1 00:00:00,030 --> 00:00:03,390 Thank you very much for hanging while inviting me, 2 00:00:03,390 --> 00:00:11,760 and I am really delighted to have the possibility to present a little bit of work of the Institute 3 00:00:11,760 --> 00:00:17,100 for International Textbook Research and its role in a reconciliation process and bruises, 4 00:00:17,100 --> 00:00:29,610 textbook, revision research and production. I will use one minute, one minute to make and a little bit advertising for the institute. 5 00:00:29,610 --> 00:00:32,660 The institute has grown from a research library. 6 00:00:32,660 --> 00:00:40,140 It is today a reference library and research centre of the Council of Europe for History and Geography textbooks since 65. 7 00:00:40,140 --> 00:00:48,990 And here you have a look on. I love on what we have collected in our library and was this something we are, well, welcoming? 8 00:00:48,990 --> 00:00:55,740 Researchers from Europe and many other countries regularly working in our library. 9 00:00:55,740 --> 00:00:58,950 My presentation was made at. My presentation is structured. 10 00:00:58,950 --> 00:01:09,430 I will quickly raise or free questions once which windows of opportunities for a click for collaborative production of educational 11 00:01:09,430 --> 00:01:19,080 media and for European education in schools we can find since the beginning of the textbook revision process in Europe in the 1950s, 12 00:01:19,080 --> 00:01:24,090 my second point is spending experience in D and multilateral textbooks projects. 13 00:01:24,090 --> 00:01:34,470 You can see here of free examples the European Textbook de Deluce project and to to the very let's see real textbooks, 14 00:01:34,470 --> 00:01:38,160 bilateral textbooks, German, French and German Polish textbooks. 15 00:01:38,160 --> 00:01:45,120 In my field point is this important one is chances and difficulties for policy papers, education and media production. 16 00:01:45,120 --> 00:01:54,300 I will start with my third point, first point. The textbook revision and of course, these collaborative projects. 17 00:01:54,300 --> 00:01:59,700 We started with teacher initiatives and teacher initiatives. 18 00:01:59,700 --> 00:02:09,840 The first bilateral conference, which is and is said to be the beginning of our institute, was a bilateral conference $50.00 initiation. 19 00:02:09,840 --> 00:02:16,880 It's 70 years ago and already in 1949. 20 00:02:16,880 --> 00:02:21,080 German teachers organised the first conference is British history teachers. 21 00:02:21,080 --> 00:02:29,990 This day is called Distanciation, and this is in assembly the beginning of the end work on textbook revision and research and our institute. 22 00:02:29,990 --> 00:02:42,200 In the 1950s and 60s, the the institute became part of WWE's European teacher initiatives within the Council of Europe and raised teacher initiatives. 23 00:02:42,200 --> 00:02:50,660 We developed the textbook revision to be very, very developed it into the process we liberate using our ourselves, 24 00:02:50,660 --> 00:02:58,400 and the end marked a conference lifting of development of the first European history core curriculum. 25 00:02:58,400 --> 00:03:02,150 And perhaps I can come back to it later here. 26 00:03:02,150 --> 00:03:10,250 My point is what seven countries participated in this first round of history textbook revision 27 00:03:10,250 --> 00:03:16,280 done by the Council of Europe and bringing together teachers from different countries of teachers. 28 00:03:16,280 --> 00:03:26,000 If you know the headmasters of British schools before the national, long before the national curriculum, 29 00:03:26,000 --> 00:03:33,800 I'll speak to Inspector General and in France and France and Germany, even as the teachers bring together. 30 00:03:33,800 --> 00:03:38,600 When we've published together the results and the results, then of course, 31 00:03:38,600 --> 00:03:44,510 translated in the languages of the seven participating countries, including Turkey and Greece at the time. 32 00:03:44,510 --> 00:03:53,450 But this was the philosophy at a time of these kinds of useless projects concerning mutual recognition of cultural weight. 33 00:03:53,450 --> 00:04:02,270 The results should be translated not only in British English and in French, but in the languages of all participating communities. 34 00:04:02,270 --> 00:04:09,970 My second point is 60 70s crossing and missing collaborative production of education and media in Europe. 35 00:04:09,970 --> 00:04:16,970 It is a very important point for us in the 60s and 70s came from near educational television for adaptation, 36 00:04:16,970 --> 00:04:23,450 and I called it crossing and missing because the Council of Europe continued textbook revision. 37 00:04:23,450 --> 00:04:30,410 But he gave up history and education at the end of the 60s and he switched over to civics. 38 00:04:30,410 --> 00:04:36,260 And so the experience of the first line of history textbook vision got lost and also needed. 39 00:04:36,260 --> 00:04:41,990 He could go up to the core curriculum fell asleep until the year 1991. 40 00:04:41,990 --> 00:04:48,620 This can bleach conference and history for a new Europe. It reappeared was suicide in the 70s. 41 00:04:48,620 --> 00:05:00,980 In the 1970s, educational television was the great I was on stage, or it was a German journalist in Federalist. 42 00:05:00,980 --> 00:05:09,410 You won't. The West End time, one of the leading figures of Dave was that of the direction of information of the European Commission, 43 00:05:09,410 --> 00:05:15,440 and he initiated it and the foundation of the committee over the holiday. 44 00:05:15,440 --> 00:05:22,640 Things you're so good at the French name to the project was coined using the French name because it 45 00:05:22,640 --> 00:05:30,710 was also ancient initiative of French education and television that were very much a hat at a time, 46 00:05:30,710 --> 00:05:35,270 together with the BBC and the way we developed, and this is very important for me. 47 00:05:35,270 --> 00:05:42,030 We develop, we are collaborative production of educational television and the hope, 48 00:05:42,030 --> 00:05:48,590 and in many European children who were at least collaborative projects would structure a common 49 00:05:48,590 --> 00:05:57,080 European core curriculum for history and for civics because we were really Swiss television. 50 00:05:57,080 --> 00:06:04,070 So I came later on because I didn't have so much time that I can lead on and go in more detail in the topics. 51 00:06:04,070 --> 00:06:14,450 But what is important at a time is what media users from the member countries of the European Union produce together, 52 00:06:14,450 --> 00:06:26,570 reading together and Common Educational Television Series, which should structure and history teaching and civics teaching in Europe. 53 00:06:26,570 --> 00:06:36,080 And of course, it did. This project came to an end at the moment, and I came forward it on trial for the fall for France, 54 00:06:36,080 --> 00:06:44,160 in which the technology of education and television lost its fight against digital media. 55 00:06:44,160 --> 00:06:55,160 It means the old technology was not developed further and approaching stop by the second or the last point here in 1996 or 1991, 56 00:06:55,160 --> 00:07:00,320 starting with the Police Conference on History Education for a New Europe. 57 00:07:00,320 --> 00:07:10,970 And we had really a very sustainable group for a decade working together between the Council of Europe and the US story. 58 00:07:10,970 --> 00:07:16,480 Check our institute, your career and what is an important point for me. 59 00:07:16,480 --> 00:07:22,000 Here is what European education and property says Crump has been included in the project, 60 00:07:22,000 --> 00:07:25,960 so I it's because we have a programme to elevate the European education, 61 00:07:25,960 --> 00:07:34,690 establish a school is awarding a textbook and was a very innovative textbook of the very heart of what some of us of you may know. 62 00:07:34,690 --> 00:07:45,430 It's the best and educational learning material the walk and listen, something which happened actually independently from, for instance, 63 00:07:45,430 --> 00:07:52,300 the textbook of what we are wanting an institute, but means bringing together people from the publishing industry, 64 00:07:52,300 --> 00:07:56,770 from the teachers associations and from research. 65 00:07:56,770 --> 00:08:05,500 This with this very successful collaboration, and it started on about 2000 and was not continued. 66 00:08:05,500 --> 00:08:14,020 My second point is experiences and be a multilateral textbook project here. 67 00:08:14,020 --> 00:08:18,610 The institute contributed in a great number of be invited multilateral textbooks, 68 00:08:18,610 --> 00:08:23,750 one of the most important one outside Europe, well outside inside Europe. 69 00:08:23,750 --> 00:08:33,490 We can discuss it. Is this really the Palestine textbook of the Peace Institute Peace Research Institute of the Middle East? 70 00:08:33,490 --> 00:08:41,200 It's the Bryant textbook. It's a narrative, as you have in terms of the basics. 71 00:08:41,200 --> 00:08:46,630 You have one narrative. It's the Palestinian narrative as one narrative Israeli narrative, 72 00:08:46,630 --> 00:08:55,270 and you have any space in the middle for students or teachers to compare the two narratives, unfortunately. 73 00:08:55,270 --> 00:09:01,360 And this textbook wasn't approved neither by the Palestine Authority nor by. 74 00:09:01,360 --> 00:09:08,040 This is what any state authorities had, so we didn't get funding to to test it. 75 00:09:08,040 --> 00:09:12,070 It's let's see if it's essays in what we mean. 76 00:09:12,070 --> 00:09:19,780 We would like to have to discuss it or what to do in an experimental space, lift students from Israel and from Palestine. 77 00:09:19,780 --> 00:09:25,420 But we didn't get the funding because people said if they wanted to do, the textbook hasn't been approved. 78 00:09:25,420 --> 00:09:35,620 Much more successful are our European projects in quantum templates me as as approaching in itself. 79 00:09:35,620 --> 00:09:45,770 And I can give that later on in the discussion. Some examples of it, let's say really, I the edit one. 80 00:09:45,770 --> 00:09:52,390 You mean we can't see race edited while you in these bilateral textbook projects as much. 81 00:09:52,390 --> 00:09:58,500 And while you wait, we can see if I can give some examples later because time is running a little bit. 82 00:09:58,500 --> 00:10:02,260 And what I wanted to say in my last point is this is the last. 83 00:10:02,260 --> 00:10:08,080 Publication is a digital textbook, last communication of the Council of Europe and 2014. 84 00:10:08,080 --> 00:10:16,150 She tapestries histories for Europe without dividing lines. And for me, it's very interesting because I'm coming from economic history. 85 00:10:16,150 --> 00:10:30,190 What the topics of industrial revolution and another topic I find very important, very interesting is human rights as presented in an art history. 86 00:10:30,190 --> 00:10:36,240 And this brings me to my conclusions because the textbook was no, that's less. 87 00:10:36,240 --> 00:10:44,170 It was very much criticised, especially from colleagues from the South Eastern Europe and from Eastern Europe, 88 00:10:44,170 --> 00:10:47,290 because they said all these topics industrial revolution, 89 00:10:47,290 --> 00:10:56,680 which topics which topics, and they did not fit at all of our curriculum because our curriculum is about war, 90 00:10:56,680 --> 00:11:01,510 it's about political history, it's about national history. 91 00:11:01,510 --> 00:11:05,050 And it's not about the success story. Well, none. 92 00:11:05,050 --> 00:11:14,230 Success story of the industrial revolution as a point of common heritage digital media offering for us new 93 00:11:14,230 --> 00:11:22,000 possibilities for participating for participative learning or perhaps participating in the production of textbooks. 94 00:11:22,000 --> 00:11:38,890 And in this sense, perhaps we can even discuss film of Timothy Garton X proposal of a kaleidoscope and perhaps by producing units with special themes, 95 00:11:38,890 --> 00:11:43,300 reconstructing a cooling on the new European curriculum. 96 00:11:43,300 --> 00:11:52,000 But by using these different sentences, we these elements of a kaleidoscope like this. 97 00:11:52,000 --> 00:11:59,140 But one of the decisions is curriculum planners have to speak together and we have a problem or two problems, 98 00:11:59,140 --> 00:12:07,120 whereas no harmonisation offers any dialogue between planners in two different European countries at the moment. 99 00:12:07,120 --> 00:12:16,400 And we need, or I'm convinced we need also a dialogue between curriculum planners in the humanities and social. 100 00:12:16,400 --> 00:12:20,340 Sciences and effective humanities and social sciences, I come to an end. 101 00:12:20,340 --> 00:12:32,650 That's because there is very much competition and hardship competition between the disciplines is cool between history and and in civics, 102 00:12:32,650 --> 00:12:38,980 for instance, between how many hours it should be attributed to geography and in comparison to history. 103 00:12:38,980 --> 00:12:43,360 And my second point is one one of the most important challenges is the differential 104 00:12:43,360 --> 00:12:49,630 in contemporary and it's I quoted it from Sydney put up a British record. 105 00:12:49,630 --> 00:12:54,220 You may know Peace for Conquest. His bestseller is masterpiece, but I liked it. 106 00:12:54,220 --> 00:13:00,610 Difficult to differentiate contemporaneous when means in the College of Teaching and Learning, 107 00:13:00,610 --> 00:13:10,930 and there is a great deal to do how to translate different philosophies of learning and this into different European 108 00:13:10,930 --> 00:13:18,520 countries in order to make perhaps a new common core curriculum and or cut out is caught in digital media. 109 00:13:18,520 --> 00:13:29,920 President, thank you very much. Thank you. This museum opened its doors two years ago in May 2017, and it was not the first idea. 110 00:13:29,920 --> 00:13:36,610 The first idea to explain European Museum, the first history museum, private history museum networks realised. 111 00:13:36,610 --> 00:13:43,690 And I start by introducing some of the differences in the process of making this narrative with writing a book. 112 00:13:43,690 --> 00:13:49,300 First of all, who creates the narrative? Making a museum involves interdisciplinary team work. 113 00:13:49,300 --> 00:13:56,260 All in all, 52 people who worked on the museum throughout the development phase, and it's only the court team on top of those. 114 00:13:56,260 --> 00:14:02,320 When used to count the designers and producers, the architects conceiving the building, the academic committee and Board of Trustees, 115 00:14:02,320 --> 00:14:07,930 100 translators to provide 24 which and many other actors in the European Parliament 116 00:14:07,930 --> 00:14:13,180 administration who is our funder making a museum example and immensely complex process. 117 00:14:13,180 --> 00:14:19,120 A mix of teamwork and individual historians, content research and objective research, 118 00:14:19,120 --> 00:14:28,300 and even more complex in our case with 80 nationalities in the museum is also should be an experience for all senses. 119 00:14:28,300 --> 00:14:33,640 So that's a difference from a book working for the intellect, but also for emotions. 120 00:14:33,640 --> 00:14:35,260 And it is a spatial narrative. 121 00:14:35,260 --> 00:14:44,020 And to begin with, you see the museum building and you can see easily how complex it is to adapt historical content to this reality of a space. 122 00:14:44,020 --> 00:14:48,130 We have 4000 square metres brutal for the permanent exhibition space. 123 00:14:48,130 --> 00:14:52,630 Sixty five upper floors of this building at every show, but this is very small, 124 00:14:52,630 --> 00:14:57,910 and when it comes to showing the complexity of European history, finally, 125 00:14:57,910 --> 00:15:08,110 the question and museum for whom a narrative for whom this is just an overview of the origins of our visitors over the past of the first months. 126 00:15:08,110 --> 00:15:12,100 So July to December last year, actually, that's when we started counting. 127 00:15:12,100 --> 00:15:18,310 So you see that there is no easy to grasp community for this museum as there might be an open museum. 128 00:15:18,310 --> 00:15:23,410 The first expert paper in 2008 said that this narrative should be for all Europeans. 129 00:15:23,410 --> 00:15:27,640 And it added For interested names to look for historians, 130 00:15:27,640 --> 00:15:34,540 and one can easily imagine how difficult it is to conceive one historical narrative for people with so different expectations. 131 00:15:34,540 --> 00:15:36,790 Against the background of contested histories, 132 00:15:36,790 --> 00:15:44,920 memory conflicts and the primacy of national history in strategic focus group studies that we conducted prior to the 133 00:15:44,920 --> 00:15:51,790 making of this narrative showed that knowledge about European history was extremely limited in our potential visitors. 134 00:15:51,790 --> 00:15:55,510 You can imagine already knowledge of national history is limited in a general population, 135 00:15:55,510 --> 00:16:00,820 but European history even more so, therefore to facilitate orientation into space. 136 00:16:00,820 --> 00:16:08,440 We have chosen a of genetic approach, and he has shown the layout of the narrative and how it is developed. 137 00:16:08,440 --> 00:16:12,010 We arrived at the of level two and move up to level six. 138 00:16:12,010 --> 00:16:19,090 What about an exhibition? We started off with brainstorming where we had three hundred different topics that could be addressed in this exhibition, 139 00:16:19,090 --> 00:16:21,310 and you can easily see that is not possible. 140 00:16:21,310 --> 00:16:29,440 So we broke it down over a very lengthy process involving exhibition designers and producers and of course, the team of curators. 141 00:16:29,440 --> 00:16:34,920 We came to six things broken out into 24 topics and they are here, 142 00:16:34,920 --> 00:16:42,760 and this is a chronological narrative so chronologically so that they make an origin space added to the narrative. 143 00:16:42,760 --> 00:16:43,540 Nine. 144 00:16:43,540 --> 00:16:52,900 The movement in space was changed after an intervention by our action committee because they thought architecture proceed to rise up and walked out. 145 00:16:52,900 --> 00:16:59,380 But the economic committee thought that would be too pessimistic because it would mean history workstation the basement. 146 00:16:59,380 --> 00:17:03,100 And so the whole life was turned around. 147 00:17:03,100 --> 00:17:11,350 So you see how an exhibition narrative has to work in this space. So you see how they basically the content is about 19th and 20th century history. 148 00:17:11,350 --> 00:17:16,290 Europe's traffic to begin its journey to modernity with it savvy with the Philadelphia. 149 00:17:16,290 --> 00:17:27,190 Addressing principal questions about Europe again from the third level onwards, 19th century, the descent into the totally Terrians war and death. 150 00:17:27,190 --> 00:17:33,220 Sorry wars and the massive in the 20th century and then the rebuilding of Europe after 1945. 151 00:17:33,220 --> 00:17:38,530 And then and there is as much narrative about European integration history at every show. 152 00:17:38,530 --> 00:17:42,910 And this slide shows you that the museum does not just up with national histories. 153 00:17:42,910 --> 00:17:48,730 That's what people often think. They think we have a Lithuanian room and next to a Polish room, etc. But that's not the case. 154 00:17:48,730 --> 00:17:57,040 It's a transnational overview and these were selected according to those criteria and processes which have 155 00:17:57,040 --> 00:18:03,820 which you will reach in Europe and has spread all across the continent and are considered relevant until today. 156 00:18:03,820 --> 00:18:10,480 How is the story being told compared to most other museums that, you know, the museum is a narrative one? 157 00:18:10,480 --> 00:18:16,570 That's the technical term and the story that was developed first and then the objects were selected to convey the story. 158 00:18:16,570 --> 00:18:23,890 And here you see how we tried to bring objects together for many different reasons across Europe, a very tedious task. 159 00:18:23,890 --> 00:18:25,640 And these objects in the Exhibition Council, 160 00:18:25,640 --> 00:18:32,170 together with other elements with exhibition text on a twenty point eight, which is ten minutes already known. 161 00:18:32,170 --> 00:18:38,770 Just to give you a comparison to the book, only only for us who were writing only one hundred forty pages of A4 texts. 162 00:18:38,770 --> 00:18:45,280 So that's not a lot of text to convey complexity, but that's what we thought be visitor can digest. 163 00:18:45,280 --> 00:18:50,770 And then two point five hours of films or in our organisations, interactive stations. 164 00:18:50,770 --> 00:18:55,810 And finally, this in feeling this different emotion, soundscapes and light. 165 00:18:55,810 --> 00:19:04,000 But the main question was if we need to create an easy to understand narrative for the event, how can we address the complexity? 166 00:19:04,000 --> 00:19:09,850 And I would just give you some reading, some of the tools we used first in the first space, 167 00:19:09,850 --> 00:19:15,070 we confront the visitors with questions such as What is Europe? Can it be geographically defined? 168 00:19:15,070 --> 00:19:19,870 We and and talking about this this morning and to showcase this intersection 169 00:19:19,870 --> 00:19:24,130 basically demonstrated the way you will be seen depends on the eye of the beholder. 170 00:19:24,130 --> 00:19:31,450 On a time period that Europe is looked at and on a geographical standpoint from which he knows he or she judges. 171 00:19:31,450 --> 00:19:39,250 So we ask him any questions, especially at the beginning, and we don't need results that have finished certitude about what Europe is. 172 00:19:39,250 --> 00:19:44,650 Then the exhibition is layered for a layman who has 90 minutes average museum visits. 173 00:19:44,650 --> 00:19:49,630 You will see big few with films and you will see the objects. 174 00:19:49,630 --> 00:19:55,960 And then there is different layers which and museum visitors who have more interest can explore. 175 00:19:55,960 --> 00:20:00,190 And one visitor stayed one week. He came back five days, and then you go to the gallery books. 176 00:20:00,190 --> 00:20:06,250 Now I've seen it all, so you can see that the exhibition is very rich and layered. 177 00:20:06,250 --> 00:20:07,690 Then there is differentiation, 178 00:20:07,690 --> 00:20:16,210 and the national history and the historical events from a national point of view are addressed and sometimes via juxtaposition. 179 00:20:16,210 --> 00:20:26,230 As you see here for 1989, this is a series of TV shows from 1989 illustrating like a chain of events year, the events of the fall of the Iron Curtain. 180 00:20:26,230 --> 00:20:36,490 And on the other side, you see as another are the objects from the Baltics or from Romania, which tell the same story. 181 00:20:36,490 --> 00:20:39,400 Then the exhibition allows also for different narratives, 182 00:20:39,400 --> 00:20:46,390 which we have actually now trying to find out with guided tours central to to to make visible here. 183 00:20:46,390 --> 00:20:50,560 You see that there is a different narrative about European integration history milestones, 184 00:20:50,560 --> 00:20:56,920 and it's embedded in a way that in the context of wider Europe and we can track or trace different topics like migration, 185 00:20:56,920 --> 00:21:01,360 history or protest movements or the history of human rights. 186 00:21:01,360 --> 00:21:06,370 Through the exhibition, we can follow and able to develop educational material from it. 187 00:21:06,370 --> 00:21:12,700 And then finally, sometimes conflicting views on, for example, on the Maastricht Treaty or the financial crisis. 188 00:21:12,700 --> 00:21:17,470 We tried to address controversial issues when they when they arose, 189 00:21:17,470 --> 00:21:21,580 and then we used the concept of memory to address different ways of dealing with the past. 190 00:21:21,580 --> 00:21:24,370 And this is a kind of recurring theme in the exhibition. 191 00:21:24,370 --> 00:21:32,620 It addresses how memory, how memories of the past are different, how it can be misused and what other techniques are used for it. 192 00:21:32,620 --> 00:21:40,000 Now the final question Does the audience get the story and hear, what do we see after two years? 193 00:21:40,000 --> 00:21:43,810 Is, generally speaking, if you look at TripAdvisor reviews, etc., 194 00:21:43,810 --> 00:21:48,490 you would see that the museum has extremely high satisfaction rates amongst the visitors. 195 00:21:48,490 --> 00:21:57,400 However, despite the much more complex reality and the qualitative reactions to the museum, one of the most very enthusiastic. 196 00:21:57,400 --> 00:22:03,640 They also show an extreme diversity of expectations towards towards a historical narrative about Europe, 197 00:22:03,640 --> 00:22:12,190 and this diversity is not only linked to the historical content. So what people expect to see sometimes national history, their own national history, 198 00:22:12,190 --> 00:22:16,240 certain events or certain themes that are close to that country are hard to. 199 00:22:16,240 --> 00:22:20,590 They act the way they pre-registering, but also a new way of dealing with history, 200 00:22:20,590 --> 00:22:28,000 so this critical approach that we have is labelled by some as too German as being determined that we should be celebratory. 201 00:22:28,000 --> 00:22:36,400 But this is clear that you see the culture of history. Museums is very different across Europe and you see the ways visitors look at it. 202 00:22:36,400 --> 00:22:40,750 And then finally, even death language division where language used at individual, 203 00:22:40,750 --> 00:22:45,190 some people expect a very different visual language than than what we have seen. 204 00:22:45,190 --> 00:22:53,650 So summing up the museum is how the different expectations and can they actually did become 205 00:22:53,650 --> 00:22:58,120 apparent when that when we see that visitors comments and based on this experience, 206 00:22:58,120 --> 00:23:04,420 I would be to introduce more of in detail even more of a reflection about the narrative. 207 00:23:04,420 --> 00:23:09,280 What are the different expectations of the public and how are the stories perceived? 208 00:23:09,280 --> 00:23:20,110 How how should they be told? And he is definitely from our research into visual studies or sociology looking into how museum visitors behave. 209 00:23:20,110 --> 00:23:28,960 Emotions is a very important tool, and this is one of the findings of of recent research that museums do change their views. 210 00:23:28,960 --> 00:23:34,330 Then when the visitors are emotionally touched and not only intellectually. 211 00:23:34,330 --> 00:23:41,590 And then I would suggest juxtaposing different narratives, and this is something that I would like to discuss for our museum as well. 212 00:23:41,590 --> 00:23:46,150 How can we show that on top of this interpretation that can be had with others? 213 00:23:46,150 --> 00:23:51,910 And how could we become aware of the different perceptions of history around Europe? 214 00:23:51,910 --> 00:24:01,630 So I think this could be useful to not only have a narrative space, that's how I started off, but to create spaces for narratives. 215 00:24:01,630 --> 00:24:05,950 And is what we're trying to do, what you see here that we invited different filmmakers, 216 00:24:05,950 --> 00:24:12,460 poets and historians from 10 different European countries, maybe Central Eastern Europe, to guiding our exhibitions. 217 00:24:12,460 --> 00:24:18,190 And each one of them gave their own story, their own narrative based on our objects based on our content. 218 00:24:18,190 --> 00:24:20,620 But in this, the content is open for interpretation. 219 00:24:20,620 --> 00:24:28,000 So I think creating these spaces, these methodologies, these opportunities for debate is what we should do. 220 00:24:28,000 --> 00:24:35,150 Thank you very much. Thank you so much for coming to this conference, 221 00:24:35,150 --> 00:24:41,120 and thank you so much for giving me a kind of self-realisation that I never had before, which is that I'm an old man. 222 00:24:41,120 --> 00:24:45,680 According to the Chatham House survey, as I came out as a federalist, 223 00:24:45,680 --> 00:24:52,730 and so I have to talk to you about the kinds of stories, how a story of Europe is told in theatre. 224 00:24:52,730 --> 00:24:56,900 I'm interested to see someone making a theatre production about Europe. 225 00:24:56,900 --> 00:24:59,390 Our question is what is Europe? 226 00:24:59,390 --> 00:25:06,150 I will have to off, which is a London based company, for their article to sell, and we love our big multilingual projects. 227 00:25:06,150 --> 00:25:12,590 So his last project for this company was a multilingual production of its online stream in nine different Indian languages. 228 00:25:12,590 --> 00:25:20,510 How would the latest production about Europe is like holding workshops across different European cities and in actors to bring material, 229 00:25:20,510 --> 00:25:28,220 which offers three different questions? The first question is what ancient myth is most rather than understanding Europe today? 230 00:25:28,220 --> 00:25:33,410 The second question is what you starchitect is most important and understanding of ourselves 231 00:25:33,410 --> 00:25:37,670 is what was the most important contemporary political narrative to understand today. 232 00:25:37,670 --> 00:25:40,790 So when we started this project, we had our own free access. 233 00:25:40,790 --> 00:25:45,860 We had the way with your research, which was already mentioned, we had sixteen eighty three as our date, 234 00:25:45,860 --> 00:25:49,010 which was mentioned yesterday, I think tops at the gates of Vienna. 235 00:25:49,010 --> 00:25:57,290 And we had the narrative that the EU was created to stop total war and violence and nationalism as our contemporary political narrative. 236 00:25:57,290 --> 00:26:02,630 However, we realised with two theatre makers from London and these are just all our senses, 237 00:26:02,630 --> 00:26:08,780 so we wanted to diversify to find out responses from different places. We wanted more. 238 00:26:08,780 --> 00:26:13,970 And Timothy Garton Ash, his words cut off any barbs. However, in doing so, 239 00:26:13,970 --> 00:26:17,930 what we don't realise is that we've fallen into exactly the same pattern as all 240 00:26:17,930 --> 00:26:21,860 of the other big productions about Europe that happened in the last five years, 241 00:26:21,860 --> 00:26:27,320 which is a pattern that I would call losing the plot. What do you mean by that? 242 00:26:27,320 --> 00:26:29,380 Is none of the big productions about Europe. 243 00:26:29,380 --> 00:26:40,820 Perhaps a narrative for it or any of the typical tools that we have a theatre like dialogue, character arcs or even actors learning their lines. 244 00:26:40,820 --> 00:26:44,780 I'm going to talk about three plays that are particularly representative of this. 245 00:26:44,780 --> 00:26:52,430 The first is by a man who who is a Belgian director and a production goal of recreating Europe in 2016. 246 00:26:52,430 --> 00:26:57,800 The second is called the Europa trilogy by Mitterrand, which came out from 2014 to 2016, 247 00:26:57,800 --> 00:27:01,370 and the third is called Everything that has happened and will happen. 248 00:27:01,370 --> 00:27:10,850 I find it Goebbels which came out last year. So in either of those recreating Europe, the material uses our speeches. 249 00:27:10,850 --> 00:27:15,350 So these are speeches that were influential and important in building Europe's history. 250 00:27:15,350 --> 00:27:21,110 The way that these speeches become theatre is by actors reading them from a podium with scripts. 251 00:27:21,110 --> 00:27:25,700 There is no dialogue, there's no interruption, there's no character arcs. 252 00:27:25,700 --> 00:27:34,430 There's just actors reading texts. The speeches range from being rounds to Churchill to Obama to Timothy Garton Ash, who were featured. 253 00:27:34,430 --> 00:27:41,300 But what's important here is that this play has no flaws. So that's our first play without thought minerals, he wrote. 254 00:27:41,300 --> 00:27:48,410 The trilogy. What is material? What he uses are real stories, biographies of people he's chosen from across Europe. 255 00:27:48,410 --> 00:27:50,570 He was looking for access and he chose different actors. 256 00:27:50,570 --> 00:27:55,430 We for what I would read in some way or the other two stories, which were stories of migration. 257 00:27:55,430 --> 00:28:01,100 Mostly, he puts them in different parts of his trilogy for different actors in one set location, 258 00:28:01,100 --> 00:28:04,820 very naturalistic, a kitchen and the first part, a podium. 259 00:28:04,820 --> 00:28:08,720 Interestingly, in the second part and living room in the third part. 260 00:28:08,720 --> 00:28:16,730 But despite all being in one space, there's no dialogue. The actors just gave them all, and there's no interaction or event. 261 00:28:16,730 --> 00:28:26,270 No characters, no interaction, no dialogue, no event. Seconds left without a plot in absurdly behind it goes, everything has happened and will happen. 262 00:28:26,270 --> 00:28:32,930 This is similar to a new level. So his sources is Euronews, the no comment section of Euronews like a few notes, 263 00:28:32,930 --> 00:28:38,360 but it's clips made mostly by smartphones with European news but without humiliation. 264 00:28:38,360 --> 00:28:43,220 Then the other source is Patrick over next European, which I'm sure you know as well. 265 00:28:43,220 --> 00:28:49,250 But this is history, which is subjective, objective history, objective analysis, loads and loads of facts. 266 00:28:49,250 --> 00:28:54,140 The heights of soldiers, but subjective chooses a particular narrative of how to shape it, 267 00:28:54,140 --> 00:28:59,600 which is one which is completely fragmentary and completely not chronological. So what these two sources? 268 00:28:59,600 --> 00:29:03,530 How does this become theatre in a big warehouse in Manchester? 269 00:29:03,530 --> 00:29:10,340 There are a bunch of actors who move loads of stuff from one side of the room to the other side of the room for three hours. 270 00:29:10,340 --> 00:29:15,770 And then there are a couple of people who are reading an extract from European from illogically. 271 00:29:15,770 --> 00:29:20,210 And then you also have John Cage's EuroPass, which have five different offers, 272 00:29:20,210 --> 00:29:31,140 which are fragments of the European opera kind of being played into specific no characters, no dialogue, no events and the plot. 273 00:29:31,140 --> 00:29:39,150 In the words of the New York Times review about this show, it wasn't clear what connected these disparate elements or anything like them at all. 274 00:29:39,150 --> 00:29:45,150 So these are three plays that don't have a narrative or plot or in Aristotle's term mythos. 275 00:29:45,150 --> 00:29:48,990 Why is this? Why is it that we talk about Europe, that this happens? 276 00:29:48,990 --> 00:29:59,640 Is it because what a mythos requires unity of time, unity of place, unity of action are exactly the things that Europe lacks in a play about Europe. 277 00:29:59,640 --> 00:30:04,950 Where should we place it? What day should we put it on and what events should we recount? 278 00:30:04,950 --> 00:30:11,670 So what the movie all the drama can show us what perhaps a visual representation of Europe is that we can't tell these stories, 279 00:30:11,670 --> 00:30:19,290 but also shows us perhaps why we're very used to seeing a static image of Europe condensed into a map, a graphic, a bit of data. 280 00:30:19,290 --> 00:30:22,740 But when we put it in time, we see where the problem stopped. 281 00:30:22,740 --> 00:30:28,680 And this is because we don't have any of the three key ingredients for a story where it takes place, when it begins and ends. 282 00:30:28,680 --> 00:30:34,570 And what happens is essentially what the story is at. So I start my work on this project in September. 283 00:30:34,570 --> 00:30:42,780 The other and then we got to leave and Liverpool and Coventry, Paris, Berlin, Milan, Stockholm, Athens. 284 00:30:42,780 --> 00:30:50,280 But my question is, how can I do this without falling into these same traps without falling into cacophony fragmentation, 285 00:30:50,280 --> 00:30:55,350 without replicating the structure of networked information rather than narrative? 286 00:30:55,350 --> 00:30:59,400 So perhaps to answer the question that Timothy asked on the first day of this 287 00:30:59,400 --> 00:31:03,240 conference what kinds of methods we should use to understand what matters, 288 00:31:03,240 --> 00:31:10,590 we might need to go back to the earliest western exploitation of these methods, which is the oldest poetics in the book. 289 00:31:10,590 --> 00:31:14,580 So I'd like to end the question for the floor, which you can discuss in questions are afterwards, 290 00:31:14,580 --> 00:31:21,690 which is if we have to choose to tell a story about Europe one place, one day, what is it? 291 00:31:21,690 --> 00:31:35,870 What would it be then? Thank you, Tim, and all the team organising this wonderful conference and for us being part of it. 292 00:31:35,870 --> 00:31:40,820 I feel so incredibly going after this up to this last question. 293 00:31:40,820 --> 00:31:47,300 And usually we do not experience a burning interest in the work of grant making conditions that they do that. 294 00:31:47,300 --> 00:31:55,460 But I want to start with saying we have the task of distributing money and 295 00:31:55,460 --> 00:32:03,080 by that influence and opportunities and voice to as many people as possible. 296 00:32:03,080 --> 00:32:11,750 For a united Europe for you're capable of acting for a cohesive Europe. 297 00:32:11,750 --> 00:32:21,020 And that's quite a task, and it has become way more difficult, way more complicated and we have become more serious about it in the last two years. 298 00:32:21,020 --> 00:32:27,770 We also led the nation on climate change, on integration and migration in Turkey and China. 299 00:32:27,770 --> 00:32:32,060 All of these topics have become way more politicised. 300 00:32:32,060 --> 00:32:38,090 And we see that in member states and in countries like Turkey colleagues from those who 301 00:32:38,090 --> 00:32:44,630 do exactly the work that we do indicted sitting in jail for the work that they do. 302 00:32:44,630 --> 00:32:56,690 That's my brother and his friends and colleagues. And this we feel more responsibility to use the money that we have in a good and productive way. 303 00:32:56,690 --> 00:33:07,460 We are practitioners, so we are not so much to the business of creating or see the role of ourselves in creating narratives. 304 00:33:07,460 --> 00:33:18,890 We see our role mostly in and in providing spaces platforms for Europeans to tell each other their stories. 305 00:33:18,890 --> 00:33:29,120 And I want to give you a couple of examples how we how we do that. So we as a foundation, we have 400 running projects. 306 00:33:29,120 --> 00:33:38,420 We have approximately 100 projects in your portfolio with with a running budget of around 100 million euro. 307 00:33:38,420 --> 00:33:43,040 To give you the scope of what we do, we do research funding, we do think-tank funding, 308 00:33:43,040 --> 00:33:51,570 we do civil society funding, we have fellowship programmes, leadership programmes and civic education programmes. 309 00:33:51,570 --> 00:33:56,030 Plus, it gets particularly interesting if we bridge the sector. 310 00:33:56,030 --> 00:34:02,810 So if we bring together policymakers with civil society, if you bring together the think tanks with young people, 311 00:34:02,810 --> 00:34:13,190 it could bring together active issues with policymakers and we see a role in that and we see a lack of that happening. 312 00:34:13,190 --> 00:34:19,720 One example of what we do is go to three of four for four examples. 313 00:34:19,720 --> 00:34:26,570 And after the euro crisis, we we went under the impression that particularly in Germany, 314 00:34:26,570 --> 00:34:36,680 the very conservatives talked a lot about Greece without having met the Greece politicians or having been to Greece. 315 00:34:36,680 --> 00:34:41,480 So we decided to start a project in the culture European dialogue, 316 00:34:41,480 --> 00:34:46,970 where we bring together parliamentarians from the national parliaments of member states. 317 00:34:46,970 --> 00:34:56,120 Um, this plenary session with 40 to 50, the parliamentarians from last time 21 countries. 318 00:34:56,120 --> 00:35:03,590 And we have small field trips or shorter workshops with smaller numbers. 319 00:35:03,590 --> 00:35:12,080 And I remember one field trip to Lesbos where we invited a small group of parliamentarians to, 320 00:35:12,080 --> 00:35:16,700 you know, get a get a view on what's happening on the Greek islands. 321 00:35:16,700 --> 00:35:20,630 And it was interesting that, you know, Irish MP said, you know, you should invite, 322 00:35:20,630 --> 00:35:27,030 you know, someone who has more interest in that and it's closer to the topic. And we said, No, you should, you know, you should. 323 00:35:27,030 --> 00:35:35,150 It's also a topic that should concern you afterwards. That was the impression of the whole group that was worthwhile going there. 324 00:35:35,150 --> 00:35:46,940 Interestingly, we do this project, together with 9:45 a.m., have Seat of Rome and the German Marshall Fund for the think tanks. 325 00:35:46,940 --> 00:35:54,530 It has become one of the most effective tools in communicating that way, meeting and working with those commentaries. 326 00:35:54,530 --> 00:36:04,700 And we started off not by asking What do you think about Germany's fiscal policy, but by asking, Why are you a politician? 327 00:36:04,700 --> 00:36:12,120 What is your view on Europe? And that it's highly interesting and there's a lack of these kind of spaces in. 328 00:36:12,120 --> 00:36:22,070 The second example I want to give is is based on the assumption we should be problem solvers. 329 00:36:22,070 --> 00:36:29,430 We should be, you know, credible and knowledgeable about the in the fields that we are working and. 330 00:36:29,430 --> 00:36:33,390 We experience in our social programmes with young fellows that, of course, 331 00:36:33,390 --> 00:36:40,710 the topic of youth unemployment is a big issue in Europe, but we are a labour market expert. 332 00:36:40,710 --> 00:36:50,400 We do have an expertise in education programmes in the area where we are based, which is a, you know, disadvantaged area of Germany. 333 00:36:50,400 --> 00:37:00,540 We have started a multi-state stakeholder collective impact project called Wolf, a tool where we bring together, and that's a highly complicated area. 334 00:37:00,540 --> 00:37:12,150 Universities, cities, the government of the land, the that affirms failure, the the education administration of the region, schools, 335 00:37:12,150 --> 00:37:23,250 kindergartens and for the first time, this group sets themselves joint goals for the region and for the educational space of the whole area. 336 00:37:23,250 --> 00:37:29,490 We thought that might be a good idea also to do, for example, in Italy or in Greece. 337 00:37:29,490 --> 00:37:34,680 And so we did a feasibility study and we we we have chosen a career to be in the region 338 00:37:34,680 --> 00:37:42,000 to do this kind of a project collective impact project with Italian foundations, 339 00:37:42,000 --> 00:37:49,890 with the Italian government and creating structures of the local stakeholders to improve the education system. 340 00:37:49,890 --> 00:37:58,320 And again, here we try also to bring in a clinicians think tankers, the practitioners from other regions in Europe. 341 00:37:58,320 --> 00:38:07,530 And we think, you know, we created a space in which Europeans can exchange knowledge. 342 00:38:07,530 --> 00:38:13,260 I can go on, give you a short introduction of 400 projects if you want to. 343 00:38:13,260 --> 00:38:25,650 I know that our experience is, you know, we can get Robin Niblett from Chatham House invited into our foundation. 344 00:38:25,650 --> 00:38:32,310 And he he, you know, he wrote this paper on the future think tanks and he said, You know, we think tanks. 345 00:38:32,310 --> 00:38:44,520 We we we are part of the problem, as we have for a long time stressed the positive, aggregated impacts of globalisation too much. 346 00:38:44,520 --> 00:38:54,030 And the thing that we want to avoid, and I think, you know, those which foundations, private foundations may have the same problem. 347 00:38:54,030 --> 00:39:03,060 We do not want it to be perceived as the megaphones of the cosmopolitan elite, but as critical problem solvers. 348 00:39:03,060 --> 00:39:07,680 We had long conversations with our friends from open society that have moved from 349 00:39:07,680 --> 00:39:14,070 professional to in on exactly that topic how how we should act differently. 350 00:39:14,070 --> 00:39:17,550 And you know, 351 00:39:17,550 --> 00:39:28,410 I think there's a fine line when we give these different groups of Europeans the space to exchange their ideas and their stories in Europe. 352 00:39:28,410 --> 00:39:35,360 There is a legitimate room for criticism of the European Union and of the political systems we live in. 353 00:39:35,360 --> 00:39:48,180 Um, I live in Berlin. People have the right to be trusted about the political outfits of of, uh, of of the government. 354 00:39:48,180 --> 00:39:57,860 And we should we should find a constructive way in solving the problems, uh, bringing to the table as many people as possible. 355 00:39:57,860 --> 00:40:00,210 And that's that's what we what we do. 356 00:40:00,210 --> 00:40:10,710 One example of how we try to do things differently is there's a recent example before the European elections and we decided, 357 00:40:10,710 --> 00:40:16,310 you know, this time we should we should do is get your vote out, compete in our home city of Essen. 358 00:40:16,310 --> 00:40:20,490 Um, usually we do work, you know, nationally or even in Europe, Europe wide. 359 00:40:20,490 --> 00:40:32,100 But but we do very few things in SC. And so we thought, you know, we should raise the competition rate in the elections, you know, in our city. 360 00:40:32,100 --> 00:40:40,710 And we have worked together now with small and medium sized companies with Utah, the largest union that we have worked with. 361 00:40:40,710 --> 00:40:44,550 How about a voice vote, which is a welfare organisation? 362 00:40:44,550 --> 00:40:53,730 We have worked with the City Council and that was our team and was extremely interesting to talk to trade union members, 363 00:40:53,730 --> 00:41:00,300 to talk to small companies that may have the production site in Hungary or Poland. 364 00:41:00,300 --> 00:41:05,040 And I think it's exactly that kind of work that we as a foundation should do should do 365 00:41:05,040 --> 00:41:09,210 more because those conversations are very different from the conversations we have here. 366 00:41:09,210 --> 00:41:13,650 But those people are convinced Europeans as well. 367 00:41:13,650 --> 00:41:24,510 And this is why I think again, creating spaces where different sectors meet with different stories can be told this is is extremely important. 368 00:41:24,510 --> 00:41:30,201 Thank you. And.