As President Trump eyes abolishing federal arts funding in the U.S., a survey of tax-supported music from Australia to Iceland reveals a complex, shifting landscape.
This conference is about meeting, connecting and learning. I really enjoyed that aspect, I felt no sort of pressure to be leaving the event with a tour booked, but rather to fully embrace connecting with other practitioners and people in the sector, which I did. I would recommend it to other practitioners, because it is an eye opener as to how other organisations in other countries work.
Damn, there was a lot. As soon as I stepped on the plane for Beirut with a lively Belgian delegation of almost 20 people, I was overwhelmed. This was in part due to my job. I am a writer and playwright, and so on a regular work day I hold a pencil for eight hours and move within the contours of an A4, often within an even smaller surface, when I use a yellowy American legal pad or simply read a book.
I love conferences. It’s not just about learning new things and visiting ‘other’ interesting places (both of which are always a bonus) but because they get me out of the office and give me time to think. The freedom to think at conference is my guilty pleasure. Guilty because I probably don’t listen intently enough but a pleasure because instead of listening, I can let my mind wander.
In June 2016 a majority (51.9%) of British voters elected to leave the European Union, yet 96% of the UK cultural sector indicated its desire to remain. In this little guide, Culture Action Europe (CAE) considers possible models for the kind of relationship that the UK may develop with the EU within the framework of the UK vote to leave.
Things started going really bad in Spain between 2008 and 2011, with the beginning of cuts dictated by the European Commission, the Central European Bank and the International Monetary Fund - the dreaded Troika.
Todo empezó a ir realmente mal en España cuando, entre 2008 y 2011, se iniciaron los recortes dictados por la Comisión Europea, el Banco Central Europeo y el Fondo Monetario Internacional, la temida Troika.
What I want from technology is not a new world. What I want from technology are tools for exploring and enjoying the world that is. We look to technology not only to manipulate nature but to possess it, to package it as a product that can be consumed by pressing a light switch or a gas pedal or a shutter button. We yearn to reprogram existence, and with the computer we have the best means yet. We would like to see this project as heroic, as a rebellion against the tyranny of an alien power. But it’s not that at all. It’s a project born of anxiety. Behind it lies a dread that the messy, atomic...
This article, in Catalan, was published in ENTREACTE, the magazine of the "Catalonian association of professional performers and directors", in the 2016 summer issue. It presents the new Mission of IETM and adds some meaning and context to its different statements.
Dr Nina OBULJEN KORŽINEK is the Programme Director of the forthcoming 7th World Summit on Arts and Culture, to be held in Malta (18-21 October 2016). Nina has an extensive experience as a researcher and academic in the field of cultural policies and cultural cooperation and has worked as an expert on various projects for UNESCO, Council of Europe, European Cultural Foundation, UNDP, European Parliament among others. In this conversation, Herman BASHIRON MENDOLICCHIO asked Nina to expand on the next World Summit topics and on different questions related to cultural cooperation, cultural...
