Worldwide

While in some parts of Europe the arts are trapped by market reality and squeezed by restless demands for economic surplus, in others, creative freedom is guzzled by political agendas and suffocated by the presence of the state in the arts.

Liberalism, freedom, public support, state interference; are these notions - being on our tongue every now and then - perceived in the same way in different historical, economic and social contexts?  This section gives us an insight into the various paradigms, challenges and aspirations prevailing in different parts of the globe.

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...
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.
Paul FINEGAN
On Saturday 5 of BFT's staff in Belarus were arrested as part of a major clampdown on peaceful human rights protests in Minsk. Our actors and playwrights had been taking part peacefully in the Freedom Day protests calling for the resignation of dictator Alexander Lukashenko
fbittencourt
In the two years since the beginning of the ‘Arab Spring,’ North African theatre practitioners have successfully invested the stage to open new spaces of public dialogue and debate, using the Internet and new media (Facebook, Twitter, YouTube) to further promote their work and to galvanize the youth.
fbittencourt
Taiwanese’s identification has been inherently problematic and lacerated, and raises many questions that have become inseparable from the main concerns of Taiwanese theater artists: Who are we?
Ioana TAMAS
When addressing the status of artists in Romania, the general conversation tends to be about the low income and inadequate social services for those working in the arts. The creative ecosystem is viewed as unpaired, and therefore worthy of a distinct status within society.
Theodor-Cristia...
IETM gets ready to host 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.
The plaza in front of the one of the festival theatres. Nitra, Slovakia.
jamiegahlon
While I grew up during the fall of the Soviet Union, it’s important to acknowledge that Western anti-communist propaganda and the lingering effects of the Cold War kept me distanced from any realistic notion of life and culture in Eastern Europe.
Nan van Houte
From 26 to 29 January, IETM organised a Caravan meeting in Tehran, coincided and partly hosted by the Fajr International Festival. Since we preferred to meet with a broader slice of the performing arts scene, especially the ‘independent’ artists and those forced to work ‘underground’, our daytime programme was compiled by several partners in Tehran.
Elena DI FEDERICO
The National Endowment for the Arts (NEA) in the United States, in partnership with the National Arts and Disability Center (NADC) and the U.S. Department of Labor’s Office of Disability Employment Policy (ODEP), held an online conversation with three hundred and ninety registrants representing artists, arts administrators, arts organizations, arts educators, arts employers, and disability organizations about how to increase the career preparation and employment of people with disabilities in the arts. This report summarises the main findings.

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