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Research and Programmes

Culturelink review, no.42/April 2004 - contents - imprint - archive

Assessment of the Cultural Policy and Arts Management Training Needs in Central Asia

Project of OSI/UNESCO 2003-2004
Executive summary

The purpose of this first phase, in 2003, of the project Assessment of the Cultural Policy and Arts Management Training Needs in Central Asia has been to analyze the training needs in five Central Asian countries (Kazakhstan, Kyrgyzstan, Uzbekistan, Tajikistan, and Turkmenistan) when issues of cultural policy and arts management are concerned. As a tool for this task the researchers used a mixed (open and structured) questionnaire for the specific design of possible forthcoming training programme and its follow-up activities.

The questionnaire was distributed mainly through UNESCO channels, as well as through the network of OSI institutes in respective countries. The total number of received questionnaires was 24 - 12 from Kazakhstan; 6 from Kyrgyzstan, and 6 from Tajikistan. There were no responses from Turkmenistan and Uzbekistan.

The first part of the questionnaire was devoted to the basic data about institutions/organizations.

Most personal responses - with some persons representing two organizations or institutions, while in two cases two persons represented the same institution or organization - came from the non-profit sector (19 out of 29, or 66%), which included non-governmental cultural organizations and non-governmental research organizations. The representatives from public institutions (4) and other types of institutions (6) were relatively rare. The respondents individually defined themselves mainly as organizers of artistic events (15), researchers (9), artists (6), managers of cultural institutions (6), and persons working in public administration (5). These five groups made 82% of the respondents. In clarifying their institutional objectives, the respondents listed more specific fields or issues such as -

  • contemporary choreography; improvement of education system; music (classical and folk); theatre, cinema; undertaking of innovative cultural projects; developing of audience; research activities in culture; preservation of Slavic languages and cultures; protection of copyright and related rights; promotion of contemporary arts; support of children's access to culture; preservation of cultural heritage; development of museum activities;
  • liberalization of social life and cultural policy; fostering cultural activities; development of creative community; building up of open society; integration into global cultural processes; promotion of cultural links in Central Asia; building up of democratic ideals, which excludes violence, discrimination and suppression of individuals; formulation of the new cultural policy.

In the overall activities of the respective institutions/organizations, the following fields were diagnosed as most important: socio-cultural activities, visual art and fine arts, general cultural field, cultural heritage or museum activities, music and performing arts. From the specific activities within the scope of institutions/organizations, the most numerous and important activities belong to training and education; promotion of art and artists; organization of artistic events, and documentation and information activities. The main users of their activities, programmes, products and services come from the local and national levels. The most important physical users are professionals and artists, general public, experts and trainers, art audiences, students and policy makers.

The second part of the questionnaire was intended to diagnose training needs, training methods, training issues, intensiveness of training, possible partners for forthcoming training programme, as well as the expected results from possible future training programmes.

The analysis revealed the most frequent problems in the day-to-day operation of the respective institutions and organizations. The common problems facing the cultural institutions/organizations in all three countries are the following: lack of knowledge in fundraising and shortage of financial sources generally; team work; effective management; undertaking of PR campaigns; missing of cultural information (on events, projects, persons, international contacts); shortage of cultural managers; inadequate tax system; absence of professionals in different fields (dance, museums, copyright specialists, etc.); lack of technical equipment (especially ICT); lack of adequate training, particularly in the fields of cultural management and cultural tourism.

The fields of activity which institutions/organizations find most relevant for cultural development from the national standpoint are the following: cultural policy and intercultural relations; sustainable development and democracy building; civil society and cultural development; culture and economics; arts management and cultural tourism; decentralized cultural initiatives; strategic management in turbulent cultural circumstances.

The most important issues for in-depth intensive training, according to the responses, are: international standards and global dimension of arts management; ways and means of international cultural cooperation; partnership and networking; intercultural relations and intercultural mediation; strategic planning and definition of long-term strategic plans; capacity building and organizational development; marketing in arts and culture; notion and methodology of cultural research; private initiative in culture; fundraising and sponsorship. From the list given here, the following issues are regarded as urgent: implementation of international standards and global dimension of cultural management; fundraising and sponsorship; partnership and networking. Issues of a more strategic nature are: intercultural relations and intercultural mediation; capacity building and organizational development; strategic planning and drafting of long-term strategic plans.

The most desirable types of training are seminars, internships, workshops, training of trainers, case study analysis; combinations of methods; distanced work by Internet, and development of consultancy learning. However, a higher percentage (around 60%) of the organizations/institutions opted for longer and more intensive types of training lasting one week or 10 days. Most of the participants (more than 70%) had already attended some training programmes (mostly international and mostly done by Western or Russian trainers) in the fields such as project development; team building; conflict management; arts and cultural management; fundraising and sponsorship; marketing in arts; cultural tourism; art and new media; museum policy.

The target groups for the above-mentioned types of training, according to the responses, are leaders and managers of public cultural institutions; representatives of non-profit cultural organizations; organizers of artistic events; actual and potential sponsors of cultural activities; researchers and lecturers in the field of culture; representatives of media; public administrators; representatives of art associations/unions; representatives of private initiatives in culture. In diagnosing potential partners for undertaking possible future training programmes, the respondents were not very precise and provided incomplete data.

The participants expect to learn how to invest money in the field of culture; to establish contacts with state structures, potential donors and NGOs; to understand better the role of arts in society; to facilitate dialogue between the NGOs and the state; to learn how to make artists better known abroad; to facilitate lobbying of politicians; to improve regional cultural development; to link culture with overall cultural development of the country; to train new generations of cultural managers.

The expected specific results from the training, according to the responses, are the following (listed according to the rank of priority):

  • establishment of mobility and internship schemes to facilitate regional exchanges and cooperation;
  • establishment of regularly distributed information packages to supply cultural practitioners and institutions/organizations with most up-to-date information needed for regional and international cultural cooperation;
  • creation of an Arts Management Chair, or an MA Programme (or post-graduate diploma) in cultural policy and management on the basis of one of the Arts Universities in the region, enabling the participation of teachers and students from the whole region;
  • promotion of best practices and interesting examples of well managed cultural institutions worth studying;
  • establishment of continuous on-line consultancy service to advise and help cultural practitioners and institutions/organizations in their day-to-day operations;
  • creation of a database with digitally stored information on artists, institutions/organizations, projects and foundations;
  • establishment of special additional training programmes aiming to enable cultural institutions/organizations to define their long-term strategic plans of development;
  • organization of a forum of NGOs to disseminate in the field the results of training; this forum could bring together government and business donors and culture NGO leaders; their participation in the training would provide the first opportunity for dialogue;
  • preparation of an educational/methodological CD Rom or Website together with an (e)Newsletter (to facilitate lobbying on this issue) that would be distributed to the core group of trainers;
  • publication of a text on arts management resulting from the training, to be distributed among project participants, as well as a larger audience of concerned people.

At the end, in an open form of question some respondents (6) expressed their wish for the establishment of a Central Asian Cultural Network to facilitate, on a continuous basis, mutual contacts, cultural cooperation and exchange. The network should bring together primarily artists, producers, managers and researchers. Only the representatives of the Desht-y-Art Centre from Kazakhstan expressed their wish to help with the realization of some concrete outputs from future training, such as the establishment of an Arts Management Chair and the publication of a regional cultural guide to North Kazakhstan. Almost all of the respondents expressed their wish to take an active part in future training programmes.

For more information, please contact: Sanjin Dragojević, Faculty of Political Science, University of Zagreb, Zagreb, Croatia, e-mail: sdragojevic@fpzg.hr

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Creativity Workshop

Whether you are a writer, a business person, a teacher, or an artist, the Creativity Workshop can help you discover and nurture your particular way of expression and break through the fears and blocks that inhibit creativity. Working with more than 2,000 individuals, businesses, and institutions since 1993, the Creativity Workshop helps people believe in and develop their creative process through using a unique series of exercises in memoir, creative writing, visual arts, sense perception, brainstorming, and storytelling. The focus is on the process of creativity rather than the product, and it stresses the importance of play and the sharing of ideas to nurture creative growth.

The Creativity Workshop is dedicated to teaching individuals and groups about their creative processes and how to use them in all aspects of their work and lives. The Workshop's goal for the participants is refined creative skills, expanded perception, innovative problem solving, inspired brainstorming, and ways of looking at life as exciting and transformative.

You can contact Karen Bell, Administrative Associate, New York City, tel.: (212) 922-1555, and also go directly to extensive information site: http://www.creativity-course.biz

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Management Programme in Creative and Performing Arts

The MBA in Creative and Performing Arts offered by Leiden University School of Management (LUSM) is a fulltime programme which prepares participants for management in the field of Arts and Culture. The programme has a dual focus: in-depth knowledge of the main aspects of management on the one hand, and a thorough understanding of the particular characteristics of arts organisations on the other.

Core Courses: Forms of Artistic Expression, The Arts Sector around the World, Arts Organisations, Media and the Arts.

For more information, please visit: http://www.lusm.leidenuniv.nl

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Demand for Cultural Tourism: Final Research Report

Tourism New Zealand has commissioned a three-phase research programme to gain a better understanding of the current demand for cultural tourism products and to identify any gaps in supply that may exist. Demand for Cultural Tourism: Final Research Report represents Phase 3 of the programme: qualitative and quantitative primary research which has been commissioned from Colmar Brunton Social Research Agency. The research programme consisted of research among domestic visitors, as well as both actual and potential international visitors.

The objectives of the Phase 3 of this research programme were to understand the awareness of culture and cultural experiences in New Zealand; to appreciate the importance of cultural tourism in the overall visitor experience, including accidental visitation; to recognize the type of cultural tourism products sought both in New Zealand and offshore; to recognize the type of cultural tourism products experienced (including events); to analyze cultural tourism products experienced in terms of a regional spread; to identify the component parts of cultural tourism products and other elements of the product mix; to assess the match between expectations and experience; to identify the key drivers of satisfaction and the barriers preventing visitor participation in cultural tourism; to weigh the expenditure on cultural tourism and the perceptions of value for money; to see what would encourage visitors to spend more; to identify the sources of information used and those preferred (international); to establish consumer demographic profiles. In addition to these objectives, there was initially an objective to understand the role of cultural tourism products as a motivator for visits.

The findings of this research support the focus on the 'interactive traveller' as the primary target. He/she is defined as a regular traveller who consumes a wide range of tourism products and services and who seeks out new experiences that involve engagement and interaction, and demonstrates respect for natural, social and cultural environments. In particular, the quantitative research indicates that interactive travellers:

  • are more interested in many activities, including a number of cultural products;
  • participate in more activities, including a number of cultural products;
  • are more satisfied with their New Zealand holiday experience overall;
  • have stronger, more positive perceptions about what New Zealand has to offer in terms of individual cultural products;
  • are more frequent users of the Internet as a source of travel information.

The research identified interactive travellers' needs as well as their interest in various activities. Those activities in which interest is greater than participation represent particular opportunities for developing cultural tourism in New Zealand. These are learning from a different culture about sites that are important to a country's history and its indigenous people (food and wine trails/festivals, dance performances, music concerts, theatre, arts and crafts trails and private gardens).

To a possible surprise, hotels, motels, backpacker hostels and friends and family are still the most popular forms of accommodation. Small proportions of visitors stay in niche accommodations:

  • bed and breakfast in a heritage building (2% of domestic visitors and 6% of international visitors);
  • hotel in a heritage building (2% of domestic visitors and 5% of international visitors);
  • farmstays and homestays (2% of domestic visitors and 15% of international visitors).

Concerning expenditure on cultural products, international visitors spend most on New Zealand's local cuisine, shopping for souvenirs and gifts, New Zealand wine tasting and marae visits. Domestic visitors spend significantly less across all cultural products.

Planning to visit/experience a cultural product before arriving in New Zealand varies from a low 29% for arts and crafts markets to 76% for shopping for souvenirs. Of those who plan ahead, few tend to pre-book and pay before arriving in New Zealand, although the proportion is notably higher for sites of particular importance to New Zealand's history (29%) and exhibitions of New Zealand's history (42%). International visitors tend to be more likely to plan ahead than domestic visitors to a region.

Both international and domestic visitors rely on a range of sources of information about activities/products. Visitor Information Centres play a particularly key role for international visitors in learning about the sites of historical significance, exhibitions of New Zealand's history, and museums. However, accidental awareness (e.g., driving past/seeing the signs) is not uncommon for both international and domestic visitors.

In terms of sourcing travel information more generally, potential international visitors indicate that the Internet is, by a substantial margin, the most widely utilized source (particularly for the interactive traveller). Potential international travellers appear to desire somewhat more access to information from Visitor Information Centres than they currently have, and with less emphasis on word of mouth and travel agents.

Interesting results have been detected when measuring the perceptions of the cultural product on offer: a high proportion of visitors are very much satisfied with the overall holiday experience. The situation changes when measuring satisfaction with individual cultural products.

Comparisons were made with overseas and gaps in awareness were identified. New Zealand is best known and most highly regarded by potential international visitors for its natural wonders, physical outdoor activities, wildlife activities, and high adventure activities, and less well known for its cultural products. The lack of awareness is particularly high for overnight stays on a marae, private gardens, and artists' studios.

The cultural products that potential international visitors are most likely to expect to meet international standards are theatre, art exhibitions and galleries, New Zealand music concerts (other than Maori), dance performances, artists' studios, and museums.

In general, interactive travellers hold New Zealand's cultural product offer in higher regard than other travellers.

The study carefully explains its background and objectives, and methodology. It also comprises the executive summary and conclusions. The chapter on detailed findings is divided into seven categories explaining the definition of the interactive traveller; the context; visitor needs and motivations; interest in cultural product; visitor behaviour; perceptions of the cultural product offer; and barriers to visiting cultural products.

This valuable study can be obtained from: Tourism New Zealand (WTOU), Manaakitanga Aotearoa, Level 16, 80 the Terrace, PO Box 95, Wellington, New Zealand, tel.: 04 917 5437; fax: 04 915 3817; e-mail: debbym@tnz.govt.nz

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Project Zagreb - Cultural kapital of Europe 3000

Project Zagreb - Cultural kapital of Europe 3000 is a collaborative platform initiated by four independent cultural organizations in Croatia: CDU - Centre for Dramatic Art (performing arts), mi2 - Multimedia Institute (new media), Platforma 9,81 (architecture and media), WHW - What, How and for Whom (visual arts). The project was developed together with a German partner with the financial support of the Kulturstiftung des Bundes. Throughout a three-year period (2004-2006) the project plans to develop manifold collaborative schemes on the local and international cultural scene and thus draw attention to the inadequacy of dominant cultural models to meet the challenges in a changed setting for cultural action.

Zagreb - Cultural kapital of Europe 3000 has set out as its goal to offer to the broader local and international cultural public an action model which will deal with the dynamics of transformation of the cultural field, both on the level of methodology and on the level of issues, which are significantly marked by the ambiguity of the notion of capital (as in cultural capital city, socio-cultural capital and economic capital).

The specific strategic goals of the Zagreb - Cultural kapital 3000 project are as follows:

  • to impact on the prevalent practice of non-collaboration in the cultural field by using a differentiated, multilayered and innovative model in the development of project partnerships and collaborations,
  • to promote cultural models which do not give priority to the representative patterns based on the logics of cultural and other identities by introducing new forms of action such as open, interdisciplinary, cross-sector and translocal collaborative platforms,
  • to give back to the cultural action a sense of critical, socially reflective engagement by chosing a variety of topics, contents and methods relevant for the public domain issue in a transitional context (both European, accessional, and global, neo-liberal and informational),
  • by strengthening the independent cultural sector in Croatia, to secure the conditions for it to become a relevant (influential) agent of change and new potentials for development in the cultural field.

More than 200 cultural events will take place over three years within the framework of a platform with a common public visibility, common organizational support and resources, common collaborative implementation, and common set of issues. It will include theatre shows, lectures, round tables and debates, visual arts exhibitions, installations, public actions and performances, new media art, etc. The core of project collaborations with which the activities of Cultural kapital 3000 project starts are initial programme modules proposed by initiators of the project, such as:

OutInOpen - lectures, presentations, performances and policy activities examining where tactical and participatory practices developed within the ICT and stepping outside of their confines and create augmented spaces for public interactions.

SystemHack() - exhibition and reader that will focus on practices and actions that managed to hack a system, i.e., to open up an already enclosed, tightly regulated system.

Public Domain and Creative Labour - activities will focus on creating an alternative model for open and free licensing of creative works, on research and protection of the public domain, research of peer-based alternative economies; this will include lectures, an exhibition, and publishing of books.

On Labour - researching and thematization of the cooperative aspect of immaterial labour through the investigation of the immersion of material labour in artistic production into affective production in the project.

The Quarantine and Powder Magazine - production/workshop/artist in residence centres in two different regions of Croatia.

The Little Front of New Performance and Dance - a series of performing arts events examining the ways of (re)presentation of new Croatian performing arts scene.

Invisible Zagreb - a series of events that will investigate the city's potential for the use of empty spaces as emergent forms of temporary public spaces and cultural practices.

3D Journal: No1 - Capital in Space investigates the early phase of liberal economy and social transition in Croatia with its influence on architecture and urban developments.

Collective Action explores the phenomenon of artists groups and different aspects of collective work and collectivity through curatorial collaborations, a series of lectures, an interdisciplinary symposium, screening programmes, exhibitions and artistic actions.

Normalization is a project realized as curatorial collaboration between WHW and curators Charles Esche and Lene Crone Jensen from Museum Rooseum, Malmo, Sweden.

The Bulletin Board is a series of lectures, actions, interventions and public forums with contributions by artists and cultural theorists.

Modules with other initiatives by independent culture sector:

Swarm Intelligences is a project of the Local Base for Culture Refreshment [BLOK], Multimedia Institute [theory module past.forward] and Platforma 9,81 in partnership with Community Art.

Policy Forum - The CK3000 project also includes an initiative for establishing a permanent forum of independent initiatives that would be oriented towards changing the institutional framework of their work, particularly towards improving the financing model for independent initiatives and resolving issues relating to the actual spaces in which these initiatives work.

School - Another significant step towards capacity building of independent culture and fostering a greater understanding of each other's work, transdisciplinary activities and new synergies between the initiatives on the independent cultural scene, is a series of educational events - a school - within the framework of the CK3000 project, where the project managers, along with other prominent agents, will convey to each other specialized knowledge and skills from their particular fields of expertise. During its second year, the project will introduce a seminar-like activity and educational programmes for the general public.

As one of the activities of the Zagreb - Cultural kapital 3000, an international interdisciplinary symposium on Group Dynamics will take place in Zagreb, 6-9 May 2004. It will explore the aspects of research and presentation connected with the phenomenon of artist groups and different aspects of collective work and collectivity. The symposium is conceived as a commencement of long-term involvement with issues of organization and self-organization, grouping, collectives and related aspects of the wider field of cultural production.

For more information, please contact: Ms. Ivana Ivković, Project Coordinator, e-mail: cdu@zamir.net or visit the website: www.projekt-relations.de

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Creative Management in the Arts and Heritage

Sustaining and Renewing Professional Management for the 21st Century

A Proposed Action Plan for Creating Winning Conditions by Jocelyn Harvey, Ottawa, Canadian Conference of the Arts, 2003

The Proposed Action Plan is the result of an action-oriented research called Creative Management in the Arts and Heritage. The purpose of the project was to identify the challenges facing professional management personnel in Canada's not-for-profit arts and heritage organizations and develop practical recommendations to meet these challenges. It has focused on both the present and the future - experienced managers now in the workforce and their need for professional renewal.

To view the Action Plan and get further background information on the Creative Management project, please visit: http://www.ccarts.ca/eng/04res/04_03_act.htm

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Cultural Tourism in Serbia

Cultural tourism in Serbia as a factor of social, economic and cultural growth was discussed during a conference on Culture and Tourism, held in January 2002 at Sokobanja. Tourism is recognized as a promoter of culture, whereas culture enriches the tourist offer, because for the modern tourist the sun, sea and skiing is obviously insufficient. The major conclusion of the conference was that Serbia has resources that should be activated. Active cooperation between institutions in culture and tourism should be established.

Re-education for cultural tourism was a project carried out from November 2002 until June 2003 with the aim to introduce management and marketing skills and to train museum custodians and workers in tourist organizations. The project started with a discussion of the position of museums in the development of cultural tourism. The common interest was based upon the fact that museums need audience enlargement, whereas tourist organizations need to improve their offer. Previous experience and difficulties in cooperation between museums and tourist organizations were discussed. Issues of developing strategies and animation concepts were raised. Continuous education of museum custodians and employees in tourist organization, especially in the field of management and marketing, was a major conclusion.

The project showed that the need for further education in most museums and tourist organizations in Serbia was strongly felt and stressed in the conclusions. The topics in the focus of attention included strategic planning, fundraising, public relations and animation. Some of the museums and tourist organizations even expressed their willingness to employ a person that would be in charge of marketing related to cultural tourism. Research provided a basis for two sets of seminars.

Both sets dealt with issues important for employees in tourist organizations and museums, such as the economics of cultural tourism; museum holdings as part of the tourist offer; how to make a product that will be both cultural and tourist; how to promote it and make a successful media campaign; how to network on local and regional levels, etc. Ideas and experiences were exchanged, which was valuable for the participants. Also, for the first time, these two branches team-worked for their projects, and many participants found it quite beneficial. The importance of seminars for establishing cooperation between the two sectors is great, particularly as a stimulus for further educational projects. The application of the newly acquired knowledge was highly appreciated in the evaluation of the seminars. Experiences from the wider region, especially the Croatian experience regarding cultural tourism development, were very useful.

Confronting museum custodians and tourist workers appeared to be challenging. Lack of communication and cooperation among museums and tourist organizations led to deeply rooted misunderstandings. Introducing the ideas of mutual cooperation, the whole project was quite successful. The post-project activity was quite remarkable. Some of the communities in Serbia developed or introduced ideas, cooperation and exchange of ideas and started to make joint presentations and projects. Obviously, enthusiasm for cultural tourism development is high. Also, the need for concrete action projects was loudly expressed. Educational projects are still needed, though. However, bearing in mind that practice is probably the best way to learn, it is challenging to follow up with the action project Cultural Routes in Serbia.

The concept of cultural routes is well developed within the Council of Europe. It appeared to be an efficient way to bring cultural tourism back to life in Serbia. In order to achieve the standards set by the Council of Europe, Cultural Routes in Serbia is a project that includes working on a strategy-making process (joining efforts of culture, tourism, agriculture and other economic sectors), improvement of legislation, lobbying for the development of the appropriate infrastructure, etc. The framework of the project is interdisciplinary research that will provide ecological, ethnological, and archaeological basis for the development of sustainable cultural tourism in Serbia.

For more information, please contact: Maša Vukanović, Researcher, Centre for the Study of Cultural Development, Rige od Fere 4. 11000 Belgrade, Serbia and Montenegro, tel.: +381 11 637 565; fax: +381 11 638 941; e-mail: masa.vukanovic@zaprokul.org.yu; http://www.zaprokul.org.yu/culturaltourism

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MA in Cultural Policy and Arts Management

University College Dublin

This one-year, full-time MA course enables participants to understand the theory and practice of cultural policy and arts management, to develop leadership and strategic policy perspectives, and to acquire research expertise. The course is designed for those developing professional careers in arts and cultural management, including the performing and community arts, museums and galleries, and the heritage and cultural industries.

The course is presented in four parts:

  • Policy Studies - This examines the policy context for the cultural sector and includes study of the social and economic context; public policy and administration; comparative studies in cultural policy; and management and employment policy for the sector.
  • Business Studies - A range of business subjects appropriate to cultural management is provided. Courses include accountancy; management; business administration; and marketing.
  • Work Experience - A ten-week internship in a cultural organisation offers students the opportunity to apply theoretical concepts developed in the programme to the practical work environment.
  • Dissertation - A 10,000-word dissertation constitutes an academic study demanding a high level of application and commitment to research.

For more information, please contact: Arts Administration Studies, Room J012, John Henry Newman Building, University College Dublin, Belfield, Dublin 4, Ireland, tel.: +353 1 7168625; fax: +353 1 7168226; e-mail: artsadministration.studies@ucd.ie

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13th International Salzburg Summer Academy for Arts Management (ISAC)

The two-week cultural management course in Salzburg, Austria, 19-31 July 2004, is addressed to young leaders and project managers from all over the world working in the arts, culture or media fields on national and international levels. The ISAC prepares young project leaders for new tasks and trends in project management, marketing, financial management, fundraising and networking.

The ISAC is the only place in the world where an international experts team from the most reputable arts management organisations and trainings centres, consisting of François Colbert (HEC Montréal), J. Dennis Rich (Columbia College Chicago), Dan J. Martin (Carnegie Mellon University Philadelphia), Ugo Bacchella (Fitzcarraldo Foundation, Torino) and Herwig Pöschl (ICCM), will assist and consult in developing the participants' projects.

For twelve years, over 200 young professionals worldwide have participated in the Summer Academy, fostering cultural exchange and creating a bridge between arts managers with different political, economic and cultural backgrounds.

People wishing to participate in the 2004 Summer Academy must submit an application and a detailed design of a project related to the fields of festivals, cultural centres, film/video/new media, music/music theatre, theatre/opera/dance, graphic arts or arts education.

Application online: http://www.iccm.at/ISAC_-_International_Summer_

For more information, please contact: Wolfgang Laubichler, ICCM International Center for Culture and Management, Gyllenstormstrasse 8, 5026 Salzburg, Austria, tel.: +43 662 459841-10; fax: +43 662 459838; e-mail: laubichler@iccm.at; http://www.iccm.at

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2004 International Courses on Information and Communication Technologies for Languages Teaching

The Graduate School of Teaching and Learning of the University of Amsterdam, in co-operation with the Amsterdam-Maastricht Summer University (AMSU), offers three courses in 2004:

  • Effective Use of the Internet in Language Teaching: What & How, 15 - 22 August 2004
  • Digital Audio and Video in Language Teaching: What & How, 22 - 29 August 2004, and
  • Developing Multimedia Activities for Language Learning, 17 - 24 October 2004.

In these intensive courses the participants will acquire specific knowledge about the Internet applications and resources and/or digital audio and video relevant to foreign language teaching. The courses will help the participants to create language materials that they can use in their classroom practice. The emphasis will be not on technology itself, but on the methodological applications. These courses are intended for newly qualified and practising foreign language teachers interested in the possibilities of the Internet and/or digital audio and video for their classroom practice.

The courses offer a unique opportunity to learn together with colleagues from other European countries and from other continents about how the Internet and its multimedia applications can be used quickly and effectively in language lessons oneself. The social and cultural evening programme offers an excellent opportunity for exchanging experiences and for enjoying oneself. The three courses have been approved by the European Commission for inclusion in the Comenius - Grundtvig / Catalogue. Teachers in secondary education may be eligible for grants within this framework.

For further information on these grants, please visit the courses WebPages (http://www.amsu.edu/courses/language) or the Comenius - Grundtvig WebPages at: http://europa.eu.int/comm/education/programmes/socrates/comenius/

Detailed information about the three courses is available at: http://www.amsu.edu/courses/language or can be requested from AMSU office: e-mail: office@amsu.edu

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Media & Visual Arts Creative Residencies

Banff Centre, 2004-2005

The Banff Centre is Canada's only learning centre for creativity in the arts, leadership development, and mountain culture. It provides the resources and leading support to enable the finest artists in the world, the best mountain explorers, environmentalists, authors and filmmakers, and the most creative business and community leaders to pursue their ideas and their professional development. Through on-site residential programmes, conferences, and events, the Centre provides participants with an opportunity to produce new creative work, to form new collaborations, to engage in applied research, and to reach new plateaus in their careers.

Media & Visual Arts Creative Residencies 2004-2005 abound with various initiatives. Thematic residencies include Informal Architecture as well as a collaborative creative residency Sound+Vision. New Works is a residency dedicated to the production of new specific work(s) with an existing confirmed venue for exhibition, publication, or another form of presentation. New Works: Alberta Biennial of Contemporary Art 2005 is one-time only, dedicated version of the New Works residency intended to assist artists in completing projects for the Alberta Biennial of Contemporary Art in 2005. Aboriginal New Works is a residency dedicated to the production of new work(s) or project(s) by Aboriginal artists. This residency is intended to assist artists in completing projects for upcoming exhibitions, publications, or other cultural activities within a concentrated residency environment.

Canadian Art Colleges Collaborative Banff Residency brings together twelve award-winning recent graduates from across Canada, four selected faculty from the colleges, and two international visiting faculty for a seven-week studio residency. Participants in this residency interact through presentations, studio visits, seminars, and discussions.

Self-directed Creative Residencies in Media & Visual Arts provide time and space for the artist to create new works, research innovative ideas, and experiment with different techniques and modes of production.

Work Study Programmes provide the participant with a combination of learning opportunities and supervised, practical work related to the participant's learning objectives. Learning opportunities may be formal sessions and/or workshops, or may be informal opportunities arising out of a specific situation.

Media 6 Visual Arts Workshops 2004-2005 include four workshops: Pulp Fiction: A Papermaking and Bookmaking Workshop; Unidentified Flying Objects: A Sculptural, Kinetic, Robotics Workshop; Imprints: A Photographic and Printed Image on Clay Workshop; and Law.

Banff Centre offers even much more!

To find out more or to apply, please contact: Banff Centre, Office of the Registrar, Box 1020, 107 Tunnel Mountain Drive, Banff, Alberta, Canada T1L 1H5, tel.: +1 403 762 6180; fax: +1 403 762 6345; e-mail: arts_info@banffcentre.ca; http://www.banfcentre.ca

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European Union Prize for Cultural Heritage - Europa Nostra Awards 2004

Call for Entries
Closing date: 15 September 2004

Outstanding heritage achievements will be rewarded with six prizes of 10,000 Euros each, in addition to Medals and Diplomas in the following categories:

  • An outstanding restoration project in the field of:
    • Architectural heritage
    • Cultural landscapes
    • Collections of works of art
    • Archaeological sites
  • An outstanding study in the field of cultural heritage
  • Dedicated service to heritage conservation by individuals or groups

For more information, please visit: http://www.europanostra.org/
or contact Laurie Neale, Heritage Awards Co-ordinator, +31 70 302 4052; e-mail: ao@europanostra.org

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Choreography Competition of the Onassis Foundation

The Alexander S. Onassis Public Benefit Foundation calls for entries for the second time for the competition for three prizes in the field of composition for dance and three prizes for choreographies which use these compositions.

Compositions and choreographies should be 20 to 30 minutes long, and at least three dancers should be involved in the choreographies.

Application deadline: 30 June 2004.

The prizes will be given out in the last quarter of 2005. The applications should be directed to the secretariat of the foundation. Further information is available only through e-mail.

Address: Secretariat of the Onassis International Prizes, Eschinou st. 7, 10558 Athens, Greece, tel.: +30 210 3713000; fax: +30 210 3713013; e-mail: pubrek@onassis.gr