Thèmes

Les « thèmes » sont un flux de ressources générées ou créés par le personnel de l’IETM et par nos membres. Les sujets mis en avant nous semblent actuellement essentiels pour le secteur des arts du spectacle : la relation avec le public, les politiques culturelles de l'UE, la diversité et l’intégration, la durabilité du secteur, la valeur des arts dans la société, et les divers paradigmes, défis et aspirations qui sont vécus aux quatre coins du monde.

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Hamlet Babylon at Gogolfest 2013
The theatre landscape in Ukraine is diverse and contradictory. Presently, there are more than 120 theatres (state-funded and independent) functioning here, and the audience numbers are around 5.6 million per year (in accordance with government statistics). This is not including touring, projects and interdisciplinary practices.
A new study, drawing on 1.5 million images of cultural spaces in London and New York, finds that cultural capital is a key contributor to urban economic growth.
Women are the major consumers as well as the largest percentage of employees in the arts. Yet their presence as artistic leaders remains low or, in some sectors, non-existent. Of the 28 organisations presently funded under the Australia Council framework of the major performing arts, only three, Black Swan Theatre Company, Orchestra Victoria and the Queensland Symphony Orchestra, have female artistic leaders
Creative Europe is a unique programme in Europe, tailored to the needs of the cultural and creative sectors. It is the main programme that contributes to the cultural policy objectives of the EU. The programme targets the right priorities, but its modest budget prevents it from making a substantial impact. The report provides recommendations for a more ambitious future programme, reflecting the richness of European cultural diversity.
The Artistic creation outside the urban areas session at IETM Porto added new examples of artistic creation and community arts in the rural areas to those that were presented at IETM Brussels 2017, in the "Meanwhile in the Countryside" session. Thus it confirmed the outcome of the IETM Brussels 2017 session: the point is not to bring culture to the countryside, because it is already there; and that one undertaking artistic work in rural areas has to openly listen and interact with the local people, and be receptive to their stories, creating art together with them, not for them.
©art_inthecity
For the next long-term EU budget 2021-2027, the European Commission is proposing to increase funding for Creative Europe, the programme supporting European cultural and creative sectors and audiovisual works, to €1.85 billion.
Samantha Robinson and James Atherton in Andrea Dunbar’s Rita, Sue and Bob Too at the Royal Court, London, in 2018. Photograph: Tristram Kenton for the Guardian
Publicly funded art is still dominated by a privileged elite who fail to engage the majority of the population
Clustering has been successfully used by industrialists for centuries as a strategy to generate economic growth. Made popular by influential Harvard academic Michael Porter in 1990, and originally described by economist Alfred Marshall in 1890, industrial clusters are concentrations of interrelated organisations, firms, professionals and practitioners collaborating and competing in related industries.
In collaboration with On the Move and DutchCulture , we have published a new Toolkit for fairer international collaborations, written by Mike van Graan. The publication explores why and how artists and cultural professionals can adopt a more equitable approach to international and intercultural collaborations.
Having worked in the arts all over the world, Matina Magkou has observed some common challenges – and ways of overcoming them.

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