 Welcome everybody to the Martin E. Siegel Theatre Center here at the Graduate Center CUNY. My name is Frank Henchker and I'm the director of the Siegel Center and it's a truly great honor for us to host this truly significant and important conference cultural mobility symposium and the launch of our international funding guides. Thank you all for coming and for taking time out of your for sure busy life, especially in these days and it just shows the significance of what we are going to talk about all day. A little structure of the day, we're going to have a short welcome then we will talk about the three four guides that exist, the European, the Asian, North African and then the US guide we created here in the summer in collaboration with the great on-the-move Marie Lissot who pioneered this work and then the idea came to us through Theors Without Borders or Roberta and David and we're also going to speak here after me we would like to say thank you for all of them to trusting us and for collaborating with us and coming to us with the idea. After the guides we will have a 15 short presentation this is what we decided instead of having a long panel we thought we have like pearls on the string short five-minute presentations they will be all five minutes if not I will have to interrupt I apologize upfront for it and so we get an overview of best practices of great institutions and great individuals who really do a work we all should know about there will be a lunch break we're going to have outside sandwiches and drinks and coffee and soda all thanks to the Korean Arts Management support of this conference so thank you to them all of them and it's a great support we got then we will have working sessions six seven of them we will come to this later after this and then after this we will have another coffee break come back here report back and have a wine reception at the very end so there's also enough time that people come and meet there are such brilliant organizations and greater work workers in the field of theater and the arts and performance here this is of course of real importance to things in case you didn't get your badge yet you can do it in the coffee breaks all the speakers might sit up front here we have your names reserved in case you would be here we prepared also a little questionnaire was Polaroid photos which we're going to pull up this is Lily Chopra so if you want to see what she wrote you can see it on the boards outside again thank you all for coming if you have a cell phone just take one moment I'll do the very same it's not off here we go so it shouldn't shouldn't be ringing again thank you very much there's Wi-Fi in the building where you can just sign in as a guest and I now would like to welcome David and Roberto thank you good morning good morning first I want to thank you Frank for your enthusiasm courage humor and poetic quotations all shared in abundance over the past year of preparation you have brought us to this unprecedented day great to see everybody out here I'm so so happy we're so pleased that you're all here theater without borders is a ten-year-old grassroots all volunteer network of individual theater artists around the world who are committed to international cultural exchange TWB was created to recognize the universality and diversity of theatrical expression and the need for international artists to maintain dialogue across political boundaries it serves as a neutral space where artists from all backgrounds can meet with mutual respect TWB advocates for theater artists who see themselves as members of the global community as well as citizens of their respective nations and cultures we work primarily through our website www.theatrewithoutborders.com which may be appearing soon it's in the middle of a beautiful makeover thanks to the pro bono contribution of David Gazz and his Bureau of Small Projects in Los Angeles today is the birthday of our new homepage hope we'll be able to show it to you TWB network artists donate time and expertise to build artists to artists people to people dialogue across all kinds of borders when someone writes to info at theaterwithoutborders.com it comes to me on my personal computer no desk no office no telephone I regularly receive requests from artists who want contacts in Uganda China India Colombia their urgent requests for appeals for action in support of an artist in danger their agonizing stories about visa denials there are expressions of longing to share theater and peace building work in Sierra Leone to share work with Syrian refugees in Beirut and Aman to announce a puppet festival in Iran to distribute invitations for conferences we instigate projects and events with like-minded partners in the spirit of the concept we call seed and watch grow among them was a fruitful collaboration with La Mama and Brandeis University's peace building and the arts program and a conference about theater and conflict zones in 2010 today TWB is honored to partner with the Siegel Center with Frank Rebecca Kami Michael Joy Yu Chen Brad and the entire staff crew and volunteers here I was in Brussels in 2012 to meet other colleagues for other professional obligations when I reached out to on the move for years I have modeled TWB's website on the on the move website dreaming of what I imagined to be their massive European Union funding and huge web maintenance staff I reached Elena de Federico and she welcomed me into OTM's tiny white office on Sanctilet Square director Marie Le Sur was away in Paris Elena and I talked for an hour and I saw that with their vast network of artists and arts organizations they too were small but mighty in fact OTM's impact is enormous global and essential they are the hub of the wheel of cultural mobility information for all art forms representing theater without borders Jessica Litvak and I attended an on the move membership meeting in Nantes France where we witnessed the breath of their reach across Europe to Asia to the Arab world and everywhere else I am profoundly jealous that we have nothing so cohesive in the United States kindred arts service spirits Elena Marie and I soon discovered a common purpose to extend the knowledge the expertise and the reach of OTM to the USA when Frank and the Siegel Center stepped up to offer support no one else had responded with the needed funding and infrastructure and here we are today with all of you who share our passion for global interconnectivity through the performing arts our personal thanks go out to the TWB core members and network artists without whom TWB is just an idea so two of the T theater without borders primary values are hospitality and conversation we welcome you and we look forward to this day and many more conversations together thank you for coming now it's my great pleasure to welcome our French colleague Marie Lissour representing on the move good morning everybody so it's very impressive for me to be here and to represent on the move for this conference and for the launch of the US cultural mobility funding guide and if I learn a lesson last year is that sometimes it's good to combine holiday and work because one year ago I was for my holiday in New York but I just decided to extend my stay to meet some representative of cultural organization and funding bodies in New York and this was a greatly facilitated by Roberta David and Jessica from theaters without borders so during one week I had really the chance to meet like different organization here and some of the organization are in the room and we'll be speaking later and one of the meeting I had was in the canteen upstairs together with Roberta David and Frank and we started to talk about you know like this importance of accessing information related to cultural mobility opportunities and maybe to expand this work toward the USA and one month later I received an email from Frank saying so when do we start shall we start now to work on this guide and here we are now exactly one year later and for not only the launch of these 99 pages of the I mean of the US cultural mobility funding guide but also for this full day symposium so it's quite interesting to see that it's not only a launch of a guide but it's also like a full day symposium related to cultural mobility issue I will just take a little bit I mean like two or three minutes to explain and to introduce a little bit more about on the move because some of you are familiar with on the move and some of you maybe don't know so much about on the move and so on the move is a European cultural mobility information network you have here the website address it's very important to have the minus between the on and the and the move because otherwise you will reach an American church and it's not exactly the same type of mission and and so on the move started as a it's still a small organization we are not this massive organization and now we are mostly on a voluntary basis but it started as a project of the ITM networks the international network for the contemporary performing arts which is represented today by secretary general Nan van Ute so it started in 2002 became an independent Belgium based association in 2005 but really the turning point of on the move was in 2010 2011 when on the move structure itself as a membership based organization so right now we have a 37 member organization mostly in Europe but also in the rest of the world and of course our for the moment unique member in the US is Seattle's without borders but we are of course like interested in other member from the US so I highlighted here the member organization which are present today so of course ITM the face I mean we have to face today French American cultural exchange and the French art coalition Europe represented by Johan flock and I know that they are like different member organization of face today we have also the art and theater Institute of Prague and the director of La Petrova is a one of our very dynamic board member and Pirietta Mulary from dance info Finland I'm very glad that they are here I have to say I'm very sad that the Arab Education Forum is not represented with us today because story in Ouley the chairman of the adversary adversary board of the Arab Education Forum didn't get a visa on time even though all paper were ready so yeah I'm of course we are of course very disappointed about that and if the sandstorm because there is in Jordan right now a sandstorm so if the sandstorm calm down a bit maybe later Serene will be able to talk through a through a phone call through this conference just one key point about on the move if there is one thing you shall remember today about on the move is the fact that on the move provides these free regular and accurate access to information related to cultural mobility opportunities for artists and cultural professional meaning that of course when as an artist a cultural professional a cultural organization you want to organize an event abroad in a country which is different from your country what is often lacking is not the energy and the passion but is the funding and but sometimes more than the funding sometimes the opportunities do exist but people do exist but people are not aware about them and the idea of on the move is really like to provide through its website is social network and also its monthly news later this access to opportunities and funding for the mobility of artists and we also like produce and co-produce reports and guides on various issues related to mobility and we also take part in meetings and in trainings related to cultural mobility I have to say this meeting is the most impressive one I have been to and I'm very glad of this this is our home page we don't have massive European Union funding in fact our EU funding stopped like for some European network but we are trying now like to strategize and to find like new partnership to keep carry on with his job and our website is a very simple platform of information meaning don't go there to find like very like cutting-edge type of design for a website you won't get it what we want in fact is like you spend the last time on the website you know like you find the information on news on funding on library and after you go to the respective organization which offers these services multiple thank you to finish up this introduction of course to the Martin Segal Theatre Center I mean never in my life I would have expected not only I mean for me somehow but also for on the move to be like representatives in such a great event so thanks to Frank, Camille, Rebecca, Michael, Joy and Eugene and Brad so thank you very very much it has been like very nice I will really miss all these types and this email that we have had theaters without borders Jessica, Roberta and David of course the French cultural services of the French Embassy in New York and also the Open Society Foundation and the original office in New York for the Arab region one last thing thanks a lot to the speaker and the moderator and the uncles because we know you are very busy but some of you came one or two days earlier to New York to take part in this event and thanks to you as well that we expect a good outcome of this meeting thank you very much so yes again thank you Marie and David and Roberta and thank you for all these distinguished speakers but also our people in the audience I don't know if we ever had such a smart and distinguished body of visitors to our programs before we start with the very short introduction of the guides we just wanted to have a little survey so to say who's an artist in the audience could you raise your arm wow who's a presenter okay very great who's an arts administrator or okay who ever got funding to go abroad internationally okay who has been rejected funding internationally this is a higher number actually than the ones who got it is interesting so who has been to Africa okay who has been to Asia who has been to Europe okay to a Latin America and Australia yeah so oops I'm hoping to press the wrong thing but so this is quite an interesting thing and I hope also you will take this day to meet each other we again made these little polaroids or go look at the badges and so that we also create a community and to support this work in the global world we do live in this is the future this is where important work is being done it happens all over the world whether it's film fashion or in business but also in theater and the performing arts and so we are really glad to be part of that new world so and I would like to ask again Marie Lissot to come to speak about the very very first guide in Europe so I will I will introduce you like the background of the what we call the guide to funding opportunities for the international mobility of artists and cultural professional in a shorter way we also often say like cultural mobility a funding guide and later Yumi Wangbo from the Korea Arts Management Service will join me for the Asian mobility funding guide before we start I thought it was interesting and at least relevant to present to you this definition of I mean one of the definition of cultural mobility because sometimes when we mention this term of cultural mobility people are not very are not always like aware about this term or do not maybe know about the different implication of this term sometimes even when I speak for the first time people don't even understand what I say because when I say culture somehow with a French accent it doesn't you know it sounds a bit weird so so here it's in fact I don't say we don't say it's the definition of about mobility of artists and cultural professional but is one I mean at least is the definition we refer to when we work with on the move and when we do our training and this is extracted from a survey and a research and a mapping on the mobility related policies and practices in Europe by the European Institute Eric arts so you can read this this definition and what is important for us is particularly the part which is highlighted in green and which is in bold saying that mobility is not just a one-off type of event in the professional life of artists and cultural professional but should be more as an integral part of the regular work life of artists and other cultural professional so this part of like the long-term perspective and engagement related to cultural mobility is an important point for us and it implies as well the multiple type of impacts that mobility can have on artists and cultural professional is not only the trip it's also like the impact it can have on the audience abroad the impact it can have on the host organization on local communities so cultural mobility has more like to be understood with this more like holistic type of approach and I think it's also maybe from the founder and the policymaker point of view an important point to keep in mind because to fund mobility is not only to be a travel agent and just to pay for the ticket but just more to understand the type of impact it can have on a short term but also on a longer term perspective in terms also in relation to cultural diversity so here it's some of the form that cultural mobility can take like touring I mean depending as well with on the move we cover most of the artistic field not only the performing art sector but also other sector like visual art sector new media sector so this is the form that cultural mobility can take from touring residency go and see what we call go I mean we took this expression go and see grants from the Eric arts mapping as well it's more like the exploration grants that kind of grant which is usually like missing you know like when you want as an artist or a cultural organization develop a project abroad and so you need some type of help to meet first the partner in order later to develop or not the project so here it's more like this definition on the move in member so as you could recall we signed post information and calls and opportunities it's about like 800 calls a year one very important point to note is that we only focus on funding opportunities where travels are at least partially funded this is first because usually what is lacking is the fund for travels and visa and what is what we don't want as well is to duplicate with other information platform let's say if you take the example of residency you have other residency related platform like in the US you have the alliance of artist communities in the Netherlands you have rest artists and trans artists which have this global perspective they do already the work of mapping residences in the world for us we only focus on the residences where travels are only at least partially covered and apart from these calls and news that we signpost every day on our website and Facebook and Twitter account we also on the move started in 2011 to produce and to co-produce cultural mobility funding guides which are more focused on regular funding scheme which are offered by different organization at national local regional level but also by the private sector so a little bit of history this is quite an ugly page but this page was it's a PDF document which has been one of the most popular document on our website and on other website platform because this guide of 450 pages which was first published in September 2011 so it's a simple free PDF was produced by on the move and the Barcelona based organization Interarts Foundation and it listed for more than 30 European country funding at national regional and inter regional level so for more than 30 European country so in a way in one click and if you download the document and scroll it down you can have access to all these funding opportunities and right now four years later so we have fine-tuned this guide for Europe we have also developed partnership for Asia the Arab country and the USA so it's just to give you the overall dimension of this guide the guides are focused as I mentioned on funding coming from national local regional and international level they are of course focused on information which are available online and based on open call of course there are other ways somehow to fund your mobility sometime you know you have organization who have an internal selection process that kind of funding we don't put them online because it's not open to all we only focus on the information which is on a regular basis and available online we focus on incoming and outgoing mobility I will come back on that and of course also with travel cost at least partially covered and this guide what is interesting I mean we hope but at least we are sure for the first one is very interesting of course for artists and cultural professionals because they can you know access more easily information about funding but it's also useful for funders and policymakers in order to see for a particular discipline or a particular world region in that sense it was Europe where are eventually like the overlap of funding or where eventually they are like other niche to invest in so for Europe anyway it's quite simple if you go to our website just go to funding and after you have Europe, Asia, Arab country and today the USA you can just go to the link and after now we don't have this huge mobility funding guide anymore we split according to country so you can go like to you have 29 European country covered mostly the European Union country but we have also Norway and Switzerland so for each of this country we can you can refer to the funding available for incoming and outgoing mobility I'll just show you an example this is the example of Austria and most of our guide function that way from the table of content you can already like highlight the public organization the private organization the regional funding and after for each of the funding scheme you have OM or IM which means outgoing mobility from Austria to other country or IM for other country to come to Austria so if you are an Austrian artist you know where to look more easily in the funding scheme and here it's how the presentation looks like so there is a brief presentation about the funding scheme and after like you have the website reference and you have information also about the discipline which are covered we usually usually use a color patterns like to differentiate between heritage visual arts you know like performing arts new media arts cultural management funding scheme like this all in all in all our mobility funding guides that we partner with so right now until today with the USA you have about like 1000 funding scheme which are detailed in this mobility funding guide of course we are very humble about the experience we cannot cover everything we try every time to update as much as possible but we know that there can be some shortcomings but at least quite a good amount of information is available and it really helps to empower artists and cultural professionals to know at least which entry door they can or which organization they can eventually target for their mobility. Here I would like to invite to join me Yumi Wongbo from the Korea Arts Management Service and she's in charge of the International Department and Yumi not only is so we will co-share this second part of the presentation Yumi has been like through the Korea Arts Management Service a key supporter for on the move and for other organization in Europe and of course Korea Arts Management Service together with the Ministry of Culture, Sport and Tourism of Korea is also a great sponsor of this event which shows their involvement into this question of mobility just this one for the Asia Mobility Funding Guide I don't know whether our friend in Singapore from the Asia-Europe Foundation are following us live and because it's quite late now I don't know it's like 14 hours ahead but the Asia-Europe Foundation based in Singapore approached us in 2012 in order also like to produce these mobility funding guides but here would be like focus on Asian country so the principle is basically the same to list all these funding organization and funding scheme and so right now if you go online also on their website and it's also linked to our website you have 19 Asian countries which are covered basically from Japan China Korea South East Asia Australia New Zealand India Pakistan and Bangladesh and we I mean as you can maybe guess if you know a little bit the Asian region there is also there was also a need for most of the country to have another guide which is called focus on Asia because except for some country like Korea funding for mobility of artists let's say in Laos in Cambodia or even in in in Pakistan is very very limited so what we try in the focus on Asia guide it's also to highlight more like regional type of funding or for instance the Asian cultural council is mentioned there because they cover the Asian region at large but we put also like some funding which are more like focusing on developing an emerging country which Asia counts as well so like to kind of broaden the origin of some people who have very limited access in their own country to funding to international mobility and right now what I would like it's very important of course to have Yumi and comes with us but also to understand the role of the Korea arts management service in this first mapping of Asian mobility funding guides and to see as well why an organization like Korea arts management service is interested into this topic of cultural mobility and access to information so I leave the word to you yeah thank you Marie and nice to meet you everyone first of all I thank you for theater without borders and on the move and the martin in cigarette theater center on behalf of the president mr jung of the korea arts management service for all their work and cooperation I am Yumi Wang Bo I am in charge of an r h n information team of the international headquarters of the korea arts management service sorry I'm waiting my laptop yeah in fact comes is on a governmental organization under the ministry of culture of Korea comes is founded in 2006 next Monday we will have our 10th anniversary so it is a significant moment for our birthday with this symposium especially the purpose of comes it means the korean government is boosting the overseas presence of korean performing arts it means comes to support the korean artists to make them have more international exchanges however by now there was one way in exchange which didn't guarantee the durability of international network it means we support only korean artists to make them have international experiences under the necessity of the diversity of our cultural exchanges we conducted our strategy for international development to inter exchanges go and come so at the moment we had an occasion to collaborate with ourselves on the move and department et cetera with other international institutions for working about the cultural mobility in asian countries so and especially with rising interest in asia along with the ever-increasing exchanges with the region a wide variety of requests and ideas were presented um so this is a guide this guide is um this asian guide published with the aim of boosting the mobility of artists by providing information on the funds programs and institutions supporting international work exchanges the guide also contains information on residency various funds on participation in events research scholarship market development project and art production the guide also contains if i'm sorry the primary list of institution and program was prepared through research conducted both and online offline then edited by cams the omitted institutions or programs were later added on to the list through online service so the asian guide is already presented on on the website on the move and it is already available to see on the site of the korea arts management service www.dapro.kr it's a website online website for uh performing arts exchanges yeah that's it about the asian guide and um also uh not yet um also to make the link with the um oh we want the slideshow back up yes thank you um not yet that's good yeah it's good um it's it's also linked with the next presentation about the uh before the us mobility funding guides we will talk about the the guide which is focused on the arab countries and um i also would like to ask uh the korea arts management service uh why they were interested in to supporting this guide i mean basically once um uh um you may approach on the move and just say like oh we are interested in the arab region and we would like to help and to for the production of this um of um guides similar to europe and asia but focus on the arab region and it's quite interesting because usually people ask us like why it's strange you know like a korean organization which found a european-based association which work with the jordan-based organization the arab education forum so i think in terms of um jail strategy is quite interesting also to understand better why korea was interested in to this access to the arab region yes it's true that in fact that's quite weird yeah why korea and would like to have a more cultural perspective with the arab countries uh here is already with our european partners and american partners as well but yeah it's true that by now the korea arts management service and other government korean institution we had uh we had built lots of networking especially with europe and america so uh respect respecting the diversity of uh uh culture yeah we wanted to make uh uh systematical networking with arab countries because um although also korea is close to uh arab countries than other europe or america but its artist networking with them has not yet uh systematically built it up developed so contrarily to that uh so under these circumstances the guided came to be published to meet the arab countries needs so for example we have a strategic for europe region and american nation and other asian nation but we don't have um a strategic guide for arab countries yes it's true that already we our korean theaters or korean performing artists already introduced at an arab international festivals or market like that but it's it is not concrete network so we wanted to build it up with the guide focused on arab countries so that was our first step towards arab countries and next step will be our real project so we are already on discussion with other arab institutions to have a more concrete network and project um thank you very much yumi you can stay here with me so thank you very much and i know we are running i mean we started a bit late so we are running out of time we will go uh straight to the the other uh presentation yes yeah um so i hope it works so we will try uh to uh call uh seren ulele so at least that she can say she can say a little bit i mean that you can hear her voice i mean uh the situation is was of course like very annoying with uh with the the visa issue and now we have this uh weather forecast which is not very good in jordan so hopefully she will access um she will access a phone uh okay you are offline so just for your information so the guide has been supported by the korea arts management service but the research has been undertaken by the arab education forum which is based in jordan and uh they work together with two research partner i have to take my note here because my and sorry for the pronunciation so they work together with the jordanian ashimid fund for human development and the quid sign al shahaf institute for development for the research because of course we have um at least this kind of methodology to develop the guide but we don't have the research expertise to uh i mean to to cover the arab region so that's why we um decided to collaborate with the arab education forum which like theaters without borders i think they joined the same year as you uh we decided to work together for the content of this guide yes and now yeah hello it's the first time i do something like that in my life so it's like um you are now talking to almost like 300 participants of the conference in new york on cultural mobility welcome okay to you yeah we we explain the situation the bad situation i mean uh related to the visa issue which is of course every time like very irritating i mean it happened in the states but it happened also in europe it happened in a different country in the world and it's always very irritating patry when all documents were on time and everything was apparently under control yeah and maybe serene can you take like um five minutes uh like to explain a little bit more about the arab education forum and also about the ecstic shaft uh advocacy initiative for the mobility in the arab region yes yes you can hear me well yes yes very well in fact so uh so the arab education forum is a very small NGO we are based in georgia as we work in the arab world and our main focus is about learning about reclaiming learning versus um formal education and this was our empty point to promote the mobility and that's why we started a mobility fund in 2006 and mainly uh senior countries because we found that there were very little opportunities for young people mainly to travel from one Arab country to another and um 25 percent of our genkis were artists and this is how we also connected to other mobility funds that are focused on supporting artists in 2008 we wanted to see what exists where we are in this you know map of the Arab world and we did a mapping of mobility funding of opportunities for Arab artists and we found 15 we found 30 but 15 were the ones who responded and were the most active and it was it was evident that there were several issues maybe some of them are focused on a geographic area or a specific age group or only for artists so only for uh specific type of people so it wasn't very open and and then what we found that was uh which is more important than what exists is what exists people cannot see and we found there's more of them uh things that are happening uh support for mobility but it's unfair for example some uh the ministry of culture and municipality and other government or semi-governmental uh bodies and to get travel grants from them it's enough to be you know if you have connections uh there's no criteria there's no open call or anything um then probably we found that it's not enough to only give uh travel grants to work on advocacy but kind of found there were four main issues one of them is the visa obviously and the second was the funding the third was the availability of information and the fourth was community support um for visa issues we always try to do it informally um for example if somebody uh needs to go from Morocco to Jordan uh with your base in Jordan and cross to get rid of an embassy it kind of uh helps not all the time uh but what we did with ISTIXHA this is why they started ISTIXHA about three or four years ago and that was to advocate for mobility so to try to change uh policies which is very difficult um in the air countries where it's not easy to maneuver or find the entry point to try to change policies so we started with research a lot of research about um what is the situation so for example with visa we took five air countries and looked at uh if we compare the best practices what is the situation there and we found that in most cases for example there is no law no legislation if there is it's not very clear people don't have access to information there is a lot of um uh it changes day by day and so for example in now in Jordan Syria needs to be able to come to Jordan without a visa now they are not even allowed and it's very difficult for Koreans to come here i thought it's convenient to be able to go to Egypt without a visa now they cannot so things change every day but at least um we we try to compile all the information to help people know for example if they're coming from one country to another what uh they need to look for and who they can ask for information uh the main feature was this this lack of transparency and difficulty to influence policies and in so we also thought that one of the main things that we can do is to um so advocate for more community support and develop local mobility interests which we have in different Arab countries and then the next step this is how we connect the pieces we're part of on the move towards the uh guide on uh funding opportunities because this was the second issue there's the visa and the funding which um uh Marie will be presenting because unfortunately i can't be with you today and my five minutes are up i think no it's very good timing yes thank you very much serene and i think your presentation i mean uh there were also some slides introducing um the SAFA fund and the arab education forum going on when you were talking and uh i i think your presentation also like fully complemented what we say before this important to access to information not only to funding issue but other type of information so you are really doing a great job and we thank you very very much and we hope to see you and that there won't be any visa issue yeah hopefully thank you very much thank you thank you serene thank you see you soon i doesn't look um i just use one one minute to explain because anyway every information we provide to you today is available online and it's free so it's easy after to delve into the publication the guide for was focused on um certain uh arab country um so namely Bahrain, Egypt, Iraq, Jordan, Kuwait, Lebanon, Qatar, Oman, Palestine, Saudi Arabia, CIA, United Arab Emirates and Yemen and um one important component of this guide is that you will not find like what we did for Asia and um i mean mostly for Europe and a little bit for Asia meaning that usually except maybe for Lebanon and Jordan you don't have at the national or local level any type of funding at least with the criteria that we have with on the move available for the international mobility of artists and for the regional mobility of artists in the Arab region so the way the information is categorized is a bit different um we focus first on organization with a focus on this certain Arab country so for instance you have fun like the young Arab theater fund or you have also like the German Robert Botch Tiftung for instance we which focus in particular on this Arab country the second category is on the Mina region the Middle East North Africa region and some of this Arab country are part of this Mina region so you have for instance the Roberto Chimeta fund or the Annaline foundation after you have more organization which focus on developing an emerging country and some of the Arab country are also into this group of country and here you see the links already with the Asian mobility funding guide where we had the same type of category and after you have three other category organization which don't have a specific focus on the Arab country but sometimes can support some of this Arab country I would take a very local example is the CEC art link which um I don't know where is Fritzi yes and which focus also on some Arab country if I am not mistaken there is Egypt sorry Eastern Mediterranean country so it's also categorized under this category oh I mean listed in this category and finally you have a list of tips and resources because we want also like to help through this guide thanks to the support of CAMHS and with the Arab education forum this access to information so you can find it online and I think we will stop here and and go to the to the last guide focus on the US but I hope it gave you a broader perspective of what you can find inside this guide and how they can be eventually useful for your organization and all the artists and cultural professionals you are working with thank you very much and thank you to you good morning everybody and welcome to the martini seagull theater center at the graduate center cuny the city university of new york my name is michael osisero i'm a 2013 graduate of wake forest university with a ba in music and i'm the current martini seagull theater center next generation fellow the the city university of new york is one of the nation's leading urban public universities serving more than 480 000 students at 23 colleges and institutions across new york city with students hailing in from over 200 countries cuny has one of the most diverse student bodies in the united states the graduate center is the doctor of granting institution of the city university of new york the seagull center bridges the gap between us and international theater as well as between academia and the performing arts through our season programming and festivals such as prelude and pen world voices we have presented and championed the work of artists from every continent this past season the seagull presented programming featuring the work of singaporean playwrights hosted columbian theater maker and political activist patrice oriza and welcomed richard golf founding president of performance studies international just to name a few examples from our world theater series seagull center publications have featured many of the first english language translations of plays from the check republic spain and argentina and is the largest english language publisher of plays from the arab world our two international journals european stages and the brand new arab stages offer reader scholarly discourse from theater makers all around the world as well for decades the seagulls visiting scholar program has hosted research students from over 30 countries around the world including brazil cameroon china egypt india israel italy nigeria poland spain and trilanka just to name a few the seagull also has a dedicated internationally diverse team which represents germany france lebanon and taiwan so that's a little bit about who we are and now i'll tell you why we're here uh last may reberto levittow and marie lasaur came to the seagull center to discuss a collaboration between on the move theater without borders and the seagull to create the international funding guide for the arts in the u.s. i joined the seagull shortly after this and frank henchker asked me to create the guide in collaboration with marie david dimon and reberta following the model established by on the move dot org as the scope of our project grew so did our team and with the help of fellow wake forest student isabella curry we conducted over two months worth of research and created the guide a 99 page document featuring 93 funding opportunities from over 70 organizations so with all that in mind is with great pride not only in our work but in the organizations as a whole that we officially present the cultural mobility funding guide for the united states of america our guide is broken down into the following subcategories uh governmental funding private foundations and organizations foreign cultural institutions and organizations other fellowship scholarships and grants and residencies our final subcategory is an extensive list of other resources that are useful for both u.s artists and cultural professionals when traveling abroad or for foreign artists and cultural professionals coming to the united states our main focus in collecting funding opportunities for this guide was travel more specifically international travel for a u.s based artist or individual this meant locating grants that would cover travel costs or reward enough money to make international travel possible we called this outgoing mobility incoming mobility is how we defined a grant that provided money for a non-us based artist to travel to the united states within each guide you will find a brief description an outline of all the information pertinent to applying for and obtaining the grant in question as well as a link to the grant webpage and this is what one of our listings will look like um and while our guide will never truly be complete does not mean it can't continue evolving so in this endeavor we request your help let us know what we got wrong or what we missed all comments and corrections can be sent by email to mestc at gc.cuny.edu as of now our guide features funding opportunities tailored specifically to those who work in the theater and performing arts it is our hope that through increased support and new partners the guide can expand to include literature music and all the visual arts as well as you've heard today this funding guide is the latest in a line created by Marie Lesor and on the move.org which encompass Europe Asia the Arab countries and now the United States looking forward we hope that guides such as this can be created for Latin America Canada and other unrepresented regions of the world as well and so at this point I'd like to also announce that our website which hosts the guide is officially live at www.us-culturalmobility.org and if Sean you can just give me the screen for a second I will pull it up all right let's see it and this is our website this is how it looks and as you can see you can go down we'll have a link to the seagull center on the move here without borders our whole other resources section is included under our additional resources page and if you want to get to the actual guide itself we have a link to all of the current guides as well as the brand new us guide which is a big document so it may take a second to load up here well this is where it will be here we go um this is new well there you go yeah well thank you the guide is online it's been an honor to speak here today and thank you very much so thank you everybody we were not too much behind just a little bit we're going to have a coffee break for 15 minutes so really at 11 25 we're going to start again in here thank you for coming then we will hear really from one of the greatest practitioners and institutions in the us and around the world sharing their work and experience thank you so at 25 11 25 thank you