r–evolution burgos 2016 candidate city

Transcription

BURGOS
2016
CANDIDATE
CITY
EUROPEAN
CAPITAL OF
CULTURE
R –EVOLUTION
— Bid Document
June 2010
p. 2
BURGOS
2016
RE-DISCOVER
RE-INVENT
RE-LEASE
— Bid Document
June
2010
p. 3
I
Basic Principles
Why does the city which you represent wish to take part in the competition for the title of
European Capital of Culture?
What, for it, would be the main challenge of this nomination?
What are the city’s objectives for the year in question?
P. 022
2 / I
Explain the concept of the programme which would be launched if the city was nominated
P. 028
3 /I
Could this programme be summed up by a slogan? (the answer to this question is optional at the pre-selection stage).
P. 028
4 /I
Which geographical area does the city intend to involve in the “European Capital of Culture”
event? Explain this choice.
P. 032
5 /I
Do you already have the support of the local or regional political authorities? Or are you
planning to ask for their support at a later date? Explain.
P. 033
6 /I
How does the event fit into the long-term cultural development of the city and, where appropriate, of the region?
P. 091
7 /I
To what extent do you plan to forge links with the other city to be nominated Capital of Culture?
P. 139
8 /I
Explain how the event could fulfil the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage).
As regards “The European Dimension”, how does the city intend to contribute to the following objectives:
- to strengthen cooperation between the cultural operators, artists and cities of your
country and other Member States, in all cultural sectors;
- to highlight the richness of cultural diversity in Europe;
- to bring the common aspects of European cultures to the fore?
Can you specify how this event could help to strengthen the city’s links with Europe?
P. 095
9 /I
Explain how the event could meet the criteria listed below. Please substantiate your answer for each of the criteria (this question must be answered in greater detail at the final selection stage).
As regards “City and Citizens”, how does the city intend to ensure that the programme for the event:
- attracts the interest of the population at European level;
- encourages the participation of artists, stakeholders in the socio-cultural scene and the inhabitants of the city, its surroundings and the area involved in the programme,
- is sustainable and an integral part of the long-term cultural and social development of the city?
P. 101
10 /I
How does the city plan to get involved in or create synergies with the cultural activities
supported by the European Institutions?
P. 092
11 /I
Are some parts of the programme designed for particular target groups (young people,
minorities, etc.)? Specify the relevant parts of the programme planned for the event.
P. 040
12 /I
What contacts has the city or the body responsible for preparing the event established, or what contacts does it intend to establish, with
- cultural operators in the city?
- cultural operators based outside the city?
- cultural operators based outside the country?
Name some operators with whom cooperation is envisaged and specify the type of exchanges in question. (The answer to this question is optional at the pre-selection stage).
P. 138
13 /I
In what way is the proposed project innovative?
P. 094
14 /I
If the city in question is awarded the title of Capital of Culture, what would be the medium- and long-term effects of the event from a social, cultural and urban point of view?
Do the municipal authorities intend to make a public declaration of intent concerning the
period following the year of the event?
P. 091
15 /I
How was this application designed and prepared?
P. 130
1.1 / I
1.2 / I
1.3 / I
II
P. 024
P. 025
Structure of the programme for the event
1 /II
What structure does the city intend to give to the year’s programme if it is designated
“European Capital of Culture” (guidelines, general theme of the event)? How long does the
programme last? (This question must be answered in greater detail at the final selection stage).
P. 040
2 /II
What main events will mark the year?
For each one, please supply the following information: description of the event / date and
place / project partners / financing.
(The answer to this question is optional at the pre-selection stage).
P. 047
3 /II
How does the city plan to choose the projects/events which will constitute the programme for
the year? (The answer to this question is optional at the pre-selection stage).
P. 090
III
1 /III
Organisation and financing of the event
Organisational structure
1.1 /III
What sort of structure2 is envisaged for the organisation responsible for implementing the
project? What type of relationship will it have with the city authorities? (This question
must be answered in greater detail at the final selection stage, by enclosing in particular
the statutes of the organisation, its staff numbers, the curricula vitae of those primarily
responsible, information concerning its financial and management capacity, and a graph of the
structure with comments on the respective responsibilities of the different levels).
P. 142
1.2 /III
If an area around the city is involved in the event, how will the coordination between the
authorities of the relevant local and regional authorities be organised?
P. 145
According to which criteria and under which arrangements has or will the artistic director
of the event be chosen? What is or will be his/her profile? When will he/she take up the
appointment? What will be his/her field of action?
(This question must be answered in greater detail at the final selection stage).
P. 145
1.3 /III
2 /III
Financing of the event:
2.1 /III
How is the event budget to be organised?
What is the total amount of resources earmarked for organising the “European Capital of Culture”
year? What are the sources of financing and the respective importance of their contribution to
the total? (This question must be answered in greater detail at the final selection stage).
P. 146
2.2 /III
Have the finance authorities of the city already voted on or made financial commitments? When will they do so?
P. 146
2.3 /III
What is the total expenditure planned strictly for the programme of the event?
The structure mentioned above refers to the organisation liaising with the Commission, in particular during the monitoring phase, should the city be awarded the title.
P. 146
2.4 /III
How much expenditure is planned for infrastructure (cultural and tourism infrastructure,
including renovation)?
P. 146
2.5 /III
What is the plan for involving sponsors in the event? What is the estimated level of financial participation by sponsors?
P. 146
2.6 /III
According to what timetable should this expenditure be committed if the city receives the title
of Capital of Culture? (The answer to this question is optional at the pre-selection stage).
P. 146
IV
City infrastructure
1 /IV
What are the city’s assets in terms of accessibility (regional, national and International
transport)?
P. 154
2 /IV
What is the city’s absorption capacity in terms of tourist accommodation?
P. 156
3 /IV
What projects are to be carried out between now and the year for which the city is applying
for the title of European Capital of Culture in terms of urban and tourism infrastructure,
including renovation? What is the planned timetable for this work? (The answer to this question
is optional at the pre-selection stage).
P. 158
V
Communication strategy
1 /V
What is the city’s intended communication strategy for the European Capital of Culture event?
(This question must be answered in greater detail at the final selection stage, in particular
with regard to the media strategy and the mobilisation of the public and the inhabitants. At the
final selection stage, consideration must be given in particular to the partnerships planned
or established with the written press and the audiovisual sector with a view to ensuring media
coverage of the event and of the plans relating to this strategy).
P. 166
2 /V
What proportion of the budget is earmarked for communication?
P. 167
3 /V
How does the city plan to promote the award of the Melina Mercouri prize if it receives it?
(Information on this prize is given in paragraph VI of the Guide for cities applying for the title of European Capital of Culture). (The answer to this question is optional at the pre-selection stage).
P. 169
VI
1 /VI
VII
Evaluation and monitoring of the event
Does the city intend to set up a special monitoring and evaluation system:
- for the impact of the programme and its knock-on effects?
- for financial management?
P. 174
Additional information
1 /VII
What, in your opinion, are the strong points of the city’s application and the parameters of
its success as European Capital of Culture and what, on the other hand, are its weak points?
P. 182
2 /VII
Does the city intend to develop particular cultural projects in the coming years, irrespective
of the outcome of its application for the title of European Capital of Culture? Please comment.
P. 183
3 /VII
Please add below any further comments which you deem necessary on the subject of this application.
P. 184 p. 6
index
PRESENTATIoN and PROLOGUE
9
A
Fundamentals and concept
21
B
Structure of the
programme for the event
39
C
Preparation of the bid and
organization and Financing
of the event
129
D
City infrastructure
153
E
Communication strategy
165
F
Evaluating and
monitoring
173
G
Additional Information
181
p. 7
PRESENTATIoN
and PROLOGUE
Presentations
— Juan Carlos Aparicio
Mayor of Burgos and President
of Burgos 2016 Foundation
— Mª José Salgueiro Cortiñas
Regional Minister of Culture
— Vicente Orden Vígara
President of Burgos Province
Administration
Burgos 2016 Candidate City
— Mary Miller
Artistic Director
PrOLOGUE
The City of Origins
— Juan Luis Arsuaga
Codirector of the Atapuerca
Archaeological Site
The City of Princes
and Dragons
— Óscar Esquivias
Writer
Presentations
— Juan Carlos Aparicio
Mayor of Burgos and President
of Burgos 2016 Foundation
Burgos presents this project with the desire and the dream of representing the
cultural wealth and diversity of Europe. Our bid constitutes a re-encounter with
the city’s past, and aspires to make a decisive contribution towards confronting
the challenges that we share along with the five-hundred-million people who
today form the European Union.
Our land, the origin of humankind in Europe and of innumerable adventures
that have forged our shared way of doing and living, needs once again to feel
the life- force of Europe’s breath. We want to reinvent Burgos and our province
through our democratic values - the most precious yet imperfect contribution
that we make to today’s globalized world.
Juan Carlos Aparicio
Mayor of Burgos and President of Burgos 2016 Foundation
In building our bid, we have mobilized the citizens of our community. We have
learnt from the path travelled by those who have had the privilege of preceding
us in this challenge, and so we have strengthened our sense of responsibility
and imagination, to put forward a project that will be as valuable to Europe as it
will be to ourselves.
As the elected representative of the citizens of Burgos and president of the
foundation which we have created to give leadership to this process, I feel proud
of this candidacy which has the unanimous support of the political parties in
the city, the province and the region, and which has been prepared thanks to
the collaboration of hundreds of people and institutions from the city and its
surrounds. We owe them an eternal debt of gratitude.
At this significant moment, we feel that the project that we are unveiling here
no longer belongs to only to Burgos and Spain, but has come to form part of the
aspirations of the citizens of a Europe united by its culture. In 2016, we desire
to gather them together once again at their home, in Burgos, where it all began
over one million years ago.
Mayor of Burgos and President of Burgos 2016 Foundation
p. 11
— Mª José Salgueiro Cortiñas
Minister of Culture and Tourism
of Castilla y León
Dear Selection Panel Members,
I am pleased to address you personally to express the unconditional support
of the Junta of Castile-Leon, and especially, my own, as Councillor for Culture
and Tourism, for the candidacies of Burgos and Segovia to become European
Capital of Culture 2016.
This institutional support was unanimously endorsed by all the political
groups that make up the Regional Parliament in sessions held on 31 May, 2006,
and 7 February, 2007, respectively.
Mª José Salguiero Cortiñas
minister of culture of castilla y león
It is a privilege for the citizens of Castile and Leon that two of the most
emblematic cities in the region have made a bid to represent a project of such
dimensions in Europe
There is not the slightest doubt that, to an ever greater extent, cultural
management is revealing itself to be one of the most effective tools for economic
progress and the social stability of a territory. Culture is now one of the most
important keys not only for the future, but for the present day in which citizens
decide to assume greater responsibility and participate in the public sphere.
We firmly believe in the bids of these two cities, as they constitute an example
of economic dynamism; conservation of an historic heritage that situates them
among the most beautiful and frequently visited cities of Europe.
It is the right moment to support Castile-Leon and its candidate cities showing our
commitment towards this project and the cultural programme designed for 2016,
because we are firmly convinced that the candidacies of Burgos and Segovia will
be capable of working towards their appointment for the success of Castile-Leon.
Mª José Salgueiro Cortiñas
Minister of Culture of Castilla y León
p. 12
Presentation
— Vicente Orden Vígara
President of Burgos Province
Administration
The Diputación Provincial de Burgos shares in the efforts and the desire, along
with the City Corporation and the other entities that make up the Burgos 2016
Foundation, to represent Europe in that year.
The province of Burgos has always been a welcoming and surprising territory,
whose network of 371 municipalities and 1,263 population centres is home to an
immense natural and historical heritage, the legacy of the different villages and
cultures that were founded to exploit its resources and its strategic position.
Our challenges today continue to be, not only maintaining and transmitting this
legacy to future generations, but sharing it with all those who visit us to enjoy a
few restful days, to enrich their knowledge and to settle permanently among us.
Vicente Orden Vígara
President of burgos province
Faithful to our hospitable and adventuresome nature, all the territory of Burgos
is criss-crossed by various routes of different sorts; natural, historic, cultural,
sporting, gastronomic, transhumant, etc. both physical as well as imaginary, and
all of it, inexorably leading to Europe.
For this reason, the people of Burgos have made pilgrimage their way of life, on a
journey that never ends, but whose milestone and reference point on that journey
is to become European Capital of Culture in 2016.
Vicente Orden Vigara
President of Burgos province
p. 13
— Mary Miller
Artistic Director
This bid is not the usual story of greatness and glamour – although Burgos’s
heritage could well unroll a pageant of grand patrimony and royal intrigue, of
trading across grand oceans, of historically important cultural encounters. Our bid
concerns the truthful story of how we live now, of Burgos present and future:- who
we are, who we want to be, and how we intend to live out our ambitions, and those
of our children.
Mary Miller
Artistic Director
The team that has written this bid, and has devised the programme which will
bring participation in culture into the beating heart of the city and surrounds,
has become an unlikely family. Burgos did not choose the path of outsourcing to
a consultancy. This bid was written in Burgos, with the noise, sights and smells
of the city along with the clamouring voices of artists and citizens permeating its
pages. And our family, like any other, ate and drank together, squabbled, sulked,
laughed, loved, created, and dreamed. We were, variously: a Burgos born-and
bred senior member of the city’s strategic planning team, the Scottish director of a
previously successful European Capital of Culture, a Spain-based member of that
Stavanger 2008 team, a young Spanish journalist, a culture and tourism expert
from Madrid and a highly versatile young heritage graduate from Burgos province.
In other words, we combined, between us, the critical experience of having planned
and delivered an ECOC, with the imperative of true local Spanish knowledge, both
of cultural and political life.
The extraordinary and unique attributes of Burgos and its province dictated what
we must deliver in the years to come. We inhabit the cradle of man in Europe,
discovered in the soil of Atapuerca, along with all the astonishment of life, culture
and society, as revealed from over a million years past. The responsibility for us
today and tomorrow is critical and unavoidable. However, how we evolve is not
inevitable. We have chosen, proudly, to put culture first.
So, Burgos bids to become European Capital of Culture in 2016, as a vital part
of our long term plan for living as decent, creative humans. The following pages
lay out the story of our journey, one of adventure, of challenge – and, most
importantly, of evolution.
Mary Miller
Artistic Director
p. 14
Prologue
juan luis arsuaga
codirector of the atapuerca archaeological site
The City of Origins
Codirector of the Atapuerca
Archaeological Site
The city of Burgos is renowned for its monuments and is for a historic centre
that is beautifully conserved. Owing to its importance over the centuries, the
City is a magnificent example of culture, of the economy and of European life. For
this reason alone, it would be a magnificent representative of our continent and
deserves to become its cultural capital. Many important events have taken place
in Burgos over the centuries, and its streets, palaces and churches have witnessed
millions of Europeans pass by on their pilgrimage to Santiago, as they do to this
day. And although it is in the meseta, far from the coast, its economic activities
have reached out towards the north of Europe through the Consulate of the Sea. It
is, therefore, a good place to reflect on our common past and future as Europeans.
But Burgos also has a treasure very nearby, in the hills of Atapuerca, where
the fossils of the first Europeans and of their successors up until the present
have been found. In the month of July, a magnificent museum will be opened
in the city of Burgos that will put the complete history of humanity on show
for the public. Resources have not been spared on this museum, which aspires
to be the most important of its kind in the world. Its vanguard architecture and
the rebuilding of the local area have transformed the city. It will serve to respond
to the fundamental question of human philosophy concerning our origins, so
that as human beings we may deepen our own understanding of ourselves.
Globalization is one of the most readily repeated words nowadays. It is not
that Europe forgot the other continents in the past, especially America in the
case of the Spanish, but that nowadays we no longer see them as playing only
a supporting role in our history. We need to resolve the economic, political and
environmental problems shared by all on the planet, and seek out what unites
us above geographic and cultural differences. Evolution is what all humans
have in common, which in truth, also relates us and ties us to the other living
species. This planetary dimension of Burgos, which may start to call itself the
city of origins, turns it into the ideal place for debate and reflection not only on
humanity’s past, but also its future.
p. 15
The City of Princes
and Dragons
Writer
Like all children, when I was small I loved to paint. I used to while away my
time imagining scenes of blue mountains and smiling suns, inventing monsters
that I used to terrify my small brothers, but above all, imagining cities. I used
to always draw the cities at the end of serpentine roads, hugged by ramparts,
with battlements, cramped roofs, great palaces and slender towers. I imagined
their bustling streets, full of travellers, with a prince in every window and a fire
breathing dragon high in the sky.
The best thing of all is that I lived in a city like that: Burgos. It didn’t lack
anything. Not even the occasional dragon.
ÓSCAR ESQUIVIAS
writer
I was a child from the outskirts which grew into the industrial suburbs. Whenever
I was approaching the heart of the town, it appeared on the horizon like a mirage:
surrounded by trees, implausibly beautiful, with its raised Gothic steeples
resembling lances of medieval knights. Burgos seemed like the scene of the best
and most adventurous theatrical productions. Edmondo De Amicis had the same
sensation when he compared it to a puppet theatre. Is it possible to live in a
happier or more enjoyable place? Any child would tell you no.
This scenographic air lives on today. Many statues in Burgos have swords in
their hands and pose on their pedestals as if they were about to sing an aria. The
most famous of our neighbours, El Cid, may well have been able to: the medieval
minstrels were the first to sing of their heroic deeds and loves (partly real, partly
invented, as we all know how fanciful poets are…) and since then the legend
of the warrior has not stopped spreading throughout the world, nearly always
accompanied by music. The composer Peter Cornelius managed to get El Cid to
sing in German and Massenet and Debussy composed arias in French, a language
which our hero had already perfected thanks to Corneille, who had pushed him
onto the stage to recite delightful alexandrines to public applause. Spectators and
readers of all periods and countries have trembled in delight at this character: the
German philosopher Herder, the English poet Robert Southey, the Danish writer
Hans Christian Andersen and the Polish poet Wislawa Szymborska declared their
love for the legend of this warrior who was exiled from Castile in order to inhabit
the land of mythology.
p. 16
Everything in Burgos exudes legend, history and art. The streets are a home to a
fantastic rhythm of life. On the bridge that leads to one of the arches of the wall,
the arch of San Juan, one can see stone lions bearing the coat of arms of the city
and of Castile. As a child I loved to enter Burgos precisely because of those wild
beasts of the puppet theatre that welcome the pilgrims with their stone roars, and
because this little bridge is part of the Camino de Santiago (the road to Santiago)
over which the walkers arrive, with their toasted skin and big backpacks. If one
should listen to them, one will hear all the languages of the world. Burgos has
always been a cosmopolitan city, in which people from the most diverse places mix.
The city’s own patron, the Benedictine Saint Lesmes, was not born here but in
France in the 11th century; the Castilian kings were married in Burgos to
princesses from every court in Europe: Alfonso VIII did so with the English Leonor
(Eleanor) of Plantagenet, who must have been tired of the espadones (person of
elevated hierarchy in the military) and battles (she was the sister of Ricardo
Corazón of León or Richard I and of Juan Sin Tierra or Lackland in English, and
her husband never ceased fighting during his whole life). Perhaps to compensate
for spilling so much blood, he founded the Abbey of Santa María la Real de
Huelgas, where the finest polyphony of the Middle Ages was sung. King Fernando
III married Elisabeth of Hohenstaufen and soon afterwards decided to build the
Gothic cathedral which earns Burgos worldwide fame. Many of the best artistic
works of the city were produced by people who came from outside, who settled and
became our neighbours. Their surnames often inform us of their origin: in this way
the master architect Johannes von Köln became Juan de Colonia for the Spanish
(John from Cologne) and he was the one who raised the spires of the Cathedral
and gave it its own inimitable profile. Gil de Siloe came from Antwerp and
sculpted some amazing altarpieces, full of fantasy and beauty; the great dragon
on the door of the cloister of the Cathedral is attributed to him, the image of
which fascinated me as a child and does so even to this day. Another great
sculptor, towards the end of the 15th century was Felipe Bigarny who hailed
from Burgundy and dazzled the Castilians with the powerful expressivity of his
figures; around the same time, Arnao de Flandes was one of the best glaziers in
Burgos, and the printer Fadrique de Basilia published Dante’s The Divine
Comedy for the first time in Spanish. Burgos was a hive of creativity. Nothing
seemed impossible: the most slender towers, the most beautiful sculptures, the
daily literature-and criticism - of Lazarillo de Tormes or the unashamed La
Celestina... The Burgos artists also roamed Europe: the sculptors Diego de Siloe
and Bartolomé Ordóñez studied in Italy and the great musician Antonio de
Cabezón (who at only 16 years of age was already the organist for Isabella of
Portugal) accompanied the emperor Charles V and his child, Prince Philip on
his journeys abroad. All languages were heard in Burgos: English, French,
German, Flemish, Italian, Portugueseand this still rings true.
Burgos for many centuries has belonged to the heart of culture of the Old
Continent, not only through the historic ties the city has with different European
countries nor due just to its name being synonymous with El Cid, the splendour
of Gothic and Renaissance art, the music of Las Huelgas, the Camino de Santiago
nor the paleontological investigations of the sites of Atapuerca; Burgos also
belongs at the heart of culture because people from Burgos (Burgaleses) continue
to have a universal vocation, because we know that art and science know no limits
nor boundaries. Burgos rises up in an intersection of paths and its doors have
always been open to the arrival of those who come from outside. The city wants to
continue to be a protagonist of an adventure that has already lasted for centuries:
that of making the world a more creative, beautiful, just, tolerant and (why not?)
fun place. We want to continue to be a working, vital and - just like a puppet
theatre - joyous city, a place where everything one imagines is possible: even a
protecting flying dragon, over the roofs, towers and palaces.
p. 17
-act
-activate
-adapt
-tune
-evolution
A
A
FundamentALs and
concept
A1
Objectives and Challenge
— Reinventing the city
through culture
— New values
for Europe
A2
Main issues of
the programme
— Concept
— Cultural programme
Themes and phases
A3
A Unique Setting
A4
Institutional support
A1 / Objectives
— Reinventing itself
through Culture
[ QUESTION 1.1 / I ]
Why does the city which you represent wish to take part in the competition for the title of
[ 1.1 / I ]
and Challenge
What, for it, would be the main
challenge of this nomination?
Burgos is a city at a crossroads.
The candidacy of Burgos reflects
the firm determination of the
city and its province to reinvent
itself through culture.
The City’s strategic plan (2001-2015),
has created a framework to guide an
important development. Nevertheless,
Burgos will have to deal with important
challenges in the coming years in
order to complete this process, to
become a vital and revitalized city
which may inspire the new Europe of
cities, creativity and human values. A
Northern city with an uncertain climate
and lacking the sunny optimism of its
Southern neighbours, Burgos wears its
history with pride, but its present with
stoicism rather than delight.
Burgos has always been a major centre
of human development, trade, and
interaction. The region houses the oldest
human remains in Europe at Atapuerca
and is one of the most biodiverse habitats
in Europe. Burgos is the cradle of
Castilian (Spanish), a language spoken
globally by more than 400 million people
from diverse cultural backgrounds,
and is a critical resting point along the
Camino de Santiago. Between the XII
and XVI it was a major trading centre.
Since the 1960s the city has emerged as
a successful industrial centre.
p. 22
The city is also at a crossroads in
time. Having helped to create the
current globalised economy, we now
perceive a future where it may well
pose a threat. The skills which
have served us in the past may no
longer be sufficient to deal with the
challenges posed by the 21st century.
As an example; our economy is heavily
dependent on the car manufacturing
industry, something that can not be
sustained and which has allowed car
component manufacturers to relocate
production to other countries. The city of
Burgos will not be saved by its rich and
glorious past and currently prosperous
economic model when jobs are lost to
other parts of the world. Our bid to
become ECOC provides a much needed
opportunity to launch our city into a
new phase of change through evolution.
As a city we are no strangers to change;
we have evolved through many periods
of growth, decline and resurgence, all
of which have imprinted their traces on
our city and added to its cultural DNA.
These influences have developed through
trade and communication with Europe
and the rest of the world, giving the city
an open and enterprising character. Our
relative prosperity in this modern age
is based on such processes of exchange
along with the preservation and
valorisation of our past.
Now once again, Burgos faces a moment
in history where we must react to a new
external environment, or face decline,
a challenge faced by many other cities
in Europe. Lacking the economies of
scale and the advantages of attraction
of larger and better-connected or better
situated metropolises, we need to reposition ourself in the global economy
and manage the transition from
manufacturing into the new sectors of
the knowledge and creative economies.
The change demands more than merely
an economic shift; it requires the focus
of the city to change from attracting
firms and industries to attracting and
retaining people and talent.
Culture must be at the heart of this
transformation; culture provides the
essential raw materials on which
social evolution depends: social
cohesion, openness, mutual respect,
tolerance, creativity, knowledge and
understanding. By developing culture,
the city can strengthen its social fabric
and human potential in such way that
the more extrinsic benefits of economic
growth and improved image flow as the
consequence of cultural development.
The major strength of Burgos has
been its role as a vibrant centre for
human activity over thousand years.
The city has a rich history which
illuminates key phases in human and
urban evolution.
The City’s major weakness is that it
has largely looked inwards in cultural
terms. Our awareness of this state of
introversion drives the desire of the city
to change and develop stronger creative
links with Europe. Today, Burgos lags
“City, art and technology”
— Raquel Rodríguez
Burgos Contemprary
Art Centre
p. 23
Fundaments and concept
behind a number of other cities in
evolutionary terms. It is still strongly
based in the ‘old’ industrial economy and
in ‘traditional and historical’ culture.
The major current challenge Burgos
faces is that of lack of identity and
vibrancy on national and European level.
The city must adopt the power of the
creative industries and the challenges
of maintaining human, ecological and
economical sustainability along with
preservation of a heterogeneous and
demographically balanced population.
[ 1.2 / I ]
A NEW WAY OF
DELIVERING CULTURE
“Mankind as a whole must formulate
a new planetary ethic capable
of managing man’s future while
remembering his origins, his slow
and laborious ascent and his vital
links with the natural environment,
which we must preserve.”
— Henry de Lumley
Burgos, as the site of the origin of man
in Europe and the worldwide reference
point on human evolution, wants to
share with the rest of Europe the
capacity of culture and art to inspire
and monitor complex processes of social
change. This is how we may perceive
human evolution, a natural change
process based on the way in which
individuals live and interact with
their environment.
Burgos 2016 must lead a new way of
delivering culture which brings active
involvement in creativity into the dayto-day lives of citizens. In building this
new state of mind towards culture, we
want to powerfully implicate Spain,
p. 24
and beyond that, Europe. We want
to inspire dynamic levels of citizen
participation, building creativity from
the ground upwards, rather than just
continuing the conventional practice of
‘performers playing to an audience’.
We will implement a shift towards a
more open, adventurous and curious
cultural mentality, reaching out to
Europe and adapting our portfolio of
cultural resources, instigating a shift
in emphasis from infrastructures to
organizations and cultural strategies
based on human capital.
Burgos has a particular demographic
and population make-up, driving our
critical need to address substantial gaps:
— Between the medieval old city, the
fast-growing suburbs, which might be
described as ‘the geography of nowhere’.
— The richness and diversity of the
province in natural terms; and the vast
geographical extension of the territory.
— In the city’s attitude to culture
– between an elderly generation
comfortable settled as ‘audience’, and
a large and active youth sector used to
active participation.
Burgos needs to ‘put away’ the past
by renewing our historic reputation;
a process by which its image changes
from being Franco’s capital to European
Capital of Culture – celebrating the
triumph of European democracy by
building a better and reconciled future
through an exemplary, curious, dynamic
and inspiring city for the future.
A1 | Objectives and Challenge
— To Inspire New Values
for Europe
What are the city’s objectives for the year in question?
[ 1.3 / I ]
There are the times when we
want (culture) to be not only a
surprising variation played upon
the world, but a retuning of the
world itself. We want the surprise
to be like the impatient thump which
unexpectedly restores the picture
to the television set, or the electric
shock which sets the fibrillating
heart back to its proper rhythm.
— Seamus Heaney
Burgos puts at the forefront of its
candidacy our conviction that as
European Capital of Culture we will
tackle the profound social changes that
lead to improvement in the dialogue,
creativity and the quality of life of our
citizens.
In support of this, we have formulated
the following objectives:
ONE
To put Culture at the forefront of our
local agenda, as Burgos’s principal
strategic challenge, according to the
vision and principles of our Cultural
Plan. Burgos 2016 wishes to lead a
new way of conceiving and developing
culture through inspiring and enbedding
creative involvement amongst its
citizens as part of their daily lives. In
order to create this ‘state of mind’ we
need to decisively reach out to wider
Spain and the rest of Europe.
TWO
To establish Burgos 2016 as a dynamic
and daring laboratory of reflection
and action concerning human values.
We aim to create a laboratory that
is sustained through the shared
creativity of scientists, thinkers,
creative practitioners and citizens
from all over Europe, underpinned
p. 25
by the international importance of
work on human evolution achieved by
Atapuerca’s researchers.
THREE
To establish a solid platform of support
for our cultural sector in order to engage
creatively with citizens of all ages, skills
and interests. As a fundamental pillar
in our planning, we will establish and
develop solid, sustainable and mutually
inspiring partnerships with Spanish
and European partners. This is how
we will build both new creative capital
and strong legacy for our European
Capital of Culture.
FOUR
Through Burgos 2016, to present to
Europe a fresh model of the ECOC
rooted in the current and future needs
of citizens; Europe needs new creativity
and re-assessed human values for
the next decade. Burgos 2016 aims
to maximize the potential of ECOC
designation to root these values in
creating and sharing culture.
p. 26
A1 | Objectives and Challenge
p. 27
A2 / Main issues
— The Concept
[ QUESTION 2 / I ]
Explain the concept of the programme which would be launched if the city was nominated European Capital of Culture?
[ 2, 3 / I ]
of the programme
[ QUESTION 3 / I ]
Could this programme be summed up by a slogan? (the answer to this question is optional at
the pre-selection stage).
“Evolution continues of course. But
now it is above all technical and
social. Culture has taken over”.
— J. Rosnay
Burgos 2016 confronts head-on the
city’s critical need to change; the city is
currently suspended between its past
and the future. The ECOC title gives
the city and province the vital chance to
reflect on patterns of behaviour across
generations, and to embrace new values
for the future.
Evolution is an important theme for
the 21st Century. Just as evolution in
the medieval and the industrial age
was a result of major external change,
so the current tides of globalisation,
localisation and economic restructuring
are transforming cities in Europe.
Culture is an important part of
evolution, not just as a new source
of meaning and economic activity for
cities, but also as an essential enabler
of change. Culture is not just a product
of the urban way of life, but an essential
shaper of cities and their inhabitants.
Our R-evolution will drive change, both
rapid and gradual; R-evolution must face
forward while establishing our bridges
between past, present and future.
Our R-evolution means that Burgos
will evolve into a culturally creative,
dynamic city which is environmentally,
culturally, socially and economically
sustainable, guided by the cultural DNA
the city has developed over centuries.
The process dictates a city which is
creative about all aspects of its daily life;
we will be as creative about transport,
housing, energy and waste as we are
about culture and learning.
p. 28
A2 | MAIN ISSUES OF THE PROGRAMME
Why R-evolution?
ONE
Burgos is privileged to be the centre
of human evolution in Europe.
Atapuerca’s prehistoric findings date
from 1, 2 million years ago; and in
2011 the city will complete work on the
new Complex of Human Evolution.
TWO
Burgos has evolved through the
centuries, and is currently at a
crossroads in its evolutionary path.
Our bid will demonstrate how the 21st
Century city of Burgos can evolve.
THREE
Human evolution and the evolution
of cities are themes which are critical
for Europe as a whole. European
society seeks a more sustainable
path, and Burgos aims to act as a
model for development.
FOUR
Evolution implies both change and
continuity. Burgos needs to transform
the heavy burden of its heritage into
a creative resource for the future. We
intend to use it as a reference for the
future development of our city.
FIVE
Through the concept of R-evolution,
by using evolution as the overarching
theme of our bid, we combine the ideas
of creativity and heritage as INPUT
when facing the current challenges
opposing the city, so as to secure and
create increased quality of life as an
OUTPUT of the ECOC.
Culture has
taken over
p. 29
— Cultural programme.
Themes and phases
Under the overall heading R-evolution
our programme will comprise
four main themes:
— The Authentic City
(sharing public space
and human values)
— The Eloquent City
— The problem of Beauty
— Journeys in search
of truth
These potently reflect the city and
province’s story and provoke curiosity,
strong feelings and thoughts which
underpin our objectives: to develop a
new state of mind about culture; to
gather people across boundaries and
generations; to bring people together
to explore human values, knowledge
and human interaction through mutual
creativity; exploration of the living
space we share as Europeans.
Each of these themes will be developed
through a particular phase (lens) and
while each theme will feature as part of
the overall European Capital of Culture
2016 programme, the themes will also
be attached to a specific time-scale.
The intention is to create a programme
which builds an arch from the ECOC
preparatory years, through 2016 itself
and build potent legacy:
2011-1015: Re-discover
2016: Re-invent
2017 – onwards: Re-lease
Many projects will span a multi-year
timeframe: i.e.:- development phase in
2014, project delivery 2015 and 2016,
development of outcomes, 2017.
in early February, late April, August and
October. These weeks will be themed:
1) music and music theatre 2) children’s
week 3) public space and landscape 4)
Performing and visual arts.
2015 will follow a programme
comprising intense workshop
development periods for the first four
months of the year, led by both Spanish
and international artistic leaders. The
summer months will concentrate on
showings of work-in-progress, centred
round a 10 day festival of work in public
space and installation art. Workshop
development and rehearsals for the
2016 opening celebrations will begin in
early August. November will feature the
first Look Up! Festival/series – events
comprising lighting, installation and
small-scale performance.
2016: The ECOC year will open with a
major weekend of activities, culminating
in a large-scale event with maximum
citizen participation from the entire
province, along with local, Spanish and
international artists. The event’s finale
will take place in central Burgos, after
satellite events in a wide range of sites.
January to March will concentrate
on workshops, events and projects
in indoor venues, and on long-term
processes towards large-scale events
in public space and landscape from
April until September. The autumn
and early winter will feature a strong
international and national performance
programme, with highly significant
local content. The year will close in
early December with another major
and highly participatory celebration.
Each year’s programme will in principal
follow the natural rhythm of the seasons.
For instance 2014’s programme will
concentrate on specific weeks of activity:
RE-DISCOVER (2011- 2015)
RE-INVENT (2016)
RE-LEASE (2017-)
p. 30
p. 31
A3 / A Unique
Setting
[ QUESTION 4 / I ]
Which geographical area does the city intend to involve in the “European Capital of Culture” event?
Explain this choice.
[ 4 / I ]
p. 32
A3 | A UNIQUE SETTING
Burgos 2016 has chosen the city of
Burgos itself and its province as stage to
promote the celebration of the European
Capital of Culture. The programme
and its overall concept Re–evolution
reflect the Human Evolution Complex
and the archaeological site of the
Sierra de Atapuerca the latter declared
World Heritage Site in 2000. Atapuerca
presents the complete sequence of
human evolution, explaining the effects
of climatic change, and providing a
panoramic vision of the development of
technology and communication in the
construction of our societies. Burgos
2016 can reflect our voyage through
human history that starts in the Sierra
de Atapuerca and continues with over a
thousand years of urban development in
the city of Burgos.
Burgos 2016 comprises a vast and rich
territory comprising nearly five hundred
municipalities, which encompass three
major population centres along the axis
of the A1 motorway between Madrid and
the Basque Country; Aranda de Duero,
Burgos city itself and Miranda de Ebro.
A4 / Institutional
support
[ QUESTION 5 / I ]
Do you already have the
support of the local
or regional political
authorities? Or are you
planning to ask for their
support at a later date?
Explain.
[ 5 / I ]
p. 33
At the outset of 2007 Burgos City
Council passed the unanimous decision
of all political parties to set in motion
Burgos’ bid to be the European
Capital of Culture. This began the
process of involving all institutions
and citizens. Since then, the city has
focused on channelling the will and
effort of the city and province into
the ECOC project. In support of this,
the city council has established la
Fundación (The Foundation) which
presents the candidacy of Burgos,
and which incorporates the provincial
administration, the University of Burgos
and the principal public institutions
and businesses of the city, bringing both
finance and leadership to the project.
The regional administration is fully
supportive of the candidacy, having
expressed their backing through their
unanimous declaration in the Regional
Assembly and through their executive’s
firm declaration of support. In the final
selection phase, the commitment of the
different administrations and of the
private sector will be examined in closer
detail, in accordance with the model
described in section IV of this document.
p. 34
A4 | INSTITUTIONAL SUPPORT
p. 35
-place
-claim
-take
-evolution
B
B
Structure of the
programme for the event
B1
Guidelines and themes
— The Creative programme
— What defines our programme
B2
Artistic Programme
— Introduction. Four themes – three phases
— Structure and samples projects
— A shared project
— City evolution
B3
Burgos 2016 is innovative
B4
The European dimension
—Cultural cooperation within Europe
— Richness of cultural diversity in Europe
— Common aspects of European cultures
— To Strengthen the city's links with Europe
B5
City and citizens
—Interest of the population at European level
—Participation and the use
of the city and surrounds
—Citizens and access to the programme
—Sustainability and long term cultural
and social development
B1 / Guidelines
— Presentation of the
creative programme
of Burgos 2016
[ QUESTION 1 / II ]
What structure does the city
intend to give to the year’s
programme if it is designated
“European Capital of Culture”
(guidelines, general theme of
the event)? How long does the
programme last? (This question
must be answered in greater detail
at the final selection stage).
[ 1 / I , 11 / II ]
and Themes
[ QUESTION 11 / I ]
Are some parts of the programme
designed for particular target
groups (young people, minorities,
etc.)? Specify the relevant parts of the programme planned for the event.
p. 40
By taking R-evolution as our overall
frame, we wish to explore far beyond
‘the bones’, to consider the essence
of being human in the second decade of
a new century.
Evolution in the widest sense inspires
the framework for our planning: Burgos,
once a great European hub of culture
and commerce, is suspended between
its past and the future. R-evolution as
a concept fits not only the historic and
tangible circumstances of the city: the
theme encapsulates the city’s need to
address its long-settled values now
threatened by shifting global pattern
and social trend. The city, then, could
be described as a sleeping beauty. Can
the European Capital of Culture title
provide ‘the kiss’? In wishing to submit
an authentic bid to be European Capital
of Culture, we want to present a truthful
portrait of Burgos, its ambitions and
needs. We want to re-discover our city
and province, to re-invent it for this
decade and the future, to re-lease the
flow between the city and Europe, and
to establish the lasting and dynamic
means to achieve our goals. In short, a
revolution needs to occur.
We will not create a year of events and
spectacles – although we’ll pay due
attention to both. Our programme will
be premised on building sustainable
collaborative projects of the highest
possible standards between our local
creative practitioners, national and
international creators, and community
participation of all ages. Involvement
of children and youth will be at the
project’s beating heart. The province
offers extraordinary contrasts, clearly
emphasised in our programme, through
a strong focus on projects in landscape,
and projects which emphasise the city’s
old/new architectural dichotomy.
Our programme will also acknowledge
The Leyes de Burgos – one of the world’s
earliest statements of human rights
– which were designed to protect the
indigenous population of Hispaniola just
20 years after Columbus’s arrival. Today,
in terms of diversity, Burgos manifests
an intercultural, integrated cultural
policy which recognizes diversity, but
does not engage in tokenism.
Our programme embarks on a journey
of hearts and minds, linking past,
present and future – we will examine
our roots, and discover how looking
truthfully at the past helps us to
maximize our present; how we reinvent the present in order to develop
our future; how we build and sustain
strategies for the future to release our
ambitions empower our population.
Continually looking outwards to Europe
and beyond, we will link with other cities
strongly identified with change: Dundee
(UK) – a post-industrial city which
over the last decade has re-invented
itself through digital creativity and
culture; Reykjavik (Iceland, ECOC2000)
currently in the process of a massive reevaluation of its values and purpose, and
Antwerp (Belgium, ECOC1993), a city
with which Burgos has ancient trading
links, and a city historically rich in
culture despite centuries of change.
“An open door”
— Jorge y Rocío Domingo
Valentín Domingo’s Sons,
Boots Makers
p. 41
— What defines our
programme
p. 42
Excellence
Burgos 2016 intends that all its projects
– the process which creates them, their
delivery, management and production –
will be of the highest global standards.
Whether working with international
artists or local children, our aspirations
will be unflinching in terms of creative
integrity and superb achievement.
We want to set new standards – for
individual artists, for leadership and for
education – and to establish ambitions
for the future which soar forward.
Collaboration and
Partnership
Burgos 2016 will establish long-term
and highly productive collaborations
which are mutually highly rewarding,
and which generate exchange, energy
and artistic expansion between artists,
organizations and institutions within the
city and province with artists in Spain,
elsewhere in Europe and beyond. These
new initiatives will build on existing
relationships, but also will create
completely new dialogue and experience.
Citizen Participation
Burgos 2016 is premised on participation
from Burgos citizens and those of the
wider province including people of all
ethnicities, ages, skills and abilities/
disabilities – toddlers through to
the elderly - as active participants,
inviting them to join the projects,
local, national or international,
creatively in whichever way they
wish: as actors, musicians, dancers,
thinkers, volunteers, harnessing ideas,
enthusiasm and ambitions. While
recognising that our activities must
serve many constituencies, audiences,
diverse groups, interests, and tastes –
including both minority and majority
inclinations - we are determined to look
upon our city as a whole. We will not,
therefore, identify ‘target groups’ in
this document – it is our profound
wish to bring people together
across boundaries, rather than to
put emphasis on their perceived
differences. Our city breathes a rich
mix of social, ethnic, educational and
political diversity amongst its cultural
practitioners and their constituencies.
In an Appendix, we list Burgos’s wide
range of organizations with whom we
are engaged, and whose talents and
participation we welcome.
Education Projects
Burgos 2016 will integrate projects
for children and youth into the wider
programme. Building relationships
across generations is critical to our
overall vision of cohesion for the city
and province. However, several of
our projects will be built in direct
cooperation with schools’ curricula,
and therefore will be specific to
particular age-groups creating a
new precedent for Spanish children’s
future cultural activity.
B1 | GUIDELINES AND THEMES
Burgos and the province have an
excellent programme already in
existence led by the Instituto Municipal
de la Cultura (IMC) – collaborating
closely with this, we aim to widely
expand its range and genre, to introduce
strong input from international artists,
and to support the programme with both
physical and financial resources.
p. 43
B2 / Artistic
Programme
— Introduction
Four themes - three phases
The Four
Themes
01. The Authentic City: Sharing public space
and human values
Burgos is a city of ancient and modern, of splendour and decay, of sensuous
past architectural planning and clinically modern speedy building. Its public
spaces call people together in clusters, but fail to gather congregations. Natural
theatres, they lack art and installation which might encourage participation and
interaction, performance – spontaneous or planned – inspiration for reflection, or
activity which naturally draws people together. In the old town, narrow streets
snake between gracious plazas; in the new, wide spaces abound, and buildings
soar. Green spaces, water and nature abound, but their celebration is low-key.
The authentic city project will re-value the city and how we as humans connect.
We will joyfully explore public space as a place to gather, to create and to build
relationships through participation. We will initiate projects across generations,
across boundaries of new/old city, nation and Europe – bringing people together to
converse, relate, play, perform and enjoy surprise.
02. The eloquent city
Burgos is the cradle of the Castilian, the main language spoken by more than 400
million people worldwide, from Caracas to the Sephardic communities of Istanbul
–although Spain remains a multi-lingual country. Today Burgos and region
remains rich in writers, poets and storytellers. Exploring the evolution of the
Castilian language, we will present a comprehensive and wide-reaching project
The Eloquent City investigating the city and region’s past and present rich and
surprising cornucopia of language, text, music, song and communication. How
we communicate has evolved beyond all our imagination – from gilded decorative
texts to Twitter, from the Theorbo to Sibelius software, from ballad to rap. We
will explore how the Castilian language travelled and shifted, telling the stories
of migrants and aboriginals, and showing how such stories support the past and
present of cities, tracing their evolution and plotting their future.
Taking the Leyes de Burgos, one of the world’s earliest bills of human rights,
as our inspiration, we will also explore, across all Burgos’s current generations,
the issue of rights, entitlement and equality. And, in focusing on knowledge and
communication, we will also have a good look at what we don’t know – aspects of
our human brain which continue to mystify, bewilder and surprise.
03. The problem of beauty
As citizens at a crossroads in the unfolding story of a city whose history has
swerved from defining roles in the evolution of Europe to relative obscurity, from
glory to notoriety, we will tackle head on the ‘problem of beauty’ – how glorious
architecture and glowing heritage can seduce citizens into becoming sleeping
beauties inside a golden cage, oblivious - or ignoring of the making of history
within their midst. Beauty can calm us, excite us, inspire us, charm us – but also
be profound, sacred and disturbing. It can provoke love and desire – but also a
wish to desecrate and destroy. It can mask horror and shyly reveal innocence. Noone remains indifferent to beauty. Citizens take it for-granted, tourists compare
and photograph it. Evolutionary psychologists argue about beauty’s effect on our
reproductive strategies. The Problem of Beauty will encourage all ages to explore
their reactions to the beautiful and the merely functional; to re-assess icons
from the past; to explore their perceptions of what inspires today and what is
important to value for the future.
04. Journeys in Search of Truth
p. 44
Rich physical heritage apart, Burgos also cherishes the intangible heritage of
pilgrimage and journeys linked to the Camino de Santiago – itself one of three
World heritage monuments, embracing the vast Cathedral and Atapuerca site.
With the Camino de Santiago, and the larger Camino of St James passing east
to west through the region, and Burgos city itself a major stopping-off point for
pilgrims, the issue of journeys in search of truth is central to the city and province’s
dynamic. How such journeys have evolved from mystical or biblical search into
explorations of self and artistic creativity will form an important strand in our
programme – travels, acquired experience of cultural diversity, inspiration from
both urban and rural landscape, shared experience and coincidental encounter
will all translate into creative projects of depth and imagination.
We will re-evaluate both the romance and the reality of Burgos’s hero El Cid
and his complex travels – inspired by both a search for truth and by sheer
fortune-seeking. And we will look without sentiment at journeys made by
artists and thinkers in flight from Franco, headquartered in Burgos throughout
the Spanish Civil War, and a presence still weighty, if little confronted. This
impact and legacy will be explored in honest and at times surprising ways in
several of our projects. Artists and musicians of all kinds from Burgos and far
beyond will lead our travels, uncovering the unseen, shedding new light on the
familiar, questioning assumptions, myths and legends, and illuminating, without
compromise, some surprising truths.
The Three
Phases
01. Re-discover (2011-2015)
Re-discover looks at the city of Burgos and the surrounding province through
fresh eyes: a city beautiful and rich with heritage, historically critically important
in Spain and Europe. We inhabit a province where Europe’s most ancient beings
were discovered, where a great language began, where a dictator set up stall, and
where a great hero conquistador blazed a romantic trail. In Burgos today, a staid
population strolls, chats and clusters, but a new generation of children, carefully
raised in fastidious conservatism, break loose into fashion, edgy technology and
sport. A large elderly population nurses startling little-mentioned memories and
buildings hold secrets. While old and magisterial monuments stand proud, bland
new construction grows apace. While old values of human dignity, respect for
nature and patrimony, and European citizenship hold fast, youth wrestles with
the imperative of seizing every vibration of the future. Re-discover will dig deep
below the everyday surface, below our everyday assumptions, and into true rediscovery of Burgos, the province – and most importantly, of ourselves as citizens.
Projects are designed to encourage and to build participation. We will create
opportunities for all ages to re-engage joyfully with their city, to re-evaluate
its story, to discover Burgos through the fresh eyes of Europe, and to present
to Europe an authentic city striving for change. Re-discover will make new
connections between citizens, artists and their current audiences and build far
wider participation through dynamic initiatives for a wide variety of ages. Rediscover will also develop specific creative relationships with the cities of Dundee,
Reykjavik and Antwerp – all cities well familiar with the process of change sharing cultural diversity, ideas and projects, and exploring values, city priorities
and goals.
02. Re-invent (2016)
Building on from a re-discovery of the city and its story, Burgos 2016 wants this
old city to become new. With the current perception that the super-sized city
heads for crisis, we want to use Burgos as a case study - for the dynamic of the
smaller city as the driving force for the Europe of the future. We will do this by
creating long-term projects which bring people together to share ideas, values and
skills, resulting in inspiring events and presentations, and sustainable productive
relationships. We will also build opportunities for comparison and creative
collaboration with specific partner cities Dundee, Reykjavik and Antwerp which
will continue to feed our exploration.
p. 45
The unresolved relationship of new/old in Burgos will create a wide opportunity
to explore and create collaboration and communication – both between
neighbourhoods and across generations. While respecting our ornate calles and
gracious plazas, we want to imbue them with the energy and excitement of new
impulses – to re-invent them as living, creative and reflective spaces rather
than places which function as junctions or passageways. We want to create
flow between the old and new – to re-invent the river as an artery, rather than
a divider. The city’s new areas are home to thousands, but as architecture and
public space relate poorly to the ancient centre. Our intention in re-inventing our
relationship to space and architecture is to create interventions throughout the
city and region, using energy, art, participation and reflection as the force which
holds us together as humans in a shared community.
And, reflecting on the city’s demography, we’ll examine beauty as a blessing and
a curse – how ‘living in a museum’ both inspires and stultifies us, young and old,
and how the new and brash may do the same.
Critical to all our thinking is the priority of bringing people together for new
experiences – of each other, of the city and of Europe. Projects are designed
to consolidate participation between citizens of all ages, schools, Burgos’s
creative individuals and organizations, and national and international partner
organizations in Europe and beyond.
Centred on 2016, the ECOC year itself, Re-invent will also encompass three-year
projects begun in 2015, and initiate projects for following years.
03. Re-lease (2017 onwards)
Re-lease focuses on the means by which Burgos and the province create dynamic
and future-oriented projects, actions and learning in order to grow forward. We’ve
examined the process of evolution – now it is time to organize the revolution!
Re-lease implements and supports talent, training and opportunities for artists
and those involved in their production individually and as part of the creative
industries, and continues to concentrate on building a flow of dialogue and
activity between Burgos and Europe. Burgos 2016 intends that the body of
knowledge, experience and competence accrued during the ECOC should be
sustained. Re-lease will ensure that the platforms created for sustainability
are well-led and managed, and that the transition back to city and regional
leadership is supported, dynamic, and followed through.
We will continue to explore new and sustainable ways of gathering and creating
together, new venues, and the establishment of artist-led ‘laboratories’ based both
in both Burgos and the wider province which create hubs of action for the future.
p. 46
B2 | ARTISTIC PROGRAMME
— Structure and
samples projects
[ QUESTION 2 / II ]
What main events will mark the year? For each one, please
supply the following information:
description of the event / date and place / project partners / financing.(The answer
to this question is optional at the pre-selection stage).
[ 2 / II ]
p. 47
At this stage, we can only give a general indication of the
projects and the organizations and artists involved.
The programme will be specified in more detail in the
following selection phase.
p. 48
p. 49
Re-dISCOVER
Re-discover brings us together to create, and to explore the past through
the lens of contemporary experience, fresh minds, and a new and open
approach to being European. Projects will begin the process of building
outward-facing collaborations and partnerships, many of which will continue
over a defined long-term period. Projects will also focus strongly on a new
process of citizen participation and engagement.
The authentic City: Sharing public space and human values
–01– Installations by international companies
–02– Theatre and Dance
–03– Humans, beasts and shelter
–04–Burgos Celebration
–05–Urban Time Travel
–06–Let’s Pretend
The Eloquent City
–07– Rights and Values
–08– The city of the enquiring mind
–09– Burgos and calligraphy
–10– Franco’s exiles
–11– Words and Music: Four Projects
–12– Distant Voices
The Problem of Beauty
–13– Pride and Prejudice
–14– Beauty, Fashion and Fantasy
Journeys in search of Truth
–15– Major poetry project collaboration
–16– Artist Pilgrimages
p. 50
The authentic City: Sharing
public space and human values
– 01– Installations by international companies
Date: 2014-2016
Projects
In general these will be spectacular highly visible events entirely new to
Burgos’s intricate web of streets and spaces, and will be designed to create
surprise, maximum impact and participation from all ages. In many cases,
the projects will also involve creative partnerships with local companies.
Projects may be highly significant lighting projects, also involving video
projection – or subtle interventions.
Sample project
Look Up! – a winter project where looking up reveals surprises – a tiny
performance in a lighted Gamonal shop window; a detail, high up on a building is
lit unexpectedly; a deserted stork’s nest resting on a Roman arch is suddenly
is inhabited by surprising visitors; upstairs in your usual cafe may have been
re-invented; ..... look for performers on balconies, and strange hats on the top
of statues. And, by looking up, see your city differently.
Potential Collaborators
Burgos theatre, dance, performance art ensembles; individual artists;
The Red Ball project NY and Europe, Newcastle Festival of Light, The World
Famous (Lighting and Fire); Les Grooms, France; The Bicycle Film Festival
(USA, Barcelona and worldwide); Helen and Hard, Norway; Hotel Pro Forma,
Denmark; artists from Burgos.
Venues
Throughout Burgos and province.
– 02 – Theatre and Dance
Project
Projects will illuminate issues of human evolution through performance. The
projects will be a mix of international work new to Spain, and co-productions built
collaboratively between Burgos/Spanish artists and companies and international
and European artists and companies. Projects will be both site- specific (linking
into public space projects) or venue based. They will also include participatory
projects for children and students, built through workshops and education projects.
p. 51
Sample project
The Indian/South African dance director, in collaboration with Handspring
Puppets (SA) are researching a project examining the earliest forms of
communication through ancient rock gongs, and how the ritual surrounding
the sounds and messages produced by these ‘instruments’ carried across vast
spaces and across communities. The production would be based around a mixed
company of dancers from Burgos, elsewhere in Spain, Denmark, the Netherlands
and the UK, and would also involve a similarly diverse production team. Pather
customarily works with similarly mixed teams. The composer commissioned will
be the South African Neo Muyanga. In each venue, the intention is to build a
complementary large-scale community/education performance based project. In
Burgos, this will be centred on puppet theatre, dance and ethnomusicology as
it relates to human evolution. Using sites around and above Atapuerca, we will
create instruments whose sounds carry and transmit messages, and create a large
performance piece in landscape with local performers, a Spanish composer, and
RE-DISCOVER (2011-2015)
Artistic Direction
various, to be decided by Burgos 2016 artistic director.
Jay Pather in partnership with local dance leaders. The performance
period would also include a major puppet seminar for Spanish and other
puppet practitioners.
Artistic Direction
Jay Pather, Handspring Puppets.
Spanish Puppet Theatres; Xarxo Teatro, Spain; Radu Stanco Theatre (Romania)
Theatre/dance ensembles, Burgos; IMC Burgos; Dundee Repertory Theatre,
Musiektheater Transparant, Antwerp, Antwerp, Mercat de les Flors, Barcelona;
Resad, Madrid; Centro Coreografica de Galicia; La Laboral, Asturias; Festival de
Otono en Primavera, Madrid, Escena Contemporánea, Madrid.
Venues
Casa del Cordón; Teatro Principal; Found spaces in landscape;
Atapuerca Foundation.
– 03 – Humans, beasts and shelter
Project
Projects for children and families, who will re-create ‘green and free’ villages
in collaboration with a major site-specific installation company over a series of
weekends, which will also feature performances – although the projects will be
more concerned with participation and process. The project will be multi-faceted,
but focused on the natural environment: food, entertainment, storytelling,
adventures in nature. It may involve mythical animals or people, characters from
history, or visitors from the future. Projects will be sited in ‘lost’ depopulated
villages in Burgos province – villages whose communities disappeared in the 1950s.
Sample project
The Barcelona company Guixot de 8 works with recycled waste, building highly
imaginative projects for children. Over a series of weekends and using found
materials, Guixot de 8 will create a temporary theatre and performance space in
a selected ‘lost’ village, working with children and families. They will then build a
series of devised musical instruments out of all kinds of found tubing, percussive
materials, assembled strung instruments etc. Working with a storyteller, local
composer and choir leader, the whole team will then create a sung and played
performance piece to be performed in the new arena as an evening event to
culminate their project.
Artistic Direction
To be decided by Burgos 2016 artistic director: each village project will be
individually curated by a Spanish or European director.
Burgos musicians, theatre ensembles, performance artists, dance ensembles;
Guixot de 8, Spain; Royal de Luxe, Belgium, Lone Twin, UK; Dealbru Betzak,
Spain, Festival Mapa, Girona; Mucho Más Mayo, Cartagena; FIB, Benicassim;
La Casa Encendida, Madrid.
Venues
Burgos Province: ‘lost villages’.
– 04 – Burgos Celebration
Three year project 2014 – 2016
p. 52
Project
Along with Spanish and international artists-in-residence, a series of projects
will create highly innovative performance/installation events in specific parts
of the city - both in the mediaeval centre and the new suburbs, designed to rediscover space and shape, light and shade, sound and sight .The projects will
involve interaction and participation with citizens, youth and children, premised
on re-discovery of the city’s spaces and those of the province’s conurbations. They
will be created through workshops, residencies in schools/university/culture
organizations, and may also contribute to Burgos’s existing annual festivals and
special celebratory days. Projects will take place on a number of scales,
from intimate, involving small numbers, to projects involving maximum
citizen participation.
Sample Project
A music and dance ‘DNA’ of the city – this grand-scale project could form part
of Burgos 2016 opening or closing ceremonies. Using the city’s artistic resources
and large numbers of citizens, with major along with artists and citizen
representatives from linked European cities, the project will create an artistic
‘DNA’ using the layout of the city, turning its plazas and calles into organs
and arteries. Large groups of choral singers, musicians or dancers will devise
performance for the plazas ‘organs’, with ensembles and individual performances
placed along the linking ‘arteries’. This project will require highly experienced
direction from a company skilled in city-scale project management.
Artistic direction
May be local or international, and will include performance of all kinds.
Events will also be created as a themed series linked to overall programme/
evolution topics i.e. The Eloquent City, Journeys in Search of Truth, The Authentic
City, The Problem of Beauty, and will be focused on these as appropriate.
Venues
Throughout city and province.
– 05 – Urban Time Travel
Project
In the rediscovery of public space in Burgos, our self-rediscovery may lead to reexamining the meaning of some of the major milestones that have shaped the
Europe of today; urban experiences can be experienced as time travel, adventures
that help us to understand our own dilemmas, as demonstrated by Ulysses’
journeys or those of Burgos’s great conquistador, El Cid. Lack of synergy between
humans and their habitat provokes feelings of isolation and dislocation, risking
atmospheres where conflict and misunderstanding blossom. Our aim is to nurture
human values and create a serie of projects where we explore how everyday life
fuses with our surroundings, creating a thought provoking trip through the city.
Sample projects
small-scale performance works illustrating breakthroughs and inventions which
have shaped evolution: the discovery of fire, the emergence of language, evolving
agriculture, the discovery of the wheel, the measurement of time, emerging
instruments and the perception of human rights....
Multiple local groups; Specific international artists with schools, Centro de Arte
Contemporaneo de Burgos (CAB), Atapuerca Foundation, visual artists, the veteran
car club of Burgos, The Parralla, Burgos museums; independent local artists; Hotel
Pro Forma, Denmark; Rimini Protocol, Berlin; Shared Experience, London.
Venue: Burgos, various.
– 06 – Let’s Pretend
Two year Project 2015 - 2016
p. 53
Project
Major urban discovery project for children, re-inventing the stories, myths and
legends which are connected to Burgos and the province, and to their buildings.
Multiple local groups; CPM (France); Rufus Norris (UK/Young Vic) working
with La Parrala, Burgos (multiple companies), Chris Smart and Roger Titley
(South Africa/Austria), puppeteers/creature-makers working with IMC schools
programme, DansDesign (Norway) working with Burgos University; Xarxa Teatre,
Spain, and Atristras Teatre, Spain working with Burgos artists.
Actors, artists and musicians will work with children all over the city and
province (each school/organization will choose a building or historical character)
and will create a new interpretation and performance. Performances will
culminate in a weekend festival.
Sample project
In 1947, the Miranda de Ebro Camp, close to Burgos, was the last Nationalist
concentration camp to close. It held prisoners, comprising around 50 nationalities,
including major resistance leaders, Nobel prize winners and the some of the elite
of the French government. Working with senior school pupils from both Burgos
province and from Poland, Barcelona-based director Carlos Wagner will gather a
team of historians, elderly survivors who were children in the camp, musicians,
actors and film archive to build with the school pupils a re-creation of one day in
the life of Miranda de Ebro.
Artistic Direction
Spanish, Polish and French workshop leaders under the overall direction
of Carlos Wagner.
Burgos musicians, artists, theatre/dance ensembles; associations for the elderly;
Burgos and regional libraries and archive centres; Jose Ángel Fernández
López; University of Clermont-Ferrant; University of Wroclaw; IMC, Burgos;
Municipality of Miranda de Ebro, Sarruga Productions, Barcelomna, Festival
Teatralia, Madrid; Festival Titirimundi, Segovia.
Venue
Miranda de Ebro Camp, Burgos and province schools; homes for the elderly.
p. 54
p. 55
The Eloquent City
– 07– Rights and Values
Date: Two year project 2015-2016
Project
The 16th C Leyes de Burgos were a declaration rights designed to protect the
indigenous population of ‘Hispaniola’ 20 years after Columbus’s arrival – one of the
first statements of human rights in the world.
Sample Project
Burgos 2016 will create a major project in secondary schools where all 16 year-olds
in Castille-Leon design a new Declaration of Human rights for Spain, with web
input from Spain’s ECOC candidate cities.
Artistic Direction
University of Burgos.
Burgos and province schools and colleges; The Institute for the Castillian
Language; Spanish members of the World Human Rights Council advisory; Burgos
city and province schools; Sara Johannesen, Director, Nobel Peace Prize Centre.
Venue
Exhibition/installation in major Burgos venue and schools; interactive website.
– 08 – The city of the enquiring mind
Project
The evolution of the mind projects are based on cognitive neuroscience in
general – the evolution of the mind, language and consciousness, and unique
human traits and how the brain functions as the power for these activities.
Every human has their unique perception of reality, all in the mind, decided
by our DNA.
Sample projects
Burgos 2016 will explore the brain-power of human beings: memory, learning
ability, ability to relate and ultimately, the origin of language. We will investigate
the evolution of the brain, and how new knowledge of our ancestors is driving
recent discoveries: medical research, social understanding and overall the critical
issue of continuity. The project will be participatory and science-based, involving a
wide range of participants.
Project Leadership
CENIEH (National Human Evolution Investigation Centre) Atapuerca Foundation.
Manuel Martin-Loeches, Atapuerca research team; ISCIII UCM, Complutense
and Carlos III University; Research Centre and department of Cognitive
Neuroscience. Luis Plains (world champion quick memorization and mental
calculation); Ramón Alberto Coto and Campayo; Eduardo Punset, David Livingston
(philosopher), Alvaro Pascual Leone (Harvard University), Department of Natural
Sciences; Hertie Institute for Clinical Brain Research; The Interdisciplinary
Centre for Clinical Research, Welcome Laboratory of the University College
London Neuro-image.
p. 56
Venue
Various; Evolution Complex; Cultural Centre of Gamonal; CENIEH auditorium.
– 09 – Burgos and calligraphy
Project
Burgos museums, galleries, churches and monasteries – and even the city’s
hotels – contain an extraordinary quantity of decorated and richly elaborated
manuscripts, widely reflecting the city’s status as cradle of the Castilian
language and the communication of its early and significant manifestations.
Burgos 2016 will contrast this beautiful and revelatory collection with its
contemporary equivalent: graffiti in its most creative and explicit form, with
participants from all over Europe.
Sample Project
Installation/exhibition/performances around historic music scores, illuminated
manuscripts (i.e. Codex las Huelgas) alongside a national competition for
contemporary graffiti.
Artistic Direction
Spanish curator tbc/ CAB, Burgos.
Institute of the Castillian Language; Music Conservatories and libraries
throughout Spain; Spanish graffiti artists; Spanish Schools of Art, Festival Cultura
Urbana, Madrid; IED, Madrid and Barcelona; NuArt, Norway; Kosmopolite,
France; Cans Festival, UK; Graffiti Veritie, USA.
–10– Franco’s exiles
Date: Three year project 2014-2016
Projects
Writers, poets, humanitarians ( + artists and musicians) who fled to European:
link to Journeys in Search of Truth; exiles to Europe – composer Roberto Gerhard,
Maria Teresa Leon Goyri (from Burgos), The Argentinita, Pau Casals, Victoria
Kent Siano; Leon Felipe (Burgos).
Sample project
A series specifically curated in chosen sites: concert performance, small-scale
theatre and music-theatre events, involving directors, film, music/musicians,
speakers, storytellers and film. These events are intended to provoke debate and
opinion-sharing in many European languages. Some will be specifically directed
towards youth, and may involve discussion across generations. Some may involve
re-enactment of family stories or actual events.
Artistic Direction
Overall curation of series in collaboration with Burgos 2016 artistic director:
national and international directors.
Burgos Symphony Orchestra and municipal music schools; Burgos and province
theatre, dance, performance artists; Burgos and Spanish citizens; homes and
associations for the elderly; Burgos and province schools; Specific European artists,
to include actress Vivienne de Munck (Belgium), Casals pupils, Orquestre de
Cadaques, chamber music/ Music theatre/dance ensembles from Spanish candidate
cities; European poets on conflict.
Venues
Various throughout Burgos region.
p. 57
Venues
Various throughout city and province, including Monasterio de las Huelgas;,
Lerma. Sites and Murals for Graffiti to be designated in collaboration with
Burgos city council.
–11– Words and Music: Four Projects
relating text and music
Projects
The Burgos Song Canon 2014-2016
Burgos is home to a vast canon of song. The project makes a major exploration
of Burgos and Spanish song and text writers, particularly related to nature,
human values and rights. The series embrace medieval, classical, world music,
folk, rock singer/songwriters, also Latin-American content: Spanish song from
the new world.
Sample Project
Spain and Beyond: The Castilian Catalogue. A large-scale series of
programmes tracing the development of Spanish song from its earliest
beginning, through to the present day, and the work of contemporary
classical writers. Music will be sourced from all over Spain, but also from
Latin America and the New World, to include ‘chanson’, folk song, religious
and classical material. In parallel, Burgos 2016 will curate a series which
traces the origins of popular, world and rock music from Spain, Latin America
and the New World. Both series will encompass multiple venues and involve
a wide range of artists and ensembles.
Artistic Direction
The intention is that the first series (i.e. classically based) will be curated
by the British pianist, musicologist and vocal music specialist Iain Burnside,
who has curated many such explorations with BBC Radio3. He would work
in collaboration with Spanish colleagues at RTVE and in Latin America. The
second series will be curated by El Hangar, Burgos, in collaboration with
various Spanish rock/world music specialists.
Burgos Symphony Orchestra, choirs, individual artists; Burgos music
conservatories; UK, Spanish and Latin American radio, Kings Place,
London, Reykjavik Festival, Fest’n Furious, Dundee, El Hangar, Burgos
and associated artists and promoters.
Venues
Various, throughout Burgos and province: Casa Cordón, Teatro
Principal, CENIEH new auditorium, El Hanger, club venues in Antwerp,
Iceland, Dundee.
Rodrigue et Chimène – Early incomplete opera by
Debussy, completed by Denisov in 1993
Two year Project, 2014-2015
Sample Project
Major opera project based around the opera based on El Cid and Jimena.
Workshops, education projects, exploration of the hero re-discovered through
art, leading to performances.
Artistic Direction
to be decided by Burgos 2016 artistic director.
Burgos Symphony Orchestra; music schools/conservatories; Burgos theatre/
dance ensembles; poetry and literature societies; IMC, Opera de Lyon
(who gave1993 premiere); IMC and Burgos schools; University of Burgos;
Music conservatories throughout region; Teatro Real, Madrid, Edinburgh
International Festival.
Venue
CENIEH new auditorium; Teatro Principal (workshops). Potentially Opera
de Lyon and Teatro Real, Madrid, Europe TBA.
p. 58
Chant and Change Burgos as a
centre for sacred music
The best-selling ever recording of Gregorian chant was recorded in 1973 by the
Benedictine monks of Santo Domingo de Silos. Burgos's Codex de las Huelgas is
one of the first collections of polyphonic music, written originally for 100 female
voices. 16thC Organist Antonio de Cabezon spent two years at the court of Mary
Tudor (wife of Spanish King Phillip 11), but his music is unknown in the UK.
Sample Project
Burgos 2016 will create projects juxtaposing Mozarabic and Gregorian chant
with newly commissioned chant for 2015/2016. The new chant will be
commissioned from composers (both Spanish and from elsewhere) who use
chant in their compositions: i.e.: James MacMillan (UK), Georg Frederik Haas
(Austria), and composers from the Middle and Far East and North Africa.
Artistic direction
To be decided by Burgos 2016 artistic director.
Burgos and region monasteries and sacred Spanish chant specialists; Burgos
choirs and choruses; Santo Domingo de Silos; Burgos Cathedral; Spanish Music
Information Centre; Society for Spanish composers; Frie Leysen, Former Director
Kunsten Festival des Arts, Brussels and Middle Eastern specialist.
Venues
Churches, monasteries and sacred spaces throughout Burgos region.
Sample Project
Collaboration with The Orchestra of the Age of Enlightenment and Eduardo
Portal (young Burgos conductor, recently appointed to OAE as apprentice)/Burgos
Symphony Orchestra/ Raphael Fruhbeck de Burgos/ Orquestra de Cadaques.
Artistic Direction
Eduardo Portal in collaboration with director of Burgos 2016 and European
Spanish music experts.
Burgos music conservatories; Burgos Symphony Orchestra, Orchestra of the
Age of Enlightenment, Hesperion XXI, Reykjavik Festival, Festivals in Antwerp,
Fest’n Furious, Dundee, Auditorio Nacional, Madrid; Música D’Hoy, Madrid;
Instituto Nacional de las Artes Escénicas, Madrid; Museo Interactivo de la
Música, Málaga; Museo de la Música, Barcelona.
Venues
Casa del Cordón, Casa de Gamonal; CIES auditorium, Teatro Principal, public
space. Various venues internationally.
–12– Distant Voices
Date: Two year Project 2015-2016
Project
Skype poetry festival in collaboration with literature festivals throughout
Spain and Poland, bringing together eminent poets to read their work. To
include Spain and Poland’s ECOC applicant cities.
Sample Project
Cafe Poetry: Burgos 2016 will identify key dates when Spanish poets are
gathered for specific festivals. A link will be established for a two hour period,
when poets will read via a Skype link, which will be set up in selected cafes in
Burgos and the province, and in a chosen café in each of the Spanish ECOC
candidate cities. Each cafe will devise a menu, special setting etc.
p. 59
The Evolution of the Orchestra
Date: 2014-2016
Exploring how the orchestra has developed, through the lens of Spanish music.
p. 60
p. 61
Artistic Direction
To be decided, and coordinated with participating cities.
University of Burgos; Burgos and región poetry and literature societies; writers/
poets; Festival Eñe, Madrid; Cosmopoética, Córdoba; Kosmopolis, Barcelona,
Palabra y Música, Seville; Hay Festival, Granada; literary and poetry festivals
throughout Spain; selected Polish festivals/poetry.
Venues
conventional and unconventional venues; could also include poets’ homes. Also
available as general web project.
p. 62
–13– Pride and Prejudice
Project
Why do we revere old and ornate buildings and yet often criticise contemporary
living spaces and public arenas? Artists-in-residence (individual and ensembles)
discover their own versions of beauty – or otherwise: Burgos Cathedral, Centre
for Human Evolution; Carrefour Mall; Burgos University; the village of Pineda;
Gamonal centre; L’Espolon.
Sample Project
Les passengers (France) ‘discover’ the Centre for Human Evolution. Les Passenger
is an aerial dance company who treat each surface they dance from as a giant
blank screen on which they re-imagine the building inside and its dynamics.
Working with eloquent video and highly evocative music, they invite the audience
to dream – to become weightless, and able to slip through surfaces. The result is a
remarkable fusion of observation and fantasy.
Local theatre, dance, performance art, music ensembles; El Hangar, Les
Passengers, France; Rimini Protokoll, Berlin; Vesterport Theatre, Iceland; The Red
Ball project, New York, Gilles Apap, Algeria, Matadero, Madrid; Hangar, Barcelona;
La Laboral; Gijon; Tabakalera, San Sebastian; Montehermoso and Krea, Vitoria;
Arteleku, San Sebastian; Facultades de Bellas Artes y Arquitectura, Cuenca.
Venues
Various both urban and rural.
–14– Beauty, Fashion and Fantasy
Project
A series of projects which look at youthful Spanish and European physical
beauty and fashion.
Sample Project
Zara, Bershka, Massimo Dutti, Custo, Desigual, Loreak Mendian –
Spanish fashion designers dominate the European high streets. Is Spain
creating an authentic European ‘youth look’ which re-interprets the adult
catwalk? Photography, installation art, fashion and design, street
performance – and fantasy.
Artistic Direction
Li Edelkoort, Netherlands/France, with Spanish partners.
Academy for art, design, restoration and craft; Galería Río 10, Federación de
Asociaciones de Empresarios, Asociación de Artesanos. Osadia, Spain; Zara,
Spain + Spanish design chains; Eindhoven School of Design, Spanish Art Schools,
Duncan Jordanstone School of Art & Design, Dundee, Reykjavik School of
Art & Design, Antwerp Fashion School, Museo del Traje, Madrid; Museo de la
Indumentaria de Cataluña, Barcelona; IED, Madrid; El Ego de Cibeles, Madrid;
Prof. Geoffrey Jones (Author, Beauty Imagined) Harvard Business School.
p. 63
Venues
Catwalk on Espolon, Burgos, various spaces.
Artistic Direction
Various international and national directors, to be selected as appropriate to venue.
–15– Major poetry project collaboration
Date: Two year Project 2014-2015
Project
(Ties in with The Eloquent City). Renga is 1,000 year old Japanese form of
shared writing. It is based on the ancient travels of the Japanese poet Bashi,
who journeyed across landscape gathering local poets, writing, and performing a
particular type of verse (Renga) reflecting landscape, specific sites and the human
condition. Renga is an art of time and space as well as words and images. Specific
Renga days also bring people together to sit, listen, write and read renga together.
A recent development includes renga word maps which describe a particular place
and community, from industrial workplaces to urban conurbations.
Sample Project
A project that explores and re-interprets such verse forms through a European
lens, and in particular celebrates the relationship between landscape and place,
through building collaborations with regional artists, poets, city institutions and
children, incorporating film, web-blog and documentary.
Artistic Direction
Spanish poets in partnership with Ken Cockburn/Alec Finlay
(Scotland, Spanish-speaking).
Literature and poetry societies; IMC; Fundación Oxigeno, Hi-Arts, UK,
Atapuerca Foundation (Burgos) Creative Scotland, UK, Camino de Santiago
Foundation, Municipalities of Castile Leon and Rioja, artists, poets and
writers (professional and amateur); community members and children.
Venues
Various – urban and rural, industrial and commercial businesses; sites in
landscape; Burgos/Gamonal; villages and provincial conurbations.
–16– Artist Pilgrimages
Date: 2014-2016
Project
Burgos 2016 will commission a number of artists and ensembles – local,
national and international – to create personal journeys through the province
of Burgos and beyond, including through Spain and wider Europe. These may
be presented as a mix of blog, film, video, documentary and performance, but
each will culminate in a presentation in Burgos or the province in 2016/17. The
journeys may incorporate participation from artists or participants encountered
on the way, and may also result in audience travelling with the artist for specific
purposes. Journeys may also link the Atapuerca site with other global sites of
human remains. The artists/creators will be selected both by commission, and
from submissions.
p. 64
Sample project
Burgos 2016 will create a detailed call for projects, inviting artists of all kinds to
submit ideas for journeys to be undertaken during 2007 and the early part of the
ECOC year. The call will lay down strict criteria in terms of timescale and
documentation, but will also allow for the fact that the journey itself will reflect
self-discovery and that the work created will itself reflect that process. The
journey could be a slow meditation on a specific area, or a much more wideranging trip. It could specify a starting point – but not have a pre-determined
conclusion. What Burgos 2016 will expect to see in a proposal will be
curiosity, imagination, financial realism and evidence of excellent creativity
and communication. A simple example might be a composer who records dawn
birdsong over a diverse area of landscape, then creates a piece of orchestral
music blending technology, natural sound, bird song, the human voice and
orchestral texture; a more complex example could be a large-scale interactive
installation/sculpture work commissioned from an internationally acclaimed
visual/theatre artist which is created in significant religious buildings in an
arch reaching across the Iberian/Mediterranean peninsula.
Artistic Direction
Various – either individual or organization-led. Some to be commissioned, others
chosen from submissions.
Multiple local groups; individual artists and artistic organizations of all kinds:
musicians, performance artists, theatre ensembles, dancers, poets/writers, filmmakers, landscape artists, schools, academics.
Venues
Throughout region and beyond, including journeys incorporating industrial
sites businesses/ commercial premises.
p. 65
Re-invent
2016, as the European Capital of Culture year, will present a programme
of high-profile, which shows Burgos and Spain to Europe and the world,
and brings Europe and beyond to Burgos. Many projects developed over the
previous years will culminate in 2016, and continue into 2017 and beyond –
international collaborations which bring the citizens of Burgos right into
the heart of the programme as participants. Re-invent’s projects establish
Burgos as a Cultural Capital which has driven past its ‘crossroads’, and is
enthusiastically embracing a new state of mind about culture and creativity.
–17– Projects involving the whole city and province
–18– Green and Blue
–19– Burgos and Wine
The Eloquent City
–20– Debate and discussion
–21– The evolution of Video games/Film
–22– New music for Old Instruments
–23– Burgos and Calligraphy: Calligraphy for the 21st Century
–24– Chant and Change
–25– Distant Voices (Phase 2)
–26– Rights and Values (Phase Two)
–27– Sleeping Beauty
–28– The Collision Project: Dangerous Beauty
–29– The History of the Smile
–30– Heroes and Villains
–31– The Collision Project
–32– Virtual Europe
–33– General Projects in landscape
p. 66
The Authentic City: sharing public
space and human values
–17– Projects involving the whole
city and province
Project
Projects led by international or national artists/organizations will involve
long build up in collaboration with community groups, social service agencies,
schools and kindergartens, music schools, education leaders, political groups,
choirs, culture organizations, festivals etc. They will involve a wide spread of
local leadership, and may also include cultural organizations from all over
Spain, particularly performing artists and ensembles. These events are specific
to one ‘special’ day or weekend, and are designed for maximum participation,
and for the whole population as audience. They need top level, innovative and
highly experienced overall leadership.
Sample projects: Special occasion events’ i.e. opening and closing ceremonies;
notable holiday days; ‘White Nights’; specific celebrations connected
to bio-diversity issues.
Potential Collaborators: Multiple local groups; Citizens from
all Burgos province municipalities; international artists from across Europe,
Burgos schools, Burgos culture institutions and organizations, including
theatre, orchestra, free-lance artists, El Hanger, etc. Overall participation
on major scale (opening and closing ceremonies).
Venues
Widespread throughout the city.
–18– Green and Blue
Project
Celebrating Burgos province’s unique bio-diversity, Burgos invites partner cities
to discuss and debate their relationship with nature and with water, and
challenges each city to present a project with artists who exemplify their city’s
own natural habitat and cultural DNA on the theme of landscape/water.
Sample Project
Dundee (logo: City of Discovery) sits on the River Tay which flows from the
Perthshire hills to the North Sea. Antwerp’s river and major port, which have
dictated the historical evolution of the city. Reykjavik and Iceland’s volcanic
water provides energy for a nation. Burgos will also host a debate led by the cities’
16-18 year-olds about the role of the medium-scale city in Europe, the lure of the
super-city, and their priorities for cities of the future.
Artistic direction
To be decided by the partner cities.
p. 67
Fundación Oxigeno, Fundación Patrimonio Natural Castilla y León, Foundation
for the study of Dinasaurs; Fundación Atapuerca Dundee Repertory Theatre,
Duncan Jordanestone School of Art, Fest’n Furious, Dundee; Musiktheater
Transparant, Antwerp, Tonhielhuis, Antwerp, Antwerp Museum of Modern Art,
Fundacion Montemedio Arte Contemporaneo, Cadiz; Centro de Arte y naturaleza,
Huesca; Museo Vostell Marpartida, Caceres; Fundacion Biodiversidad, Madrid.
RE-INVENT (2016)
Artistic Direction: Artists of the stature of Roland Breand (France);
Orlando Gough and The Shout (UK) Sven Byer/Phase 7 (Berlin) CPM (France),
Nigel Jamieson.
Venue
The City of Burgos (urban space) and province (landscape).
–19– Burgos and Wine
Project
A Wine Fair - with a markedly urban character. The goal is to create
a large festive umbrella event spread in and around the city, with happenings
large and small in selected spaces. Overall, the ambition is to promote the
wines of Burgos, and their importance to both the social life and the economy
of the region, and of Spain.
Sample-projects
1) Live music accompanied by wine tastings from different bodegas
(wine houses) in presence/ hosted by the winemakers themselves.;
blind Tasting Night featuring some of the best sommeliers in Europe;
themed events held in different restaurants and bars in the city; European
Competition between young sommeliers.
2) The Opening Event: Burgos in a cup; 3) Closing Event: Awards ceremony (various categories) with all bodegas present
4) Exhibitions: (Virtual) Guided visit to wine museums of the world; design
competition for wine labels.
Artistic Direction
Regulatory Board of the DO’s (denominacion de origen) of Ribera de Duero
and Ribero de Arlanza.
RE-INVENT (2016)
Regulatory Organization (Denominación de origen) de Ribera de Duero y Arlanza,
Asociación La Carrasca; Federación Nacional de Jóvenes Amigos de Wine Awards;
Fundación para la Cultura del Vino, The Hispanic Society, bodegas, bars and
restaurants in Burgos and province, The Hotel School of Burgos; Tasting Spanish
School, Universidad Politécnica de Madrid: Asociación La Carrasca, founder of the
National Federation of Young Friends of Wine Awards’ Golden Nose. “ Foundation
for the Culture of Wine.
Venue
City of Burgos.
p. 68
“To feel, to create, to love”
— Fernando Arahuete
Visual artist
p. 69
The Eloquent City
–20– Debate and discussion
Project
Burgos 2016 will bring together some of the major global names to discuss
human evolution.
Sample Project
Series of public debates and lectures in relation to authenticity, art and culture.
Themes /Questions to be debated such as ‘Is there such a thing as an instinct’ for
art? “What is art, and does it mean the same to all cultures?” or “Why does a fine
forgery have no value? What constitutes great art?
Artistic Direction
Fundacion Atapuerca.
RE-INVENT (2016)
Burgos and province galleries and museums; CAB; Juan Luis Arsuaga, Fundacion
Atapuerca; John Gray, Prof. of European Thought/LSE; Dennis Dutton, Editor
of Arts & Letters Daily, Prof of the Philosophy of Art, New Zealand; David
Attenborough, film maker; Calixto Bieto, theatre director; Gerard Mortier,
Intendant, Royal Opera, Madrid; Oskaras Korsunovas, National Theatre,
Vilnius; Osmo Vanska, conductor, Lahti (Finland) and Minnesota (USA).
Venues
CENIEHs new auditorium; smaller venues for more intimate sessions/lectures.
–21– The evolution of Video games/Film
Project: A research project leading to a weekend festival which will trace the
evolution of visual/audiovisual products from the black and white movie through
to present-day and future video games.
Sample Project: Research and carried out as a collaboration between Abertay
University, Dundee’s department of computer gaming science and interactive
technology, Universities of Burgos, Reykjavik and Antwerp.
Artistic Direction
La Fabrica, Madrid in collaboration with University of Abertay, Dundee.
University of Burgos and technical colleges; Burgos schools, CAB, Casa Gamonal,
Burgos; students and gaming specialists in Iceland and Belgium; Feria Gamelab,
Gijon, La laboral, Gijon; Campus Party, Valencia; Filmoteca Espanola, Madrid,
Reykjavik and Antwerp.
Venues
Various, also web based.
–22– New music for Old Instruments
p. 70
Project
A series of performances in specific venues, ancient and modern. Living composers
write for old instruments – exploring sound-worlds, baroque + electronics,
rock and recorders, living opera and lutes. Acclaimed European composers and
curators will be asked to devise specific and personally designed series for specific
venues, which may be unexpected. The project is designed for a wide range of
audiences, who may have established preconceptions of how and where
music ought to be presented. The project aims to surprise, without in any
way compromising the integrity of the music or performance. The choice of
composers/performers/ curators will be a critical factor.
Sample project
Composer Orlando Gough (UK), Hardanger violinist and improviser Nils
Okland (Norway), electric harpist Catriona Mackay, Dundee working with the
viola da gamba ensemble Fretwork and a Spanish electronics specialist. Part one
of the performance/project to take place in Burgos Cathedral, part two in
El Hangar. Both parts of the project will ultimately involve live performance
along with a pre-prepared sound-scape using the venues’ highly individual space
and acoustic, which will be developed over a workshop period. All the artists will
also take part in residencies attached to various institutions in the city. Gough,
working with local composers and choral groups, Okland and Mackay with
Spanish musicians, and electronic specialists, Fretwork with early music
ensembles and local composers.
Artistic Direction: Overall curation to be decided by Burgos 2016
Artistic Director, but will be a significant European musician, such as
Orlando Gough, working with establish and emerging Spanish project leaders
to be determined.
Venues
Casa del Cordón, El Hanger, sacred venues in Burgos province, various
venues internationally.
–23– Burgos and Calligraphy:
Calligraphy for the 21st Century
Project
Exhibition of graffiti.
Sample Project
The winning graffiti pieces from Re-discover phase are translated into lighting
projections or installations on city buildings: presented concurrently with new
lighting scheme for west front of Burgos Cathedral.
Artistic Direction
Local institutions, examples are CAB.
Burgos museums, artists, galleries; winning artists from competing countries,
Museums of Modern Art, Reykjavik and Antwerp, Dundee Art Gallery; Spanish
and European Art Schools; Spanish Schools of Art; Festival Cultura Urbana,
Madrid; IED, Madrid and Barcelona.
Venues
Various in Burgos and Province, Burgos Cathedral, Casa de Gamonal, Burgos.
p. 71
RE-INVENT (2016)
Potential Collaborators: Burgos orchestras, music conservatories,
choirs, ensembles; Jordi Savall and Hesperion XXI (New work for Norfolk and
Norwich Festival, UK for 2010); The Shout (UK), Luminato Festival, Toronto,
Utrecht Festival of Early Music, The Netherlands; Festival Música Antigua,
Aranjuez; Asociation Espanola de Festivales de Musica Clasica, Jaen;
Electrosonic, Burgos.
–24– Chant and Change
Project
Burgos as a centre for sacred music – continuing the celebration of Burgos’s
long history of chant and polyphonic music, commissioning new chant to be
performed alongside Gregorian polyphony, and also the great organ music of
Antonio de Cabazon.
Sample Projects
1) Concerts of ancient and new chant in the monasteries, chapels and cathedrals
along the Camino de Santiago – emphasizing how all roads led to Burgos in
mediaeval times.
2) The Codex las Huelgas performance alongside new composition for 100 women’s
voices: concerts animated by The Shout (mixed genre voice ensemble, UK).
3) Collaboration with The Sixteen: music for Phillip and Mary: a marriage of
England and Spain + music by Antonio de Cabazon (new recording).
Artistic Direction
Harry Christophers, The Sixteen
Burgos and region choirs, ensembles, sacred music organizations, monestaries;
Orquesta y Coros Nacionales de Spain (Ocne); Museo de la Música, The Shout
(UK) Polish Early Music Network; IMC, Burgos, Festival international de
Musique Ancienne, France, European Network of Early Music Festivals;
Festival Música Antigua, Aranjuez.
RE-INVENT (2016)
Venues
Various, along Camino de Santiago, and in Burgos province sacred buildings.
–25– Distant Voices (Phase 2)
Project
Skype Poetry project 2 – poets from all over Europe come together to read their
work for a Skype poetry festival + dedicated website. Readings, in many languages,
will be translated into Spanish and English. Following on from the first phase of
the project in 2015, the Skype Poetry Festival with collaborate with major poetry
and literature festivals in Europe, sending selected Spanish poets to take part in
their programme. Readings from the festivals will then be performed via Skype in
Burgos theatre and culture centre venues, along with live performances by major
poets invited to Burgos.
Sample Project
Sample Project: StAnza Festival (St Andrews, UK)/Casa del Cordón/Casa Gamonal,
Burgos/ Hay Festival (Segovia): StAnza and Hay host acclaimed Spanish poets as
yet unpublished in English. Burgos 2016, in collaboration with the two named
Burgos culture houses, host UK poets as yet unpublished in Spanish (i.e.: Jen
Hadfield, 2009 winner of the TS Elliot Prize; Carol Ann Duffy, UK poet laureate).
Each reading is presented on Skype at a designated/well publicized time, and a
selection of the poet’s verse is published in both Spanish and English.
Artistic direction
To be decided by Artistic Director.
Burgos poets and writers; University of Burgos, Festival Eñe (Madrid), Cosmopoética,
(Córdoba), Kosmopolis (Barcelona), Hay Festival, (UK and Segovia), Palabra y
Música (Seville), StAnza Festival, UK, Polish poetry and literatura festivals.
Venues
2015: Various throughout Spain’s candidate cities, including intimate venues.
2016: Throughout Europe.
p. 72
–26– Rights and Values (Phase Two)
Project
Human Rights conference examining how relevant the Leyes de Burgos are to the
world today, and debating in general national declarations of independence and
citizens’ rights.
Sample Project
How are Europe’s ‘new’ countries in Central Europe and the Baltic establishing
their values, based on history but also on their new role within Europe? What are
the priorities? To what extent does youth have a voice in the process?
Artistic Direction
Norwegian Institute of International Affairs (NUPI).
Potential Collaborators: University of Burgos; Burgos and province
schools; Amnesty International; Council of Europe, European Commission;
Spanish Universities; Nobel Peace Prize Centre; ISN, Zurich; representatives
from Baltic and Central Europe.
RE-INVENT (2016)
Venue
CENIEH, Burgos, University of Burgos-, Casa de Gamonal, Burgos Casa de
Cultura de Gamonal y Centros Cívicos de Burgos.
p. 73
p. 74
p. 75
The problem of Beauty
–27– Sleeping Beauty
Project
Burgos 2016 to produce theatrical work in collaboration with national/
international partners. International co-commission to include Poland.
Sample project
A new adult theatre production co-commissioned between partners, project to
be led by an international artistic team.
Artistic Direction
Mariusz Trelinski and Boris Kudlicka (Wiekli Teatr, Poland).
Burgos theatres, music and dance ensembles; incidental music: Judith Weir (UK);
original text from Gianbattista Basile; Teatro Real, Madrid; Mercat de les Flors,
Barcelona; Escena Contemporánea, National Theatre of Scotland/Edinburgh
International Festival.
RE-INVENT (2016)
Venue
Centre for Human Evolution auditorium/Teatro Principal; Casa de Gamonal,
Burgos, major European festivals.
–28– The Collision Project: Dangerous Beauty
Date: Three year project
Project
An exploration of theatre, opera, dance, film, music performances where
beauty is violent, disturbing even immoral i.e. Basile’s Sleeping Beauty, Bizet’s
Carmen, Britten’s Death in Venice, Strauss’s Salome, Michaelangelo’s David
– possible new co-commission with international/Spanish partners, to include
Reykjavik and Antwerp.
Sample Project
Vesterport theatre, Iceland has produced a radical version of Shakespeare’s
Romeo and Juliet which combines the drama with elements of circus.
while the production respects the beauty of the text, and in many ways
the beauty of play, it confronts the ugliness of the families’ relationships,
the religious issues (which it ridicules) and does not gloss over the story’s
intrinsic violence.
Artistic Direction
To be curated overall by Burgos 2016 artistic director, with Spanish and
international partners.
Burgos theatre, dance, music ensembles; Fabulous Beast Theatre,
Ireland, Vesterport theatre, Iceland, La Parrala, Burgos, Dalziel and
Scullion (installation/landscape artists) UK, Haa Gamle Prestegaard,
Norway, Teatro Real, Madrid.
Venues
Various.
p. 76
–29– The History of the Smile
Date: Late 2016 - early 2017
Project
Major exhibition project major exhibition project, curated by Angus Trumbell, Yale
School of Art, which takes as its starting point Trumbell’s eponymous controversial
book The History of the Smile. The exhibition centres on the icon of the enigmatic
Mona Lisa smile, and explores ‘the smile’ in art through the ages. Painting,
installation, photography.
Sample Project
Photography project linking storytelling and images, bringing together the elderly
with youth. The project will be created over a three month period, working with
organizations/care homes/hospitals for the elderly in Burgos, and primary schools.
The children will be shown photographs of Burgos elders, either from their youth
or present, in which the elder is smiling. The children will then devise stories
which tell the ‘history’ of that smile – what might have happened to cause it? The
project will culminate in events both schools and care homes, and will also be
created as a web project.
Artistic Direction
Angus Trumbell, Yale School of Art.
IMC, CAB, Burgos schools; Burgos and province organizations and care homes for
the elderly; Burgos hospitals; Angus Trumbell, Yale School of Art/Victoria & Albert
Museum/Burgos Museum/Dundee Art Gallery, La Fabrica, Madrid.
–30– Heroes and Villains
Project
The legend of El Cid portrays a glamorous figure, the embodiment of the
triumph of right over might, the conquering Burgalese hero who saved a nation.
In truth, El Cid could be seen as a hired hand, fighting the cause of whoever
paid his wages, and often disgraced in the process. Heroes and Villains consider
the rose-tinted glasses of memory – and the real stories, glamorous or
otherwise – of legendary heroes.
Sample project
Using poetry, historical biography and music, the great Spanish artist
Monserrat Caballe and UK writer/director Jo Clifford (English translator of
Celestina and dramatist of Ines de Castro) present an evening in celebration/
condemnation of El Cid.
Artistic Direction
To be selected by Burgos 2016 artistic director in collaboration with
European partners.
Burgos libraries and literary associations; Burgos theatre ensembles; Institute for
the Castillian Language; Fundación Francisco Cantera Burgos; European (also
Russian) biographers; National Library of Spain; University of Burgos; universities
and theatre companies in partner cities: Antwerp, Reykjavik, Dundee.
Venues
To be decided.
p. 77
RE-INVENT (2016)
Venue
Burgos schools and care homes/organizations for the elderly; Burgos hospitals.
Journeys in Search of Truth
–31– The Collision Project
Date: Three year Project 2014-2016
Project
Young artists from Spain are partnered with creators from elsewhere in Europe,
along with a group of elders from Burgos –people who well remember the time of
Franco, and the time in which he held the city in thrall.
Sample project
The Dutch director Josse de Pauw and Musiekteater Transparant, Antwerp,,
created Ruhe, a greatly acclaimed music theatre work which combined the
testaments of unwitting World War11 collaborators with unaccompanied Schubert
lied for 12 male voices. This concept will be applied to Burgos, gathering the
reminiscences of the elders of the city. The stories, anecdotes and memories about
the effect of Franco’s presence in Burgos will be gathered with sensitivity and
intelligence, and will be woven into work of music and dance theatre. The music
will comprise newly composed material, old songs and specifically chosen chamber
music, which will be performed live.
Artistic Director
Josse de Pauw.
RE-INVENT (2016)
Burgos and region theatre, dance, music, literary ensembles, Burgos reminiscence
organizations and homes for the elderly; similar organizations in partner cities;
photography and archive organizations
Venues
Found space, Burgos
–32– Virtual Europe
Project
the web has become the means by which new generations find their motivation and
purpose. In collaboration with Abertay University (Dundee)’s department of arts,
media and computer games, Burgos 2016 and city/province secondary schools will
develop a series of web-based European and Latin American explorations.
Sample project: Dundee based designer Zoe Irvine, to create a Call Me:
Castilian – a virtual 24 hour call centre which will run over three 24 hour periods
in 2016 across the international dateline. Using a free-phone mobile number,
Burgos youth can call a Spanish speaker worldwide to discuss specifically targeted
youth priority topics including the environment, music and urban social issues.
Participants worldwide will be solicited on web social networks: YouTube, MySpace,
Facebook etc and the entire project will be web-streamed. ‘Actual’ call centres for
the project will be set up in popular Burgos/regional cafes especially selected for
each of the three events.
Artistic Direction
Zoe Irvine, Dundee.
Burgos and region universities and colleges; regional commercial IT businesses;
Burgos city and province schools, Burgos University; Latin American partners TBA.
p. 78
Venues
Various in Burgos and province; Latin American partners TBA.
–33– General Projects in landscape
Date: Two year Project 2015 -2016
Project
The projects are designed to involve whole rural/small urban communities in
collaboration with professional artists. The resulting events will expose the
landscape, villages and particular landmarks in new ways, and will celebrate
the relationship between urban and rural; community and landscape; manmade and natural. They will highlight the particularly bio-diverse and complex
environment, the geographically diverse landscape and the individuality of
villages and conurbations throughout the province. Projects will be designed sitespecifically, reflecting the ‘soul’ of the chosen site, be it in nature or a village, but
also contrasting that with surprise – a new way of looking, feeling, or hearing the
space. Projects will comprise a wide range of genre, from sound- scapes to dance,
from installation art to renaissance music. Each project will be built with full
community participation, led by a creative director.
Sample Project
Angus Farquar and NVA devise a specific lighting, video and sound installation
project on a chosen section of the Camino de Santiago. This will be walked at
night, and will also feature live traditional music and performances from actors,
appearing as the ‘ghosts’ of travellers from the past.
Artistic Direction
To be decided by Burgos 2016 artistic director.
Venues
Various throughout Burgos province.
p. 79
RE-INVENT (2016)
Local artists; Angus Farquar/NVA, Scotland; Project Bandaloop, USA; Artichoke,
UK; Dogtroep, Belgium; Dafne Kauffman, Tel Aviv.
Re-LEASE
Re-lease projects continue to explore Burgos 2016’s core themes, and will take
forward the step-change in ‘state of mind’ that the city and province has made through
the ECOC year, and the previous development phase. This document therefore outlines
fewer projects for Re-lease than for Re-discover and Re-invent, as the post-ECOC
programme will largely evolve from the latter’s outcomes.
Re-lease will continue the development of projects connected with the use of urban
space, rural conurbations, landscape and urban parkland: installations, visual
art projects, performance and citizen engagement projects. Burgos 2016 will also
continue to sustain projects from previous phases in Theatre, Dance and Performing
Arts, strengthening the relationships built between Burgos culture organizations
during the ECOC year and national/international partners. During Re-lease these
projects will comprise shared practice workshops, co-production and long-term
collaboration, co-commissions and potential touring, all outcomes of the Burgos
2016 process. The previous phases’ Artistic Direction, Project Collaborators and
venues will remain in place.
Continuing Projects The Collision Project; Burgos and Calligraphy (Graffiti);
The Burgos Song Canon; The Evolution of the Orchestra; Chants & Change
(The Eloquent City); Artist Pilgrimages; Franco’s Exiles (journeys in search
of truth); The History of the Smile; Public space projects.
–34– People Like Us
–35– International Lighting Festival
–36– Burgos 2016 Scholarships
–37– Scholars & Leaders
The Eloquent City
–38– Artist residencies
–39– Dare to be Digital
–40– Chants and Change
–41– Museums for the future
–42– Cities and Film
–43– Camino Culture
–44– Burgos and the Bicycle
p. 80
The Authentic City: sharing public
space and human values
–34– People Like Us
Project
A congress for citizens of smaller cities focusing on the issues of every day: education,
teenage drugs, healthcare and hospitals, employment and the workplace; childcare,
internet addiction… The congress is not aimed at city officials or politicians, but
at citizens who care about their city, their children and their living space and
environment. The congress will also be developed into a web project capturing
ongoing dialogue and exchange.
Artistic direction
Burgos 2016.
Citizens from Burgos and the wider region, participants from other Spanish
ECOC candidate cities; Reykjavik, Antwerp, Dundee; European smaller cities;
community groups, senior schools; activist organizations and associations for
youth and for the elderly.
Venue
Casa de Gamonal.
–35– International Lighting Festival
Project
Building on the previous years’ experiences, Burgos will launch an international
lighting festival, collaborating with light/sound installation artists from a variety
of European cities: Lyon, Newcastle, Istanbul, Stockholm, Stavanger.
A specific series of internships will be developed with young designers from all over
Spain, growing competence and experience, and encouraging networks and exchange.
Sample Project
Themes, e.g. lighting design focusing on public space and buildings; or
landscape and water.
Artistic Direction
To be decided by Burgos 2016 artistic direction.
Young Spanish designers; La Fabrica, Madrid; Erik Selmer: Light and Music,
Norway; Lyon International Lighting Festival; NVA, Scotland; European
Professional Lighting Designers Association.
p. 81
Venues
Throughout Burgos and province.
RE-LEASE (2017-)
Sample Project
Disposable Relationships:- Recently BBC World ran a series examining the impact
of the internet. One programme focused on the development of small children – the
5-9 year-olds – and how their ability to connect on a personal level with people of
all ages was influenced by internet use. The programme used the term ‘disposable
relationships’ – meaning that the children showed an increasing tendency to form
short-term internet relationships with peers who they would never meet face-to-face,
before moving on to another net friend. According to psychologists, these children
were beginning to fail in their ability to bond with school friends and in some cases,
family. People Like Us would present a one-day focus on this topic, with informed
speeches, interactive workshops, and a plenary session.
–36– Burgos 2016 Scholarships
Project
Burgos 2016 will create scholarships for artists and those involved in the creative
industries: producers, designers, culture managers etc to study in European
centres of their choice. Such scholarships will also be available for those who wish
to extend their knowledge and competence in areas such as board management,
fundraising and financial management, marketing and communications, education
and outreach, and administration. The scholarships will be awarded after an open
application process, and will be assessed by an independent panel appointed by
Burgos 2016 Foundation.
Sample Project
An existing example of a young Burgos artist gaining experience and competence
in Europe is the conductor Eduardo Portal, currently ‘apprentice’ with the
Orchestra of the Age of Enlightenment in London. Burgos 2016 will fund artists
and practitioners (as outlined above) to gain competence in their field, and also
to experience other European cultures.
Artistic Direction
Scholarships to be curated by an independent expert panel appointed
by Burgos 2016.
Becas Fundacion Marcelino Botin; Becas Fundacion MCU Culturex; Becas MAE;
Fresh Minds, UK, The Village of Arts & Humanities, Philadephia, Action Through
Learning, UK, Kaos Pilots, Denmark¨
RE-LEASE (2017-)
Venue
Various throughout Europe.
–37– Scholars & Leaders
Project
As part of Burgos 2016’s aim to be a ‘laboratory’ for artists and thinkers, we
will work on constructing platforms for developing and training emerging leaders
who are motivated by a powerful belief in the power of culture and human values.
Art, passion and leadership effectively mobilize thousands of people to become
part of changing the society around us. Burgos 2016 will use to competencies it
has gained through the ECOC experience to further support strong cultural
leadership programmes through mentorship, advocacy, and learning opportunities.
Scholarships for social/culture leaders are a platform for encouraging dialogue,
building mutual awareness, and engaging citizens in culture. Scholars and
Leaders will work with children, youth, marginalized minorities and local
artistes under the direction of inspirational established leaders who work
throughout the world.
Sample Project
Two selected students from the University of Burgos’s department of
Evolutionary Psychology study in Denmark with Kaos Pilots over an academic
term, as part of Kaos Pilots’ new course in Creative Leadership. The Creative
leadership programme promotes a culture where people grow and generate
new and sustainable solutions in response to current challenges. The students
will concentrate on leadership related to realising the potential of culture to
motivate teams, organizations and citizens.
Artistic Direction
To be decided by Burgos 2016 artistic director and independent panel.
Becas Fundacion Marcelino Botin; Becas Fundacion MCU Culturex; Becas MAE;
Fresh Minds, UK, The Village of Arts & Humanities, Philadephia, Action Through
Learning, UK, Kaos Pilots, Denmark.
p. 82
Venue
Various.
The Eloquent City
–38– Artist residencies
Project
We present two alternatives:
1) In collaboration with the Atapuerca Foundation and the Centre for the Study of
Human Evolution, Burgos 2016 will develop a series of artist-in-residence projects
for 2017-18, based at the two centres. These will encompass performing arts, but
also writers, scientists and philosophers. It is envisaged that each residence period
will be six months. Artists-in-residence may be from different parts of Spain, from
Latin America, from Europe or further afield. There is also potential for artists
to be placed in global sites of human remains, where partnerships exist with
Atapuerca Foundation.
Sample project
Icelandic composer Askell Masson at Atapuerca. Askell Masson (B.1953) is one
of Iceland’s most imaginative and diverse composers, powerfully influenced by
landscape, and by the extreme contrasts of nature. His music often reflects stone,
earth or water. He is also a profound thinker, and brings to his work a wide
meditation on human life, and its connection to our times and environment. At
Atapuerca, his chamber works would feature in a number of performances and
settings, and while producing a new work commissioned for Burgos 2016/Reykjavik
Festival he would also play a participatory role in further developing local music/
music-theatre making in the city and province, in cultural dialogue and in pushing
the boundaries of new music.
Artistic Direction
various; selection of artists to be led by Burgos 2016 artistic director, who will
create an international selection panel.
Museums/Galleries/universities in Spain’s ECOC candidate cities and their Latin
American partners; Atapuerca Foundations and partner foundations for Human
Evolution and Human Remains at Tautavel Arago (France), Boxgrove (UK) Maver
(Germany), Ceprano (Italy) Also if possible: with Zhoukoudian (China), Dmanisi
(Georgia), Sangiran(Java)and various African communities. The European
foundations may also host Spanish artists-in-residence.
Venues
Various in Europe.
–39– Dare to be Digital
p. 83
Project
Burgos 2016, in collaboration with Universities of Spain’s candidate ECOC cities
will develop the first Spanish student team to participate in the international video
games competition Dare to be Digital. The competition takes place over a 10-week
period each summer, with teams of undergraduates from Universities and Colleges
of Art. Currently, the event has embraced only the UK, India and China. For 2010,
Scandinavian students will participate for the first time. The team's efforts are
judged by a panel of games industry experts, and also voted on by members of
the public at an exhibition staged as part of the Edinburgh Festival Fringe. The
RE-LEASE (2017-)
2) Artist residencies in commercial businesses: industrial businesses, banks,
health centre and hospitals; municipality offices. Artists will be entreated to create
a specific plan for their residency which will directly enhance and inspire the
community, while enriching their own experience.
three winning teams go on to become the sole nominees for the BAFTA Ones to
Watch Award early next year, a category created specifically for this project. The
aim is to create long-term participation for the region – and for Spain – in the
competition, and in digital development. This project will continue collaboration
with Dundee, Reykjavik and Antwerp.
Sample Project
Teams of five students, usually a mix of artists, programmers and audiotechnicians, assemble in a development hothouse for 10 weeks to develop a
prototype video game, receiving daily support and weekly training sessions from
industry specialists, developing functioning prototypes of their games ideas.
The teams receive support from industry members and access to leading-edge
technology.
Artistic Direction
University of Abertay; Burgos University; University of Reykjavik.
University of Burgos and regional colleges; Universities throughout Spain
Venues
Various, Spain, and Edinburgh/Dundee, Scotland
–40– Chants and Change
RE-LEASE (2017-)
Project
Antonio de Cabazon: music recorded for new CD by The Sixteen goes on tour
as part of the ensemble’s annual Choral Pilgrimage to 24 UK venues, including
cathedrals and churches in major cities. Chant commissioned for 100 women’s
voices/The Shout becomes part of European project led by The Shout, touring
festivals in European member states and EEC countries: each festival builds its
own ensemble of 100 female voices that will collaborate with The Shout.
Sample Project
Event at Utrecht Festival combining organ music by Antonio de Cabazon,
Mozarabic and Gregorian chant performed by the Dutch Vocal Ensemble, with
new work in chant devised by The Shout (multi-cultural improvisational vocal
ensemble who also embrace a wide musical genre, from rock to baroque) working
with 100 women singers from Utrecht.
Artistic direction
Harry Christophers, The Sixteen; Orlando Gough, The Shout.
Burgos and region orchestras, choirs and ensembles; regional sacred music
centres, festivals and monestaries; Utrecht Festival of Early Music (The
Netherlands), Cheltenham Festival (UK), Brighton Festival (UK), Wiener
Festwoche (Austria), Warsaw Autumn, Poland.
Venues
Various throughout Europe.
p. 84
Further projects will focus on the future, on trend forecasting, on the future of
art and heritage museums, and on performance: how new work and contemporary
practice balance with new productions of classic and iconic work – music, theatre,
dance, film, etc.
–41– Museums for the future
Sample Project
16year-olds in Burgos are given a gallery space in the city – a ‘white-cube’ space –
and asked to curate an exhibition of 2016 objects which sum up their lives to
date. This can include interactive technology, mementos of great-grandparents,
video diaries, furniture, fashion, models and objects, music. The resulting
exhibition will be shown selectively – to an under 21 audience, then to ‘adults’.
A debate will follow, moderated by one of the youthful curators, and the director
of the V&A in Dundee (this V&A museum will have been open for only four years).
What drove the choices? How do you exhibit the past and present in a way that
communicates their relationship? What is the power – or otherwise – of bringing
objects together?
Artistic Direction
CAB, Burgos with Spanish and European partners.
Burgos and region museums and galleries; V&A, London and Dundee; Centre
for the Study of Human Evolution, Reykjavik Museum, Antwerp Museums,
MNCARS, Madrid; MACBA, Barcelona; Museo del Prado, Madrid, Caixaforum,
Madrid and Barcelona.
Venues
Gallery space to be found.
–42– Cities and Film
Project
Cities throughout Europe have given their sense of self to film – showing their
beauty, but also their darker side. Burgos 2016 will present a film festival of
acclaimed ‘city’ films, but also will mount a competition for short films featuring
the contrast between beauty and harshness in Spanish cities. The short films will
be chosen from an open call by a panel selected by Burgos 2016’s artistic director
in collaboration with La Fabrica, Madrid.
p. 85
Sample Project
City-based films including The Tin Drum (Berlin), Breakfast at Tiffany’s
(New York), Trainspotting (Edinburgh), The Italian Job (Turin). Short films –
maximum 15 minutes – might focus on fashion, on old/new buildings, on ancient
buildings and decay, on the authentic and the reproduced.
RE-LEASE (2017-)
Project
Collaboration with Victoria & Albert, London and new V&A, Dundee
(opens 2011), ARCO Madrid, Centre for the Study of Human Evolution, museums
in Reykjavik, Antwerp. Burgos 2016 aims to collaborate with museums which
push the boundary of the perception of a museum as a holding place for the
preservation of vulnerable treasures from the present and past. Should the
museum be a place of interactivity – or a safe house for antiquities? How do
our children value unique objects, contemporary or ancient? Lecture,, debate,
exhibitions, education projects.
Artistic Direction
Burgos 2016 artistic director, La Fabrica, Madrid.
RE-LEASE (2017-)
Local film and video organizations/artists; Seminci, Valladolid Film
Festival; Spanish film schools in candidate cities; Escuela de Cine (Barcelona),
Escuela Digital Media (Valencia), Mallorca Film Academy (Palma de Mallorca),
Escuela Superior de Artes y Espectáculos (Madrid), Zona 6 Digital Media
Education (Ibiza).
p. 86
Journeys in Search of Truth
–43– Camino Culture
Project
Burgos 2016 will build on collaborations from 2014 onwards, revisiting the various
Caminos – i.e.: Camino de Santiago, Camino Del Cid and Camino Del Castellano.
Based on these, artists and organizations will create new creativity-based guides
to these historic routes for culture tourists, in collaboration with specific villages,
schools, organizations and local artists in the Burgos province and beyond. The
guides will involve web and mobile phone technology, site-specific story-telling,
artist-guided walks and schools exhibitions.
Sample Project
A continuation of the Look Up! from Re-discover. Look Up! – a winter project
where looking up reveals surprises: by looking up, see your city differently.)
Look Up! will provide a walk guided by phone-technology, by a storyteller or by
an artist, where the walker is continually encouraged to look up – to see a detail
high on a building, to see cloud formations, to see a pre-arranged folk song
performance on a balcony, or jugglers on a roof.
Burgos and province free-lance artists (video, literature, performance, music etc;
La Fabrica, Madrid; Publishing companies and documentary film-makers.
Venue
Camino routes through Burgos province.
–44– Burgos and the Bicycle
Project
Burgos is a green city, with an unusually large area of parkland, natural open
space, river bank and boulevard. Bicycles abound, ridden by all ages, from small
children to the elderly, from tourists who benefit from the voucher city-bike
initiative to bikers on the Camino de Santiago.
Sample Project
Bicycle art back-packs: - artists who ride bicycles (including children,
acrobat-cyclists etc) apply on-line to Burgos 2016 for a clear transparent plastic
back-pack. Each artist/cyclist then chooses 10 items to display in the back-pack,
which illustrate their lives and aspects of their city: i.e.: a small artwork, a favourite
pen; a toy; a photograph of a favourite building. The artists will also be invited to
decorate/embellish/light their bicycles. The back-packs, along with the artists and
their bicycles are then spot-lit, and exhibited in the evening along L’Espolon, each
backpack also lit from within. Bicycles/creations may also involve music.
Artistic Direction
Castille y Leon bicycle organizations; Burgos Tourism.
Burgos visual and performance artists; Burgos schools and colleges; IMC;
Burgos bicycles associations; Vuelta Castille Leon; Burgos and province schools;
La Parrala, Burgos; CAB; Burgos and province art schools.
p. 87
Venue
L’Espolón.
RE-LEASE (2017-)
Artistic Direction
Burgos 2016 Artistic Director; IMC, Burgos; Burgos Tourist Organizations.
p. 88
p. 89
— A shared project
[ QUESTION 3 / II ]
How does the city plan to choose
the projects/events which will
constitute the programme for
the year? (The answer to this
question is optional at the pre-selection stage).
[ 3 / I ]
Burgos 2016 has already begun to develop close dialogue with artists
and organizations throughout the city, within Burgos province and
far beyond. This dialogue will expand and intensify during 2011 and
2012, resulting in pilot projects and workshops, and the development of
potential creative partnerships within Spain, and internationally.
Based on the mixed experiences of past ECOCs, Burgos 2016 will not make a
general open call for projects. We will build our overall programme through
wide communication, dialogue and collaboration, locally, nationally and through
extensive networks overseas. Certain projects, however, may necessitate a specific
call for contributors – for instance, visual art projects involving short film, or
exhibitions with specialist curation.
While Burgos 2016 will directly produce and manage a range of projects, in
particular international collaborations (defined as internal projects) many
projects will be managed by independent artists, organizations and institutions
(defined as external projects). Such projects will be clearly supported and
contracted by Burgos 2016 according to defined criteria, and will have defined
artistic leadership, administration and a communication plan. The financial
arrangements with each project will be laid out in the contract according to a
strict time-scale, and ongoing evaluation. Criteria will include a definition of how
the project intends to involve the participation of citizens and of young people,
and how the project relates to the theme of evolution, and supports the overall
vision and aims of Burgos 2016.The programme contained within this document
(first phase of the selection process) outlines such examples of partnerships,
collaborations and key participants.
We anticipate that Burgos 2016 will appoint an artistic director just after the
final phase of the selection process. His/Her profile should match the criteria set
out elsewhere in this document. It is expected that he/she will enrich and develop
the programme, continuously strengthening relationships with local and regional
artists, supporting their partnerships with external collaborators.
p. 90
— City evolution
[ QUESTION 6 / I ]
How does the event fit into the
long-term cultural development
of the city and, where
appropriate, of the region?
[ QUESTION 14 / I ]
If the city in question is
awarded the title of Capital
of Culture, what would be the
medium- and long-term effects
of the event from a social,
cultural and urban point
of view? Do the municipal
authorities intend to make a
public declaration of intent
concerning the period following
the year of the event?
[ QUESTION 10 / I ]
How does the city plan to get involved in or create
synergies with the cultural
activities supported by the
European Institutions?
[ 6, 14 / I ]
Burgos 2016 projects’ have medium and long-term development written into their
contractual arrangements. This will include a time-frame for mentoring, evaluation
and reporting. The overall impact can be summarised in a simple statement:
To evolve Burgos into a more liveable city through a participative process of change
creating sustainable economical, cultural and urban development that can act as a
model for Spain and the rest of Europe.
By 2017, The Foundation will assume leadership from the 2016 delivery team
with focus on evaluating, sustaining and nurturing the legacy of the ECOC. The
Foundation will combine economic support for key artistic projects with the setting
up of innovative ventures to aid and support young entrepreneurs. New economic
activity will be a key aim in relation to medium and long term goals.
The Foundation will be guided by the following strategic objectives and targets:
ONE /
Situating Culture as the central axis of urban development in Burgos.
The city is not only looking to complete its map of cultural facilities. The project as
a whole will open new forms of dialogue in order to understand better the fragile
urban ecosystem and to develop new relationships among the people of Burgos.
We aim to involve creative artists and the citizens themselves in the design and
understanding of the city, charging every citizen to consider the value that urban
space brings to our lives.
TWO /
Driving the development of the creative industries. In order to do this, the
programme that is being presented will be sustained through the development of
open dialogue and robust relations between Arts-Science and business. We will
also drive the development of new training facilities for both professionals and
amateurs, and develop the productive capacity and international cooperation
between our cultural organizations and those of other cities, countries and cultures.
In parallel, local public and private organizations will be encouraged to set up
similar schemes, e.g. granting stipends, funding organizations, giving advice
or providing financial support for young entrepreneurs intent on starting new
ventures within the creative industry sector. We also suggest that this scheme
should contain a didactive programme (for example, in collaboration with UBU,
European Business and Innovation Centre Network (EBN) and local financial
entitities which have running programmes providing seed capital for start-ups
operating within other business sectors) to include mentoring and mediation.
The scheme would insist that participants be based in Burgos or province for a
defined period of time. Our overall aim should be to attract young professionals to
Burgos so as to help counter the effects of uneven demographics in the city.
THREE /
Burgos as an international meeting centre for human evolution.
The city has made an important investment in infrastructure and facilities in
order to enhance its cultural offer and to look outwards to Europe. Through the
coordinated strategy of the different administrations and the social and economic
agencies, Burgos has now embraced human evolution as a leitmotiv. In this sense,
The ECOC title is important in terms of postioning the city so as to enable new,
significant and permanent dialogue with Europe and the rest of the world in
aspects related to evolution.
p. 91
FOUR /
Using the European Capital of Culture as a tool of civic dialogue for the
good governance of the city beyond its own cultural agenda. Over the last
decade (since 2001) Burgos has made an enormous effort to confer with its citizens.
It aims to construct stable platforms of participation to bring about agreement
between the different administrative levels, between the public and the private
sector, between the community leaders and the citizens and between Burgos
and other territories. In this sense, the ECOC will consolidate this process, by
developing new capacities and relationships. The result should be the discovery
of new forms of understanding of the city and relation between citizens, with the
objective to transfer a greater capacity to take active part in the desicion making
process concerning multiple aspects of public life in the city.
[ 10 / I ]
The Spanish Presidency, this year, hosted a number of cultural policy related
debates including the European Forum on Cultural Industries (Barcelona,
29-30 March 2010) an International Seminar on Culture and Development
(Gerona 4-5 May 2010) and an informal meeting of Ministers of Culture of the
EU (Barcelona 31 March 2010). During this latter meeting, the Ministers of
Culture confirmed their commitment “to put culture at the heart of the 2020
strategy” which will act as a framework for a more competitive and sustainable
economy during the coming decade.
Burgos intends to be at the forefront of debates and consultation on the role of
culture in the 2020 strategy, bringing cities together to discuss what the 2020
strategy means for them in terms of culture and economy; the maintenance
and conservation of European cultural heritage; supporting cultural industries;
cultural training and education among young people; and social cohesion inside
and outside Europe. These issues concern all member-states and need to be
continuously debated and developed alongside EU policy implementation.
A seminar series, led by Burgos 2016, will for example propose revisiting the
European Forum on Cultural Industries in 2016. We will assess what challenges
have arisen since the recommendation to “implement common cultural policies
and a European judicial framework for a sector that generates 5 million jobs and
represents 2.6% of GDP of all EU countries”. We will take the opportunity to
evaluate the impact of the “Green Paper on Cultural Industries” produced this
year by the European Commission. Burgos is also committed to proposing a series
of cultural initiatives relating to innovation, competitiveness, the digital agenda
and social inclusion.
In aiming to become closer to Europe, Burgos works closely with a large number of
prestigious and well-established European networks. Burgos 2016 will encourage
participation with and from all of these partners with the aim of extending our
reach across Europe. These networks include: Banlieues d’Europe (a network of 300
professionals across Europe concerned with culture and social cohesion); Culture
Action Europe (a leading cultural advocacy network); Culturelink (a network of
networks for culture and development); Culturemundo (international cultural
portal experts); Eurocities (a network of 130 cities in over 30 European countries);
the European Association of Historic Towns and Regions (a network dedicated
to promoting the interests of historic and heritage towns across Europe.); the
International Council of Museums (UNESCO-related organization of museums
and museum professionals); Les Rencontres – (an association of European Cities
and Regions for Culture); Trans Europe Halles (a network of independent culture
centres); The United Cities and Local Governments’ Committee on culture as well
as formal agreements in place with other European twin cities (see Chapter C).
p. 92
“To find, to share”
— Moustapha Cisse
p. 93
B3 / Burgos 2016
is innovative
[ QUESTION 13 / I ]
In what way is the proposed project innovative?
p. 94
[ 13 / I ]
Within Spain
Because we build, through a strategic
process, a programme of projects with
unprecedented collaboration across
boundaries of ability, nationality,
generation, skill and interest with longterm outcomes. The programme brings
together artists from all over Europe and
beyond with local creators, and also with
the wider community as participants
to create together, to share ideas and
imagination, and to build projects on
a variety of scales which establish a
new perception of Europe, of artistic
excellence, and a new state of mind
about the meaning of culture.
B3 | BURGOS 2016 IS INNOVATIVE
Within Europe
Because, as a once magnificent powerful
European centre, Burgos presents
an honest, in-depth analysis of the
contemporary city and citizens` needs
and aspirations as European human
beings, and recognizes the powerful
need for change. Through the ECOC
title and process in attaining such, we
can move into a new arena as a strong
culture-empowered and influential
nerve-centre for Spain, re-embracing our
role as a city which is a model for human
interaction and citizenship, driven by
culture. We feel that Burgos is set to
embrace a new European dimension
premised on its ancient ability to
collaborate and look outwards.
B4 / The European
— Cultural cooperation
[ QUESTION 8 /I ]
Explain how the event could
fulfil the criteria listed
below. Please substantiate
your answer for each of the
criteria (this question must be answered in greater
detail at the final selection
stage). As regards “The
European Dimension”, how does
the city intend to contribute
to the following objectives:
- to strengthen cooperation
between the cultural
operators, artists and cities of your country and
other Member States, in all
cultural sectors;
- to highlight the richness of
cultural diversity in Europe;
- to bring the common aspects of
European cultures to the fore?
Can you specify how this event
could help to strengthen the city’s links with Europe?
[8 / I ]
p. 95
dimension
within Europe
Burgos will build collaborations with
a large number of European creative
companies, leaders, artists and
ensembles, who will be commissioned
to create partnerships and wide
participatory projects with colleagues
and the wider population in Burgos
region. The purpose is specifically to
turn Burgos outwards towards Europe
by absorbing cultural values – both
diverse and shared - knowledge, new
thinking, shared imagination and
competence, and to encourage European
creators to embrace the wide culture,
abilities, creative practices and human
personality of Spain.
Such partnerships will be sustained
over a multi-year period, through
the development of Burgos 2016
programme, through to the years
beyond the ECOC Year. It is extremely
important for Burgos 2016 that these
collaborative outward-facing ventures
are long-term and strategic in nature.
As set out in our conceptual planning,
Burgos as a city has powerful ambitions
to re-ignite its cultural activities, and
to connect the city through creativity.
Sustained collaboration with European
partners is critical to the city achieving
its goals, and to growing confidence,
competence and a profound
commitment to excellence.
Re-establish
communication folows
with Europe through
creativity
p. 96
B4 | THE EUROPEAN DIMENSION
— Richness of Cultural
diversity in Europe
Burgos is a city which has always
embraced rich cultural diversity, from
our historical past and ancient links
through dynastic and royal marriages,
to our powerful trade links across the
globe. In contemporary terms, Burgos
is home to a vigorous migrant
population, drawn by strong industrial
activity over the turn of the century,
but also recently through international
ambitions of the university.
The Camino de Santiago, has since the
11th century brought travellers from far
points of the globe to Burgos as a resting
place – the pilgrimage to Santiago de
Compostella being part of the tradition
of wider European routes, has long
surpassed the religious quest which
first generated its pursuit, becoming a
truly universal phenomenon celebrating
cultural and artistic heritage. We have
the opportunity, through Burgos 2016’s
projects under the theme Journeys
in Search of Truth to interact with
travellers on the Camino from many
countries. Our intention throughout
such projects is to embrace different
p. 97
cultures and their practices, and to
build them into creative and
participatory experiences.
Burgos’s past position as a major
European crossroads, trading post
and multi-cultural centre will be
explored and celebrated throughout our
programme – the Eloquent City project,
for instance, will involve detailed
examination of how the language,
literature and artistic expression of
Burgos and Spain has intertwined,
shared influence and evolution with
the vast range of cultures we Spanish
speakers have touched and absorbed.
With the overall concept of evolution,
and a passionate wish to create an
ECOC which is both outward-looking
and hungry for new and diverse
European impulses, we will seek
collaborators who will bring not only
contrast and knowledge from their own
lives and practices, but who wish to
learn, celebrate and share the richness
and variety of Spain.
— Common aspects of
European cultures
In terms of creative activities initiated
as part of the ECOC programme,
Burgos 2016 will build specific
partnerships which bring together the
city and province with Spanish and
European partners. We will do this
by creating strategic relationships
between individuals, groups, schools,
organizations and institutions, and
their peers in designated parts of
the country, and specifically selected
European places, including the three
cities – Dundee, Antwerp and Reykjavik
(EEC member) – with whom we will
link in order to explore, in particular,
the evolution of human values and the
dynamics of change. Such partnerships
will create processes leading to projects
which will be delivered both as part of
the ECOC year, and in the years beyond.
p. 98
“Live the moment”
— Sonia Macho, José
Miguel Ignacio and Julia
p. 99
— To strengthen the city's
links with Europe
Burgos’s strong European links date
back to far pre-history, when the earliest
manifestations of European man settled
at Atapuerca. The links have continued
through rich mediaeval history, trade,
travel and war to the present.
In the last decade, however, through
Burgos’s extensive industries, city
initiatives and entrepreneurial
activities, we have sustained substantial
formal exchanges, dialogues and
network connections. In addition, the
University of Burgos has established
and further developed academic and
student links, including between the
universities of Dundee, Wroclaw,
Warsaw, Reykjavik, Cork, and Brussels.
Burgos 2016 perceives the need to more
strongly connect the city and region’s
cultural and creative actors to a wider
p. 100
and more diverse creative community in
Europe and beyond. Many of the city’s
artists and organizations are actively
connected with European partners,
but further partnerships and strategic
collaborations are limited by finance,
lack of confidence and distance.
B5 / City and
— Interest of the population
at European level
[ QUESTION 9 /I ]
Explain how the event could
meet the criteria listed
below. Please substantiate
your answer for each of the
criteria (this question
must be answered in greater
detail at the final selection
stage). As regards “City and
Citizens”, how does the city
intend to ensure that the
programme for the event:
- attracts the interest of the
population at European level;
- encourages the participation
of artists, stakeholders in
the socio-cultural scene and
the inhabitants of the city,
its surroundings and the area involved in the programme,
- is sustainable and an
integral part of the longterm cultural and social
development of the city?
[ 9 / I ]
p. 101
citizens
Burgos is a city of young travellers, and
of the elderly who have – by virtue of the
swerving fortunes and circumstances
of the city and province – always been
aware of the nature of their position as
a population at a crossroads. A resting
place and pivotal centre on The Camino
de Santiago which cuts east to west
across the province, Burgos also, year
round, welcomes countless European
pilgrims and those from elsewhere in the
globe, so there is the perpetual ambience
within the city of being a melting pot of
cultures, voices, ages and energies.
The city is proud of its ancient status
as a powerful influence on European
history, and because of our physical
position in Northern Spain – equidistant
from the cities of the Atlantic coastline
and the capital Madrid, and standing
on a wide little populated plain, we
tend to look beyond Spain for its points
of reference. Contemporary Burgos
does, though, suffer a lack of confidence
because of its relative isolation.
Culturally, we tend to turn inward on
ourselves, aware that change is both
an imperative, and a challenge. This
underlines the city’s burning need for
the ECOC title – a status which will
assist it to soar past the crossroads in
new and dynamic directions.
— Artists and Citizens’
participation in projects,
and the use of city and surrounds
Burgos’s application to become ECOC
is premised on the participation of
citizens of all ages and interests along
with creators of all kinds from the city,
province, the nation, Europe and beyond.
In embracing Human Evolution as our
overall concept, our creative programme
will explore how city and citizens
connect and create across boundaries,
sharing values, ideas, expression and
emotions through cultural activities.
Our projects will concentrate on rediscovering, re-inventing and re-lease
the city and the province. Each of
our themes, developed through these
lenses, will concentrate on the giving
of opportunities, on gathering people
together and on building community.
p. 102
B5 | CITY AND CITIZENS
— Citizens and access
to the Programme
It is the overwhelming wish of Burgos
2016 that the city and province own
their ECOC project, and feel expanding
pride. The city’s strategic and culture
plans have involved a long and thorough
process of citizen consultancy and
participation, and Burgos 2016 is
committed to continuing this process,
and to building a project overall which
belongs comprehensively to the city and
province. In building the programme,
the Burgos 2016 team will manage a
process of open communication with
citizens: community groups, teachers,
schoolchildren, social welfare centres
and hospitals, restaurants, hotels,
taxi drivers – all those who wish to
contribute opinions and debate.
While Burgos’s programme will aim to
actively involve citizens as participants
in projects, it will also present major
opportunities for all ages as audience.
While an ECOC programme cannot
please every taste, skill or inclination,
Burgos 2016 will create a range of
projects, events, happenings, public
p. 103
installations and performances which
will create points of access for all.
Excellence – world class standards –
will be paramount. Presentations will
include projects for highly specialist
interests – specific forms of music,
visual art or literature, for example but will also concentrate widely on the
broadest dissemination of intriguing,
inspiring, enchanting and entertaining
projects and events which draw
people together and engender
shared experience and debate.
Because of our wish to gather people to
celebrate the city’s public space and the
nature in its midst, many projects will be
freely accessible and designed with the
aim of encouraging collective experience.
We will use familiar venues all over
the city and province, capitalize on the
region’s many beautiful sacred spaces,
but also create work in unusual venues,
site-specifically, and in found spaces.
— Sustainability and long term
cultural and social development
Burgos 2016’s programme is built to
complement Burgos’s city strategic
plan, and in particular, our strategic
cultural plan. The European Capital of
Culture title, however, demands a major
commitment on a formidable scale on
behalf of the entire city and province:
we are well aware that the success of
sustaining the ECOC project depends
on the extent of the city’s ownership
of the project, their enthusiasm, pride
and input of energy. The programme
described in this document outlines
specific planning for the European
Capital of Culture years which forms
an arch from 2011 – 2017 and beyond.
However, the critical process of building
collaboration and participation amongst
citizens and amongst the creative
community in the city and province has
long since begun, and continues through
2010 with consultations, meetings,
debates, focus groups and the planning
of projects. In 2011 this will continue
with the initial development of strategic
partnerships between Burgos companies
and institutions, and the same elsewhere
in Spain and in selected member states
in Europe. These partnerships will, as
their strategic planning develops, begin
to integrate active participation from
p. 104
B5 | CITY AND CITIZENS
community groups, schools and social
welfare organizations. Pilot events in
theatre, public space activity, visual
arts and music will be designed, in
preparation for long-term projects which
will be delivered in 2014/15 and beyond.
These will be led by Burgos artists
and companies, with regular input
from the international partners, whose
participation will increase, according to
a planned schedule of development.
In other parts of this document we
outline Burgos 2016’s plans for 2017/18,
concentrating on training, scholarships
and long-term learning in order to build
solidly for the future decade.
p. 105
SECONDARY OBJETIVE
STRATEGIC LINES OF THE CULTURAL PLAN
[1] Situate culture as the central
axis of urban development in Burgos
To consolidate and amplify the map of cultural facilities within the city
To promote the territorial dimension of culture
To promote Burgos as a Green Capital
To strengthen the backbone of Burgos’ and the province’s cultural system
[2] To drive the development of the creative industries,
creativity and cultural educational possibilities
To construct, consolidate and enhance the network
of creative areas of Burgos
To promote cooperation between the creative and scientific
sectors, industry and the university
To generate all the conditions necessary for the development of creativity in Burgos
To strengthen Burgos’ position as a city of cultural education
[3] To promote innovation and accessibility
in the cultural programs
To promote cultural programs in new civic spaces
To strengthen the cooperation of the public sector, the third sector, and the private
sector in the projection and expansion of culture in the city and the province
To promote the participation and assistance of the citizens
in the cultural program
To stimulate cultural demand through information and management
[4] To make cultural tourism a key element
in the cultural model of the city
To strengthen Burgos as a cultural destination
To develop specific programs for cultural tourism
To improve the cultural information available to tourists
To create marketing strategies
[5] To incorporate management relations
and governance in the local cultural sector To establish cooperation platforms between institutions and public-private sector
To incorporate Burgos in the municipal cultural networks
To promote bilateral agreements of cooperation between cities and institutions
To create citizen-based networks
Artist Pilgrimages
Major poetry project collaboration
JOURNEYS IN SEARCH OF TRUTH
Pride and Prejudice
Beauty, fashion and Fantasy
THE PROBLEM OF BEAUTY
Distant Voices
Franco´s exiles
Words and Music: Four Projects
relating text and music
Burgos and calligraphy
Rights and Values
The city of the enquiring min
THE ELOQUENT CITY
Let´s Pretend
Burgos celebration
Urban Time Travel
Theatre and Dance
Humans, beasts and shelter
THE AUTHENTIC CITY: SHARING
Installations by international companies
MAIN OBJETIVE
RE-DISCOVER
PUBLIC SPACE AND HUMAN VALUES
— Impact of the
Programme in the cultural
plan of the city
Burgos and the Bicycle
Camino Culture
Cities and Film
Museums for the future
Chants and Change. Phase 2
Dare to be Digital
Artistic residences
THE ELOQUENT CITY
Scholars & Leaders
Burgos2016 Scholarships
International lighting festival
People Like Us
Projects in landscape
Virtual Europe
The Collision Project
Heroes and Villians
The History of the Smile
The Collision Project: Dangerous Beauty
Sleeping Beauty
Rights and Values. Phase 2
Distant Voices. Phase 2
Chants and Change
Calligraphy for the 21st Century
New music for Old Instruments
The evolution of Video games and Film
Debate and discussion
THE ELOQUENT CITY
Burgos and Wine
Green and Blue
Projects involving the whole city and province
RE-INVENT
RE-LEASE
— Burgos 2016 Projects by
Audiences, Time and Arts Forms
PROJECTS
THE AUTHENTIC CITY:
SHARING PUBLIC SPACE AND HUMAN VALUES
Theatre and Dance
Humans, beasts and shelte
Burgos celebration
Urban Time Travel
Let´s Pretend
Major poetry project collaboration
Artist Pilgrimages
THE AUTHENTIC CITY:
Green and Blue
Burgos and Wine
Sleeping Beauty
Heroes and Villians
Virtual Europe
THE AUTHENTIC CITY:
People Like Us
Scholars & Leaders
ADULTS
TIME PERIOD
2014 - 2016
2014 - 15 and culminate 2016
2014 - 15 and culminate 2016
2014 - 2016
2014 - 2016
2015 - 2016
2014 - 2016
2014 - 2016
2014 - 2015
2014 - 2016
2016
2016
2016
2016
2016
2016
2016
2015 - 2017
2016
2016
2016
2014 and culminate 2016
2014 and culminate 2016 - 2017
2016
2016
2015 - 2016
THE ELOQUENT CITY
Artistic residences Dare to be Digital
2017
2017
2017
Cities and Film
2017
2017
2017
RE-LEASE
2017
2017
2017
2017
Camino Culture p. 108
Burgos
and the Bicycle
FAMILIES
RE-INVENTED
THE ELOQUENT CITY
Debate and discussion The evolution of Video games and Film
New music for Old Instruments Calligraphy for the 21st Century Chants and Change
ALL AUDIENCE
2015 - 2016
2015 - 2016
2015 - 2016
2014 - 2016
2014 - 2016
2015 - 2016
Pride and Prejudice
YOUNG
CREATORS
RE-DISCOVER
THE ELOQUENT CITY
Rights and Values
Franco´s exiles
Words and Music: Four Projects relating text and music
Distant Voices
AUDIENCES
CHILDREN
ARTS
AUDIOVISUAL ARTS
FOLK CULTURE
PERFORMING ARTS
SCIENCE AND HUMANITIES
LITERATURE
HISTORY
PROJECTS
MUSIC
PRODUCTION
DESIGN
EXHIBITION
NATURAL ENVIRONMENT
AREAS
THE AUTHENTIC CITY:
Theatre and Dance Humans, beasts and shelte
Espacio Público
Viajes urbanos en el tiempo
¡Imaginemos!
RE-DISCOVER
VIAJES EN BUSCA DE LA VERDAD
Principal proyecto de poesía en colaboración
Peregrinajes de Artistas THE AUTHENTIC CITY:
Green and Blue Burgos and Wine
RE-INVENTED
Virtual Europe
Cities and Film
RE-LEASE
THE ELOQUENT CITY
Artistic residences Dare to be Digital
Camino Culture p. 109
Burgos
and the Bicycle
FORMATS
Pride and Prejudice
THE AUTHENTIC CITY:
People Like Us
Scholars & Leaders
CELEBRATION
Sleeping Beauty
Heroes and Villians
DEBATE & MEETINGS
LA CIUDAD ELOCUENTE
Rights and Values
Franco´s exiles
Words and Music: Four Projects relating text and music
Distant Voices
THE ELOQUENT CITY
Debate and discussion The evolution of Video games and Film
New music for Old Instruments Calligraphy for the 21st Century Chants and Change
EDUCATION
PERFORMANCE
BLUE PAGES
— Blue Pages is an invitation to play an
enticing game, where the cities, the inhabitants
and the culture are the warp and weft of either
a united Europe or of a diverse Europe.
Rivers divide our
cities, Rivers unite
our cities
“You feel them alive. Take them from their earliest infancy, from
their cradle, from the wellsprings of their longest branch, and
follow them down waterfalls and rapids, through gullies and
gorges, over meadows and riversides. The vein of water
is something like the conscience for us, sometimes agitated and
foamy, other times heavy with mud, turbid, and opaque, other
times crystalline and clear, murmuring over stretches. The
waters are, in effect, the conscience of the landscape.”
— Unamuno. Por tierras de Portugal y de España
[Around Spain and Portugal]
Pamplona
Lérida
ar
at
M
Ja
G
ua
ló
n
da
l
ra
op
e
ña
Zaragoza
am
a
Ir
A
eg
lh
ua
ón
Ti
r
re
o
Logroño
1980 km
g
Se
a
a
Miranda de Ebro
g
le
al
G
rb
A
rg
A
ga
E
Ebro
München
Innsbruck
ör
ar
Is
W
tz
no
ni
E
g
re
B
Donau
Ulm
Regensburg
Linz
Wien
Prešporok
Budapest
ro
H
ra
va
Tr
a
Il
un
m
n
2888 km
D
Banská Bystrica
Wels
Osijek
Bydgoszcz
Koblenz
M
Toruń
Rhein
Baltic Sea
1070 km
a
Warszawa
el
Kraków
a
rd
os
B
Wisla
Basel
Ludwigshafen
en
ar
e
Würzburg
N
Львів
M
w
B
Sa
n
ug
o
1230 km
Mannheim
Łapy
Торжо́к
Mikhaylovka
ká
er
l
O
N
ra
Su
Blue Pages
ga
Рязань
tlu
Ve
a
og
ol
a
its
Ярославль
d
ve
Ры́бинск
M
ed
Тверь
3700 km
p.2
Penza
M
a
ts
er
Tv
Волга
Нижний
Новгород
Salamanca
Pavía
Adriatic Sea
o
o
Bremen
Banbury
he
C
e
ld
O
l
el
rw
de
Ústí nad
Labem
a
Sa
Hradec
Králové
Elbe
Ta
r
Alessandria
Halle
Magdeburg
Hamburg
Thames
North Sea
North Sea
340 km
C
ul
ld
e
de
hu
Su
de
a
da
v
ol
E
M
M
Zwickau
Schwerin
Чернівці
Auxerre
Chartres
París
Atlantic
Ocean
Lisboa
Atlantic
Ocean
is
ub
Chimay
ar
A
M
M
Sz
Rouen
e
e
a
av
or
a
av
e
776 km
g
Seine
ur
E
in
Black Sea
ne
Galaţi
Beograd
Lo
y
ut
n
Yo
Pr
ol
Ip
Нови Сад
ne
České
Budějovice
rn
1165 km
O
Mediterranean
Sea
ar
Ta
n
Pi
su
e
rg
zó
n
A
rl
an
Burgos
Piacenza
o
652 km
a
897 km
Turín
ar
a
Po
Pa
n
Atlantic
Ocean
Zamora
a
dd
A
es
m
br
Soria
no
si
Te
r
To
ue
H
Duero
Cremona
G
re
Cáceres
Пермь
A
Вольск
ka
eh
a
Sa
m
Te
r
ar
sá
U
Волгогра́д
Blue pages
ba
Сара́тов
an
sl
ru
Балако́во
z
gi
a
Сама́ра
Ir
am
Улья́новск
ou
t
kh
E
K
Каза́нь
Сы́зрань
p.3
Zé
Ti
é
Ja
Li
Hamm
ze
ta
r
a
pp
e
ra
m
r
ec
ka
N
Toledo
or
Aranjuez
1007 km
Чебокса́ры
od
lg
a
el
a
Tajo
North Sea
A
di
ua
os
M
ar
A
Duisburg Rotterdam
А́страхань
Caspian Sea
Discover Europe
Europe extends from the eastern half of the Northern
Hemisphere, from the glacial Arctic in the north to the
Mediterranean sea in the south. To the west, it reaches the
Atlantic ocean; to the east, it borders with Asia, from which
it is separated by the Ural mountains, the river Ural, the
Caspian sea and the Caucasian mountain ranges. Civilizations,
cultures and peoples extend across this geography, defining
a Europe where diversity is our identity.
[1990]
[1939 -1945]
Before Christ
[1.200.000]
Human mandible from the Lower
Pleistocene found at one of the
archaeological sites at the Sierra de
Atapuerca in Burgos. (Spain)
[2800-1500]
Stonehenge. (England)
[850]
Homer’s Odyssey. (Greece)
[112]
The Silk Route. (Europe-Asia)
[58]
Julio Cesar begins the
Gallic Wars. (Italy)
After Christ
[S II]
Aurelian restores the unity of
the Roman Empire. (Italy)
[S X]
The Vikings arrive in North America.
(Scandinavia-Nordic countries)
[1095]
Christian crusades.
[1275]
Marco Polo arrives in China. (Italy)
[1440]
Henry the Navigator of Portugal
arrives in Africa. (Portugal)
[1492]
Christopher Columbus reaches
the Caribbean. (Spain)
[1499]
The first European novel is printed: ‘La
Celestina’ by Fernando de Rojas.
(Burgos.)
[1512]
Declaration of the Laws of Burgos,
prelude to the Declaration of Human
Rights in Burgos. (Spain)
p.4
[1543]
[1917]
Nicholas Copernicus affirms that the
Earth turns around the sun. (Poland)
Completion of the Trans-Siberian railway,
the longest in the world. (Russia)
Dutch navigators see the Australian
coastline. (Holland)
First Spanish speaking movie. (Burgos,
Spain)
The telescope is invented. (Germany)
The frontiers of Europe and Asia are rolled
back. The United Nations Organization is
founded. (USA)
[1606]
[1609]
[1620]
English pilgrims leave for the New World
(now Massachusetts) in the Mayflower.
(England)
[1930]
[1939-1945]
[1951]
[1675]
European Community of Coal and Steel
or ECCS
Greenwich Observatory, most important
scientific centre in its day and age.
(England)
[1957]
First satellite launched in space ‘
Sputnik I’ (Russia)
The first man who manages to fly, Diego
Marín Aguilera, with a forerunner of the
Delta wing. (Burgos, Spain)
Launch of the Hubble space telescope
(USA and Europe)
[1793]
[1817]
Invention of the bicycle. (Germany)
[1825]
First line of railways.
(London, England)
[1836]
Theory of natural selection by Charles
Robert Darwin. (England)
[1869]
Suez Canal. (Mediterranean Sea)
[1896]
First projection in Spain of a film
in a Lumière Cinomatographe.
(Burgos, Spain)
[1911]
Roald Amundsen reaches the South Pole.
(Norway)
[1914-1918]
The maps of Europe and its colonies are
redrawn. Peace is signed and the League
of Nations is founded one year later.
Blue Pages
[1990]
[1990]
World Wide Web, created by Tim
Berners-Lee and the Belgium Robert
Cailliau (Geneva, Switzerland)
[1992]
The former Yugoslavia is divided up unto
five new republics: Slovenia, Croatia,
Macedonia and Bosnia-Herzogovina.
[2010]
The Museum of Human Evolution opens
its doors to the public (Burgos, Spain)
[S X]
[1917]
[1957]
[1911]
[1543]
[1836]
[1606]
[1675]
[1825] [2800-1500] [1609]
[1095] [1817]
[1620]
[1951]
[1990]
[112]
[S III]
[58]
[1275]
[850]
[1869]
[1.200.000]
[1499]
[1512]
[1793]
[1896]
[1930]
[2010]
p. 5
[1992]
Blue pages
Cities
and bicycles
Known in history as crude means of transport on two wheels
propelled by the feet; at present, there are around 800 million
bicycles, twice as many as there are cars. The use of bicycles
in our cities is increasingly synonymous with modernity and
associated with sustainability.
5/1
500 km
Bike parks (15 users/day)
which replace a bike park
(6 users/day) in Lyon.
of continuous bike networks
in Freiburg along well
signposted bikeways.
630,000 / 780,000
100 bicycles /
1 car
inhabitants/bicycles in
Amsterdam.
energy ratio needed for
their manufacture.
405% / 0 %
500 km
consumption of
primary energy of a
plane and a bicycle.
2007
of continuous bike networks
in Freiburg along well
signposted bikeways.
1,000 km
That year Burgos
was awarded as Best
European City in terms
of Sustainable Movility.
of bikeways along the
Danube that crosses the
heart of Central Europe:
Germany, Austria,
Czechoslovakia and Hungary.
1,130,000
4,900,000
pedals a day in
Copenhagen.
bicycles sold in Germany
(82,000,000 inhabitants).
2,000 bicycles
20 / 1
for public use in Copenhagen
(city bikes).
space occupied by a
bicycle in comparison
to a car.
10 %
35 %
of inhabitants use the
bicycle for travel in
Strasbourg.
32%
1,000
of bike journeys in the
Netherlands are made
by women.
French municipalities
belong to the “Club des
Villes Cyclables”
[City Cycle Club].
44 %
of women in the United
Kingdom have access
to a bicycle, but only 25%
use them.
p.6
of responsibility of
accidents involving bikes
is the cyclists.
Blue Pages
10,000 people
are employed in the
manufacture of bicycles
in Portugal.
Map of Eurobike routes,
the European network
of bikeways
1.11
66,000 km
bicycles per inhabitant
in Holland.
22,000
bike parks in the city
of Munich distributed
around the city.
50%
of bikeways are planned by
Eurobike (European network
of bikeways that develops
long-distance routes for
cycle tourism)
in addition to the 20,000
that are in operation.
of bikeways in
Copenhagen.
100,000
of all inhabitants in
Copenhagen more
around on a bicycle.
people travel on a daily
basis by bicycle in summer
in the city of Stockholm.
28 %
2%
of journeys in Amsterdam
are made by bicycle.
8,000,000
of journeys in London are
made by bicycle, well below
Berlin (5%), and Munich
(12%) and a long way off
3,500,000
bicycles in the world. Twice
as many as there are cars.
bicycles sold in France each
year, of which only 36% are
made in the country.
people in Germany use the
bicycle on their holidays.
of bikeways in the
city of Burgos.
2,500,000
Copenhagen and
Amsterdam (28 %).
21,00,00
40 km
900,000
bicycles sold in Great
Britain (60,000,000
inhabitants).
bicycles stolen in
Holland each year.
9,200,000,000
80%
Euros is the gross annual
turnover for bicycle tourism
in Germany.
of bicycles manufactured
in Portugal are exported.
It is the second largest
producer in Europe.
1,200 km
1,100 km
of bikeways
in Munich.
of bikeways in areas
with restricted circulation
in Vienna.
400 km
of bikeways in Paris.
Construction of a
further 200 kilometres is
planned for 2013.
p. 7
329 km
Blue pages
10,000 people
are employed in Portugal in
the manufacture of bicycles.
culture
and wine
The secret of an art, the art of wine, a pleasure that delights
our senses and that understands and speaks all languages
of the world. “Who knows how to taste wine never drinks the
wine but tastes secrets”
—Salvador Dalí.
D.O.
Comandaria
D.O. Styria
D.O. Lower
Austria
D.O.
Burgenland
CYPRUS
D.O. Rhine
austria
D.O. Ribera
del Duero
D.O. Arlanza
D.O. Priorato
D.O. Jerez
GERMANY
D.O. Rioja
D.O. Sicilia
SPAIN
D.O. Veneto
D.O. Chianti
D.O. Valais
D.O. Neuchâtel
D.O. Vaud
D.O. Ticino
D.O. Piemonte
D.O. Toscana
ITALY
D.O. Eger
D.O. Zurich
SWITZERLAND
p.8
D.O. Mosel
HUN
Blue Pages
European Origin
Burgos Origin
Denominations
Denominations
D.O. Drama
D.O. Dealu
Mare
D.O. Cotnari
D.O. Murfatlar
D.O. Arlanza
D.O. Tranave
D.O. Oporto
D.O. Madeira
ROMANIA
D.O. Douro
Portugal
D.O.
Peloponnese
D.O.
Macedonia
D.O. Santorini
D.O. Drama
D.O. Bordeaux
GREECE
D.O. Alsace
D.O. Tokaji
D.O. Szekszárd
D.O.Tracia
D.O. Pamidovo
BULGARIA
NGARY
p. 9
Blue pages
D.O.
Champagne
D.O.
Bourgogne
D.O. Rhône
FRANCE
60
Burgo, burgus,
pyrgos, pergamo,
borough, burgh,
burglar, burj...
Etymologically, Burgos encapsulates the idea of city, liberty and
protection offered to its citizens. The Burg of the Middle Ages
was a fortress constructed by feudal Lords to watch over the
territories under its jurisdiction, where groups of merchants,
artisans and the like had settled.
North
Sea
Edinburgh
Atlantic
Ocean
Burgh
by Sands
Scarborough
Peterborough
Luksemburg
Le Bourget
Cantabrian
Sea
Bourges
Bourg-en-Bresse
0
Burgos
Mediterranean
Sea
40
p.10
Blue Pages
Sankt Petersburg
Sarpsborg
Baltic
Sea
Borgund
Göteburg
Borgholm
Ålborg
Sölvesborg
Helsingborg
Flensburg
Dyneburg
Trelleborg
Hamburg
Tilburgo
Oranienburg
Oldenburg
Lüneburg
Bruges
Brandenburg
Wolfsburg
Duisburg
Magdeburg
Quedlinburg
Marburg
Heidelberg
Würzburg
Bourglinster
Günzburg
Sarrebourg
Aschaffenburg
Regensburg
Augsburg
Ludwigsburg
Strasburg
Nürnberg
Bürg-Vöstenhof
Salzburg
Freiburg
im Breisgau
Black
Sea
Fryburg
Adriatic
Sea
20
Bourgas
Tyrrhenian
Sea
p. 11
Blue pages
Viva Babel!
“The library is infinite and periodic. If an eternal traveller
were to cross it any direction, he would find at the end of the
centuries that the same volumes are repeated in the same
disorder (which, repeated, would be an order: the Order).
My solitude rejoices in that elegant hope.”
— Jorge Luis Borges. La Biblioteca de Babel
[The Library of Babel]
Рэвалюцыі
Revolution
belarus
german
հեղափոխություն
Revolucion
armenian
albanian
REVOLUCIÓN
revolúcia
spanish
slovak
revolucija
REVOLUTION
slovenian
danish
επανάσταση
revolución
greek
galician
რევოლუცია
chwyldro
georgian
welsh
револуција
revolūcija
macedonian
latvian
rivoluzione
revoliucija
italian
lithuanian
револуција
revoluţie
romanian
революция
revolução
portuguese
p.12
serbian
russian
Blue Pages
Estimated number of speakers
of each language in Europe
<500.000
<5.000.000
<25.000.000
<50.000.000
REVOLUCIó
revolucija
catalan
революция
croatian
revoluce
bulgarian
czech
iraultza
révolution
euskara
revolutsioon
french
vallankumous
estonian
finnish
Revolution
byltingin
english
icelandic
réabhlóid
forradalom
irish
hungarian
revolutie
rewolucja
netherlands
polish
revolusjon
rivoluzzjoni
norwegian
maltese
революція
‫עיצול ָאווער‬
yiddish
ukrainian
revolution
devrim
swedish
p. 13
>50.000.000
turkish
Blue pages
Sister Cities
Towns or cities from different geographic and political zones
‘twinned’ to stimulate human contact and cultural links.
Through fraternal ties between cities, common conflicts were
overcome, resources were pooled to carry out numerous projects
and above all it promoted the independent persona of each
city or village. These “twinning arrangements” are only
possible with the active participation of the citizens in the
municipalities that are involved.
La Spezia
Thüringen
Göttingen
Bayreuth
Сочи
Cheltenham
Annecy
Kisumu
Vicenza
Stampersgat
Loudun
Częstochowa
Valencia
San Juan
de los Lagos
Burgos
Pforzheim
Berga
Brugge
Guernica
‫تاطس‬
Las Palmas
de Gran Canaria
Salamanca
Gijón
Nîmes
Poitiers
Ярославль
Halle
Würzburg
Cambridge
Coimbra
Santiago
de Compostela
Zaragoza
p.14
Ais de Provença
Padova
Blue Pages
Komitat
Győr-Moson-Sopron
Saint-Maurdes-Fossés
Rímini
Hameln
Córdoba
La Louvière
Saint-Maurdes-Fossés
Bojnice
Bognor Regis
Foligno
Kalisz
Leiria
Grenoble
Dijon
Нови Сад
Ljubljana
Zagreb
Иркутск
Évian-les-Bains
Salt Lake City
Strömsund
Konya
Pordenone
Nevşehir
Pécs
Maribor
‫בי ִב ָא ל ּ ֵת‬-‫ֹופ ָי‬
Fort Worth
Скопје
‫ةرهاقلا‬
Berlin
Wien
Osijek
Тузла
Ploieşti
Budapest
Lausanne
Sarajevo
Nitra
New York
Lisboa
Frankfurt
am Main
p.15
Blue pages
Dubrovnik
BURGOS
2016
candidate
city
European
Capital of
Culture
-build
-walk
-create
-evolution
C
C
Preparation of the bid and
organization and Financing
of the event
C1
Preparation of the bid
— Citizens’ participation
— Participation of the cultural sector
— International activity
C2
Collaborations
— In the city and the region
— Within Spain / Internationally
C3
Structure of the organization
C4
Financing of the event
C1 / Preparation
of the bid
— Citizens’
participation
[ QUESTION 15 /I ]
How was this application designed and prepared?
[ 15 / I ]
Burgos 2016 is considered a challenge for the city as a whole. The
preparation of the bid is an example of a major collaborative effort
between public and private institutions in close contact with the civil
society. The organization responsible for fostering this meeting
of minds and wills is the Asociación Plan Estratégico (Strategic
PlanAssociation) an independent entity made up of more than sixty
institutions, associations, businesses, political parties and unions.
The Asociación Plan Estratégico was in charge of launching the
candidacy in 2007, a proposal which generated a high level of
consensus in the city and was endorsed by citizens’ representatives
in the Full Council meeting in the City Hall in February 2007.
The open process behind the design of the ECOC bid has identified
four conduits of action:
— the economic, political and social agents
— the citizens
— the cultural sector
— the international element
A project of this level requires the support of the economic, political and
social sectors, which is accomplished through the Strategic Plan Association
(Asociación Plan Estratégico) and the creation of the Burgos Foundation 2016
(Fundación Burgos 2016). The support of the citizens has been generated
through programmes of mobilisation and participation. The cultural sector
within the city has reflected on and produced a document detailing their
ambitions and expanding on the the role which culture should have within the
city: the recent Plan de Cultura (Cultural Plan). The international dimension
has been consolidated through formal agreements and participation in
networks, meetings and forums abroad.
The establishment of the Burgos 2016 Foundation
In October 2007 the city council with participation of all political factions and
the Strategic Plan Association created the Burgos 2016 Commission(Comisión
Burgos 2016). Its objective was to give a political legitimacy and support
to the candidacy and consensualise the strategic lines of work. The work of
the commission was concluded by the middle of 2008 and from their report
emerged two conclusions, one being the necessity to produce a strategic plan
for culture for the city, the second to designate an organization in charge of
managing the application and candidacy phase, capable of gathering financial
and social support necessary to construct the project. This body is the Burgos
2016 Foundation (The Foundation), which was established by the town council
in April 2009, and which counts on the support of more than 20 institutions,
businesses and associations. The Foundation is open for membership to any
party interested in the project, through a variety of specific membership
categories; these are Patrons, Collaborators, Sponsors and other supporters.
p. 130
C1 | PREPARATION OF THE BID
“Crossroad of cultures
and valuable information”
— Pedro Luis Castañeda
Castañeda’s Press Kiosk
p. 131
Preparation, organization and Financing of the event
Various activities have taken place to
create interest and citizen awareness,
providing information to the citizens
of Burgos about what the ECOC would
mean for them and what it might signify
for the future of the city.
The intention has been to reach out
and communicate to the citizens
their potential role as participants or
collaborators, in the setting up and
delivery of the artistic programme.
Several profile-raising activities have
taken place under the banner of the
campaigns Ilusión Burgos 2016 (Burgos
Aspire 2016) or ‘Exprésate’ (Express
Yourself), some in collaboration with
local or national media. Below we
summarise some of them.
Selection of
Foundation’s Logo
The logo selection was an open call where
those citizens who wished could present
their logo designs. The jury studied 159
logos, from which four finalists were
selected.In the final phase, the citizens
chose the winner via ballot papers, the
web or text message. The winning design
merged the two great icons of the city: the
silhouette of the cathedral with the crosses
that represent the Human Evolution
Complex. Indeed, these crosses form
the Roman numeral XXI, as a symbolic
reference and pointer to the city’s intent
on moving forward towards the future.
Launch of The Foundations
website (www.burgos2016.es)
One of the main communication vehicles
of the candidacy, the site was launched
in 2007, and was redesigned and
updated in June 2009. The page has
more than 150,000 hits per year made
by visitors from over 90 countries and
is translated into 7 languages: English,
French, Spanish, German, Italian,
Polish and Portuguese. More than 5000
people have signed up to receive the
weekly newsletter with the latest news
and information about Burgos 2016.
p. 132
Burgos 2016 generation
During Christmas 2009, we carried out
a wide consultation amongst school
children between 6 and 12. 13,900
books were distributed to pupils in 49
centres of teaching and three hospitals
within the city. The books dealt with
themes such as integration, diversity,
discrimination, respect, infant rights
and civil ethics. Secondly, a competition
was launched amongst school children
entitled “How would you like Burgos to
be”. They were asked to produce articles
and drawings representing their ideal
city of the future. Then, a further book
was published comprising the best
articles and drawings. Additionally, a
travelling exhibition was put on display
in 26 learning centres and various civic
centres over the course of 2008 and 2009.
Social Networks
One of the principal methods used to
reach out to citizens is activation of a
Burgos 2016 profile on Facebook (social
networking site). So far, the fan page
has over 9000 fans, positioning the site
as the most popular Spanish candidate
platform on Facebook.
Support Campaigns
In 2008 an intra-city petition-based
campaign was launched. Ballot boxes and
forms to be signed were made available
for people on the web and around the city
in hotels and public buildings. So far, well
over 100 000 forms have been completed
and returned by people and organizations
expressing their backing and support for
the candidacy.
Local media
As mentioned in other sections, Local
media play an important role for the
candidacy. Our local media provide
daily information to the area of Burgos
and are a principal vehicle for raising
awareness and generating interest
around the Burgos 2016 project.
Conscious of the importance that this
project has for the future of the city, the
principal local media have decided to
become members of The Foundation.
National Media
and presence
The candidacy of Burgos 2016 has been
given national coverage in the media,
either through advertisements or
through informative reports. Burgos2016
has also promoted itself via a stand at
the main national tourist fairs.
Team Burgos 2016 and Sport
Burgos 2016 has received the
support from the city’s sports teams;
nevertheless special mention should
be made in regards to the Castile and
León cycling team which in addition
have provided us with an opportunity
to promote healthy living and show our
commitment to the environment. In
return, the professional regional cycling
team have taken our project name and
has devoted considerable energy to
publicise the candidacy on the national
and international roads. The racers have
contested events, in which stars such as
the double winner of the Tour de France,
Alberto Contador, have participated,
travelling across Italy, France, Holland,
and various countries of South America.
p. 133
— Participation of the
Cultural Sector
Burgos 2016 is not an isolated event.
The position of culture in the city was
evaluated before the blueprint for the
candidacy was designed. We needed
to establish a starting point before
projecting the city towards the future.
The Cultural Plan has produced a
situational analysis formulating
an action plan for the next decade,
including strategies, a set of objectives
and examples of cultural projects for
the city. It was produced by the
Strategic Plan Association in
collaboration with The Foundation.
The intention was to allow anyone and
everybody interested to reflect on and
then to devise a new cultural concept
for the city in a global framework.
The process turned into a great
collaborative and participative effort
that encompassed more than 500 people.
To create and formulate the final
document a sample of 55 in-depth
interviews were carried out; five days
of roundtable conferences with various
participants, speakers and topics were
held (City and Culture; Creative City;
Attractive City and Cohesive City); web
forums were opened up through the
web; surveys were circulated by mail
to over 2000 people; nine participative
workshops were conducted and an
advisory board consisting of 33 people
was formed. The board brought together
people from all walks of life: directors
p. 134
of media communication, political
representatives, neighbours, artists,
and representatives of savings banks.
The purpose was to validate and reach
general consensus over the documents
produced, which total 12 different
reports. All material generated as part
of this process is at the disposal of
every citizen through the website www.
burgosciudad21.org, a reference for any
citizens interested to know the process.
— Strategic lines of the Cultural
Plan of the City
01
To situate culture
as the central axis of urban
development in Burgos
To consolidate and
amplify the map of cultural
facilities in Burgos
To promote the territorial
dimension of culture
To promote Burgos as
the Green Capital
To strengthen the
backbone of Burgos’ and the
province’s cultural system
02
To drive the development
of the creative industries, creativity
and cultural growth
To construct, consolidate
and enhance the network of
creative areas of Burgos
p. 135
To promote cooperation
between the creative and
scientific sectors, industry
and the university
To generate all the
conditions necessary
for the development of
creativity in Burgos
To strengthen Burgos’
position as a city of
cultural growth
— Strategic lines of the cultural
plan of the city
03
To promote innovation and accessibility
in the provision of cultural
To promote cultural
programmes for new
civic spaces
To strengthen the cooperation of
the public sector, the third sector,
and the private sector in the
projection and expansion of culture
in the city and the province
To promote the
participation and
assistance of the citizens
in the cultural programme
To stimulate cultural
demand through information
and management
04
To make cultural tourism
a key element in the cultural
model of the city
To strengthen
Burgos as a cultural
destination
To develop
specific programmes for
cultural tourism
To improve
the cultural information
available to tourists
To create
marketing strategies
05
To incorporate management
relations and governance in the
local cultural sector
To establish agreements
and bodies of cooperation
between institutions and the
public-private sector and to
strengthen their bonds
with the cultural sector
p. 136
To incorporate Burgos in the
municipal cultural networks
To promote bilateral
agreements of cooperation between
cities and institutions
To create
citizen-based networks
— International Activity
The Foundation has taken part in
meetings and main European forums
open to candidate cities since 2007.
That year, a delegation from the
city visited Sibiu 2007 to attend the
General Assembly of ECOC cities.
Representatives from the Foundation
and city have travelled to meetings
in Brussels or to other candidate
and ECOC cities all over Europe on
numerous occasions to learn from
their experiences.
Besides references to international
partners or collaborators elsewhere in
this document, Burgos has established
collaborative cultural agreements with
the cities of Buenos Aires, Krakow,
Lisbon, Vicenza (Italy), Loudun and
Pessac (France). It has also initiated
p. 137
an exchange of experience in regard
to cultural strategic planning with the
Chilean city of Concepción.
Buenos Aires has acted as reference
and inspiration for the Cultural plan in
terms of development and planning at a
global level. The Polish city of Krakow,
ECOC in 2002, and Lisbon, ECOC in
1994, have acted as partners not only
in regards to cultural projects, but
also in regards to policies concerning
sustainable mobility.
C2 /
— In the city
and region
[ QUESTION 12 / I ]
What contacts has the city or the body responsible for preparing the event
established, or what contacts does it intend to establish, with
- cultural operators in the city?
- cultural operators based outside the city?
- cultural operators based outside the country?
Name some operators with whom
cooperation is envisaged and
specify the type of exchanges
in question. (The answer to
this question is optional at
[ 12 / I ]
p. 138
C2 | COLLABORATIONS
Collaborations
Burgos 2016’s programme will be
premised on building world-class
collaborations within Spain and
between Spain and Europe, with
strong local citizen participation.
Burgos 2016 has already, through the
wide consultancy process carried out in
the creation and delivery of the city’s
cultural plan, worked closely with
local artists, the creative industries,
organizations and institutions. In
building our creative programme for the
potential European Capital of Culture,
a continuous consultation process is
critical. Burgos 2016 intends to create
a programme which strengthens,
expands, consolidates and inspires the
city’s creative community by helping
to build and support an unprecedented
range of long-term collaborative projects
between such projects and external
partners, from the region, from Spain
and primarily from Europe. These
projects will be carefully mentored,
strongly directed and produced, and
will be supported so that while they
may be initially delivered in 2016, they
will continue into further phases of
development in the years beyond. Burgos
2016 intends to maintain and nurture
the competence and new achievements
of the city’s creators for the long term,
and for this purpose will continue as a
small-scale consultancy organization for
a defined period after the ECOC year,
working from The Foundation in close
collaboration with local leaders.
As is evidenced by the programme
concept and project examples (see
Chapter B), Burgos 2016 plans a
formidable programme of collaboration
and partnerships throughout Spain,
European member states and associates,
and beyond. In the long term our
intention is to strengthen existing
relationships between local and regional
artists, organizations and institutions,
but importantly to establish new longterm partnerships, collaborations and
participative long term projects. The
intention is to work solidly with local
organizations and creators to build on
their strengths and ambitions, while
maximizing opportunities for learning,
idea sharing, competence enhancement,
cultural exchange, European dialogue
and mutual knowledge.
— Within Spain /
Internationally
[ QUESTION 7 / I ]
To what extent do you plan to forge links with the other
city to be nominated Capital of Culture?
p. 139
Bidding for the title as European
Capital of Culture demands that we use
the process as a springboard to create
new partnerships and collaborations
with other cities in other European
countries. Our ambition is to encourage
European creators to embrace on a
wider level the culture, abilities, creative
practices and distinct personality of
Spain. Such partnerships, as detailed
in Chapter 2, will be sustained over
a multi-year period. It is extremely
important for Burgos 2016 that these
collaborative outward-facing ventures
are long-term and strategic in nature.
As set out in our conceptual planning,
Burgos as a city has powerful ambitions
to re-ignite its cultural activities, and
to connect the city through creativity.
Sustained collaboration with European
partners is critical to the city achieving
its goals, and to growing confidence,
competence and a profound
commitment to excellence.
Currently, the impact of environmental
shift resulting in profound volcanic
eruption in Iceland has powerfully
affected Europe and far beyond, forcing
man to bow to change beyond human
control, and new and unpredictable
issues for Reykjavik’s own evolution.
With Dundee we will concentrate on
how the shift to a digital age is changing
culture – and how a city can balance
its role as a powerful digital
entertainment centre while still
developing strongly its cultural offer
in terms of live performing arts.
Three comparators: As a small city,
we want also to share the specific
experiences of certain other cities: cities
which may be radically different, but
which have all faced – or are facing
– radical change. Dundee, Reykjavik
and Antwerp, the three cities selected
are of different sizes, have different
challenges and priorities. All, however,
have a powerful relationship with their
citizens and have embraced fundamental
human values and knowledge as their
motivation when addressing their need
to change. Two of these cities already
have strong and ongoing links to the
University of Burgos, and the third is
in the process of establishing a similar
agreement. Of these, two are also
former European Capitals of Culture.
[ 7 / I ]
Burgos 2016 will build specifically
focused collaborations with the three
cities indicated, premised on change,
and on the exchange of human values.
With Antwerp, we will focus on the 11-15
year-old age group – their aspirations
for this century, cultural mores,
motivation and changing attitudes. With
Reykjavik, we will explore how profound
citizen disturbance driven by financial
crisis changes a population, and the
significance of culture in the process
of recovering fundamental values.
Burgos 2016’s perogative is building
strong and enduring relationships
with creative practitioners elsewhere
in Spain and in Europe. Collaborations
outlined in this document include
Germany, France, UK, South Africa,
Denmark, Romania, Austria, Norway,
Portugal, Palestine, USA, Italy,
Sweden, Poland and Turkey.
In 2010 we cannot to predict which
candidate city in Poland will be awarded
the title. However, we are currently
in contact with the candidate cities in
Poland. In phase 2 of the ECOC bidding
process, we will build concrete links with
the cities selected by the adjudicating
jury, building specific projects which
bring artists and institutions together.
In recent years, Burgos has worked
on building multiple types of
collaborations with certain cities in
Poland, which may influence arenas
which we would like to explore and
develop. Examples of liaisons are
formal inter-city agreement (with
Cracow through the CIVITAS/ Agenda
21 project); Partnership agreements
(with the city of Poznan); Partnerships
between higher educational institutions
(formal exchange agreement between
the University of Burgos and
universities in Krakow and Warsaw);
Cultural collaborations (The Burgos
Folklore Festival and the Burgos
Symphony Orchestra) have agreement
with Polish partner organizations in
various cities and investments and
economic co-operation (three local
firms have opened new industrial in
Wroclaw / Baja Silesia).
p. 140
C2 | COLLABORATIONS
p. 141
C3 / Structure of the Organization
[ QUESTION 1.1 / III ]
What sort of structure is envisaged
for the organization responsible
for implementing the project?
What type of relationship will it
have with the city authorities?
(This question must be answered
in greater detail at the final
selection stage, by enclosing in
particular the statutes of the
organization, its staff numbers,
the curricula vitae of those
primarily responsible, information
concerning its financial and
management capacity, and a graph of
the structure with comments on the
respective responsibilities of the different levels).
If an area around the city is
involved in the event, how will
the coordination between the
authorities of the relevant local and regional authorities be organised?
According to which criteria and
under which arrangements has or
will the artistic director of the
event be chosen? What is or will
be his/her profile? When will he/
she take up the appointment? What
will be his/her field of action?
(This question must be answered
in greater detail at the final
selection stage).
[ 1.1 / III ]
The Foundation will set up an external
organization in late 2011 – early 2012.
The mission will be to organise and run
the development of the ECOC for the
time period as defined in this document.
The day-to-day running of the
organization will be led by an executive
team of directors consisting of the
artistic director supported by three
directors. Including the AD, this group
of directors will run the main areas of
work: programme, administration &
finance; marketing & communication.
This group will meet routinely to
coordinate all areas of work intradepartmentally within the organization,
reporting to the Artistic Director. Within
each of their extended departments they
will stategise, organise and carry out
all tasks, responsibilities and detailed
lines of work, delegating appropriately.
All directors should be fluent in English/
Spanish, both in terms of writing and
speaking. This is particularly essential
for programme and communications/
strategy/external relations, given the
focus on engagement internationally
with non-Spanish speaking partners
and collaborators.
Areas of work
and responsibility
External relations – The AD will lead
the organization in matters concerning
international relations with partnering
cities, the EU and other ECOCs.
He/She should plan and advise the
organization in regards to development
of the international dimension regarding
medium and long – term effects. The
organization must take responsibility for
hosting international guests from public
institutions, partner organizations and
national organizations. The AD will be
responsible for coordinating and producing
the final report, providing documentation
about the legacy of the ECOC.
p. 142
Administration and Finance
The director of this department is
responsible for finances and the
running of the organization on a day–
to day basis. He/She is responsible
for the financial base of the project,
directing the sponsorship co-ordinators,
managing and monitoring agreements
with municipal, regional and national
government. The director should have
a strong financial background coupled
with knowledge of fund raising and
investment policies in a wide national
and international field. He/She is
responsible for sponsor negotiations
and delivery of sponsor contracts
and all official communications with
government, municipalities, politicians,
funders and other stakeholders.
Programme
The programme director will act as
liaison between the artistic director
and the actual coordination and
delivery of the artistic programme.
He/She will manage and direct a staff
consisting of programme coordinators
(project managers), production staff
and volunteers. Ideally, he/she should
have experience working for a large art
institution (e.g. a museum or a theatre
company). This position requires a person
who is skilled at managing people and
who has a keen understanding of artistic
process, rather than being an ‘ideas’
person or curator. He/She must have a
close and intuitive relation ship with
the AD, and the ability to lead a large
and inter-dependent team which can
interpret, develop and deliver the AD’s
vision in the context of the community,
local creators and international partners.
Marketing & Communication
The director will be responsible for
telling the world about a unique project.
He/She will devise, review, update
and implement the organization’s
communication and marketing strategy.
He/She should ideally be a person with
a combination of in-depth knowledge
of the city & province with high level
experience in working in media or brand
marketing in international, so as to put
Burgos2016 in a wide context. Critically,
the CD should be highly creative
with formidable contacts and able to
embrace and make full use of digital
communication platforms.
Times for contraction of the
various members of staff
2012: Artistic Director, Administrative
Director, Communication Director and
Sponsorship Coordinator.
2013: Programme Director, Programme
Managers (1-2), Volunteer Coordinator,
Office administrator.
2014: Digital Media Manager, Web
developer, Financial Manager.
2015: Press, TV and Radio
manager, Logistics Coordinator,
Production Managers, Hospitality
Manager, Programme Managers
(the rest ), Administrative staff in
various departments.
2016: Media Guides
To save costs and to gradually build
the organization, staff should be
contracted and appointed at various
times according to the time-line set
up above. The workload is expected
to increase linearly as the year of the
ECOC approaches, thus an appropriate
structure is essential. Priorities within
the workload will vary and change
gradually and also unpredictably over
the 2012 – 2016 period, so staffing needs
may require flexibility.
will be appointed in either 2014
or 2015 depending on the general
workload within the Marketing and
Communication department. The
remaining functions and positions will
be filled in 2015, except for Media guides
who will be engaged to assist and act
as guide / translator for visiting media
reporting on Burgos2016.
The principal Burgos 2016 staff will
be contracted to work until June, 30th
2017, with the final six months of
activity purely dedicated to reporting,
dissemination and transfer of
knowledge, information and archives to
the foundation, who will then assume
responsibility for managing the ongoing
development and legacy of Burgos 2016.
The Foundation will additionally fund
positions for programme managers
acting as support staff for projects
continuing beyond 2017.
In 2012, the primary functions will be to
secure funding and third-party sponsors
for the project, initiate dialogue and
create involvement and engagement
within the City for the ECOC. Key
pillars in the programme must also be
put in place, in particular projects with
long development phases. 2013 demands
intense focus on programme and overall
project development. Volunteering will
be crucial for the organization; primarily
because it gives and offers the citizens
a real possibility for active engagement
and involvement in the ECOC, creating
a small army of ambassadors willing to
support and spread information about
the event. Volunteers can play a critical
role in managing audiences, tickets
and facilitating citizen participation –
particularly with children.
By 2014-2015 the rest of the
organization will become established.
The Press, TV and Radio manager
p. 143
— Organization Chart
of Burgos 2016
Foundation
Burgos 2016
[Board Foundation]
Burgos 2016, S.A.
Artistic Director
Administrative Director
Programme Director
Financial Manager
Programme Manager
Digital Media
[Manager]
Press, TV
& Radio
[Manager]
Production
[Manager]
Media guides
Web Developer
Office
Administration
p. 144
Sponsorship
[Coordinator]
Logistics
[Coordinador]
Volunteer
[Coordinador]
Marketing &
Communications
[Director]
Hospitality
[Manager]
Guest
Coordinator
[ 1.2 / III ]
The area covered by the potential
programme for Burgos 2016 comprises
the province’s 371 municipalities
and 1,263 villages. The bid is being
presented by the Burgos2016
Foundation. The Foundation is now
coordinating the steps to be taken
with the different municipalities
and administrative levels during the
preparatory and developmental phase
of the European Capital of Culture.
This gives the municipalities of the
province the opportunity to participate
either as members of the business entity
that is in charge of developing the plan
of action or through collaboration
agreements for specific projects.
[ 1.3 / III ]
Artistic Director - Personal Qualities
and Appointment time-line.
The Artistic Director (AD) is the
face of the organization, and will be
highly visible. This requires a person
of intellectual and emotional rigour,
charisma and stamina, who inspires
both trust and respect. Absolute belief in
Burgos and the province, in the concept
and vision of the programme, and in the
citizens, artists and wide community is
a given – this is not about delivering a
‘product’- it is about belief, passion and
trust in a city and its people, and a
will to realize dreams.
The artistic director must have proven
international experience of delivering
excellence and originality in terms of
programming, along with evidence
of strong budgetary control. The AD
should have an understanding of how
communications, and marketing relate
to the programme, and how they must
be developed, and work together.
trusted both by the creative sector, by
community leaders, teachers, school
administrators and by those who lead
cultural institutions.
The AD should be fully aware that
ECOCs are not festivals (although
they may well include them), and
have a clear understanding of project
development, management and
delivery. A comprehensive network of
international contacts is an imperative,
along with a proven record of community
building, and of having created and
delivered projects which have built
solid participation across boundaries:
i.e.: where international artists and
ensembles work over a long-term period
with local artists and community
participants. Though not necessarily a
native Spanish speaker, the AD must
understand the necessity of having – or
developing quickly – a wide knowledge
of Spanish creativity. He/she must be
both a ‘starter’ and a ‘finisher’ and have
a strong track record of team-building.
The AD must have superb and dynamic
communications skills, and the ability to
transmit the concept of the programme
and its detail to political, public sector
and financial stakeholders. He/she
should have considerable experience
of dealing with the media in all forms,
and also be a fluent, persuasive writer.
Strong experience of fund raising – from
governments, local municipalities,
foundations and the corporate sector is
critical – the artistic director will always
be the face of this, communicating the
programme content, concepts and vision
to those whose support is sought.
The AD should be a ‘people person’
who understands both intuitively and
intellectually how the creative process
works, and the day-to-day issues of
artists. Preferably, the AD will have been
a performing/practicing professional
artist his/herself, at some career stage.
The ability to work hands-on with those
who will build projects and create with
both artists and the community is an
imperative – the AD must be utterly
p. 145
C4 / Financing of the event
[ QUESTION 2 / III ]
Financing of the event
How is the event budget to be
organised?What is the total
amount of resources earmarked for
organising the “European Capital of
Culture” year? What are the sources
of financing and the respective
importance of their contribution
to the total? (This question must be
answered in greater detail at the
final selection stage).
Have the finance authorities of
the city already voted on or made
financial commitments? When will
they do so?
What is the total expenditure
planned strictly for the programme of the event?
The structure mentioned above
refers to the organization liaising
with the Commission, in particular
during the monitoring phase, should
the city be awarded the title.
How much expenditure is planned for infrastructure
(cultural and tourism
infrastructure,including
renovation)?
What is the plan for involving
sponsors in the event? What is
the estimated level of financial
participation by sponsors?
According to what timetable should this expenditure be committed if
the city receives the title of
Capital of Culture? (The answer to
this question is optional at the
pre-selection stage).
p. 146
[ 2 / III ]
The estimated budget for Burgos 2016 is
about €50million, excluding investments
in infrastructure. The city of Burgos
will assume 26% of the total costs and
makes provision for contributions from
the other administrations of about
€26million. These figures include
the European Commission’s Melina
Mercouri Prize of €1.5million. The rest
of the programme will be financed
through sponsorship agreements
and revenue, donations and sale of
merchandising and tickets, which
represent 18% and 4% respectively.
The vast majority of the budget, 73%,
is destined for the artistic programme,
which will require €37millions for
the period between 2011 and 2017.
Our estimates are presented below
in a simple table of annual income
and expenses, covering the phase of
preparation, 2011-2015 ,the year of
celebration 2016, and 2017. We have
allocated budget for operating expenses,
evaluation and artistic programmes
and projects initiated in previous
phases in 2017.
Relation of expenses and incomes
from 2012 to 2017 (UNITS IN MILLIONS
OF EUROS) >
Expenses
2012
2013
2014
2015
2016
2017
Total
Programme
Marketing
Staff
Others
Total
0,3
0,2
0,2
0,1
0,8
1,5
0,3
0,5
0,15
2,45
7
0,4
0,5
0,2
8,1
9
3
0,9
0,3
13,2
18
4
1,5
0,4
23,9
1,2
0,3
0,6
0,1
2,2
37
8,2
4,2
1,25
50,65
Incomes
2012
2013
2014
2015
2016
2017
Total
0,5
0,1
0,2
0
0,8
0,5
1,68
0,2
0,07
2,45
2
3,75
2
0,35
8,1
3,8
7
2
0,4
13,2
5,4
13,5
4
1
23,9
1,2
0,5
0,5
0
2,2
13,4
26,53
8,9
1,82
50,65
Local administration
Others administrations
Private incomes
Others
Total
C4 | FINANCING OF THE EVENT
— Relation of Expenses and Incomes
from 2012 to 2017
Incomes
2012 - 2017
50,65 Millions
Expenses 2012 - 2017
50,65 Millions
Local Administration
Others Administrations
Private Incomes
Others
Programme
Marketing
Staff
Others
23,90
23,90
13,20
13,20
8,10
8,10
2,45
0,80
2012
p. 147
2,45
2,20
2,20
0,80
2013
2014
2015
2016
2017
2012
2013
2014
2015
2016
2017
Definitive figures for the level of
financial contribution from the
city of Burgos and the Regional
Administration’s will be confirmed by
written agreement in the final selection
stage. The remainder of the model has
been built and stipulated in accordance
with practice and customs in Spain
for the development of major cultural
events, such as an ECOC, and the city’s
previous experience of constructing
collaborative projects with private and
public sector stakeholders. The Regional
Administration and main sponsors have
approved the scheme presented in this
document. The Foundation, through its
relationships with other foundations
and key stakeholders within the country
inspires optimism about the feasibility
and consistency of the financial planning.
In terms of the budget and financing of
investment in infrastructure, the city
has made a major effort, and is now well
into final stages of initiating building
work with a number of approved projects
as detailed in Chapter D. With regard to
the four new cultural facilities, funding
has been secured for the development of
the old train station as an artistic space.
The University of Burgos is proceeding to
renovate the Hospital de la Concepción.
The negotiations on a joint agreement
with public-private participation which
will finance the rehabilitation of the San
Juan Monastery and Silo de Capiscol
amounting to €15M are also close to
completion. Currently over 90% of the
170 million Euros funding necessary for
these projects is already in place. We will
give a detailed presentation on how the
outstanding financing will be secured in
the final selection phase.
p. 148
C4 | FINANCING OF THE EVENT
— Cultural Facilities
Local Administration
Central Government
University
Various Administrations
2015
Silo de Capiscol /
San Juan Monastery
[ 15 Millions ]
Burgos Museum
[7,5 Millions]
2014
Concepción Hospital
[5 Millions]
2013
2012
San Juan
Library
[7,5 Millons]
2011
Old Railway
Station
[5 Millons]
Human
Evolution Complex
[130 Millions]
-discover
-edit
-design
-make
-evolution
D
City infrastructure
D1
Accessibility
D2
Tourist accomodation
D3
Urban infrastructure and
cultural and tourism facilities
D1 / Accessibility
[ QUESTION 1 / IV ]
What are the city’s assets in terms of accessibility
(regional, national and
International transport)?
[ 1 / iv ]
Due to its strategic location, Burgos has
always had excellent transport links
with the northern and central parts
of Spain and the eastern and western
parts of the Iberian Peninsula. In recent
years, alternative transport routes have
been developed to provide travellers an
alternative to road transport. The new
airport started operations in 2008, a
major investment of near €40 million.
Work began in 2010 on bringing the
AVE (high speed train), carriying an
investment exceeding €588million.
The Opening is scheduled for 2012
providing the city with new and more
fluent connectivity with Spain and the
rest of Europe.
Sustainable transport is a priority
within the city’s borders. For years, as
one of its civic strategies, the city has
been promoting a culture of healthy
transport to its citizens. From 2005 –
2009 Burgos developed the European
project for sustainable mobility ‘Civitas’
under the guidance of cities such as
Genoa, Krakow and Stuttgart. The
result is a city connected by bicycle-lanes
and committed to the environment.
Cycling is widespread among citizens,
thanks to the near 40 kilometres of
bicycle-lanes that link the various
neighbourhoods of the city and also the
free bicycle loan system that has over
5,000 users. Because of this strategy,
we are the city in Spain with the most
kilometres of bike lanes per capita and
we have reduced car use by 3% in the
last three years.
In addition, the entire fleet of city
buses, which number close to 70, use
alternative fuels such as gas and
biodiesel. Alongside more routes,
improved connections and citizen
awareness, use of public transport
have increased by 16%. This work has
been awarded international recognition
including the title of ‘Best European
City for Sustainable Transport in 2007’
(by the European Commission), and
the Energy Globe Award in the category
of ‘Air’ in 2009.
p. 154
The policy of sustainable transport is
in keeping with the philosophy of the
Burgos 2016 project in rewarding the
use of public space for citizens. Also,
the main streets of the historic centre
of the city are pedestrianised to
facilitate public access.
Roads
The city serves as a central hub within
the national road network, effectively
connecting the centre of Spain with the
Basque Country, France, Catalonia,
Portugal and Galicia.
Burgos’ strategic location allows travel
by road to any of the major cities of
northern and central Spain, including
Madrid, with a time frame of around
two hours for most cities.
By Air
The airport is located just 6 miles from
the city. There are scheduled flights
to Paris, Barcelona and Palma, with
current negotiations in place for the
opening of new routes and destinations
to Brussels, Berlin, London, Amsterdam
and Tenerife. In its first year of activity,
and despite the problems faced by most
airlines due to the economic situation,
27,710 passengers passed through
Burgos Airport. In addition, the airports
of Madrid, Bilbao, Léon y Valladolid, as
stated, are only about two hours away
by road.
By Rail
The rail network enables travel
between the new railway station, which
opened in 2008 after an investment of
€18.5million, and the principal cities
of Spain and offers direct train journeys
without transfers to Lisbon, Paris,
Poitiers and Coimbra.
By Bus
The bus station is located in the town
centre and offers routes to the major
cities of Spain and the various localities
of the province of Burgos. There are
buses practically every hour connecting
the city with Madrid and a wide range
of other places, for example, Bilbao
and Barcelona. There are also primary
international connections with Germany,
France, Holland, Belgium, Switzerland,
Bulgaria and Romania.
— Communication
network
Santander
182 km
2h 00'
Bilbao
158 km
1h 20'
Vitoria
114 km
1h 00'
León
Burgos
184 km
1h 50'
Logroño
115 km
1h 00'
Valladolid
287 km
3h 00'
122 km
1h 00'
Madrid
237 km
2h 15'
p. 155
Zaragoza
CITY INFRAESTRUCTURE
D2 / Tourist
accomodation
[ QUESTION 2 / IV ]
What is the city’s absorption capacity in terms of tourist accommodation?
[ 2 / iv ]
The supply of accommodation in the
city has experienced extraordinary
growth over the past five years, going
from 2,913 to 4,118 hotel beds today,
representing an increase of 30%.
Burgos has 77 hotels, 19 more than
five years ago. In 2000, the city had
only three hotels with four-stars or
more. Today eleven hotels are within
that category. The sector is poised for
an increase in visitors, predominantly
thanks to the boost from the Museum
of Human Evolution and the setting up
of the Convention Centre - Auditorium,
which will position the city as a
landmark for congresses within the
country’s central region. The congress
and convention industry underlines this
focus by highlighting the quality of the
hotels within the city – nearly half of the
beds (1,742) are in the four-star category.
p. 156
D2 | TOURIST ACCOMODATION
The hotel capacity in the province has
also experienced an important surge in
the last five years. In 2005, the number
of establishments was 504, representing
a capacity of 19,414 hotel beds.
Today, the province of Burgos has 677
establishments, representing a capacity
of 21,888 beds, an increase of 2,474.
—Beds by hotel categories in
the City of Burgos
3* Hotels
20,3%
Rest
35,4%
4* and more
Hotels
44,3%
p. 157
D3 / Urban infrastructure and cultural
and tourism facilities
[ QUESTION 3 / IV ]
What projects are to be
carried out between now and
the year for which the city
is applying for the title of
European Capital of Culture
in terms of urban and tourism
infrastructure, including
renovation? What is the
planned timetable for this
work? (The answer to this
question is optional at the pre-selection stage).
[ 3 / iv ]
One of the great landmarks of the city
in recent years has been the relocation
of the downtown train station to the
northeast, making it possible to divert
the passage of trains that used to pass
through Burgos, and to connect the two
parts (north - south) of the city that
were previously divided by train tracks.
This old track space, will now connect
the city from east to west through an
11.5 kilometre long boulevard designed
by the Swiss architects Herzog and De
Meuron. The new public space, which
will be fully open by 2012, will connect
the University of Burgos and the area
around the new AVE train station in
a continuous swathe of landscape by
bringing together the river and the
large natural parks of the city. The
project of Herzog and De Meuron,
with an investment of €95million,
has followed three basic concepts:
landscape, public spaces and mobility.
As such, it will retrieve much of the
urban space for pedestrians and will
be planted with 170,000 trees, making
Burgos the Spanish city with most
trees per capital.
Thus, the boulevard will create a new
‘land’artery for the city while the river
continues its flow as the natural artery
of Burgos, running in parallel with the
Camino of Santiago. Significantly, it is
around these corridors that the future
cultural facilities will be settled. Beside
the river the Human Evolution Complex
is growing daily, constituting a link
between the Site of Atapuerca and
the Complex of Human Evolution
and the Monastery of San Juan. Also
around the boulevard are located the
three projects that strengthen Burgos’s
cultural offer: The Old Railway Station
(Locomotiva), Hospital de la Concepión
and the Silo de Capiscol.
p. 158
Cultural infrastructure
and facilities
Burgos has over the last ten years made
considerable investments in renovation
of old and opening of new facilities in
order to encourage the promotion of
better spread neighbourhood facilities, to
give better access to artistic studies and
training, and to provide opportunities for
amateurs and professionals.
The City Council ensures wide public
access to culture through the four
municipal libraries, five civic centres, two
cultural centres, nine centres of social
action and the Municipal School of Music.
From an educational perspective, the
University of Burgos, the School of Art
and Design and the new Professional
Conservatory of Music and Dance of
Burgos, which opened in 2008, offers
formal professional education to more
than 2000 students.
Also, the city council promotes new
facilities run by the city’s own artists,
some of which have been turned into
highly significant initiaves for Burgos’s
various cultural clusters; examples of
these are El Hangar (The Hangar), a
Centre for Musical Creation. Launched
in 2009, it has rehearsal rooms, a
recording studio and a concert venue
with a capacity of 1,200 people; La
Parralla, an association comprising
theatre and circus companies for all
ages, located in a listed school building
on the outskirts of the city centre,
La Parralla provides rehearsal and
performance space for these groups and
visiting companies; Espacio Tangente,
a centre for contemporary art and
installation, providing exhibition space,
workshops for artists and audio visual
production facilities.
In addition to programming of
cultural events and exhibitions, the
Institituto Municipal de Cultura
(Municipal Institute of Culture – IMC)
manages several exhibition halls, the
Marceliano Santa Maria Museum,
el Arco de Santa Maria (the arch of
St Mary) and two theatres, el Teatro
Principal (the Main Theatre of Burgos)
and the el Teatro de Clunia (the Clunia
Theatre), which present more than
200 shows a year to around 100,000
spectators. IMC is the city’s main
cultural promoter, running schools in the
city for most art forms, providing grants
and stipends to artists, organising
competitions and publishing books,
educational material and periodicals.
Programming carried out by the public
sector is often reinforced by private
initiatives. The Burgos Savings Bank
“Be Confidence”
— María Miguel
p. 159
(Caja de Burgos) took the avant-garde
step of opening the Contemporary Art
Centre (CAB) in 2003, in a building
which successfully integrates modern
architecture into a historical area close
to the Cathedral. Caja de Burgos also
runs multiple programmes of performing
arts throughout the year in its two
auditoriums and two exhibition halls.
Another savings bank Caja Círculo
also promotes cultural activity with
an infrastructure consisting of six
auditoriums and four exhibition halls.
In recent years, however, the city
has embarked on further new projects
that illustrate the transformation
of the city.
The Human
Evolution Complex
The Centre for Human Evolution is at
the the epicentre of our ECOC candidacy
and it reflects the philosophy of the
artistic program and the Burgos 2016
project. Burgos brings together in a
unique building the largest European
example of knowledge dissemination on
the subject of human evolution. It is a
building where scientific research meets
dissemination and inspires art. Three
buildings, three messages, one whole, a
new human consciousness: the National
Research Centre, the Museum of Human
Evolution and the Auditorium.
The National Research Centre is
already operational. The Museum
phase of the complex opens its doors in
mid-July 2010, and the Auditorium –
Convention Centre, in 2011. In total,
the complex represents an investment
of more than €130million.
Locomotiva: The Old
Train Station
This is an exemplar of transformation
of spaces from the industrial era, to
facilities for the cultural era and the
creative industries. In disuse since
2008, it will become a cultural centre
accommodating artists in residence
after an investment of €5million in
2012. Locomotiva is located in the
southwest of the city, adjacent to the
University and close to the Centre of
Musical Creation.
p. 160
San Juan Central
Public Library
Located on the Camino de Santiago and
near the Human Evolution Complex,
the new Public Library will become a
reality in 2011, after an investment of
€7.5million. In order to erect the new
building of 6,000square meters, the
current library which was built in
1971 was demolished. It will be recreated in a radical new form, covered
by a double glass shell.
The Burgos Museum
Integrated into the state network of
museums, our acclaimed museum is
undergoing a period of expansion of
space and services which will culminate
in 2016. After an investment of €7.5
million, the museum will provide new
exhibition rooms, workshops, a library
and an auditorium. The collections will
show the historic and cultural evolution
of the province of Burgos.
The Arena Plaza
Multi-purpose Centre
The City Council will demolish the
present bull ring to convert it into a
multi-purpose centre that will cost
12 million Euros. The project will
be completed by 2012 and will host
sporting, cultural and social events
for 12,000 spectators.
possible to situate a cultural facility in
an industrial area with a shortage of
creative spaces. With a surface area
of nearly 6,000square meters, the
2016 proposal will develop a centre
of audiovisual experimentation,
production and editing.
Monasterio de San Juan
The monastery currently houses the
Marceliano Santa Maria Municipal
Museum and exhibition space. The
development proposal integrates these
uses with the transformation of the
Monastery into a multi-purpose building
with a new Museum of the Pilgrim and
of the History of the city.
Hospital de la Concepción
This building, the first ever surgical
faculty in Spain, an emblematic
building of Burgos architecture from
the 15th century is currently in disuse.
The development proposal will
transform it into a Training Centre
of international standard for performing
arts with a residence for professors
and students. The hospital will have
classrooms, rehearsal rooms,
workshops and a library.
Specific Buildings
for Burgos 2016
The design of new venues and
work spaces for Burgos 2016 has
embraced an open procedure. All
final-year students of the School
of Architecture, in collaboration
with the Castile and León Institute
of Construction, were involved in
an end of course competition. In
early May, a jury of 12 professionals
decided which proposals for the
redesign of three buildings were to
be included in the Burgos2016 bid
document. In total, each building’s
design has been chosen from 30
different proposals:
Silo de Capiscol
The existence of this unique Silo
building within one of the most densely
populated areas of the city has made it
D3 | Urban infrastructure and cultural and tourism facilities
p. 161
-interpret
-invent
-launch
-evolution
E
E
Communication
strategy
E1
Marketing and
comunication programme
E2
Melina Mercouri award
E1 / Marketing and
comunication programme
[ QUESTION 1 / V ]
What is the city’s intended
communication strategy for the European Capital of Culture event?
[ QUESTION 2 / V ]
What proportion of the
budget is earmarked for
communication?
[ 1 / v ]
The communication and marketing
strategy for Burgos 2016 supports the
overall vision rooted in the evolutionary
process, communicating how the city itself
and its citizens will reinvent themselves
and redefine relationships with the
surrounding world. All eyes will be
focused on our city, looking far beyond the
commercial appeal of the city as created
through tourism marketing campaigns.
The strategy will seek to increase the
city’s attractiveness by focusing on the
creative activities, the newly opened
and planned cultural facilities, the
city’s sustainable urban development
programme, and the planned elements
of social cohesion and unity which reposition the city as a meeting place for
citizens. The ECOC creates a critical
focus in the process of the whole
evolutionary development of the city.
In the coming months (year 2011) a new
City Marketing study is in planning
to prepare Burgos for the years 20122016 incorporating the ECOC as a key
element. This document will complement
the Cultural Plan, including an
examination of the capacity of culture to
interact with tourism, and assessing the
need for development of a new city brand
bringing together all the city’s attractive
elements, both tangible and intangible.
The wider city is conscious of the need
to place human evolution at the centre
of its planning so as to produce a
document which engages with the
cultural project of Burgos 2016.
Burgos2016 will devise its own powerful
communication programme, with three
distinct strategic phases and objectives:
p. 166
phase of Re-discover
During the years 2011 – 2015
The Burgos2016 communication
platform expands its operational radius,
by seeking a stronger presence on
national and international level. At local
level, enthusiasm for the project should
be generated through dissemination of
project information at grass root / citizen
level. The Burgos 2016 proposal will be
publicised in Madrid and abroad, acting
as an ambassador for the city, while the
citizens of Burgos will celebrate being
part of an international project.
The objective of this phase is to merge
communication plans; the Burgos
2016 communication plan and the City
Marketing study must be delivered
as an integrated strategy, developing
a customised image as a ECOC
nominated city. The artistic programme’s
concept and philosophy must lead the
communication, within the context
of a city under transformation and
demanding to be seen in a new
perspective or light. Activities will put
equal emphasis on the local, national
and international public.
phase of Re-invent
During the phase of Hosting the
ECOC (2015-2016)
The R-evolution is about to erupt! –
preparations are about to culminate
in an unprecedented artistic explosion.
Six months before the opening
ceremony of the ECOC, the entire
communication programme will be
geared towards presentation of the
final cultural programme; all of our
events and the performances planned
for 2016. It will be directed at the local,
national and international public, with
added emphasis and resources made
available to strengthen national and
international presence.
phase of Re-lease
During the phase of Sustainability
(from 2017 onwards)
The city has experienced a profound
process of evolution and must now seek
further new strategies to consolidate
its image. We will capitalise on our
achievements to review the MarketingTourism Plan of the city for the post
ECOC years, and to maximise the
communication of our legacy.
While the creative programme
concentrates widely on bringing all
ages, skills, abilities and ethnicities
together across boundaries, in terms of
communication, Burgos2016 will both
aim broadly and target specifically:
Cultural Sector
Professional artists or people who have
shown interest in developing projects
or ideas for the cultural programme
emerge from three different areas:
Local, national and international.
Dependent on the actual phase of the
bid process, their degree of involvement
will differ, ranging from developing and
leading projects through taking active
part by participating in activities. The
culture sector will act as ambassadors
in publicising the project to the artistic
community and beyond.
Children and family
Children will be an important part of
the bid’s communication strategy, since
almost all of our projects will be open
to them or will have specific elements
or parts where they will be actively
involved. Additionally, the involvement
of children and youth indirectly involves
adults, which encompasses a broad
sector thus becoming an important
communication channel.
Youth
Youth will be key consumers of cultural
initiatives in 2016. Their role is crucial,
not just as passive spectators but as
creative participants in the artistic
programme. In particular, we wish to
drive their involvement in digital and
new technology projects. Youth will also
play a pivotal role as members of the
volunteer programme.
Senior Citizens
Older citizens represent a large
segment of the Burgos population,
and are a segment with more disposable
time available. We hope to engage
them on many levels: through new
cultural experiences, as active
participants in creativity both amongst
their peers and across generations,
and also as valuable volunteers.
Public Services, commerce
and leisure sector
Burgos aims to present itself as an
open and hospitable city. It is therefore
vital that all those who have first
direct contact with visitors act as true
ambassadors of the programme. This
group will play a key role in ensuring
that the city is appreciated and
remembered as a welcoming and
friendly community.
new era for the city and may be the
main mouthpiece for communicating the
values, vision and content of the project,
as members of the Foundation. We expect
they will involve themselves actively in
the development of the programme.
Pilgrims
Thousands of walkers from all over the
world make a stop-over in the city or
in different parts of the province. We
want to connect them to our programme
and will encourage them to become
ambassadors for our bid when they
return to their home countries.
Tourists and visitors
Burgos annually receives more than
one million visitors. This figure is
expected to increase dramatically with
the opening of the Museum of Human
Evolution and the Convention Centre
(Palacio de Congresos). The campaign to
engage our tourists as ambassadors for
the Burgos2016 project will be dynamic,
encouraging them to return with friends
and family as active audience and
participants during the ECOC year.
In the table presented we draw up
some of the most important marketing
activities and campaigns Burgos will
initiate in each phase. These plans
considers and links to actions the city
has planned for in the forthcoming
years, such as the opening of the Human
Evolution Complex, hosting of the
IFFACA convention in 2014 and the new
City marketing plan.
[ 2 / v ]
The marketing budget for Burgos 2016 is
around 16 % of the overall budget for the
years 2011 – 2017. Break-down of yearly
expenditure is to be found in a table
presented in section D of this document.
Media
Local media regard the Burgos 2016
project as the potential opening of a
p. 167
COMMUNICATION STRATEGY
— Marketing Programme
National Marketing
Advertising
National Marketing
Cultural sector
interNational Marketing
Advertising
interNational Marketing
cultural sector
Fase Re-discover
2011
Advertising Agency Madrid +
Madia Plan A +
Opening Auditorium
Strengthening Cooperation
Agreements
Advertising Agency in
France and UK + Media Plan B
+ Opening Auditorium
Strengthening
cooperation agreements
2012-2015
Madrid + Media Plan A2 +
World Summit on
Advertising Agency
Cultural Program
Development + Participation +
World Summit on
Arts and Culture
Arts and Culture
International Agency in
France and UK + Media
Plan B2 + World Summit
on Arts and Culture
Cultural Program
Development + Participation +
World Summit
on Arts and Culture
Fase Re-invent
2016
Dissemination Campaigns
Programme B2016
Project
Participation
Dissemination Campaigns
Programme B2016
Project
Participation
New City
Marketing Plan
Fase Re-lease
2017 - [ ]
p. 168
City Marketing
City Marketing
City Marketing
City Marketing
Update
Update
Update
Update
E1 | MARKETING AND COMUNICATION PROGRAMME
E2 / Melina Mercouri Prize
[ QUESTION 3 / V ]
How does the city plan to
promote the award of the
Melina Mercouri prize if it
receives it? (The answer to
this question is optional at
[ 3 / v ]
It is important that the Melina Mercouri
prize is directly connected to the
European and citizen dimension of the
programme overall. The funds will be
used in connection with key projects
which build a strong creative process
between Burgos and European partners.
Therefore, Burgos 2016 will use the
prize to ensure that these projects
have sufficient funding to deliver
international excellence. The prize will
be awarded in conjunction with one of
the major events organised by Burgos
towards the end of the year 2016.
Additionally, our partners and members
of the Foundation will be asked to
invest in a fund dedicated to providing
continuity for these specific projects.
The Foundaton fund should also
have the financial capacity to support
scholarships for creative entrepreneurs
and to fund future artistic projects in
the city and province which meet specific
European criteria. (The criteria will be
set out by the board of the Foundation in
collaboration with the Artistic Director
appointed to lead Burgos 2016).
p. 169
COMMUNICATION STRATEGY
-mix
-think
-new
-plan
-evolution
F
F
Evaluating and
monitoring
F1
Monitoring and Evaluation
System of the Ecoc
F1 / Monitoring and Evaluation
System of the Ecoc
question 1 / Vi )
Does the city intend to set up a special monitoring and evaluation system:
- for the impact of the programme and its knock-on effects?
- for financial management?
[ 1 / vi ]
Through our bid, we demonstrate that
for Burgos 2016 the European Capital
of Culture is more than an event.
For us, it is a process that enables
the city and region to stimulate its
processes of cultural, economic and
social development, to increase our local
participation, to raise our international
profile and to reflect on our future.
For Burgos 2016, the opportunities to learn
from and benefit from the whole process
of bidding, preparing for and organising
the ECOC year itself will have major
importance. Primarily, we recognise the
importance of implementing an excellent
monitoring system to ensure that all our
processes are documented, and that results
are delivered in line with our strategic
plan for the city. In addition to the formal
reporting requirements of the EU, the data
developed through monitoring the ECOC
process will help the city to:
— understand its own dynamics
— analyse the relationships and
synergies between stakeholders
— communicate more effectively with
the outside world and its residents
— maximise impacts and outcomes
from the project
Our monitoring and evaluation of the
ECOC will be thoroughly planned so as
to address new demands from Brussels
for a more structured process. We intend
to reflect on recent examples, such as
research conducted by Luxembourg
(2007) and Liverpool (2008). This will be
achieved by establishing a partnership
with the UBU to conduct long-term
impact research. Our emphasis will be
on capturing experience, process and
the learning process for the city as we
develop our ECOC, rather than merely
measuring outcomes which produce
statistics. However we will also capture
statistical data as the basis for analytical
research. For us, the evaluation of
‘R-evolution’ is an opportunity to develop
a more dynamic model which can help
Burgos 2016 and other European cities
understand more about the processes
involved in such programmes.
p. 174
In our initial phase the following areas
for data collection have been identified:
— Impact sectors
Cultural /Economic/Social/Environmental
— Stakeholders
Residents/Decision makers/
Businesses (creative sector, tourism and
others)/Visitors
— Processes
Networks/Value chains
We will monitor these areas over a
number of years in order to gather
feedback on the process of developing
and presenting the bid, and on the
organization, implementation and
legacies of the ECOC. The emphasis
of the data collection and monitoring
is therefore likely to change as the
ECOC develops through the phases
defined below:
— Application and nomination
phase (2010-2011)
— Preparation phase (2012 –2015)
— Implementation Phase (2016)
— Evaluation Phase (2016 >> )
In the early phases of the ECOC much
attention will be given to processes
of coalition building, networking and
stakeholder support. Opinions of
residents of Burgos will be particularly
important in assisting us to prepare a
solid, authentic and convincing bid.
In the preparation and implementation
phase a range of indicators will be
used for regular data collection.
These may include:
— Employment and business activity
— Cultural and creative sector
employment and business activity
— Property prices
— Infrastructure development, including
cultural facilities
— Cultural participation
— Tourism activity (supply and demand)
— Media coverage (initially national,
but in the later phases International)
— Image of Burgos
— Internet traffic to relevant websites
— Inward investment
— Resident attitudes
— Education and training in the
cultural industries
After the final selection stage, we will
focus further on the role of different
stakeholders while developing
and producing the project overall.
We will assess the effectiveness of
marketing activities, particularly in
terms of measuring the national and
international profile of the ECOC
process. Data will be collected from
participants in events as well as
external publics. The behaviour and
opinions of participants will be measured
and corroborated with attitudes and
participation levels of different groups
in the resident population. The
combined experience and opinions of
local cultural and creative actors will
be particularly important.
We will consider with the university
which type of population and visitor
studies to carry out. These studies will
subsequently be available as a basis
for estimating economic impact as well
as the contribution of the ECOC to
cultural and social goals. Additionally,
regular monitoring of major stakeholder
opinions via in-depth interviews will
provide vital feedback on the quality and
effectiveness of the programme. These
types of monitoring and interviews will
continue in years after the event to
collect the views of major stakeholders
on the event and their assessment of
impacts in their fields.
through the Association for Tourism and
Leisure Education (ATLAS). Similar
partnerships and strategies have already
been used to monitor the international
image of cities such as Rotterdam, Porto,
Luxemburg and Sibiu. For the analysis
of media coverage, a specialised bureau
would be contracted.
In order to gauge the responses of major
stakeholders, regular interviews will
be held with key actors in the cultural,
business and tourism fields as well as
internal stakeholders in the ECOC
organization, the City and the Province.
As with the quantitative panels for
consumers, these interviews will
cover views on major recurring issues
(organization, funding, programming) as
well as specific questions relating to the
phase of ECOC development.
We need to determine if information
gathered should be used as a
basis for more process-orientated
research. Information gathered for
monitoring purposes can help guide
the organization of the ECOC bid and
eventually the project and programme
of such bid in itself.
Methodology
In the early phases of the research
process data will be gathered from
secondary sources to construct a baseline
against which the effects of the ECOC
can be measured over time. These data
will include factors such as cultural
sector employment and activity, tourism
flows and consumer spending.
In order to gather monitoring data on
a regular basis, the research team will
make extensive use of broader consumer
and business research, such as the
Agenda 21 monitoring programme that
Burgos currently has in place.
For external monitoring, The Foundation
and the UBU will consider making use
of the network of universities developed
p. 175
Evaluating and monitoring
p. 176
F1 | ECOC’s monitiring and evaluation system
p. 177
Evaluating and monitoring
-unite
-visit
-live
-evolution
G
G
Additional Information
G1
Strengths, weaknesses and
success parameters
G2
Socioeconomic and cultural
dimensions of Burgos
G3
Regular Programming
along the year
G4
Burgos Map of
Cultural Facilities
G5
Local Agents we would like to thank
for their involvement in this bid
G6
Credits and
Acknowledgements
G1 / Strengths, weaknesses
and success parameters
[ QUESTION 1 / VII ]
What, in your opinion, are
the strong points of the
city’s application and the
parameters of its success as
European Capital of Culture
and what, on the other hand,
are its weak points?
Does the city intend to
develop particular cultural
projects in the coming years,
irrespective of the outcome
of its application for the
title of European Capital of
Culture? Please comment.
[ 1 / VII ]
Strengths
The Burgos bid strongly reflects our
uniqueness: the globally important work
on human evolution at Atapuerca; the
status as the cradle of the Castilian
language; the crossroads of the Camino
de Santiago; the collision of medieval
city and new urban growth and biodiverse natural habitat.
The Burgos bid presents an artistic
programme which is built firmly on
collaboration between artists - local,
national and international - and on
strong participation from citizens.
Our programme is fearless in looking
outwards. By establishing a sense
of adventure, we will build true
sustainability, created through longterm processes of new idea development,
implementation and follow through.
The Burgos bid is authentic because it
genuinely recognises the strengths and
needs of Burgos and the province - it is
not a catalogue of the city’s assets. Our
bid acknowledges Burgos’s need for the
ECOC title, and states clearly how the
city would capitalise on the opportunity.
The Burgos bid also drives the
possibility of connections to Europe and
the world which can be as powerful as
those of centuries past.
The Burgos bid is well prepared –
through participation in European
projects, the production of the city’s
strategic plans we have worked
intensely on defining who we are, what
we need to do and who we want to
be. These processes have guided our
determination to succeed.
p. 182
G1 | Strengths, weaknesses and success parameters
Weaknesses
The bid for Burgos shows that the city
has a long distance to travel in terms of
its cultural development. Burgos current
cultural environment is relatively
inward looking with few concrete
international partnerships in place.
Artists, associations and organizations
within the city have only recently begun
to act and work together collectively.
There is a need for development of
synergies and communication platforms
between key institutions.
The bid for Burgos acknowledges the
need to develop new economical and
creative activity. The city is currently
withstanding the pan-European
economical crisis better than other
cities in Spain. But, this relative
stability, by and large upheld by old
industrial and agro-alimentary income
will sooner or later need to evolve new
types of business ventures to maintain
prosperity.
The bid for Burgos reflects that the City
lacks a heterogeneous population; this
is in some ways related to an absence of
attractive jobs and sophisticated cultural
offer. We need to concentrate on creating
jobs and a vibrant cultural environment
to attract and keep an energetic
professional middle aged workforce – a
vital group for driving change, or the
R-evolution at the heart of our bid.
The bid for Burgos recognises that
currently, culture in Burgos involves
little citizen participation. More, it
adheres to a conventional audience/
performer model. There are some obvious
exceptions, notably for youth engaged in
rock music, who greatly benefit from
the new creative possibilities offered
by El Hangar. Burgos 2016 plans, for
boundary crossing projects which truly
bring people together to create, are
fiercely ambitious.
Our success parameters
Are in principal the key terms defining
our artistic project; these are (to reiterate chapter B) excellence, citizen
participation, collaboration and
partnership and education projects.
[ 2 / VII ]
Apart from the mentioned Evolution
Complex, over the next years, Burgos
will instigate many new projects, as
described above. Additionally, the city
has been shortlisted to host the VI World
Summit on Arts and Culture organised
by IFFACA for 2014. Nevertheless, the
existing City Culture Plan outlines
many new projects for the forthcoming
years, one of which is the establishment
of the new Arts Council for the City,
which drive and coordinate the Culture
Plan’s activities.
p. 183
ADDITIONAL INFORMATION
G2 / Socioeconomic and
Cultural dimensions of Burgos
3. Please add below any further comments which you deem necessary on the subject of this application.
[ 3 / VII ]
Burgos is one of the most extensive
and least populated provinces of
Spain, with over 14,300 Km2 and with
375,561 inhabitants. This is shown by
the difference in population density,
with hardly 27 inhabitants per Km2,
a long way off the average of
83 inhabitants/ Km2 for Spain or the
113 inhabitants in the 27 member
States of the European Union.
The majority of the population, almost
70%, live in the three main urban
agglomerations; Burgos (178,964
inhabitants), Miranda de Ebro
(39,264 inhabitants) and Aranda de
Duero (32,928 inhabitants). The elderly
account for 20% of the total population,
despite there having been a significant
influx of immigrants (9% of the total)
over the last decade, responsible for
practically all 10% of its growth between
2000 and 2009, given that its natural
growth rate is virtually zero as it is in
the rest of Spain.
The variety of its climatology and its
landscapes, through which flow the
two principal rivers of northern Spain
make Burgos one of the richest natural
habitats of the Iberian Peninsula, as is
demonstrated by the significant network
of natural parks that extend across a
large part of its territory such as the
‘Cañón del Río Lobos’, ‘Montes ObarenesSan Zadornil’, the ‘Lagunas Glaciares
de Neila’, ‘Hoces del Alto Ebro y
Rudrón’, ‘Monte de Santiago’, ‘las
Medulas’, ‘la Yecla’, ‘los Sabinares
del Arlanza’ and ‘Ojo Guareña’.
p. 184
The level of socioeconomic development
is among the highest in the country with
a per capita income of €25,767 (105%
of the European average). Industry
represents 26% of all employment,
almost twice the average for Spain,
thanks to a significant cluster of
manufacturing activities, prominent
among which are the automotive
industry and the agro-alimentary
sector with products of exceptional
quality. Thanks to the entrepreneurial
spirit of the city, Burgos has a
competitive industrial base comprising
multinational companies of both local
and international origin with a business
turnover in the exterior of 2,360 million
Euros. Despite the current crisis and
some signs of dislocation among certain
industries, the labour market remains
very dynamic; the unemployment rate,
standing at around 12%, is very much
lower than the present-day figure of 20%
for the Spanish economy as a whole. The
participation of women in the workplace
is, along with Catalonia, the highest in
Spain with a female employment rate
of 63%, on a par with the average for
all countries of the Union.
Thanks to its immense historical
heritage, with 436 sites of cultural
interest, among which figure Burgos
Cathedral, the Pilgrims’ Way of St.
James and the archaeological site of
Atapuerca, declared a Humankind World
Heritage Site by UNESCO, the tourism
and cultural industries have been one
of the sectors with greatest growth
over recent years, attracting more than
a million visitors each year and have
positioned themselves as leaders of
cultural tourism in Spain.
The population has certain cultural
habits and an educational background
well above the average in Spain, with
an annual expenditure of €851 per
person on culture, 5% higher than the
average in Spain, which is equivalent to
7.11% of expenditure on the household
budget. With almost 75,000 students,
of whom 8,000 are university students,
according to the latest surveys, Burgos
has one of the very best systems of
public education, 23% of the population
between 23 and 45 years old having
followed university studies.
Annual public investment in culture
stands at around €150 per person,
the main operator being Burgos City
Council with an annual budget of over
10.7 million Euros, which added to
the private sector and to the rest of
the public operators amounts to an
investment in culture of over 30
million Euros in current expenditure,
and somewhat more than 16 million
Euros in conservation, restoration
and cultural facilities.
Most employment and cultural activity
of the province is concentrated in the
Bringing people
together to share and
make culture
p. 185
city of Burgos with 1,200 jobs in the
private sector alone, and almost twice
as many, 2.3% of all employment if we
include all creative industries. These
include many firms of national and
international renown in the publishing
and mass communications industry,
engineering and construction services,
as well as various technological research
and development centres.
With regard to artistic training and
practice, Burgos has about 700 students
of humanities, slightly more than
100 students of art, and almost 2,000
students of music and dance. Alongside
mainstream teaching, there are a large
number of state schools for drawing,
theatre, and music which provide
training for more than 500 students
and which represent a rich fabric
of semi-professional activity or the
beginning of professional studies.
Burgos has more than 26 choirs, 25
theatre companies and many schools of
folklore, dance and music, among which
mention may be made of the Orfeón
Burgalés, the Symphonic Orchestra of
Burgos and the Escuela Municipal de
Dulzaina on account of their prestige
and tradition. In recent years, the
Council has supported the development
of various creative centres directed
by artists, as previously mentioned;
the Centre for Musical Creation ‘el
Hangar’, the centre for the creation of
contemporary art ‘Espacio Tangente’
and the centre for theatrical arts ‘la
Parrala, which contribute their own
programmes and organize many
educational and artistic activities.
In addition to the public
administrations, the charitable work
of large firms and private foundations
provide significant resources, as
previously mentioned, to arts education,
through their own centres and study
grants, as well as in programming
and management of cultural facilities.
Finally it should be pointed out that
numerous private schools and cultural
management organizations in the city
are responsible for a broad cultural
programme that is hardly easy to
summarize. They organize a large
number of competitions, contests and
festivals as may be appreciated from
p. 186
G2 | Socioeconomic and cultural dimensions of burgos
the lists of agents, cultural calendars
and the map of cultural facilities in
this document.
Perhaps the result of this rich cultural
fabric may be summed up in some final
figures that remind us of the 200 books
or more published each year, the 80,000
library users, the 5,000 students of
languages, the 4,000 students in adult
education classrooms and the sale of
nearly half-a-million cinema tickets. The
surveys themselves show us that 10.5%
of the population regularly practice
photography and painting, 2.5% practice
theatre, 2.6% dance, 6% play some sort
of instrument, and 8% write literature,
all of which creates a vibrant cultural
life with almost 800 performances
shared out among the fifty or so cultural
facilties which are found in the city.
p. 187
G3 / Regular Programming
along the year
JANUARY
FEBRUARY
MARCH
APRIL
MAY
JUNE
Festival
of Magic
Provincial
competitions,
of dance, choirs
and bands
International
Puppet Festival
Provincial
Competition of
Bell Ringers
Burgos Provincial
Photography
Competition
Provincial
Competition of
amateur theater
Carnival
BEM Festival
“Burgos, city of the
performance”
Book Fair
Dance and
Theater Sow
UBU-live
Festival
International
Audiovisual
Festival
St Peter and
St Paul Festivity
Youth
Music Week
Mira-jazz.
Miranda de Ebro
Festival
St. Lesmes festivity
Youth
Theater Stages
Open Stage
Theater Festival
Cycle of
jazz music
Fine Wine.
International
Congress of
Ribera del Duero
Marzas Singing
Festivity
Curpillos
Festivity
Burgos Salson
Dance Festival
Schools theater season
Flamenco Nights
University
Theater show
Institutions which have a regular Programme
all along the year:
- neighborhoods, civic centers and libraries
- Cordón-Cultural by Caja Burgos
- Burgos University
- “The city also teaches”
- concerts at The Hangar
- CajaCírculo
White Night
Las Piedras
Cantan Festival
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
Pure
International
Art Contest
The Oña Cronicón
Historical Theater
Atapercu
percussion
festival
Sonoroma Festival
Tablero of Music
Regino Saez
de la Maza
International
Guitar Week
Clunia Nights
Theater
National
Exhibition
of Dancers
Pretext
Covarrubias
Spanish
Forum
Poetry Prize
City of Burgos
Young
Songwriters
International
Competition
National Painting
Competition City
of Burgos
Fast Painting “Down
Syndrome Burgos”
Teatracciones
Festival
Castilla
Folk Festival
Early Music
Week Burgos
Enclave Street
Theater Festival
Schools’ theater
International
Folkl Festival
City of Burgos
Baroque Month
of Lerma
Network of cultural programs
for secondary schools
Clunia Summer
Festival
Electrosonic
Festival
Ebrovisión
Festival
Ubujazz.
Jazz festival
Unusual
Performers and
instruments
festival
National Youth
Literary Contest
Orchestal
Music Season
National Choir
Competition
“Antonio José”
Evoluciona Music
Festival
Festival “El
Chanter”
Christmas music
at the “Casa
del Cordón”
From September to June
G4 / Burgos Map of
Cultural Facilities
Box El Mirador
Cinema
Círculo Central
de Caja Círculo
Gallery
Centro de Arte
Caja de Burgos, CAB
Julio Sáez de la Hoya
Auditorium
Castilfalé Palace
Library of Municipality Archive
‘Espacio Tangente’
Contemporany
Creation Center
Burgos Cathedral
San Esteban Church
Retablo Museum
Burgos Castle
Francisco Salinas Cultural Center
Municipal School of Theatre
Sta. Mª la Real
de las Huelgas Monastery,
Telas Medievales Museum
Burgos
University
Dulzaina
Municipal
School
San Juan Monastery
Marceliano Santa María
Museum
Casa del
Cordón
Antonio de Cabezón
Municipal School
of Music
Instituto Castellano y
Leonés de la Lengua
Fadrique de
Basilea Book
Museum
“Miguel de Cervantes”
Public Library
Galeria Mainel
Art gallery
Teatro
Principal
Aula de
Medio Ambiente
Caja de Burgos
Burgos
Public Library
‘La Parrala’ theatre
creation Centre
Burgos Museum
Consulado
del Mar
Complex Human
Evolution
Arco de
Santa María
Las Huelgas- El Pilar
Community Center
Caja Círculo
Concepción
Auditorium
Popular Education
and Culture University
San Pablo Gallery
Obra Social Caja Círculo
San Agustín
Community Center
‘El Hangar’
Music Creation Center
p. 190
Antigua Estación de Tren
Arts Creation Center
Real Monastery
of San Agustín
Concepción
Hospital
Espolón Gallery
Obra Social Caja Círculo
Vista Alegre
Community Center
“María Teresa León”
Public Library
Music Conservatory
and Professional
Dance School
Gamonal
Cultural Center
Francisco de Vitoria
College of Art and Design
‘La Nave’
Center for
Circus Arts
Río Vena
Community Center
Espacio
Jóven
Exhibition Hall FEC
(Federación Comercio
de Burgos)
“Gonzalo de Berceo”
Public Library
Foro Solidario
Caja de Burgos
Silo de
Capiscol
Capiscol
Community
Center
Van Golem
Cinema
Arena Plaza
Cultural and Sports Center
[Public Run]
08
01
07
06
05
[Private Run]
08
02
07
03
06
04
01
02
03
05
04
01 – Artists Run
01 – Artists Run
02 – Exhibition Space
02 – Exhibition Space
03 – Library
03 – Library
04 – Scene Space
04 – Scene Space
05 – Creation Center
05 – Creation Center
el camino de santiago
06 – Training
06 – Training
boulevard
07 – Civic Centres
07 – Civic Centres
Arlanzón river
08 – Forseen New Facility
08 – Forseen New Facility
G5 / Local Agents we would like
to thank for their involvement in this bid
–A
– Asociación Alianza Francesa
– Asociación burgalesa de Impulso
– Asociación Centro Cultural
– A tope Producciones
de Burgos
Social
Peña San Vicente del Barrio de
– Academia de Baile Villa Pilar II
– Asociación Alquds Burgos
– Asociación burgalesa de
la Ventilla
– Academia de Danza Body Soul
– Asociación Amigos Catedral
Laringectomizados
– Asociación Centro Juvenil Santo
– Academia de Danza Mayte
de Burgos
– Asociación burgalesa de Ocio
Domingo
– Academia de Música Clavecin
– Asociación Amigos de la Física
y Animación
– Asociación Centro Loyola
– Acampalia. Gestión servicios de Meteorológica de Burgos
de Burgos
ocio y tiempo libre
– Asociación Amigos del Folclore
Rehabilitación del Juego
– Asociación Centro Recreativo
– Acción en Red de Castilla y León
Castellano Arlanzón
Patológico
Cultural San Esteban
– Agencia Pop. Publicidad
– Asociación Andara
– Asociación Centro Soriano
– Agencia Provincial de la Energía
– Asociación Ande Burgos
Síndrome de Down
en Burgos
de Burgos
– Asociación Antiguos Alumnos
– Asociación burgalesa
– Asociación Círculo de la Unión
– Agrupación Conservación de
del Programa Interuniversitario
Independiente de Músicos
– Asociación Círculo Filatélico y
Patrimonio Ciudad de Frías
de la Experiencia
– Asociación Burgos Acoge
Numismático de Burgos
– Agrupación de Fajas y Blusas de
– Asociación Aquí Sí Burgos
– Asociación Burgos Música
– Asociación Círculo Musical
la Ciudad de Burgos
– Asociación Artistas Plásticos
Antigua
de Burgos
– Agrupación Musical Burgalesa
de Gamonal
– Asociación Cáritas Diocesana
– Asociación Claudio de Burgos
San Fernando Rey
– Asociación Asamblea de
Burgos
– Asociación club 600 Burgos
– AirsoftBurgos
Cooperación por la Paz
– Asociación Carumanda Desde
– Asociación Club Burgalés de
– Amicar 8-Don Pollo
– Asociación Aspaym Castilla
Lejos
Vehículos Históricos
– Amycos Ong para la Cooperación
y León
– Asociación Casa de Europa
– Asociación Club Español Amigos
Solidaria
– Asociación Astronómica
de Burgos
del Perro Perdiguero de Burgos
– Animación y Servicios a la
de Burgos
– Asociación Casa de Guinea
– Asociación Club Juvenil San
Comunidad. Gestión de Ocio
– Asociación Ateneo Libertario
Ecuatorial en Burgos
Julián
– Anuncian Tormenta S. L.
de Burgos
– Asociación Castellana para el
– Asociación Club Natación
– Área de Psiquiatría Hospital
– Asociación Aura Burgalesa
Estudio y Promoción de Iniciativas
Castilla
Divino Valles ( Puro Arte)
– Asociación Banco de Alimentos
de Desarrollo
– Asociación Coarte Colectivo de
– Aresbu Asociación Universitaria
de Burgos
– Asociación Castellano Leonesa
Artesanos de Burgos
– Art de Troya. Organizadores
– Asociación Barriada Juan XXIII
de Amigos del Foro Español de la
– Asociación Colectivo Arbayal
Festival Sonorama
Fátima Lavaderos
Familia
Música y Baile Tradicional de
– Arte Más Diseño. Gestión
– Asociación Belenista de Burgos
Burgos
Cultural
– Asociación Berenguela L.
de Ayuda al Drogodependiente
– Asociación Colectivo Bici
– Asintec Gestión. Sistemas
– Asociación Berit
Aventura
Informáticos de Gestión
– Asociación Boris y yo
de Educación Matemática Miguel
– Asociación Colombia es Pasión
– Asociación Cultural Juan de la
Producciones
de Guzmán
en Burgos
Encina. Miranda de Ebro
– Asociación burgalesa Amigos
– Asociación Comercial Bernardas
– Asociación ¡Que la Sierra
del Caballo
de Partos Múltiples
– Asociación Comisión Católica de
Baile!. Organizadores del Festival
Inmigración
Demanda Folk
del Ferrocarril
para la Defensa de la Infancia y
– Asociación Comité Ciudadano
– Asociación Abuelas de Gamonal
Juventud
Anti Sida de Burgos
– Asociación Africa Camina
del Pueblo Saharaui
– Asociación Castellano-Leonesa
– Asociación Comité de Folclore
– Asociación Agora Teatro
de Matronas
Ciudad de Burgos
Independiente
Afectados por Deficit de Atención
– Asociación Castellano-Leonesa
– Asociación Compañía de Danza
– Asociación Alborada - Ballet
– Asociación burgalesa de Atletas
de Paintball
la Hélade
Folclórico de Burgos
Veteranos
– Asociación Cccclowns y
– Asociación Confusión de té
– Asociación Alcohólicos
Mmmúsica
– Asociación Coral Canticorum
Rehabilitados de Burgos
Bibliotecas Escolares y Lectura
– Asociación Centro Argentino
de Jesús María
– Asociación Alea Improtuso
Burgalés
– Asociación Coral de Cámara
Empresas de Formación
p. 192
de Burgos
– Asociación Coral de Cámara
– Asociación Cultural el
– Asociación Cultural Sol de
– Asociación de Artes Escénicas
Vadillos
Papamoscas
río Vena
de Burgos
– Asociación Coral Liceo Castilla
– Asociación Cultural En Clave
– Asociación Cultural Trovadores
– Asociación de Asistencia a
– Asociación Coral Polifónica
de Música
de Castilla
Víctimas de Agresiones Sexuales
Instituto Pintor Luis Sáez
– Asociación Cultural Escuela de
– Asociación Cultural Tuco y
y Violencia Doméstica
– Asociación Coral Virgen de
Teatro Francisco Salinas
los Definitivos
– Asociación de Ballet Clásico
la Rosa
– Asociación Cultural Espacio
– Asociación Cultural Unión
y Español Antología de Burgos
– Asociación Corea de Huntington
Alternativo de Burgos
Musical de Lerma
– Asociación de Ballet Clásico
de Castilla y León
– Asociación Cultural Familiar
– Asociación Cultural y Artística
y Español Scherezade
– Asociación Cortes Siglo XXI
Tordómar
Condestables de Castilla
– Asociación de Bares de Tarde
– Asociación Covide
– Asociación Cultural Fm Radio
– Asociación Cultural y
y Noche
– Asociación Cruz Roja Española
– Asociación Cultural Gamón
Etnográfica y Artesanal de las
– Asociación de Cabezas de
Burgos
– Asociación Cultural Gigantillos
Merindades. Medina de Pomar
Familia Juan XXIII
– Asociación Cruz Roja Juventud
y Gigantones de Burgos
– Asociación Cultural y Recreativa
– Asociación de Cabezas de
– Asociación Cultural Eduardo
– Asociación Cultural Grupo
de la Tercera Edad Ayer Hoy
Familia la Inmaculada
Martinez del Campo Un Foro de
Flamenco Duende
y Mañana
– Asociación de Casas Regionales
Opinión
– Asociación Cultural Imágenes
– Asociación Cultural y Social La
en Burgos
– Asociación Cultural `La
y Palabras
Mueca de Burgos
– Asociación de Ciudades del
Tanguilla’
– Asociación Cultural Juvenil
– Asociación Cultural, Deportiva y
Camino de Santiago
– Asociación Cultural “Cronicón
Danza Teatro Hojarasca
Recreativa Peña El Crucero
– Asociación de Cocineros y
de Oña”
– Asociación Cultural La
– Asociación Cultural, Ocio y
Reporteros de Burgos
– Asociación Cultural Al-andalus
Buhardilla Teatro
Cultura de Burgos
– Asociación de Comerciantes -
– Asociación Cultural Aldebarán
– Asociación Cultural La Mentira
– Asociación Cum Laude
empresarios de San Pedro de
Música Antigua
Teatro
– Asociación Danzas Burgalesas
la Fuente
– Asociación Cultural Amigos
– Asociación Cultural La Poesía
Justo del Río
– Asociación de Comerciantes de
de la Dulzaina
es un Cuento
– Asociación de Adultos Amigos
la Zona Sur de Burgos
– Asociación Cultural Antimateria
– Asociación Cultural Las
del Arte y la Cultura
– Asociación de Comerciantes
– Asociación Cultural Arlanza
Pituister
– Asociación de Afectados de
Divina Pastora
– Asociación Cultural Bambalina
– Asociación Cultural Latina
Parálisis Cerebral
– Asociación de Comerciantes y
– Asociación Cultural Bonsái
Burgos Radio Cristalina fm
– Asociación de Alcohólicos
Empresarios de las Merindades.
Burgos
– Asociación Cultural Mágica
Rehabilitados de Burgos
Medina de Pomar
– Asociación Cultural Claroscuro
– Asociación Cultural Míster
– Asociación de Alojados en
– Asociación de Comunidades para
– Asociación Cultural Danzantes
Machín
Ducas de Burgos
Rehabilitación de Marginados
de Burgos
– Asociación Cultural Página 98
– Asociación de Alumnos de
– Asociación de Danza Oriental
– Asociación Cultural Danzas
– Asociación Cultural Peña
Nuestra Señora de Lourdes
Samar
Castellanas Diego Porcelos
Antonio José
– Asociación de Alumnos los
– Asociación de Danzas Ballet
– Asociación Cultural de Amas
– Asociación Cultural Peña
Pioneros del Colegio Niño Jesús
Elena Munguía
de Casa San Cristóbal
Poca pena
– Asociación de Alumnos y
– Asociación de Danzas
– Asociación Cultural de Amigos
– Asociación Cultural Primitive
Antiguos Alumnos del Programa
Burgalesas Nuestra Señora de
del Museo Histórico Militar
blues
Interuniversitario de la
las Nieves
de Burgos
– Asociación Cultural Rafael
Experiencia
– Asociación de Danzas Estampas
– Asociación Cultural de
Izquierdo. Organizadores Festival
– Asociación de Amigos de la
Burgalesas
Educación Ambiental Ogea
Ebrovisión
Cocina
– Asociación de Daño Cerebral
– Asociación Cultural de Guitarra
– Asociación Cultural Recreativa
– Asociación de Amigos de San
de Burgos
Tornavoz
3ª Edad Virgen de Guadalupe
Miguel Sucumbios Amisamis
– Asociación de Diabéticos
– Asociación Cultural de Tango
– Asociación de Amigos del
de Burgos
– Asociación Cultural de Teatro
de Danzas María Ángeles Sáiz
Camino de Santiago
– Asociación de Empresarios de
Enebro Rojo
– Asociación de Amigos del
Movimientos de Tierras de Burgos
– Asociación Cultural de Teatro
Peña los Gamones
Castillo de Burgos
– Asociación de Empresas
La Tarasca
– Asociación de Antiguos Alumnos
de Formación
– Asociación Cultural Deportiva y
Peña San Adrián
de la Universidad de Burgos
– Asociación de Encajeras
Recreativa Peña Anímate
– Asociación de Antiguos Alumnos
Burgalesas
– Asociación Cultural
Villafría
del Colegio la Merced y San
– Asociación de Enfermos del
Dracomediama Teatro de Burgos
– Asociación Cultural Scena
Francisco Javier
Crohn y Colitis Ulcerosa
– Asociación Cultural el
burgalesa
– Asociación de Apoyo Lactancia
– Asociación de Escoliosis, Cifosis
Contragolpe
– Asociación Cultural Sin trastos
Materna Madres de la Leche
y Lordosis de Castilla y León
– Asociación de Arrendatarios
p. 193
– Asociación de Familiares de
– Asociación de Slot y Modelismo
– Asociación Entrepueblos
– Asociación Intercultural para
Anorexia y Bulimia
Scalexbur
– Asociación Equalbur
la Cooperación al Desarrollo en
– Asociación de Sordos Fray Pedro
– Asociación Escuela de
Castilla y León ‘Llactacaru’
Enfermos de Alzheimer de Burgos
Ponce de León
Animación y Tiempo Libre Ultreia
– Asociación Ízaro Tierra Viva
– Asociación de Sumilleres
– Asociación Espacio de Creación
– Asociación Joven Ballet Clásico
Personas con Discapacidad
de Burgos
y Muestra de Artes Plásticas y
de Burgos
Intelectual Las Calzadas
– Asociación de Trabajadores
Audiovisuales
– Asociación Juvenil
– Asociación de Familiares y
Inmigrantes Marroquíes
– Asociación Española Contra
Acordeonistas Burgaleses
Afectados de Esclerosis Múltiple
– Asociación de Trasplantados de
el Cáncer
– Asociación Juvenil Aloe
– Asociación de Familias
Corazón Castilla y León
– Asociación Española del penfigo,
– Asociación Juvenil Altai
Numerosas de Burgos
– Asociación de Vecinos Capiscol
penfigoide y otras enfermedades
– Asociación Juvenil Amigos
– Asociación de Familias y Amigos
Bulevar XXI
vesiculo-ampollosas
del Aerobic
del Proyecto Hombre Burgos
– Asociación de Vecinos Conde
– Asociación Espiral Sonora
– Asociación Juvenil Amycos
– Asociación de Fibromialgia y
Belveder del Antiguo Pueblo de
– Asociación Faro de Humanidad
Juventud
Astenia Crónica Burgalesa
Gamonal
– Asociación Federación Española
– Asociación Juvenil Aventuraleza
– Asociación de Folclore Caput
– Asociación de Vecinos de la
de Amnistia Internacional
– Asociación Juvenil Azagaya
Castellae
Barriada Illera
– Asociación Formatio et Labor
– Asociación Juvenil Banda de
– Asociación de Hemofilia
– Asociación de Vecinos del Barrio
– Asociación Foro de la Familia
Cornetas y Tambores Ecos del Cid
de Burgos
de Villayuda
de Castilla y León
– Asociación Juvenil Bloque de
– Asociación de Inmigrantes
– Asociación de Vecinos
– Asociación Foro de la Familia
Estudiantes Castellanos
Marroquíes en Burgos Al Amal
Fuentenueva
en Burgos
– Asociación Juvenil Cultural
– Asociación de Jóvenes
– Asociación de Vecinos La Pérgola
– Asociación Foro de la Juventud
Accorema Exploradores del Reino
Empresarios de Burgos
del Barrio del Pilar
de Burgos
– Asociación de Latinoamericanos
– Asociación de Vecinos las Eras
– Asociación Foro por la Memoria
Aula 51
de Burgos
de Gamonal
de Burgos
– Asociación de Libreros
– Asociación de Vecinos María
– Asociación Foto Club Contraluz
Parroquia de la Anunciación
– Asociación de Mediación para
Magdalena
de Burgos
– Asociación Juvenil Danza
la Pacificación de Conflictos
– Asociación de Vecinos Nuestra
– Asociación Fotográfica
Española Embrujo
en Burgos
Señora de las Nieves
Burgalesa
– Asociación Juvenil de Ballet
– Asociación de Mujeres Hypatia
– Asociación de Vecinos Nuestro
– Asociación Fototramas
Clásico y Español Scherezade
– Asociación de Padres de
Barrio
– Asociación Francotiradores
– Asociación Juvenil de
Alumnos del Colegio Público
– Asociación de Vecinos Parque
del Video
Comisiones Obreras
Venerables
de los Poetas G-2
– Asociación Fraternidad
– Asociación Juvenil de
– Asociación de Vecinos San
Cristiana de Personas con
Internautas ZonaBurgos
Alumnos del Colegio Santa María
Juan Bautista
Discapacidad
– Asociación Juvenil de Tiempo
La Nueva
– Asociación de Vecinos San
– Asociación Gastronómica y
Libre Fénix
Pedro de la Fuente
Cultural Los Bufadores
– Asociación Juvenil del Círculo
Alumnos Hélade Danza
– Asociación de Vecinos Todos
– Asociación Geocientífica de
Católico
Unidos
Burgos
– Asociación Juvenil Deportiva
Personas con Autismo de Burgos
– Asociación de Vecinos Virgen
– Asociación Grupo de Acción
Pato Patín
– Asociación de Padres Francisco
del Pilar de Villimar
Agalsa - Sierra de la Demanda
– Asociación Juvenil el Jardín
de Vitoria
– Asociación de Vecinos y Amigos
– Asociación Grupo de Danza
Secreto
– Asociación de Padres Pro
de Castañares
Debla
– Asociación Juvenil Estrella
Disminuidos Síquicos
– Asociación de Vecinos y
– Asociación Grupo de Danzas
de Castilla
– Asociación de Padres y
Consumidores Camino de la Plata
Burgalesas Tierras del Cid
– Asociación Juvenil Fuensanza
Familiares de Personas con
– Asociación Grupo de Teatro
– Asociación Juvenil Gamonocio
Discapacidad Intelectual Aspanias
Consumidores del Barrio de Cótar
Encaje
– Asociación Juvenil Gente 9
– Asociación de Padres y Madres
– Asociación Grupo Tradicional
de Burgos
del Colegio San Pedro y San
Consumidores Villafría
Gavilla
– Asociación Juvenil Grupo
Felices
– Asociación Delfin Club Burgos
– Asociación Grupo Vocal Elijah
de Amigos
– Asociación de Padres y Madres
– Asociación Deportiva Cultural
– Asociación Hechos
– Asociación Juvenil Grupo de
Gamon del Colegio Público
Conde Diego Porcelos
– Asociación Impulso Musical
Montañeros de Santa María
Alejandro Rodríguez de Valcárcel
– Asociación Dinámica de
– Asociación Incógnito Compañía
– Asociación Juvenil Grupo
– Asociación de Periodistas
Formación y Empleo de Burgos
de Teatro
Más Burgos
de Burgos
– Asociación Diocesana Scouts
– Asociación Independiente de
– Asociación Juvenil Honoris
– Asociación de Profesionales del
de Burgos
Mujeres Asime
Causa
Secretariado de Burgos
– Asociación Ecuatoriana
– Asociación Iniciativa Solidaria
– Asociación Juvenil Icarian
– Asociación de Scouts de España
Nuestra Tierra
Internacionalista de Burgos
– Asociación Juvenil Illera
p. 194
– Asociación Juvenil Ilur
– Asociación Nacional en Defensa
– Asociación Prokarde
– Asociación Unión de
– Asociación Juvenil Inocencia
del Niño de Burgos
– Asociación Proyde
Profesionales y Trabajadores
Perdida
– Asociación Ornitología
– Asociación Racing Buslot
Autónomos
– Asociación Juvenil Invierno
Naturalista de Burgos
– Asociación Recreativa Cultural
– Asociación Juvenil La Roulotte
– Asociación Orquesta de Cámara
y Deportiva Peña el Monin
Radioaficionados Españoles
Teatro
Santa Cecilia
– Asociación Recreativa Cultural
de Burgos
– Asociación Juvenil Lara de
– Asociación Padres de Alumnos
y Deportiva Peña Jóvenes de
– Asociación Unión Gitana
los Infantes
del Colegio Sagrada Familia Safa
San Cristóbal
– Asociación Unión Progresiva
– Asociación Juvenil Montauca
– Asociación Padres y Tutores
– Asociación Recreativa Deportiva
de Igbo de Nigeria
– Asociación Juvenil Musical
Centro Ocupacional
Cultural Peña Zurbarán
– Asociación Universidad Popular
Informe Semental
– Asociación para el Desarrollo
– Asociación Recreativo Cultural
para la Educación y Cultura
– Asociación Juvenil Ondulador
de las Comunidades más
San Bruno
de Burgos
Mcmurray
Desfavorecidas Milpa
– Asociación Red de Ciudades
– Asociación Valdechoque
– Asociación Juvenil Radio
– Asociación para el Fomento de
Catedralicias
– Asociación Zon@burgos
Televisión Cid
la Educación de Adultos
– Asociación Redmadre Burgos
– Asoción de Guías de Turismo
– Asociación Juvenil Recreativa
– Asociación para el Fomento en
– Asociación Reto a la Esperanza
de Burgos
Cultural Interparroquial
Castilla y León de Empresas de
– Asociación Rutas Amigas
– Ateneahost. Industrias
– Asociación Juvenil San Pablo
Inserción
Solidarias Ruasol
Informáticas
– Asociación Juvenil Sendero
– Asociación para el Fomento y la
– Asociación Sagrada Familia
– Autocares Javier de Miguel
– Asociación Juvenil Signo
Educación de Adultos
del Perpetuo Socorro
Moreno
– Asociación Juvenil Sociocultural
– Asociación para el Intercambio
– Asociación San Pedro Cátedra
– Automatismo y Sistema de
Safa Centro de Tiempo Libre
de Estudiantes Técnicos
Barrio de Villagonzalo Arenas
Transporte Interno
– Asociación Juvenil Ventola
– Asociación para la Amistad y
– Asociación Schola Cantorum
– Ayuntamiento de Burgos,
– Asociación Juvenil y Cultural
Ayuda de Separados/as y Viudos/
del Círculo Católico
Instituto Municipal de Cultura
King Lizard
as de Burgos
– Asociación Senegalesa en Burgos
y Turismo
– Asociación Juventud de la Unión
– Asociación para la Defensa de
and Boolo
–B
Sindical Obrera
la Mujer La Rueda
– Asociación Serás más
– Ballet Contemporáneo de Burgos
– Asociación Juventud Obrera
– Asociación para la Defensa de
– Asociación Sociedad Protectora
– Bambalúa Teatro
Cristiana de España
los Ecosistemas Castellanos
de Animales y Plantas
– Banda Ciudad de Burgos
– Asociación Juventudes
– Asociación para la Lucha Contra
– Asociación Sociocultural Centro
– Bardeblás
Comuneras de Castilla
las Enfermedades Renales
Comunitario Espíritu Santo
– Beloaventura. Gestión servicios
– Asociación Juventudes
– Asociación para la Prevención y
– Asociación Sociocultural
de ocio y tiempo libre
Socialistas de Burgos
el Control de Accidentabilidad
Chileno Burgalesa
– BI Comunicación
– Asociación Kalyptopia
– Asociación para la Promoción
– Brumbeck. Comunicación y
– Asociación Kisoro Desarrollo
Sociolaboral de Burgos
Cofradía San Antón
Publicidad
y Cooperación Internacional
– Asociación para la Recuperación
– Burcode. Comunicación Visual
– Asociación Kolectivo Gay
Intelectual y Física Dominique
de Capoeira
–C
Burgos KGB
de Burgos
– C&C Publicidad
– Asociación Kurulumbha
– Asociación para la Reeducación
Liberación de Castilla y León
– Cabildo Catedralicio de Burgos
– Asociación La Casa Grande
Auditiva de los Niños Sordos
– Cadena Cope Burgos
de Burgos
en Burgos
Oratorio Illera
– Caja Círculo, Obra Social
– Asociación La Semella
– Asociación Paraparesia
– Asociación Sociocultural Orvisa
– Caja de Burgos, Obra Social
– Asociación Lírica Cultura
Espástica Familiar
– Asociación Solidaridad con el
y Cultural
y Derecho
– Asociación Paravento
Tercer Mundo Sotermun
– Cámara de Comercio de Burgos
– Asociación Los Mundos de
– Asociación Parkinson Burgos
– Asociación Solidaridad
– Canal 54 Burgos
Anís Teatro
– Asociación Peña Taurina
Educación y Desarrollo Sed
– Cáritas
– Asociación Micológica
de Burgos
– Asociación Teléfono de la
– Casa de Burgos en Valladolid
Burgalesa Gatuña
– Asociación Perla Los Andes
Esperanza de Burgos y de
– Casa de Castilla y León de
– Asociación Misión América
– Asociación Persona Solidaridad
Castilla y León
Sevilla
– Asociación Misión Esperanza
– Asociación Pku y Otm de
– Asociación Tertulia Literaria
– Casa de Valencia en Burgos
– Asociación Movimiento de
Castilla y León
Caleidoscopio
– Casa Regional de Andalucía
Acción Social de Burgos
– Asociación Plan Estratégico
– Asociación Tiritirantes
en Burgos
– Asociación Mujer, Salud e
de Burgos
– Asociación Tornavoz
– Casa Regional de Salamanca
Igualdad
– Asociación Pro Salud Mental
– Asociación Trébede Grupo
– Celiacos Burgos
– Asociación Mujeres en Igualdad
de Burgos
Tradicional
– Centro Alemán de Enseñanza
– Asociación Músicos Unidos
– Asociación Profesional de
– Centro Burgalés de Bilbao
de Burgos
Terapeutas Ocupacionales de
Consumidores y Amas del
– Centro Burgalés de Buenos Aires
Castilla y León
Hogar El Salvador
p. 195
– Centro Burgalés de San
– Club Deportivo Montañeros
– Consejo Regulador de
– Federación de Discapacitados
Sebastián
Burgaleses
Denominación de Origen de
Físicos de Burgos
– Centro Castellano-Leonés San
– Club Deportivo Patinaje
Arlanza
– Federación de Hostelería de
Fernando de Llodio
Artístico Ciudad de Burgos
– Consejo Regulador de
Burgos
– Centro Cultural Mexicano en
– Club Deportivo Peña Antonio
Denominación de Origen Ribera
– Federación de Patinaje de
Burgos
José
de Duero
Castilla y León
– Centro de Arte Caja de Burgos
– Club Deportivo San Felices
– Consejos de Barrio
– Federación de Unión
– Centro de Creación
– Club Deportivo Socio Cultural
– Consorcio del Camino del Cid
Asociaciónes, Peñas y Casas
Contemporánea ‘Espacio
Militar General Yagüe
– Coordinadora Provincial para
Regionales de San Lesmes
Tangente’
– Club Deportivo Tiempo Activo
la Recuperación de la Memoria
– Federación Hermandad de
– Centro de Creación Escénico ‘La
– Club Rotario de Burgos
Histórica de Burgos
Peñas, Sociedades y Casas
Parrala’
– Club Tragamillas
– Coral Castilla de Burgos
Regionales
– Centro de Creación Musical ‘El
– Cociedad Recreativo Cultural
– Coral de Cámara San Esteban
– Federaciones de Asociaciónes
Hangar’
Peña los Titos
– Coral de Cámara Vadillos
de Vecinos de Burgos y Provincia
– Centro de Danza María José
– Colectivo Yesca
– Coro de Jubilados de la Tercera
‘Francisco Vitoria’
– Centro de Iniciativas Turísticas
– Colegio de Mediadores de
Edad Virgen del Manzano
– FM 24 Radio
de Espinosa de los Monteros
Seguros de Burgos
– Crisol de Cuerda
– Fundación AIDA
– Colegio Ingenieros Técnicos
– Cromo Publicidad
– Fundación Ana Mata
de Lerma
de Obras Públicas de Castilla y
– Cultura de Flor
Manzanedo
León Oriental
–D
– Fundación Atapuerca
de Silos
– Colegio Oficial de Aparejadores y
– Delegación de Tiro Olímpico
– Fundación Caja Rural Burgos
Arquitectos Técnicos de Burgos
de Burgos
– Fundación Candeal Proyecto
Las Merindades. Medina de Pomar
– Colegio Oficial de Arquitectos
– Diagrama. Publicidad
Hombre
– Centro de Interpretación de la
– Colegio Oficial de Ayudantes
– Diana. Gestión de Servicios
– Fundación del Deporte Burgalés
Arquitectura del Vino
Técnicos Sanitarios
– Difadi. Publicidad
– Fundación del Patrimonio
– Centro de Orientación Familiar
– Colegio Oficial de Diplomados en
– Diputación de Burgos
Histórico de Castilla y León
Cáritas
Trabajo Social
–E
– Fundación Entreculturas Fe
– Centro Diocesano Pastoral de
– Colegio Oficial de Doctores y
– Editorial DosSoles
y Alegría
Juventud Santa María la Mayor
Licenciados en Filossófia y Letras
– Editorial Everest
– Fundación Félix Rodríguez de
– Centro Europeo de Empresas de
– Colegio Oficial de Economistas
– Editorial Gran Vía
la Fuente
Innovación Burgos
– Colegio Oficial de Farmacéuticos
– Editorial Monte Carmelo
– Fundación Intered
– Centro Galego en Burgos
– Colegio Oficial de Graduados
– Editorial Siloé, Arte y Bibliofilia
– Fundación Intermón Oxfam
– Centro Nacional de
Sociales
– Educarte Gestión y Servicios
– Fundación Lesmes
Enfermedades Raras
– Colegio Oficial de Ingenieros
– El Mundo El Correo de Burgos
– Fundación Oxígeno
– Centro Nacional de Investigación
Superiores Industriales
– Escuela Alfar Art Terra
– Fundación para el Estudio de
de la Evolución Humana
– Colegio Oficial de Médicos
– Escuela de Animación y Tiempo
los Dinosaurios
– Centro Nacional de Servicios
– Colegio Oficial de Odontólogos y
Libre Ultreia
– Fundación para la Enseñanza de
Avanzados de Burgos
Estomatólogos
– Escuela de Danza Hélade
las Artes en Castilla y León
– Círculo Burgalés de Barakaldo
– Colegio Oficial de Peritos e
– Escuela de Tiempo Libre Pangea
– Fundación Patrimonio Natural
– Círculo Católico Obrero de
Ingenieros Técnicos Industriales
– Escuela Diocesana de
– Fundación Secretariado Gitano
Burgos
– Colegio Oficial de Secretarios,
Educadores de Juventud
– Fundación Siglo para las Artes
– Circulo Ilusionista Burgalés
Interventores y Tesoreros
– Escuela Superior de Hostelería
de Castilla y León
– Club Campista Burgalés
– Colegio Oficial de Veterinarios
de Burgos
– Fundación Silos
– Club Ciclista Burgalés
– Colegio Profesional de Agentes
– EsRadio Burgos
– Fundación Unicef Comité
– Club de Fútbol Ferroplas
de Comerciales
– Estudio de Danza Arabesque
Español
Burgos 2016
– Comisión Diocesana de
– Fantasía en Negro Teatro
–G
– Club de Petanca Arlanzón
Justicia y Paz
–F
– Galería Mainel
– Club Deportivo Autismo y
– Compañía Insomnio Teatro
– Federación Burgalesa de
– Galería Río10
Deporte de Burgos
– Compañía Morfeo Teatro
Jubilidados y Pensionistas
– García Cibrían Informática
– Club Deportivo Bomberos
– Compañía Teatral de Peter
de Burgos
– Gente en Burgos
de Burgos
Nebreda
– Federación de Empresarios
– Ges-Integra. Tecnologías de
– Club Deportivo de Bolos El
– Confederación de Asociaciónes
de Comercio
la Información
Plantío de Burgos
Empresariales
– Federación de Autismo de
– Gisa Consultores Informáticos
– Club Deportivo Dhoom Football
– Consejería de Cultura y
Castilla y León
– Go Guía del Ocio
– Club Pakistán
Turismo, Junta de Castilla y León
– Federación de Comercio
– Granja-Escuela Arlanzón
– Club Deportivo Kenpo y Kali
– Consejería de Educación, Junta
de Burgos
– Grupo Cantollano
– Club Deportivo La Fanega
de Castilla y León
– Federación de Corales de Burgos
– Grupo de Cámara de Acordeones
Burgalés Concertina
p. 196
– Grupo de Cámara Divertimento
– Instituto de Investigaciones
– OTR Burgos
– Sociedad Real y Antigua
– Grupo de Comunicación Cultural
Antropológicas de Castilla y León
–P
de Gamonal
– Grupo de Danzas Mª Ángeles
– Instituto de la Construcción de
– Patronato Provincial de
– Sociedad Recreativa Cultural
Sáez
Castilla y León
Turismo de Burgos
Badevil
– Grupo de Dulzaina Bardulia
– Instituto Tecnológico de Castilla
– Peña Burgalesa del Athletic
– Sociedad Recreativa Cultural
– Grupo de Dulzaineros del
y León
Club de Bilbao
Benéfica Santa María la Mayor
Capiscol
–J
– Peña Burgalesa María Pacheco
– Sociedad Recreativa Rincón
– Grupo de Estudios Tradicionales
– JMJ Informática
– Peña Comuneros de Castilla
de Castilla
Atabal
– Joyería Manacor
Río Vena
– Sociedad Recreativa Unión
– Grupo de Intermediación
– Jsound. Sonido Profesional
– Peña Cultural y Recreativa
Artesana
Mediaevum
– Junta de Castilla y León
Las Huelgas
– Sociedad Recreativo Cultural
– Grupo de Rescate Espeleológico
– Junta de Semana Santa de
– Peña de Blusas El Capiscol
Blusas la Inmaculada
y de Montaña de Burgos
Burgos
– Peña Fajas de Huelgas
– Sociedad Recreativo Cultural
– Grupo de Teatro Aquende de
– Junta Vecinal de Tolbalños
– Peña Guitarrista Burgense
Peña los Felices
Miranda de Ebro
de Arriba
– Peña Jóvenes de Gamonal
– Sprintem. Gestión de servios
– Grupo de Teatro Carro de
– Juventud Obrera Cristiana
– Peña los Famosos
de ocio y tiempo libre
Thespis de las Merindades
–K
– Peña los Verbenas
–T
– Grupo de Teatro Con trastos
– Kalyope Asociación Cultural-
– Peña Nuestra Señora de las
– Taller Colectivo el Hacedor
– Grupo de Teatro Cuadro
Pueri Cantores Catedral de
Nieves los Pitufos de Burgos
– Teatro Cal y Canto
Artístico Mirandés de Miranda
Burgos
– Peña Poca pena
– Teatro La Sonrisa
de Ebro
– Kampala-Margarito y Compañía
– Peña Recreativa Castellana
– Televisión Popular de Burgos
– Grupo de Teatro El Duende de
– Kurulumba Teatro
– Peña Recreativa y Cultural
– Tiempo Activo. Gestión de
Gumiel de Mercado
–L
Jóvenes de San Cristóbal
servicios de ocio y tiempo libre
– Grupo de Teatro Espliego de
– La Caixa. Obra Social y Cultural
– Peña Recreativo Cultural
– Título. Imagen Corporativa
Villadiego
– La Fresquera. Producciones
Aramburu Boscos
– Transportes Hermanos Sevilla
– Grupo de Teatro La Hormiga de
Audiovisuales
– Plataforma Cívica en Defensa y
Alcalde
Lerma
– La Letra I. Gestión Cultural
– Promoción de la Familia
–U
– Grupo de Teatro Segundo Acto
– La Mueca-Viandante Clown
– Poesía Sonora Productora
– Unión Cicloturista Burgalesa
de Aranda de Duero
– La Roulette Teatro
– Prevenlabur
– Universidad de Burgos
– Grupo de Teatro Studio 46 de
– Los Kikolas Circo Teatro
– Producciones Salas
– Universidad de Cónsules
Miranda de Ebro
– Ludoland. Servicios
– Proteams
– Universidad de la Experiencia
– Grupo de Teatro Talia Cuadro
socioculturales
– Publinews
– Universidad de Toulouse-Le
Artístico del Círculo Católico
– Luis Portilla Diseño
– Punto G. Publicidad
Mirail Merimeé de Sebastián
– Grupo de Tradiciones Los
–M
–R
– Universidad Popular para la
Zagales
– Maestros Artesanos de Licores
– Real Cabaña de Carreteros
Educación y Cultura de Burgos
– Grupo DMA. Soluciones Gráficas
y Aguardientes
– Rico Adrados
– Universitas Informática
– Grupo Entertainiment
– Marcas de Garantía de Cereza
– Rodrigo Salas. Diseño gráfico
– Uno Publicidad
– Grupo Espeleológico Edelweiss
y Manzana Reineta del Valle de
– Ronco Teatro Producciones
–V
– Grupo Mahou-San Miguel
las Caderechas
– Rugauto
– Videosón. Servicios
– Grupo Promecal
– Mediados Gestión de Imagen
–S
Audiovisuales
– Grupo Vocal Ilhaia
– Menosdiez. Diseño gráfico
– Schola Paleorama
– Vistalegre. Producciones
– Guitar International Group
– Mesón del Cid
– Selecciones Comerciales S.A.
Audiovisuales
–H
– Mimar Espectáculos
– Selectia. Corporación de
–W
– Habitacion Sonora Café Bar
– Modo Estudio. Soluciones
Servicios
– World Sunrise. Gestión Cultural
– Hermandad de Donantes de
Gráficas
– Siburita. Revista gastronómica
Sangre de la Seguridad Social
– Monogáfico.net
especializada
– Hermandad de Veteranos FAS
– Movimiento Scout Católico
– Sociedad Burgalesa Castellano-
– Hermandad del Santísimo Cristo
– Museo de Burgos
Leonesa de Portugalete
de Burgos en Murcia
– Museo de la Evolución Humana
– Sociedad Castellano-Leonesa del
– Hogar Extemeño de Burgos
– Museo del Libro Fadrique de
Profesorado de Matemáticas
– Hogar Navarro de Burgos
Basilea
– Sociedad Cultural Recreativa
– Idea Publicidad
– Música 75. Centro de Estudios
San Pedro de la Fuente
–I
Musicales
– Sociedad Filarmónica de Burgos
– Ilustre Colegio Notarial de
–N
– Sociedad Gastronómica Los
Castilla y León
– Nueve Comunicación
Cucos
– Imprenta Santos
–O
– Sociedad Para el Desarrollo de la
– Instituto Castellano Leonés de
– O2 Estudio. Publicidad
Provincia de Burgos
la Lengua
– Orquesta Sinfónica de Burgos
p. 197
G6 / Credits and
Acknowledgements
Burgos Foundation 2016
Federation (FEC)
Pardo / Eduard Miralles / David
pupils age group)
Members of the board
— Burgos Chamber of Commerce
Dobarco / José María Bermúdez
Cristina Sáez (third cycle
— City Burgos Council
— Burgos Cathedral Chapter
de Castro / Eudald Carbonell /
pupils age group)
Representatives
— Publinews Image and
Enrique del Rivero / René Payo /
Colective Award Scool: Nuestra
Foundation Chairman:
Systems SL
Luan Mart / Alberto Estébanez,
Sra. de la Merced y San Francisco
— C & C Comunication Group
Alfonso Matía / Antony Price /
Javier Schools.
Vice president of the Foundation:
— Anuncian Tormenta Ltd.
Javier Vicente / Ignacio González
Diego Fernández
— Mediados Gestión de Imagen
/ Marta Sainz / Ignacio de Miguel
Bid Book Design
Members:
— ASINTEC Ltd.
/ Angela Wrapson / José Domarco
and Printing
/ María Martínez / Francisca
— Graphic Design
Bienvenido Nieto (Popular Party)
Isabel Abad (Socialist Group)
Burgos 2016
Moradillo / Mari Carmen Ortega
Erretres
and Cristino Díez (Solución
Foundation Team
/ José Luis López / Jesús de la
www.erretres.com
Independiente)
— Artistic Direction
Gándara / Igor Llorente / Jesús
— Proofreading
Secretary:
Mary Miller
Cavia / Julio Andres Izquierdo
Óscar Esquivias
Juan Antonio Torres
— Manager of the
/ Oscar Martín / Fernando
— Printing and
FoundationBurgos 2016
Arahuetes / Igor Torres / Diego
Photomechanics
— Diputación Provincial
Eduardo Escudero
Galaz / Miguel Tudanca / Antonio
TF Artes Gráficas
de Burgos
— Programe Development
Santidrián / Inés Praga / María
— Photography
Vicente Orden
Marilluch Pinto
Pilar Queralt / Fernando Ortega /
Rodrigo Macho
— Provincial Tourism Board
Anders Rykkja
Rufo Criado / Emilio de Domingo
— Photo credits
Javier Izquierdo
— Communication and
/ Rosa Pérez / Jordi Fábregas /
Luis Mena
— Strategic Plan of Burgos
coordination
Emilio Navarro / Eduardo Portal
Municipal Institute of
Mario Sanjuan
Luis González
/ Martha Black / Inés Gálvez /
Culture of Burgos
— University of Burgos
— Administration and
Juan Manuel Rodríguez / Ana
Atapuerca Foundation
Alfonso Murillo
Documentation
Isabel Redondo / Fernando Ciudad
Jordi Mestre
— Burgos Saving Bank
Belén González
/ José María Díez / Rocío Rojo /
Ciudad de la Danza
José María Arribas
Pablo Cantero
Cristina Hernández / Quionia
Marta Vidanes
— Circle Saving Bank
— web manager
Herrero / Manuel Martín-Loeches
Patronato de Turismo
José Rafael Briñas
Estefanía Villasante
/ Concepción Moreno / Daniel
Félix Ordóñez
— Grupo Mahou-San Miguel
— video production and
Conde / María José Castaño / José
Enrique del Rivero
José Manuel Huesa
social networks
María Enseñat / Ignacio Cantera.
— Promecal
Jorge Ferrero
Communication Group
— Documentation Assistance
Winners of Burgos 2016
Gregorio Méndez
Natalia García
Awards:
Legal deposit
— Logo design Burgos
— Atapuerca Foundation
Experts Advising Group of the
Foundation 2016
Foundation 2016:
María Gallo Portal
Main Sponsors
— Greg Richards
— Winners of Cultural
— Business Associations
— Bert Van Meggelen
Facilities for 2016
of Burgos (FAE)
— Diane Dodd
Antonio Chumillas
— Burgos Federation of Hotels
— Felix Manito
Simón Salvador
— El Mundo-El Correo de Burgos
Jessica Pino
Newspaper
Juan José Sánchez
— Schools competition 'How
your City Should be like'
— Gente en Brurgos Ltd.
Special Thanks
Noelia Seco (first cycle pupils
Other Sponsors
Ferran Mascarell / Xavier
age group)
— Burgos Commerce
Marcet / Gildo Seisdedos / Jordi
Jaime Gazol (second cycle
p. 198
M-30798-2010
p. 199

r–evolution burgos 2016 candidate city

Transcription

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