Appendix 6 - International Music Council

Organisation, implemented the “ klangrikt felleskab” (sonorous fellowship) project.
750 school classes at class level 4 (age group 10-12) in 18 schools in Oslo were during
a three year period introduced to music and dance from Asia, Africa and Latin
America.
There was a very clearly defined goal for the project. That goal was to “change
attitudes towards immigrants amongst children and youngsters”.
A comparative evaluation concluded after the project, “children that had taken part in
the project now had a more “friendly attitude towards immigrants than those who
didn’t” The report also concluded that the amount of “ethnic confrontations”
diminished in those schools that took part in the project. And finally the project
according to the evaluation showed that “the immigrant kids got their cultural identity
strengthened and dared to stand forward with their own culture”.
The project inspired Danish world music organisations to introduce a similar project in
Denmark called World.dk and again development money was an essential part of the
financing and the conclusions of the project were similar to those in Norway.
(Source: Ole Reitov "The politics of world music in Scandinavia: One step forward –
two steps backward")
Projects like these should be extended.
2. The dialogue between different social groups should be promoted, migrants' musics
could play a major role here.
The programm ExTra! - Exchange Traditions principally forms a good example: The
aim of ExTra! is to stimulate the exchange between different music traditions present in
today's multicultural Europe. The main focus is the integration of musical traditions of
immigrants and cultural minorities in Europe with those already existing in the
European countries.
http://www.imc-emc.org
"Intergovernmental cooperation in the field of music shows a lingering emphasis on the
styles, institutions and composers of the 19th century. When forms of cooperation are
analysed, it becomes visible that there remains an importexport mentality towards
music in many countries, with the inclusion of many events that are purely about the
transference of national image rather than the exploration involved in true
collaboration. Where cooperation can be seen to be most stimulated by governmental
policy is in the area of youth schemes and events. Another relevant form of
intergovernmental cooperation happens in the field of broadcasting, particularly
through the work of the European Broadcasting Union. Some relevant patterns appear
in the approach followed by different countries. France, the UK, Germany, the
Netherlands and Italy are the main generators of collaborative events, whereas most
countries in Eastern and Central and some in Western Europe are net receivers of
events, “cultural cooperation” being often understood there as hosting the presentation
of foreign works and companies. Governments often count as action under their
cultural agreements appearances, festivals and productions that would probably
happen in any case. Formal exchanges under bilateral cultural cooperation agreements
are going out of fashion. While the agreements may still be in force, the use made of
them directly by governments is moderate, compared to the general volume of
internationally driven activity. Increasingly the real impetus comes from devolved
agencies, networks or individual promoters. As the system becomes inevitably more
multilateral in its operations, professional networks will increasingly become the most
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