PowerPoint of my lecture on Wednesday 3 November in Santander (Spain) at the general meeting of the Spanish Network of Independent Theaters. Seguir leyendo Overview Internationalization Performing Arts Projects
In my third year of collaboration with the Feria de Huesca (Hueca international showcase for performing arts) I can’t but express satisfaction with the results obtained. The difficulty of pulling ahead in Spain a performing arts project which encourage innovation and contemporanity above populism, tradition and simple entertainment (I feel a deep sorrow for the case of Gijon’ La Laboral) can be optimistic about the strength of the Feria de Huesca and its position in the future.
Macarena Recuerda Shepherd
The strong commitment of the patrons for the contemporary performing arts and the debate in the context of professional meeting point has given the expected results and I am convinced this year will be definitively consolidated. Anyway, we must be careful since no one escapes the strong dependence of the culture sector on politics in Spain and the approaching election times, and therefore possible changes in the political ecosystem.
Compañía La Tristura
I encourage you to continue the link of the Fair to look at the Artistic Programme and the Professional Conference. Concerning artistic programme I put some significant videos, although there is much more. The Conference is titled “Time for Revolution” (look at the introductory text) and no doubt will be a good place to reflect what changes are needed in the cultural sector to advance much further, with or without crisis.
Whoever approaches La Feria de Huesca , I am sure will have a few days of discovery and reflection necessary for the future of their professional activity.
These days I am in body and soul dedicated to mov-s/madrid2010. Visit the blog where I publish all relevant information.
And if you want to give you a tour by mov-s/madrid from 10 to 13 June at Reina Sofía Museum, theatres and arts centres of Madrid.
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
Again the “Feria Internacional de Teatro y Danza de Huesca” has met the challenge of being the showcase of contemporary dance and theatre, and with this, to foster their touring extensively by the theatres and arts centres. Seguir leyendo Texts of the Lectures “Reasons for Programming Contemporary Performing Arts in Time of Crises” – Feria de Huesca 2009
Originaly published in La Coctelera on May the 5th-2009
Introductory text of the international Conference of performing arts that will takes place in Huesca (Spain) from September 30 to October 2 in 2009
It is too often a fact that the most innovative and avant-garde theatre and dance rarely form part of theatre programmes. The reasons that are put forward to explain this absence are highly diverse, although most of them are to do with their low level of acceptance by a general public that, in general, is more accustomed to viewing the performing arts as pure entertainment or as the reflection of education based on heritage and history rather than a processes of contemporary creation. Another factor is that in times of crisis, the public authorities cut down on the budget assigned to those areas of culture that are considered to be less popular.
Whatever the reasons may be, in this congress we are going to take a positive attitude and not merely describe the difficult reality faced by contemporary performing arts. We have invited nine relevant figures in different fields of the performing arts at international level and will ask them to explain why they consider that today’s performing spaces should find a place in their programmes for contemporary creations. Each of the speakers will bear witness to a situation in which they have stood out and together they will present a detailed set of arguments in favour of the appropriateness of programming innovative, audacious productions in theatres.
Using a more current expression: in the conferences we hope to shed light on the reasons for an I+D+i of the performing arts at this particular moment in time. In the “European Year of Creativity and Innovation” and immersed, as we are, in a global crisis of yet unknown proportions, resorting to the most innovative artistic creations is considered as a detonator for new social, economic and personal development. This detonator is, in the performing arts, the contemporary nature of the artistic proposals and their accessibility for most of society.
Wednesday 30 September
Table 1 – Artistic reasons
Committing ourselves to art and making it accessible to the general public should not need any justification. “Art for art’s sake” has been one of the main philosophical arguments since ancient times: “the need for art is self-justified”. In this context “What place do contemporary performing arts occupy?”, “Do they have intrinsic worth?” and if so, “What defines them and what differentiates them to other performing disciplines?”
Thursday 1st October
Table 2 – Socio-economic reasons
Lately the argument of economic progress is that which has most frequently been bandied about in Spain by politicians and administrations to justify their support of the arts. However the question is, are contemporary arts capable of reactivating an economy in crisis? Can a society in need of innovation help artists’ creativity? Are creative minds necessary for a new type of society? Is this perhaps the first step towards educating in creativity?
Friday 2nd October
Table 3 – Social and personal reasons
Contemporary creation feeds off the reality of the society in which it is developed once again returning said creativity to it. Its receivers, be they individuals or groups, become more aware, transform and develop their own creativity, strengthening their capacity to co-exist and overcoming the barriers of exclusion. Is the population receptive to contemporary creation? Does its transforming capacity affect those that practice it? Is there creation beyond the Academy?