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What place should culture have in future Göteborg? Who’s initiative will be taken seriously and where do initiatives go?
The first semester at Kulturverkstan, the International Project Management within Culture, the students have to deal with ”glocal” Göteborg. They get real life projects to work with, which not only put them into project work, but also helps reflecting around the global and local – glocal – city. They deal with context, process and the operational from start.
Nätverkstan, the organization behind Kulturverkstan, is during 2013 using the same model to look at our own work and place in society. And we start with the question: What is the role of a cultural organization in today’s society?
To start off we went on a bus tour around glocal Göteborg. We rented a bus, asked Peter Rundqvist, Cultural Coordinator att Project UNO (Project Development Northeast) and well oriented in the city, to take us on a social, economic, and demographic tour around Göteborg from the rich south to the poorer northeast.
As the city changed around us from the dense city center to farming land, from richer to poorer areas, to hidden pearls in the middle of the million programme housing we discussed city planning, culture, space, possibilities, and demographics.
And it all came down to: Who has access to the city?
The 31st of December was a historic day. The very last printed issue of Newsweek was published and distributed. From now on the only way to read Newsweek is on the web.
Newsweek is an American weekly news magazine, published since 1933 in New York City and with US and international distribution. I
n October 2012 the editor Tina Brown announced that the weekly would end it’s eighty years of printed publication to go only digital. It’s an historic change and follows a period of changes within in printed press due to changing reading habits. Read more of the challenges and future of print here.
Nätverkstan managed to get the hands on a copy of the very last issue. And as the historic winds of change are blowing around us we continue our work to help small cultural journals and publicists to face the digital challenges and find solutions that are cost effective. This year the project Literature and digitization will take further steps in this direction with funding from Region Västra Götaland.
The second pilot course Creative Entrepreneurship – Reaping the value out of your creative work has just finished its ten weeks program. Around 25 musicians, illustrators, visual artists, sculptors, storytellers, poets and more participated to review their ideas, reflect on their lifecycle, look ahead and finish with an eighteen months plan.
During the course they have had lectures of well-known artists in different art forms telling their lifecycle and sharing their experiences, and courses such as marketing, IP Rights, pricing, and others. On examination day well-known musician Makadem told his story, telling the group that challenges don’t stop. Every level has it’s own challenges, and it never stops.
The pilot program is run by GoDown Arts Centre. Nätverkstan has been one of the partners in building content and preparing for the start of the program with funding from Swedish Institute. The cooperation started in 2009.
Christmas carols are on the schedule this afternoon and on stage of the outdoor assembly hall in the township Kogorocho in Nairobi, the young musicians are in deep concentration practicing for a show later on this week. And a small taste of the concert is given in an open session for whomever who would like to listen. Kids fill up the rows, together with a few others and us guests.
”Making music can make a difference” says Elisabeth Njoroge, Head of the Art of Music Foundation, the Foundation behind the project. Getting the chance to play an instrument, learning music, can actually change peoples lives, she says, and tells us examples of children from the slums who get a chance to play and how that has opened new possibilities and hope for a future.
Ghetto Classics, the project was named by the children, started in 2009 and has become an important contribution in the township. The foundation also runs the National Youth Orchestra in Kenya with the same ambition and conviction:
Music can make a difference in the lives of young Kenyans.
Nätverkstan, together with Ole Lützow-Holm, Assistant Professor at Academy of Music and Drama, University of Gothenburg, are in Kenya to work together with GoDown Arts Centre on the education Creative Entrepreneurship. Read more of Nätverkstan’s cooperation in Kenya here.
Last Friday (November 30) Belgrade’s first one-year mentorprogram, Creative Mentoring, was launched at Gallery 12 HUB. Eleven creatives together with there matched mentors gathered for a Kick-off setting off the program.
The ETC-group, formed together with the Swedish Embassy in fall 2011, gather eleven cultural and social entrepreneurs in Belgrade with high ambition to start, build, and pursue their initiatives in and around Serbia within their different professions. The group decided to start a program for mentoring being inspired by the idea of exchange of knowledge and experience which was the base in the Creative Society–project run by the Swedish Embassy last fall.
In April 2012 the group started the discussion around mentorship in a workshop held by Nätverkstan, which followed by a study trip to Sweden, many meetings, a ”dreamlist” of possible mentors, and finally asking high-profile individuals to be mentors for a year.
And last Friday the formal Kick-off set off this interesting project!
It’s almost unbearable to read.
Belarus writer Svetlana Aleksijevitj’s book with Swedish title Kriget har inget kvinnligt ansikte (The war doesn’t have a female face, my translation) is a remarkable project that took her years to finish. She has interviewed women all around Russia, Ukraine, Belarus, has loads of cassette tapes where these now elderly women tell their horrifying stories of joining the army at ages 16–18 years and the hardships and terrifying work as snipers, nurses, pilots, military seargents, soldiers, engineers, and as members of the partisans and resistance movement.
Women’s role in the military during the Second World War in Russia has never been highlighted. They continued their life after the war, bearing their sorrows, trying to forget while the victory of the war has been contributed men. Aleksijevitj wants to let them be heard, wants to tell their stories, the choices they had to make, their everyday struggles in the war, in life, as daughters, wives, mothers, and soldiers.
At points I have to put it aside, but then I pick it up again. I’m obliged to listen to these women and what they went through during the war and nine hundred days of siege of Leningrad (St Petersburg) by the nazists during 1941-1944. Swedish journalist Ulrika Knutson writes in her resumé in Expressen last week that if you only read one book this year, this should be the one.
I read it as I am on my way to St Petersburg to speak on a seminar about women creativity. I am shaken.
Nätverkstan has been invited to St Petersburg to speak in connection to the opening of the exhibition Creative Women on October 23, exhibiting Inventions from Swedish women.
The exhibition is an initiative by Tekniska Museet (The Swedish National Museum of Science and Technology) where Museum Director Ann Follin realized when looking through the 55.000 objects in their collection that only 100 of these were made by women. It also showed when looking deeper that of all patent applications in Sweden only five percent came from women.
This raised questions of whether women are less inventive than men? Or perhaps less creative?
They didn’t believe this to be true and put together the exhibition of women inventors, an exhibition that in cooperation with Swedish Institute has toured to around ten different countries raising questions of the role of women in innovation.
The St Petersburg-based organisation Social and Economic Institute arranges the seminar inviting a Swedish and a Russian speaker. Olga Gracheva gave a very interesting contribution of the NGO Kaykino Creative Projects she just started two years ago with the aim of promoting and develop interest for the rural area around St Petersburg. An amazing initiative.
The women in the book are with me.
The only connection between these two things is that it’s about women and their hidden voices. Women in 1940s and women in 2012.
Swedish Institute supports the seminar and project, host organization in St Petersburg (run by two charismatic women) is the Social and Economic Institute, an institute focussing on educational initiatives, projects, conferences, and exchanges of experiences between women in the world. The exhibition is shown at the Water Museum, a museum examining the role of water with both an educational and interactive part for children and an open part for the public.
Svetlana Aleksijevit’s book ”Kriget har inget kvinnligt ansikte” is translated by Kajsa Öberg Lindsten (Ersatz 2012).
Often debated, and the politicians in Region Västra Götaland love to join the choir, is the relation between the central city or capital and the periphery. Urbanization has made this a burning question. A constant topic on politicians agenda is how to deal with depopulation of the countryside.
The discussion is often built as if the center is in opposition to the periphery. Instead of a perspective of how the two can support each other in development. American–Canadian activist and writer Jane Jacobs (1916–2006), who had a great interest in urban development and communities, wrote in mid 60s about this dilemma. Her main thesis was that cities are the main drivers of economic development.
The June 30th number of Economist puts London on a high as the international hub in UK and discusses its role for development of the rest of Britain. And the lack of appreciation of its brilliance among policymakers.
”Now history is moving on, and the policymakers are messing up. They could tip the city into a decline without even noticing it, for the ecosystem of a great city is a complex and fragile thing.”
”Stay open to stay great” is the conclusion of the Economist leader article. Staying open means continue to let foreigners and immigrants coming into the country. They have helped built London to the city it is and more help is needed. Building a fortress around Europe doesn’t seem like the most forward-looking idea.
One of the success stories of Stanford University, with it’s premises in Silicon Valley outside San Francisco (US), is, it’s said, to be its close relation to the businesses in Silicon Valley. It’s a symbiotic relationship. They nurture each other and many success business stories have started at Stanford; Google, Facebook, Instagram, Apple, Hewlett-Packard.
Leland Stanford, a Republican governor in the late 1800s and who made a fortune from Central Pacific and Southern Pacific railroads, and his wife decided to found a University in their late son’s name. Stanford University opened its doors in 1891 and the device was that the University should not become an ivory tower, but ”qualify students for personal success, and direct usefulness in life”. From the start, the close relationship to private funding, corporate research funds, and venture capital for start-ups, first for innovations in radio and broadcast media to todays digital technology, has been a base for the University.
The story can be read in The New Yorker (April 30, 2012) and gives an interesting light on the success story behind business ideas developed at Stanford and the philosophy behind it. But also the dangers of such a focus on success and making money.
The campus life and the atmosphere at Stanford is described as open to ideas, easy going, ”people are willing to try things”, risk-taking, access to venture and risk capital, creative. But there are also questions raised if Stanford has the right balance between commerce and learning, between getting skills to make it and intellectual discovery for its own sake? Is corporate money stearing research priorities?
David Kennedy, a Pulitzer Prize-winning historian, who has also taught for many years at Stanford, express his worries that students uncritically incorporate the possibilities of Silicon Valley, but it’s a lack of students devoted to the liberal arts and the idea of pure learning. The one and simple question stearing choices is: What will I get out of it?
The philosophy now promoted at Stanford is the ”interdisciplinary education” and getting students to become ”T-shaped”, that is they have depth in a particular field of study and breadth across multiple disciplines. Social skills are put forward and an effort is to put together students with different majors (engineering, business, medicine, science, design) to together solve real or abstract problems.
David Kelley, the founder of design firm IDEO, is also director of Institute fo Design at Stanford (d.school), and is driven by the mission to lift empathy in his students. He wants the students to learn to see the human side of the challenges posed in class and that way provoke creativity.
Still, fewer students get into liberal arts and humanities and many become, as said by a senior Miles Unterreiner, ”slaves to the dictates of a hoped-for future”. Students become instrumental and only get majors in subjects that lead to jobs, something also supported by Universities.
It’s an interesting development. Reading Steve Jobs story and listening to many of his talks, he puts two processes next to each other as crucial for his success: The development of technology and the liberal arts.
The post is based on the article in The New Yorker (April 30, 2012) ”Annals of higher education. Get rich U.There are no walls between Stanford and Silicon Valley. Should there be?” by Ken Auletta. The photo is from a TED talk on the web.
Read more from posts on IDEO, San Francisco, and the Arts from our visit in 2008 here and posts on other interesting US visits here. Read also here the report from Svenskt Näringsliv which last year promoted less money to humanity education in Sweden, a very criticized report.
For those interested in trying the New York Art world, the magazine New York (April 30 2012) is giving some handy tips in a nineteen rules handbook. Maybe worth looking through…?
1. Reject the Market. Embrace the Market. Hm. That contradiction. Always present.
2. Stay on Trend…Things we’ve seen a lot of lately, New York says, is Trash art, Cindy Sherman-esque, Neon Words, Candy-Colored Sculpture and Video-Game Art…
5. Survive With your head down. Artist Alex Katz (84) remember how it was: ”A lot of people respect me” he says ”But people used to really hate my work. As late as 1975, I had a show in Paris and people were screaming in the gallery. They were saying this is terrible art and I should go back to art school”. Sort of Don’t Give Up.
6. Outsource to China. Artist Kahinde Wiley came to Beijing in 2006 and has set up a studio which has become his main production hub and second home.
7. Know These 100 people. An insider’s list of art insiders. The necessary list of gallerists if you are to make it in New York or perhaps the US…
8. Don’t Be Afraid to Trade Up. When a bigger gallery comes calling, listen. Since the recession, three powerhouse galleries have been especially aggressive in grabbing talent. And those are: David Swirner, Larry Gagosian, Sean Kelly.
9. Show up. Mainly: When you mingle and network, make sure you are caught on photos (and look cool…).
10. Pick Your Artists and Stick with Them. Whole-life art patronage – collecting work is just the start.
11. Buy the Same Thing Everyone Else is Buying. A shoppinglist would include, according to New York and art collector Adam Lindemann: Damien Hirst, Cindy Sherman, Richard Prince, among others.
12. Get Born into It. The inheritance class.
13. Don’t Let a Gallerist Take Half the Profit. The collective gallery Reena Spaulings is an example of how to organize and show work in a different manner.
14. Be Ruthless. Making a killing in the art world’s dark market.
15. Pretend You’re and Outsider Even When You’re at the Center of Everything. The gallery Family Business is a gallery – but not.
16. Pack Your Bags, Fly Around the World, and Hang Out With Everyone You Know From New York.
17. Be Everywhere at Once (But Rarely New York). On the same theme as Rule no 16. Be there but look busy.
18. Join the Establishment. Cling to Your Street Cred.
19. There Are No Rules. Break barriers. Do what you have to do.
Three days of intense working on future ideas, new now, skills, hinder, challenges and mentorship with a group of wonderful creatives in an almost 30 degree warm Belgrade.
FunctionFox, a Canadian company helping small companies improve productivity, has done a survey of more than two hundreds professionals within marketing, advertising, web design and the likes across the US. The aim was to see what these businesses are expecting the coming year in development or challenges in their businesses.
They found, for example, that even though times are hard and economy swaying, 43% of the small creative firms they surveyed expect to increase staff during the year. 52% expected to keep the current staff level.
Firms employing seven or more staff were more likely to add staff during 2012, while with six or fewer employees were more likely to maintain their staff.
It also showed that creative companies with eight or fewer employees are most optimistic about having a revenue growth. Large firms were more careful in their anticipation.
Read more here: FunctionFox-Creative-Industry-Outlook-2012.pdf.
GoDown Arts Centre in Nairobi started in 2009 workshops in art and entrepreneurship for the art community in Kenya and East Africa. The workshops has now evolved to build a Capacity-building Program for Creative Entrepreneurs and Artists in East Africa that is long-term and this Summer a pilot will start, a 10 weeks Summer-course in art and entrepreneurship.
Nätverkstan has been a part in this cooperation since the start, holding workshops, arranged study visit, facilitators workshops, and discussing content and educational planning. Last week (26–28th of March) a facilitators workshop took place in Nairobi, held by GoDown Art Centre, Sian Prime at Goldsmiths University and Nätverkstan.
With such a commitment and talent as found in the arts community and among institutions in Nairobi, this Summer-course is not far from coming true.
Etiketter:Artist, Artistic practice, Creative Industries, Creativity, Cultural economy, Cultural Policy, Cultural Project, Democracy, Development, Education, Entrepreneur, Entrepreneurship, International exchange, Resources, Social entrepreneur
Many put their hopes to the International Criminal Court in Hague, where four Kenyan leaders are put to trial with charges of crimes against humanity and for their active role in organizing the mass violence that took place.
”Something just must be done! They have to be charged. Everything else is inhuman and wrong” someone tells me.
In Breaburn Theatre in Nairobi poet Sitawa Namwalie addresses the consequences, fear, and worry in a very warm, partly humours, and self-critical way in her poetry-read and performance together with Alice Karunditu and Shan Bartley on Saturday evening.
”Can you trust your neighbour?” she asks, looks around the audience with her sharp eyes and authority. And she opens the read of Cut off my tongue.
Under the crystal chandeliers in Stora Teatern, a theatre built 1859 in centre of Göteborg and with walls whispering of wonderful operas, musicals and ballets during its golden days as the musical scene in Göteborg, Italian Economist Pier Luigi Sacco and Director Christer Gustafsson talked about the role of art and culture for society development on Saturday (25th of February).
It is madness, Pier Luigi Sacco stated, what many European leaders are doing at the moment cutting cultural budgets. Art and culture is the main raw material for innovation, well-being, health and development. And he backs his arguments with research and cross-testing inquiries in different matrices. It shows for example that going to a classical concert may well have give you a longer more healthy life.
His main argument is ”active cultural participation” and he shows the innovation index shown on this page (18th of February) and puts it next to another ranking: Active cultural participation Eurobarometer. In both rankings Sweden is ranked number one. When putting these two independently done rankings next to each other, it could mean that active cultural participation has an effect on a country’s ability for innovation. If you argue for putting public money to boost innovation, make sure to also invest money in local theatre groups, music training, or different dance centres from young age and up.
Pier Luigi Sacco has a system-based method of understanding and analysis a city or region. This has been done in many places, among them he was a consultant for Vancouver (Canada) in forming a cultural strategy: The Power of Arts in Vancouver. Creating a Great City.
Christer Gustafsson is now working with the same method in the region of Halland, a region in between the two large regions Region Västra Götaland and Skåne. The placement might feel a bit squeezed at times, but this system-based and culture-led way of development is new for Sweden, Halland, and Kulturmiljö Halland, is in the forefront of these discussions. It’s about culture-led regional economic and social development.
Culture and art is the core. It’s the ”soft-ware”. The major raw material to build on.
Download the presentation of Pier Luigi Sacco (English) here: Sacco, Halmstad-Goteborg.pdf. Christer Gustafsson presentation (Swedish) can be found here:Stora teatern, Göteborg, 25 februari 2012.pdf .
Pier Luigi Sacco also visited the Conference arranged by Generator last year. And listen to an interview on youtube here done by the European network Encatc. You find another blogpost on the seminar (Swedish) here.
The seminar was an arrangement by Västra Götaland, the think tank Kombinator, in cooperation with Kulturmiljö Halland and Nätverkstan.
Etiketter:Artistic practice, Creative Industries, Creativity, Cultural economy, Cultural Policy, Cultural Project, Development, Digitization, Economy, Entrepreneur, Entrepreneurship, Innovation, New economy, Västra Götaland
When EU leaders gathers to discuss and form policies for the European Union each participating member is balancing 1) their own nation’s interest and 2) the interest for EU as a whole. In that specific order.
EU leaders have been greatly criticized for not being able to put up a strong and convincing plan for how to come out of the financial crisis and save the euro. The balancing act between the interest of the nation and that of the structure as a whole is, to put it mildly, in conflict.
The discussion in the EU Platform for Cultural and Creative Industries is a miniature of the same problem.
EU Commission invited cultural organizations and networks in late 2007 to form platforms within different topics and policy-areas with the aim of coming up with recommendations to put in to the Commission’s work on culture. Spring 2008 these different platforms started their work.
Through the method structured dialogue the Commission hoped for a better – and more structured – dialogue between the Commission and the different actors in the cultural field.
The platforms have worked very differently. The Platform for Cultural and Creative Industries, a platform formed by around forty organizations, has proposed recommendations for the development of CCI but the road to finally agree on something has been bumpy. Some of the Platform’s participating organizations have refused to sign the final proposition, some have been objecting along the way.
No-one is surprised. Forty organizations representing publishers, audio-visuals, label companies, musicians and composers, architecs, universities and training centres and more gather in this one platform. The needs, structure, possibilities and challenges differ within each of these areas, so much that they can hardly be seen as one industry.
Is it just impossible, then, for the cultural field to agree and in consensus propose strong overall recommendations to the EU that would benefit the sector as a whole?
Well, it’s symptomatic. What EU leaders fail to do on the large EU level, cultural organizations fail in their particular area. The interest of lobbying the agenda of the organization you are representing stands in the way of the interest for the sector as a whole.
It also needs to be said that the mandate for these platform called for by the EU Commission has been extremely vague if at all existing. The organizations forming the Platform for Cultural and Creative Industries have been working hard and with great seriousness taking the task of forming relevant recommendations.
The reception from the Commission has been lukewarm and the question hangs in the air if they have at all had any impact on forming the new cultural programme Creative Europe.
Still, Xavier Troussard, Head of Unit Cultural policy, diversity and intercultural dialogue, stresses that they now propose more money for the new programme, which of course in times of financial crisis would be an accomplishment however small it is.
It’s easy to in a haste and with frustration draw the conclusion that the actors in the cultural field can’t cooperate. It would be nice when the Commission now aims to evaluate the process, if it remembers to also look at the prerequisite set up for these platforms.
Sometimes the result you get depend on what question you asked.
Reflections from the meeting with The Platform for Cultural and Creative Industries, Brussels, February 6. Read also post here.
Heading towards the ”L” building for our meeting with Kristin Skogen Lund, Head of Telenor Nordic Operations, we walk through the colourful pillars by French artist Daniel Buren and looking up on the opposite house facade, we can read the neon-lit statements by the American artist Jenny Holzer.
It gives an interesting framework for our meeting.
Mobile operations company Telenor’s head office in Fornebu outside Oslo was built in 2002 and hosts around 6000 employees. An integral part of the work environment is the presence of art and culture, the website states, and Telenor has a collection of around 700 art pieces from contemporary artists.
Kristin Skogen Lund has been selected Norway’s most powerful woman by Kapital magazine. She has been head of the newspaper Aftenposten and, she is on several boards among them Det Norske Kammarorkester.
We are curious of her leadership experiences and what she would say would be most important content in a leadership development programme for culture. Nätverkstan is developing a leadership programme specifically for culture; well-known artistic director Sune Nordgren is Chair of the interim board for the project. Our ambition is to learn from different leadership areas, also the perspective from the different Nordic countries.
”The one who has the overview rarely has the deep insight. And the one with deep insight has rarely an overview.”
The dilemma is of course crucial if you are the Head of a large company such as Telenor, but is also a question for smaller organizations. How do you balance having an overview of the organization with deep and specific knowledge of the field you are in? At what size of organization do you loose the specific insight as a leader?
”Telenor is a large company that has a strict hierarchic structure, is goal oriented and work with goal hierarchies. This doesn’t work in culture. Instead it’s often vision oriented. The questions need also be asked: Who are we work for? Who is the public to be reached by our vision?”
A competence for a leader of a cultural institution we discuss is the ”translation competence”; the skill of being able to explain and talk of the artistic work with people outside of the institution. Any cultural institution needs to build relationships and cooperation with people from different areas from politics to business to other art fields. The skill of engaging and explaining the work for people with no knowledge, perhaps not even interest, is important.
A leadership programme should encompass the possibility of self-reflection and getting out of your comfort zone. Having courage, being able to analyze complex situations and build concrete actions, engage in your ideas, and knowing your own limits and possibilities are skills Kristin Skogen Lund stresses as important.
Read more on cultural leadership here.
The Swedish International Development Cooperation Agency (Sida) used to be an organization seeing art and culture as a tool within international development. It was so important that a Department for Culture and Media was created with its own responsible officer.
Now winds are blowing differently.
The department is closed down since several years and to find art and culture, you have to look under the department responsible for questions such as freedom of speech, democracy, equality, environment and climate.
Between 2007 and 2011, the Sida budget for culture declined from 180 million SEK to 40 million SEK, Swedish Televion’s Kulturnyheterna (Culture News) reported on the 18th of January. With a fourth of the originial budget, many international cultural projects have lost their funding, among them now Selam, an established world music festival and organizer of education, development, inspiration, exchanges for artists in Sweden and East Africa.
Where art and culture used to be seen as a tool for grassroot development and democracy building, Minister for International Development Cooperation, Gunilla Carlsson, is instead talking of efficiency, results agenda, more distinctiveness. Sida is saying that the changes are due to orders from the government. The Minister says, in the tv interview, that this is a complete misunderstanding.
The fact is that the decline in money to culture projects at Sida coincides with the Conservative government in power since 2007.
It also coincides with the years when the Ministry of Culture published the report from the work of Kulturutredningen (Committe of Inquiry of Culture Policy) in February 2009, an inquiry proposing that culture should mainstream all policy. Sida’s decline in culture projects is exactly on the contrary of this.
It’s also during the years when Ministry of Culture and Ministry of Enterprise, Energy and Communications decided to release a plan for supporting Swedish development of cultural and creative industries. Small money has been invested, it’s true, but it’s at the same time the first time Ministry of Enterprise is discussing culture. Where this discussion goes, we will see.
Gunilla Carlsson seems to have missed all this.
The three year old current culture exchange program between the state of Karnataka, India and the region of vastra Gotaland, Sweden has kept developing and does incorporate collaboration in many art and culture fields today.
Nätverkstan was part of the initiating process concerning this collaboration and is still an active actor in Bangalore.
KMV, the film, culture and media production centre based on sociala entrepreneurship in Bergsjön, a suburb in Gothenburg, has since a year back started to cooperate with Nätverkstan and Mediaverkstan.
During the Bangalore International Film Festival a joint seminar by KMV and Nätverkstan was held with Leif Eriksson from Nätverkstan as the key speaker. The seminar, held at the Department of Information in Bangalore, attracted a large audience consisting primarly of youngsters and young women, most of them active as film makers, or studying film and media production in Bangalore.
The seminar emphasized new ways of funding feature film in the ongoing digital paradigm shift as well as a case study on ”Bloody Boys”, the feature film produced by KMV. Topics in the seminar included issues concerning how the film was financed, how amateurs and residents in the suburb collaborated with top actors and crew from the professional part of the swedish film business. An intense discussion was initiated raising questions about filmproduction, social entrepreneurship and media production catalyzing social change.
Another aspect of the discussion also included new ways of nonlinear collaborative postproduction work in the digital flow-work. ”Bloody Boys” was also screened during the fim festival and was sold out on every screening and did receive intense media attention.
Text by Leif Ericsson, film producer and Nätverkstan
The seminar is a cooperation between Nätverkstan and KMV in Bangalore, India. Se more posts here on the exchange in Bangalore.
The verdict fell heavily yesterday on the two Swedish journalists, Johan Persson and Martin Schibbye, in prison in Addis Adeba, Ethiopia.
They were charged and convicted by Lideta Federal High Court for being terrorists, the most severe of the charges they were accused for. It’s no doubt that the conviction was political, and so the trial.
Johan Persson and Martin Schibbiye are not terrorists. They went to the Ogaden-province to document and inquire about the multinational oil companies work in the area and the consequences of this. It’s a completely closed area, and word is that people live in the most severe circumstances and in complete absence of human rights as well as international law.
The verdict is a clear statement to journalists to keep out, and of course a large threat to freedom of speech and the journalists task as critical observers and reporters. We have seen many examples of this, just recently artist Ai Weiwei’s as well as many other political writers and journalists imprisonment in China. On December 15 Nätverkstan arranged Imprisoned Day in Lagerhuset, an arrangement together with the PEN club, to put the light on imprisoned writers.
Read other posts on Ai Weiwei here, and Imprisoned Writers’ Day here. Also related reflections from an article in New York Times in April this year by Salman Rushdie here. Read todays daily Göteborgs-Posten (in Swedish).
A large international conference was held in Tallinn, Estonia, in October 2011 discussing a paradigm shift in the way the Creative Economy is understood and supported. The conference was facilitated by Dr Tom Fleming with speakers from around the world addressing the role of the creative economy as a provider of growth to the wider economy.
Some of the ideas have now been put down into the document Talinn Manifesto. Download the document here: Tallinn_Manifesto_Re-thinking_the_Creative_Economy_Dec2011.
Read more from our meeting with Tom Fleming in London, October 19 2010, here.
Animation Artist Artistic collective workshop Artistic practice Bangalore Burning Platforms Business idea Creative Industries Creativity crisis Cultural economy Cultural Journal Cultural Policy Cultural Project Democracy Development Digitization Distribution Economy Education Employment Encatc Entrepreneur Entrepreneurship EU Finance Flexibility Georgia Globalization Innovation International exchange Literature New economy pedagogical Policy for Global Development Renewal Research Resources San Francisco Self-employment Silicon Valley Social entrepreneur Transformation USA Västra Götaland