EVALUATION AND IMPACT ASSESSMENT
WORKSHOP FACILITATOR AND TUTOR
TALKS AND PRESENTATIONS
MAJOR EVENTS PLANNING
EUROPEAN CULTURAL POLICY
• Concept development and goal setting are at the core of every project. Even more important at a transnational level, they make sure you, your team and your partners know what objectives you are aiming for, why you aim for them and how they fit into the organisation’s overall mission. Everything else in project execution builds on that.
• Over the years I have again and again been involved in setting up and implementing big and smaller activities, such as cultural partnership development between Iran, BOZAR (Brussels) and Europe, or advising the Board of Directors of the cultural heritage network Future for Religious Heritage about their strategic direction and their organisational growth.
EVALUATION AND IMPACT ASSESSMENT
• Evaluation and impact assessment help to determine whether a project is on track and, after the end of the project, whether it has achieved its originally set objectives. Impact assessment, together with concept development and goal setting, are directly linked to creating, defining and communicating value. Intrinsic value creation is in its turn currently one of the biggest challenges of the arts and culture sector (and logically so).
• For organisations I have worked with, such as the Agency for Education and Culture (EACEA) of the European Commission, I monitored and assessed projects, and I designed and carried out surveys and feedback collection to understand needs and opinions of specific stakeholders.
• Since the 90s, European cultural networks have been on the rise. Technology has made it easier and more necessary to come together in interest groups, and structured networks of professionals have increased in relevance. They connect, coordinate, do advocacy, and as such have significant leverage power. They promote and facilitate diverse forms of collaborative practice and community building across local and national borders, and generally improve access to arts and culture.
• I worked for several specialist networks, such as in cultural heritage and the EU Cultural Diplomacy Platform (designed to strengthen EU cultural relations outside of Europe), getting to know and developing their structure, objectives and sustainability from the inside out.
• My own professional and personal network extends all over Europe and beyond; across most sectors in arts and culture, and beyond.
• My research experience is grounded in my academic studies in Art History and Philosophy, which among others led to the publication Geschichte und Identität. Black Box / Chambre noire von William Kentridge (2011, RegioSpectra Verlag Berlin) and in which I investigate a possible model of (post-)colonial identity between Africa and Europe.
• I set up and carried out a study for Dutch Game Garden into operational and financial sustainability in the applied games sector.
• I have experience writing in multiple languages (Dutch, English, French, German), for a range of target audiences and in a wide range of formats – for academia, for the general public, art reviews, op-eds, project reporting, funding applications, communication material and for specialised PR projects. I have published books, in magazines, for offline and online media, and for different types of organisations.
WORKSHOP FACILITATOR AND TUTOR
• I first started organising workshops and led courses during my university years in Berlin. That included working as a tutor in Dutch and English, and being responsible for the planning, design and execution of the course curriculum. I have since then accumulated experience in setting up classes for groups and individuals, participants spanning from teenagers, pensioners, unemployed, students, office workers to diplomats, on various subjects.
• It has taught me to keep the wide-ranging needs of my students and workshop participants in mind and to take on the role of a mediator and promoter: between a course subject and its particularities on the one hand and the specific reality and context of the course participant on the other.
• Public appearances at talks, round tables, expert gatherings, and conferences, big or small, as speaker or moderator, are an important tool to exchange thoughts, discuss current developments, and acquire new insights, and whenever I have the chance I will join the debate. This includes Goethe-Universität Frankfurt, Columbia University New York, Eye Film Institute in Amsterdam, Festival of Avignon and Institut für Auslandsbeziehungen Berlin.
• For the European Commission (EACEA), I set up, co-chaired and presented meetings and conference workshops on specific policy issues and adequate project implementation.
• Mounting Flachland, an entirely new multi-day and multidisciplinary festival which promoted the artistic talents of the Netherlands and Belgium in Berlin (Germany). Together with a small and committed team, I created a platform for cultural practitioners to showcase their work, and internationally strengthen their contacts and cooperation opportunities.
• Other major events that I have had a significant role in include the conceptual planning and a prospective trip to Tehran for a big cultural exchange project between Europe and Iran, a large conference with more than 150 participants and 35 speakers, as well as the planning and design of a 30m2 exhibition booth.
• The cultural field is very diverse, ranging from contemporary arts, to the creative industries or cultural heritage (and its many possible cross-overs). I have very much enjoyed working in all of those sectors.
• Some examples of my diverse experience have been in applied games and creative entrepreneurship, technology and art, contemporary arts transversally, Persian cultural heritage and religious heritage. What binds them is the role of culture in society, its innovative power and potential for social regeneration and social cohesion.
• Working for the European Commission (EACEA), I was active at the cross-roads of policy, project management and communication. I acquired sound knowledge and practical experience of the EU's policies, programmes, procedures and activities.
• For BOZAR (Brussels), I was delegate in the Cultural Diplomacy Platform, which is there to advise and support the European External Action Service in putting culture at the forefront of its external relations.
• I have extensive experience in EU funding applications and EU projects, which for instance led to the award of a 1.000.000 € grant. I base my expertise on the years I have worked at the European Commision, proposals I have written so far, European projects I have coordinated, and work as expert-evaluator of EU applications.
• I also have some experience in attaining corporate sponsoring for cultural projects.
• I have time and again been involved in diverse communication activities, both in terms of online and offline marketing and PR (even though it is not my core business) as well as in terms of maintaining and expanding a network of contacts, collaborators and stakeholders.
• This entails liaising on a regular basis with relevant and different types of contacts, specifically in a transnational setting: board members, volunteers, prospective members and partners, a broad range of cultural organisations and educational institutes throughout Europe and beyond, national institutes, governmental officials and MEPs.
• My professional skills include setting up budgets, managing finances and assessing financial reports. My attention to detail, structured way of working and budgeting experience ensure keeping up-to-date financial records.
• Advocacy, either as a rallying call for an idea or a project, is important for the work in the cultural sector. Engaging people to take a stance in support of an organisation or the cultural sector in general and communicate that to stakeholders, policy makers and the public at large keeps the sector alive.
• It is a central skill of concept development and project management that I have done over the years, debating and explaining the idea of a project with for example an organisation’s members, partners, the board, government and embassy officials, or EU officials.
• I am a regular participant in workshops, webinars and conferences with the aim to expand and keep my skills and knowledge up-to-date.
• Topics I have trained in include international project management, art theory, cultural diplomacy, intercultural communication, and ICT (such as coding) with for example ENCATC Academy, tranzit.org and the Summer Academy Salzburg.
• My academic background is in Art History and Philosophy in the Netherlands and Germany. The final result in my Master’s degree (Berlin) was Excellent (1.3 in the German system).
• Whenever I have managed a group of people, it was always in an intercultural setting with multiple nationalities.
• I was Head of Office of the European heritage network Future for Religious Network, and as such intermediary between the Board, the network’s many members and a staff of 3 people.
• I was one of the two national co-ordinators of the European Cultural Parliament Youth Network, a pan-European volunteer organisation that aims to empower young people through culture. I managed the Belgian hub of about 10 people.
• For the Flachland festival, I was team leader of the multicultural group of volunteers.
• I have full working proficiency in Dutch, English, German and French. I use all of these languages at academic level, for distinct professional environments, writing, presenting and moderating, in day-to-day work situations, and everyday life.
• I understand Spanish.