EFFEA After Three Calls

Arts Festivals Summit 2025: Group picture ©Andrew Perry

Between June 2022 and June 2025, EFFEA Calls #1, #2, and #3 unfolded across the European continent. Festivals and emerging artists from 36 countries and 18 artistic disciplines implemented 150 selected residency proposals. Under this initiative of the European Festivals Association (EFA), supported by the Creative Europe programme, festivals stepped forward, forming trios - a lead and at least two partners - to offer emerging artists residencies tailored for growth, exchange, and risk-taking endeavours. The concept of ‘residencies’ engaged festivals in providing artists not only temporary physical cohabitation but also their comfort in a supportive environment in various expertise areas that remain available afterwards. EFFEA's residency programme went beyond existing collaboration models in the sector, extending beyond single festival editions and touring to foster a more sustainable approach for all parties involved. 

Festivals moved from selecting to co-creating, working with artists—defined not by age or formal training, but by their novelty to programmers and festival audiences, their potential to ‘breakthrough’ internationally and to impact the artistic field in their discipline(s)— to shape experiences that included workshops, open rehearsals, and masterclasses, usually involving local artists or community members.
For many emerging artists, getting a foot in the door means navigating systems that favour the already established. They are often too new for funders, too unfamiliar for programmers, or unknown to broad audiences. Residencies were built on conversation, trial and error, and shared curiosity. The artists were hosted, challenged, seen. Some arrived with a piece in progress, others with just a question. And out of this emerged cross-border collaborations focused on the process rather than a defined outcome. One that leaves behind a paper trail of activities but also of friendships, reimagined operating models, more tools and more confidence to move in the international field, and a collective awareness that caring for the emerging is paramount.

Everybody has a voice. True listening happens when you stop waiting to speak. (…) Collaboration is about the art of listening.
(...)
It is so essential to have opportunities where young people can have the time to make mistakes and play.
Akram Khan, EFFEA Jury, during the EFFEA Generation #1 Intake Seminar

The EFFEA Duty of Care Protocols assemble some of those outcomes as well as the collaboration frameworks—points that were on the top of tables in discussions and co-creations between festivals and artists (see Duty of Care Protocol Generation #1 and #2 here). It gathers feedback from final reports, the experiences exchanged in EFFEA’s Intake and Outtake seminars, and the many testimonials captured in the EFFEA Stories. The result is a comprehensive compendium of innovative strategies, references for best practices as well as recommendations of new 'power' relationships between artists and programmers. Among other observations, the upcoming Generation #3 Duty of Care Protocol will reflect evolving geographical patterns across the three EFFEA generations. While Generation #1 was led mainly by festivals from Southern Europe, Generations #2 and #3 show a more balanced representation across South, West, and East. Northern Europe’s participation has remained limited, both in terms of leading festivals and the selection of artists. In terms of the artists, Generation #3 resembles Generation #1, with a larger proportion of artists from Western countries.

EFFEA has established a unique bottom-up methodology that builds on a network of 14 geographically spread organisations covering 9 macro-regions in Europe: Western Balkans, Central Europe, Central-East Europe, South-East Europe, West Europe, South Europe, North, Baltic, Eastern Partnership Countries. The EFFEA Platform members act as antennas, hubs, that reach out to festivals and cultural communities across Europe, as well as to their audiences. In EFFEA calls, their role is very important: from shaping the call and application process to providing feedback and contributing to the EFFEA Intake and Outtake Seminars. Moreover, they facilitate the dissemination and implementation of the EFFEA Fund in various countries by connecting with programmers, informing them about the Fund, and assisting artists in reaching out to festivals and vice-versa.

Residencies play a pivotal role in fostering the recording, archiving, and communication of otherwise mostly ephemeral artistic productions. Each residency culminates in the production of an ‘EFFEA Film’ that encapsulates the year's work (see the Generation #1 and Generation #2 YouTube playlists), providing valuable skills to document future editions and create digital treasure houses for the future. Besides the film, festivals and artists are encouraged to share their project updates and narratives through EFFEA Stories.

EFFEA gave me the courage to believe in the things that I trust as an artist. 
Ban Lei, EFFEA Artist, during the EFFEA Generation #2 Outtake Seminar

Reflections from the Arts Festivals Summit 2025

Several EFFEA Artists and Festivals participated in EFA's Arts Festivals Summit 2025 in Edinburgh, where 215 deleages—festival makers, city representatives, researchers, artists, and cultural actors—gathered from 180 cities across 46 countries. From 27 to 30 April 2025, they joined discussions, workshops, pitching sessions, and informal exchanges, bringing lived experience into dialogue with policy, research and artistic vision. For those who had worked together across borders but had never met in person, the summit was both a reunion and an introduction. We invite you to discover the Summit through the eyes and words of poet and writer Simon Mundy here.

Haris Pašović  /  Sarah Richardson  ©Andrew Perry

EFFEA was in the spotlight at various moments throughout the Summit, culminating in the 'EFFEA Stage' on 29 April. That session opened with a collective reflection on three generations of EFFEA artists and festivals. Donika Rudi Berishaj, EFFEA Project Director, shared some key figures—drawing a picture not only of those selected but also of the growing network of applicants who found a space for belonging in the platform. Over the three-year period, more than 1,000 festivals took part in the EFFEA Sessions—informative and networking events held in advance and during the open calls. EFFEA Sessions were held in collaboration with Platform Members, Creative Europe Desks and European cultural networks such as Circostrada, PEARLE*, IETM and Perform Europe. EFFEA was also present at major industry events such as WOMEX, Classical:NEXT, Berlin Conference, ETC International Theatre Conference, China Shanghai International Performing Arts Fair, and others. 

Kathrin Deventer, EFA Secretary General, then welcomed Haris Pašović, Chair of the EFFEA Jury, to the stage. Haris reflected on a phrase that had stayed with him from the day before—words from Nicola Benedetti, Director of the Edinburgh International Festival and host of this year’s Summit: “This time requires an elevated thought.” He urged the audience to rise to that challenge, to look beyond the day-to-day and connect to a broader cultural responsibility.
To bring this spirit to life, Haris invited Sarah Richardson, one of the EFFEA Artists, who moved the audience with a short, powerful excerpt of her work. She was then joined by fellow artists Jorge Losana and Tom Bailey, alongside Chris O’Reilly from the Gothenburg Fringe Festival, each sharing personal insights and experiences shaped by the journeys made possible through EFFEA.

The day before, on 28 April, the conversations had begun early in the morning. At 8:30 AM, a dedicated group of artists, festival organisers, EFFEA Platform Members and Jury Members gathered for the Breakfast Talk ‘Festivals and Emerging Artists’, moderated by Davinia Galea of ARC Research and Consultancy, an EFFEA Platform Member. The session was open to all delegates, and many came, but it was largely shaped by the voices of those who had lived the EFFEA journey.

For artists who spoke up during the session, more than the funding, EFFEA provided the opportunity to grow, connect, and be seen. Sarah Richardson shared, "I got to travel to other festivals, saw so much theatre, and learned from artists about their approaches. It was a huge experience artistically—and I created a brand-new piece of theatre." Artists often described the residencies as offering space and time they would not otherwise have. Hannah Ely, from the Brighton Early Music Festival team said she “was also a singer of one of the selected projects, and went to festivals and took masterclasses with people not used to early music. It gave us the chance to explain what we were about.” For Davinia Galea, from Malta, living on an island can sometimes seem far away from 'Europe': “For us, EFFEA was important to make connections and feel part of the European project. I think that is kind of the strength of EFFEA.”

One of the things I think this programme is doing inadvertently is growing the confidence of festivals, of festival makers and artists across a variety of peripheries. 
Colm Croffy, Association of Irish Festival Events, during the EFFEA Generation #2 Outtake Seminar

Festival voices echoed the project's impact in strengthening their identity and fostering collaboration with other festivals. Chris O'Rilley shared how fringe festivals, in particular his festival Gothenburg Fringe Festival (involved in EFFEA #1 and EFFEA #2), are very focused on giving emerging artists a platform and how EFFEA complemented that mission: "It inspired us to continue in our funding an available part for supporting emerging artists—a fund that supports local, returning, and international emerging artists."
Jorge Losana, singer in the vocal ensemble Cantoría and also director of the ECOS Festival, reflected on the strategic collaboration: “We worked with other festivals on how to build relationships with audiences, how to break the fourth wall in early music, and how to enter the market. The value is that five festivals were connected. More than the money, it was about building something for the future.” For some, EFFEA provided continuity beyond the project. Hannah Ely noted: “I don't know if the artists would have stayed so long otherwise. Several young artists have kept conversations going with us since the residency.”

Through EFFEA, audiences encountered fresh voices and unexpected perspectives. As one participant noted: “We are often in bubbles—people need to know what’s out there.”  Luana Santos, EFA Communication and Project Manager, pointed to FestivalFinder.eu not only as a discovery tool for audiences but also as a strategic platform for festivals to connect and collaborate. It offers a window onto the wider European scene—festivals of all sizes, disciplines and geographies—and a way to break out of programming habits. She highlighted the recent launch of FestivalFinder.eu networking sessions, open to all those interested in building ties and discovering new partners. All EFFEA Festivals selected in the past calls received an EFFEA label on FestivalFinder.eu, identifying them as festivals that have dedicated efforts to the development of emerging artists. 

EFFEA has been not only about promotion but also about fostering a sense of community that needs our humble attention and support. Sometimes it is attention that makes a difference and the acknowledgement of the need for connectivity across borders (...) We know too little about each other. 
Kathrin Deventer, EFA Secretary General, during the EFFEA Generation #2 Outtake Seminar 

EFFEA created space for underrepresented stories and artistic identities to emerge. While no strict quotas are applied, Haris Pašović, Chair of the EFFEA Jury, emphasized: “We are very aware of diversity. It’s part of our criteria: gender, geography, demography, social background, and project quality. We try to create balance.” EFFEA Jury Member Peter Florence mentioned that “reading the applications is one thing, but seeing the people and hearing their voices—that’s what we should be doing. There’s so much potential in these stories. The level of discovery and depth of talent is deeply captivating.” Jan Briers, EFA President, added “EFFEA is great to support emerging artists, but also to show how artists can support festivals. We need to work together, to create something collectively.”

There were also critical reflections. As Haris Pašović said: “We should not just say, ‘we are great because we get the money.’ The point is to reflect—what worked, what can improve? Was this a fund that supported a project or was it a platform that truly connected emerging artists and festivals?”  The answer from many participants was clear: EFFEA is a model worth continuing and is becoming a reference project in the cultural field. They reiterated that EFFEA is about the financial trigger for connections and opportunities that arise when artistic talents and festivals’ minds meet. For the Opole Recommendations of the European Theatre Forum 2023, published by the European Commission, EFFEA was identified as one of the top three EU-funded projects supporting emerging artists.

June 2025 marks the closing of the first three calls under EFFEA. Thanks to renewed support from the Creative Europe programme, EFFEA will continue under a new grant. In the next four years, EFA, EFFEA Platform Members, European Cultural Networks (Associated Partners), Creative Europe Desks, among other stakeholders, will combine efforts, particularly in dissemination and communication activities, to allow EFFEA to tap into different communities, regions, and artistic disciplines, ensuring a more inclusive and diverse artistic representation.

EFFEA Call #4 is coming in September 2025, supporting residencies throughout 2026. For those already part of this story and those about to join, we say, to borrow words from Denis de Rougemont, co-founder of EFA, and the title of one of EFA's publications: “There is so much to be done.” And so, the work goes on. Not only does EFFEA aim to continue promoting a supportive environment for festivals and emerging artists, but also a broader industry-wide ripple effect towards fairer and more supportive working conditions in the arts.

The power of novelty and the unique discourse of emerging artists is unparalleled. It is something unique and very much needed in Europe at this time. The EFFEA artists and festivals are becoming a family. (...)
I wish you courage, endurance, belief in what you do in your talent, and the ability to overcome any hurdle in your way. Even when you come to a difficult moment, it is not only you, many times it is not you, but the world. Don’t be overcritical because the world is not welcoming. Europe does need your inspiration. 
Haris Pašović, EFFEA Chair of the Jury, during the EFFEA Generation #2 Intake Seminar