Una pena gorda, pero otra vez será :-)) RT @temaga: abrazo, con cobertura restringida en #arrozdemadre Espero que puedas estar en la próxima 20 hours ago
This is the last post published in this domain. The blog “Culture is Policy” have just opened a new brand domain in: www.culturaespolitica.com.
This new domain together with WordPress.org will let be more flexible and broaden the technical possibilities of blogging.
The domain “culturaespolitica.com” unify the three blogs, in three different languages, where I have been publishing in recent years. Now all three languages are classified by different “Category”.
So, to read posts published in English you have to go to:
The Councillors of the Catalonian Arts Council have resigned in block to protest by the threaten of the new Catalan government to eliminate their executives competences.
This is their letter:
“In Defense of the CoNCA”
After a long debate between the cultural sectors and political representatives, in 2008 the Parliament of Catalonia approved the creation of the National Council for Culture and the Arts (CoNCA).
The preamble of Law 6 / 2008 declared:
“After more than twenty-five years since the recovery of democratic freedoms and the restoration of its national institutions, Catalan society has reached a maturity that requires public authorities to rethink the cultural management model and support and promotion of artistic creation in order to adapt it to current requirements and new challenges. The opportunity to create the National Council for Culture and the Arts was founded after stating the need to generate new forms of cultural and support to creation policies. However, there must be added the conviction that policy of arts and culture expansion and development must be maintained outside of the specific and accidental political circumstancies, and in any case, society is the sole owner of the cultural assets of the country and should participate in decisions that affect within the model represented by the Arts Councils [...]“. Read more »
I am pleased to inform that in the coming days I’ll move to London and from there I will continue my professional career as a consultant for the performing arts and international management culture. I foresee a stay in London for about two months.
The reason for this shift is to explore the opportunities that this city and the UK offer for professional development. My objective is to establish contacts, gather information, build bridges of cultural cooperation among other researches and prospecting activities.
I will be available there to help to develop new horizons based on arts internationalization, collaboration and documented knowledge.
Just published the third volume devoted to the Netherlands in the collection “La Red Travel Notebooks”. This collection began with London and Berlin, is the result of the training trips I’ve been designing annually for the Spanish Network of Public Theatres. Its aim is to present models and best practices in managing theatres and concert halls in Europe. In addition, in each of the volumes is an immersion in systems of cultural policies that give its support to public and subsidized theatres.
The three volumes have been reissued in a new design and published bilingual, Spanish and English. With this step the activities of the Network of Spanish Theatres goes beyond, starting as an international research centre specializing in management of performing arts venues. The new publications can be downloaded at the following links:
The new volume includes a first part of cultural policy and the Dutch system of performing arts exhibition. The second section describes the most innovative venues of Holland from the point of view of management, the artistic project and its architecture. Among others presents the Rotterdamse Schouwburg, Rotterdam Zuidplein Theater, Theaters Tilburg, Stadsschouwburg Amsterdam and Het Muziektheater aan’tlj Muziekgebouw, these last two important concert halls in Amsterdam. All theaters show the main figures for its operation: budgets, audiences, number of representations, etc.
The three volumes are an indispensable collection if you want to learn the differences between the various management models of subsidized European theatres. Also provide a perfect tool for catching up on trends and innovations that pioneered performance spaces of Europe are currently developing.
From this corner in Internet I wish you a very happy Christmas and that 2011 let us to do everything we want and we have not yet donne. Ah! and it would be foolish to let the crisis stop us
I leave this Christmas song to remember that John Lennon left us 30 years ago. An honest artist and concerned about the world around him.
In my third year of collaboration with the Feria de Huesca (Hueca international showcase for performing arts) I can’t but express satisfaction with the results obtained. The difficulty of pulling ahead in Spain a performing arts project which encourage innovation and contemporanity above populism, tradition and simple entertainment (I feel a deep sorrow for the case of Gijon’ La Laboral) can be optimistic about the strength of the Feria de Huesca and its position in the future.
Macarena Recuerda Shepherd
The strong commitment of the patrons for the contemporary performing arts and the debate in the context of professional meeting point has given the expected results and I am convinced this year will be definitively consolidated. Anyway, we must be careful since no one escapes the strong dependence of the culture sector on politics in Spain and the approaching election times, and therefore possible changes in the political ecosystem.
Compañía La Tristura
I encourage you to continue the link of the Fair to look at the Artistic Programme and the Professional Conference. Concerning artistic programme I put some significant videos, although there is much more. The Conference is titled “Time for Revolution” (look at the introductory text) and no doubt will be a good place to reflect what changes are needed in the cultural sector to advance much further, with or without crisis.
Montreal Danse
Whoever approaches La Feria de Huesca , I am sure will have a few days of discovery and reflection necessary for the future of their professional activity.
Presentation of “mov-s/madrid 2010 to be held at the “Centro de Arte Reina Sofia” in Madrid and performing arts venues of the city from 10 to 13 June. Information www.move-s.org
Under the generic title of “The Active Spectator”, the third edition of mov-s aims to delve into the reality of today’s audience. The relationship between performer and spectator can be enriched through the transformation from a passive spectator to an active spectator, who is the protagonist in their relationship with the artist. Considering the spectator as being intimately involved with the artist’s work is a path relatively little explored by the arts, in particular the dance and movement arts, and is a way for a large number of people to be involved in artistic creation.
“Rosas” dance company presents “Bal Moderne”: The spectator can be dancer.
The characteristics that turn people into active spectators, capable of
recognising, and, at the same time, valuing contemporary performing arts
creations, are knowledge of, and interaction with, the artists. Moreover, on
numerous occasions, it is the creative activity of the spectator or his/her
community, who are in fact the real authors of the artistic work. On the other
hand one must bear in mind that nowadays participation doesn’t necessarily
depend upon geographical distances or adhere to set times, due to networks
and communities becoming more flexible, unusual in form, size and scope.
Cesc Gelabert dance with youngsters in a Barcelona’s high school centre.
It is as important for heads of artistic centres, programmers or institutions, as it is for artists, to consider the presence and growth of the number of spectators as a priority. Unfortunately this is a task often condemned to failure when methods of developing audience numbers have been centred exclusively on classical marketing methods. Opting for a different type of relationship with the spectator, which can also be maintained in other disciplines within the performing arts, opens more new paths for investigation.
“Ruedapies Danza”: Dance and integration.
In order to gain further knowledge into the different areas regarding the “Active Spectator” national and international experts will be invited. Professionals will also be invited who, from their experience, stand out for their in-depth knowledge of the spectator and for having developed activities that bring the spectator closer to the artist. The guests will talk about their proposals in plenary sessions so that afterwards the “spectators” participating in mov-s will have their say in smaller groups.
