Modèles durables

Comment gagner sa vie en étant artiste ?

Tout en continuant de nous battre pour sortir de la crise, nous devons nous donner la chance, non pas de survivre, mais de réussir.

Pour commencer, réévaluons nos stratégies professionnelles et les modèles correspondant à nos métiers. Comment utilisons-nous notre potentiel et nos ressources ? Que signifie le terme durabilité pour les arts, et comment l’atteindre ? Quel rôle les arts peuvent-ils jouer face à un problème de plus grande envergure : aider à sauver la planète, l’environnement dans lequel nous vivons et travaillons ?

fbittencourt
Surfing through virtual spaces has become a common habit for most of us. Technology is just an amplifier of abilities, especially for Generation Y; born between 1981 and 2000. Technology helps us do more – and faster. Generation Y grew up immersing itself in role playing computer games or learning to tango via YouTube.
Elena DI FEDERICO
This research investigates the evolution of cultural leadership - a key concept in cultural policy and training since 2002. Indicating that cultural leadership has a vital critical role to play in democratic society, the research argues for more effective engagement between sectoral leaders, including artists, and questions of policy and cultural value. The PhD thesis by Jonathan Price ( On the Edge Research ) traces the short history of the term 'cultural leadership' and situates it within longer trajectories of cultural policy. Through critical discourse analysis the research questions the...
fbittencourt
On 25/26 February 2016 a group of about 35 participants representing the creative and cultural sectors from the EU Member States gathered in Berlin to discuss “developing the entrepreneurial and innovation potential of the cultural and creative sectors”.
fbittencourt
Precarity – the uncertainty over long-term access to resources – is wide-spread in the cultural sector. Low paid or even unpaid work, excessive workloads and low institutional support for freelancers are only some of its characteristics.
Elena DI FEDERICO
The live performance sector - that is still today the main source of employment for performers throughout the world - is a very dynamic one. It has existed for centuries and has always been able to adapt. The pressures it is now confronted with are largely driven by the crisis-ridden global economic context and the expansion of IT and its related new technologies. This document reveals the numerous challenges that need to be overcome. This report presents the results of a survey conducted by tFIA (International Federation of Actors) in summer 2014. It is based on an online questionnaire that...
Elena DI FEDERICO
Partnering is about "collaborating to create a bigger cake rather than competing to get a smaller slice of a smaller cake" - this UK study explains how it works. For UK cultural organisations of all sizes, multiple partnerships are now a fact of life. The term "partnership" is widely used, yet ubiquitous. This Enquiry presents a new taxonomy of relationships that tries to capture their ecology, based on the evidence gathered from 94 organisations across the country. The art of partnering is the final report of a Cultural Enquiry by King's College, London in collaboration with the BBC, which...
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Paul Steele from First Art shares his ten top tips for live streaming an arts event
fbittencourt
How can such a vivid art form, that means so much to the people who actually get to see it, also be so limited in its reach; so incapable of causing even the smallest cultural ripple?
Elenq
"While we have yet to find solid evidence that risk dissuades individuals from economically disadvantaged backgrounds from pursuing arts careers, we know that if the arts and entrepreneurship remain enclaves for the privileged, we will all be the poorer for it. "
Emma Wilson
"We suggest that the conflation of culture with creative industries since 1997 has harmed both cultural policy and creative industries policy in the UK. We propose that an official definition of the cultural sector and the production of government statistics to support such a definition will help to clarify creative industries policy and create a much needed opportunity to revisit the scope and nature of cultural policy. "

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