identity on the World Wide Web. The .eu domain's introduction campaign specifically uses the tagline "Your European Identity". Registrants must be located within the European Union. On the cultural plan, the European Union began a policy in the 70s with the directive "Television without Frontiers", which allowed free trade of TV programs and guaranteed more than half of the air time to European operas. The culture programme finances other cultural activities in order to strengthen the European common identity. The European Union also bet on symbols: the flag, the anthem ("Ode to Joy" from the final movement of Beethoven's 9th Symphony), the motto "In varietate concordia", the two Europe days. Great cultural unifying events are organised, such as the European heritage days, or the election of the Capital of Culture. The youth mobility has been encouraged since the launching of the Erasmus programme in 1987, which has permitted students to go to 33 European countries. The challenge of communication, to make the European project more understandable to the 500 million citizens, in 24 languages, has also been addressed: in 2004, the first Vice-President of the Commission has the Communication Strategy portfolio. The common values are reasserted through the judicial action of the European Court of Human Rights. Linked to this, the European Union funds many surveys (such as Eurobarometer) and scientific studies, to improve its identity-building policies. A collection of such studies is for example The development of European Identity/Identities : Unfinished Business Aspects of an emerging "European identity" in popular culture may be seen in the introduction of "pan-European" competitions such as the Eurovision Song Contest (since 1956), the UEFA European Championship (since 1958) or, more recently, the European Games (2015). In these competitions, it is still teams or representatives of the individual nations of Europe that are competing against one another, but a "European identity" many argued to arise from the definition the "European" participants (often loosely defined, e.g. including Morocco, Israel and Australia in the case of the Eurovision Song Contest), and the emergence of "cultural rites" associated with these events. In the 1990s and 2000s, participation in the Eurovision Song Contest was to some extent perceived as a politically significant confirmation of nationhood and of "belonging to Europe" by the then-recently independent nations of Eastern Europe. Pan-European events not organised along national lines include the European Film Awards, presented annually since 1988 by the European Film