As a public institution and City Cinema KKC offers quality film screenings, including openair screenings during summertime, connected events, side activities and film educational programs, primarily, but not just, for youth. KKC is fundamentally promoting quality film and film culture in a broad sense. As a venue for special events, among them film festivals, international conferences (one 2014 entitled Film Education in Cinemas), coacting with Slovene and international partners in offering its facilities, services and expertise. KKC is organizing additional activities as lectures and seminars, workshops and discussions, among which a Young Audience film and education programme for audiences younger than 14, and one for viewers older than 14 years. KKC is also holding a cinema archive available, a film bookshop and cinema café.

Brighton Early Music Festival (BREMF) is the largest early music festival (with a Brighton twist) in the South of England. The main activity of the charity is the festival, which takes place in late October and early November. The charity objectives are to encourage, advance, develop and maintain public education in appreciation of and involvement in pre-classical and classical music and the performing arts, by promoting periodically a series of public concerts, dramatic performances, exhibitions and other cultural events; to promote and assist in the advancement of public and professional education by the provision of workshops, lectures and educational events for people of all ages. Throughout the year it carries out educational activities with schools, young artists and the community.

The XIX century building that now hosts Maison des Metallos (MdM)  was a former music instruments factory, and then became headquarters of the Union Fraternelle des Métallos, a situation that lasted for 60 years and that left an important legacy in terms of place identity. Since the Union left in 1997, the building was run by a committee of inhabitants of the neighbourhood, who occupied it because they felt it was part of local identity. They were concerned about the forthcoming gentrification, which was starting at that time in the former working class neighbourhood. This sense of belonging of the local community had an important role in pushing the municipality of Paris to buy the venue, but also created at first some tension with the occupants as the city decided to convert it in a cultural venue run by an appointed director, that opened in 2007. So the first audience “issue” that MdM had to face, was to find the way to involve and resolve this tension. The relationship with the associations and former occupants took time to be reconstructed, but it’s today an important part of the identity of MdM and of its relation with the neighbourhood.