This article was originally published by IETM – INTERNATIONAL NETWORK FOR CONTEMPORARY PERFORMING ARTS
Things started going really bad in Spain between 2008 and 2011, with the beginning of cuts dictated by the European Commission, the Central European Bank and the International Monetary Fund – the dreaded Troika. Before that, the cultural sector and the performing arts had gone through almost 30 years of cultural policy developments aiming to create structures and to support creation and production of artistic works. With varying success, such policies organised and strengthened an unprecedented artistic fabric. Austerity policies provoked a setback that will take several years to be overcome, if at all.
I wouldn’t say that the performing arts sector in Spain was strong and highly creative, but in 30 years it developed substantially. Regular framework funds for artists and companies were implemented and new venues and creation centres were opened. All of this at a local, regional and national level. A broad array of public institutions covered different aspects of the development of the performing arts. However, the modernization process was not finished yet, there were still reforms to do: the high political dependence, lack of democracy in cultural institutions and some new expensive buildings without artistic projects, only built to feed the real state bubble and increase the public debt. Besides, the presence and support to contemporary innovative performing arts was not guaranteed in local public venues, in fact the vast majority of the performing spaces. Seguir leyendo THE SITUATION OF THE PERFORMING ARTS SECTOR IN SPAIN AFTER THE CRISIS→
The days 11 and 12 of November 2014 I was invited to the forum “International Mobility of Young Artists”. It took place in Milan (Italy) in la Fabrica de Vapore. Its objective was to reflect on the current meaning of artistic mobility and on its future in Italy and in the international arena. The debate analyzed the definition of mobility, its history and how it is performed and supported in Italy and abroad.
I was asked to present the different frameworks of the public support to artistic mobility in Spain and its current situation. I used the following slide presentation and I post it in the blog for whoever interested:
I copy in my blog this text initially published in IETM website
Spanish government budget cuts began in 2009, but the most important arts cuts have been in Autonomous Communities (regions)’s budgets, as they have the most responsibility and funding for culture. Autonomous communities share this with local governments, now mostly bankrupt or with huge debts. The total reductions for the arts are thus more than 25% in global figures, comprising regions and local authorities.
The reaction of artists and arts organisations is muted – everyone is in a state of shock (reinforced by governments and media). There is a universal reaction against cuts in public services, including education and health as well as culture, but culture is the last in the line. Other issues in the protests are corruption, lack of transparency …… There is widespread criticism of the European Council’s policy to control public debt by “austerity” budgets, when everybody in Spain knows that the problem is private, not public, debt : the banks. Seguir leyendo News from de Spanish Cultural Sector: Budget Cuts and Protests→
I was asked to write this article for “IETM Engage!”, newsletter of International European Theatre Meeting. The newsletter main goal is to highlight activist operations and present initiatives outside the network to reduce the impact of public cultural budgets cuttings in Europe and other restrictive laws for the cultural and artistic development.
What was a major change in Catalonian cultural policy when the first executive Arts Council in Southern Europe was born in 2008, has lost its executive responsibilities. On December 21, 2011 the Catalan Parliament approved a new law that drives cultural policies back to the periods of greater political interference. Seguir leyendo The Catalan Arts Council Reduced to an “Advisory Agency”→
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.
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. Seguir leyendo “mov-s/madrid 2010” – The Active Spectator→