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In 2022 SÍN Arts Centre has launched its programme THE GAP, a participatory funding scheme, which is for now a unique, innovative solution in Hungary.

What is participatory funding?

It is a collective name for a bunch of various solutions for funding with the core idea that the decision making power about grants is ceded to the very communities impacted by the funding decision.

How is this principle manifested in THE GAP?

In 2022 SÍN Arts Centre, which is active in the independent contemporary performing arts scene, published a grant scheme of about EUR 8.000 in an open call. According to the call all applicants read each application. The SÍN colleagues developed the decision making process, its framework and moderated it based on validated group facilitation methods – they did not take part in the decision making itself. The community of the applicants – in 2022 there were 36 of them – spent a day together and granted support to five programmes of varied financial support, the amount of which was part of the applications. It was an exciting and uplifting day both for the participants and the SÍN staff. We learnt an awful lot form each other, about the empowering sensation of a democratic and transparent decision making process.

Why have we developed THE GAP?

We have had various direct and indirect objectives:

  • To get familiar with, develop and promote alternative funding models (not only) for the Hungarian performing arts scene
  • To give opportunity to artists, who are predominantly grant application writers, to read and evaluate applications
  • Experimentation with new forms and solutions of non-hierarchical systems
  • Enhance responsibility taken for one another
  • Encouragement of openness to collaboration, experiencing it even in a competitive situation – we believe it’s possible
  • Betterment of debate culture
  • Learning about, promoting democratic, transparent decision making processes
  • And through all this the empowerment of the civil society

What have we learnt in the first year?

First of all we learnt that we had devised something important, special, which resonated with a great number of people at a high level – even if for now just in our close professional vicinity.

If a process is thoroughly planned, all its details are shared with those involved in it and it is carried out consistently it will create a safe space in which all participants can remain curious, supportive and cooperative.

A decision behind which the arguments and the considerations are clear for all participants – even if it’s not necessarily beneficial for everybody on an individual level – will acceptable and supportable for the whole community.

In January 2022 SÍN has launched its new programme, an adaptation of the various international good examples of participative funding schemes in the arts.

The scheme is relatively simple. In 2022 we published an open call in a total sum of approximately EUR 9.000 to artists and art workers in the independent performing arts field. In 2023 we managed to double this amount with a crowd funding campaign and project grant from the Hungarian Association of Independent Performing Arts.

It is our ambition to learn, develop, fine-tune THE GAP programme together with the participants and all interested parties. We aim at flexibly adapting it to the needs in the field in a continuous learning process about participatory funding.

The main objectives of THE GAP are the following:

  • We would like to develop, improve and experiment with other funding structures than the currently known ones together with all players in the independent art field
  • We like to give way for experimentation – not only in the artistic processes but also in ones that support, supplement them
  • We would like to encourage collaboration as opposed to competition, to take responsibility for one another
  • We are interested in opening a forum for a professional, mature discourse of artistic ideas, plans

Programme Design

2023 was already the second edition of The GAP. It is an essential element of the idea that the funding scheme is not a rigid one – we learn each year by reflection, by asking questions from the participants and shape the programme according to the given tendencies we observe in our sector.

Brief yearly outline of the programme

January / Open call – the open call is deliberately wide as regards to the topics: it is  open to any proposals that directly or indirectly support the independent performing arts scene and have demonstrable impact on it.  

February / Applications – applicants have three weeks to apply with their project plans. Then all applications are shared amongst the applicants, who have four weeks to read all applications. They also determine the main criteria of selection. This is done by a collection then voting of the 4 most important criteria.

In 2023 these criteria were the following: innovation, feasibility, how much the project serves the arts community, long-term impact.   

March / THE GAP Decision Day – the applicants gather for a day-long decision making process. The process is supported by group facilitation methodology, the framework is developed and moderated by the SÍN staff. The participants present their programme, they discuss them in short forums, and in the afternoon the decision is made in two rounds.

March-December / Project Developments – those projects that are selected by The Gap community are developed.

December / THE GAP Showcase – an event with open invitation. In the end of December the project leaders present the development of the programmes. In a facilitated workshop the participants of the event discuss about the future fine-tuning, focuses of the next year’s programme.

In 2024 the projects listed below were supported:

The ESZME is developing a domestic residency programme in which independent theatre projects and creators can apply to use rural stone (puppet) theatres that are unused during the summer.
To this end, it is primarily necessary to develop the structure of the residency programme and establish cooperation with theatre partners.

The ESZME association sees the development of the Hungarian Puppet Residency Programme as a possible alternative for supporting independent artists, which could also strengthen the connection between the state funded theatres and the independent creative sphere. The programme in brief: independent artists can apply for a specific
period, independent artists can apply to experiment with their proposed projects in the rehearsal/stage spaces of theatres that are not in operation during the summer, with accommodation provided.
In agreement with the theatre in question, at the end of the period, they present their work-in-progress/finished work to the theatre on favourable terms. The programme aims to satisfy several needs:
guest artists in theatre spaces, the presentation of their ideas, the availability of infrastructure for the applicant, and the opportunity for the theatre to get to know an independent artist.
In addition, it aims to bridge the gap between the independent and the non-independent.

This workshop series provides women over 60 with a space and tools to reconnect with themselves and their bodies in a fixed group. To discover everything that has changed in themselves. The language of the workshops is based on various forms of movement and touch.

It can be observed that older generations of women are largely inactive. This is not only a sign of dysfunction in our society, but also of individual burnout. Above a certain age, for various reasons, such as retirement or the loss of a partner, people tend to slow down, even to the point of becoming completely immobile. They often hide behind the excuse, ‘I’m too old for this, it doesn’t matter to me anymore!’
Fortunately, we also know of truly positive counterexamples, and this is what motivates me to start this group. I believe it is important for retirees to be active and physically and mentally healthy members of our society. Through movement (dance, mindful presence, gymnastics, yoga) and touch (individual and group massage, contact improvisation), they will get to know their bodies again and bring to life the strength that lies within even an ageing body. Last but not least, the power of a common cause also lies in the formation of a new community.

Balta Award – an award with an artistic perspective.
It draws attention to the work of people, institutions and initiatives that are actively involved in the field of contemporary dance.
The creators founded this unique award as part of the Game Changer platform with the aim of showcasing the work of people, institutions and initiatives that are actively involved in the field of contemporary dance and are capable of breaking through existing structures, institutions and initiatives in the field of contemporary dance that are capable of breaking through existing structures
or keeping the spirit of the profession alive.

The axe is a tool in the hands of action. The axe breaks through, opens up and thus liberates.
It stirs up stagnant waters, sets stagnant energies in motion, and creates space in structures believed to be solid.
It is important for us to pause for a moment to give thanks and appreciate the visible and invisible energies that support and energise this field!
We do this for ourselves and for each other.
We do this for the future.

The aim of Mani is Me is to create a series of workshops and an educational video in which they want to help freelance artists clarify their attitude towards money, identify and break down taboos and communication difficulties, and price their work realistically.

They want to talk and discuss money, salaries, budgets, time spent on work and its value without taboos. It seems that we are full of repression and fears when it comes to money. They want to resolve this and discuss salaries and thus the value of our work transparently, share our thoughts and think together. In times of crisis, when everything is becoming more and more expensive, the question is becoming increasingly pressing. What can we change about our habits? How do we determine the value of our work? Why is it so difficult to assert our own interests?
What helps? How can we practise clear communication? How can I maintain my boundaries when discussing the structure and value of a job? How can I separate my personal and professional relationships in a small and closed professional environment? Through sharing and analysing case studies, we would like to find answers to these questions together. We hope that the workshop will help us move forward on the above-mentioned and similar issues.

Extinction is close to the situation of independents, who are looking for alternative solutions due to slow bleeding and lack of financial support. Global warming is prompting a similar systemic rethink. The climate crisis is also the result of a social crisis stemming from the capitalist economy, which includes social inequality and the decline of education and culture.
By understanding the interconnection of these problems, the complex expression of performing artists can become a powerful tool for raising awareness. Instead of learned helplessness, we practise active presence together.

Within the framework of a planned six-month collaboration with Extinction Rebellion, we would support the emerging Civil EU Presidency with actions, amplifying the voice of civil society organisations through the language of art and creativity.

In 2023 six projects were supported:

A new hub for independent performing arts in Budapest and their first Festival to be held in May 2023

A 3-day event organized by the Association of the Young Playwrights’ House with discussions, networking events, showcases for emerging playwrights.

Preparatory works for the realization of a bottom-up new international new circus festival to promote new circus, to give opportunities for circus artists outside the mainstream circus, to generate discussions, sharing knowledge. A project by OneTwoMany

Development of the framework of an agency for contemporary dancers working in the film industry with a non-hierarchical, transparent approach, focusing on the needs and interest of the artists.

Research for the MA accreditation of the educational programme of the performance course of FreeSZFE. Development of the curriculum, examination of its international compatibility. Development of a sustainable operational system, scouting international partners.

In 2022 five projects were supported:

A bottom-up festival in Budapest organized by artists for the showcase of progressive, experimental artistic work. The festival is also an experiment as regards to its organizational practices: it is a collective, collaborative work done by the participating artists.

The focus of the research is the mapping of a collective memory through the process of personal recollections. Research and installation developed by drama teachers, Eszter Dobos and Napsugár Trömböczky.

A full open day to share practices of somatic movement and approach.

A complex, holistic educational programme by dancemaker Júlia Gaál and physiotherapist Bence Kovács for professionals about anatomy, the balance of body and mind, nutrition and health.

Development of a feasibility study for the creation of an online platform available to schools with small accessibility to live contemporary dance performance. A project by Márton Csuzi, Eszter Dobos and Emese Nagy

GAP – new experiment by SÍN for participative funding
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