Sustainability

How to make a living as an artist? How to survive as an arts organisation?

As we continue struggle out of the crisis, we must give ourselves a chance; not for survival, but for success.  

To start with, let's reassess our professional strategies and business models. How do we use our potential and our resources? How do we contribute to the sustainability of the environment we work and live in? What does sustainability in the arts mean and how to achieve it? And what role can the arts play in that wider issue: helping to save the planet, the environment we live and work in?

Being an Artist Today; Gender, Mobility & Friendship
Harpreet Kaur
On 20-23 April I attended the IETM Plenary Meeting in Bucharest, Romania, a network of over 500 performing arts organisations and individual members working in the contemporary performing arts worldwide. The international network for contemporary performing arts hosts a meeting in a different city in Europe twice a year, advocating for the value of performing arts, commissioning publications and research, and facilitating communication and the distribution of information.
fbittencourt
The European Festivals Association (EFA) and Pearle*-Live Performance Europe have teamed up to improve knowledge on legal and managerial aspects on cross-border cooperation within the EFA RISE project.
Marie Le Sourd
The European Festivals Association (EFA) and Pearle*-Live Performance Europe have teamed up to improve knowledge on legal and managerial aspects on cross-border cooperation within the EFA RISE project, funded by the Creative Europe Programme from the European Union from 2014 until 2017.
Marie Le Sourd
One summer evening at Motorco in 2014, what seemed like a typical midlevel rock show had actually come about through exceptional efforts. The headlining act was Poor Rich Boy, a Pakistani ensemble on its first U.S. tour. The tour was made possible by Center Stage, a program funded through the State Department's Bureau of Educational and Cultural Affairs. It helps international artists untangle the web of financial and logistical barriers they must face to tour in the States.
Christoph
If you’re a creative or cultural organisation that works (or is looking to work) internationally, then applying for Creative Europe’s Cooperation Projects is probably something you’ve already given serious consideration to. If you haven’t, then you could be missing out on vital opportunities and funding.
Ioana TAMAS
This paper proposes that publicly funded arts and cultural organisations should aspire to, and be funded to, engage in Research and Experimental Development (R&D), particularly that which aims at innovation, that is, new social application
fbittencourt
Did you know that $3.3 billion of public money is dedicated to culture in Paris every year? Moscow and London are not too far behind, receiving $2.4 billion and $1.6 billion respectively.
Parental Ctrl by Ferenc Sinkó in collaboration with kata bodoki-halmen, Kinga Ötvös, Krisztina Sipos. Producer: Kinga Kelemen/GroundFloor Group. Photo by Roland Váczi.
corinabucea
IETM recently hosted its Plenary Meeting in Bucharest, Romania, with a particular focus on the current position of the artist in contemporary societies, as well as on the financial and social conditions of pursuing a career in the arts. This series of articles reveals what is to be an artist in today's Romania. From the perspective of the self-proclaimed (and later, experience-proclaimed) cultural manager, there is a small detail about my field of work that has constantly made me wonder about our status: the fact that our backgrounds and the paths that brought most of us here are suspiciously...
Joris JANSSENS
In 2017, Joris Janssens (Flanders Arts Institute) was invited at the Producers Network Meeting & Forum in West Kowloon Cultural District (Hong Kong) to share the experiences from Flanders and Europe with international networking since the 1980s - in order to inspire the development of this new Asian network with European experiences.
Iulia POPOVICI
Iulia Popovici describes the challenges faced by the independent performing arts sector in a country where public theatres monopolise the majority of fundings.

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