Mobility, intercultural competence, cultural cooperation in the age of digital spaces

In 2005, Corina Suteu  led a number of successful training sessions for arts management trainers on mobility in the physical and virtual sense.  Indeed, there is ever-increasing interest in cultural co-operation and artistic mobility.  Therefore, we felt it was useful to make a space for arts management trainers to develop new thoughts and insights into issues of international mobility.  We hope they will further explore these with their own students.

On-The-Move thus has organised a new training of trainers session within the framework of the G2CC project funded by the European Commission.  It aims to explore :
-  drivers and barriers to mobility
-  cultural networks as real or virtual pathways to cultural co-operation
- issues related to virtual mobility and digital cultural content.

The training sessions take place during one day and are open to all trainers of cultural managers. The sessions are free but both of the planned session dates have limited places.

Mobility, intercultural competence, cultural cooperation in the age of digital spaces

In 2005, Corina Suteu  led a number of successful training sessions for arts management trainers on mobility in the physical and virtual sense.  Indeed, there is ever-increasing interest in cultural co-operation and artistic mobility.  Therefore, we felt it was useful to make a space for arts management trainers to develop new thoughts and insights into issues of international mobility.  We hope they will further explore these with their own students.

On-The-Move thus has organised a new training of trainers session within the framework of the G2CC project funded by the European Commission.  It aims to explore :
-  drivers and barriers to mobility
-  cultural networks as real or virtual pathways to cultural co-operation
- issues related to virtual mobility and digital cultural content.

The training sessions take place during one day and are open to all trainers of cultural managers. The sessions are free but both of the planned session dates have limited places.

This session debates the consequences that the digitizing of cultural content may have on the perception of cultural space in general and on the cultural mobility particularly. Through case studies of web material, it is possible to see how the whole concept of producing and consuming culture is affected. The interactive nature of virtual cultural content creates a shift in the notion of mobility: moving from traditional cultural exchange of creative work towards a mobility that is about processes and mutual working, making things and meaning, producing new cultural spaces rather than just putting another product on the cultural market.

This session debates the consequences that the digitizing of cultural content may have on the perception of cultural space in general and on the cultural mobility particularly. Through case studies of web material, it is possible to see how the whole concept of producing and consuming culture is affected. The interactive nature of virtual cultural content creates a shift in the notion of mobility: moving from traditional cultural exchange of creative work towards a mobility that is about processes and mutual working, making things and meaning, producing new cultural spaces rather than just putting another product on the cultural market.

Geographical mobility may be valuable for artists to enlarge their labour markets and income possibilities as well as allow confrontation and exchange with other artists and audiences. Despite the EU freedom of circulation many obstacles remain hindering freedom of movement throughout Europe. What is the situation for artists? The session will look at drivers and barriers to performing arts mobility.

Geographical mobility may be valuable for artists to enlarge their labour markets and income possibilities as well as allow confrontation and exchange with other artists and audiences. Despite the EU freedom of circulation many obstacles remain hindering freedom of movement throughout Europe. What is the situation for artists? The session will look at drivers and barriers to performing arts mobility.

In the cultural field there is a lot of discussion about cultural networks that have been facilitating international cultural co-operation in the past two decades. This session will take a closer look at different kinds of networks and their structural characteristics to ascertain to what we can realistically expect from networks in terms of trans-national co-operation.

In the cultural field there is a lot of discussion about cultural networks that have been facilitating international cultural co-operation in the past two decades. This session will take a closer look at different kinds of networks and their structural characteristics to ascertain to what we can realistically expect from networks in terms of trans-national co-operation.

Modern communication technologies have revolutionized the way play-texts travel. Plays by Sarah Kane, Roland Schimmelpfennig, Biljana Srbljanovic or Jon Fosse are being produced all over the world.  Is this a sign of cultural diversity or of cultural harmonisation?

If images and audio material can be consumed as they are, texts still need to be translated. But can anything be translated? Who is best placed to bring to life what is necessarily a cultural as well as a linguistic transfer? How can we try and make sure that the play you get is the play that was written orginally?

Translation piracy, breach of  copyright, free adaptations, ... How can we balance the feedom of the translator, the director, the actor and the rights of the author?  How far can we go? Who can protect the playwright's intentions? Should they be protected anyway?

What does this say about the playwright's own personal development? Productions and plays travel but playwrights rarely do? How important is it to European cultural integration that playwrights from all over can meet, discuss, exist beyond their national borders or their translated texts? What are the possibility offered to playwrights in terms of mobility?

A focussed session consisting of both web managers for the cultural sector and technical programmers.  
- creating better, user-friendlier sites – what do studies tell us about user needs and user habits.
- following success – follow-up cases where artists have managed to become mobile thanks to digital initiatives – what can be learnt and what can be promoted by these case studies?
- how to evaluate success (feed-back from the culture.mondo meeting)

Modern communication technologies have revolutionized the way play-texts travel. Plays by Sarah Kane, Roland Schimmelpfennig, Biljana Srbljanovic or Jon Fosse are being produced all over the world.  Is this a sign of cultural diversity or of cultural harmonisation?

If images and audio material can be consumed as they are, texts still need to be translated. But can anything be translated? Who is best placed to bring to life what is necessarily a cultural as well as a linguistic transfer? How can we try and make sure that the play you get is the play that was written orginally?

Translation piracy, breach of  copyright, free adaptations, ... How can we balance the feedom of the translator, the director, the actor and the rights of the author?  How far can we go? Who can protect the playwright's intentions? Should they be protected anyway?

What does this say about the playwright's own personal development? Productions and plays travel but playwrights rarely do? How important is it to European cultural integration that playwrights from all over can meet, discuss, exist beyond their national borders or their translated texts? What are the possibility offered to playwrights in terms of mobility?

A focussed session consisting of both web managers for the cultural sector and technical programmers.  
- creating better, user-friendlier sites – what do studies tell us about user needs and user habits.
- following success – follow-up cases where artists have managed to become mobile thanks to digital initiatives – what can be learnt and what can be promoted by these case studies?
- how to evaluate success (feed-back from the culture.mondo meeting)

Depuis des années la pratique de la mobilité s’est développée considérablement dans le milieu de la danse contemporaine. Cette discipline artistique ne souffrant pas de traduction comme cela est souvent le cas du théâtre, les professionnels de la danse ont intégré la dimension internationale des échanges dans leur travail de production et de tournée. Il semble impossible pour beaucoup d'entre eux de se passer de cette ouverture internationnale. Ils en connaissent les rouages et les pièges.
Mais doivent-ils pour autant se contenter de leurs acquis et des chemins connus ou y a-t-il encore des pistes à explorer?

Comment développer la mobilité tout en conservant une exigence artistique et en se posant contre l'uniformisation? (La diversité culturelle se doit d’être protégée de la standardisation du marché) Comment développer les échanges internationaux sans pour autant devenir un simple produit d'exportation? Ce Meeting Group essayera de proposer des solutions possibles à partir d'exemples novateurs. 

Merci à Ruth Collier, Bruno Heyndrickx et Ludovica Ricardi.

Depuis des années la pratique de la mobilité s’est développée considérablement dans le milieu de la danse contemporaine. Cette discipline artistique ne souffrant pas de traduction comme cela est souvent le cas du théâtre, les professionnels de la danse ont intégré la dimension internationale des échanges dans leur travail de production et de tournée. Il semble impossible pour beaucoup d'entre eux de se passer de cette ouverture internationnale. Ils en connaissent les rouages et les pièges.
Mais doivent-ils pour autant se contenter de leurs acquis et des chemins connus ou y a-t-il encore des pistes à explorer?

Comment développer la mobilité tout en conservant une exigence artistique et en se posant contre l'uniformisation? (La diversité culturelle se doit d’être protégée de la standardisation du marché) Comment développer les échanges internationaux sans pour autant devenir un simple produit d'exportation? Ce Meeting Group essayera de proposer des solutions possibles à partir d'exemples novateurs. 

Merci à Ruth Collier, Bruno Heyndrickx et Ludovica Ricardi.

After our experience in Utrecht, this is a new opportunity to learn some tricks of the trade from some people who had to learn it the hard way: from “just doing it”!
Good or bad moderation can make the difference between an interesting session and a desperately boring one. Skilled moderators are rare – and much in demand! IETM needs good moderators for its meetings, but so does every conference, and probably your own organisation needs them too. Come to this group to collect tips, and then be ready to practice, practice, practice…

ECF wants to develop a WG on this topic - Involving artists, policy maker, cultural operators… with the Roberto Cimeta Fund.

After our experience in Utrecht, this is a new opportunity to learn some tricks of the trade from some people who had to learn it the hard way: from “just doing it”!
Good or bad moderation can make the difference between an interesting session and a desperately boring one. Skilled moderators are rare – and much in demand! IETM needs good moderators for its meetings, but so does every conference, and probably your own organisation needs them too. Come to this group to collect tips, and then be ready to practice, practice, practice…

ECF wants to develop a WG on this topic - Involving artists, policy maker, cultural operators… with the Roberto Cimeta Fund.

There is little to argue about the benefits of cultural exchange for the individuals directly involved, of working in a new environment, of having discussions with creative people from different cultures. But what happens when its over? When the artist has returned home?
How do artists communicate their experience to their community upon their return? Do they have or make an opportunity to do so? To whom?
Assuming the goal is to support artists in a given location, which is a more beneficial tool, inviting one artist from overseas or sending an artist or program to a local community?
In an interactive working group, opinions and examples of artist residencies and performing arts programs as a tool for cultural exchange will be presented and discussed.

By Res Artis

There is little to argue about the benefits of cultural exchange for the individuals directly involved, of working in a new environment, of having discussions with creative people from different cultures. But what happens when its over? When the artist has returned home?
How do artists communicate their experience to their community upon their return? Do they have or make an opportunity to do so? To whom?
Assuming the goal is to support artists in a given location, which is a more beneficial tool, inviting one artist from overseas or sending an artist or program to a local community?
In an interactive working group, opinions and examples of artist residencies and performing arts programs as a tool for cultural exchange will be presented and discussed.

By Res Artis

In recent years there has been increasing interest in transnational co-operation between artists and arts organisations in Asian countries and between Europe and Asia. Networks of small scale theatre and dance companies have emerged and there have been some fascinating intercultural projects. There is a cultural dimension to the work of the Association of South East Asian Nations and the establishment of the Asia-Europe Foundation has created a framework to stimulate cultural engagement. Nevertheless, there are continuing obstacles to mobility, including funding and information. This last issue has begun to be addressed by the Asia-Europe Foundation through its research on the development of an information portal "Culture 360". This session will look at the environment for and practicalities of artistic mobility and cultural collaboration inside Asia and between Asia and Europe, citing case studies and sources of information.

A meeting group focused on projects designed to increase the inclusion of artists and writers with diverse cultural backgrounds in established theatres and cultural institutions.

Demographic structures change. Conflict and economy move millions of people across cultural and national boundaries. Migration is a global reality. National and regional cultural institutions are slow in opening doors to ethnic minorities and immigrant groups, or fail recognize that in terms of audience and talent, these people are a part of our future.

How do we encourage young people from minority groups to become composers, playwrights or choreographers? Where are the barriers? What are the strategies to break down these barriers? Our shared experiences can provide the knowledge, the inspiration and the encouragement to further future work.

Is of value for young artists from immigrant communities to meet in a European context, in master classes, readings, festivals or colonies? How can we organize and fund cross national /cross cultural meetings for these young artists? 

A meeting group focused on projects designed to increase the inclusion of artists and writers with diverse cultural backgrounds in established theatres and cultural institutions.

Demographic structures change. Conflict and economy move millions of people across cultural and national boundaries. Migration is a global reality. National and regional cultural institutions are slow in opening doors to ethnic minorities and immigrant groups, or fail recognize that in terms of audience and talent, these people are a part of our future.

How do we encourage young people from minority groups to become composers, playwrights or choreographers? Where are the barriers? What are the strategies to break down these barriers? Our shared experiences can provide the knowledge, the inspiration and the encouragement to further future work.

Is of value for young artists from immigrant communities to meet in a European context, in master classes, readings, festivals or colonies? How can we organize and fund cross national /cross cultural meetings for these young artists? 

À force de se protéger de ses voisins, l'EU se construit une cage prétendument dorée qui peu à peu l'éloigne du reste du monde. Sa Politique de Voisinage n'est souvent qu'un leurre pour consolider ses frontières.
Cet isolement voulu protège-t-il vraiment l'EU, ou l'appauvrit-il ? Comment faciliter le dialogue interculturel quand les frontières se ferment ? Tandis que la Mediterrannée fut le terrain de tous les échanges qui bâtirent ce que l'on appelle la Civilisation Occidentale, il semble aujourd'hui que la Mare Nostrum ("modération entre les terres" comme l'indique son éthymologie) devienne un gouffre et une muraille infranchissable. Quelles influences cela a-t-il sur la création artistique ? Comment le monde du spectacle doit-il - peut-il - réagir ? En tant qu'opérateurs culturels quelle est notre responsabilité ?

In many European countries, the existence of a theatre building in a town or city is becoming increasingly irrelevant as practitioners are responding to contemporary life by inhabiting disused factories, swimming baths, neglected tower blocks and shopping centres. The touring circuit is being abandoned and audiences are exploring their city in new ways.

In this landscape of non-theatre sites what are the new, emerging trends of mobility? Is it away from the model of the touring show and towards collaboration? Is it methodology that is mobile and not product? Is a new type of producer evolving as a result?

A debate on the politics and principles of mobility as it relates to non-theatre sites, led by Talking Birds “pioneers of site-specific work”.

À force de se protéger de ses voisins, l'EU se construit une cage prétendument dorée qui peu à peu l'éloigne du reste du monde. Sa Politique de Voisinage n'est souvent qu'un leurre pour consolider ses frontières.
Cet isolement voulu protège-t-il vraiment l'EU, ou l'appauvrit-il ? Comment faciliter le dialogue interculturel quand les frontières se ferment ? Tandis que la Mediterrannée fut le terrain de tous les échanges qui bâtirent ce que l'on appelle la Civilisation Occidentale, il semble aujourd'hui que la Mare Nostrum ("modération entre les terres" comme l'indique son éthymologie) devienne un gouffre et une muraille infranchissable. Quelles influences cela a-t-il sur la création artistique ? Comment le monde du spectacle doit-il - peut-il - réagir ? En tant qu'opérateurs culturels quelle est notre responsabilité ?

In recent years there has been increasing interest in transnational co-operation between artists and arts organisations in Asian countries and between Europe and Asia. Networks of small scale theatre and dance companies have emerged and there have been some fascinating intercultural projects. There is a cultural dimension to the work of the Association of South East Asian Nations and the establishment of the Asia-Europe Foundation has created a framework to stimulate cultural engagement. Nevertheless, there are continuing obstacles to mobility, including funding and information. This last issue has begun to be addressed by the Asia-Europe Foundation through its research on the development of an information portal "Culture 360". This session will look at the environment for and practicalities of artistic mobility and cultural collaboration inside Asia and between Asia and Europe, citing case studies and sources of information.

In many European countries, the existence of a theatre building in a town or city is becoming increasingly irrelevant as practitioners are responding to contemporary life by inhabiting disused factories, swimming baths, neglected tower blocks and shopping centres. The touring circuit is being abandoned and audiences are exploring their city in new ways.

In this landscape of non-theatre sites what are the new, emerging trends of mobility? Is it away from the model of the touring show and towards collaboration? Is it methodology that is mobile and not product? Is a new type of producer evolving as a result?

A debate on the politics and principles of mobility as it relates to non-theatre sites, led by Talking Birds “pioneers of site-specific work”.