EFFEA Generation #4 Intake Seminar

Kathrin Deventer underlined that EFFEA would not exist without the support of the European Commission, and reaffirmed EFA’s commitment to advocating for arts and culture not only programming-wise, but also in political and budgetary terms at European level.
Speaking on behalf of Creative Europe, Olga Sismanidi congratulated the selected artists and festivals, Platform Members and Associated Partners for “turning European cooperation into a lived experience” and placed EFFEA within a wider European perspective: 

Europe in action

The conversation continued with Haris Pašović, Chair of the EFFEA Jury, who is also an artist, theatre, film, and festival director. Reflecting on the growth of EFFEA, he described it as something that has become bigger than initially imagined: 

“We couldn’t imagine that this project could grow into something that feels almost like a small artistic movement.” 

Pašović reminded participants of the responsibility that comes with working with public funding: 

“We must not forget that we have a big responsibility towards public money. By choosing a European fund like EFFEA and an organisation like EFA, you confirm your belief in Europe as a cultural, social, and economic space.” 

He also highlighted the active role of artists: 

“It is not only EFFEA supporting artists. Artists, with their ideas and projects, also support EFFEA and Creative Europe. You make this project meaningful.” 

The discussion then opened to artists and festival representatives, some newly selected, others returning after participation in previous EFFEA generations, around a shared question: How do emerging artists and festivals contribute to understanding our time, and to shaping the future of arts in Europe? 

Daniela Tomaz, representing the Portuguese festivals Encontros Med, Dias da Percussão Portimão, and Costa Vicentina Early Music Fest, spoke about early music as a way of reconnecting with heritage in contemporary ways, quoting Jordi Savall: “Music is the best antidote against humanity’s historic amnesia.” 

Georgia Tsangaraki, Greek director, actor, theatre educator, and drama therapist, reflected on theatre as a space for building communities (mentioning her work with the Spiral Effect) and shared, deep, substantial codes. She brought ancient Greek drama into the conversation, and Haris Pašović added:"Antigone has been around for 2,500 years and is still one of the strongest feminist texts ever written. It is still making trouble.” 

Tom Bailey, theatre maker based in Bristol, England, spoke about how EFFEA creates space for conversations that are becoming increasingly rare in the UK context:“EFFEA allows a kind of discourse that is not really possible anymore at home: not just commercial conversations, but conversations about artists as changemakers.” 
He described his journey into environmental work and green touring: “It allowed me to ask big questions: what does it mean to make theatre in a changing climate? How do we connect with nature in new ways?” 

From a festival perspective, Grzegorz Reske, Artistic Director of SPRING Performing Arts Festival in the Netherlands (involved in Calls #1, #2 and #3), reflected on the tension between transactional models and community-building:“We often follow a model of selling artists and working in a neoliberal tempo. But what is most interesting is what happens between presentations—the time to connect, the space for ideas to grow.” 

Francesca Tranter, Artistic Director of Dance Festivals Malta (leading festival in Calls #2, #3 and #4, and partner in several projects), referred to the geographical and cultural isolation, and the importance of exchange:“In Malta, we are part of Europe, but we are still an island. That is still very present. EFFEA helps artists move into different realities and contexts, and festivals not be afraid of experimenting.” 

Chris O’Riley, from the Gothenburg Fringe Festival in Sweden (lead festival in Call #1 and #2), addressed the fragility of support for emerging artists:“Too often, artists are supported once and then forgotten. But development doesn’t stop when someone ‘emerges’.” He also underlined the role of festivals as listening platforms:“We can never fully set an agenda. Artists are often the ones who see things before the rest of the world does. We are lucky to host them and create platforms for them.” 

After the plenary discussion, participants moved into breakout rooms, introducing their Generation #4 residencies to each other. It was a space for informal dialogue, for word-of-mouth, curiosity, and spontaneous encounters. 

Learning together: touring, sustainability & care

The seminar also included two sessions facilitated by external experts.
The first, with Joris Janssens and Eglė Valintėlytė from IDEA Consult, explored insights from inclusive and green touring projects supported by Perform Europe across four domains: artistic, community, ecological, and organisational practices. Participants were invited to reflect on how these ideas could shape their EFFEA residencies.  

Download the meeting presentation

The second session, 'Together in Care', led by psychological counsellor and existential coach Mahir Namur, placed well-being and sustainable collaboration at the heart of festival residencies from the outset, exploring how partnerships can be rooted in care, trust, and long-term commitment. Artists and festivals shared expectations, needs, and concerns, and began defining shared baselines for healthy collaboration, not only during the residency period, but beyond it. 

Two festival makers with experience in previous EFFEA residencies shared their insights. Aljaž Koprivnikar, Artistic Director of the Festival Literature sveta - Fabula, described how EFFEA enabled the festival to shift its focus towards emerging writers, minority voices and LGBTQ+ perspectives, while rebuilding literary connections across the Balkan region. The residency led to the creation of an informal platform for Balkan literature festivals, restoring connections that had been lost and extending collaboration beyond the project itself. Koprivnikar emphasised the importance of mental health, transparency and care in cultural work, noting the risk of burnout in intense, production-driven environments. For Fabula, well-being begins within festival structures themselves, as a prerequisite for supporting artists and communities. 

Fanny Martin, Executive Director of the Music Biennale Zagreb (lead festival for Calls #1 and #4 and partner in multiple projects), highlighted the importance of exchange between festivals. While supporting artists is central, partner festivals must also dedicate time, intention and attention to the partnership itself. Beyond project management, internal reflection within teams helps to understand the meaning of participation in EFFEA and to amplify learning and networks.
As an EFFEA lead partner in EFFEA Call #1 and Call #4, she noted the responsibility to formulate a project that is meaningful for the festival and part of a greater story. She emphasised that motivation is key in carrying out these projects and in believing in the importance of what the partnership is trying to achieve. She also stressed the importance of reflecting “on the shape of our partnership, on the nature of our relationship, what is the dynamic that drives us, and what is going to be the legacy of our partnership”. 

The seminar ended with practical next steps: timeline, activities, reporting moments, and upcoming EFFEA milestones. But beyond logistics, the Intake Seminar marked, more than anything, a beginning. A first moment of encounter for a new generation of artists and festivals, and the start of relationships that will grow through conversations and shared work across borders. Uncertainty and challenges are natural in any collaborative environment. Many things will change along the way, but that also brings excitement.