culture360.asef.org » Culture News http://culture360.asef.org Connecting Asia and Europe through arts and culture Thu, 28 May 2015 06:33:48 +0000 en-US hourly 1 http://wordpress.org/?v=3.5.1 International collaboration putting Malta on the cultural maphttp://culture360.asef.org/news/international-collaboration-putting-malta-on-the/?utm_source=rss&utm_medium=rss&utm_campaign=international-collaboration-putting-malta-on-the http://culture360.asef.org/news/international-collaboration-putting-malta-on-the/#comments Wed, 27 May 2015 21:21:07 +0000 Judith Staines http://culture360.asef.org/?p=51757

Over the next three years, Valletta 2018 will be working closely with its Maltese and international partners to host a number of key high-level arts-related events with positive repercussions...  Read More

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Over the next three years, Valletta 2018 will be working closely with its Maltese and international partners to host a number of key high-level arts-related events with positive repercussions on the cultural, economic and social aspects of Malta.

Karsten Xuereb reports in the Times of Malta on plans for forthcoming cultural collaborations.

In 2016, Malta will be welcoming, for the first time, the 7th World Summit on Arts and Culture that will take place from October 18 to 21. The event is being co-hosted by the International Federation of Arts Councils and Culture Agencies (IFACCA) and the Arts Council Malta (ACM).

Ifacca is the global network of arts councils and ministries of culture and is keen to engage in forward-looking discussions with a view to develop globally-reaching actions.

On the other hand, ACM has enjoyed a recent restructuring that will strengthen its management of the implementation of national cultural policy in a more coordinated manner with all other public cultural organisations that fall under its umbrella structure.

In October 2016, a number of Ifacca member events will take place alongside others for the public, including the CEO Leadership Seminar, the 5th General Assembly, regional chapter meetings and members’ lunches.

In preparation for the World Summit, ACM, within the framework of Valletta 2018, will be stepping up its international efforts that are aimed at putting Malta on the cultural map.

These will primarily support the mobility of Maltese artists to Europe, North Africa, the Middle East and Asia through the Malta Showcase and its mobility funds, which can support the successful exposure of local talent abroad.

However, mobility is mutual and, in collaboration with the Valletta 2018 structure developed together with the Roberto Cimetta Fund (RCF), artists, researchers and creatives in general can access funding to travel to Malta.

During a series of workshops held in 2014 and this year, RCF and Valletta 2018 established mobility opportunities to geographical regions from around the world, from Brazil to Australia.

In 2017, Valletta 2018 and ACM will support the government and the ministry responsible for European Affairs in particular, in organising the six-month cultural programme accompanying the Maltese Presidency of the Council of the EU between January and June.

Read the full article

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Cultural awards downsized in Chinahttp://culture360.asef.org/news/cultural-awards-downsized-in-china/?utm_source=rss&utm_medium=rss&utm_campaign=cultural-awards-downsized-in-china http://culture360.asef.org/news/cultural-awards-downsized-in-china/#comments Mon, 25 May 2015 21:50:23 +0000 Judith Staines http://culture360.asef.org/?p=51627

China will downsize awards for art and literature by 60 percent nationwide this year, the Ministry of Culture (MOC) has announced.  According to the MOC, too many redundant awards...  Read More

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China will downsize awards for art and literature by 60 percent nationwide this year, the Ministry of Culture (MOC) has announced.  According to the MOC, too many redundant awards ceremonies and appraisals of literature and art have caused irregularities and power-for-money deals.

The MOC will regulate government officials’ participation in competitions and awards, in a bid to promote fairness and transparency. The officials will also be forbidden from exerting any influence during award appraisals.Violators will be subject to severe punishment.

Culture Minister Luo Shugang attributes the chaos in literature and art circles to self-indulgent profit seeking.

Some writers and artists, obsessed by money and illusory fame, drift off course, Luo said. Instead, they should focus their creativity on social responsibility.

Future competition and awards should advocate mainstream socialist values against the corruptive mentality, Luo said.

Further information

Image: Luo Shugang, Minister of Culture

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Writing Through Cambodia programmehttp://culture360.asef.org/news/writing-through-cambodia-programme/?utm_source=rss&utm_medium=rss&utm_campaign=writing-through-cambodia-programme http://culture360.asef.org/news/writing-through-cambodia-programme/#comments Thu, 21 May 2015 21:30:09 +0000 Judith Staines http://culture360.asef.org/?p=51293

Writing Through Cambodia is a programme using creative writing to improve Cambodian students’ fluency in English, both spoken and written, to develop their capacity for conceptual thought, and to enhance...  Read More

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Writing Through Cambodia is a programme using creative writing to improve Cambodian students’ fluency in English, both spoken and written, to develop their capacity for conceptual thought, and to enhance their self-esteem.  It also works with Cambodian teachers.

Sue Guiney and Jeanne McKay collaborated on a week long creative writing workshop at Sala Bai, near Siem Riep. They have co-written a guest post on the Asian Books blog exploring the role of Writing Through Cambodia.

Writing Through Cambodia was founded by Sue Guiney, an American-born, British-resident poet, novelist and educator.  When she is not volunteering with Writing Through Cambodia, Jeanne McKay is a conservation biologist living in Singapore, from where she manages a conservation research project in Sumatra, Indonesia.

Writing Through Cambodia is offered in three different formats depending on the needs and scheduling of the school or NGO. Each format uses the same educational techniques of brainstorming, writing, and sharing both poetry and stories. Important note for all formats: each class is always run by a fluent English speaker, with the in-class assistance of a native Khmer teacher who has some advanced knowledge of English. This Khmer teacher is generally already on staff of the participating school or NGO. In this way, the program can be adapted to students of any level of English.

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Worldwide streaming by EU-supported Opera Platformhttp://culture360.asef.org/news/worldwide-streaming-by-eu-supported-opera-platform/?utm_source=rss&utm_medium=rss&utm_campaign=worldwide-streaming-by-eu-supported-opera-platform http://culture360.asef.org/news/worldwide-streaming-by-eu-supported-opera-platform/#comments Tue, 19 May 2015 21:35:26 +0000 Judith Staines http://culture360.asef.org/?p=51250

Co-financed by the European Commission’s Creative Europe programme, The Opera Platform is streaming live opera free of charge worldwide from some of Europe’s iconic opera houses.  Intended to make...  Read More

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Co-financed by the European Commission’s Creative Europe programme, The Opera Platform is streaming live opera free of charge worldwide from some of Europe’s iconic opera houses.  Intended to make opera more accessible, it involves a partnership of 15 opera companies from 12 European countries.

The Opera Platform (www.theoperaplatform.eu) is a three-year project with an overall budget of almost €4m, of which about half comes from the EU’s cultural budget.

There will be on average about one live transmission a month, which will be available for viewing on the website for six months. Subtitles are provided in English, French, German, Italian, Polish and Spanish.

The site will also offer documentaries, opera archive materials and highlights of productions throughout Europe.

The Opera Platform is the online destination for the promotion and enjoyment of opera. It is designed to appeal equally to those who already love opera and to those who may be tempted to try it for the first time.

The Opera Platform offers a range of content from the most popular titles to the most innovative:
  • an average of one showcase complete opera per month from one of 15 partner theatres
  • each showcase opera subtitled in 6 languages and available to enjoy for free for a period of 6 months on demand
  • tantalising highlights from productions throughout Europe
  • curated documentary material setting operas and opera houses within a wider cultural context
  • a rich archive bringing history to life for today’s audiences

The Opera Platform is a partnership between Opera Europa, representing 155 opera companies and festivals; the cultural broadcasting channel ARTE; and 15 theatres from across Europe. It is supported by the EC’s Creative Europe programme. It welcomes contributions from all those committed to sharing opera with a wider public.

Read more in The Guardian

Image: La Traviata at Teatro Real, Madrid | photo: Javier del Real

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Sovereign Asian Art Prize 2014-15 winnershttp://culture360.asef.org/news/sovereign-asian-art-prize-2014-15-winners/?utm_source=rss&utm_medium=rss&utm_campaign=sovereign-asian-art-prize-2014-15-winners http://culture360.asef.org/news/sovereign-asian-art-prize-2014-15-winners/#comments Sun, 17 May 2015 21:38:33 +0000 Judith Staines http://culture360.asef.org/?p=51385

The winners of the 2014/15 Sovereign Asian Art Prize are announced – Anida Yoeu Ali, of Cambodia wins the overall Sovereign Asian Art Prize and Alia Bilgrami, of Pakistan wins...  Read More

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The winners of the 2014/15 Sovereign Asian Art Prize are announced – Anida Yoeu Ali, of Cambodia wins the overall Sovereign Asian Art Prize and Alia Bilgrami, of Pakistan wins the Schoeni Public Prize.

Anida Yoeu Ali (b. 1974, Cambodia) took home the 2014-15 Sovereign Asian Art Prize on 8 May 2015. The artist received her trophy along with a USD30,000 prize at The Sovereign Art Foundation‘s annual Charity Gala Auction and dinner in Hong Kong. Pakistan’s Alia Bilgrami was announced the winner of the 2014-15 Schoeni Public Prize, with an award of US$1,000 for her work ‘Diorama Desire’.

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Read more on Art Radar

The Sovereign Asian Art Prize is now in its 11th year and is the most established prize for contemporary arts in the region. Entry into the Asian Art Prize is through nomination. The Sovereign Art Foundation appoints independent art professionals from around the Asia Pacific Region who select the best mid-career artists from within their territory to enter the prize. Each nominated artist can enter up to three artworks into the competition. Entries are then presented to a panel of judges who shortlist 30 finalists.

The 30 shortlisted artworks are brought to Hong Kong and exhibited in a public space. The judges then score the artworks live and pick the winner who is awarded a prize of US$30,000, a trophy and the title. The winning artwork becomes property of The Sovereign Art Foundation (who then lends the work out to patrons, partners and institutions) and the remaining 29 finalist artworks are sold at auction with the proceeds being split evenly between the artists and The Sovereign Art Foundation.

To encourage interaction with the prize and to increase exposure for the artists, the public are invited to cast their vote online or in person for their favourite artwork displayed in the exhibition. This artist is awarded The Schoeni Prize and US$1,000.

Images: [top] Anida Yoeu Ali, ‘Spiral Alley’, 2012. Nominated by Kate Cary Evans. Image courtesy the artist and The Sovereign Asian Art Prize.

[bottom] Alia Bilgrami, ‘Diorama Desire’. Nominated by Naiza Khan. Image courtesy the artist and the Sovereign Asian Art Prize.

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Australia arts budget cuts and challengeshttp://culture360.asef.org/news/australia-arts-budget-cuts-and-challenges/?utm_source=rss&utm_medium=rss&utm_campaign=australia-arts-budget-cuts-and-challenges http://culture360.asef.org/news/australia-arts-budget-cuts-and-challenges/#comments Wed, 13 May 2015 21:02:44 +0000 Judith Staines http://culture360.asef.org/?p=51346

A shock announcement in the 2015-16 Australian federal budget this week sees more than A$100 million taken from the allocation to the Australia Council for the Arts over the...  Read More

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A shock announcement in the 2015-16 Australian federal budget this week sees more than A$100 million taken from the allocation to the Australia Council for the Arts over the next four years to create a separate fund to be managed directly by the Ministry for the Arts.

The 2015-16 Budget announcement included a number of significant budget measures relating the Australia Council, and the establishment of a National Programme for Excellence in the Arts, to be administered through the Ministry for the Arts. The cuts are set to impact arts and film organisations in Australia and to change support mechanisms and selection criteria for some international arts exchange and touring.

The most significant new measure is the allocation of A$104.8 million over four years to establish a National Programme for Excellence in the Arts. The details of the programme are not yet announced but the media release speaks of “investment to support endowments, international touring and strategic projects, with an emphasis on attracting private sector support” that will “allow for a truly national approach to arts funding and will deliver on a number of Government priorities including national access to high quality arts and cultural experiences”.

The arts community in Australia was swift to react:

  • The Australia Council is giving careful consideration to how the changes will impact its ability to deliver the Australia Council Strategic Plan.
  • ArtsHub details the announced changes and sees them as a “veiled attack on the independence and arms-length funding processes of the Australia Council”
  • Associate Professor, Cultural Policy and Arts Leadership, Jo Caust comments in The Conversation: “this government is saying clearly that it does not trust the Australia Council to do its bidding and is therefore going to pursue its own funding agenda for the arts.”
  • Theatre maker Van Badham comments in The Guardian: “the policy of artistic silencing has already begun”.
  • A petition ‘Australians for Artistic Freedom‘ has been started, signed by prominent artists, writers and arts professionals

A week later, a balanced and informative article by Keith Gallasch for RealTime Arts presents background information and explores the consequences of the budget announcement, notably for transparency in decision-making and redefinition of ‘excellence’ in the arts.

News reports include:

The Australia Council has also been stripped of responsibility for Visions of Australia (a national exhibition touring programme taking Australian cultural material to remote and regional communities in Australis), Festivals Australia (a regional festivals project fund in Australia) and the Major Festivals Initiative (supports the commissioning, development and showcasing of new Australian performing arts productions for Australia’s major international arts festivals). The management and decision-making on these national arts initiatives will be taken over by the Arts Ministry.

Screen Australia will suffer a second consecutive year of cuts, losing 16% of its funding in 12 months.

Image: Arts Minister Senator George Brandis addresses supporters of the new Australian Pavilion at the Venice Biennale at the pavilion’s opening last week. Photo: Angus Mordant

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SEAAA Mobility Platform in Athens | Reporthttp://culture360.asef.org/news/seea-mobility-platform-launch-in-athens/?utm_source=rss&utm_medium=rss&utm_campaign=seea-mobility-platform-launch-in-athens http://culture360.asef.org/news/seea-mobility-platform-launch-in-athens/#comments Mon, 11 May 2015 10:28:19 +0000 Herman Bashiron Mendolicchio http://culture360.asef.org/?p=51233

On 30-31 March 2015, the city of Athens hosted the first meeting of the SEAAA Mobility Platform. This international meeting aim was to discuss the creation of a common...  Read More

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On 30-31 March 2015, the city of Athens hosted the first meeting of the SEAAA Mobility Platform. This international meeting aim was to discuss the creation of a common fund for the mobility of artists and cultural operators between the various regions involved. The leading partners of the project – Roberto Cimetta Fund, Korea Arts Management Service (KAMS) and Australia Council for the Arts –, together with Theatre Entropia, various international organizations, several representatives from the Arab world and Greek operators, chose to meet in the Hellenic capital both for its geographic in-betweenness and as a stance taking in favour of culture in a time of a deep socio-economic crisis.

The regions involved – Southern Europe, the Arab world, Asia and Australia – represent both the focus areas of the partners (e.g. the Mediterranean region and the Arab world are the priority areas of the Roberto Cimetta Fund) and the organizers’ intention to extend new partnerships through different continents.

Participants of the Athens meeting included representatives from India Foundation for the Arts (India); Valletta European Capital of Culture 2018 (Malta); Russian Theatre Union (Russia); India for Transformation (India); Kulturanova Foundation (Croatia); Vasl Artists’ Collective (Pakistan); European Cultural Foundation (The Netherlands); Art Moves Africa; Theatre Entropia (Greece); Zoomal (Lebanon); National Commission for Culture and the Arts (the Philippines); More Europe (Belgium); Nabdh/Pulse (Tunisia); French Ministry of Culture and Communication (France); Al Harah Theatre (Palestine); Vyrsodepseio (Greece); Tamasi Network (UK/Egypt); Asia-Europe Foundation (Singapore); Roberto Cimetta Fund (France); Korea Arts Management Service; Australia Council for the Arts; as well as several Greek operators.

With a clear will to enhance and strengthen the cultural connections between Europe and Asia, the Asia-Europe Foundation (ASEF), through its Creative Networks Programme, has supported the launch of the platform and this first gathering of international partners. The alliance of artistic and cultural mobility funding or re-granting organisations – an ambitious and much needed project – has the promotion of discussion, knowledge sharing and the future launch of a new mobility fund among its main goals.

The path toward increased cooperation and knowledge in the field of artistic and cultural mobility had already been traced in previous meetings in 2013 in Prague (Czech Republic) and in 2014 in Melbourne (Australia) . A growing number of organizations and international institutions are currently investing and reflecting on this challenge, on the need to increase mobility projects in order to enhance understanding between regions and to improve working and research environments for artists and cultural professionals.

If the previous meetings of Asian and European cultural mobility funders and stakeholders, clearly showed the strong mutual interest in organizing common projects – between and beyond the two continents –, the latest meeting in Athens took a step forward in this long-term process. The concrete aim now, as already mentioned, is to set up a common fund to support artistic and cultural mobility in a broader geographical context.

The urgent need to create new encounters, draw new routes on the world map, experiment with innovative exchanges, invent new funding schemes and economic models, question globalization and consider proximity, raise awareness of other realities, as well as envisage, conceive and practice alternative cultural maps, were the main matters discussed during the meeting in Athens.

The intensive two-days seminar, held at Theatre 104, brought together over 40 professionals from approximately 24 different countries. The meeting was developed through several sessions, from project presentations to intensive workshops focused on the analysis and discussion of topics related to cultural mobility. The engagement of the participants in the diverse phases of the seminar fostered a valuable context for networking, encouraged critical debate, and paved the way for the construction of long-term collaborations.

At the opening of the seminar, Ferdinand Richard, President of Roberto Cimetta Fund, outlined some fundamental points that constituted the base of the discussions on mobility that then followed. Some of the key points he raised are:

  • “Getting the truth”: the importance of face to face meetings to share knowledge and experiences.
  • The fair-trade approach in relation to culture. We need to practice and advocate for a fair, sustainable and ethical approach in the field of cultural exchange.
  • The importance of addressing the current changes at global, national and local levels with a three-dimensional approach that links culture with different territorial needs, dynamics and methods.
  • The need to understand the challenges of evaluating and measuring the effect, impact and sustainability of mobility actions.
  • The importance of the “pay-back” step: artists need to come back and share their experience with the community of origin.
  • The role played by local authorities which are increasingly playing an important role as funders in Europe.
  • The holistic approach: we need a complete chain where everyone can work together.

These introductory insights set the tone of the meeting and fostered the discussion among the participants.

Three simultaneous workshops addressed three specific areas and topics: 1) Performing Arts; 2) Operators and Entrepreneurs; 3) Proximity.

Many interesting ideas emerged from the three workshops: in relation to “Performing Arts”, the participants stressed the need to support artists, professionals and companies throughout the entire process, not only the final outputs. Essentially linked to this point is the importance of evaluating the process and consequently inventing more flexible tools of doing so as well as understanding the impact of a grant.

The workshop on “Operators and Entrepreneurs” was mainly focused on issues related to local cultural development and sustainability. Most of the participants agreed that economic criteria should not be the only parameters for evaluating cultural development. Other points raised from the discussion concerned the need to understand and analyse rapidly changing demographies, the critical relationship between art and education, and the differences between tourism and other mobility models.

The third workshop on “Proximity” gave way to an intense and fruitful debate. Many artists and cultural professionals expressed their growing interest in experiencing other geographical transits rather than the usual big cities (the so-called golden triangle). A “km-zero” strategy – privileging the local over the global in exploration of other mobility routes within cities, linked to ideas of periphery, decentralization and sustainability – are issues that should be addressed and fostered by mobility funders and stakeholders.

The final sessions were focused on economic models and funding schemes (existing or to be invented), where different mechanisms – including the opportunities provided by the crowdfunding model – were analysed.

This first meeting of the SEAAA Mobility Platform was definitely necessary to discuss the urgent matters at stake across different latitudes and, above all, was an essential starting point, a sowing of seeds, to create a solid and common Alliance. In this light, it is certainly relevant to mention the Canary Islands Declaration on Culture and Artistic Mobility, a common framework agreed by six independent cultural mobility funds from different areas of the world, who together agreed to work as a coalition for the advocation and dissemination of the principles stated in the Declaration. Thus, the Canary coalition can be viewed as the precedent to the SEAAA Alliance.

Even if the times required to develop a new mobility fund will be long and complex, and even if there are many different approaches and ways of understanding terms, concepts and mechanisms, the Athens meeting demonstrated that there is a clear and shared commitment to work together toward the creation of a common fund. Beyond the sharing of common values, the new Alliance should set up a joint open call for artists and cultural operators, those who will be the real beneficiaries of the fund by accessing new and stimulating mobility opportunities.

Furthermore, all the participants agreed that cultural mapping is a necessary action that must be supported and fostered. New alliances, new encounters and new mobility routes are waiting to be explored and experienced. The wide and diverse framework of the SEAAA Mobility Platform reminds us how necessary it is to connect, partner, explore, move around and think together on a global scale, as well as to develop a local focus and the politics of proximity based on sustainable models and strategies.

 

Useful links:

 

Herman Bashiron Mendolicchio holds a European PhD in “Art History, Theory and Criticism” from the University of Barcelona. He is faculty at Transart Institute (NY-Berlin) and Post-Doctoral Visiting Researcher at United Nations University Institute on Globalization, Culture and Mobility (UNU-GCM). His researches involve the subjects of intercultural processes, globalization and mobility in contemporary art and cultural policies, the interactions between artistic, educational, media and cultural practices in the Mediterranean and the cultural cooperation between Asia and Europe. He has participated in several international conferences and developed projects and research residencies in Europe, Asia, USA and the Middle East. As an art critic and independent curator he writes extensively for several international magazines. He is Editorial contributor at Culture360 – Asia-Europe Foundation (ASEF), Managing Editor at ELSE – Transart Institute, and co-founder of the Platform for Contemporary Art and Thought, InterArtive.

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Asymptote international literary translation journalhttp://culture360.asef.org/news/asymptote-international-literary-translation-journal/?utm_source=rss&utm_medium=rss&utm_campaign=asymptote-international-literary-translation-journal http://culture360.asef.org/news/asymptote-international-literary-translation-journal/#comments Thu, 07 May 2015 21:02:27 +0000 Judith Staines http://culture360.asef.org/?p=50833

Asymptote is an exciting international journal dedicated to literary translation and bringing together in one place the best in contemporary writing. It is interested in encounters between languages and...  Read More

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Asymptote is an exciting international journal dedicated to literary translation and bringing together in one place the best in contemporary writing. It is interested in encounters between languages and the consequences of these encounters.

Asymptote was awarded the London Book Fair’s 2015 International Literary Translation Initiative Award. The prize is designed to showcase publishing innovation around the word.  The award is presented to the organisation that the committee considers to have “succeeded in raising the profile of literature in translation, promoting literary translators, and encouraging new translators and translated works,” whose scope of achievement lies outside of the UK.

Shortlisted alongside the Dutch Foundation for Literature and Paper Republic (China), Asymptote’s recognition reinforces its status as an innovative audio-visual platform showcasing the most exciting writing from around the world. This is the first time that a Singaporean organisation has been nominated for, as well as won, an award at the London Book Fair.

asymptoteAsymptote welcomes submissions of translated poetry, fiction, nonfiction and drama; certain types of original English-language nonfiction, including literary and critical writing; as well as visual art.

Every quarter, the journal showcases two Special Features: the first a Writers on Writers Feature, in which overlooked non-English writers are concisely introduced and the second a wildcard Feature that varies from issue to issue.

Upcoming Special Feature – JULY 2015 issue: Multilingual Writing 

Writers on Writers Feature:  For the other special feature in these and all other issues, we continue to invite, as always, essays (written in English, passionately, in fewer than 2,500 words) about a relatively unknown author writing in a language other than English who deserves more attention from the English-speaking world. Rolling deadline.

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TIES THAT BIND announces producer selectionshttp://culture360.asef.org/news/ties-that-bind-announces-producer-selections/?utm_source=rss&utm_medium=rss&utm_campaign=ties-that-bind-announces-producer-selections http://culture360.asef.org/news/ties-that-bind-announces-producer-selections/#comments Mon, 04 May 2015 21:33:40 +0000 Judith Staines http://culture360.asef.org/?p=50976

TIES THAT BIND is an innovative programme designed to assist film producers from Asia and Europe with potential European-Asian co-production projects. For 2015, a total of 15 producers have been selected...  Read More

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TIES THAT BIND is an innovative programme designed to assist film producers from Asia and Europe with potential European-Asian co-production projects. For 2015, a total of 15 producers have been selected and the 7th edition has a new cooperation with the Southeast Asian Audio-Visual Association (SAAVA).

In 2015, out of 65 applications from Europe and Asia, 10 producers with their feature films in development have been selected to participate along with 5 other European professionals interested in working with Asia.

As a novelty this year, TIES THAT BIND launches its 7th edition in cooperation with the Southeast Asian Audio-Visual Association (SAAVA), a non-profit association that seeks to unify media producers in the region. The association’s mission is to advance creative development across the region, promote Southeast Asian audiovisual content and capabilities internationally, as well as stimulate business collaborations between its members.

Justin Deimen, Co-Founder and Director of the Southeast Asian Audio-Visual Association (SAAVA) says of the collaboration: “Having been through the programme last year, I know how relevant and beneficial the producing workshops can be on both a professional and a personal level. SAAVA is proud to partner with Ties That Bind, and we look forward to bringing this unique cross-cultural platform to Singapore in order to foster more co-productions within the Southeast Asian region.”

Kristina Trapp, EAVE’s CEO says: “We are thrilled to work together with SAAVA and are convinced that their expertise and network will be a great asset to the programme. This partnership builds on the successful cooperation with the Busan International Film Festival to whom we express our gratitude and whose management team and programmers we strongly support in their struggle for freedom of expression and independence.”

Ties That Bind will partner SAAVA in its inaugural edition of the Southeast Asian Film Financing  Forum (SAFF), a project market held alongside the Singapore Media Festival 2015 (Nov 26 – Dec 6) matching the best Southeast Asian projects and filmmakers with financiers, festivals, and co-producers from around the world while being the regional touchstone for media investment and industry trends.

The first Ties That Bind workshop took place in Udine (Italy) from April 28 – May 2, 2015 within the framework of the Udine Far East Film Festival (April 23  - May 2, 2015). The second workshop will be organized in Singapore during the Southeast Asian Film Financing Forum.

The programme will bring together 15 producers and other professionals from Europe and Asia to work on feature film projects in development. They will be working together throughout the year with leading experts from both continents on script development, pitching, co-production, financing, legal aspects, marketing, distribution and sales, and will meet with decision makers during both sessions.

The selected participants for TIES THAT BIND 2015 are:

  • Aiess Alonso, Quantum Films, Philippines; Project: A Wrong Season, director: Carlo Francisco Manatad
  • Muhammad Bahir, Wayang Works, Malaysia; Project: Motif, director: Nadiah Hamzah
  • Gilles Chanial, Les Films Fauves, Luxembourg; Project: Dobari, director: TBC
  • Iwana Chronis, International Film Festival Rotterdam – Hubert Bals Fund, The Netherlands
  • Christopher Granier-Deferre, Poisson Rouge Pictures, United Kingdom; Project: Fox Spirit, director: Maja Bodenstein
  • Kasia Karwan, Premium Films, Poland/France
  • Eun-Zi Kim, DCM World, Germany
  • Donsaron Kovitvanitcha, 185º Equator, Thailand; Project: Arnold is a Model Student, director: Sorayos Prapapan
  • Jen Nee Lim, Pilgrim Pictures, Singapore; Project: For Adults Only, director: Leon Cheo
  • Kyoko Miyake, Brakeless, Japan/United Kingdom; Project: The Promise, director: Kyoko Miyake
  • Freddy Olsson, Göteborg Film Festival / Bokomotiv, Sweden
  • Niko Post, Line Up Entertainment, The Netherlands;  Project: Bangkok Detour, director: Martijn Heijne
  • Florian Caspar Richter, Propeller Film, Germany; Project: Junana, director: Chantal Bertalanffy
  • Elli Toivoniemi, Tuffi Films, Finland; Project: Wife, director: Selma Vilhunen
  • Jérémy Zelnik, Arcs 1950 Coproduction Village / Paris Coproduction Village / Dibona Films, France

The selected participants will work together under the guidance of top industry professionals from both continents.

  • Christophe Bruncher, Ici et Là Productions, France
  • Gin Kai Chan, Silver Media Group, Singapore
  • Clare Downs, Script Consultant, United Kingdom
  • Roger Garcia, Hong Kong International Film Festival, Hong Kong
  • Shanty Harmayn, Salto Films, Indonesia
  • Elise Jalladeau, Charivari Films, France
  • Sibylle Kurz, Pitching and Communication Skills, Germany
  • Álvaro Vega, DobleSentido, Spain

In addition, the participants will meet prominent industry guests during the networking coffee breaks throughout the week, such as:

  • Paolo Bertolin, Venice International Film Festival, La Biennale di Venezia – Settore Cinema, Italy
  • Vincenzo Bugno, World Cinema Fund, Germany
  • Nam Dongchul, Busan International Film Festival, Korea
  • Jongsuk Thomas Nam, Buchon International Fantastic Film Festival (BiFan), Korea
  • Nathalie Streiff, Institut Français, France
  • Adam Torel, Third Window Films, United Kingdom/Japan
  • Marie-Pierre Vallé, Wild Bunch, France

TIES THAT BIND is organised by the Friuli Venezia Giulia Audiovisual Fund, EAVE, Udine Far East Film Festival and Southeast Asian Audio-Visual Association (SAAVA), in partnership with Festival Scope. THIES TIES BIND is supported by the Creative Europe – MEDIA sub-programme of the European Union.

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European Union Prize for Literature winners announcedhttp://culture360.asef.org/news/european-union-prize-for-literature-winners-announced/?utm_source=rss&utm_medium=rss&utm_campaign=european-union-prize-for-literature-winners-announced http://culture360.asef.org/news/european-union-prize-for-literature-winners-announced/#comments Thu, 30 Apr 2015 22:17:55 +0000 Judith Staines http://culture360.asef.org/?p=50806

The European Union Prize for Literature 2015 winners were announced at the London Book Fair. The award recognises the best up-and-coming authors in Europe and is open to countries participating...  Read More

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The European Union Prize for Literature 2015 winners were announced at the London Book Fair. The award recognises the best up-and-coming authors in Europe and is open to countries participating in Creative Europe, the EU funding programme for the cultural and creative sectors.

The winners were announced at the opening ceremony of the London Book Fair by Tibor Navracsics, European Commissioner for Education, Culture, Youth and Sport.

The European Union Prize for Literature is organised by the European Commission in cooperation with the European Booksellers’ Federation, the European Writers’ Council and the Federation of European Publishers.

This year’s winners are:
Carolina Schutti (Austria) for Einmal muss ich über weiches Gras gelaufen sein (Once I must have trodden soft grass). Otto Müller Verlag, 2012.
Luka Bekavac (Croatia) for Viljevo. Fraktura, 2013.
Gaëlle Josse (France) for Le dernier gardien d’Ellis Island (The last guardian of Ellis Island). Editions Noir sur Blanc, 2014.
Edina Szvoren (Hungary) for Nincs, és ne is legyen (There Is None, Nor Let There Be). Palatinus, 2012.
Donal Ryan (Ireland) for The Spinning Heart (Le cœur qui tourne). Doubleday Ireland, 2013.
Lorenzo Amurri (Italy) for Apnea. Fandango Libri, 2013.
Undinė Radzevičiūtė (Lithuania) for Žuvys ir drakonai (Fishes and Dragons). Baltos lankos, 2013.
Ida Hegazi Høyer (Norway) for Unnskyld (Forgive me). Tiden Norsk Forlag, 2014.
Magdalena Parys (Poland) for Magik (Magician). Świat Książki, 2014.
David Machado (Portugal) for Índice Médio de Felicidade (Average Happiness Index). Dom Quixote, 2013.
Svetlana Zuchova (Slovakia) for Obrazy zo života M. (Scenes from the Life of M.). Marenčin PT, 2013.
Sara Stridsberg (Sweden) for Beckomberga – ode till min familj (The Gravity of Love). Albert Bonniers Förlag, 2014.

About the prize

  • Every year national juries in a third of participating countries – 12 this time around – nominate the winners.
  • Each winner receives €5,000. More importantly, they gain international visibility and from the prestige of the award.

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