«CREATIVE EUROPE» AS A TOOL FOR FINANCING AND SUPPORTING CULTURAL INITIATIVES IN UKRAINE

Abstract

The article systematizes data on the projects of the EU program "Creative Europe" implemented in Ukraine as evidence of a change in the policy of financing and supporting cultural initiatives. The purpose and specifics of the sub-programs "Culture", "Media", "Intersectoral cooperation" are disclosed, in particular, the contests of the sub-program "Culture" are described in detail, which provides for the implementation of the contests "European platforms", "European networks", "Projects of international cooperation", "Artistic translation ". Attention was drawn to the special competition "Support of Ukrainian immigrants and the cultural and creative sectors of Ukraine", as a result of which it is planned to implement three consortium projects in the course of 2023- 2025: "ZMINA: Rebuilding / ЗМИНА: Видовнельная", "Culture Helps". "Architects for Heritage in Ukraine: Recreating Identity and Memory (U-RE-HERIT)". The focus is on the mobility program for artists and specialists in the cultural and creative sector for 2022-2025 "Culture Moves Europe", the winners of this program in 2017-2023 are indicated. It is summarized that Ukraine actively uses the European approach to the sphere of culture, which does not involve regulatory and legal regulation, as it happens in other fields, but support, in particular grant, and its coordination with the help of promoting partnership policy, mobility of artists, etc. This is a project approach that is becoming an increasingly effective tool for revitalizing the development of culture, realizing its economic potential, its decisive role in the development of national economies, social growth and the revival of communities. It is emphasized that the EU program "Creative Europe" is a demonstrative example of the strengthening of the role of culture in the political agenda, which is confirmed by the recognition of the contribution of culture to the goals of sustainable development, inclusiveness as a prerequisite for the availability of a cultural product, digitalization of culture as a defining trend of its development, as well as its cross-sectoral development as an effective way to improve the activities of cultural institutions.