Director, International Press Institute (IPI)

David Dadge, Director, International Press Institute (IPI)

Councillor, Professor Bauer, Distinguished Guests,

Thank you for inviting me to deliver the keynote speech at the Erasmus EuroMedia Awards 2009.

Before I discuss my theme, “A Free Media for a Free Europe,” I would like to say a few words about the International Press Institute:

• IPI was formed in 1950 when a group of editors decided to create an organisation that supported Article 19 of the Universal Declaration of Human Rights.

• We are a membership organisation composed of editors, media executives and leading journalists with 16 national committees in countries as varied as the USA, Nigeria and Nepal.

• Our membership is drawn from such prestigious media organisations as Der Standard, the British Broadcasting Corporation, Deutsche Welle, South Africa’s Mail and Guardian, the Neue Zürcher Zeitung, the New York Times and The Hindu.

• Our mission is to “strengthen and defend freedom of the press”, through press freedom missions, advocacy and projects.

Ladies and Gentleman, it is now twenty years since the fall of the Berlin Wall, an event of such importance that it has shaped and defined the Europe that we know today. This anniversary will be widely celebrated and we are right to do so; after all, it was a time when the desire for freedom brought down not only the “walls of separation”, but an ideological system, which had stood since the Second World War.

We should also remember that the media profession was at the forefront of this freedom movement. The journalists of Russia, Poland, Hungary, the then Czechslovakia, and many other countries courageously faced down an authoritarian system that refused to acknowledge the individual’s right to question the world and to dissent from the accepted view.

The views of the writer and Dramatist Albert Camus are perhaps important here. Speaking about the media, Camus said, “Free press can, of course, be good or bad, but, most certainly without freedom, the press will never be anything but bad.”

The inheritors of that critical tradition still exist in the countries of Eastern Europe, but also in Western European where journalists faced intimidation and harassment.

It is my belief that society has a democratic space where conversations, debates and opinions are expressed. With their desire for accurate, fair and balanced information and editorial independence journalists are the defenders of that democratic space, and it is thanks to media organizations such as the Novaya Gazeta in Russia, Gazeta Wyborcza in Poland, Cicero in Germany, and Le Monde in France, to name just four, that today in Europe the tradition of a free media remains strong.

However, twenty years on from those momentous events, although the walls have come tumbling down, and Europe is free, there are many challenges still standing.

First, according to IPI’s Death Watch, 18 journalists have been murdered in Europe since the beginning of 2007; 10 of them in Russia. The other European countries where journalists have been murdered are Georgia, Croatia and Turkey. These figures are evidence that while we can today celebrate a free Europe there is often a terrible price to be paid for the defense of those freedoms.

Elsewhere, despite repeated judgments handed down by the European Court of Human Rights, stating that politicians must accept greater criticism than ordinary citizens, there are politicians across Europe who continue to talk and act as if they deserve less criticism and greater protection.  The governments or former governments of countries such as Slovenia, Slovakia, Turkey, and Italy must acknowledge that a critical media has a right to hold politicians to account in the public interest.

In other European countries, it is a vacuum at the political level that brings the media into conflict with governments. Where opposition parties are weak, the media are inevitably pushed into the position of acting as the opposition. Such overheated media environments, exacerbated by crises, can lead to an irretrievable breakdown in the arms-length relationship between politician and journalist.

Other problems that journalists face in Europe include telecommunication laws that jeopardize the right of journalists to maintain the confidence of their sources, the impact of court cases in some European countries that have compelled journalists to provide details of their sources, and the ongoing discussion regarding religion and journalism that first arose during the Danish cartoon crisis of 2006. All of these are challenges that must be faced by the media, but I want to use the remainder of this speech to concentrate on one single issue, which is I believe an important one–the impact of social media on the media profession.

Before starting, let me say that I fully support social media. It provides a plurality and opportunity for dialogue undreamed of in previous times. The former Prime Minister of Denmark, Anders Fogh Rasmussen, described Denmark as the “conversation society” and I believe that this should be the aim of all European societies.

Nevertheless, these are challenging times for a news media hit hard by drastic declines in advertising and circulation coupled with the problem of how to monetize internet websites. The result is a shrinking news media reeling from one crisis to another and uncertain about the future of news.

Obviously, the news media used social media, particularly Facebook and Twitter, to great effect in Iran during the velvet revolution and the attacks in Mumbai. We should also not forget the use of mobile phone cameras during the unrest in Tibet and Burma.

I take no issue with social media as a tool for journalism; my concern is with the pervading belief that the journalism profession will, in some sense, become the “curators” of these new developments. The term “curator” suggests that, much like a popular museum, journalists will fill their virtual space with interesting objects that promote dialogue and conversation; using their specialist knowledge to highlight the most newsworthy issues. This is an interesting idea, but I am surely not the only one to say that it raises a number of problematic issues.

My first reaction is to say, “Where is the editor in this future news dialogue?” “Where is the guarantee—through editorial independence—of fairness, accuracy and balance?” In effect, “Where is the assurance of the credibility of information?”

To quote the late United States Senator Daniel Patrick Moynihan, “Everyone is entitled to their own opinion, but not to their own facts.” My fear is that we are moving to a news future in which opinions will replace facts; that even though there will be many voices—many opinions—the actual dialogue will be poorer. That, without an independent media, individuals and groups will exist within the narrow silos their own views and perhaps prejudices. This marks, in my view, not the start of a more plural society, but the actual retreat from a common society.

In case there are any members of government in the audience, who are perhaps looking forward to sidestepping a critical news media and to engaging the public solely through social media, I can only say that, you should be careful what you wish for, because it might one day become true!

Why? Because if the independent news media withers in the face of social media, European governments will find it more and more difficult to engage with the public as a whole. Whether governments like it or not, an editorially independent media guarantees the credibility of the information about their own activities. If this were jettisoned in favour of direct access, the public’s distrust of governments and institutions would inevitably erode the credibility of the information the governments were seeking to deliver. In my opinion: it is the fact checking, the editorial independence, the commitment to balance and context which keeps the cynicism at bay, enabling a truer reflection of the government—positive or negative!

In addition, if the news media were drowned in a host of contrasting voices, this loss of what I call, “the guarantee of credibility” might leave societies prone to conspiracies and views that could be harmful. I do not argue against the right of freedom of expression, but it is the news media which challenges conspiracy theories; it is the news media that delivers factually verifiable information.

If this is a problem, what is to be done? Well, for many different reasons, the media is not always good at discussing itself. It is sometimes viewed as special pleading, but I think the future of news is so important, that the media must start to make the case about its fundamental role within society.

I started my speech by talking about “A Free Media for a Free Europe” but I end it by arguing that, you cannot have a free media without a media; indeed, I would go further, a free Europe depends on the media.

I would also argue that, if we are to avoid a multitude of opinions replacing facts, we must appreciate the importance of the independent news media. If not, we run the risk of realising its importance, only when it is lost. I thank you very much!

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Laudation:
Laudator: Thomas A. Bauer, University of Vienna,
ESEC President

A whole century of Europe, bounded in a 35 pieces serial documentary is not just a challenge of methodology of historical and medial narration, it is a huge challenge to the script writers, to the film directors and last not last to the producing organization. This challenge has been based by a book, conceptualized and written by Geert Mak, an ingenious Dutch historian and now professor emeritus, who undertook the work to reassess the history of the fragmentized continent since this history is the cultural, political and symbolic environment of any country in Europe. Through this media production “In Europa” the Netherlands represent any other European country’s comparable situation. Each of our countries is effected from beauty and ugliness, from magnitude and weakness of the continent’ diversified way of life, with which and against which all of them claim their identity, individuality and pride.

“In Europe” is a topology of men, of societies, regions, cities and eras within an arena of discrepancies, antagonisms, political dogmas and societal heresies and nevertheless it is the search for the ever far horizons of heaven on earth, for the ever unsatisfied hope for brotherhood and togetherness, for embracing solidarity, peaceful neighbourhood, cultural openness and human dignity.

“In Europa” is a testimonial media of stories and discourses, performing itself as one of the abertausend steps to set the signature of reasonability below so many pages of craziness and to recall the continent to its own competence since it has been for a whole century the arena of collapsing empires, uprising dictatorships, of absurd wars, of merciless destruction and amok running devastation, of barbarous mass murders, of political madness and ideological dementia - and in contradiction to all that and maybe in response to all that the stage for reconciliation, for reconstruction, for revolution and – as we saw twenty years ago -for reunification.

“In Europe” is, what an educational media within the context of European self-reflection has to be like: a discourse on history as a history of discourses in order to discover critical reflection as an agency of mindful thoughts on what is possible if it is necessary. Next to the 35 units of the programme that leads from the beginning of the century to its end, the stories cover central locations and central persons as well peripheral zones in east and west in north and south. The broadcast program was accompanied and made off by a broad debate, the “In Europa”-Salon Podcast, which still can be recalled in the internet. All this technical and logistic sophistication shows the educational mission and ambition. That is, what a public broadcaster is made for: VPRO, one of the most initiative and alternative public broadcasters in Europe, has taken the challenge and challenges in that way Europeans who maybe be about to forget or even to neglect the power of history. VPRO, standing for all people and experts who have brought in their competences, ideas and contributions into that media programme therefore deserves to be assessed as the best among all submissions for the Erasmus EuroMedia Awards 2009 and therefore the European Society for Education and Communication is proud to deliver the Erasmus EuroMedia Grand Award 2009 to VPRO for the TV documantary “In Europa”.

Vienna, October 16, 2009 Thomas A. Bauer, ESEC President

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Laudation:
Laudator: Joachim Thoma, Vice Chair of the “Gesellschaft für Pädagogik und Information (GPI)”

„Antisemitismus“ gilt nach wie vor als ein Thema, das als besonders schwierig zu unterrichten ist.  Diese CD-ROM eröffnet neue Perspektiven für die politische Bildung. Sie trägt mit den sorgsam ausgesuchten, informativen Materialien, die unter Verzicht auf moralisierende Darstellungsformen sachlich aufklären, zur eigenen Urteilsbildung der Jugendlichen bei.
Das Lernangebot - didaktisch gut strukturiert und formal dem Thema angemessen gestaltet - eignet sich zur selbstständigen Auseinandersetzung mit der Gesamtthematik. Aber es ist wirksamer, wenn es im Unterricht in Lernarrangements eingebettet wird, die dem Thema und den Lerninteressen der Jugendlichen entsprechen. Hierzu bietet die CD-ROM nicht nur die notwendigen multimedialen Dokumente, sondern auch die Werkzeuge zu einem handlungsorientierten Unterricht.
Die Jury hebt als besonders positiv die didaktische Entscheidung hervor, über den Einstieg „Vorurteile“ die allgemeine Basis zur Auseinandersetzung mit dem Antisemitismus zu finden. Sie würdigt mit der Verleihung des digita den Mut und die Leistung der Produktverantwortlichen, dieses materialreiche Medium für den Unterricht in der hier gewählten Weise zur Verfügung zu stellen.
Anti-Semitism is still a subject that is particularly difficult to teach. This award-winning CD-ROM opens up new opportunities to educate and to face young people with this sensitive subject and thus new prospects of political education. With its carefully selected and informative teaching materials that do without moralizing elements the CD-ROM enables young people to form judgements of their own.

The learning programme – didactically well structured – is suitable for a critical analysis of subject matter. This is even more effective when the teaching materials form part of the learning arrangements that match the learning interest of young people. Not only does the CD-ROM offer the necessary multimedia documents it also provides the tools for activity-based teaching.

As way to the subject “prejudices” the educational decision to deal with Anti-Semitism deserves particular mention. The Erasmus Award is a recognition of this achievement of providing detailed and informative materials that come to terms with a sensitive subject.

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Laudation:
Laudator: Thomas A. Bauer, ESEC president, University of Vienna

The Scar is a TV documentary that reflects the situation  that emerged after the iron curtain collapsed and two social landscapes having been apart for long time got reunified and brought together again families, neighbours and peers. This transformation confronted the people with new perspectives, even great hopes, but also caused a habit of mutual reservation and diffuse distance. The Scar analyses that situation in the way of telling stories about the people who lived along the curtain and still lives there feeling that the social coherence is stigmatized by a somehow sceptic sentiment .

The intention of the film is to travel those 7500 kilometers from Stettin to the Balkans on each side of the former border to meet its population and to search for their aspirations and impacts for the future of Europe.

The ESEC jury has assessed the documentary and was convinced of the way how the film drew the bow from single fates to a general sensitive and touching analysis of the post-iron-curtainn challenge of living together. Therefore ESEC is proud to dedicate the Erasmus EuroMedia Special Award for Discourse and Politics 2009 to The Scar / La Cicatrice, realized by Dominique Maestrali and David DescramÈ, produced by Calisto Productions Paris.

Vienna, October 16, 2009

]]> http://www.univie.ac.at/esec/php/wordpress/?feed=rss2&p=437 http://www.univie.ac.at/esec/php/wordpress/?p=432 http://www.univie.ac.at/esec/php/wordpress/?p=432#comments Mon, 19 Oct 2009 12:16:55 +0000 andreas http://www.univie.ac.at/esec/php/wordpress/?p=432 by Focusfilm receveing Special Award for Aesthetics & Design:

Anm: A mistake in the Laudation, the filmaker’s name is: Michael Pfeifenberger.
We apologize.

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Laudation:
Laudator: Thomas A. Bauer, ESEC president, University of Vienna

Josef Winkler – der Kinoleinwandgeher is one among other documentary films of Carinthian artists and authors, where an ambitious filmmaker, Michael Pfeifenberger, and an unsettling author, Josef Winkler, find together for a congenial creation reflecting a topic, which is Josef Winkler’s theme of life: the death between aspiration and rebellion. It is not only a surrealistic ambition to perambulate all the cults of dead and death rituals in Carinthia, in India or in Mexico, but it is much more the literary and – in parallel – the cinematic exegesis of the fear of a loving and living god. Michael Pfeifenberger interprets by means of cinematic aesthetics Josef Winkler’s interpretation of his catholic childhood in a closed mind environment. Through literature he breaks out and wraps the central symbols of the central topic of any religion: which is dead as a punishment of mislead and mistaken life by means of symbolic, cinematic and aesthetical deconstruction. That’s, why blood is the symbolic carrier of the message all over the film: blood is the hybrid reference for death and for life. The plot of the film describes the ambivalent relationship between nostalgia and distance, as well between desire and fear of an archaic re-legion and is insofar a typological metaphor of Europe’s philosophical, aesthetical and ethical discourse on religion throughout its history.

Pfeifenberger’s film essay on Josef Winkler’s obsession has come to an aesthetical translation that could not be done better, more sensitive and more empathetically. The film language balances the deepness, darkness and eartheness of contents and messages with subtle and poetical perspectives,
seizes horror with serenity and heaviness with easiness and thus considers the common in diversity of death cultures. Gerhard Lapan’s camera work and Dominik Achatz’ cut fit into that dramaturgy and find the congenial language of camera and cut and at the end of the day all of them, together with Josef Winkler’s aphorisms, they have constituted an example of European poetry on European poetry. Therefore the European Society of Education and Communication is proud to award the film essy Josef Winkler- Der Kinoleinwandgeher  the Erasmus EuroMedia  Special for the outstanding film-aesthetical interpretation of a complex and essential discourse.

Vienna, Oct. 16, 2009                  Thomas A. Bauer, ESEC President

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Laudation:

Laudator: Univ. Prof. Dr. Thomas A. Bauer, University of Vienna
ESEC President

kreuz + quer is a TV serial program, produced and published by the editorial department Religion  of the ORF, Austrian Public Broadcasting since a dozen of years, which always has been a platform for wide ranging and open perspectives, for sophisticated discourse on religiously located questions of individual and collective way of life.  As an editorial team kreuz + quer soon has reacted to the manifold changes of paradigms in society, culture, science, religion, churches and theology with an editorial arrangement that identifies kreuz + quer not only as a platform-for but also as a platform of diverse positions, not only model-of, but more a model for public discourse, which then definitely is, what a public broadcaster should look like: a media program with public value since and when it is an agency of diversity, of dialogue and – in times of migration, xenophobic climate and social discrimination – a virtual house for peaceful encounter, for social reconciliation and for societal  re-unification, not looking to the economic outcome.

kreuz + quer  successively has performed the function of a seismometer analyzing, pronouncing and preventing break lines in society, churches and religions, but also intervening with unmistakable interpretations on the moments of danger, challenge and chances. With many particular productions kreuz + quer faces up to the cultural and structural change of religion and to the change in the relationship between of the religion, never in temptation to become itself a stage for media-religion as we can observe across the globe the media business with diffuse fear and irrational spirituality. kreuz + quer has developed an editorial performance of interreligious, cross-religious and cross-cultural dialogue that is predicated on journalistic and media competence in all dimensions of that concept: capability, capacity, responsibility, aesthetics and ethics. For that the European Society of Education and Communication is proud to award the editorial programme kreuz + quer in respect to the necessity of recent times a separate honour and tribute by the Erasmus Award 2009 for Inter-religious Dialogue.

Vienna, Oct. 16, 2009                  Thomas A. Bauer, ESEC President

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Laudation:

Laudator : Bernd Mikuszeit, Geschäftsführer des Instituts für Bildung und Medien der Gesellschaft für Pädagogik und Information

DVD Zeitenwende 1989/90: Von der friedlichen Revolution zur Deutschen Einheit
FWU Institut für Film und Bild GmbH, 82031 Grünwald;
Bundesstiftung zur Aufarbeitung der SED-Diktatur
Die DVD “Zeitenwende 1989/90: Von der friedlichen Revolution zur Deutschen Einheit” ist ein beispielhaftes didaktisches Multimediaprodukt. Das Programm wendet sich an einen breiten Adressatenkreis in der Schule ab Klasse 8 und in der Erwachsenenbildung.
Hervorzuheben sind die anschauliche Informationsvermittlung,die Anregungen zur Auseinandersetzung mit Ursachen und Verlauf der friedlichen Revolution in der DDR und die Beschreibung des Weges zur deutschen Einheit. Dabei bleibt das Programm nicht stehen. Die DVD befasst sich mit der Fragestellung: Und heute?
Die Programmstruktur ist klar gegliedert in:
- Aufbruch
- Die friedliche Revolution
- Der Weg zur Deutschen Einheit
- Und heute?
Die DVD enthält Dokumentarfilme, Nachrichtendokumente, Zeitzeugeninterviews und Bildmaterialien unterschiedlicher Art. Das Angebot wird vervollst‰ndigt durch didaktisch-methodische Arbeitsmaterialien wie Arbeitsbl‰tter, Projekttipps, Medienkommentare, Begleithefte und Links.
Der handlungsorientierte lerntheoretische Ansatz, das wissenschaftsorientierte Vorgehen und eine klare Gestaltungsstruktur ¸berzeugen ebenso wie das informativ anregende Begleitmaterial.
Die DVD “Zeitenwende 1989/90 ist ein ausgezeichnetes Multimediaprogramm und wird deshalb mit einem Erasmus-Award 2009 ausgezeichnet. Erasmus Award for a Critical Reassassment of History

DVD turn of an era in 1989/90: From the peaceful revolution to the German unity
The DVD “turn of an era in 1989/90: From the peaceful revolution to the German unity” is an exemplary didactic multimedia product. The programme turns to a big target group at school from class 8 and in the adult education.
The clear information, the discussion with the course of the peaceful revolution in the GDR and the description of the way to the German unity is excellent program parts.
However, the programme does not stop. The DVD deals with the question: And today?
The program structure is divided clearly in:
- Departure
- The peaceful revolution
- The way to the German unity
- And today?
The DVD contains documentary films, news documents, interviews and pictures of different kind.
The offer is completed by didactic-methodical working materials like work sheets, project tips, media comments and links.
The learning-theoretical beginning, the scientific action, a clear creation and the informative backing-up material are excellent elements of the programme.
The DVD ” turn of an era…” ” is an excellent multimedia programme.
Therefore the DVD is awarded with a Erasmus Award.

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Laudation:
Laudator Joan Hemels, University of Amsterdam

The website Europeana.eu is a surprising innovative interactive educational virtual exhibition in the field of the European cultural inheritance in the broadest sense of this container term.
The content of Europeana consists of a digitalized collection European books, work of art and modern audiovisual media, including paintings and other objects of art, manuscripts, letters, music, photos, television images and film- and audiofragments - everything in a digital format.

The leading idea of Europeana is the strong conviction that European countries can be connected by realizing in several languages more access to the European cultural heritage –not only for scientists, but also for every general citizen.
If we see Europeana as a treasure store house, the user can be seen as a treasure digger who is discovering a virtual world of culture that seems to be without borders.

National libraries and musea are closely working together in this unique project that started as the European Digital Library Network and has been enabled by the European Commission. The offices are in The Hague, the most international governmental city of the Netherlands.
The building of the huge data bank with a capacity of  up to ten millions images still is a work in progress. Nevertheless, nearly one year after the official  launching of Europeana, the most critical users are already impressed by the achievement of this virtual online library and museum.
An open mind for the national cultural sources in Europe can be crucial for the development of a common European conciousness
and for the dissemination of different social and cultural values of the inhabitants of the participating countries.
The long way to an integrated cultural space of Europe has been shortened by realizing Europeana. In bridging European cultures, the
European Society of Education and Communication sees the great merit and the outstanding achievement of Europeana.

Laudation:

Laudator: Marisa Vukicevic, University of Vienna

The movie shows the drama of two young children whose mother left them to work in Italy.  She wants to earn money for her family. The film convinced the jury that Arrivederci deserved this award for its outstanding sensitive and touching narrative style, thus interpreting the the burdon of migration. It shows precisly the dilemma of abandoned children who live in poverty. This tragedy can be found everywhere in Europe as it does not just show the drama of the children but also indicates the subject of migration and what problems migration can cause. The movie acomplishes to narrow down the ribbon among our hearts and also strenghten it as it shows and appeals to our innermost part to never forget our children. As they are any society’s future the future of Europe will exist on their dreams. The European Society of Education and Communication (ESEC) therefore solemnly awards the film “Arrivederci” from Valeriu Jereghi , Russia, with the Erasmus EuroMedia Country Medal and the Sponsorship Award in respect of the thematic focus. Vienna, October 16, 2009

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Laudation
Laudator : Axel Maireder, University of Vienna
The integrative cultural project Video_o_drom aims to view Roma and Sinti across South Eastern Europe in a different perspective than the mainstream of the media. It networks Roma and Sinti from different countries to provide transnational exchange of ideas. Being minorities in the respective countries, video_o_drom fosters transnational solidarity among Roma and Sinti in Bulgaria, Austria, Romania and Hungary. Through that, Vide_o_drom tries to provide a framework of coherence by culture contrary to the concept of nation states.
The multiple activities of vide_o_drom including a lively weblog, video productions, discussion meetings and much more resulted in a 3-day festival of Roma and Sinti culture. All these activities were framed by the variety of Roma and Sinti cultures, that are developing within the mainstream culture of the respective majority societies.
Besides people from different countries, Vide_o_drom involved Roma and Sinti of different ages from children and teenagers to the elderly. By bringing together Hip Hop and traditional folk culture Video_o_drom bridges the generations, providing links for the construction of identity for everyone.
Everyone, both inside AND outside the Roma and Sinti community – with the potential to connect Roma and Sinti to the society of the majority and vice versa.
For this efforts in bridging cultures and in honour of its educational ambition in reflecting the development of the European Society, the jury awards Vide_o_drom an Erasmus EurMedia Sponsorship Award 2009.

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Laudation
Laudatio by Marko Ivanisin, University of Maribor

“Šentilj / Spielfeld” was once a gate that stopped thousands of cars and millions of people on their way to enjoy shopping in well stoked supermarkets of Austria or to enjoy holidays on the outstanding coast of Yugoslav republics. The queues of cars and people fed the local population and brought prosperity to the region. A small Austrian grocery store that happened to be put on the right spot had revenues of a supermarket chain and Slovene parking spots gave job to more food sellers that the neighbouring city did. But all of this changed: first with the highway excluded local stakes from international transport benefits and than the Schengen boarder made boarder crossings disappear from any large scale map.

LI productions caught this story thoroughly on film. The silence and peaceful misery of today’s boarder crossing scenary is shown in highly aesthetizised shots calming down any excitement that might arise in the spectator because of the nostalgic sujet of the film or because of sometimes odd film narrators – the local population. This film is what television and film today are rarely – is talks with (non)action of images and not with images of action. When images of action appear at the end to contrast the previous hour of visual relaxation these are reduced to black and white photographies of crush and queues and parking spot sellers that portray the boarder crossing that once was.

A boarder crossing that meant so much for people living on and from it that it might prevent them from raising their voice for ªEurope without boarders´. It was the boarder in Europe that made them live and it is boarderless Europe that made this memories valuable enough to be portrayed on film. Portrayed in with quality that persuaded the Erasmus EuroMedia Awards jury to award ªŠentilj Spielfeld a boarder crossing that once was´ and LI productions with  an Erasmus EuroMedia Sponsorship price.