.' Ton van Gool is currently examining which parts of the programme may still be presented later this year. The 'STRP Scenarios' will be partly realised online and partly offered physically as part of the STRP annual programme. The music and performance programme is cancelled.

Jurian Strik sees online programming as an intermediate step that has been taken with the use of minimal resources. 'As for the audience, followers and contacts that it yields, it will not achieve the form that was intended for the festival. But the fact that we have done this gives a good feeling we are taking with us into the puzzle that we still have to piece together for the new edition. '

response Creative Industries Fund NL
'The Fund wants to continue thinking with festivals about the future,' says director of the Creative Industries Fund NL, Syb Groeneveld. 'It is great to see that many festivals show so much resilience in this crisis and are so occupied with the future. Right away on 12 March, the Creative Industries Fund NL introduced a grace policy for the festivals we support that were affected by COVID-19. We are now in dialogue with all of them about how we look at all the substantive, organizational and financial changes to the festival and if possible, how we can offer continuity for the organization. That is quite a challenge in which, as a fund with the limited resources we have, we will endeavour to minimise the negative impact of COVID-19.'

Read more about the Creative Industries Fund NL's measures regarding the COVID-19 outbreak here.

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Fund takes measures due to the coronavirus

27 May 2020
Last update

The COVID-19 crisis is affecting and disrupting society as a whole, and its consequences will be felt worldwide for a long time to come. The aim of the Fund is to contribute to reducing the impact on the Dutch design sector. We will therefore continue to process and evaluate applications for all the grant programmes (with the exception of applications for projects physically taking place abroad). For applications you submit to the Fund from April 2020 onwards, the advisory committee's evaluation is based on the assumption that the reality of COVID-19 has been taken into account in the plans, as far as possible.

In addition, we are in constant consultation with the government, fellow cultural funds and the field so that we can take appropriate measures. The paragraphs below set out all the measures being taken by the Fund.

adapting the working method of the Fund and advisory committee
Since the beginning of April 2020, there has been a very substantial increase in the number of applications for the Fund's grant programmes and open calls. The quality remains as high as ever, which means that the advisory committees will have to make very difficult choices and will probably have to prioritize in each application round. For the same reason, as of 23 April, it will not be possible to submit draft versions of applications to staff members for advice. Specific questions about the procedure, budget or a project plan can be sent to the Fund by e-mail. You can find the correct contact details on the page of the relevant grant programme.

accommodating approach: supporting measures for makers, institutions and festivals
With regard to projects currently being supported that are dealing with the consequences of the coronavirus, the Fund is taking an accommodating position. This means that postponement (up until the end of 2021), modification, relocation or cancellation of the project will in principle be accepted. This also applies to the reimbursement of obligatory costs already incurred and eligible for subsidy if the project can no longer be carried out. The Fund will not compensate the loss of income of freelancers in connection with hours still to be worked within a subsidized project that is no longer being carried out. For this, we refer you to the government's additional support for people who are self-employed on this page.

The following is applicable:
• If your event or project has been definitively cancelled or rescheduled, please inform your contact person at the Fund by e-mail.
• If you receive an automatically generated message from the Fund about final accountability, but your event or project has been cancelled or rescheduled, please e-mail your contact person to let them know.
• You do not need to contact the Fund if there is any doubt about whether or not your event or project will go ahead. You should only e-mail your contact person in the event of a definitive cancellation or rescheduling.

€ 300 million extra for culture
On 15 April, the cabinet made an additional 300 million euro available for the cultural sector. This support will help cultural institutions that are vital to the sector through the financially difficult first months of the corona crisis. By supporting precisely these crucial cultural organizations now, they can ensure that after the crisis, the flow of assignments, including those for freelancers, will get underway again. The Minister aims to start implementing these measures as soon as possible. The extra resources will be used, among other things, to increase the subsidies for institutions that are now receiving support for a number of years from the Creative Industries Fund NL.

focus on makers
The makers in the design sector benefit from contracts and grants. In 2019, the Fund supported a total of 654 projects by makers (mostly carried out by freelancers) for around 10 million euro, in addition to support for 98 institutions to the tune of 6.1 million euro. All 11 grant programmes will therefore be continued in 2020, as will most of the open calls included in the 2020 annual plan. However, it is not possible to apply for projects (ranging from research to residency) abroad as long as there is a negative advice for international travel from the Ministry of Foreign Affairs. On the other hand, (new forms of) international cooperation (without the need for a physical presence) are in fact being stimulated within the different grant programmes and, where possible, within the open calls.

We will make every effort, with the limited possibilities we have, to minimize the impact of this crisis on the sector as far as we can. This means that in the run-up to 2021, we will deploy additional initiatives to give the sector a boost in order to recover from the COVID-19 crisis.

Fund accessibility
The Fund is still operating and accessible by mail and telephone, despite the fact that Fund staff will be working from home as much as possible in the coming period. We are doing our utmost to ensure that all activities run as normally as possible.

• The secretariat can be reached by telephone and can put you in contact with the right colleague, but as a rule it is more convenient to mail your contact person directly.
• The closing dates are unchanged and can be found in the information on grants on the website.
• The committee meetings will continue as planned, but will mostly take place in the form of a video conference.
• All the Fund's information sessions, workshops and events on location have been postponed until at least 1 September 2020.
• The processing time of an application remains unchanged. You will receive an e-mail informing you of the decision 10 weeks after the closing date of the grant programme. Please note that your project may not start before you have received the result.

Read also the Frequently asked questions and answers about the consequences for the cultural and creative sector on the Government's site.

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Frequently asked questions about subsidy applications and tips

27 May 2020

In the current circumstances, the Fund aims to be a stable factor for the field, to keep the basic grant programmes running as well as possible and to be accessible. Myrthe Kramer and Ilona Meijer, who both work at the secretariat, are the first points of contact for the Fund. At the moment they're working from home, like their other colleagues. Every day they receive a wide range of questions about the application procedure, the online application system and, of course, COVID-19. Here you will find answers to current frequently asked questions, plus some practical tips for your grant application.
1. How is the Fund dealing with the consequences of the COVID-19 pandemic?
We have produced a separate news item about our accommodating policy, which you can read here. The Fund advises that applications should demonstrate a sense of reality and respond to current events, where relevant.

2. Up until what time can I submit my application on the closing date?
You can submit the online application form until 23.59 on the closing date. We strongly advise you to submit your application earlier due to the potential volume of traffic on the server.

3. When will I receive the result of my application?
You will receive an e-mail with the result 10 weeks from the closing date of the grant programme.

4. Is there a sample application I can have a look at?
No, but refer to the Grant Application Guide (PDF) before submitting your application. The guide provides advice with regard to the grant application and drawing up the project plan, budget and communication plan.

5. Can I submit an application to more than one grant programme at the same time?
No. It is not possible to apply for more than one grant programme for a single project.

6. Can I resubmit the same project after receiving a negative decision?
If your project has been rejected, it is not possible to submit the plan again within six months. You can, however, submit a revised application. In a revised application, you respond to the feedback from the advisory committee. A revised application should contain sufficient new information to allow a new advice to be issued. The staff assess whether the proposal has been adjusted sufficiently to allow it to be presented for evaluation again.

7. What is the maximum amount I can apply for?
The amount of the Fund's contribution depends on various factors, including reasonableness of the application and the degree of co-financing. There are no maximum amounts. For each grant programme and round, a maximum available budget is set; you can find this on the website. For each grant programme, there is a list of supported projects, including the amounts granted. This gives a good impression. For information about the breakdown of the total annual budget, please refer to the annual report.

8. Am I more likely to get a grant in the last round of the year or the first round of the year?
The Fund establishes an available budget for each grant programme and for each round, which you can find on the website. So it makes no difference whether you apply at the beginning or the end of the year.

9. If I'm still studying, can I apply?
No, students are not eligible. The Fund focuses on professionals working in the creative industry. In order to receive a grant from the Fund, the applicant must be registered in the Chamber of Commerce (KvK) business register, or a foreign equivalent.

10. What's an fte?
Fte means full-time equivalent, a unit expressing the number of people employed or the size of a person's job.

11. How many ftes should I fill in if I'm a freelancer, but I'm working together with several people on the project?
You only fill in the number of ftes working within your organization; as a freelancer you fill in 1 fte for a full-time working week and for example 0.2, 0.5 of 0.8 fte for part-time depending on the part of the week you work.

12. Is the grant reference the same as the application number?
Yes, those are the same numbers.

13. What hourly rate can I use in my budget? Is there a standard amount for this?
The Fund contributes a maximum of € 65 excl. VAT to the hourly rate of the applicant and equivalent collaboration partner. For a guideline on hourly rates, please refer to the website of the Fair Practice Code for more information.

14. I cannot change my bank account number in my application. Where can I edit this information?
At the question 'are the bank details correct' in the application form at Organization 1.2, if you click 'no', fields will appear in which you can type.

15. My files are larger than indicated, what should I do?
Tip: lower the resolution of your images or compress your PDFs.
You should not send the documents to the Fund by e-mail or via WeTransfer.

16. What should you do if you're not yet registered with the Chamber of Commerce but would like to apply in the meantime?
You can simply submit the application and upload an empty document instead of the Chamber of Commerce (KvK) form. However, we will need your KvK registration number within a few weeks. A grant cannot be awarded without a KvK number.


Tip 1: Create an account in good time in the online application environment. You may not receive the confirmation e-mail until the next working day.

Tip 2: Before starting an application, please refer to the Grant Application Guide (PDF) for guidance on drawing up the project plan, budget and communication plan.

Tip 3: Do not wait until the last minute to submit your application. The server is busy around 23:59 on the closing date, which can cause delays and your application may not be submitted on time. The application round closes after 00:00 (midnight). You are strongly advised to submit your application earlier, preferably during office hours.

frequently asked questions
Do you have any other questions? Take a look at the extensive overview at Frequently Asked Questions.

Is your question not answered there? Call +31(0)10 436 16 00 or send an e-mail to Myrthe Kramer or Ilona Meijer at info@stimuleringsfonds.nl info@stimuleringsfonds.nl.
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Distribution € 300 million from OCW for makers and institutions in cultural and creative sector announced

27 May 2020

The Cabinet has made an extra € 300 million available to limit the negative impact of COVID-19 on the cultural and creative sector. Today Minister Van Engelshoven announced how these funds will be distributed.
1. € 153 million is earmarked for institutions that are part of the Basic Infrastructure 2017-2020 and, among others, the institutions and festivals that receive multi-year subsidies from the six national culture funds.

2. € 50 million is intended for the National Restoration Fund's 'Opened Monuments Loan'.

3. € 48.5 million is being made available to support municipalities and provinces that are providing additional support to regional museums, (music) venues and film theatres.

4. € 30 million is going to the Culture Start-up Loan. This is intended for organizations in the cultural and creative sector whose revenue model is geared mainly towards generating their own income and which cannot take advantage of the other measures in this package. The loan is intended for the development of public-oriented productions, programmes, exhibitions or projects.

5. € 11.8 million will be invested in the national culture funds specifically supporting makers, of which € 5 million is earmarked to match the 'Rights Sector Support Fund', an initiative of the Dutch Copyright Federation.

almost € 2 million extra for creators in the creative industry
The Fund is pleased that each of the six national culture funds is receiving additional money for makers. For the Fund, it concerns a sum of almost € 2 million that makes it possible to add extra money to the grant programmes for Design, Architecture and Digital Culture that mainly support makers. An open call will also be issued with the emphasis on the further development of the professional practice of makers in the creative industry during and after the COVID-19 crisis.

additional resources for the institutions that receive multi-year subsidies
The Minister also announced that € 40 million has been set aside for the institutions that receive multi-year subsidies from the six national culture funds. The supplementary grant provides partial support for the loss of own income. This additional subsidy is calculated, among other considerations, on the basis of 45% of the institution's own annual income. The Fund will publish the supplementary grant programme for the institutions now receiving multi-year support as soon as possible.

You can read the full announcement in the letter to parliament (in Dutch) here.
Or read the press release (in Dutch) here.
View the schematic representation of the € 300 million (in Dutch) here.

previously announced: € 1.1 million redistributed for makers
In addition to the government's € 300 million support package, the six culture funds had previously together released more than € 15 million euro within their existing budgets. The Fund has been able to redistribute € 1.1 million for projects by makers, in addition to the existing accommodating measures.
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35 applications for 4-year institutional grant programme 2021-2024

26 May 2020

The Fund has processed 35 applications under the Four-year Institutional Grant Programme for Creative Industries 2021-2024. The total budget available for 4-year institutional grants 2021-2024 is € 9,600,000, while a total of € 47,897,080 has been applied for. This means that the budget has been exceeded by a factor of five. The advisory committee headed by chair Robert Winkel will have to make astute choices.
The members of the advisory committee for 4-year institutional grants are:
Robert Winkel (chair)
Evelyn Austin
Felix de Clerck
Clemens Driessen
Afaina de Jong
Eric Kluitenberg
Sue-an van der Zijpp

The meeting is led by the chair, whose most important task is to ensure consistent evaluation on the basis of sound arguments. The chair sees to it that advice is given on the basis of the applicable Subsidy Regulations and turns the discussion into advisory argumentation. The chair does not cast any votes on applications.

See also the other functions of the advisory committee and read the Fund's general procedure for committees.

selection announcement
The meeting of the advisory committee will take place at the end of May. The selection for the Fund's 4-year institutional grant programme will be published on 4 June 2020; that means that applicants will be informed on that day about whether they will receive an institutional grant. The associated recommendations are expected to follow on 1 August 2020.

institutional grants
This is the first time that the Fund has operated a 4-year institutional grant programme. The programme is aimed at leading institutions that profile themselves both nationally and internationally and fulfil a supporting function within the cultural infrastructure of the creative industry.
A 4-year institutional grant can be applied for once every four years.

1-year and 2-year activities programmes
Institutions where both the BIS application and the application for the Four-year Institutional Grant Programme for Creative Industries 2021-2024 have been rejected may still submit an application to the One-year and Two-year activities programmes. The deadline for this is 30 September 2020. The annual budget of the grant programme is € 2,150,000. The text of the grant programme will be published in the summer of 2020.
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Photo: 'The Scene is Here' by Dave Menkehorst

Photo above: 'MGNT', What If Collective by Lenny de Peffer.

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Interview SETUP | Living with corona apps

26 May 2020

The Creative Industries Fund NL encourages applicants to respond to current events. And that's exactly what SETUP did in response to the corona app being developed by the government, by launching its own study into such an app.
In response to the fast-track process set up by the Ministry of Health, Welfare and Sport to develop an app to help contain COVID-19, media lab and knowledge platform SETUP issued an open call. 'By means of the call, we want to generate speculative scenarios to raise concerns about the social implications of introducing the app', says Krista Hendriks of SETUP. Seven makers working in a range of disciplines were selected: Gerjanne van Gink, Nicky Liebregts, Myrthe Krepel and Dorian Kingma (together Collectief SMELT), Tom Schouw, Aina Seerden and Niels Sinke. Krista Hendriks: 'The makers went to work in three teams on the themes of power, trust and control, false security and objectivity, and social structures and polarization. The central question here was how to get across what the introduction of a government app to curb the virus can bring about. Through design research, the teams each came up with a stimulating idea during a concentrated working period of three weeks.' Analogous to the ministry's pathway, these ideas were made public in an appathon on Monday 18 May. The concept designs were scrutinized by a diverse panel, consisting of digital-technology trend watcher Jarno Duursma, expert in health law and new technology Renée Dekker, cultural sociologist Siri Beerends, technology philosopher Rens van der Vorst and Esther Crabbendam from Bits of Freedom.
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Campaign image by Nastia Cistakova

speculative design
The concept designs were extremely diverse; they ranged from a personalized face mask that shows how the wearer is responding to the imposed measures and what safety means to him or her, to an app that stimulates users to work together in monitoring the limits of our behaviour, or a 'Covid pack' that gives everyone in the Netherlands their own individual freedom of movement based on a subdivision into risk groups. The designs do not claim to offer a solution. They do, however, show that by choosing different starting points, you end up with alternative online and offline scenarios. Panel member Esther Crabbendam: 'The great thing about these concept designs is that the starting point is not how technology can be used to solve the problem as efficiently as possible, but that trust, inclusiveness and autonomy are very clearly central. The end results are very different from a Bluetooth tracking app, as it turns out.

Because the makers took a number of matters very literally and sometimes even opted for a seemingly naive approach, the designs mainly raise questions that are missing in the debate about the government app. How does it work in practical terms? Is it easy to sabotage? Does it not hurt more than it benefits? Who sets the rules? Based on what knowledge? Whereas the national discussion remains largely confined to what is technically possible and legally permissible, the designs of the three teams provide room for important moral questions. That is precisely the value of speculative design: it helps to make abstract matters physical and tangible and to open up a discussion about them.

technology-critical discussion
Many of us lack the knowledge to properly assess the pros and cons of deploying technology and, more importantly, of shifting responsibility to technology. A dangerous situation, because technology as the solution to problems like the COVID-19 pandemic is anything but a foregone conclusion. Panel member Renée Dekker: 'Technology should always be given a chance. But this discussion is more about right and wrong than the means itself. As a result, a good debate organized in various different ways is especially important. The Fund acknowledges that, and that is why platforms such as SETUP receive grants from the Fund. In the coming period, SETUP will endeavour to ensure that the debate is as broad as possible. Keep up to date with the latest developments via the platform's website. If you are curious about the pitches and the discussion held during the appathon, you can watch them again here.

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