We need to talk, to listen, to share and understand. We bear a torch to enlighten and prepare. We carry a burden that, to many is invisible. We are artists, creatives, thinkers and enablers We are the ones that shape the cup that holds the thing we call civilization.
As global culture continues to diversify in fractal like complexity. Our changing world view slips further from our grasp as individuals. Our understanding of the core values of creativity and it’s impact on our daily lives becoming ever more distant and abstract. However, there are those among us who seem able to draw a line through this complexity, strike a light in darkening times and bring understanding and acceptance to the confusion and fear.

To frame our thoughts and bring the voice of reason to our meeting this November we have invited Mike Daisey & Todd Lester to speak about their role as artistic chameleon and activist, presenting many faces to the world, crossing many boundaries in attempting to forge a vibrant common truth regarding the worth and necessity for creativity. Attempting to unashamedly uses their artistic voice to express their concerns about, and draw attention to, what is happening in the world that they consider urgent and important.

Mike Daisey has been called “the master storyteller” and “one of the finest solo performers of his generation” by the New York Times for his groundbreaking monologues, which include last season’s critically acclaimed The Last Cargo Cult, the controversial How Theater Failed America, the six-hour epic Great Men of Genius, the unrepeatable series All Stories Are Fiction, and his latest work, The Agony and the Ecstasy of Steve Jobs. He has performed in venues on five continents, ranging from Off-Broadway at the Public Theater to remote islands in the South Pacific, from the Sydney Opera House to abandoned theaters in post-Communist Tajikistan. He’s been a guest on the Late Show with David Letterman, as well as a commentator and contributor for WIRED, Vanity Fair, Slate, Salon, NPR and the BBC. His first film, Layover, was shown at the Cannes Film Festival this year, and a feature film of his monologue If You See Something Say Something is currently in post production.  His second book, Rough Magic, a collected anthology of his monologues, will be published in 2011. He has been nominated for the Outer Critics Circle Award, two Drama League Awards, and is the recipient of the Bay Area Critics Circle Award, the Sloan Foundation’s Galileo Prize, and a MacDowell Fellowship.

We need to talk, to listen, to share and understand. We bear a torch to enlighten and prepare. We carry a burden that, to many is invisible. We are artists, creatives, thinkers and enablers We are the ones that shape the cup that holds the thing we call civilization.
As global culture continues to diversify in fractal like complexity. Our changing world view slips further from our grasp as individuals. Our understanding of the core values of creativity and it’s impact on our daily lives becoming ever more distant and abstract. However, there are those among us who seem able to draw a line through this complexity, strike a light in darkening times and bring understanding and acceptance to the confusion and fear.

To frame our thoughts and bring the voice of reason to our meeting this November we have invited Mike Daisey & Todd Lester to speak about their role as artistic chameleon and activist, presenting many faces to the world, crossing many boundaries in attempting to forge a vibrant common truth regarding the worth and necessity for creativity. Attempting to unashamedly uses their artistic voice to express their concerns about, and draw attention to, what is happening in the world that they consider urgent and important.

Mike Daisey has been called “the master storyteller” and “one of the finest solo performers of his generation” by the New York Times for his groundbreaking monologues, which include last season’s critically acclaimed The Last Cargo Cult, the controversial How Theater Failed America, the six-hour epic Great Men of Genius, the unrepeatable series All Stories Are Fiction, and his latest work, The Agony and the Ecstasy of Steve Jobs. He has performed in venues on five continents, ranging from Off-Broadway at the Public Theater to remote islands in the South Pacific, from the Sydney Opera House to abandoned theaters in post-Communist Tajikistan. He’s been a guest on the Late Show with David Letterman, as well as a commentator and contributor for WIRED, Vanity Fair, Slate, Salon, NPR and the BBC. His first film, Layover, was shown at the Cannes Film Festival this year, and a feature film of his monologue If You See Something Say Something is currently in post production.  His second book, Rough Magic, a collected anthology of his monologues, will be published in 2011. He has been nominated for the Outer Critics Circle Award, two Drama League Awards, and is the recipient of the Bay Area Critics Circle Award, the Sloan Foundation’s Galileo Prize, and a MacDowell Fellowship.

So you love everything about art: The artists, of course, but creativity itself as well; The stage, what takes place on it, in front of it, behind it... The encounter, the dialogue between performers and the public; what it does to you, how it affects your identity, your community, your nation, your environment, your world. As a matter of fact, you can't imagine living on the planet without it. And you have something to say about it. As a matter of fact, you would debating. You wish to have some creative exchanges about some specific issues. You have a rather important message to communicate. It happens that you have great ideas! Or you just want to scream with joy...or anger! If this is so, this session is definitely for you. Come and speak up, share your positions, listen, talk, whisper, sing or shout! But remember: reserve your place without any delay: cause it's limited to 100 places Dress code: none. But make sure to wear your voice. And your ears.

Today we see more and more interdisciplinary production. Music theatre production is interdisciplinary by definition and requires the combination of very specific artistic competences and skills. In music theatre, the international dimension is developed somewhat more strongly than in the performing arts in general. Perhaps due to the musical element which is less confined to national or linguistic borders than text based work. Consequently, co-production has become a regular practice in music theatre. Belgium, thanks to the 1993 Performing Arts Decree, recognises music theatre as an art form and has over 27 national companies. So why is Britain so behind in this field? What are the trends across Europe in the field and is the international circuit open enough to young emerging artists in this field and how do we best support them?

This session aims to attract participants who have a good experience of working with Africa, to share knowledge, identify existing projects and discuss interesting and important ways of moving forward. After years of including art and culture in their bilateral and regional funding programmes with the ACP countries (Africa, Caribbean and Pacific), the EU Directorate for Development last year encouraged arts professionals from ACP and EU to collaboratively produce “The Brussels Declaration”, setting out the sector’s demands for effectively harnessing artistic creation as a vector of human and economic development. In collaboration with Visiting Arts, one of the active European organisations in Africa, we will come together to share information on new ideas, work, exciting artists, partnerships and initiatives that bring crucial, fresh and innovative approaches to collaborative exchange between Europe and Africa.

European City of Culture, a cluster bomb of meanings and intensions, social renewal and cultural aspirations. What does it mean? what does it do? where can we go now? Of all the many European Cities of Culture created down the years, Glasgow can probably be cited as one of the early success stories. We who live here have all reference at one time or another the impact which the 1990 European City of Culture celebrations had on Glasgow. As with many cities, The title becomes the key-stone in the rebuilding of self image - re-imagining and resurrecting of the cities image of itself as a post industrial, creative and cultural powerhouse amongst a national network of urban conglomerations, while enabling it to present a new version of itself to Europe and the world. In Glasgow’s 20th anniversary year of it’s Cultural Capital status, we ask you to join our panel of experts and catalysts, who have been, or who are currently involved in the delicate and monumental task of reshaping the very ‘idea’ of a city and its creative energy. Discover the benefits and pitfalls of attempting such a thing. Explore where we could go from here and if it was all worth it...

So you love everything about art: The artists, of course, but creativity itself as well; The stage, what takes place on it, in front of it, behind it... The encounter, the dialogue between performers and the public; what it does to you, how it affects your identity, your community, your nation, your environment, your world. As a matter of fact, you can't imagine living on the planet without it. And you have something to say about it. As a matter of fact, you would debating. You wish to have some creative exchanges about some specific issues. You have a rather important message to communicate. It happens that you have great ideas! Or you just want to scream with joy...or anger! If this is so, this session is definitely for you. Come and speak up, share your positions, listen, talk, whisper, sing or shout! But remember: reserve your place without any delay: cause it's limited to 100 places Dress code: none. But make sure to wear your voice. And your ears.

Today we see more and more interdisciplinary production. Music theatre production is interdisciplinary by definition and requires the combination of very specific artistic competences and skills. In music theatre, the international dimension is developed somewhat more strongly than in the performing arts in general. Perhaps due to the musical element which is less confined to national or linguistic borders than text based work. Consequently, co-production has become a regular practice in music theatre. Belgium, thanks to the 1993 Performing Arts Decree, recognises music theatre as an art form and has over 27 national companies. So why is Britain so behind in this field? What are the trends across Europe in the field and is the international circuit open enough to young emerging artists in this field and how do we best support them?

This session aims to attract participants who have a good experience of working with Africa, to share knowledge, identify existing projects and discuss interesting and important ways of moving forward. After years of including art and culture in their bilateral and regional funding programmes with the ACP countries (Africa, Caribbean and Pacific), the EU Directorate for Development last year encouraged arts professionals from ACP and EU to collaboratively produce “The Brussels Declaration”, setting out the sector’s demands for effectively harnessing artistic creation as a vector of human and economic development. In collaboration with Visiting Arts, one of the active European organisations in Africa, we will come together to share information on new ideas, work, exciting artists, partnerships and initiatives that bring crucial, fresh and innovative approaches to collaborative exchange between Europe and Africa.

European City of Culture, a cluster bomb of meanings and intensions, social renewal and cultural aspirations. What does it mean? what does it do? where can we go now? Of all the many European Cities of Culture created down the years, Glasgow can probably be cited as one of the early success stories. We who live here have all reference at one time or another the impact which the 1990 European City of Culture celebrations had on Glasgow. As with many cities, The title becomes the key-stone in the rebuilding of self image - re-imagining and resurrecting of the cities image of itself as a post industrial, creative and cultural powerhouse amongst a national network of urban conglomerations, while enabling it to present a new version of itself to Europe and the world. In Glasgow’s 20th anniversary year of it’s Cultural Capital status, we ask you to join our panel of experts and catalysts, who have been, or who are currently involved in the delicate and monumental task of reshaping the very ‘idea’ of a city and its creative energy. Discover the benefits and pitfalls of attempting such a thing. Explore where we could go from here and if it was all worth it...

Ruth McKenzie, Director of the London 2012 Cultural Olympiad will discuss with IETM delegates the importance of celebrating culture through major international events such as the London 2012 Olympics. She will give some insights into her own cultural programme and ambitions for 2012 and will be joined by Faith Liddell, Director Festivals Edinburgh and Kath Mainland, Director of the Edinburgh Festival Fringe Society, to discuss potential opportunities for European companies to take part in the Edinburgh Festivals and for nations to profile their cultural strengths in Edinburgh, between the London 2012 Olympic and Paralympic Games.

Ruth McKenzie, Director of the London 2012 Cultural Olympiad will discuss with IETM delegates the importance of celebrating culture through major international events such as the London 2012 Olympics. She will give some insights into her own cultural programme and ambitions for 2012 and will be joined by Faith Liddell, Director Festivals Edinburgh and Kath Mainland, Director of the Edinburgh Festival Fringe Society, to discuss potential opportunities for European companies to take part in the Edinburgh Festivals and for nations to profile their cultural strengths in Edinburgh, between the London 2012 Olympic and Paralympic Games.

In June, IETM, the Jakarta International Dance Festival and Asia Europe Foundation organised an IETM Satellite Meeting on the theme of Creative Producing in Europe and Asia. It gathered 35 producers including some of the most interesting newcomers. The meeting was part of the gradual unfolding of an informal network of independent producers and promoters in Asia, inspired in part by IETM and its continuing partnerships there. Come to this session to hear about a new publication which will, in 2012, present case studies of Asia-Europe collaborations, co-produced by KAMS (Korean Arts management Service and IETM, as well as getting details of our next IETM- TPAM Satellite Meeting, in Yokohama in February (14-19/02/2011).

In June, IETM, the Jakarta International Dance Festival and Asia Europe Foundation organised an IETM Satellite Meeting on the theme of Creative Producing in Europe and Asia. It gathered 35 producers including some of the most interesting newcomers. The meeting was part of the gradual unfolding of an informal network of independent producers and promoters in Asia, inspired in part by IETM and its continuing partnerships there. Come to this session to hear about a new publication which will, in 2012, present case studies of Asia-Europe collaborations, co-produced by KAMS (Korean Arts management Service and IETM, as well as getting details of our next IETM- TPAM Satellite Meeting, in Yokohama in February (14-19/02/2011).

The last ten years has witnessed a remarkable expansion in the number, variety, quality and dynamism of contemporary art and artists in the Med. Whereas this sessions cannot do justice to all, we will look at several of the artists and projects who are enlivening the scene with determination, skill and their own contemporary aesthetics.

The last ten years has witnessed a remarkable expansion in the number, variety, quality and dynamism of contemporary art and artists in the Med. Whereas this sessions cannot do justice to all, we will look at several of the artists and projects who are enlivening the scene with determination, skill and their own contemporary aesthetics.