Sittings · Document
Follow up to the European Parliament non-legislative resolution on the implementation of the Creative Europe Programme 2021-2027
Rapporteur: Massimiliano SMERIGLIO (S&D / IT)
Reference numbers: 2023/2003 (INI) / A9-0425/2023 / P9_TA(2024)0008
Date of adoption of the resolution: 16 January 2024
Competent Parliamentary Committee: Committee on Culture and Education (CULT)
Brief analysis/ assessment of the resolution and requests made in it:
The resolution on the implementation of the Creative Europe Programme 2021to2027 evaluates the implementation of Regulation (EU) 2021/818, effective from January 1, 2021.
The resolution focuses on the years 2021 and 2022, assessing the programme's impact on the cultural and creative sectors, essential for cultural diversity, social value, and economic growth. The programme addresses challenges intensified by the COVID-19 pandemic and the Russian war of aggression against Ukraine. Retaining the previous structure, the Creative Europe Programme consists of three strands: MEDIA, Culture, and Cross-sectoral, accounting for 58%, 33%, and 9% of the financial envelope, respectively. The resolution follows a three-pillar structure, aligning with the programme's organisation, and addresses the programme’s overall priorities and budget implementation.
The Parliament’s resolution highlights sustained interest in cultural and audiovisual sectors, though increased applications led to lower success rates within all three Creative Europe strands, potentially causing concern. It commends the programme's COVID-19 response but urges further support for long-term effects and upskilling of creators. While acknowledging implementation flexibility, the resolution calls for a balanced approach to administrative harmonisation. It also emphasizes simplification without compromising monitoring resources and stresses the need for enhanced support for applicants. It advocates for regular capacity-building exchanges, improved reporting system accessibility, and a detailed evaluation of inclusion and greening initiatives. It emphasizes support for cultural actors, transparent communication, and promoting the programme’s visibility. While recognising the increased budget for 2021-2027, the resolution urges substantial increases for 2028-2034, expressing concern about oversubscription and the lack of funding flexibility. It calls for the immediate implementation of the Seal of Excellence label, deplores funding gaps, and stresses continued financial support amid challenges for beneficiaries.
Response to the requests and overview of the action taken, or intended to be taken, by the Commission:
Concerning the fact that the new generation of Creative Europe continues to generate significant interest (paragraph 1), indeed the demand from the sector has been – and remains – high, underlining the relevance and popularity of the programme. The increase in financial allocations during COVID-19 allowed to increase the success rate of proposals, in particular those most popular in 2014-2020. For example, the Cross-sectoral strand remains largely oversubscribed, with news media organisations altogether requesting EUR 210 million (243 applications) in 2021-2022, translating in a success rate of only 23%. In respect of the fact that the budget is still oversubscribed (paragraphs 1, 17 and 19), the Commission shares the European Parliament’s concern regarding potential budgetary reductions, given the elevated subscription rates and inflation, which could significantly impact the appeal of the Creative Europe Programme.
With reference to the call to strengthen efforts to address the long-term effects of the pandemic on creators and cultural professionals (paragraph 2), upskilling and reskilling of audiovisual professionals are indeed key to address the needs of the cultural and creative sectors. In this regard, the Commission will propose in 2025 a revamped ‘Skills and talent development’ support scheme under the MEDIA strand to respond to the needs of the sector, focusing on digital and green transition. Among the objectives of the revision is to enable audiovisual professionals and companies to maximise the opportunities of the digital technologies and virtual production, and to produce and monetise audiovisual content in a sustainable way.
Concerning the efforts enhancement to address the lasting effects of the pandemic on creators and cultural professionals by focusing on their upskilling and reskilling needs to meet evolving sector challenges (paragraph 2), the Commission integrates capacity-building under most of Culture strand calls, such as European Networks of Cultural and Creative Organisations, European Platforms for the Promotion of Emerging Artists, and European Cooperation Projects. For example, one of the objectives of the European Networks of Cultural and Creative Organisations is to ‘enhance the capacities of European cultural and creative sectors to face common challenges and nurture talents, innovate, prosper and generate jobs and growth’. Nonetheless, the Commission will look into the possibility of developing more capacity-building exchanges under the Culture strand.
On the implementation of the programme (paragraphs 2, 4, and 18), the Commission notes with satisfaction the positive assessment of the early implementation of the Creative Europe Programme (2021-2027) and its ability to react to unforeseen challenges (i.e., the COVID-19 pandemic and Russia’s war of aggression against Ukraine), as this assessment resonates with the Commission’s commitment to enhancing the effectiveness of the Creative Europe Programme. The Commission underlines that the higher number of projects funded in 2021 and 2022 include many multiannual projects (up to four years), providing support to funded organisations beyond 2022 and therefore mitigating the negative impact of the reduced budget in the second half of the financial cycle.
Regarding the simplification of administrative procedures (paragraphs 4 and 6), the Commission is dedicated to streamlining administrative procedures, encompassing application, evaluation, and reporting processes, which are presently perceived by applicants as both time-consuming and onerous. The Commission will continue working diligently to simplify these processes, as well as to improve the reporting system accessibility for the benefit of all stakeholders. Notably, under the Culture strand it will foster measures such as the successful integration of lump sums for almost all actions or the rather simple application procedure for Culture Moves Europe, without reducing the resources devoted to project monitoring and evaluation of results.
With reference to the call on the Creative Europe desks to further strengthen support to all applicants (paragraph 5), Creative Europe Desks are committed to promote the programme in their country. The available data on the Creative Europe Monitoring Report 2021-2022 points to the success of Creative Europe Desks in this endeavour. Many applicants have the reflex to consult Creative Europe Desks to better prepare their application (79% of all MEDIA strand, 67% of all the Culture strand, and 44% of all Cross-sectoral strand). Applicants have greater chances to receive a grant if they consult a Desk beforehand than if they did not: 82% of the applicants who contacted Desks under the MEDIA strand received a grant, while 72% under the Culture strand, and 44% under the Cross-sectoral strand, despite the very low average success rate. Applicants themselves praised the support offered by Desks: 98% of those who contacted the Desks before applying were satisfied with the services provided. Recognising the pivotal role of the Desks, the Commission will reinforce its support to Desks.
With reference to the call to schedule regular capacity-building exchanges with beneficiaries to outline novelties (paragraph 6), the Commission regularly conducts capacity-building exchanges with beneficiaries to inform them about upcoming calls, particularly through the Desks. Such sessions will include information on reporting requirements and General Data Protection Regulation compliance. Moreover, within the European Education and Culture Executive Agency (EACEA), there is a Data Protection Correspondent whom beneficiaries can consult. Finally, regarding accessibility improvements to the reporting system, EACEA will investigate how to better address the needs of people with disabilities.
Concerning the call for a detailed report on the inclusion incentives in its interim evaluation (paragraph 7), the Commission will make sure it provides the expected data related to inclusion, equality, diversity and participation in the ongoing interim evaluation report of the Creative Europe Programme.
Regarding the call to closely monitor the implementation of greening priorities and their impact on the sectors and to regularly report on its assessment (paragraph 8), the Commission takes full account of the need for the Creative Europe Programme to contribute to the objective of climate and environmental sustainability. The programme’s contribution to these objectives will be reported on in the interim evaluation report due end of 2024 and future monitoring reports (due second half of 2025, covering the period 2023-2024) of the Creative Europe Programme. The greening of the sector remains a priority for the Commission. It recently procured the development of a calculator to assess the carbon footprint of audiovisual works, which will allow greater comparability across the industry. It will also review the “Talent & Skills” action (calls for proposals) under the MEDIA strand to be focused on green skills and expertise, thereby better accompanying the green transition of industry. In addition, the greening efforts are in full speed, in line with the study ‘Greening the Creative Europe Programme’ published in May 2023. The study has practical implications for the programme beneficiaries, providing good environmental practices for cultural and creative sectors, existing and planned mutual learning activities on greening and potential options and suggestions for green monitoring. Moreover, since November 2023, a Network of Green Contact Points has been established among the Culture strand Desks, aligning with the overall programme strategy of greening the cultural and creative sectors.
With reference to the importance of supporting the cultural and creative actors in navigating the opportunities and maintaining regular and targeted exchanges with the sectors and the news media (paragraph 9), the Commission recalls that the Annual Work Programmes are discussed with the ‘Creative Europe Committee’. Moreover, the Commission considers stakeholders’ feedback when drafting the work programme, feedback received during regular meetings with stakeholders and programme beneficiaries, such as European Cooperation Projects, Networks and Platforms grant holders, and Desks meetings. The Commission is exploring the possibility to introduce biannual work programmes in the legal base for Creative Europe 2028-2034, as this measure could help reduce the administrative process and increase predictability for the potential applicants.
With reference to the call for the strengthening of communication and exhcanges between the Commission, the EACEA and the Creative Europe desks (paragraph 10), the Commission and EACEA will enhance the efforts to streamline the communication flows with the Desks and provide specific support to the ones with less human resource capacity. The Commission and EACEA frequently hold online information sessions and annual meetings with the Desks in Brussels. Additionally, the Desks organize their own meetings in the framework of the Council of EU Presidencies. Information sessions on funding calls, policy updates, and workshops are regularly scheduled with the Desks. Moreover, the Creative Europe Desks use an internal platform for daily exchanging news and inquiries. Lastly, EACEA on-site monitoring missions are conducted in line with its monitoring strategy, including a risk analysis for each project.
Concerning the publication of grant recipients (paragraph 10), EACEA is compliant with the General Data Protection Rules, and makes available its data after the grants signature, without delay. Moreover, the data is fully accessible on the EU Financial Transparency System of the Commission. In addition, Culture Moves Europe will organise specific capacity building workshops targeting sectors and/or countries which are less represented starting spring 2024. The Commission and EACEA have stepped up their communication and coordination efforts since 2021: online information sessions with Creative Europe Desks have taken place for every call for proposals, focusing among other things to share significant evolutions/changes in calls. The Commission is committed to ensuring full transparency on results: all information on grants will continue to be published on the Funding and Tender Portal following contract signature. Information is also shared proactively with the ‘Creative Europe Committee’ and the Creative Europe Desks.
With reference to call to report to Parliament on the implementation of the communication strategy of the programme (paragraph 11), the programme’s communication strategy consists of a cross-media promotion online (websites, social media, CulturEU funding guide), in press material and replies to journalist questions, via informative sessions and participation in third-party events, and in advertisement and editorials in specialised press. The programme also builds on the Commission’s communication channels to promote the programme’s opportunities. The Commission is constantly raising awareness of the Desks to comply with the official communication requirements. The MEDIA strand continues to use its own logo to promote the EU action in the field. It will continue to request in grant agreements that beneficiaries display said logo as well as support statements in all their promotional activities.
Regarding the call to involve beneficiaries in the development of a more suitable platform (paragraph 12), the Commission notes that the Creative Europe Programme is supporting excellent projects that have the power of example. The Commission is actively engaged in enhancing the communication of beneficiaries' results and accomplishments through a platform that is better suited for this purpose, and regularly considers feedback from its users. EACEA acknowledges the need of improvement for the Funding and Tenders Portal and emphasises the importance of providing the best possible support to the beneficiaries and striving for continuous improvement.
With reference to the call on publishing a feasibility study on a pan-European guarantee scheme to cover indemnity costs (paragraph 13), the Commission stands ready to further look into the matter of facilitating the mobility of cultural goods.
Concerning the call to promote the human-centric and transparent use of Artificial Intelligence (AI) in the artistic and creative process (paragraph 14), the Commission will reflect on how to ask more systematically to applicants and beneficiaries how Artificial AI is incorporated into their projects and provide relevant information. Together with the European Commission’s regular monitoring of the industry (e.g. with the European Media Industry Outlook), it will contribute to better assess user trends in the sector. The Commission altogether agrees with the importance of monitoring the use of AI, considering the need to foster a human-centric and transparent use of AI, to protect creators and to promote innovation - in line with the AI Act being negotiated.
In respect of the call to invest appropriate resources on the external dimension of the programme (paragraph 16), Creative Europe allows for the full or partial participation in the programme for 13 non-EU countries, including accession countries. This is an important dimension of the programme and contributes to strengthening cultural ties with neighbouring countries and as part of the accession path of candidate countries. The Commission is working with Creative Europe Desks, Networks of cultural and creative organisations and other initiatives such as Culture Moves Europe to reinforce the capacities of artists, professionals and organisations based in those non-EU participating countries to fully benefit from the opportunities offered by the programme. The Commission is also working on the synergies between the Creative Europe Programme and other EU programmes or initiatives with an external dimension with a view to increase cultural relationships between EU and non-EU countries including third countries not participating in the Creative Europe programme, for instance in America, Africa, and Asia. Recent examples of such synergies include the Cultural Relations Platform or the EU guest of Honour Programme at Guadalajara Book Fair in Mexico which was organised in collaboration with Member States’ cultural institutes and many Creative Europe beneficiaries.
Moreover, the Commission welcomes the participation of third countries to the MEDIA strand of the Creative Europe Programme, which is conditional to the alignment of the country’s legislation to the Audiovisual Media Services Directive (AVSMD), namely the freedom of expression and independence of the media. The Commission facilitates such process of alignment with the fundamental principles of the AVSMD through exchanges with national authorities of third countries wishing to participate in the MEDIA strand of the programme.
On the call to roll out the Seal of Excellence label immediately (paragraph 20), the Commission has been exploring the use of such Seals of Excellence in Creative Europe, which could open the way to external financing. The idea was for example discussed with alternative funders which have shown limited interest thus far. The Commission is currently analysing the ways the Seal of Excellence can be implemented as from 2025.
The Commission takes note of the European Parliament’s views with regards to the budget of Creative Europe for the multiannual financial framework (MFF) post 2027 (paragraph 21). The Commission recalls that the next MFF proposal and the related outcome of negotiations cannot be prejudged. The Commission will present a proposal for a new MFF before 1 July 2025. Moreover, the Commission concurs with the view that Pilot Projects can be instrumental in testing new initiatives. When possible, it seeks have all or part of their objectives subsumed under existing funding programme: a recent case is that of the Pilot “Supporting local and regional news media in face of emerging news deserts” partially incorporated in the cross-sectoral strand under the action “Journalism Partnerships” in 2024.
With reference to the call to provide adequate funding and to consider the introduction of operational grants for this action (paragraph 22), the Commission has started its work to prepare the new Multiannual Financial Framework for which it will ensure that funding gaps between the two cycles is avoided. The Commission will also verify whether operational grants or action grants are the most suitable funding approach for Creative Europe Networks.
Culture strand
The Commission supports the need for an adequate budget allocation for Creative Europe (paragraph 23) and highlights the importance of maintaining a balance between sector-specific actions and horizontal actions. The potential increase of the budget for sectoral actions will therefore depend on the overall budget allocation.
Regarding the importance of the freedom of artistic expression (paragraph 24), the Commission confirms that it is dedicated to safeguarding and promoting the freedom of artistic expression through calls for funding such as European Cooperation Projects and Creative Europe Networks, which include explicit references on the subject.
In respect of the call to allow project consortia to independently determine how funding is distributed among their partners (paragraph 25), the Commission asserts that flexibility in the allocation of funding among project consortiums is already in place. The consortium is not only at liberty to allocate grants as deemed pertinent for project implementation but is also afforded the opportunity to modify the distribution of grants during the project’s implementation.
With reference to the call to promote Culture Moves Europe to a wider audience (paragraph 27), the Commission affirms its commitment to realizing an improved geographical equilibrium within the mobility scheme Culture Moves Europe. Furthermore, the Commission is dedicated to enhancing the efficacy of promoting the initiative to countries, sectors, and artists with disabilities that are currently underrepresented.
Concerning the call for a budget increase for Culture Moves Europe (paragraph 28), the Commission agrees that this budget increase starting 2025 would be beneficial to the culture and creative sectors and outlines that this would only be feasible if the Creative Europe Programme benefits from an increase of the global envelope. Furthermore, Culture Moves Europe is dedicated to a wide sectoral reach, and since October 2023 it has an extensive reach for the book sector, comprising more than literary translation.
The Commission recognises the favourable outcomes associated with the inclusion of green and family top-ups in Culture Moves Europe (paragraph 29) and contemplates the prospect of integrating similar methodologies into other actions under the Creative Europe Programme. However, the Commission notes that implementing this approach in other Creative Europe actions would require to change the lump sums system currently in use for this programming period. Nevertheless, the Commission will explore this possibility for the new programme cycle.
With reference to paragraphs 30 and 31 and the increase in funding for the European Platforms for the promotion of emerging artists under the Culture strand, the Commission confirms that there will be adequate funding to continue developing the Networks and Platforms actions.
With reference to paragraph 33, the Commission is not envisaging to enlarge the scope to non-fiction books considering the artistic and creative natures of the Creative Europe programme. The Commission will explore the possibility of introducing measurable goals for how funding is used to improve the accessibility of books for people with disabilities.
With reference to the call to develop a more strategic and sector-oriented approach for the music sector (paragraph 34), the Commission has been expanding the reach of its Music Moves Europe initiative (MME), thanks also to the Preparatory Action in 2018-2020, and addressing music policy across EU programmes, such as Horizon Europe, Erasmus+, and InvestEU, with a comprehensive approach for consistency. Reflections are underway within the Commission as it prepares for the new Multiannual Financial Framework and upcoming EU programmes, including on sectoral support for the music sector. Under Music Moves Europe, the Commission also holds a regular structured dialogue with the music sector. Between 2023 and 2026, ten dialogue sessions will be organised, as well as two EU level conference on music (the first one took place on 22 February 2024). In relation to the need to gather data (paragraph 34), the Commission published two studies in 2020, which emphasised the need for systematic data collection in the music sector. Eurostat is currently working with the Member States to define the new EU cultural statistics to be implemented from 2025, including for the music sector. Besides, the Commission worked towards integrating certain tasks of a potential European Music Observatory into the Observatory on Infringement of Intellectual Property Rights (EUIPO) that already does specific work on copyright intensive industries, with specific references in the 2022 Work Programme.
The Commission is aware of the very negative impact of the COVID-19 pandemic and rising inflation on the European Capital of Culture (ECOC) title holding cities (paragraph 35). As rightly indicated in the resolution, the direct financial contribution from the Union budget received by cities holding the title is the EUR 1,5 million Melina Mercouri Prize from the Creative Europe budget. The Melina Mercouri Prize has acquired a strong symbolic value going far beyond its actual amount and the ECOC title has an important leverage effect for cities. Many cities holding the title have received EU funding from other sources, notably the European Regional Development Fund (ERDF), which have supported many associated infrastructure developments. Getting the ECOC title is a unique opportunity for cities and regions to regenerate themselves, to give new vitality to cultural life and to boost cultural tourism. To give just one example, in 2018, a record number of 5.4 million tourists visited the ECOC Friesland, the region around Leeuwarden in the Netherlands (a figure which increased by 5% each year from 2015 onwards). In addition, overnight stays (often seen as a good proxy for international visitors) showed an increase from 0.8 million in 2017 to 2.1 million in 2018. The economic impact of the ECOC in the whole region, including the spending generated by extra tourists and revenues for the cultural sector, is estimated at around EUR 300 million. The Commission will explore the possibility and relevance of increasing the amount of the prize. However, such an increase would only be possible within the envelope of the Creative Europe Programme, and thus at the expense of all the other cultural projects for which the programme was designed. Furthermore, from a practical perspective, it is impossible to increase the amount of the prize until the title year 2030. Indeed, in line with Article 207(1), first subparagraph point (g) of Regulation (EU, Euratom) 2018/1046 applicable to the general budget of the Union, the amount of the Melina Mercouri Prize must be specified in a corresponding call for submission of applications, acting as the rules of contest for the award of the prize. In line with Decision No 445/2014/EU, the ECOC calls must be published by the relevant authorities “at least six years before the year of the title”. This means that the calls for selecting the 2030 European Capitals of Culture were published in late 2023, specifying that the Melina Mercouri Prize will amount to EUR 1,5 million, and cannot be changed.
With reference to the call to improve the visibility of the European Heritage Label (paragraph 36), the Commission is considering the possibility of European Heritage Label synergies with other EU programmes for the new programming period, notably with regional funds.
MEDIA strand
With reference to the need of ensuring an adequate budget allocation for the Media strand and the need for comprehensive data (paragraph 38), the Commission has several monitoring tools in place to monitor the performance of the programme and its alignment with its initial objectives, starting with the yearly Programme Performance statement. The recent 2021-2022 Monitoring Report also measured the indirect impact of the programme and clear examples in line with the objectives spelled out in the legal base of the programme. The upcoming mid-term evaluation will explore and evidence similar data. As regards the adequacy of the budget allocation to the MEDIA strand, the European Commission has seen to it that 58% of the budget of Creative Europe has been allocated to this strand as per the legal base of the programme.
Concerning the increase of funding for the European Film Distribution and European Film Sales support schemes (paragraph 41), as evidenced in the Commission’s “European Media Industry Outlook” adequate discoverability and promotion strategies are more critical than availability itself. Promotion is therefore key in the audiovisual value creation chain to increase the visibility and hence consumption of EU works across borders. Yet any increased support allocated to related actions would be at the expense of other priorities, in a context of tight budgetary resources.
With reference to the call to implement a specific action dedicated to networking (paragraph 43), the Commission has adjusted the Market and Networking support scheme in the Creative Europe Work Programme 2024 to focus on networking and cooperation among audiovisual professionals along the entire value chain. The support scheme includes networks of creators as a novelty, responding to the request of the sector to support co-creation and exchanges among European talents.
Concerning the Preparatory Action, Writing European (paragraph 44), it has been successful in supporting co-creation among European authors. It supported networks of authors in the creative processes, ahead of the production cycle. The Commission intends to capitalise on and consolidate the success of the Preparatory Action in the revamped 2024 Market and Networking support scheme, focusing on networking and cooperation among audiovisual professionals along the entire value chain.
Regarding the introduction of a dedicated action for video games and immersive content (paragraph 45), the Commission welcomes the growing interest in supporting the video games and immersive content sectors – which are of cultural and economic value as evidenced in the European Media Industry Outlook, and in a dedicated Pilot Project on the cultural value of a European video games society. Yet, any increased support allocated to related actions would be at the expense of other priorities, in a context of tight budgetary resources.
With reference to the rising inflation (paragraph 46), while the Commission acknowledges the negative impact of inflation, it underlines that in a context of tight budgetary resources, any increase of the funding ceilings would lead to decreasing the number of supported projects, affecting the programme’s capacity to support Europe’s diverse audiovisual production.
The Commission acknowledges the relevance of the actions “European Festivals” and “Network of European Festivals” (paragraph 47) and will indeed continue to fund them under the ongoing Multiannual Financial Framework.
Regarding the call to further improve the promotion of the Media Invest facility (paragraph 48), the Commission cooperates with the European Investment Fund on creating a pool of financiers with understanding of the sector specificities. The InvestEU Portal and other communication tools are currently being developed, including the revised communication materials addressed to the cultural and creative sectors. The Commission and the European Investment Fund intend to organise further signature events with financial intermediaries at relevant fora (e.g., as it was organised at San Sebastian Film Festival in September) to promote the instrument.
On the financing of the European Board for Media Services (paragraph 49), this has been agreed with co-legislators during trilogue meetings.
Cross-sectoral strand
The Commission concurs with the analysis of the European Parliament on the need for an increase of the Journalism Partrnerships and the Media Literacy calls (paragraph 51). Yet, any increased support allocated to related actions would be at the expense of other priorities, in a context of tight budgetary resources. The Commission also underlines that funds available under this strand are limited by the legal basis to up to 9% of the total allocations to the programme.
Regarding paragraph 52 and the high demand for financial support, the Commission concurs with this analysis, and underlines the impact that the ceiling of 9% applied to the cross-sectoral strand has on the possibility to further support the related actions.