Government hopes $20 Vale Cultura voucher will encourage poorest Brazilians to sample wider range of cultural pursuits.
Andrew Downie for the Washington Post, Guardian Weekly, 21 February 2014
Like millions of other Sao Paulo residents, Telma Rodrigues spends a large part of her day going to and from work. She hates the commute, and not just because public transport is packed, slow and inefficient. She finds it boring.
Now there is light at the end of the tunnel. As of last month, the Brazilian government is giving people such as Rodrigues a "cultural coupon" worth $20 a month - enough, the 26-year-old said, to buy a book to enliven her daily ride. The money, loaded on a magnetic card, is designated for purposes broadly termed cultural - though that could include dance lessons and visits to the circus in addition to books and movie tickets. In a country still battling high levels of poverty, the initiative has won widespread praise as a worthy and yet relatively cheap project. But it has still provoked questions. Is it the state's job to fund culture? How will poor Brazilians use the money? How do you, or even should you, convince people their money will be better spent on Jules Verne rather than Justin Bieber?
"What we'd really like is that they try new things," culture minister Marta Suplicy said in a telephone interview. "We want people to go to the theatre they wanted to go to, to the museum they wanted to go to, to buy the book they wanted to read."
Narrative Tool Kit: Tools to start a New Conversation with Canadians about the Sector
We are Imagine Canada – the umbrella organization for Canada’s charities and nonprofits. We’re working, in partnership with others, to start a New Narrative – a conversation with Canadians about our ’sector’ – who we are, what we do and how we are making a difference.
If you work or volunteer for a charity or nonprofit, you may find some of our Issue Sheets helpful in explaining to others why it’s important that we have a strong voice in public policy and why an organization’s ‘overhead’ is not always the best measure of its success. For more details, including a comprehensive look at the sector’s size, breadth and impact, read the Core Resource. Feel free to share and use any of this information if it is helpful in your own work. We’ll be updating and adding elements to the Narrative Tool Kit all the time so plan to come back and visit often.
The Guardian, by Rachael Castell
posted January 31, 2014
The stage is a precious space, both magic and real, but plays are written to be performed again and again – why not digitally? When I was an MA student exploring the history of film and visual media, my investigative mind inevitably ambled over the connection between cinema and death, most notably the death of celluloid. But when I talk about filmmaking these days, I find myself discussing things being "live" – in the here and now.
This is because the majority of my film work, and my personal fascination, is in filmed theatre – you might call it "alternative content" or "event cinema". It's an as yet undefined media integrating the live and the recorded: an amalgamation of filmic language (close-ups, fades, panning shots, HD technology) and the real, retaining and often even enhancing the live theatre experience. Being able to offer viewers the best seat in the house wherever they live is a concept currently the darling of arts and cultural researchers and funders.
But what is this new genre? Just as the founders of cinema grappled with the flicker of light through celluloid over a century ago, we – as audiences, critics and producers – are suddenly grappling with how to describe watching theatre on screen. I make my living in this market, but even I can't be persuaded of a term. "Event cinema" seems reasonable. Cinecasting? Sure. Alternative content? I guess so, but alternative to what?
If that's not enough debate for you, there are plenty of other contested questions: should a production be broadcast live, or as live? Is seeing a play in a movie theatre, or on your laptop, or even your iPhone a good or bad thing?
"With all of the various social media outlets that people are using these days, we thought it would be nice to come up with an infographic that breaks down each of the most popular social outlets into digestible snippets demonstrating advantages of each and how they can be best utilized."
Tuesday, February 11, 2014 – The Canadian Arts Coalition (CAC) – a united national movement of artists, cultural workers, business leaders and volunteers – applauds the Government of Canada for renewing key programs at the Department of Canadian Heritage in Budget 2014. These programs include the Canada Arts Presentation Fund, the Canada Cultural Investment Fund, and Cultural Spaces Canada. The Canada Book Fund and the Canada Music Fund have also been renewed. “We are pleased to see that the Government has delivered on one of our key recommendations. Minister Glover should be commended for her work to make this recommendation a reality in a timely fashion.” commented CAC spokesperson Kate Cornell of the Canadian Dance Assembly.
The "unique" partnership will provide affordable cultural space for local artists
CBC News Posted: Feb 05, 2014 Vancouver city council has voted to approve a unique partnership that will secure a cultural space for local artists at CBC for the next 30 years.
The City and CBC are welcoming the PuSh International Performing Arts Festival Society and partners — Touchstone Theatre, the Documentary Media Society (DOXA Documentary Film Festival), and Music on Main Society — to a community amenity at the CBC Vancouver Broadcast Centre.
Vancouver mayor Gregor Robertson says it makes both cultural and economic sense.
“The city is proud to support affordable spaces for artists, and the community cultural hub in the CBC building is a great fit for groups like the PuSh Festival,” said the mayor.
“Investing in the arts supports our economy and makes Vancouver a more creative, dynamic city."
Robertson says the announcement has been in the works since 2006. That's when the city secured 8,477 square feet of ground floor space at CBC at a nominal rent for 99 years.
Interview with Bill Millerd.
The City of Vancouver has declared today as Arts Club Day. The first production was "Light Up The Sky". Congratulations everyone!
Arts Club Theatre Company
By Kevin Griffin, Vancouver Sun, February 3, 2014
In a career spanning more than 30 years in the entertainment business, James Pollard is facing his biggest and most daunting production ever.
He’s pushing forward with developing a new application he believes will revolutionize the way live shows are produced while battling terminal prostate cancer.
Pollard said he’s not trying to generate sympathy because of his health.
“While I still have a bit of time and feel good, I have the energy to do this,” he said.
“This is all real. This isn’t about sympathy. This is about opportunity. What I’m really trying to say is that we have this opportunity because I can get this done before I die. This could be a game changer.”
The cloud-based app is called PreShow. If he can raise $59,000 on Kickstarter, then the Canada Media Fund will contribute $177,000 to take PreShow beyond the testing stage. His goal is to launch PreShow this year. Kickstarter is an online fundraising website for creative projects.
Pollard is well known in the Vancouver performing arts community. He’s been involved in organizations that include the Vancouver Playhouse Production Centre, the Roundhouse Community Arts & Recreation Centre, the PAL Theatre, the relaunch of Theatre Under the Stars and the restoration of Malkin Bowl.
THE ARTFUL MANAGER
January 31, 2014 by Andrew Taylor on the business of arts and culture
Last week I had the pleasure of keynoting the CAPACOA conference in Toronto – a charming bundle of Canadian performing arts presenters, managers, artists, and related professionals. The topic, as assigned, was curiosity. Which led me to wonder a few things: what is curiosity, how does it work, and what might a cultural manager do differently if he or she knew some answers to question one and two?
The Oxford English Dictionary offers two current subjective uses of the word (ignoring for now the objective). One positive: “The desire or inclination to know or learn about anything, esp. what is novel or strange; a feeling of interest leading one to inquire about anything.” One decidedly sinister: “The disposition to inquire too minutely into anything; undue or inquisitive desire to know or learn.”
So, curiosity can drive us to learn more about our world and its inhabitants, sometimes things it’s not our business to know. We all want our audiences and communities to be more curious, particularly about our work and the things we care about. But we don’t want the fickle and salacious curiosity that would draw them quickly elsewhere.
For our conversation, I adopted and adapted a definition from behavioral psychology (specifically from Carnegie Mellon’s George Loewenstein):
Curiosity is the hunger that arises when attention becomes focused on a gap in what you know.
The frame offers several useful insights:
Canopy Arts Desk
Tammy Hampel (Isaacson)
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