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In this issue we deliver news and background stories from Denmark, Russia, South Korea and the United States. But the perspective is not a national, but a global one. First of all, Peter Tarlow from Texas shares his ideas about the relationship between arts and tourism with us. Many cities, Dr. Tarlow considers, have not taken advantage of either the cultural side of the arts or the commercial side. But nearly each city have a local art scene, which could be an additional value for the community, if you include them in your tourism marketing concept. Tarlows main idea is about creating a co-operative atmosphere between the arts and tourism communities.
The 2011 Performing Arts Market in Seoul (PAMS) takes place from Monday, October 10 to Friday, October 14 at the National Theater of Korea, National Drama Company, and other venues in the Seoul area. Annually organized by the Korea Arts Management Service, with support from the Ministry of Culture, Sports and Tourism, Republic of Korea, PAMS is a platform for encouraging active creation and production, distribution, and overseas activities in the performing arts.
A Platform for Creation and Distribution in the Performing Arts
Making its seventh edition this year, PAMS has been attracting ten thousand performing arts professionals from Korea and overseas, while around 400 performances of 104 PAMS Choice selections have been staged throughout the world in Asia, Europe, and the Americas.
The Goethe-Instituts successful pilot project Competence Centre for Cultural Managers will be continued in 2011. For the second time, ten professionals from the cultural sector in Eastern Europe, Central Asia and southern Caucasus will take part in the advanced training programme in Germany. Starting in February, each will complete a four-week internship at German cultural institutions such as the German Historical Museum in Berlin, the Cologne network ON-Neue Musik and the Grips-Theater. The participants will conclude the programme by implementing their own project in their home country with the support of the local Goethe-Institut.
Cultural managers in the arts scenes of countries of Eastern Europe and Central Asia have many difficulties. They often lack experience, in particular in the field of international cooperation. This is the focus of our programme, explains Katrin Ostwald-Richter, project manager of the advanced training programme Competence Centre for Cultural Managers, which was initiated in 2009 by the Goethe-Institut as a pilot project and will be held for the second time in 2011. The target group is professionals from the cultural sectors from the countries of the former Soviet Union working in governmental and non-governmental cultural institutions or as freelancers. They will be supported in developing up to date structures for international cooperation in the cultural sector, setting up networks and at the same time enhancing their own professional profiles.
The Institute for Cultural Diplomacy and Dubrovnik International University (DIU) are pleased to announce the graduate Master of Arts program in International Relations and Cultural Diplomacy. Offered by DIU in partnership with the ICD, the program will combine the traditional academic components of international relations with a new focus on the role of soft power and cultural diplomacy in contemporary global affairs.
While the study of political science has been a cherished tradition of academia, the developments outlined above demand the identification of entirely new theories and models. An understanding of the challenges faced by the contemporary world requires an interdisciplinary approach; International Relations and Diplomacy should not be understood only as disciplines of Political Science or Political Theory, but also be interpreted from the perspective of art and culture, economics, law, and other social sciences.
It's only 3 weeks until the world's leading thinkers in the arts descend upon Melbourne, Australia, for the 5th World Summit on Arts and Culture - have you registered yet?
The World Summit theme is Creative Intersections and each day a field of 70 speakers from all over the world will explore three broad aspects of the central theme: place, people and projects. Throughout the Summit from October 3-6, delegates will also have an opportunity to participate in a vibrant arts programme and attend performances from the Melbourne Festival.
Ulla-Alexandra Mattl will be our correspondent in Melbourne and report about the World Summit after the conference in our newsletter. Just subscribe at to read the inside stories for arts managers!
The "Open Residence" of 3331 Arts Chiyoda is a program for artists and creative practitioners from all over the globe. With a full range of facilities including accommodation, studio and gallery, creative practitioners have the exceptional opportunity to extend their artistic engagement in the heart of Tokyo.

With the energy of the electronics and anime haven of Akihabara right at one's doorstep and the traditional cultures of downtown but a stone's throw away artists will be able to experience all aspects of this kaleidoscopic city from this convenient base. The unique feature of this residence is that it provides a space for artists to stay in the heart of Tokyo, research their creative projects, develop this into new work and then to finally present it while connecting to the extensive network of Tokyo's art scene through the hub that is 3331.
We are glad to provide you with a special focus on the United Arab Emirates in our latest newsletter issue with the support of our consultant Doerthe Ramin, who visited the region this year.
Community sustainability is viewed as encompassing and intertwining environmental, cultural, social, and economic sustainability and resiliency. This international event promotes knowledge development and exchanges of practice-led research on cultural and social dimensions of sustainable city-building, involving architects, theatre-makers, community artists, urban developers, researchers in many disciplines, and university teachers and students. These exchanges will be facilitated in two ways: (a) an international symposium in which participants share their experiences and insights and discuss the challenges of the work; and (b) two workshops in which artists/architects and researchers work together.
Geneva, 4 August 2011. Today CERN* launches its cultural policy for engaging with the arts. Called Great Arts for Great Science, this new cultural policy has a central strategy - a selection process for arts engagement at the level of one of the world's leading research organizations.
This puts CERNs engagement with the arts on a similar level as the excellence of its science, said Ariane Koek, CERN's cultural specialist.
CERNs newly appointed Cultural Board for the Arts will be the advisers and guardians of quality. It is made up of renowned cultural leaders in the arts from CERN's host-state countries: Beatrix Ruf, Director of the Kunsthalle Zurich; Serge Dorny, Director General of the Lyon Opera House; Franck Madlener, Director of the music institute IRCAM in Paris. Geneva and CERN are represented by Christoph Bollman of ArtbyGenève and Michael Doser, an antimatter scientist. Membership of the board is an honorary position that will change every three years.
@ Image: Simon Norfolk (UK) CERN series
It is no surprise that we have an immense and varied culture in the United States. Yet when it comes to the arts, there is no reason why a person with a visual disability must also be culturally disadvantaged. For communities to sustain their cultural vibrancy, they cannot afford to ignore any portion of the resources available within the community. In fact, too often people with disabilitiesespecially people who are blind or have low visionare not welcome in a community's cultural institutions simply because programs are not accessible in a meaningful way.
Tallinn is the European Capital of Culture in 2011. The present article is written in August while half of the year is over. Some summary how successful the Culture year has been and what kind of changes it has emerged can already be done. Though the real long-term effects of the year we can make after several years.
The planning and preparation that Tallinn will be the European Capital of Culture in 2011 started already in 2005 and the process came through several phases. It started with the discussions and brainstorming of working groups where belonged officials from different city departments as well as art people. Those groups prepared also the official application to the European Commission. In 2007 an independent organization The Capital of Culture Foundation Tallinn2011 was founded by the City of Tallinn with the functions of preparing and coordination of execution of the program. The infrastructure projects were performed by different city departments or state institutions.
The expectations what kind of problems the process of Capital of Culture will solve were very different: artists and culture people hoped to fulfil their dreams and ideas that could not have done in "ordinary year", marketing people found that the most important aim is the rise of foreign tourists, city planners stressed the need for developing disused districts of the town, etc., etc.
The National Endowment for the Arts (NEA) Office of Research & Analysis will offer, for the first time, grant opportunities to researchers. The grants will support investigation of novel and significant research questions about the value and impact of the U.S. arts sector through the analysis of existing and/or newly established datasets. The NEA anticipates awarding roughly 25 grants, generally ranging from $10,000 to $30,000. At the end of the award period, grantees will submit a research report for posting on the NEA website.
According to a research conducted by Korea Arts Management Service and Korea Labor Institute in year 2008, professionals working at arts management get job satisfaction from psychological reward and high expectation about future prospects despite of their hard working conditions regarding long working hours, low income, poor welfare and services for employees, and conditions of employment .
The Institute for Cultural Diplomacy (ICD) in cooperation with the Dubrovnik International University (DIU) is launching a graduate Master of Arts programme in International Relations and Cultural Diplomacy, to be held in Berlin and Dubrovnik starting in September 2011. The programme will combine the traditional academic components of international relations with a new focus on the role of soft power and cultural diplomacy in contemporary global affairs. Students will have access to an expert faculty with experience in international politics and diplomacy, and will acquire the knowledge and skills needed to work in a complex global order. Interested students are invited to apply before 10 August 2011. Deadline for late admissions is 9 September 2011.
Cellsbutton is the first media art festival in Indonesia which celebrates its 5th year. The organizer is House of Natural Fiber (HONF), Yogyakarta new media art laboratory, which was founded in 1999. Their main focus is artistic development and innovation of the arts. To achieve this goal, they strive to introduce new media art projects and workshops to the cultural environment of Yogyakarta. Every program is aimed at interactivity with the people and their social and cultural environment.This year´s Cellsbutton edition will be focused on the problematics of education in new technologies and their use in daily lives of ordinary people.The festival itself aims at creating a working and efficient platform for artistic exchange and collaboration.

The house of natural fiber, yogyakarta new media art laboratory, was founded in 1999. Our main focus is artistic development and innovation of the arts. We intend to achieve this goal especially by introducing new media art projects and workshops to the cultural environment of Yogyakarta. Every program is aimed at interactivity with the people and their social and cultural environment.
Thinking forward, positivity and creativity is the vision for our community. This vision is implemented in every program: we try to develop a symbiosis between art and technology. In our concept of the future of art and technology, the analysis of the specific role of technology within the arts in itself is crucial.
A new study by the Research Center for Arts and Culture (RCAC) at Teachers College Columbia University launched today at Frederick P. Rose Hall, home of Jazz at Lincoln Center, finds that aging artists are models for society especially as the workforce changes to accommodate multiple careers and baby boomers enter the retirement generation.
Evidence for this claim is provided in the first needs assessment of aging performing artists in the New York and Los Angeles metro areas now available in the RCAC report: STILL KICKING - Aging Performing Artists in NYC & LA Metro Areas: Information on Artists IV. The study is the first of its kind to understand how performing artistswho often reach artistic maturity and artistic satisfaction as they ageare supported and integrated within their communities, and how their network structures change over time. It complements the RCACs 2007 study of aging visual artists, published as ABOVE GROUND. The artists studied are actors, dancers, choreographers, musicians and singers.
Aging artists belie stereotypes: They are passionate about their work, and put the good news and bad news into it. They feel validated as artists and rank high in life satisfaction and self-esteem; 86% in NYC and 92% in LA would choose to be an artist again. Nor are aging artists isolated: More than half of them communicate daily or weekly with other artists, and more than half continue to be working artists and do not expect to retire until they are 90.
Australian arts audiences are using online resources to help shape and inspire their arts experience with 40% becoming aware of an arts event online, 75% using on line resources to research their event and 66% going on line after the event to share their experience.
Connecting:// arts audiences online, new research released today by the Australia Council for the Arts, demonstrates the use of online media at each stage of the audience journey from the point of first becoming aware of an the event, to attendance through to sharing their experience afterwards.
This year's Communicating the Museum conference is being held from 6th to 8th July in the elegant, creative and historic German city of Düsseldorf. Our theme this year is the Visitor Experience and the vital role it plays in building and retaining audiences. Leading international speakers and practitioners will present important and ground-breaking thoughts and ideas on:
* creating the very best experience for all visitors
* cutting edge visitor research from around the world
* generating income from visitors
* the dynamic and creative relationship between marketing and the visitor
experience - the unified tone of voice and customer service
* brand and the visitor experience
* interpretation and learning
* the future of the visitor experience - on-line and beyond
Following the tradition of engaging each year in a major policy debate, ENCATC, in close partnership with the Universiteit Antwerpen/Antwerp Management School, Master Cultuurmanagement will be organising this year in Brussels on the 7th of July 2011 the European debate Opportunities of crisis: Managing the impact of the financial crisis in Europe, designing innovative strategies and forecasting possible futures.
The purpose of this event is to debate what the crisis ultimately means for policy-makers, leaders and managers in the cultural sector. This policy debate is implemented in close partnership with the Universiteit Antwerpen/Antwerp Management School, Master Cultuurmanagement. It follows the ENCATC tradition of engaging each year in a major policy debate. The event is expected to gather about 50 participants, from Europe and beyond (AIMAC participants). It is meant for policy-makers, leaders and managers in the cultural sector, artists, academic, researchers and anyone interested in this topic.
Berlin. From the Bolshoi Theatre to stage technicians from Melbourne, from the Norwegian National Theatre to Korea to the USA: for three days, SHOWTECH became the international stage for the stages of the world, thus impressively emphasising its role as the worlds most important forum for the stage. Significant growth in the number of international trade visitors, a noticeable increase in the willingness to invest and the qualified dialogue between experts and colleagues from all over the world were the characteristics of this years SHOWTECH. SHOWTECH has further consolidated its position as the leading international meeting place for the industries it serves, said Hans-Joachim Erbel, Managing Director of SHOWTECH organiser Reed Exhibitions Deutschland GmbH.

More international visitors

With a total of 7,520 visitors, SHOWTECH remained only just below its previous record (7, 813 in 2009). The trade show recorded a noticeable increase in visitors from abroad, with the share of international trade show visitors going up five percent to currently 32 percent. Here, the biggest growth was in the number of visitors from Scandinavia and Eastern Europe. A total of 322 exhibitors presented the latest trends and innovations in stage and event technology at this years SHOWTECH. This years trade show demonstrated that the industry has left the crisis behind for good and is looking forward with realistic optimism, said SHOWTECH Event Director Markus Jessberger at the close of the trade show.