Music Moves Europe
Mobility of Artists
Literary translations
European Platforms
Cooperation Projects
European Networks
Bridging Culture & Audiovisual through Digital

Currently there are two calls open, and Georgian organisations are fully eligible to apply: 'Co-creation and co-production scheme' (deadline 30 April) and 'Music education and learning' (deadline 30 April). 

What is Music Moves Europe and how did it begin?

Music Moves Europe (MME) is the overarching framework for the European Commission's initiatives and actions in support of Europe’s music sector. It was developed from a series of meetings with representatives in the sector (called the AB working group) starting in 2015 to assess what the needs if the sector were and what a special funding scheme might look like.

These conversations stemmed from the sector advocating for sector-specific funding and initiatives for music on a European level. Inspired by the success of the MEDIA sub-programme and its industry-specific interventions for screen and video games, these discussions are focused on what a similar initiative could look like for music and what the potential gains could be.

Why does the EU want to support the music industry ?

  • Culture of all forms is an EU concern and is written into its articles of constitution – it has a duty to intervene.
  • The Creative Europe programme has lots of opportunities within it, but perhaps has not fully responded to the needs of the music sector – there were demands from the sector to do more.
  • The industry has changed on all levels with the digital age and is going through a period of rethinking - the EU wants to respond to this.
  • The music industry larger than European film industry but until this point hadn’t been adequately addressed by the programme.
  • Music constitutes an important pillar of European culture and is probably the cultural and creative sector with the largest audience reach. It is an essential component of Europe’s cultural diversity and it has the power to bring positive changes in society. 
  • Music has also a great economic importance: the sector, based on small and medium businesses, employs more people than the film industry and generates more than 25 billion Euros of revenue annually.

What happened next? 

  • The first interventions under MME were all about getting a better understanding of the sector. 
  • Key areas the working group researched were; music data, education, training and professionalization, mobility of artists and circulation of European repertoire and innovation & creativity.
  • After all this research was complete and the findings reported on, the European Commission designed a pilot scheme for the industry and planned to invest 1.5 million Euros in 2018 and 3 million Euros in 2019 under the banner "Music Moves Europe: Boosting European music diversity and talent".

What has been done so far?

- Policy wise, Member States in the Council of the European Union decided that Music Moves Europe should become part of their cooperation on culture at EU level; and therefore, an action on music has been included in the new Council Work Plan for Culture 2019-22.

  • The EU engages with the sector through things like showcases, festivals, industry events.
  • The the Music Moves Europe Talent Awards were set up, celebrating emerging artists who represent the European sound of today and tomorrow.
  • They have announced a series of funding opportunities and tenders for the sector, open for organisations to apply for.

Funding opportunities under MME

  • Training scheme for young music professionals – Closed August 2018
  • Online and Offline Distribution – closed September 2018
  • Boosting European Music Diversity and Talent Call on Professionalisation and Training – closed Nov 2019
  • Cooperation of small music venues – closed Dec 2019 
  • OPEN: Co-Creation and Co-Production scheme for the music sector – closes 30 April 2020
  • OPEN: Music Education and Learning Call – closes 30 April 2020

Calls for tenders

There have also been opportunities for organisations to tender for research and mapping exercises such as

  • The feasibility study for the establishment of a European Music Observatory, and a gap analysis of funding needs for the music sector – closed 2018
  • Study on a European Music Export Strategy – closed 2018
  • Study on the Health and Well-being of Music Creators - closed Feb 2020

Other opportunities for the music industry in Creative Europe

As well as these opportunities under MME, organisations working in the music industry have also been able to apply for the annual Creative Europe calls such as Cooperation Projects, Platforms and Networks. You can search European Commission's projects search platform.

Future of MME

The current Creative Europe programme will finish at the end of the year with the successor programme starting in 2021.

Music Moves Europe has been a preparatory action – doing the ground work, and seeing what works.  The aim is to have some calls for the music sector, based on this work, built into the new programme so the music industry can continue to be supported.

i-Portunus is a short-term pilot project, selected and funded by the Creative Europe programme of the European Union, to trial a mobility scheme for artists and culture professionals. The first phase was managed by a consortium headed by the Goethe-Institut with Institut français, Izolyatsia and Nida Art Colony of Vilnius Academy of Arts. In 2020 there will be a second initiative with other consortia.

Between April and September 2019, i-Portunus issued three Calls for Applications, providing support for international mobilities of artists and/or culture professionals active in the fields of the performing or visual arts and residing in a Creative Europe country. The destination of the mobility had to be a Creative Europe country. These mobilities required a specific and well-defined objective, such as to develop an international collaboration, to engage in a production-oriented residency or in professional development in the destination country.

With over 3.000 applications received from artists and/or culture professionals based in 41 countries requesting over 6.000.000€ of mobility support through three Calls which were each open less than one month, we can definitely state that there is a need for artistic and cultural mobility.

The applications were evaluated by international experts in the performing or visual arts. Since the first pilot phase has ended, we can finally announce their names and thank them for their work: Cristiano Carpanini, Reuben Fowkes, Audronis Imbrasas, Tamar Janashia, Tania Pardo, Alan Quireyns, Katarzyna Torz and Ilya Zabolotnyi.

A first Call for Applications ran from 17th April to May 15th 2019 and resulted in over 1.200 valid applications being received. These were analysed and taken into account for the preparation of the second Call.

The second Call was issued on June 3rd 2019 and closed on June 24th. It resulted in 520 individual applications and 190 group applications covering a total of 1.141 individuals.

The third and final Call for Applications of this pilot programme was launched on August 14th with a deadline on September 5th 2019. It resulted in 450 individual applications and 136 group applications covering a total of 832 individuals.

It was the last of three calls to financially support the mobility of artists and culture professionals of all ages, nationalities, educational qualifications and levels of experience, legally residing in a country participating in the Creative Europe programme choosing a transnational mobility to a country participating in the Creative Europe programme.

i-Portunus issued 620.933 € of direct financial support to 337 individual artists and/or culture professionals.

With projects like i-Portunus, the Creative Europe programme of the European Union will be conducting trials on how to best facilitate cross-national mobility for artists. This type of mobility will become a permanent Action under the Creative Europe programme for 2021-2027.

This fund for literary translation is aimed at supporting cultural and linguistic diversity in the EU and in other countries participating in the Culture Sub-programme. It's purpose is to support the transnational circulation and diversity of high quality literary works and to improve access to these literary works to reach and build new audiences for European translated literature.

Applications from individual publishers and publishing houses for the translation of collections of fiction from one European language into another are eligible under this scheme.  The translation and promotion of books for which authors have won the EUPL (EU Prize for Literature) are particularly encouraged.

Publishers and publishing houses can apply for funding for:

  • Translating literary fiction including novels, short stories, plays, poetry, comics and children’s fiction (paper or digital formats).
  • Translating excerpts in order to foster the selling rights of translated works.
  • Organising events, marketing and distribution activities to promote the translated works.


This category is offered every year up to 2020. The maximum duration of projects under this category is two years. Applicants can apply for up to €100,000 which should represent a maximum of 50% of the eligible costs. 50% of the eligible costs must be found from other sources.

Next Deadline: 4th June 2019 for Category 1


There are three calls between 2014-2020. The final call under this category was in 2018. Category 2 is for a three year agreement. The maximum grant per application granted is €100,000 per year which should represent a maximum of 50% of eligible costs. 50% of the eligible costs must be found from other sources.  


Please contact the Creative Europe Desk Georgia if you have any questions or need help with your application.

Which languages are eligible

The source language and target language must be officially recognised languages of one of the eligible countries:

  1. The 28 Member States of the European Union
  2. The EU candidate and potential candidate countries: Albania, Bosnia and Herzegovina, Montenegro, Former Yugoslav Republic of Macedonia, and Serbia
  3. The EFTA/EEA countries: Iceland and Norway
  4. The Swiss Confederation is NOT eligible
  5. Other countries: Armenia, Georgia, Kosovo, Moldova, Tunisia and Ukraine. 
  6. Translations out of Latin and ancient Greek (source language) into officially recognised languages are also eligible.
  • The target language must be the translator's mother tongue (except in cases of less frequently spoken languages if the applicant provides sufficient explanation).
  • Abkhazian and Osetian are also eligible if you include a covering letter explaining your choice of language. Creative Europe’s aim is to widen distribution, so translation into English, German, French and Spanish, a more widely spoken languages, does make for a stronger application.
  • Translations and publication must have a cross-border dimension. Hence the translation of national literature from one official language into another official language within the same country is not eligible. 


This strand of funding is for the support of European platforms to showcase emerging talent and stimulate Europe-wide programming of cultural and artistic activities.

Coordinating entities that have a minimum of 10 member organisations in at least 10 different participating countries are eligible to apply.  Applicants can request up to €500,000 per year which should represent a maximum of 80% of the eligible costs. 20% of the eligible costs must be found from other sources.

The main specific objectives of the Support to European platforms strand are to co-finance activities aimed at:

  • fostering the development of emerging talent and stimulating the transnational mobility of cultural and creative players and circulation of works;
  • increasing recognition and visibility of artists and creators with a strong commitment in terms of European programming through communications activities and branding strategy, including, where appropriate, the creation of a European quality label.

Full guidelines for Support to European Platforms can be downloaded here.


Aerowaves is a hub for dance discovery in Europe and has partners in 33 countries (including Dublin Dance Festival).  The platform identifies the most promising new work by emerging dance artists and then promotes it through cross-border performances. 


Call for proposals result in four year funding agreements - 2017 was the final call under this strand.

This strand of funding is to support transnational projects involving collaboration between organisations from different eligible countries.


Involves a minimum of three partners (a project leader and two other partners) from three eligible countries.

Applicants can apply for up to EUR 200,000 which should represent a maximum of 60% of the eligible costs, 40% match funding must be sourced by the project partners.


Involves a minimum of six partners (a project leader and at least five other partners) from six different eligible countries.

Applicants can apply for up to EUR 2million which should represent a maximum of 50% of the eligible costs, 50% match funding must be sourced by the project partners.

For both categories of projects, the maximum duration (eligibility period) is 48 months.

The programme priorities of the European cooperation projects strand are to support:

  • transnational mobility of artists and professionals as well as transnational circulation and promotion of cultural and creative works;
  • audience development;
  • capacity building (digitisation, new business models, training and education).


If you are preparing an application for Support for European Cooperation Projects there are resources and information that you can use to help you prepare.

European Networks Call Closed (Support for European networks of creative and cultural organisations involving a minimum of 15 members from 10 countries (including 5 EU Member States)


This strand of funding is for the support of European networks with the aim of encouraging activities which facilitate professional development of those working within the culture sector through networking, peer learning, exchanges etc. It is intended to achieve a structuring effect on the sector and therefore a limited number of networks with broad reach and balanced across sub-sectors will be supported.

Coordinating entities that have a minimum of 15 member organisations in at least 10 eligible countries can apply. Applicants can apply for up to EUR 250,000 per year which should represent a maximum of 80% of the eligible costs. 20% of the eligible costs must be found from other sources.

The main objectives of the Support to European networks strand are to co-finance activities aimed at:

  • strengthening the capacity of the cultural and creative sectors to operate transnationally and to adapt to change;
  • fostering and promoting cultural and linguistic diversity and strengthening the sectors' competitiveness, also through the promotion of innovation.

Full guidelines for Support to European Networks from the last call can be downloaded here.


This was the final call for the duration of the Creative Europe programme up to 2020 under the European Networks strand. 28 European Networks have been supported; see here the list of supported networks

Background to this call

In it’s proposal for Creative Europe post-2020, the Commission proposed estabshing a Creative Innovation Lab for cross-sectoral collaboration and innovation. In this light, and drawing on he results of a recent workshop with stakeholders, pilot projects will be supported in 2020. They are looking for projects which explore the potential for cross-sectoral collaboration in view of the Creative Innovation Lab. Supported activities will be at the crossroads between cultural and creative sectors, including audiovisual, and will use innovative technologies.

What does this funding support?

The European Commission has published its second call Bridging Culture and Audiovisual Content through Digital which is aimed at cultural and audiovisual institutions. Funding will be provided for projects that include audiovisual and new digital technology for museums, live events and cultural heritage. This call specifies that projects must bridge cultural and audiovisual content through digitization. Support will be given to projects that:

  • Feature new forms of creation at the cross roads between different cultural and creative sectors, including audiovisual sector, using innovative technologies such as virtual reality;


  • Foster innovative cross-sectoral approaches and tools to facilitate access, distribution, promotion or monetization of culture and creative, including cultural heritage.


What do projects need to address?

Projects should focus on the following aspects:

Problem-solving approach and addressing challendes for the cultural and creative sectors

Audience and the user experience are of paramount importance in scoping the problem

Technology is an enabler in addressing key problems, rather than an objective on its own

Support innovation as regards the creation, distribution and promotion of creative content

Addressing cross-sectoral collaboration as well as the use of enabling technologies is also an objective.

Full guidelines and supporting documents can be found here on the website of EACEA which manages Creative Europe.


Who can apply for this call?

The proposal must be submitted by a consortium of at least three legal entities coming from three different countries participating in the Creative Europe programme and presenting a diverse range of expertise across several cultural and creative sectors, including audiovisual. The results of the undertaken actions should be shared with stakeholders and policy makers through the organization of a public workshop and assessment of the impact of the action.

There is a PARTNER SEARCH list included in the online portal to help organisations connect and plan projects suitable for this call.


What kind of projects have been funded in previous call?

In the previous Call results for 2019, there were eight projects funded by Creative Europe.

IMZ (AT) Digital Cross Over, € 192 000.00

EDEON Programmes SA (FR) Offre immersive d’exposition et d’experience VR € 175 000.00

INVR.SPACE GMBH (DE) The link €175 000.00

Ticketing Group BV (NL) Venue Insights for Cultural Empowerment €258 550.00

Universidade Do Minho (PT) Heritage Within € 244 106.44

Fondazione Belvedere-Gschwent (IT) The Rude Awakening – a multimedia Journey in the Footsteps of Frontline Soldiers’ Everyday Life € 204 000.00

De Vlaamse Redio en Televisieomroeporganisatie NV (BE) Real Heroes € 240 000.00

Atlantis Symvouleftiki Anonymi Etaireia Atlantis Consulting SA (EL) Time Capsules at the Bottom of the Sea €213 986.00


The deadline of this call is 14th May 2020 17:00 Brussels time

Funded Projects

Opera (e)Studio takes form after the professionals in charge of programming and selection of casts at partner opera houses observe that the new generations of singers that answer calls for auditions are not fully prepared for the demands of current theatres once they complete their formal musical training. Directors and audiences have become increasingly more demanding, and singing beautifully is no longer enough: singers must also look the part, act dramatically, bring us to tears, make us laugh, move elegantly and be fit to withstand the physical demands of the roles on stage.

Opera (e)Studio is a formative project aimed at young opera singers under the age of 32 who have finished their formal training, but have not made their stage debut and need further comprehensive training to align themselves with the demands of the current labour market of the European opera houses to improve their employability. Participants are selected from international auditions held in partner cities throughout Europe, following a mass call for auditions broadcast through specialized networks and printed and online media to maximize dissemination. A one-month intensive residential training course follows in Tenerife covering all disciplines that encompass opera, offered by internationally renowned professionals. The participants then produce a selected opera title with the professional pace of a theatre, which is premièred in Opera de Tenerife’s Season. The entire artistic team then tours with the production, premièring in the partner theatres in within their regular opera season. The project creates a framework for singers, agents, artistic directors and theatres to meet, allowing singers a better understanding of the sector and its internal links, and acting as a showcase of their work, encouraging exposure and the internationalization of their careers. We aim to attract younger audiences through activities designed specifically to bring them to opera.

European Theatre Lab: Drama goes digital – short project description

Duration: October 2016 – September 2018

Europe’s first virtual think tank devoted to researching the theatre of the future.

The digital shift changes how we create, share and monetise content, including theatrical works. European theatre needs to increase civic engagement by bringing theatre to new audiences and sectors – through instruments such as participatory theatre and new technologies that break down barriers, encourage dialogue and help Europe’s rich cultural tradition thrive. In light of these challenges, the ETL brings together 6 of Europe’s leading theatres and scientists in the pursuit to use new technology to bring Europe’s stages into our communities and online.


Stage Your City is a project of the partner theatres Centre Dramatique National Nancy-Lorraine, Théâtre de la Manufacture (F), Badisches Staatstheater Karlsruhe (DE) and Kote Marjanishvili State Drama Theatre (GE), coproduced by the European Theatre Convention (ETC) as part of the European Theatre Lab: Drama goes digital. The European Theatre Lab is co-funded by the Creative Europe Programme of the EU.


“Stage Your City” is merging the trends of digitisation and participatory theatre. It plays with augmented, mixed and virtual reality, 360° video, gaming elements and an app-guided audio walk. The participatory approach encourages the audience to co-create the way out of a dystopian fairy tale: In the future the city will be controlled by an artificial intelligence called Zigmagora. The participants are asked to explore their city interactively, focusing on topics like future health, security, identity – and love.


i-Portunus continues to support the mobility of artists, creators and cultural professionals among all countries participating in the Creative Europe Programme. A second pilot project was selected and co-funded by the Creative Europe program and a consortium headed by Goethe-Institut with Institut français and Izolyatsia. This second phase runs from the end of 2020 until the end of 2021.

More than ever i-Portunus mobility is needed to answer to the existing and new needs of the creative sectors by offering a demand-driven mobility scheme that allows direct application through a straightforward and flexible process.

i-Portunus’ main focus is to connect artists and to support international collaborations. This will be done via physical mobility but also, if necessary, by virtual or blended mobility variations.

i-Portunus will launch five open calls for applications, targeting artists, creators and cultural professionals in music, literary translation, architecture and cultural heritage in December 2020, January 2021 and February 2021.

i-Portunus dedicates a total budget of 500.000 EUR with a fixed amount per applicant for transportation and per diem, depending on the destination country and the duration of the mobility.

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