Policy, Research & Politics

Latin America Bases Cultural Agenda on Identity, Tradition

SALAMANCA, Spain – Latin American culture ministers are promoting an agenda based on strengthening their countries’ identities and restoring their traditions as a fundamental element of regional development.

 Herald Tribune

Cultural Diplomacy Program Center Stage Brings Contemporary Performers to United States

Center Stage is a trailblazing program designed to bring diplomacy to American towns and cities by presenting ten prominent foreign performing ensembles to the United States of America for month-long tours from June-December 2012.

  World Music Central.org

Conference: Asia-Europe Encounters: Intellectual and Cultural Exchanges

The first half of the 20th century saw some of the most intense political and social changes experienced thus far in world history. Shiraishi Takashi’s coinage of the 1910s and 1920s as an “age in motion” in Southeast Asia might be extended as a reference to Asia-Europe relations during the half century. It was an age in which high imperialism began to unravel and where global political power shifted, bringing profound changes in the relations between Asia and Europe. By 1950, the colonial empires had essentially disappeared and former Asian possessions, as well as other parts of Asia, began completely new trajectories. The same newness might also be claimed of Europe. The period around 1950 thus marked the end of one age of Asia-Europe interactions and the beginning of another.

 

Source : asef.org

Cultural policy profile for South Korea

We are pleased to announce that Dr Kiwon Hong, is currently finalising a cultural policy profile of South Korea, as part of WorldCP, the international database of cultural policies The profile has the support of the Ministry of Culture, Sports and Tourism, and is financially assisted by the Korean National Commission for UNESCO. A preliminary version of the profile was presented at the launch of WorldCP at the 5th World Summit, in October 2011. A summary profile is available from culture360.org.

 

Source : WorldCP.org

Spanish rebel against the VAT rise in culture

Spanish protest against the VAT rise in the cultural sector that implies a rise from 8 to 21 percent affecting theatre, movie and concert tickets, while museums, exhibitions and libraries face a rise from 8 to 10.

THe SGAE (Sociedad General de Autores/General Society of Authors) has issued a statement deploring the government move to increase VAT in culture as it will bring more unemployment and less revenue for the Treasury.

 

Source : ifacca.org

Call for funds for cultural policy

THE nation's main performing arts companies have called on the federal government to commit funds to the National Cultural Policy as Wayne Swan's budget surplus comes under increasing pressure.

As the government attempts to pull back $2 billion in grants, the Australian Major Performing Arts Group will seek assurance that the delayed National Cultural Policy at least will maintain funding in real terms.

 

Source : The Australian

Re-Framing The Critic for the 21st Century: Dramaturgy, Advocacy and Engagement

There has been a lot of talk about criticism lately asking what it is, why is it important, what is the difference between “good” criticism and “bad” criticism and who gets to do it, anyway? This is understandable for many, many reasons, not least of which is that the general tone of discourse in our culture is at an extraordinary low while the need for thoughtful criticism is at an all-time high. We live in incredibly complicated times that require examination and circumspection. Yet things have devolved to the point that a political campaign can literally reject truth as a criteria for making allegations and a state political party platform can reject the teaching of values clarification and critical thinking skills in schools; ignorant pugnacity in the pursuit of extremism passes for discourse in the public realm and people communicate their approval through clicking a “like” button. At the same time the traditional  hierarchies for determining the “legitimacy” of critics have begun to fail. Att the risk of endlessly re-stating the obvious, the internet has changed everything and it has mostly demonstrated the truth of two time-honored sentiments:

Source : Culturebot.net


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