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Dance companies warn of ‘massive return’ of European aid if deadlines are not extended

Small cultural industries that have seen survival in the components developed by the Ministry of Culture in the Restoration, Transformation and Durability Plan (PRTR) are now concerned about what the debris might be: INAEM’s bureaucratic incompetence. They manage quickly and the ministry finds it difficult to extend the deadlines.

Valeria Koz, president of the State Federation of Dance Companies and Companies (Feced), warns that there is a “delay” that she believes is due to “INAEM staff shortages”, as they were informed by the ministry “Big Time”. These European funds are intended for the modernization of the structures of the theater and dance companies.

This Friday, Culture Minister Michel Isseta said that in response to the sector’s request, his department is “studying” the possibility of making aid scheduling more flexible, with the aim of modernizing work structures. Employment and development of activities that go beyond the scenic, such as the introduction of technological tools or communication Online.

The minister’s words reinforce the message that was verbally sent at the Koz ministers ’meetings that they will try to postpone the deadlines, but it will not be easy.

Massive return of grants

On June 8, Feced met with the new Director of INAEM, Joan Francesc Marco, and the Deputy Director General of Music and Dance, Antonio Garde. In it, the institute said they assessed the possibility of extending the deadline, even if it was “very difficult”. “We told them it was very serious and that what was going to happen was a massive drop in projects, to which they said yes, that they were suggesting that this was what was going to happen,” explains Valeria Koz.

La Feced represents 346 companies and companies from the world of dance. In total, there are about 500 in Spain. Of this, according to information collected by the federation, about 70% applied for assistance with the Recovery, Transformation and Sustainability Plan.

Since INAEM manages to slow down, the second factor is timeliness. The aid is used to finance projects starting from April 20, 2021 to September 30, 2022 – up to 80% of their value. Will be able to respond to all requests by Tuesday.

By September 30, companies must have invoices issued and start making payments so that they are completed by October 30. The problem is that companies have not made these structural investments in the last year because they do not have the money to do so, so they are waiting for help and then implementing it. “Dance companies do not have the liquidity to improve their investment,” Koz said. According to the federation, due to the breakdown of their characteristics, instability and low income, it is not easy for them to obtain bank credit lines with which to provide assistance in advance.

“It is necessary to strengthen the staff INAEM now, because it has a direct impact on the sector, and even the loss of 20% of the € 18 million we have for assistance seems very serious,” said Valeria Koz.

Performing arts and music raised € 17,930,000 from the next generation of European funds to create digital content, to modernize companies technically, to professionalize, to achieve gender equality, to internationalize, and to “contribute to the new image of Spain as a culturally viable Internet.” The description of the call says.

Regarding INAEM’s management problems, the Minister of Culture explained that the same staff who assist with routine calls are also responsible for doing the same with the allocation of European funds, which causes these difficulties when it comes. Distribute grants.

“We are working on this, but I would like to remind you that public vacancies were suspended in 2016. We have been renewing them since 2020 and this will allow us to fill vacancies and new positions due to retirement, but the process is not instantaneous. “This is a somewhat long period and we have had to manage the pandemic and the amount of staff in this volume on a regular and concrete basis,” the minister said.

Complex management of public scenes

In March last year, Amaya de Miguel resigned as director of INAEM, as she explained that she had changed her career in the private sector, for which she took over the leadership of the Montemadrid Foundation and replaced Jose Girao. In an interview with, de Miguel acknowledged shortly after his appointment that “INAEM was created to be a flexible tool for creation, and over the years it has become an elephant.” “We have such a complicated administrative system that it is practically a titanic effort to raise the curtain or premiere a show by a private company, for which we wanted financial support. “The system is so complicated that it makes it almost motionless,” he added.

Amaya de Miguel’s resignation coincided with a mobilization in the performing arts sector related precisely to public job offers and tax delays, as Carolina Africa explained to the newspaper after working for the National Drama Center.

This was not the only abandonment at the Institute of Performing Arts during Iseta’s term. Also, the deputy director, Fernando Seron, did so in January, signing a stern letter in which he expressed his frustration. “My only interest has always been to protect our sector, and unfortunately I have come to the conclusion that in the present circumstances I will not be able to achieve this goal and my work has gradually become a purely bureaucratic management of insufficient resources,” he wrote.

Source: El Diario



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