Ideas that Matter - Commission trainees share inspiration.

The ten stagiaire speakers of I
deas That Matter together on the stage

Speaker Linda Romanovska (DG CLIMA) on the importance
of social capital for adaptation to climate change

On 22 February, the Hub Brussels hosted an event called 'Stagiaires' Ideas that Matter: our Impact on the World'. Organised by Commission trainees, the objective of Ideas That Matter was to gather people open to new ideas and to demonstrate that European youth's ideas do matter in the struggle to make the world a better place. Commission officials, NGO staff, academics and entrepreneurs joined the trainees to listen to the speakers, ten of whom were trainees and the other two represented Brussels-based NGOs – Friends of the Earth and One Laptop per Child.


 All the evening's talks revolved around sustainability, development and human rights. Clémence Cavoli (DG MOVE) challenged the audience asking whether 'we are too many on Earth',
Cillian O'Donoghue (DG ENER) pointed out the importance of energy diversification, and Linda Romanovska (DG CLIMA) reminded the audience that social capital is an important element of adaptive capacity, and that our everyday actions and attitudes also influence climate change. Offering more personal perspectives, Basia Opalska (DG JUST) argued that role models are crucial for inspiring and encouraging us to become better people, especially in the case of women who have a tendency to underestimate themselves; while Juan Véliz (DG DEVCO) made a point about the importance of native cultures and traditions in the changing societies of globalised world, claiming we are vehicles of continuity and should, therefore, cherish the heritage of our ancestors. These and all other talks are published on the website of Ideas That Matter.

Some of the public attentively listening to
what the speakers have to say

Our impact on the world

The impulse to organise such a conference came from the cooperation between the Commission trainees' Environment and Solidarity subcommittees. After introducing the concept, more trainees joined to form a bottom-up organisation team. "We wanted to show fellow trainees and a larger public that we can have an impact on the world, that every little helps and each individual can make a difference," declared Jasper Bergink (DG HOME), one of the three co-ordinators. "In the current economic situation, innovative and creative ideas are crucial. By stimulating people with our expertise and personal stories, we felt we could truly show that our ideas do matter." Inspiring ideas were hovering in the former chocolate factory for two and half hours. Both the organising team and speakers were encouraged by the feedback – "This was the most interesting event of the stage!" was one of the comments on the feedback board after the event. TED concept 'Ideas that Matter' was inspired by the famous TED concept, gathering leading thinkers in an event referred to sometimes as "the ultimate brain spa". In the TED spirit, the trainees designed the programme to enable organisations and individuals to stimulate a dialogue and exchange ideas worth spreading. What next after such a rollercoaster ride of inspiring ideas? The young people in the organising team are all finishing their traineeship now and the next in-take of trainees will have the opportunity to take up the initiative to prove once more that youth's voice deserves to be heard.

Text: Vendula Havlíková / Stagiaires' Ideas That Matter
Photo's: Inga Vaiciakauskaite / Stagiaires' Ideas That Matter

"Show openness and respect-despite the crisis!" Interview with Cecilia Malmström, Commissioner for Home Affairs

"If we want support in the health sector, if we want the world’s best brains in IT
 and engineering  - we have to make it easy for them to come and integrate."

First of all, what is your personal interest in your portfolio of Home Affairs?

Well, it is a very difficult portfolio. The privilege is that it is so related to the life of the people - such as those who run away from horrible dictatorships and try to get a better life in Europe, who are victims of terrorism or organized crime. It’s very down to earth and very emotional. But I am happier here than in a more technic portfolio.

Speaking about the people affected - is it important for politicians to go into the field?

Yes, it is very important to directly talk to these people – otherwise, they may become only statistics or an abstract issue you have to deal with. I visited, for example, refugee camps in Libya and Tunisia, also detention centers in Eastern Europe. And I encourage my people to do the same. If you spend all your life only inside the Commission, you cannot do a proper job.

Was there one experience which changed your political ideas or especially impressed you?

No, I do not think it changed my ideas. But I have this picture of a young boy in a refugee camp in Efros, Greece –near the Turkish border. I visited the detention camps there and they were extremely crowded. I talked with one young boy from Afghanistan, around 14, and he asked me for a Euro saying: "I need to call my mama." I recall his picture very often and think: "What we do, we do for him."

Apart from experience in the field – what skills do you expect from your advisors?

I look at both the formal experience on the CV, but also the life experience. I want people with different perspectives in my cabinet. Also, I want them to speak out their mind. Of course, once we have decided, everybody has to be on board. But to only have quiet yes-sayers around me, I think is difficult and dangerous. We have quite an open tone here, we are very informal. But I also expect people to be independent, innovative, to work hard and to take their own initiatives.

So, let’s speak a bit about your current initiatives - what lessons have you learnt from Lampedusa and the risk for Schengen, how would you deal better with a mass influx in future?

When the Arab spring broke out, some politicians to my surprise were saying: "Oh, we have a massive influx of refugees!" - instead of positively recognizing the fight for political freedom behind it.

And actually, we did not have a mass influx of migrants. Italy had raised the issue of applying the temporary protection directive*. This directive was installed after the massive refugee influx from Kosovo. Here, we are talking of hundreds of thousands to come at the same time. And that has actually never happened since. Last year, about 250,000 people asked for asylum in Europe, but divided. In the case of Italy, there were 56,000 migrants arriving in Lampedusa. Most of them were economic migrants, because the tourist industry totally broke apart. This was a severe pressure on the little island, but not a tsunami of refugees coming to the other countries.

So it was a question of quantity why the directive was not applied, not the reaction of the member states or the migrants’ motives ?

The directive can only be applied, if member states agree. And during the discussion with other members this tool was not really on the agenda. We tried to help the Italian government with both staff and technical and money assistance. And the Italians have done a fantastic work on their own. But the directive is there and we are of course ready to evoke it, should it happen.

Furthermore, it did create some tensions on Schengen. And Schengen must be defended, because there are many bona fide travelers - tourists, businessmen, students - who we want to come and to move freely. The problem with Schengen is that some countries can simply not defend their borders. Therefore, upon request of the Council, in September we presented a proposal on how to better maintain Schengen and defend the external borders. But the problem right now is that the mood in the European Union on receiving migrants is no really at its best.

Despite this mood you have recently adopted mobility partnerships with EU neighbours and with North African countries. Why does Europe need immigration in times of high rates of youth unemployment?

Since many years, we have mobility pacts with Georgia, Moldova and Cap Verde, and are now negotiating with Tunisia and Morocco. We try to assist these countries. First, with building up a democracy: run elections, educate their police, control their borders, set up an asylum system. But assistance also means facilitating mobility, that is facilitating visa and increasing the matching. For example, France has on its own made a deal with Tunisia on 200 or 300 nurses a year. And we do need labour migration in Europe, as there is still a lack of skills, especially in the health sector, IT and engineering. And we want the best brains to come to Europe to work and not go to the US or to Canada, as they do today. This is of course the member states’ decision. I will not sit here in Brussels saying "You will take labour migrants!" But if we want these people to come, we should make it easy and get away with the bureaucracy.

This reminds me of the Gastarbeiter programmes of the 60s and 70s - a targeted immigration facility to fill our labour force gaps. How do they envisage immigrants’ long-term stay and promote integration?

Well, this is more of a short-term and circular programme.

Also the Gastarbeiter programmes were intended to be short-term, but many immigrants did not want to go back and stayed ...

Yes, and for these cases we are trying to assist European member states with integration. Integration is done on the local level. But we can assist financially, identify and circulate models that work and spread them, we make people meet and share experiences. Key factors are employment and learning the language. But it always depends on the context, e.g., if it is easy to set up a business or if you are welcome or not…and many people I know are quite well integrated. Many immigrants see no future in their country and want to build a new life. Therefore, they want to contribute and to work – they want to integrate.

However, nowadays, fuelled by the economic crisis, people are scared and having difficulties to be tolerant. This makes it very easy for populist movements to find scapegoats. This is very dangerous and political leaders should not only stand up and try and fix the economy, but also stand up for the values of the European Union, for openness and respect.



Thank you very much.

Elena Fries-Tersch
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*The Temporary Protection Directive 2001/55/EC defines minimum standards for giving temporary protection in the event of a mass influx of displaced persons and measures promoting a balance of efforts between Member States in receiving such persons and bearing the consequences thereof.

OUT & ABOUT - Week 8

Kirsten Dunst in Melancholia, Madou Auditorium - Feb 21

STAGE COMMITTEE

On Friday February 24, the Stage Committee and EPSA present you the Stagiaires Farewell Party! The end of our traineeship is definitely approaching, but there is no reason to be truly sad, we had a great time and hopefully we have a bright future in front of us. The show must go on! With that in our minds, let's get together for the very very very last time, let's dance and have fun! Doors open at 11 pm. Location: City Club, Tickets: € 5.00 presale / € 7.00 at the door.

IDEAS THAT MATTER
“Stagiaires’ Ideas that Matter: our Impact on the World” is the title of an exciting conference organised by trainees of the European Commission. It will take place on Wednesday 22nd February 2012 at 18.30 at The Hub Brussels. Around ten speakers will take turns on the stage to give short presentations related to the main theme ‘Our Impact on the World’. The conference is inspired by the famous multidisciplinary TED events, but organised entirely independently from TED. Under the motto ‘Ideas Worth Spreading’, TED events feature concise presentations (maximum 18 minutes).

WINE TASTING
On Thursday the 23rd of February the October 2011 Stage Beer and Wine Committee goes down under, for a professional wine tasting in cooperation with the sommeliers of the Australian wine shop Migs World Wines. The evening starts at 7.15 PM in the shop, and includes the testing of 8 wines, as well as introductions, explanations and anecdotes by Mig's wine expert Xavier. Only 15 places are available and will be sold on a first come-first served basis, so please reserve your place ASAP by sending an email to Anna Mirsch or Sophie Kok, who will give you further instructions on payment. Price: € 15.00 (with AC) / € 16,50 (without AC).

PARTY
Although the European carnival period has ended, Antitapas gives you a chance to celebrate again at Antitapas Carnival Brasil Night. The only and original night with more than 3 different stages, 3 styles of music, 5 live concerts, more than 40 live musicians, artistic performances, free food during the aperò and sometimes free beers. Special Dish of the Night: Feijoada. Location: Les Caves de Cureghem. Tickets: before 11 pm € 5.00 / after 11 pm € 7.00.

Also on Saturday night, The Red Room at Aloft Hotel by Eurocrats. Live saxophone and percussion show accompanying the DJ all night long by Fred Becker and Don Olivero. Music by DJ Markx (Aloft Resident). Dress Code: Modern, trendy, classy. Doors Open at 10.30 pm.

CINEMA
For their very last screening, the CineClub will screen Lars von Trier's Melancholia (2011).As the end of our stage period is drawing nearer, CineClub hosts its last film screening on 21 February. To mark the end of a fantastic season of European and international films, the CineClub team invites you to a screening of Melancholia (2011), Lars von Trier's latest film. To celebrate in style, we will not only offer you drinks and snacks, but resident DJ Matt Pole will provide good music to set the mood at Madou Auditorium from 6.30pm onwards. The film then starts at 7.30 pm. Entrance: FREE.

ANIMATION
The Brussels International Animation Film Festival, takes place in Flagey from February 17 to 26, 2012. Over one hundred and fifty films participate in the international competition (shorts and features, commercials, music videos). Other events: retrospectives, exhibitions, lessons, workshops for kids, the Futurama professional days, round-table discussions, numerous guests and concerts.

ARCHITECTURE
From February 7 until March 11, students of the Faculté d’architecture, d’ingénierie architecturale, d’urbanisme (LOCI) de l’UCL, Architecture Saint-Luc Brussels show their works in the Coudenberg. The exhibition takes place under the arches of the hotel of Hoogstraeten-Lalaing and presents a selection of the works realized by the students in first year of high school (panels and models).

ART
The Cy Twombly exhibition at Bozar presents more than 100 dry prints, generated from Polaroid photographs, which were selected in close cooperation with the artist himself prior to his death on July 5th, 2011. From still-life images of flowers and brushes, snap shots of his studio and museums interiors, details from his paintings to views of ancient temples and atmospheric landscapes, the ethereal and delicate photographs reveal the themes that have nourished the artist’s paintings, drawings, sculptures and graphic art.

MUSIC
In the context of the exhibition by Mexican artist Blanka Amezkua, the famous and beloved singer Silvia Abalos will present an evening of Mexican music at Art Base. Silvia Abalos' voice has an enormous range and flexibility, and she is an impressive performer in all styles. For the concert on Saturday February 25th, she has invited a number of guest musicians that match her strong dynamics and passion. Tickets: €12.50.

Fashion Show at the Parliament - More photos

At the beginning of February, trainees from the European Parliament put together a fashion show to raise awareness for HIV/AIDS charity NAM. A number of Belgium's up-and-coming talents (including Marko Galovic, Mansour Badjoko Wa Lileko, Deborah Rozenberg, Naomie Hamka,  and Harmony Tedde) showcased their latest designs. We have posted some additional photos by request.

 

Photography by Inga Vaiciakauskaite.

COMMENTARY - The geopolitical dynamics of the Syrian crisis

As a general perspective, one can say that the double arrogant veto of the two greatest global dictatorships (Russia and China) could be considered a "stimulus to enhance global democracy". Fine, but why would one claim so?

Let's consider the institutional architecture of global governance today, specifically the UN Security Council. In light of the bizarre governing criteria inside this council, a number of interesting questions arise:

1. Which instruments could be introduced to counter-balance a unilateral action taken by one of the permanent Member States of the UN Security Council (always within the UN legal framework)?

2. Which measures could be taken to offset any senseless decisions or those governed by personal interest made at the primary Global Security Watchdog institution (like Putin's/Medvedev's veto in favour of Assad)?

It would be hardly justifiable to consider the crisis in Syria as an internal affair; where Syrians are struggling against one of the most repressive regimes ever for democracy and freedom. One can easily claim that the geopolitical dynamics of the Syrian crisis are (de facto) an international concern that will be a principal factor in re-shaping the institutional order of the Global Governance System ex post. Oddio! and the Global Governance “Rationale” as well!

Intentionally or unintentionally Assad has smartly stated the following: Syria is not Tunisia, Syria is not Egypt, Syria is not Yemen and Syria is not Libya.

The USA, Europe, and Co. are now considering alternative instruments to address the Syrian crisis, for they  themselves are the ones who, directly or indirectly, paved the way for this “Primavera”, and this is why they are the most capable of creating alternative solutions for the rising challenges.

All scenarios are subject to discussion now; in Brussels, in Paris, in Berlin and in Washington (not in Doha). Pragmatically speaking, a Cold-war approach cannot be mimicked, for such a rationale is an intellectual monopoly of expired regimes (like the Assad’s). Therefore, it should not be surprising if a new Global Institutional Order evolves, where the Primavera Arab Governments and its “supporters” could be a cornerstone, for they have the appropriate surplus of liquidity to deploy (wherever feasible), and armed with Al-Jazeera to provide all the "rationale" (to a 400 million convinced audience) behind the neo politik. 

Science fiction can be easily digested vis-à-vis realpolitik, that’s obvious. However, underestimating the current indicators of the Syrian crisis is a serious miscalculation that could lead to an unfavorable future: a place where not many people would like to be.

By Mahmoud Bay

OUT & ABOUT - Week 7

Loumèn plays at Piola.libri on February 16, 7pm. Photo by Vaya Sigmas. 

CARNIVAL

BINCHE (BE): Carnival in Binche dates back to the 14th century and has been recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. The centrepiece of carnival in Binche are the Gilles, clown-like performers wearing strange masks from wax. This year, the main activities are organised on February 19, 20 and 21 February 2012. The parade takes off on Sunday, 3pm. And, as the Binchois say: "Il n’y a qu’un Binche au monde". NMBS offers a 50% discount on your train ticket.

AALST (BE): Also recognized by UNESCO is the Carnival in Aalst. In Aalst, people celebrate Carnival for a full week. The elected Prince Carnaval is allowed to rule the city from Sunday to Tuesday. At 1pm on Sunday, a large parade of groups and decorated floats will start their journey through the city. NMBS offers a 50% discount on your train ticket.

MAASTRICHT (NL): From the 19th of February until the 21st of February 2012 Carnival in Maastricht will be celebrated, also known as “Vasteloavend in Mestreech”. During this three day festival all people forget their boundaries and the city centre of Maastricht is filled with thousands costumed people. Sunday the 19th of February the annual parade takes place in the city centre of Maastricht. With dazzling decorated vehicles, costumes and music the Carnival celebrating people of Maastricht will go through the city.

COLOGNE (DE): In Cologne the "crazy days" of Carnival begin the Thursday before Rosenmontag and are celebrated with parties on the streets, in public squares and in pubs. Traditionally the gathering of the colourful Corps troops can be seen on Saturday at the Neumarkt. On Carnival Sunday school groups and borough parades take place all over the city. But the highlight of the street carnival is Rose Monday with a kilometre-long Carnival parade.

PARTY

Not a carnival fan? But you do like Snaps, Stockholm, Ikea, and blonde Swedish girls? Then the Swedish Spirit Party might be more your thing! On Friday night,  Eurocrats and Just a Night host another exclusive party at Anglican church-gone-club Spirito Martini. Julien d'Aléo will spin Commercial music, Disco, house, 80's and 90's. The dress code is "Nordic Twist". Doors Open 22:30.

Everybody wants to be classy or exclusive these days, but Filippo and Giorgio just want to have fun! Hotnights is back, and Filippo and Giorgio invite you to the first Hotnights party of the year in Cafe des Halles in St. Gery. Doors open at 9.30pm. Entrance: € 5.00.

PHOTOGRAPHY
Piola.libri presents Perceptions, a photo exhibition by Vaya Sigmas. Vaya's photography explores different states of mind: fantasising, masquerading and contemplating. Three states of mind that shape our perception of our surroundings and encounters and the appearances we maintain. The exhibition opens on February 16 with an acoustic show from Loumèn at 7pm.

CINEMA
Earlier this week, Galeries (previously Cinéma Arenberg) replaced the 10-year old projection screen in screening room 1, this means you can now experience an improved quality and a brighter image. Go to a screening of Albert Nobbs (2011), Go Go Tales (2007) or Sleeping Beauty (2011) and see for yourself! Tickets: € 8.00.

MUSIC
Two scenes, two days, two moods: the [PIAS] Nites play it both ways and plan to change the entire atmosphere from one night to another. With a complete transformation of the venue's space, [PIAS] Nites promises to be intimate and cozy the first night, and electric on the second. Friday, the evening augurs a monumental party thanks to the exclusive presence of M83! Location: Tour & Taxis. Tickets: € 35.00 presale / € 42.00 at the door.

Fashion Show at the Parliament

Trainees from the European Parliament put together a fashion show to raise awareness for HIV/AIDS charity NAM. NAM is one of the world’s leading sources of independent information on HIV and AIDS. The organisation aims to make information available free of charge to everyone, everywhere, at anytime.

On February 9th, fashion designers Marko Galovic, Mansour Badjoko Wa Lileko, Deborah Rozenberg and a number of other up-and-coming Belgian talents showcased their latest avant-garde and pret-a-porter designs. The catwalk was taken over by a mix of professional and stagiaire models. Member of Parliament and former Flemish Minister Kathleen Van Brempt was present to introduce the event.

 

By Eve Beurskens

Fashion Show at the Parliament

Trainees from the European Parliament put together a fashion show to raise awareness for HIV/AIDS charity NAM. NAM is one of the world’s leading sources of independent information on HIV and AIDS. The organisation aims to make information available free of charge to everyone, everywhere, at anytime.

On February 9th, fashion designers Marko Galovic, Mansour Badjoko Wa Lileko, Deborah Rozenberg and a number of other up-and-coming Belgian talents showcased their latest avant-garde and pret-a-porter designs. The catwalk was taken over by a mix of professional and stagiaire models. Member of Parliament and former Flemish Minister Kathleen Van Brempt was present to introduce the event.

 

By Eve Beurskens

Tels Quels Film Festival - Interview with Pascal-Alex Vincent

The 26th edition of Belgium's LGBT Film Festival lasts until February 11 and has a number of great features and documentaries on the programme this week. ESJ met with French director Pascal-Alex Vincent, whose documentary Miwa, a Japanese Icon (2010) was screened at the festival on Wednesday.

Miwa, a Japanese Icon is Pascal's first feature documentary and looks back on the 50-year career of Japanese entertainer Akihiro Miwa. As a young singer, Miwa popularized androgyny by fusing the masculine and the feminine. This evolved into performing as a woman and living off-stage as a man.

Pascal-Alex Vincent studied film history at University Paris III, and worked in Japanese film distribution in France. His first short film Baby Shark was nominated for the Palm d'Or at the Cannes Film Festival in 2005, and his animated short, Candy Boy was selected for Director's Fortnight at Cannes 2007. His first feature film, Give Me Your Hand (2009) was released in 15 countries, including the United States. The film was also chosen by New York's Museum of Modern Art to be showcased in their annual event, New Directors/New Films.

Pascal's second feature film, a horror/thriller called It's In The Trees (Dans La Foret), is currently in pre-production. The film has Francois Goeske attached as the male lead and will be shot later this year.

OUT & ABOUT - Week 6

Affordable Art Far Brussels, Feb 9 - 12 at Tour & Taxis

STAGE COMMITTEE

Let's party together one last time at the Euroball on Saturday! Being February, this Euroball is drawing inspiration from Carnival. Dress code: Ladies should don their favourite cocktail dress, and gentlemen a suit and tie. Conceal your face with a mask, or paint something exotic on your cheeks... It is sure to be a mysterious night! This year's ball takes place at Les Caves de Cureghem, the magnificent underground cellars. Tickets: €20.00 (non-AC) at the door. 

PARTY
Mombo Party is back again with another great party, this time the theme is masquerade! Friday night's Masquerade Night takes place at La Place, a place that will not let you indifferent. Dress code: wear a mask, or you may not get in.Music by DJ Mombo from Spain, DJ Deenie from Jordan and local DJ Boykos. Doors open at 23pm. Entrance: € 5.00.

FASHION
The trainees from the European Parliament have put on a Charity Fashion Show for an HIV/AIDS charity. On the catwalk there will be a mix of professional and stagiaire models, and maybe even some MEPs. The best of up-and-coming Belgian talent will feature the latest in avant-garde and pret-a-porter designs. So come show your support on Thursday and let´s round off our traineeship in style and fun. Where & When: European Parliament, Thursday 6.30pm.

ART
From February 9 until February 12, Brussels hosts the Affordable Art Fair, with (you guessed it right) affordable art! This fourth edition of the Affordable Art Fair welcomes a selection of more than 90 Belgian and international galleries at the 'Tour & Taxis'. It is the unmissable art event for anyone who wants to find themselves a perfect work of art. All works are sold for between €50 and €5000. Tickets: € 11.00 pre-sale, € 13.00 at the door.

MUSEUM
On Thursday, February 9th, Bozar gives you the opportunity to visit the new exhibition Per Kirkeby for free! The museum will be open until 9pm and you have the chance to be one of the first to discover the retrospective of one of the biggest Danish painters after Asger Jorn and his unexpected confrontation with the “forbidden” paintings of Kurt Schwitters. A tribute to nature, colours and freedom, which also opens the festival Let’s Dansk. Entrance: FREE

FILM FEST
The 26th edition of the Tels Quels LGBT Film Festival lasts until February 12 and has a number of great films on the programme. Worth seeing: Miwa : à la recherche du lézard noir (2010, France) on Wednesday at 7pm (Watch our video interview with Director Pascal-Alex Vincent), Joe + Belle (2011, Israel) on Thursday at 7pm,  Looking for Simon (2011, Germany) on Saturday at 9pm, and Zenne Dancer (2012, Turkey) on Sunday at 3pm. Location: Cinéma Vendôme, Ixelles. Tickets: € 7.00 / 5.00.

OUT & ABOUT - Week 5

Cupcakes at the 14th Brussels Vintage Market, February 5

MUSIC

Music lovers will get to revel in a mixture of different music styles at the ProPulse Festival at Botanique. World music, urban, jazz, blues, folk, pop-rock, rock, electro... ProPulse has it all. Suggestions: Noa Moon (acoustic), Crazy Lady Madrid (pop/rock/electro), Funky Bompa (funk/tropical), Joy as a Toy (pop/rock). January 30 - February 4. Tickets: €7.00 per day.

VINTAGE
On Sunday February 5th, vintage enthusiasts should head to K-Nal for the Brussels Vintage Market to partake in an afternoon of second-hand shopping. Scavenge for clothes, bags, hats, shoes, jewellery, belts, watches, gloves, scarves, glasses and more. And don't forget to try the cupcakes! Open: 12pm to 7pm. Entrance: FREE.

FRI NIGHT PARTIES
DG Devco has organized an Express Party to take your mind off job applications. DJ Mattia will be behind the decks. Location: Smouss Café. Entrance € 4.00.

For those who can't wait until Carnaval: there is a masquerade ball at the breathtaking club-in-a-church Spirito Martini. The former Anglican church was converted into a club and now features three bars and five seperate lounge areas. Le Grand Bal Masque by Elitist starts at 10.30pm and includes music by Fabio Simone & Juilien D'Aleo and violinist Milena de Barquin.

Check out La Demence at Club Fuse for the biggest circuit party in the Benelux. Two floors with different DJs, including Fabio White, Steven Redant and Elias. Entrance € 15.00 (22h-23h) / € 20.00 (after 23h) or €10.00/15.00 (when younger than 26 years).

Havana Club is hosting another Friends Party, which means one free bottle of Champagne if you come with a group of friends. Happy hour from 10pm to 12am.

SAT NIGHT PARTIES
A small and intimate 80s funk dubstep party at art studio Atelier Orange, right by Metro Botanique. From 10pm to 5am. Address: Rue Royale 172. Entrance: FREE.

From 23pm, (wannabe) hipsters will flock to Biberium near Central Station for the first Bitchy Butch of the year. The dresscode is whatever you want: gold leggings, strass, glitter, cardboard, your grandmother's dress, a panda-suit... anything goes really! Music by Dent de Lait, Celine Gillian and Horst von Shampoo.

Celebrate the below zero temperatures at Winter Sensation at Mirano, near Madou. They serve Lemon-Vodka sorbets for those who aren't cold enough yet. Happy hour from 11pm to 12am.

FILM FEST
On Thursday, the 26th edition of the Tels Quels LGBT Film Festival kicks off at 7pm with a screening of Going Down in LA-LA Land (2011, USA). Click here to read our interview with director Casper Andreas. Also worth seeing: Notre Paradis (2011, France) on Saturday at 7pm, Kill The Habit (2010, USA) on Saturday at 9pm (Watch our video interview with director Laura Neri), Romeos (2011, Germany) on Sunday at 7pm, and Mon Arbre (2011, France) at 9pm. Location: Cinéma Vendôme, Ixelles. Tickets: € 7.00 / 5.00

Tels Quels Film Festival - Interview with Laura Neri

This weekend, the 26th edition of Belgium's LGBT Film Festival kicks off. ESJ met with Brussels-born director Laura Neri, whose film Kill The Habit is set to screen on Saturday evening.

Kill The Habit is a dark comedy about three women trying to dump a body. The main character, Galia, finds herself in a bind after killing her unscrupulous drug dealer Lyle and calls on her long-suffering best friend Soti to help her out. The girls must find a way to cooperate long enough to avoid arrest and dump the body somewhere safe…

Writer, director and producer Laura Neri did a BA in Film Analysis and Screenwriting at the Université Libre de Bruxelles and then went on to do an MFA in Film Production at the USC's School of Cinematic Arts in Los Angeles. She has written and directed several short films which have screened at festivals worldwide, including "A Kiss on the Nose” which won over 15 awards.

Kill the Habit, which Laura wrote, directed and produced, is her first feature film and has screened at the Mexico Film Festival, Cinequest and the BFI LGBT Film Festival in London. On Saturday February 4th, at 9pm, Kill The Habit has its Belgian premiere at Vendome.

Art Truc Troc 2012

From January 27 to January 29, Bozar hosted Art Truc Troc, Belgium's largest contemporary art exhibition. The idea behind Truc Troc is that participating artists can exchange their artwork for goods or services offered by visitors. 

At the entrance, post-its were handed out so people could write down their (decent and indecent) proposals and stick them next to the artwork they liked.

   

It is now up to the artists to pick their favorite proposals and exchange the pieces of art.

By Eve Beurskens

'Going Down In LA-LA Land' to open Belgium's 26th LGBT Film Festival - Interview with director Casper Andreas

Actor and director Casper Andreas
© Mark Odgers

Next week, Belgium's LGBT Film Festival (Festival Lesbien Gay Bi Trans de Belgique) kicks off. The 26th edition opens on February 2nd with the screening of GOING DOWN IN LA-LA LAND, a romantic drama about a struggling actor with big dreams, trying to survive in Hollywood. The film was written, directed and produced by Swedish-born Casper Andreas. 

Another one of Casper's films, the comedy VIOLET TENDENCIES, will screen during the film festival's opening night as well. In addition to producing and directing, Casper is also an actor and he stars in both films. 

ESJ talked to Casper about what it is like to act in your own films, about adapting the screenplay for GOING DOWN IN LA-LA LAND, the industry in Los Angeles, and his next project – a period film about a Swedish king and his male lover.

Are you excited that both GOING DOWN IN LA-LA LAND and VIOLET TENDENCIES are screening at the opening night of the Festival Lesbien Gay Bi Trans de Belgique? 

Naturally I'm thrilled! It's a great honor to have two of my films on the festival programme. 

The screenplay for VIOLET TENDENCIES was written by Jesse Archer, whom you also worked with on A FOUR LETTER WORD. Did he ask you to direct this film or was it you who proposed the collaboration? 

Originally he asked me to co-write the script with him. It's kind of a spin-off from A FOUR LETTER WORD that we wrote together, which is a spin-off of SLUTTY SUMMER. I was busy making another film at the time so I told him to go ahead and write the script himself, and that if it turned out any good I'd direct it. This offended him greatly, naturally, so once the script was finished I had to beg him to let me direct it [laughs].

Jesse Archer (Luke) and Mindy Cohn (Violet)
in VIOLET TENDENCIES

VIOLET TENDENCIES is about a 40-year old fag hag trying to find love, does Jesse Archer hang out with a lot of 40-year old fag hags or where did the idea for the film come from?

He does indeed! The film was inspired by his friend Margaret Echeverria, who plays the character Audrey who gets married in the first scene. Audrey also had a supporting role in A FOUR LETTER WORD and Jesse's idea was to take a character like the fag hag who often is so marginalized even in gay culture and put her front and center. Jesse also useed to say that he wouldn't have survived high school if it wasn't for his fag hags who were there to protect him. So, the film really is a love letter to these women everywhere -- though just in case someone takes offense at the portrayal of Violet -- she is an over-the-top character in an over-the-top comedy and certainly not supposed to represent all fag hags.

Casper Andreas (Marcus) in VIOLET TENDENCIES

Marcus and Luke, two characters from SLUTTY SUMMER, reappear in this film. Why were they brought back?

Well Luke, played by Jesse Archer, is making his third appearance, probably because Jesse wrote the script. My character Marcus from SLUTTY SUMMER was not in A FOUR LETTER WORD since I wanted to focus just on directing with that film. But we both thought it would be fun to bring him back in this one. The three films are all about a group of New Yorkers, and for each film we have introduced a lot of new characters as well. It was a lot of fun bringing back some of the earlier characters and see what they would do next.

Do you think people can relate to the story?

Yes absolutely. And I'm not just talking about straight women who spend all their time with gay men. Though Violet is front and center in the film, the other storylines include gay men dealing with monogamy and whether or not to have kids. Ultimately the film is about being true to who you are and about how we as gay people often have to create our own families.

Mindy Cohn (Violet) in VIOLET TENDENCIES

The role of Violet seems perfect for Mindy Cohn. Whose idea was it to cast her? Did she agree right away?

Originally we had planned to cast Margaret Echevierria, who inspired the script in the leading role. But then we were encouraged to go after "name" actresses. We approached a few people before a friend suggested Mindy Cohn in the very last minute. Mindy was a teenage star on the American TV show THE FACTS OF LIFE and a lot of gay men in the US, having grown up with her on that show, LOVED the idea of her in this role. So casting Mindy certainly helped getting the film more attention in the US. Though we did some rehearsals via Skype before Mindy arrived on the set in New York (she lives in Los Angeles) I didn't get a chance to even meet her beforehand. So of course I was a little nervous about how it would  turn out. But Mindy just threw herself into the role and we could tell right away that she was just perfect as Violet.

Matthew Ludwinski (Adam) and Michael Medico (John)
in GOING DOWN IN LA-LA LAND

How is GOING DOWN IN LA-LA LAND different from your previous films?

I'm mostly known for my romantic comedies, such as THE BIG GAY MUSICAL. I've made one film though that was quite different: a pretty dark relationship drama called BETWEEN LOVE & GOODBYE. I call that my European film [laughs]. GOING DOWN IN LA-LA LAND is somewhere in the middle -- it still has a lot of comedy, but mainly of the dry and black kind. It also has a lot of drama so I think of it as a dramedy.

You wrote the screenplay for GOING DOWN IN LA-LA LAND, which was based on a novel by Andy Zeffer. When you read the book, did you know right away that you wanted to adapt it into a screenplay?

I liked the book and I did think right away that this would lend itself well to a movie. It had a lot of great characters and an interesting plot. Since I myself have lived the life of a struggling actor in Los Angeles for a few years about a decade ago, I certainly could relate to a lot of the struggles Adam is going through and what it's like being a starving actor in LA, where being an unemployed actor makes you feel like the lowest of the low. The leading character, Adam, ends up dabbling in porn and prostitution and I also thought it was interesting to explore why this handsome young man, whose goal it is to establish himself as an actor, would go down that road? Why would he think it would be a good idea? So I tried to depict his gradual descent into that world in the film.

Did you ever receive any proposals to get into pornography?

No, I didn't. I had a neighbour for a while, though, who was giving massages with happy endings out of his apartment, and who tried to convince me that it was a much better day job than waiting tables. I was also offered a job doing nude house cleaning for guys who liked having someone being naked while cleaning in their apartments! I declined.

Do you think it is common for gay male actors to end up working in the adult entertainment industry?

Well it certainly happens. The book is actually based on a true story. But I think most people who are serious about an acting career would know to stay away from it. I think Adam in the film ends up getting some of the attention and adulation that he is seeking -- and that, probably, is part of the reason for why he wanted to be an actor in the first place -- from the adult entertainment industry. I think that is a major reason actually for why anyone would get into that business.

Matthew Ludwinski (Adam) and Allison Lane (Candy)
in GOING DOWN IN LA-LA LAND

Did you have to make any major changes to the story in order to adapt it into a screenplay? What did you have to leave out or change?

Well, I told Andy Zeffer right away that I only wanted to do it if I had full creative freedom. Having lived in LA myself I also wanted to incorporate some of my experiences in the film, so sometimes I added things that were not in the book. Granted, a lot of the plot of the book had to be excluded, but that is always the case when it comes to book-to-screen adaptations. I ended up focusing on the story-lines that were the most interesting  to me. And although I certainly didn't have to change the ending -- the book has a great ending also -- I came up with an ending that I liked even better. Despite the many changes I  still feel that the film captures the book well and many people who have read the novel have also told me so after screenings.

GOING DOWN IN LA-LA LAND is the first film that you shot in Los Angeles. Is the work environment in Hollywood different from the one in New York?

Well I don't think I ever will make a low-budget film in LA again. It's not a very film friendly town for independent films. In New York, the city and state gives you lots of incentives for shooting there -- tax breaks, free permits, free parking, free access to many city locations and parks etc. In LA they charge you for everything. Plus no one is excited about helping out making a film just for fun. In New York we have been able to scape together so many resources from friends: they would show up to be extras in a scene, lend us their apartments to shoot in, lend us clothes or props and so on. So I much prefer shooting in New York. It's also easier since that's where I live [laughs].

Just like in VIOLET TENDENCIES and SLUTTY SUMMER, you are not only the director but you also act in the film. I imagine it to be quite difficult and time-consuming to direct yourself. Why did you decide to act in your own films? Will you do it again in the future?

My first love is acting so the actor part of me wants a part in my films. But it is very stressful to do double duty and it makes my job as director much harder. That is also why I made three films that I'm not acting in. I really loved playing Nick in GOING DOWN IN LA-LA LAND, though. It was a great character to work on and I had a lot of fun; so yes, I might consider casting myself again sometime if there is a role I'm right for.

Matthew Ludwinski (Adam) and Bruce Vilanch (Missy)
in GOING DOWN IN LA-LA LAND

I spotted Bruce Vilanch in the trailer. I love him! Did he write his own lines or was his dialogue already in the script?

Bruce is so funny! His dialogue was in the script but he also ad-libed a lot of fun stuff. Some of it we were able to keep but some of his funniest stuff we actually had to cut out because it was too over the top for the tone of the film. It will certainly end up on the DVD extras though.

Would you ever consider coming back to Europe to make a film here?

I love that question because I actually just got the film rights to a Swedish novel based on a true story about a former Swedish king and his male lover. You are actually the first person I tell about this! I plan to make this film in Sweden if I can get the funding together. It's a period film so I will need quite a big budget, and it might take a while to make it happen, but I'm very excited about it.

What else are you working on right now?

In addition to my Swedish project, I'm looking to get hired to act and to direct some bigger budget stuff; Film or TV. So far I've been producing all my films myself and I have made them all on very small budgets. I'm kind of burned out with that. I would like to just come in and direct something and not worry about all the business stuff. I'm attached to directing a wonderful script called OVER THE RAINBOW but not sure when it will happen since the producers are still looking for funding.

If people only have time to see one of your films at the Festival Lesbien Gay Bi Trans de Belgique, which one should they go see; VIOLET TENDENCIES or GOING DOWN IN LA-LA LAND?

Well GOING DOWN IN LA-LA LAND is my newest film so that is the one I'm most excited about. Plus, since I also wrote the screenplay, I think I'm a little bit more attached to it, compared to Violet Tendencies. Shh,  don't tell Jesse [laughs]. But I would highly suggest that everyone makes an effort to go and see both of them. They are both a lot of fun!

By Eve Beurskens

Commissioner Šefčovič balances relations between institutions

Maroš Šefčovič is Vice-President of the European Commission, responsible for the inter-Institutional portfolio. The Slovak Commissioner talked to Lucia Mrázová and European Stagiaires Journal about his current agenda, the past and future of the Commission, and about ensuring all citizens that the Commission does not distance itself from any of the Member States or any other institution.

Despite your young age, you have already had a successful diplomatic career, do you have a recipe for how to accomplish these achievements or how to become a Commissioner?

Maroš Šefčovič, Vice-President of the European Commission

Actually, I am not the youngest Commissioner; we had several others even younger. That I became a Commissioner at a relatively young age is very much related to the transformation that Slovakia went through. I started working for the Slovak Ministry of Foreign Affairs in 1993 and I was previously  a diplomat of Czechoslovakia. A very unusual thing happened to me and within a very short period of time, I had several postings in Africa, in Canada, in Israel and in Belgium. With the accession process of Slovakia to the EU, my work was  related to EU affairs. Being deeply involved in this process, I managed to build up a broad network of people in Slovakia and in Brussels. All this led to my appointment as Vice-President of the Commission, about fifteen years after I became involved in EU affairs.

What are the main challenges of your current agenda and daily life?

We have a lot of challenges. Especially this week, with the European Citizens Initiative platform, which marks a new beginning for the European participatory democracy. We are implementing new ways of communication between institutions and citizens. On one hand, it is a very exciting project and we encounter a lot of enthusiasm. But we also see a lot of scepticism. Notwithstanding this, we are looking forward to introduce this new tool that is supposed to attract young people via social media.

As you have mentioned, the European Citizens Initiative platform is a new tool in European democracy. How does the Commission intend to assure its availability as well as its visibility?

The process needs to be very simple. We wish to assure that the European Citizens Initiative platform keeps its citizen character, since it is an initiative for citizens. Therefore, we want seven people from seven countries to be able to register an initiative easily .

Some of the expenses of launching an initiative lie on the initiators, for example translation costs. Doesn't that discourage average people from submitting an initiative and rather allow bigger fishes to take part?

It will strongly depend on the activity of the citizens. Our task is to make it as simple as possible for them. Even the registration form is very simple and is restricted to several hundred characters. The other information needed is also relatively straightforward. We simply did not want to limit a room for initiative, thus translation will be a responsibility of the initiator. Obviously, when we notice that there is an elementary or essential issue with the translation, the Commission will help and notify the initiators. But we do not want to interfere in the registration itself, simply because it could evoke further questions as to who are we helping, and who we did not help.

Another current issue that we follow, especially in Brussels, is the discussion on Staff Regulation that you are in charge of. We have seen protests, we have seen frustration. How does this matter proceed?

Today, the process goes on within the Commission mostly. On May 30^th, the Commission took note of the proposal of the staff regulation reform. And since then, we have launched a social dialogue with the staff union. We participated in about 18 working meetings and I have met with representatives several times. I believe it was beneficial for both sides. After all, the Commission officially approved this proposal at the December session. The proposal was sent to legislators, to the Parliament and to the Council, and currently we are involved in negotiations with the Parliament and the Danish Presidency on how to speed it up. By the end of this year, the salary method will expire, thus we try to adopt the proposal this year.

During times of crisis and with the current political situation in Europe, the Commission is often accused of being more politicized than ever before. Do you agree with this perception?

The Commission faces different accusations, depending on who you are talking with and which political opinion they have. The Commission is an institution sui-generis, it is a political body with pretty strong quasi-jurisdictional powers. We are obliged to fulfil those tasks included in the Treaty. I have to say that during college discussions, you would have difficulties to recognise political background of the speaker out of the performance. Most decisions are adopted unanimously. I think this stands for every commissioner, the main motivation is that his or her proposal fulfils the general interest of the EU. I believe that this switch was inevitable but at the same time, the Commission fulfils all tasks of regulator and technocratic manager of the European matters and it constantly gains new and new competencies.

As we have mentioned your young age, would you like to remain Commissioner or would you prefer to become the President of the Commission in the future?

Indeed, this question will come up in 2014. We will see, as we are currently just at halftime. The job that I have is extremely interesting and I am glad I have this opportunity here.

Would you be interested in any specific portfolio? Maybe you dream about something related to your personal preferences…

Today, I am just dreaming about how to deal with my current portfolio. This discussion will really come up in 2014 and we will see how the position of the Commission as such will change.

By Lucia Mrázová

The European Institutions: Multiculturalism homogenised?

Four months ago, as I gazed across the sea of faces at the opening conference of the Winter Traineeship, I was taken aback. Not by the considerable number of stagiaires sat in Flagey’s auditorium, but rather by the homogeneity of their appearance. In spite of their diverse origins, both within and outside of the European Union (EU), I could discern only one non-Caucasian among the crowd. Two days ago, while forcing down some overcooked vegetables in Charlemagne’s cafeteria, I casually undertook the same exercise. It would appear that the fonctionnaire community does not offer much more of cultural mosaic: I saw one black man.

In an institution that prides itself on its multicultural composition and whose very foundations are built on the union of different peoples, the visible lack of ethnic diversity at the European Commission (EC) is, for me, highly problematic. Indeed, the very perception of the EC as a multicultural organisation should be reconsidered. While it is certainly true that the EC recruits from 27 different countries, each state is almost invariably represented by individuals who fall into their country’s dominant ethnic group.

This is unrepresentative of the ethnically diverse Europe that we live in. More than 3 million Britons are of Indian origin; a large number of French citizens are of North Africa ethnicity; and the Netherlands has a large Turkish community. No European country is painted white, so why is the Commission and other European Institutions generally so?

It would seem that either European citizens from ethnic minorities are not applying for professional positions within the institutions, or they are not succeeding in passing the concours. While historically, the lower educational level of citizens from certain ethnic minorities would have impeded their ability to apply and succeed at the concours in the past, this is changing. Students of Indian background in the UK for example, constitute some of the highest achievers. As more is done on a national level to address historical educational disadvantages of ethnic minorities, the European Union has role to play in ensuring that the European institutions’ personnel reflect the demographic makeup of Europe today. In order to achieve this, the European Personnel Section Office’s (ESPO) must incentivise qualified individuals from ethnic minorities to apply.

While ESPO places ‘diversity’ among its six values, its adoption of a non-discriminatory recruitment process denies the possibility affirmative action schemes. Member states are strongly divided in their policy on positive discrimination in public sector recruitment. While the UK government runs a summer internship programme that only black and minority ethnic (BME) Britons may apply for, Slovakia’s Constitutional Court has declared that providing advantages for people of an ethnic or racial minority group is against its Constitution. EPSO’s hesitance to address the ethic imbalance in the European Institutions may therefore be explained, to a certain degree, by the vastly differing domestic approaches to positive discrimination.

Nevertheless, whether positive discrimination is employed or not, the case for a more heterogeneous European governance is clear. If the EU is to achieve its objective of ensuring the well-being of all European citizens as set out in the Lisbon Treaty, there must be representation of these citizens in key decision-making positions. It might benefit the EU to take a step back and remind itself of its own motto for a moment...

Unity in diversity.

By Sonia Jordan