Proudly collaborated on…
Art residence: the strategy of creating and developing creative spaces. It were about a 2 months federal education program for specialists who would like to open and develop creative spaces (clusters, incubators) in the cities in Russia.
90 people were taking part in the program to work on the projects in 19 regions. The aim of the program is to upgrade the skills of the participants and to help them to improve their projects. Participants have online and offline lectures and workshops on topics:
• working with the community
• cultural programming
• economics of creative spaces
• working with residents and creative entrepreneurs
• start of MVP
• marketing in creative projects
Every project where mentored by one expert for 2 months. The program where organized by Universal University (University of creative industry) and Art Cluster Tavrida.
A exciting proposal in its diversity from which eight themes were extracted that made up this cycle of streaming interventions. Such interventions in all cases have generated a material that, in a historical moment like the one we were going through at the end of 2020, well serves as a static picture of some of the international trends in the field of cooperation and social matters.
It is an interesting document full of contemporary realities that make up sustainability, inclusion, solidarity, self-management, creativity and culture.
Plenty of creative hubs and cultural centers attract not only locals, but the entrepreneurs and tourists, sometimes play the key role in many social issues.
We’re going to set a programme of workshops with the representatives of european cultural centers and creatives venues who will share their experience with Russian specialists in the field. And the experts of MSSES will take a part as moderators who help the audience to apply new practices to the local circumstances.
Moscow School of Economics and Social Sciences aka Shaninka is the Russian-British university, graduates over 3000 specialists in the fields of cultural and media management, political science and sociology. The educational programs are validated by University of Manchester, UK.
For IETM Hull 2019, delegates explored art in the city, across venues including Hull Truck Theatre, Middleton Hall, The Guildhall, Hull College, Ferens Studio, Royal Hotel, New Theatre, City Hall and the Maritime Museum.
Keynote speakers included Sade Brown, an award-winning social entrepreneur and founder of Sour Lemons, which addresses the lack of diversity in leadership within the creative, cultural and social sectors, Luis Calderón, founder of CONFUZIA Culture & Education, and British theatre-maker and comedian Jess Thom, founder of Touretteshero.
The artistic programme showcased award-winning local artists including the latest play by Middle Child, Us Against Whatever, while Silent Uproar performed its 2017 hit play, A Super Happy Story About Feeling Super Sad.
The centers implement cultural programs in collaboration with local institutions. They are inclusive spaces of encounter and citizen participation between men, women, youth, boys and girls who demand the possibility of improving their living conditions through the defense of their cultural diversity as a fundamental instrument for human development, the improvement of coexistence , governance and social cohesion.
During these days, different professionals from both sides of the Atlantic from the fields of culture and cooperation met at Casa de América to discuss and show, through the proposed activities, the work in the different headquarters of the CCEs in Latin America and Equatorial Guinea. Round tables, exhibitions, performances, dance performances or musical performances were enjoyed. Likewise, the Spanish Cooperation Award Film Cycle of the San Sebastián International Film Festival was presented, in which the four films awarded with this award could be seen: Oscuro Animal, Alanis, Los silencios and Nuestras Madres.
The aim of the conference is to explore the field of participatory governance in culture through various aspects and approaches, including the following topics:
1. Implications of participation in the promotion of democratic values in the area of (cultural) policies
2. Complexity of the relationship between power and transfer of governance to multiple stakeholders
3. Differences between private, public and joint interests of all relevant stakeholders
4. Ethics of participatory processes
5. Institutional changes and innovations, and policy changes and innovations
The meeting was also attended by representatives of some successful examples of collaborative management, such as La Harinera de Zaragoza (Diego Garulo), Casa Orlandai (Oriol Barba and Marta Masats) and Nave Bostik (Xavier based) of Barcelona, Confuzia Cultura y Educación (Luís Miguel Calderón) from Madrid and the model of the Participation area of the Sant Feliu de Llobregat City Council (Carlos Olano).
The high degree of attendance and the variety of participants, including both members of the administration and the island’s associative fabric as well as individual citizens, turned this meeting into a space for debate that serves to enrich the participatory process Ca l’Avi and other similar processes on the island.
In many jurisdictions, financial transfers from national to subnational governments have mostly been stable or even slightly increasing (in absolute terms) over the years, but these transfers are often not proportionate to the increasing responsibilities and challenges that cities have to meet (United Cities and Local Governments, 2016). Resources rarely come with augmented authority for cities, meaning that even where cities are secure in budgetary terms they often have little autonomy for developing policy responses to meet these new and intractable challenges.
Climate change is a topic that is debated, doubted and covered by news outlets across the world. Luis Hestres, in the Department of Communication at The University of Texas at San Antonio (UTSA), is researching the evolution of climate change activism and how advocacy groups use digital platforms to mobilize.
Culture for Solidarity investigates the roots of fragmentation in Europe through an artistic lens. The programme explores, discusses, and creates cultural practices that bring unusual groups of people together. We challenge cultural institutions to rethink their relationship to their audiences, and we inspire people who don’t usually attend institutional cultural activities to become active in the shaping and making of these events.
Together, we find new ways of bringing people of different backgrounds together and create something ‘with’ them instead of ‘for’ them. Starting with a research phase, we will continue to develop new strategies with and for the cultural sector, and host an incubator workshop for fifty participants to develop their fresh and daring ideas for solidarity in their communities.