 Thank you all for coming and taking time out of your work and life. I know how much that means, all being New Yorkers of work, being here for work and time, so we are truly, truly honored and our entire team of the Theors of Borders on the move, we are really stunned of the response that we got. We now have a lineup of speakers. It is of course not fair to ask any one of these great workers to just give their entire history in five minutes. So this is supposed to be an inspiration, so you know a little bit more and then you look up their work or talk to them in person. That's why this gathering is here. We have a timekeeper here and this is Bella. She will have five minutes, four minutes, three, like in the TV shows. We don't have the music at the end, but close to. So I apologize up front to any speaker if it is over time, but again now we are going to hear from one of the world's best practitioners and institutions and they will tell us about their experience, how their work started, what they are doing now, what they are thinking about and give us some examples. And they are from around the world and we are truly thankful that people really came, traveled in from Africa, Asia, and from Europe for this conference to speak for you for five minutes and to also be part of a larger network. And again, please talk to them, approach them, look up their work and maybe there's something inspiring for you or maybe some of what you will say will inspire others the world as we know is so closely connected and globally connected and this is also celebrating with work and the art, the role it plays. So I would like to start Olga Garay to come up first and speak about the United States. Thank you. All right, switch the box. Do you know what do I have to do? Is this one right here? I think it's this clicker here. Okay. Is this one right here, right? It's, yeah. Good morning everybody. Good morning. I want to thank you for inviting me to this launch of the Cultural Mobility Funding Guide for the USA. I especially want to thank Frank Hensler and Roberta Levitao and I haven't met Marie-Lucer yet but of course this has been a labor of love on her part as well. I'm Olga Garay-English. I'm an arts administrator and consultant and I have been engaged in international cultural exchange for 30 years now. I'm a strong advocate of international engagement and Frank has asked me to present this brief snapshot of the status of cultural mobility for artists and arts administrators and professionals in the United States, our challenges and our opportunities. So let me provide some context, I think. We're a very large country. As of December 29th of last year, the US had a total resident population of more than 300 million people. This is the third most populous country in the world and the United States Census categorizes the people who live in the United States using the categories of white American, Native American or Alaskan Native, Asian American, African American, Native Hawaiian and other Pacific Islanders. There's also a category for people of mixed race. In addition, you can say whether you're Hispanic or Latino and that's an ethnicity versus a race and if you count Hispanics and Latinos in the United States we are the largest, we because I'm from Cuba originally are the largest minority group in the nation. Our country was founded by immigrants and continues to be a strong magnet for the people from all over the world. This is a basic information of how this country's major ancestry shapes up. It doesn't really tell a very strong story because it lumps together groups such as people of other parts of Latin America are not even really listed here. But you'd think that because of this very diverse country and the people who make up this country we would be really very active in promoting international cultural exchange. And you would be wrong. So it was actually very much of a challenge preparing this presentation because when you Google grants for international cultural arts exchange you get practically nothing. So I really had to do a lot of research for this. The National Endowment for the Arts asserts that it's very difficult comparing how our system works with other countries because we have such a diverse funding variety. We have of course federal grants, we have national and local grants, we have a strong philanthropic sector but the closest they found was to European countries. And if you'll see at the very bottom of per capita spending the National Endowment for the Arts gives 47 cents per person per year to the arts in this country. Though the U.S. has a robust philanthropic sector according to grant makers in the arts and the foundation center who do research on arts giving every year only 153 million that is less than 1% of the funding that was given to the arts. 2.3 billion was given to international projects. So what does that mean? To me that means that we have to take personal and institutional responsibility for getting this work done because at the end of the day what tends to happen is that artists are self-funding to do this kind of work and it really puts a huge burden on our artists. So can you go back? Yeah. Actually, yeah. Where are you at here? Yeah, the next one. The next one? Okay, so the next one. Can you help me? It's not going to... Where do you want to be? The next... There's a slight delay. You just gotta press it once and then it'll go. Just press it once, press it again. It'll go. Anyway, so just not to take up too much time. I want to give you two examples because one of the things that they asked us to do was to give you examples of work that we've done. And personally, when I got to the Los Angeles Department of Cultural Affairs where I was executive director for six and a half years, I created this program which is called Cultural Exchange International. And I did so as an attempt to address the fact that artists in our community were not getting support to do international residencies and arts organizations in our community were not given support to bring people, artists from other parts of the world to Los Angeles. So this program, which for every dollar we invested we raised $2 with the help of many people who are in the room, the Dutch Cultural Services, the British Council, French Cultural Services, Culture Ireland, Sakatar Foundation in Brazil, the Pernati Arts Center in Indonesia. We put together a bunch of money that gave small grants, $5,000 to $25,000 grants for LA-based artists to go abroad and for artists from abroad to come to LA. So we were both outgoing and incoming mobility grants. I say this and I'm not telling the last guy who spoke to put it in the new guide because now there's a new administration in Los Angeles and this program was killed. And then lastly, I just want to talk about institutional responsibility and basically this is a new program which I'm working on that the California Institute of the Arts is launched very recently for more than 40 years Cal Arts has been working to train artists and arts professionals and they realize that this country is really rapidly turning into a very Latino country. We have about 50 million Latinos in this country right now and that makes this the third largest Latin American quote country in the world only after Brazil and Mexico does any other country have more people from Latin America and the US. So finally in conclusion I want to just personally applaud the all the organizers of this cultural mobility symposium and the creators of the cultural mobility funding guide for the USA for they have really taken both personal and institutional responsibility to get this vital information out to our artists and arts professionals and I want to just say that I want to recommit my own efforts to making this kind of work visible possible fundable and really part of the DNA of how artists can get their work done. Thank you. Thank you. Thank you so much Olga. Now we have also a very special guest. We have now with us François Rivasso and he is the deputy head of the delegation of the European Union to the United States of America. Good morning. It's impressive to see all these people. It's a great day for the art mobility cultural mobility representing Europe and it's 520 million citizens. It should be a great day for us. It's also I have to see a day of mourning. You may not be all aware but this morning in Paris artists have proven once again than they are between those who give their life to defend their freedom of expression their freedom of communicating with others. This barbaric attack against Charlie Hebdo who killed all the direction of Charlie Hebdo and many renowned French artists comics author tells us once again that the values of enlightenment that we share between Europe and the United States are still valid and worthy to be defended and you are here the very testimony of it. I propose 30 seconds, not more because I have only five minutes, 30 seconds of silence in the honor of Charlie Hebdo. Thank you. We are here with you for the first time because it's only last year that the European Union has decided that someone had to be invested in promoting the European culture abroad. What's the European culture? I have tried to work on it. I've made a number of interventions about it but basically I think there's not a unique definition of it. That's the culture of member states plus maybe what we have all in common which is basically seen from the United States enlightenment precisely. But the important thing for you is that we are willing to try to develop our contribution to cultural mobility. And we do that without direct funding as a delegation. The funding is still Brussels based. We hope that Brussels will take into account the efforts of a day like this, this I say that for on the move in particular because it's very important. We are here to try to develop this action so we need you. We are a newborn entity. We have two branches. First we coordinate the action of the 28 member states in the United States in cultural affairs. So we are trying to provide them an extra layer of help and subsidies. This will start progressively. And for that we have the European cultural attaché Constance Whiteside who is here. And then we have no special funding scheme as I said. So US like we try to develop US funding scheme which is to encourage strong lever creation of a foundation. So we are very happy to introduce also to you a Kimberley-Hevrick who is the new director of this newborn three months old European American Cultural Foundation. It's still based in Washington. It's still a newborn. So you will just see her website. We shall just use two minutes video to introduce it. They will stay with you all the day. Please contact them. European Cultural Foundation is still already managing some programs Washington based between them your kid festival which is the biggest European artistic kid festival outside of Europe. And the European Open Day which is the biggest European Cultural Foundation with 100,000 visitors in Washington. That's just a start. We need artists to fill our advisory boards. We need specialists to fill our funding boards. So I stop here because of time and I just ask maybe you to present the Cultural Foundation now. I'm going to have to look at it like this. It won't play in full screen. What can culture do? It isn't just a question. It's also the answer to something essential. Something fundamental about human existence and expression. Culture can change minds. Culture can change hearts. Culture can change perspectives. And that's what makes culture such a powerful medium for global understanding. This is the philosophy of the core of newly created European American Cultural Foundation. A U.S. 501c3 nonprofit founded in 2013 to strengthen cultural bonds and collaboration between the European Union and the United States. Programs of the EACF has entered a conjunction with the delegation of the European Union to the United States and its 28 member states. Not only reinforce this relationship, they bring it vividly to light through performing arts festivals, special events, lectures and other forms of cultural cooperation and exchange. What can culture do? Culture can bring hundreds of free, high quality and imaginative performances to children and their parents. inaugurated in 2008, Kids Hero Festival is the largest children's performing arts festival of its kind in the United States. Truly a trip to Europe with no passport required. Each of the 28 European Union member states annually participate, sending to DC accomplished EU performing arts for children to present more than 150 free events in schools, theaters, libraries and even hospitals. All in collaboration with American physicians. What can culture do? Culture can vividly demonstrate the EU motto unity and diversity during the European month of culture. The authentic cultural vibrancy of all 28 EU member states combines in an energetic tapestry with each day of May offering at least one or more art exhibit, dance performance, film screening, lecture or conference, almost 100 and all at venues all over Washington. It's a fitting and accessible celebration of the month during which the EU was founded and of Washington's own international cultural awareness month. What can culture do? Culture can make the abstract concrete with the welcoming hospitality of EU Open House Day. On EU Open House Day, each of the European Union's 28 member states and the EU delegation open their embassy or the residence of their ambassador to the public. Visitors can taste, talk and tour, taste native dishes, talk to embassy officials and their staff and tour cultural exhibits. It's quite possibly the largest EU outreach program outside of Europe with over 100,000 visits taking place in just six hours. What can culture do? Culture can show us that we're not so very different after all through Euronite, an evening of cultural sharing. On Euronite, the EU member states gather together, often dressed in native costume, to offer visitors food and drink, inviting travel brochures and to be entertained by a slate of on-stage European artists. It's one of Washington's most popular special events and one of its most diverse. Euronite is a one-night chance to tour Europe and an average of 1,500 make the journey each year. What can culture do? Culture can be a rich topic and resource for exchange with programs such as Conversations in Culture and EU Rendezvous. By inviting the public to learn more about the culture and policy of the European Union through concerts, lectures and forums hosted at the delegation's Washington headquarters, the door is truly open to the creation of a cultural dialogue that can have a very real role and impact in the shared cultural futures of the EU and the United States. There's a theme here and that theme is connections, continent to continent, country to country, person to person. This is the mission of the European American Cultural Foundation. I needless to say we have some experience in visa also because of that. Thank you very much. Now I would like to ask Yumi to come back and speak about the international relations and the Korea Arts Management. This one? No, it's not one. Yeah, so we already copied. I don't have it. Do you have it on a USB somewhere? We don't have it on here. Are you already copied? And maybe it's not there anymore, I don't know why. Do you have it on a USB? Do you want to get it? One second, folks. This is what Tekken 15 slide shows and a coffee break from all around the world looks like. Yeah, and it's a comparison. That's the one. Where is it? Yeah. I want to make sure you're all set. Can you copy it in time? I don't think that'll change anything. Yeah, it doesn't work. Yeah, I think you're just going to have to improvise. Yeah, it's not a, the document doesn't open up. I really, I already tried checking it before. It doesn't open up. Are you sure this is the one here? It's not another one of these? I have my rip top. Can you say no? I don't know. I think you're just going to have to, to talk because we, this is only a limited amount of time. So we might just skip ahead and I'm welcome Octavio. I'll be a little more and welcome. Good morning. He said he's going to use the old technology of communicating with words. I have a lot of trouble with pronunciation in English and it's my son. Camilo, translate for me. Five minutes, Frank. Like the premise that we work in is to build a common cultural space in Latin America and Iber America. With that in mind, we built like the Iber programs which focus on the mobility of artists in the Iber American cultural space. Theater, music and dance, Iber musicas, Iber escena, and other camps of cultural activities. Desde el campo Iber se ha producido un fenómeno muy importante porque con muy poco dinero se ha logrado un gran impacto en toda la comunidad iberoamericana. El ámbito o el budget, el presupuesto anual es más o menos de un millón de euros. With very little budget, the Iber programs have managed to generate a great impact with its performing arts programs. En el otro campo, el campo de la iniciativa privada de la iniciativa de las organizaciones de la sociedad civil, hemos conseguido consolidar algunas redes que precisamente han propiciado la circulación de centenares de artistas por Latinoamérica y el Caribe. But on the other hand, there are other programs in the private sector which have allowed for cultural mobility and for artists to perform in a lot of countries in Latin America. Esas redes llevan más o menos 20, 25 años de acción. Those networks have been working for 20 or 25 years. Actualmente hay un impacto político de interacción entre lo público y lo privado en Suramérica Especially in South America, there has been a lot of cooperation between the private and the public sectors. So they have been working together for the purposes that they are working on. Y en particular se han propiciado mercados culturales para servir de plataforma a la circulación de los artistas. And one of the most important events that we use are the music markets which allow for the mobility of artists throughout Latin America and the world. Destaco especialmente MiXUR, el mercado de las industrias culturales de Suramérica, que tuvo una primera edición en Mar del Plata, Argentina. The most important one of them is MiXUR, which had its first edition in Mar del Plata, Argentina and it will be taking place periodically. El año próximo, es decir, en el año 2016, la sede será Bogotá, Colombia. The next year in 2016, the city that will host it will be Bogotá in Colombia. Será en el mes de agosto y abarcará la organización de los 12 países miembros de una Sur, los 10 países continentales más Guyana y Surinam. It will take place in August and it will... The UNASUR countries will be there participating. Y espero que todos ustedes puedan asistir a este mercado que es sin duda el más relevante de la escena continental y latinoamericana. I hope all of you can come to this market which is definitely the most important music market in Latin America. En el campo teatral específicamente tenemos en Colombia y en Latinoamérica apoyo muy importante desde el campo de las industrias creativas considerando esto desde la perspectiva de las industrias creativas. Les doy las gracias, cumplo con mis cinco minutos rigurosamente para evitar que mi colega esté. Muchas gracias. In the theater sector especially there has been a lot of support and he wants to thank each one of you. Thank you. So now I would like to introduce a playwright and the executive director of African Arts Institute from South Africa who flew in for us Mike Van Graan. Thank you. UNESCO's 2005 convention on the protection and promotion of the diversity of cultural expressions. Advocates preferential access to global north markets for creative goods from and for increased collaboration and exchange with the global south. I was just told right now that this is not yours. With Africa's share of the global creative economy at less than 1% this convention is potentially catalytic for African artists as it encourages their greater mobility and that of their creative goods. Yet while it is relatively inexpensive to export books, DVDs and CDs it is more challenging to tour performing arts companies that require flights, accommodation, fees, podiums and of course visas. Although two thirds of Africa's 54 countries have signed up to the convention few of these see the economic, political, social or human development value of supporting the mobility of the artists or the creative industries generally. Especially when mining and telecommunications are driving growth of 4 to 11% for most African countries anyway. With 50% of Africans living below the poverty line of $2 per day it is unlikely that there are markets in most countries to support the touring of African performing artists so that most festivals and other stages on the continent are dependent on international funding to survive. It is against this background that arterial network emerged in 2007, a civil society network of artists, creative practitioners and cultural activists. Rather than depend on governments to support the sector, arterial networks rationale is to build partnerships between creative practitioners on the continent and to work with regional and international agencies in pursuit of their agenda including the mobility of African artists. There are four key challenges related to the mobility of African artists. First, rising national shortism and anti-immigration parties linked in part to economic recession in the global north limits the mobility of African artists with struggle to obtain visas. Secondly, in a post 9-11 world security in the global north trumps the need for cultural diversity. Those regarded as other or as potential security threats and counter travel restrictions. Ignorance is a third factor so that when there is an outbreak of a life-threatening disease in one part of Africa all Africans may be deemed undesirable. Finally, with the lack of political will from African governments cultural mobility dependent on international funding is subject to global north recession reconditions and shifting donor priorities. So it was that art moves Africa and African mobility fund was unable to operate for more than a year before receiving European donor funding. Despite these challenges African artists travel globally to other world and engage in cultural exchanges and collaborations. But because these are often funded mostly by global north resources, inherent in such international exchanges are unspoken but real and unequal power relations manifested in a range of ways including aesthetic choices. In closing the African Arts Institute, AFI, which once coordinated our tarot network and both are independent entities now, seeks in a modest way to contribute to cultural mobility and the building of regional markets as advocated by the 2005 UNESCO Convention. On a monthly basis we screen movies made by African filmmakers, host dance parties featuring African music and invite theater makers, writers and filmmakers to participate in South African festivals to project them into local and international markets. Ultimately though, cultural mobility has to be engaged with through advocacy, through networking and resource mobilization. Accordingly we are currently in the process of helping to facilitate a global south network of creative practitioners from Asia, Latin America, Africa, the Arab world, Caribbean and Pacific to assert a policy agenda from within these areas to facilitate south-south cultural exchange and to mobilize greater resources from within these regions. This is a photograph of the team that attended the priority meeting in Cape Town including people from the Arab Fund for Arts and Culture, the Asia-European Foundation and Aoteol Network. It is imperative that in addressing cultural mobility issues that structural inequalities that impact the mobility are addressed at the same time. Thank you. And now it is my great pleasure and honor to introduce Fritzi Braun, the beloved Executive Director of CEC ArtsLink. Thank you. Hello. Shall I wait? Yeah, is this you? That's me. Do you have this? This is a little bit for you? I guess so. Okay. Good. I want to thank Roberta, Frank and Marie and their staffs, their hard-working staffs for setting up this important symposium and for inviting me and for also inviting this wide international range of participants. I am Fritzi Braun. I direct CEC ArtsLink which is located here in New York. It's an organization that's been active. How do I commence the show? Oh, I'm not sure what I've got here. Okay. We've been active since the Cold War, but in 1992 we focused on arts exchange and currently support exchanges with three countries in eastern, 37 countries. I beg your pardon. In Eastern Europe, Russia, Central Asia, and the Eastern Mediterranean. Though the Cold War has long passed, we believe it benefits everyone when artists have access to work internationally. We are not a foundation. We do not have an endowment. And each year we must raise our small budget, a million dollars, from zero. This money comes from private foundations, private individuals, and a small amount is coming from, and this will be, 2015 will be the last year of national endowment for the arts funding. Any petitioning or advocating anyone wants to do to turn that around would be greatly appreciated. To achieve our program, to achieve our mission, we have a number of projects, both East and West cultural exchanges. Probably the best known are our ArtsLink awards, and it's comprised of three interconnected areas. I feel like a grease monkey of practicality after your really enlightened speech. Thank you. We have the Residencies, which funds US arts organizations to host visiting fellows from any of the 37 eligible countries for five-week professional stays. It's for artists and arts managers of all disciplines, though we alternate disciplines each year. We cover international travel costs associated with their visits, and underwrite a three-day, two, three-day stays in New York City before sending them off on their residencies throughout the United States. Fellows apply online and are selected by peer panel review here in New York of professionals in the US. We have so far hosted 499 fellows in the US, and they've been taken care of and included into the matrix of 276 arts organizations throughout 35 US states. We have reciprocally ArtsLink projects, which US artists apply to participate in projects in any of the eligible countries. Since its inception, we have put $2 million to that aim, and I believe there are recipients of those grants among the audience today. We also have a small project, a very small pool of money for independent projects. It was created as a follow-on pool for ArtsLink residents for return projects in the US, and we funded about half a million dollars in those. We're a very small organization. We have only three people in our New York office. We have a small office in St. Petersburg, Russia, and that helps us very much in facilitating projects in Central Asia. We will be conducting with the support of the State Department a two-year music education enterprise with musicians in Central Asia. Our website is www.c-e-c-a-r-t-s-l-i-n-k.org, and my door is always open, so thank you very, very much. Thank you so much, Fretzi. Now it's my great pleasure to announce the new program coordinator for the Sundance Institute Theatre program, a great program. Ivan Ediberi, and thank you. Welcome. Good morning, everyone. My name is Ivan Ediberi, and I'm the new producing coordinator at the Sundance Institute Theatre program. And I work with artistic director Philip Himberg and producing director Christopher Hidma, who, unfortunately, cannot be here as they are attending a swearing-in ceremony for the new ambassador for New Zealand to the United States, who is a friend and cultural ally of theirs. So Sundance Institute was founded in 1981 by actor and director Robert Redford, whose mission was to support and develop new works by inspiring new and independent artists. And so currently Sundance provides support for artists in the fields of film, theater, film composing, and digital media. So Sundance is spread between three major cities. We're in Park City in Utah, where our film festival is held. We're in Los Angeles, California, and we are here in New York City, which is where our theater program is. Today, Sundance employs about 150 people in total, and in the entirety of the Institute, we end up supporting about 24 regional labs and workshops, and we support mentor about 350 artists each year. Upcoming for Sundance is our world-renowned film festival, which happens at the end of January in Park City, Utah. Now specifically for the theater program, our theater program currently has five full-time staff members, and we support six annual labs and retreats around the United States and internationally. Our focus is on new play development, in which we give artists the time and the space to develop their new works and to excavate and take risks while they're developing whatever they see fit to develop. And with that, we have to make it known that we do not produce nor do we present these new works. We only support the very, very important process in which it takes for these artists to get where they need to get to. So each year we end up supporting 11 new plays and musicals and serve more than 175 artists during this process. So actors, dramaturgs, stage managers, directors, composers, everyone in between for the creative process. We hold our labs in Utah, Wyoming, Massachusetts, the Hamptons, France, and in East Africa because it is important that we have a relationship to nature. So none of our labs or workshops occur in major metropolitan cities. Sundance has been focused on branching out internationally, and the last 13, actually 14 years now. The theater program has been involved in deep peer-to-peer intercultural engagement in six East African countries and is now expanding that initiative to the Middle East, North Africa region. So between 2002 to 2009, our relationship has grown tremendously, and it began in 2002 when Philip went to visit Uganda with Roberta, and he discovered a playwright named Deborah Asimwe, who eventually became our East Africa specialist in the theater program. And there began a relationship which led to many reciprocal visits between East Africa, East African, and American artists. So further along on that, we conducted theater labs and workshops in East Africa in Kenya, Ethiopia, and Tanzania, and in turn our East African alumni have participated and developed works in our theater lab in Utah, and they have had exposure visits in New York. Now looking ahead, we are very proud of our alumni. As Deborah, who was our East African specialist, just co-produced the first Kampala International Theater Festival, which will hopefully continue next year. And it was developed in part through Sundance's funding, but it was all through the East African artists getting together and continuing the relationships that they fostered through the Sundance Theater Labs. This is a picture of Deborah. She's beautiful. Here's a picture at our lab in Mondan, Kenya. Here's a staff photo. Christopher and Philip are there hanging out and having fun. And as I mentioned earlier, Sundance Theater Program, we're now focusing on the MENA region, specifically Arab language theater. And so both Philip and Christopher have taken several research trips to the area to find local artists with new and interesting work to bring to light internationally and domestically in America. Our goal is to have a lab in the MENA region by 2016, so next year. And if you have any other questions or would like to contact us and check us out, our website is www.sundance.org slash theater. And also feel free to reach out to me. Thank you so much. Well, thank you so much for that truly inspiring presentation. And now I would like to introduce Miki Hota, who is the Program Director of Arts and Cultural Exchange, the Japan Foundation. Good morning, everyone. My name is Miki Hota, a Program Director at the Japan Foundation New York. I arrived in New York about one year ago from Tokyo. First, I'd like to thank the Merlin Easeagle Theater Center for providing me the opportunity to briefly introduce our organization and explain our various funding opportunities. If you took this flyer, Provo One, at the entrance, please take a look at this. The Foundation is Japan's principal agency specializing in the promotion of international cultural exchange between Japan and other countries. It was established in 1972 as a special legal entity supervised by the Ministry of Foreign Affairs. Our head office is in Tokyo, and there are 22 overseas offices in 21 countries. We have three major fields of activity as shown here. You may be asking yourselves, what kind of funding opportunities does the Japan Foundation offer? We have three grant programs. Actually, I skipped one. Sorry. Today I will focus just on Arts and Cultural Exchange, which includes performing arts. Our activities are five-fold to initiate and conduct projects, to co-organize and co-present projects with U.S. performing arts organizations, to administer grant programs for performing artists and presenters, to conduct information exchange in performing arts, lastly, to conduct international collaborative projects with artists from foreign countries, focusing now on our grant programs in performing arts. You may be asking yourselves, what kind of funding opportunities does the Japan Foundation offer? We have three main grant programs, Performing Arts Japan North America. We believe that this is the most accessible program for U.S. artists and presenters. I will come back to this later. Japan Foundation New York, or JFNY grant for arts and culture, applicants must be U.S. nonprofit organizations. Applications are accepted on a rolling basis, but must be submitted at least three months before the project starts. This is more flexible than the previously mentioned PHA program. We ask applicants located west of the Rockin Mountains to contact our L.A. office for more details. The grant program for dispatching artists and cultural specialists, this is a program administered by Tokyo. Unlike PHA, applications are submitted by arts groups or individuals based in Japan and are directed to our head office. This grant covers part of the international airfare and flight costs. Now I'd like to come back and talk about PHA in more detail. This program aims to introduce Japanese performing arts to local U.S. audiences. There are two categories, Turing and Collaboration. Turing grants support Japanese performing arts at multiple locations in the U.S. and Canada. We welcome proposals that bring Japanese artists' locations, whether there is little or no regular exposure to Japanese performing arts. Collaboration grants, however, support American and Japanese artists so that they may together develop a new work, which fathers appreciation of Japanese culture when presented to American audiences. This program is open to non-profit organizations in the U.S. and Canada. Grants are made on a cost-sharing basis and JF can cover up to 50% of the total project costs. The deadline is in autumn annually. To date, PHA has founded 253 projects. A list of past RODs can be found on our website. For more information, please visit our website. If you have any questions, please feel free to contact us. Thank you for listening. Thank you, Miki. Now I would like to introduce Johan Flo, who is the director of the Fresh Arts Coalition Europe phase. Thank you. I might not be able to even go through these five minutes because I'm losing my voice. I'm very happy to be here with you. Should I start? Yeah, go for it. Okay. So, phase network. Oh, great. Big logo indeed. So phase is standing for Fresh Arts Coalition Europe. It's a young organization based in Paris, France, and dedicated to hybrid art form, plurid disciplinary work. There's a network really focusing on hybrid practices and all these performances that we have so much difficulties to put in just one box. I guess many people in the room know what I'm talking about. So we cover a lot of different practices. Of course, the physical theater, visual theater, contemporary puppetry, but also public art, site-specific work, and many other artistic disciplines. The network gathers 45 members from 21 countries. Most of the members are best in Europe, but we have members in the US and Canada and in Australia too. What's interesting in this network is that we gather organizations that have very different profiles. Some are, of course, venue theaters. Some are festivals. Some are creation centers only. But we have also funders. We have magazines. And the purpose of the network is really to gather different profiles and propose them not only to network, but really to participate in collaboration and make sure that the collaborations are transversal. So not only to gather a club of festivals or club of artists and make them work together, but to design and help and support the future collaboration that we'll put together between room or journalist, but also artist and festival directors and funders. Of course, I'm just a picture of our... We are based in Calais-Dutompe, a brand new venue in Paris. Very happy about these premises, to be honest. So, of course, as a network, and being an independent network with a very small business and in a very similar situation as on the moves with whom we're working a lot with, the key principle is to really increase or get as much as benefit as possible for our members. We want all our activities to be relevant for them. We want them to engage in these activities. We want them to co-produce, co-design, co-whatever with all these activities we propose. The activities are classical. It could be seminars, it could be workshops. We try to push them, to encourage them, to really connect with arts organizations that are really far from their comfort zone and far from their country or home base. So we try to build small bridges or big bridges sometimes with other continents. In these multiple and varied activities, I will just focus on one, which is one that is very interesting in terms of international collaboration and in terms of all the mobility opportunities we create or the mobility program we try to reach to implement these projects. We have an accelerator or incubator activity and we try to help experiment. So taking the risk for our members to design new projects. As an example at the moment, we are experimenting a two year scheme that took place already in Europe to support residencies for critics and journalists in the framework of contemporary performing arts festivals. And we're experimenting these formats in Canada and hopefully one day in Australia. And we are experimenting this in May in Sao Paulo, Brazil. One of the next pilot project we are thinking of is called Steamed Out. And it's an experiment between Europe and Australia to focus on all the development phase of artistic project and to include already at the very, very, very beginning of the making of new productions, new work, the international dimension. So to give the possibility for artists to have an international experience already very early in the dedication process, in the creation process. Not much else. I mean a lot more to say but I guess I could invite you to visit our website. It's freshEurope.org and we will be here all day and I have the chance to have a delegation of members with me today and even two board members. So don't hesitate to come and meet us. Thank you very much. Thank you, Johan, so much. Now it's my pleasure to introduce Surafel Wondimou who is currently at the University of Minnesota studying but from the Addis Ababa University in Africa. Theatrical mobility in Northeast Africa. How do bodies move? I would say that cultural mobility is not given but mediated by power. When it comes to an African body who has been spoken for by colonial and imperial powers, the rest, clasped, gendered and sexualized global relations inform the ways in which this body moves. However, today I would like to talk about possibilities engendered by individuals, groups and institutions despite the limitations embedded in their historical relations. This is because of theatres that I first went out of Ethiopia in 1998 to participate in a festival in Cameroon. I acted in the same play in the same year in Kenyum. Then I got opportunity to work with Kenyum, Tanzanian and Ugandan dramaturgs and writers. That cultural mobility was made possible because of the Ethiopian creation of alternative methods for advocacy and East African Theatre Institute which obtained their funding from Swedish international development cooperation. Given those activities heavily depended on and spearheaded by the northern visions and monetary aid, they were always already doomed. When the former withdraws, the latter collapse. Yet they presented possibilities for East African performance to know each other if not to fund a community. It became my firm belief that a strong global mobility cannot be built without a vibrant local artistic consciousness and practice. Amid their tensions, the global and local spaces need to meet with mutual understanding and reciprocity being abided by the respective ethical awareness of their own historical and social relations. My organization as a communication was founded in that parlance and worked towards awareness creation on the urgency of mobility in Africa since most of our performance artists were provincial except Zestet and some NGO sponsored bodies whose movements are choreographed by certain kind of politics and economy. Sometimes individuals and advertent encounters help establish long standing relationships. The UNESCO ambassador Ali Mahadi Nuri came to Addis is here with us for theatre troops who would participate in his 9th edition of al-Bugha Theatre Festival and introduced him to Ethiopian theatre institutions when he sent the invitation known but our organization responded and staged its plays in Umdurman. We widened our connections in the region. Here is Ali Mahadi and other colleagues. Also their formation has its own historicity. African cultural initiatives such as Art Moves Africa, Artarian Network and African Arts Institute have presented possibilities for us to know each other and move across the continent. Non-silence Ethiopian writers and performers have not wider interaction in the global artistic fields. Ironically, some African artists would be closer to the north than to the south. Thanks to visionary artists, the Ethiopian chapter of Artarian Network was established recently. One of the founders is here with us, Munit. With all its limits, one of the organizations which created opportunities for East African artists to work together while at the same time exchanging ideas with their counterparts in the north, particularly in the US, is Sundance East African Theatre Institute. We used the spaces catered by Sundance to open up avenues whereby we actively and reflexively invent ourselves. The recent Kampala International Theatre Festival staged by Ugandan colleagues is a case in point. All the Sundance Ethiopian alumni collaborating through our respective organizations are catering a festival under the rubric, crossing boundaries, global humanities, north-east African homes. Grappling with political, economic, and other challenges, we are determined to make the mobility happen in September 24 through 27 in 2015 by inviting performers, intellectuals from Egypt, Sudan, South Sudan, Kenya, Uganda, Somalia, Rwanda, Burundi, Democratic Republic of Congo, Tanzania, South Africa, and other countries. You all are invited. Thank you. Thank you so much. Thank you. And now I would like to introduce the Elisabeth Hayes, the Executive Director of the FACE Foundation, the French American Cultural Exchange. Thank you. To advance the slides. Thank you. Good morning. I do want to repeat the thanks that have been expressed to all of the people who worked so hard to put this together. I'd simply like to single out Frank because we've known one another and talked about this subject for so many years. And he is clearly passionate about his commitment because if you look around the room and we are so numerous, I think that in itself is an important statement. So thank you to all of you. I'm so thrilled to be able to meet some new people as well. Let's try that. FACE. Isn't it interesting that there are a few organizations called FACE? I believe another one connected to Finland, and in fact we are an American 501C3 based in New York, but everything we do has to do with Franco-American cultural activity. So your connection to Paris is particularly charming. FACE is a 501C3. We have a very special relationship that is a partnership and an official partnership with the Cultural Services of the French Embassy in the United States. The Cultural Services, as you probably know, are based here in New York. You probably know that for many years they've been doing absolutely remarkable work. And I think that our partnership allows us to do a number of things that either of the single institutions would not be able to do. In the last 10, 11 years, FACE has grown from an organization, again, in partnership with the Cultural Services of four grant programs to now 12, and many special projects, which I think people in this room may know about, such as the theater festival called Act French some years ago, Sounds French that preceded it. Everything that we do has to do with living artists, new and recent work. And one thing I do want to point out as I speak about our relationship with the French government, we, the Cultural Services obviously is a French government organization. FACE is an American nonprofit, so we have two independent organizations, public and private, working together. I do not think that there are very many other examples. I can't name one. We are so different. We are not active as the Goethe Institut Cervantes British Council, and they all do extraordinary work. But the public-private relationship is different. For instance, our status as a nonprofit here in this country allows us to fundraise to take funds in. A government organization, obviously, is giving funds out when they do, and they do, fortunately, and I think the French have raised strong about it. I would like to, you will see our areas of activity. We have grant programs. We give our grants to cultural institutions, to nonprofits, be they in French in France or in this country. So we have contemporary music, jazz, theater, dance, visual arts, several programs in cinema, translation and publication, very special, and also two programs in secondary education and a higher education. Many of those are new in the last 10 years as our collaboration has strengthened and grown. One thing I do like to point out, because it is so important to me, is that, again, the enlightened thinking in France and of the French government, I'm happy to say, for us in terms of our grant programs, an artist is French if the artist is indeed French, or resident of France for five years or more. An artist is American if he or she is American or resident of this country for officially resident for five years or more. So everything we do is international. Because how can anyone draw the line now? And I think that this breadth in perception is something that is also important, that strengthens everything that we all do. Just quickly, oh, I pushed the wrong button, each of our grant programs in the cultural funds because some of the programs work differently. The selection process takes place always with two American professionals and two French because everything we do is Franco-American. And they are, as you see, active professionals in the field in the country. There's a rotation system. Each person serves for three years. Just very quickly, the list of the current grantees in contemporary music, because you will see for the most part, we're talking about smaller organizations and new young artists. In some cases, you may notice, for instance, a rather established prestigious institution, which is the New York Philharmonic, that would much more be an example as it would be the rule. This is not to talk about numbers, but just the bottom part shows the expenditures of the Institut Français, which is, I don't want to say it's the cultural department of the Ministry of Foreign Affairs in France because that would give you the correct image, but it is, in fact, an independent organization and an NGO. And I think what is remarkable, Bravo la France, and if I may say, our collaboration, is that the French government really understands and practices cultural diplomacy as something which is real. And I'm very happy that we also have here today a representative of the Ministry de la Culture, because in the past, the Ministry of Culture in France was devoted very much to supporting French artists in France, and they still do, but they are also now very concerned with international activity for French artists. So on our website, which I think was in the first slide, in any case, www.face-foundation.org, a new website address, all of the eligibility criteria, the activity, grantees, artistic committees of our programs are listed. And as we, indeed, this is a day of celebration for us all to be here, it's also a day when we woke up to a great shock about the event that took place in Paris, and we've already observed, thank you, Monsieur Riva, so 30 seconds of silence, but maybe we can just take one very deep breath and think of what happened this morning and the courage of all of the artists that we work for, and we work to promote. Thank you for this opportunity. Very special. Thank you. A little bit. Now, we have Seba Rahman, who's the Senior Program Officer of the Doris Duke Foundation on the Doris Duke Charitable Foundation. Thank you. Good afternoon. Thank you, Roberta. Thank you, Frank, for inviting me here. I'm going to take you very quickly through the activities of the Doris Duke Charitable Foundation, which has several operating foundations underneath it. So the Mothership is... Hang on while I get this right this way. The Mothership is the Doris Duke Charitable Foundation, and it has attached to it three operating foundations, the Doris Duke Farm Foundation, which is in Hillsborough, New Jersey, about 27, 800 acres of farmland, which now conducts a series of environmental programs. It's open to the public and has beautiful trails that the public can go and ride on. We have a set of bicycles or walk on. The Doris Duke Foundation for Islamic Art, and the Newport Restoration Foundation. Under the Mothership, as I said, the Doris Duke Charitable Foundation, we have several programs including the arts, Child Well-Being, and the Environment and the Medical Research programs. Since you would most likely be interested in the arts programs, I should say that we focus on the discipline of contemporary dance, jazz, and theater. These were passions for Doris Duke, our patron. In particular, we fund programs in artistic creation, support for organizations, national sector building. We have a special initiative that was more recently created called the Doris Duke Performing Artists Awards. These are awards that are given to performing arts in these three fields that I just described, jazz, theater, and contemporary dance. The nominations come from artists' peers in the fields. Under Child Well-Being, we have a special initiative which is International Facing, and that focuses on African health systems. Under the operating foundations, Duke Farms, as I said, is based in New Jersey, and it has a focus on environmental stewardship and habitat restoration, and particularly wildlife restoration, rehabilitation, and land preservation. There are several classes for families to educate them about stewardship, and also for educators. In additional, they conduct research there on conservation species management and green technologies, and they have an Eagle Camp set up because there's a particular family of eagles in a very old tree that's been hatching babies, and we have an Eagle Camp that watches their daily activities, and we can see that in the kept periods, very popular with the public. And the other operating foundation is the Doris Duke Foundation for Islamic Art. It has two parts to it. Shangri-La, which is based at Doris Duke Seasonal Home in Honolulu, Hawaii. The house itself is based on Islamic architecture, very beautiful, and it's now a house museum which houses her 2,500-odd collection of museum quality objects, and it's also a study center where with the university there's a conservation program. In addition, there's a residency program for artists and scholars year-round, and Shangri-La also hosts convenings for like-minded organizations and groups. The Building Bridges program, which is based here in New York, is a national focus, and it has two programs currently. One is the Association of Performing Arts presenters managed campus community engagement, which targets the millennial population, the campus-based population, and the communities around it, and the in-house managed Building Bridges program, which focuses on the performing arts, media, literary arts more broadly, a multi-generational population. And finally, there is the Newport Restoration Foundation at Rough Point, which was another of Doris's seasonal homes, and that is now a public museum that displays the Duke family's sizable and important European art collection. If you'd like more information about our activities and programs, you can visit all these many websites at your leisure. Thank you for having me here. Now it's our pleasure to welcome Cecily Cook, the Senior Program Officer from the Asian Cultural Council. Thank you. Hi. As Frank said, I'm Cecily Cook. I'm the Senior Program Officer at the Asian Cultural Council, which is a foundation that's based here in New York, and we have offices in Tokyo, Taipei, Manila, and Hong Kong. We are a foundation that supports cultural exchange between Asia and the United States in the performing and visual arts, primarily by providing individual fellowship grants to artists and scholars and specialists carrying out work, research, study, and creative work. In addition to support for the artists themselves, we believe it's equally important to support the various infrastructures that enable them to do their work. For this reason, we also make fellowship grants to arts administrators, festival managers, curators, programmers, technical theater specialists, and exhibition designers. Serving a geographical range that stretches from Afghanistan through Japan and southward to Indonesia, ACC grants support artists and specialists working in the fields of archaeology, architecture, art history, film, crafts, dance, museology, painting and sculpture, and theater. The ACC supports Asians traveling to the U.S. and among the countries of Asia, and Americans carrying out research and projects in Asia. We also make some grants to organizations to support projects of particular significance to Asian American cultural exchange. The ACC was founded in 1963 as the John D. Rockefeller III Fund. Mr. Rockefeller believed in the supreme worth of the individual and the power of the arts to inspire mutual understanding between nations. Since its inception, the ACC has supported almost 6,000 individual artists participating in cultural exchange activities between the U.S. and Asia. The ACC has always followed a responsive model, not a prescriptive one. As a consequence, the design of each ACC grant has been as unique as its grantee. The ACC devotes special attention to arranging programs tailored specifically to the needs and professional objectives of each grantee, advising them on cultural resources, preparing itineraries, scheduling meetings with arts professionals, arranging academic affiliations, and encouraging grantees to explore interdisciplinary relationships among the arts in both Asian and American contexts. As a part of our program, we maintain 10 apartments for our grantees in New York City. And we partner with artist residency programs such as Residency Unlimited, ISCP, the Lower Manhattan Cultural Council, and the Triangle Residency Workshop to provide working space for our visual artists. We also partner with residencies outside of New York City, such as the Headland Center for the Arts and the 18th Street Art Center in California. Our grantees in the field of dance often participate in residencies at the Bates Dance Festival. We organize field trips and gatherings at our office to give our grantees the chance to get to know each other. And grantees forge bonds and acts as a support network for each other. In 2013, the ACC celebrated its 50th anniversary, and we're looking forward to the next 50 years of supporting cultural exchange between Asia and U.S. And I will conclude, I hope under five minutes, with a quote from a former grantee, visual artist from Taipei who sent me an email yesterday, and he said, and Wuchitsang, and he said, the ACC Fellowship is definitely not an interruption in our lives as artists. It's like opening a window for us to survey the world and also like a mirror to reflect and discover ourselves again. Thank you so much, Cecilia. And now it's my pleasure in honor to introduce Manas Fancy, the Executive Director of Arte East. Thank you, Roberta, Marie, Camille, everybody who's organized this. I have a very, very plain, very sad, aesthetically unimpressive, my friend. Thank you. A PowerPoint presentation that I'm going to just talk you guys through and pretend that it's not really there. Thank you. So I took over at Arte East in 2013, almost two years ago, and inherited this wonderful arts organization that had spent over 10 years broadening U.S. exposure to an appreciation of contemporary art and culture. And this meant, you know, hundreds of artists, film programs, artist talks, an incredibly rich history. And out of that had emerged a kind of informal function to facilitate a lot of the kind of aspects of cultural mobility that were not attended to by anybody else. And so since 2013, we've kind of shifted, and we'll be making a kind of more public statement about this very shortly. But last year we had a conference with the Ford Foundation, which many of you were at, which allowed us to really look very closely at what kind of challenges and opportunities really lie for cultural partnership and cultural engagement and expanding exchange between the U.S. and the Middle East and North Africa. It's an incredibly diverse and wide geographical space that my institution deals with. There are specific issues and flare-ups from war and refugees and other such problems that make this work of supporting artists and their work all the more important. So moving forward, Artees is going to be really a U.S.-based facilitator for expanded cultural mobility for both individual artists and arts organizations from the MENA region in the U.S. as well as an institution that promotes and supports expanded engagement with the philanthropic community. As Olga pointed out, this is an area that we really need to continue having a conversation about. In our world today, we are... What is my time? I'm not even looking at you. Thank you. Okay. In our world today, we are in an interconnected, global, cosmopolitan, technology-driven, high-speed exchange kind of space. And how do we make sure that the ideas are going back and forth? And as Mike pointed out, what are the ideas that are coming this way? Who is curating what arts and what voices and what messages are coming from those places? So Artees looks at bringing a modern Arab voice out. And that's one that I really believe that the artists should speak for themselves. So the cultural mobility, literally the travel is a key part of that. How they experience life in this very tumultuous but also really exciting moment across the Middle East and North Africa is really important for American audiences, American publics, and the American creative community to be more aware of and in dialogue with in whatever means. So essentially, our vision is that we have this thriving and sustainable arts sector in the Middle East and North Africa through this expanded international arts exchange and engagement with a wider range of partners in the cultural and philanthropic community in the U.S. Oh, look, I forgot about this thing. And we really address the main challenges through our work and these challenges are access to information, how information, I've been creating a kind of guide as well to the kind of funding access that is available. And it doesn't exist in a proper written down form and I think it's really exciting that you're starting to do that and I'd love to contribute because it's all been very informal in word of mouth. There isn't a full-fledged arts infrastructure to support these artists and there aren't schools, there aren't... Oh, no, I'm sorry, I keep wanting to talk to you directly. Now I understand the reason. I'm sorry, I talked to myself more than I talked to you. All right, so these are the issues that we are most concerned about. We want to develop the infrastructure by bringing Middle East artists and art practitioners and administrators out here to create more opportunities that they can bring back to their communities. Thank you. So now we have a last addition to our program and we have Laura Ciri from the Fulbright, the great Fulbright institution. I'm just going to go straight to the website. We can do that. Hello. You want to go right to the website? Yeah, yeah. Okay, you go to the website. Perfect. My very limited theater training tells me to speak slowly and from my diaphragm but my timekeeper has other plans here. My name is Laura Ciri. I'm a senior program officer at the Fulbright program and if I had 30 seconds to tell you about Fulbright what I would want to get across to this room is Fulbright is for artists. I want to take you directly to our website because I think that some people get confused about the terminology that we use because we use terms like student and scholar which while those certainly are encompassing to some folks, I don't think it says artists and in kind of as bright bold letters as I would like it to. The Fulbright program was started in this country after the Second World War as a response to what we needed to do with the surplus from wartime spending and is designed as a bi-national collaboration between people to enhance mutual understanding and peace which I think is a pretty powerful statement. It is still funded by Congress through appropriations to the State Department and administered through the Institute of International Education which is where I come in. We send about 3,000 U.S. citizens abroad and bring close to 5,000 foreign nationals to the U.S. on an annual basis. I'm going to speak mostly today about the opportunities for U.S. citizens and touch very, very quickly at the end about how to utilize the foreign artists who are here in this country for your various organizations. The first page I have pulled up is the U.S. student program. I want you to think about this as essentially a emerging artist category for our intents and purposes. There are, we send students or artists to about 140 different countries. The requirement for this program is a BA, but there is a very specific caveat that says or four to five years of professional artistic training. So if an artist has not gone through a traditional collegiate setting, they are eligible to apply. There are two types of grants which our artists traditionally apply for, and those are study or research, but let's think about it as an independent project for the sake of this, thank you, for the sake of this talk. The study grants are to pursue higher education abroad to earn a master's degree in a foreign country. Fulbright will cover your travel, your living expenses and in collaboration with the host government, your tuition for at a foreign institution, so that's a good thing to know about. The research component is a little bit vaguer. You get to propose to us what you want to do with your time abroad, and I hope that our Fulbright scholars from the U.S. will take advantage of the wonderful opportunities presented by some of our partners abroad. These grants are designed for people who are kind of in the five to eight year range out from college starting right or their professional training, but there is no age limit, so if you think of yourself as an emerging artist, this might be a good field for you, and having an MFA does not rule you out from applying for this. The second program I want to talk about is what we call the Scholars Program, but I want us to think about it as the Established Artists Program. These grants last between two and 12 months to go abroad to do a variety of things, to teach, to do research, to collaborate, to lecture, to do seminars or workshops, and the criteria you'll first read is about a terminal degree, right? But there's a very specific caveat for artists, and I want to make sure you all are aware of that, that's recognized professional standing and substantial professional accomplishment is what we are looking for when people are applying to this program. You can tell on our website here there is a very extensive list of grants that are awarded in the catalog of award, and one of the search terms here is the arts. So you can go to the website and immediately pull up by country what countries are looking for artists to come and join their roster of scholars, so that's a good thing to be aware of. The second type of grant that I want to highlight here is, and we have some in the room thank you, is the oops, nope, is the specialist grant. The way the specialist grant works for artists and for anybody is that you apply with a set of skills or expertise that you bring, and then you are put on the specialist roster for up to five years. Then foreign institutions can apply to have you come for anywhere between two and six weeks to lead workshops, do classes, master classes, think about assessment and implementation, and really kind of develop that cultural exchange piece of it. Fulbright cares very deeply about the quality of the work being done on the program, but an explicit component of the program is also a cultural ambassador component. We are interested in that exchange of ideas and what then you will be able to add to your community there and what you will be able to bring back, excuse me. Thinking very, very quickly the last thing I want to point out in my 30 seconds for arts organizations in the US, we have a program called the Outreach Lecture Fund. So out of the close to 5,000 foreign scholars and artists who are in the US, the CIEES will pay for them to travel, to do seminars, outreach, master classes at institutions but also at organizations. So an entire list of scholars who are currently, foreign scholars who are currently in the US is available on the web page and you can apply for funding to have them come and present at your organization. That was the tip of the iceberg on Fulbright, but again, Fulbright is for artists, please spread the word. We are looking for more artists to apply to the program. We currently are not meeting the country demands that the countries are asking for us to send them more artists. So please send us more artists. Thank you so much. Wonderful. That's one of the more encouraging news. Thank you Laura for joining us. And now I would like to introduce Nan Fan Hoot the secretary general of ITM the international network for contemporary performing arts. Thank you. Sorry. Just move forward by pressing that. Okay. Okay, to keep us thank you first for having me here and to keep us awake I will show you some pictures and some texts but they are not related to the speech so don't read them while I'm speaking but you can look them up at our website ITM.org They are the recommendations that are written down during a brainstorm in one of our last meetings in Sofia, Bulgaria on international exchange in the context of economic inequality which is a hot topic at this moment within our network. I will talk about cultural mobility in Europe based on the lifespan of ITM which started in 1981 as an international network. Let's imagine it's 1981 international exchanges in the hands of the ministries of foreign affairs embassies and national institutes cultural mobility is boxed in foreign policy window dressing, national pride some known figures in the international performing arts festival and theater directors theoreticians and others decide to start something new. The new had to be anti-institutional so they called it a meeting, ITM informal Europeans theater meeting. One of the first international cultural networks in Europe divided Europe for the founders based on both sides of the wall enhancing mobility between east and west is one of their targets. Solidarity is one of their four values. Let's imagine it's 2005 after years of economic growth flourishing contemporary arts production and increasing audience numbers ITM has grown into the international network for contemporary performing arts as it is known now. It's 550 members live for 80% in Europe the rest in all parts of the world has grown into a fortress so Africa and the Arab world are underrepresented due to the visa problems as we have heard of before they never arrive in time to visit a meeting. Notwithstanding the digitalization of the most social encounters, meeting life is still at the core of ITM. Two planaries a year with a large plate of sessions on burning issues, new developments and opportunities may not main objective for the participants to connect to start a trans-border relation to end up in trans-border collaboration. Minimum a residency a tour, maximum a long lasting collaboration or a EU funded project or both combined. Europe is dwarfing national funds and ministries like worldwide connections and especially with the emerging economies. We match public and private EU funding, national regional or local fundings with the private Ford Foundation's Binz-Klaus funds, HEVOS and others. Let's imagine we live in 2015 P2P networking is hot as an alternative to the neoliberalist greed sharing is the new dogma. There's less and less to divide, subsidies are cut, culture diplomacy is dead, private funds have suffered giant losses on their investments. Contemporary arts and independent artists realize that they can't do without mobility for breathing but also for the breath, collecting co-producing combining a serial of six different studios in six different countries to create and rehearse a new production in the new reality. EU cultural policy shifts from subsidizing networking as such to enhancing artist mobility as a tool for employment and capacity building. New low budget ways of international internationalization flourish. Residencies and restaging instead of shipping productions. Touring instead of one-ninth stents. Couchsurfing and house whopping instead of hotel rooms. ITM sticks to or even improves its solidarity as a fundament. By very democratic membership fee categories and also admits freelancers now. By travel grants for members with a low annual turnover. And by organizing at least one meeting a year in a low cost host country or a country where artists are under political pressure. And by building facilities to compensate when traveling is impossible by live streaming by online documentation reports of meetings research and calls for partners and offers for funding on its digital platform that will be built during the oncoming year. So please check our website and keep updated ITM.org. Now we come to our last speaker and it looks like we have the technical problems for Yumi. We apologize again for the complications. After this speaker we're going to have a very short session about the workshops where we go where and then we will have lunch. But this is a speaker and again Yumi we would like to say a real thank you to the support towards the hospitality and towards the conference. This is all because of you. So thank you. I'm sorry for the technical problem. Yes. I will finish I will shortly finish the presentation about the comms. As I already told about before, it is founded in 2006. Especially comes to concentrate on provision of support and services related to international exchange and on enhancement of the competitiveness of the Korean performing arts. Yeah. I pass. Hello there. I will shortly introduce about our three main project. The first one is PAMS. PAMS is a performing arts market in Seoul. It's an international platform for encountering various kinds of Korean performing arts. Performing arts is from all over the world together to share ideas, experiences and information for creative cooperation. PAMS is held every October of the year. And the last year, 2014, we had its 10th anniversary as well. And especially for the cultural mobility, we have two important programs. The first one is the Center Stage Korea. Center Stage Korea is a grant program. It's a grant to develop an international market and audience for Korean contemporary performing arts. What is interesting and important, you can apply to have this grant of Center Stage Korea. You can apply as an international presenter or as a member of the institution. And the second one is KAMS Connection. KAMS Connection is a grant program which supports from research to the project development to create a system of long-term and mature cooperation with Korean and international performing arts professionals. So, for example, we had Korea Philan Connection with Dancing for Philand and Korea-Australia Connection with Austria Council for the Arts and Korea Philan Connection with the Institut Francais et Onda. So, for other KAMS Connection program as well. If you have if you would like to have more information about KAMS work, KAMS project and more information about Korean arts scene, yeah, so you can visit the website DAPRO and DRTour. The first one DAPRO is a web platform for performing arts. And the second one DRTour is a website for contemporary visual arts. In fact, KAMS founded with mission for especially for performing arts. But now we will just launch the project in visual arts as well. Yeah, it's a sum of our project. Yeah, from research level to tutorial level we have various programs. Yeah, our partners. Thank you. Yeah, I'll let you go free to have lunch. And if we have more information, yeah, don't hesitate to come to me. Thank you. Hello, it's us again before before we release you for your lunch. We want to tell you a little bit about what's going to happen this afternoon, which is a slightly different format. As we move into deeper discussions on particular topics that relate to international exchange and collaboration. So our idea for this afternoon is that you will select one of the seven group offerings that you can see listed in your program. They're all described in a paragraph in your program. And most of the rooms that they take place in are right out here outside across the lobby. But there are two rooms that are on the third floor for two of the meetings. So they'll be volunteers to help you find those rooms if you decide that you're in that group. The idea for each of these conversations as they'll be 90-minute sessions is that we get as deeply as possible into a conversation about each of these particular issues with the goal toward looking for recommendations, solutions, and ideas. It's not going to be a session where you come in and just talk about what your organization does. It's going to be a working session where you actually work with your colleagues to find the common resources, ideas, and recommendations that then we will all bring back when we come together. So one representative from each of the seven discussion groups will make a presentation to the full group after the coffee break in the afternoon. We'll be back here and we'll talk about what went on in each of those groups. So Roberta is going to again go over what the seven are and we'd like to know from you as much as possible as you could know at this point how many people might be in each of the groups. I mean we have the rooms basically hold about 30 people but the people who are in the biggest group which we assume will be the funding group will be meeting in this space with an unlimited number of people. So Roberta? So here are the groups they're in your programs the definitions of the groups are in the program I'm going to read the seven names and then I'm going to ask for a show of hands just what you think you might be interested in. It's only so that we know roughly how many people you're not obligated by this show of hands. So the seven working groups the first one is socially engaged performance and that's going to be right across the lobby in C-201 you'll see a sign on the door socially engaged performance the description is in the program. The second one is a working group oh okay I was going to read all five and then okay yeah read it first so you know what they are. Okay the second one is artists and human rights artists and human rights and that is going to be across the lobby in C-202 you'll see a sign on the door. The third one should be lively today is visa taxes and practical challenges that's in C-203 also right across the lobby. The fourth one is funding practices in the United States and other countries a lot of what we were beginning to learn about this morning and that is going to be here in the Proshansky if indeed we have the largest number of hands for funding practices. Number five is practitioners experience sharing and that's in C-204 right across the lobby. The sixth is international collaborations in hybrid forms something that Johann Flauch was talking about a little bit earlier and that will be on the third floor and you will be able to ask one of our many volunteers how do I get to the third floor and can you guide me. And the seventh one is a very interesting one which we thank the National Performance Network for offering to us and that is climate action and cultural collaboration and that will also be on the seventh floor. So before you get your shortened but one hour lunch break how many people are interested in socially engaged performance show of hands okay somebody's noted number two is artists and human rights number three visas taxes practical challenges great funding practices in the US and other countries yeah right here number five practitioners experience sharing great and number six international collaborations in hybrid forms wow okay big group that's good to know and number seven climate action and cultural collaboration excellent small but mighty so we are going to take into consideration what we just saw sandwiches are available free to you in the lobby outside if you'd like to I believe there's a cafe downstairs and please be back in an hour go directly to your session the session you choose at two thirty thank you so much thanks to everybody thank you