The case of the Tfanen Tunisie Créative project

This video presents the role of culture in the EU’s external strategy in Tunisia, focusing on the Tfanen Tunisie Créative project conducted by the British Council in partnership with the Tunisia EUNIC cluster between 2017 and 2019.

The Tfanen Tunisie Créative project has two main objectives:

• Promoting of Tunisian cultural diversity and access to culture at the local, national and international levels;

• Supporting freedom of expression and creation of the younger generations fostering professionnalisation in the cultural sector:

3 types of funds have been allocated to a total of more than 50 projects between 2017 and 2018.

• The local cultural engagement fund provided funding ranging from € 19,000 to € 50,000 to 36 projects engaging with Tunisian citizens and stimulating collaboration in the cultural sector.
• The Creation support fund has allocated five grants ranging from € 83,000 to € 100,000. to large projects that support creation and artists.
• The Festivals Sustainability and Heritage Development Fund has provided funding ranging from € 21,000 to € 70,000 to 15 projects.

This action paves the way for a more intense cultural cooperation between Tunisia and the EU. In 11 May 2017, Tunisia became the first country of the European neighbourhood to join the Creative Europe programme, normally targeted to EU member states. Tibor Navracsics, Commissioner for Education, Youth, Sport and Culture presented it as “one of the concrete deliverables of the recently adopted EU strategy on international cultural relations.” It will enable to access to fund to support cultural projects, trainings, festivals and to develop a more intense network with European cultural scenes. Creative Europe is a 1,3 billion European programme for the 2014-2020 period and aims to support the cultural and media sectors. It was not initially specifically intended for external action purposes. Its two core objectives are the promoting European cultural heritage and strengthening competitiveness of cultural and creative industries. But this external dimension is progressively being added to the programme.

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What is your opinion about the role that EUNIC plays in fostering cultural cooperation and exchange and building capacity in the cultural and creative industries and policies sector outside Europe?

Does it promote dialogue and mutual understanding? What could be done better in your opinion?