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.

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The mapping of the Cultural and Creative industry in Greece has been a top priority for the Ministry of Culture and Sports during 2006. The lack of a suitable tool, which would support strategy and decision-making aimed at planning support actions for the professionals of the Contemporary Culture and Creative Economy, has led to the need of recording their growth dimension, in accordance with international practices.
Thanks to the support of the Arts Council, in 2016 #WakingTheFeminists commissioned groundbreaking research into the gender balance in ten of the top publicly funded theatre organisations over a ten-year period from 2006-2015, as a way to create a baseline from which these changes can be measured. This report is the piece of the puzzle that was missing, the research that never existed. And you will find that it is stark.
Illustration by Lia Strasser.
We must avoid trafficking in clichés and “received knowledge” about Muslims—or any other marginalized group—because to do so instrumentalizes stereotype. The question is not who gets to speak for certain groups (since that critique has long been used to silence disempowered communities), but rather to propose strategy to improve opportunity equity and awareness.
The object of this study is a qualitative evaluation of the way people perceive and value the programming of Maria Matos and its political positioning.
Students protesting the dismissal of their professors with presidential decrees in Ankara University.  Photo: haber.sol.org.tr
The level of suppression against art in Turkey can only be grasped by going deep into details and history. Sacking of 4,464 public servants including 330 academics sounds alarming, but knowing it also meant the practical closing down of the most important theatre institution of the country is shocking. The arson of a theatre and a cultural centre is scary, but knowing its symbolic significance reminding of the mass murder of intellectuals and artists in 1993 is infuriating.
Parental Ctrl by Ferenc Sinkó in collaboration with kata bodoki-halmen, Kinga Ötvös, Krisztina Sipos. Producer: Kinga Kelemen/GroundFloor Group. Photo by Roland Váczi.
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 describes the challenges faced by the independent performing arts sector in a country where public theatres monopolise the majority of fundings.
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
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.
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?

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