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Final Narrative Report
Independent Creative Art Spaces LeadershipParis - December 9 to 15, 2008
“Giving strength to the initiatives of artists/cultural managers, which developnew stances towards arts and society”
Narrative Report / Evaluation form ECF Grants Programme
1. Factual information on the project Activities: List the project’s activities, and elaborate on participants and target groups (size and type of audience reached). Please include also a copy of the programme, list of participants.
The training “Independent Creative Art Spaces Leadership Training”, organised by Artfactories, ASEF and Trans Europe Halles, took place from 9 to 15 December 2007 in Paris and Saint-Ouen (suburbs of Paris).
The 3 organising partners selected 22 participants in September 2007: 11 persons from Asia and 11 persons from Europe. The selection was made according to the relevance of the needs of each applicant regarding the content of the training, and also according the motivation of the applicants to get involved in a future international collaboration. One of the selected applicants could eventually not come at the last moment, due to unexpected sad political events in his country, Pakistan, so we eventually ended up with 21 participants, coming from 19 different countries.
8 trainers/speakers/facilitators were appointed, coming from Europe and Asia.Please read below for more information about participants, trainers and moderators, thank you!
Audiences and teams of the participants’ centres will also benefit from the training, as 80% of the participants said in their feedback form that they would implement what they learnt during the training.
PRESENTATIONS OF THE DIFERENT SESSIONS OF THE TRAINING:Networking in Asia and Europe – Monday 10th December 2007
Howard Chan (Community Museum Project- HK), Audrey Wong (Substation- Singapore), Birgitta Persson (Trans Europe Halles, Sweden) and Camille Dumas (Actes If- France) delivered this part of the training. It was very important for many participants to be informed about the rich resources available in Asia and Europe (networks, funding opportunities…) and for others to get an update.The main networks in Europe were presented, as well as specific presentations of Trans Europe Halles Network, Artfactories and Actes If. The case study presented by Actes If was of extreme interest to many participants seen its unique way in sharing resources and ideas between numerous independent art spaces in Paris. The Asian trainers stressed more on the fluidity and informality of the Asian networks and how projects are more driven by individual art spaces than by networks. The session was not only informative but also crucial to the understanding of the macro-environment of the arts and mobility opportunities, issues and differences between Asia and Europe.Resources and concrete examples mentioned in this session will be included in the e-publication that is in progress.
Management – Tuesday 11th December 2007
The management cluster was a very rich and full programme where different issues of management were highlighted by different trainers.
Building up a Vision by Paul Bogen (UK) This session was delivered in a very animated way and made clear why it is important for those art spaces to think long term and articulate their Vision and Missions. Examples from the business world were taken as inspiration and a structured conceptual method of creating a vision that includes identifying your core purpose, your core values, ambitious long term goals and description of the future of the organization. A second part of the training was addressing the issues of Who and What, Getting the right people on your bus and giving ideas on how to select the right people to work with. A third part addressed the Hedgehog Concept describing that having one clear, crystal idea on what it is you want to do/achieve is more likely to be successful then having lots of smaller ideas. To identify this single idea Paul Bogen addressed the 3 circles concept: do what you are passionate about, what you can really do well and what will provide you enough income to make it happen. The session was ended by a 14 minute inspiration speech by Steve Jobs.
Money, Money, Money …by Paul Bogen (UK)In this session Paul Bogen addressed the importance of basic financial knowledge while running an art space, looking at how to raise money and how to manage your finances. He began by stating the fact that arts organizations are very bad at fundraising in the first place. His revelatory point was that if you don’t ask potential sponsors or funders for money it is certain that you won’t receive any. He then went on to outline how to ask for funding. He also looked at trends in funding for culture and the necessity to research and understand the general area of grant giving and sponsorship in your local context. Another area of possible fundraising Paul illustrated for the group was earned income, the possibility to identify a profit centre within the organizations (say the bar), and how this might become, what he called a ‘cash cow’ for the funding of programme within an organization. Paul then looked at the crucial area of managing money, explaining the elements necessary for financial reporting and planning: cash flow charts, profit and loss accounts, balance sheets. How to budget and budgeting terminology was also addressed.This vital but often intimidating area of finance was presented in clear and understandable prose by Paul, avoiding jargon, and seemed to open doors for people into a hitherto secret world.
Resolving conflicts by Sigrid Niemer (Germany)This session mainly addressed issues of communication as an organization and as a person within the organization and how the way you communicate is very culturally defined. Sigrid presented a model of communication which looked at how messages in spoken word arrive as factual content, self-disclosure, relationship and appeal messages and stressed on the necessity for us to be aware of how we listen to messages.
Human Resources Management by Audrey Wong (Singapore) The lack of manpower/human recourses in artists run spaces was addressed extensively as well as ways to cope with this chronic problem. Experiences of participants were used as examples and ways to cope with the problems were researched. The case of Substation was taken to discuss leadership style, organizational culture (the four categories by Charles Hardy) and to address issues in volunteer management.
Sustainable Cooperation with the Private Sector by Raoul Grunstein (Finland)www.imagematch.fi Raoul began with a general sketch of the situation in the present day business world. He then linked this to possibilities for the cultural sector and how they could make appropriate connections with business for support, without losing their ‘soul’. He explained global trends and how the continuing move towards an ‘experience’ economy can only be good news for cultural organisations. He outlined the seven dimensions of sponsorship (image, media, sales promotion, relationship marketing, cultural competence, social goodwill, community networking) and explained the importance of each and how an organisation might ‘pitch’ their appeal for sponsorship. He also discussed what companies might look for in return and the importance of clarity and having a clear contract between the organisation and the sponsor. The move towards an experience economy can be leveraged by the cultural sector to create stronger connections between the business partner and the audience. He finished by discussing new dimensions of sponsorship and different approaches towards cooperation with the business sector.
Community Participation – Wednesday 12th December 2007
Towards Social Resources Creation by Howard Chanwww.hkcmp.org was the case study presented by Howard to discuss the connection between social enterprise and culture and to show how he ‘curates social resources’ by setting up an informal network of re-cycled material.
Setting up a Festival by Annette Wolfsberger (Austria) This session took Enter_Unknown Territories, a festival at the intersection of new technology arts, business and research as an example of how to engage with audiences, how to work collaboratively across different sectors and tackled issues of project planning. Critical issues and challenges in setting up such events were highlighted.
On the Mobalising Arts Communities (MAC) - Theatreworks Experiences by Tay Tong (Singapore)MAC has a local, regional and global vision of complementing creative initiatives by being an ‘enabler’. MAC uses the word creator instead of artist because they want to move beyond the idea of an ‘artist’ and incorporate all creativity e.g. pop music, architecture, design. MAC as an idea has grown from the experience of Tay Tong and his own company, Theatreworks. Based in Singapore, Tay Tong was inspired to break out of the isolation often felt in Singapore, looking to both build and create bridges for artists, both in Singapore and abroad. They have just moved into a new 1.5 million euro building called 72-13, and they are beginning to investigate ideas of what it means to be Asian and European through their work. Key words in their mission are: mutual respect, multiple voices, negotiation, translation and celebrating difference.
Lecture by artist Guy-Andre Lagesse on Community Art. Guy Andre surprised all of us with his way of looking at everyday life as a poetic adventure. Guy began by stating how things change continually. His example ‘orange and brown were two colors considered great in the 1960’s’ had people laughing from the outset. Then he took us on a tour of weird and wonderful creations, built by people from Marquises to Marseille, Paris to the Fiji Islands. These were examples of how open creativity is and something we do all the time. Calling it art does not matter to the people who do it, whether it’s building a house from driftwood or creating a sculpture in your garden from scrap metal. It’s part of everyday life, as it should be. Guy called it ‘a tribute to humanity of inventing every day’.
Case studies – Thursday 13th December 2007
Split in four groups, the 21 participants worked all day on identifying different issues on practical situations of four centres. From the issues raised, their assignment was to give a proposition for the development and the improvement of the management of the centre, based on what they learnt on the three previous days of the training.
Presentation of the case studies outcomes / Feedback – Friday 14th December 2007
On Friday morning, the four groups presented one after the other the outcomes and their propositions born from their analysis. The four different groups actually came out with very different working methods and solutions. The four participants whose centre has been analysed were invited to give their point of view, what would be feasible or not back home and why.
On Friday afternoon, everybody: organizers, participants, trainers, observers sat together in a circle and were invited to give their impression and answer the question: “what will you bring back home?”. Loads positive substantial ideas were said and a very positive energy came out of this discussion, and everyone expressed the will to be in contact again. Then participants filled an individual written form, and the elements of feedback written below are based on the answers given.
Optional cultural programme – Saturday 15th December 2007
Participants either left on this date or preferred going to museums or visiting Paris on their own, or although we had planned guided tours, we cancelled them as participants preferred enjoying their only free day by themsleves.
PARTICIPANTS :
Anastasis Grivas (Greece) - Ektopia Productions [email protected] Grivas was born in 1966. He studied Statistics and Informatics at Athens University of Business and Economics. After working for years in the field of informatics as programmer/user/salesperson, and as tutor for the European Educational Programs, his last educational job was for Stavrakos School for Cinema, Sound Engineering and Radio/TV Production.
Being always a great fan of contemporary music and increasing his interest in free improvised and experimental music he started his mail order (Contra Music) in 1995 focusing in the above fields, while he was working for the Greek Music Club ( A well known distribution and music store in the fields of contemporary, classic and jazz).
Since then and under the influence of Minimalist Composers like Pauline Olieros, Phil Niblock, La Monte Young and improvisers like Keith Row, Derek Bailey, Fred Frith he focused on sound design, inventing custom string instruments and the use of live electonics.
In the year 2000, he founded Ektopia, a non profit company and Small Music Theatre, a small venue in Athens, soon to become the home for free improvised, experimental, avant/post rock and creative Jazz music in Athens.
Corinna Vosse (Germany) - [email protected]
Kunst-Stoffe is a support structure for arts and creativity and a platform for artistic exploration of the secret dynamics of creation and limitation, exploring possibilities of sustainable living.
One main area of activity is collecting surplus materials and redistributing them to artists, creative practitioners and multipliers. That way Kunst-Stoffe preserves material values and supports cultural life by providing resources (material and workspaces as well). The range of materials available serves as a source of inspiration for artists of all fields.
Beyond that, Kunst-Stoffe aims to establish creativity as a daily practice. We offer a range of workshops where participants are encouraged to engage with a creative process and are introduced to various techniques. In this, the transformative potential of our range of surplus materials stimulates the imagination and fosters the embracement of creativity in daily life.
In addition, Kunst-Stoffe engage with a broader audience by organizing thematic exhibitions and events, collaborating with artist of a variety of disciplines.
Using art as a medium, we provide environmental education as well, addressing mainly children and families. Our latest production is a performance piece with animated objects. The piece is next being shown at the Attension Festival in Laerz, Germany.
Donna Miranda (The Philippines) - Green Papaya Arts [email protected]
Green Papaya Art Projects is an artist-run initiative that supports and organizes actions and propositions that explore alternative approaches to the production, dissemination, research and representation of art in various disciplines. One of the most important core values that Green Papaya endeavors to provide its artistic community is the importance of intellectual exchange, sharing of information, critical dialogue, and creative and practical collaboration in the production of contemporary art. It consistently seeks to strengthen this position by providing a platform for multidisciplinary, collaborative, and cross-borders between Asia Pacific and Filipino contemporary artists.
Fiona O’Mahony (UK) – Farnham [email protected]
Farnham Maltings is a creative organization that increases the range and quantity of people engaging in and enjoying the arts, particularly in the villages and market towns of the south east of England. It achieves this through the delivery of four programmes of work: Supporting new and emerging artists, producing new work, increasing the market place for the arts and encouraging new participants.
We are a former tannery and brewery with 7 spaces to make work, 20 artist studios for creative businesses and 3 resident performance companies in house. In the nearby towns of Godalming and Cranleigh we also manage 7 more artist studios and an arts centre with a 300 seat theatre.
Hemant Sreekumar (India) - Khoj International Artist’s [email protected]
Khoj International Artist’s Association is a Indian non profit artist led forum based in New Delhi initiated in 1997 with annual workshops as part of the Triangle Arts network (UK). Khoj has ever since been the front runner in the Indian Arts promoting young , experimental art practitioners in the fields of interactive + electronic/digital Arts + “New Media” + Public art through innovative curatorial projects that seek to examine the essence of the contemporaenity and relevance of contemporary real Indian Aesthetic practices in Urban contexts through it’s residency and workshop programme models.
Jaime Humphreys (UK / Japan) – [email protected]
Youkobo Art Space is an independent and dynamic creative center. It provides a unique space for wide-ranging international exchange and cross-cultural experience, where foreign and domestic artists and people from the local community can meet and communicate with one another through exhibitions, workshops, lectures, and a variety of other events, using Youkobo’s residencies, gallery, and community lounge.
The AIR program at Youkobo is focused on providing overseas artists with the opportunity to expand the scope of their activities through a prolonged stay in the metropolis of Tokyo. In addition, it also provides the people of the area with an opportunity to experience and enjoy a variety of genres of contemporary art.
Katharina Trabert (Germany / Italy) - [email protected]
Ozu is a young arts center in a former candy factory in a very rural setting 60 km north-east of Rome. It is run by a group of artists and craftsmen (theatre, music, composition, photography, fine arts, graphics, web engineering, dance, video etc) who aim to bring culture and arts to people that have never been able to enjoy cultural activity. But its aim is not simply to provide artistic/cultural events, but to bring people and artists nearer towards each other, begin to communicate and exchange the everyday and the artistic. Crossing all disciplines we invite artists to come and stay and create work in relation to the place, the culture, the history, the architecture, the nature or the people.
Ozu wishes to create a reference point in particular for not yet established artists practicing in any field of the arts, but using contemporary languages. This is due to the problematic situation of a) the arts in a country that due to its rich cultural heritage finds it difficult to keep up with the developments in the rest of Europe.b) A lack of support and motivation for young artists and underground movements that are very strong but lack possibility of presentation. Ozu has stared its activity only a year ago, but grown rapidly.
Khairuddin Hori (Singapore) – [email protected]
Wunderspaze (established 2006) aims to be a venue of exchange for emerging local, Southeast Asian and other artists and curators interested in the development and discourse of contemporary art in Southeast Asia. It intends to make its work through regional networking, research, documentation and presentation of works, ideas and strategies by such young artists and curators that is has contact with. Aside from artistic development within contemporary visual art and associated practices, the concurrent direction is to examine and develop curatorial approaches, models and methodologies.
Lim Kok Yoong (Malaysia) - Rumah Air Panas (R.A.P.) Art
Established in 1997, R.A.P. is an independent art space run by art enthusiasts. It is both an artist studio and also a venue, which has featured numerous exhibitions, artist slides presentation and dialogue sessions. Aims to explore and coalesce visual arts and other cultural practices through collaboration in exhibition and project; documentation and exchange of ideas in discussion, the members of R.A.P. support an independent, aware and concerted artistic practice in engaging the artistic community and the art public.
In July 2003, the artist collective was finally formed. Since then, R.A.P. has organized more than 20 art and cultural dialogue/talks, 9 exhibitions, and projects in collaboration with other groups.
R.A.P has officially gained it society status on 17th August 2006 and it is currently known as R.A.P. Art Society/ Persatuan Seni Rumah Air Panas.
Luming Zhu (China) - VIS A VIS artlab - [email protected]
VIS A VIS artlab is an independent and non-profitcontemporary artist run space founded in August 2004 in Xiamen in South of China by Chinese artist Zhu Luming to exchange and cooperate between different cultures and within the various contemporary arts disciplines.
VIS A VIS artlab aims to intercultural exchange and dedicated to experiment concepts and ideas, promote to cross border cooperation.
The mission of VIS A VIS artlab in Xiamen (8.2004 - 6.2007) was to develop contemporary art in the region away from the center. we were implements many projects in different public spaces to help the common people communicate with contemporary art.
In July 2007, VIS A VIS artlab has been set up an office at 798 art zone in Beijing to continued high quality art activities. From this time, VIS A VIS artlab has a new partner to co-operation.
The mission of VIS A VIS artlab in Beijing is to:
-enhance and establish cooperation within all sorts of contemporary arts disciplines, and explore various possibilities of contemporary art development from different cultures.
-establish and effective platform of communication between contemporary art and common people through different art activities.
The program includes workshops, exhibitions, meetings, performances, public events and artist in residence, etc.
Maitree Siriboon (Thailand) – Whitespace [email protected]
WHITESPACE GALLERY is independent art space in Bangkok located at the popular shopping center (Siam Center). We provide free space for young Thai and foreigner artists who wish to exhibit their art works (4 weeks for each artist)
WHITESPACE GALLERY has already exhibited interesting contemporary works of 9 artists since.
WHITESPACE GALLERY is non-profit art space that also provides opening for artists who have no money and present them in the way it should be. We are looking to lift up the art movement in Bangkok by profiling new young artists who are artistically strong, but not yet gain recognition in the established art scene. At the same time, we also like to present some mature artists who have something to share and dialogue with the young generation.
Marko Brumen (Slovenia) - Zavod Pekarna magdalenske mrež[email protected]
Pekarna Magdalenske Mreže was founded as an organisation for encouraging and supporting of the programmatic and project cooperation among individuals and groups conducting artistic, cultural, educational, research, ecological, informative and humanitarian activities as well as for granting assistance in solving on their short or long-term residential needs for creative spaces.
However, in past few years art production is far less than it should/could be and in order to increase it, Perkarna needs to find a new shape, new vision and new role and is looking for ways of transforming itself into more active.
Minh Phuoc Nguyen (Vietnam) - Ryllega – Experimental Contemporary Art [email protected]
Focus support for young artist:- Provide Art space, Art information.- Organize exhibitions, workshop, artist talk.- Exchange and discuss between local artist with foreigner artist, curator, organizer and public via their art works.- Introduce foundations, residency programs, art project… for young artist (they can apply).- Training English for young artist.
Mirwan Andan (Singapore) – [email protected]
It is an artists’ initiative founded in the year 2000 by a group of Jakarta based artists, a non-profit organization which focuses on supporting the development of art in the cultural context through research, study and documentation, along with intensive cooperation with the artists through exhibitions, artist residency program, art project and workshop.
We are open for any (visual) artist (group and individuals, Indonesian and foreign) who is willing to work in cooperation with us and are enthusiastic about sharing different opinions; exploring and experimenting the artist’s interaction with Jakarta urban environment.
We work together a lot with many other artists, in a horizontal structure to support and mediating fresh ideas who address visual art as a cultural practice which is interesting for debate in visual art and the relation with social - cultural discourse, especially pertaining to Indonesian contemporary culture.
Ruangrupa also held International OK Video Festival (an international biennal video art festival since 2003), Jakarta 32 Degrees Festival (a biennal visual arts festival for university students in Jakarta since 2004), and projects about urban life (Picnic, Men At Work, Let The Kids Play etc).
Odgerel Odonchimed (Mongolia) – Arts Council of [email protected]
In 2007, the Arts Council of Mongolia (ACM) is entering the fifth year of its operations. The ACM strategies are the program and operational guides that assist the ACM in fulfilling its mission of supporting the sustainable development of Mongolian arts and culture and preservation of cultural heritage.
The ACM has established the strong and visible governance structure, expanded its geography of cultural partnership to form international ties with similar organizations in Central Asia, USA, South East Asia, Japan and Korea and has achieved significant program and fundraising successes. The significant highlight and acknowledgement of ACM’s visibility in Asia will be the fifth Asian Chapter Meeting of the International Federation of Arts Councils and Cultural Agencies (IFACCA), the well known worldwide network of state, public and private arts organizations, to be hosted by ACM’ in Ulaanbaatar in July 2007.
The main mission of ACM is to promote and advocate for the sustainable development of Mongolian arts and culture, acknowledging and advocating that cultural life is important in the development of a free, open and economically vital society. We work toward this vision for Mongolia in four different program areas: Grants, Arts Education, Cultural Heritage and Advocacy.
Petar Todorov (Bulgaria) – Pro Rodopi Art Centre (PRAC)[email protected]
PRAC is run by Pro Rodopi Foundation, legal non-profit body established in 2000. PRAC is funded on project basis (e.g. no annual sunsidy or annual secured budget). For each project money are raised from different funding organizations. Main part of the budget comes from international foundations (like European cultural foundation, KulturKontakt, Pro Helvetia etc), national state authorities (like Ministry of Culture, National Culture Fund) etc. Small part comes from private sponsors. As PRAC is focused on international co-
production of its project, part of the funding comes from the international partners and their supporters. PRAC intensively worked so far with organizations from Slovenia, Slovakia, Austria, Germany, Sweden, Kazahstan, Mongolia etc.
Pierre Gonzales (France) – ABI / ABO: Art be In / Art be Out, Artists collective – Friche [email protected]
Artistic activities, production and projects around contemporary poetry, fine arts and experimental music.We are developing our own work, organize some thematic and basic workshop.One is the thinking acting HETEROTOPIA workshop, around our own and collective experimentOne is around Land Art and is acting with people participation in Big Natural place around Lyon (Grand Parc Miribel Jonage)One is a fine art workshop open to publicOne is ‘Zone Chaude’, performative and installation direct show in public places (last: During and interacting with ‘Meeting of style’, Graf symposium, we called it ‘Zone Chaude, Style in meeting people)Other workshop are in progress Art/process, interacting with enterprise activities, Ego/Lego, interacting with Big area Habitation places, and are parts of HETEROTOPIA project..
Rita Kálmán (Austria / Hungary) – IMPEX, Contemporary Art [email protected]
IMPEX – Contemporary Art Provider is a new art scene in Budapest. It was launched by six young professionals whose forgoing activities are now united within the framework of a new institution.
In the 140 square meter area, a gallery and a workshop space are in operation, which, in addition to showcasing experimentally minded and progressive artwork, also accommodate studio practice, lectures and creative, interdisciplinary initiatives.
IMPEX aims to provide an introductory opportunity for young artists. Moreover, its objective is to aid cooperation and permeability between different areas of art, and, through its open and receptive structure, create a living connection with various social groups and civilian initiatives.
Sasiwimon Wongjarin (Thailand) – The Land [email protected]
The land foundation is the merging of ideas by different artists to cultivate a place of and for social engagement. It was initiated without the concept of ownership. It has intentions towards community, towards discussion and towards experimentation in other fields of thoughts.
It exists to create a nexus between socio-ecological sustainability and contemporary international art practice, and to foster interaction between emerging and established artists, cultural activists, intellectuals and the general public from Thailand and from all over the world. With intention to bridge the gap between formal organizations, to give opportunities for informal groups in our artistic and cultural societies to reach a boarder audience, the land foundation endeavors to provide alternative multidisciplinary instruction.
All projects and activities are open-ended in scope but with ethical concerns. The land foundation pays attention to the importance of personal perception development and the knowledge sharing process. The focus is on concept and process rather than only on the end-result.
Sithabile Mlotshwa (The Netherlands) - Thamgidi Studio [email protected]
Thamgidi Studio is an artist led organization which supports international artists’ exchange. We believe that reciprocity of cultures, or the lack of it, is the subject which has great impact on the development of our societies, in the past, now and in the long run. In order to promote communication, understanding and to connect cultures, we believe that art plays a major role. Our goal is to create a platform for intercultural dialogue, by organizing international artists exchange projects, with (e.g. artists in residence, exhibitions, debates and workshops), promoting art education, giving financial support for artists in residency projects and travel grants.
By promoting the international artists exchange projects we believe that this in turn will create opportunities for future collaborations and partnerships, exchange of ideas, sharing of information and of knowledge, which hopefully in turn will promote reciprocity of cultures.
Šárka Pavelková (Czech Republic) – Farm in the [email protected]
Farm in the Cave, o.s. is a multi-awarded International Theatre Studio based in Prague whose main activity is creation of theatre performances based on bodily articulation of what cannot be expressed by word, by any other medium. They aim at an immediate effect and the authenticity of the here and now. Their performances have become internationally acclaimed. Inspiration is drawn from the irregular terrain of music, from the torsos of cultural manifestations, from the human touch, from the architecture of space and urgent personal and social statement. Their use of sources from minority cultures and tradition of East and Central European theatre. In the light of current globalization and the tendency to unify, the field excursions are perceived as a source of personal ecology. Integral part of its work are also educational activities – workshops and basic research of actors´ art and selected cultural minorities in cooperation with various institutions and artists from all over the world such as for example The Institute for the Research of Drama and Stage of Professor Jaroslav Vostrý, Prague or Centre for the Study of Jerzy Grotowski´s Work and for Cultural and Theatrical Reasearch, Poland.
Farm in the Cave´s residence “PRESLOVA 9” in Prague is a working space where all these events take place and in the nearest future wants to establish an official Independent Creative Art Space – Residence, first of its kind in Prague. Space for theatre, film, workshops, lectures, exhibitions, residential creation of new artistic projects for artists selected from all over the world.
SPEAKERS / TRAINERS:
Annette Wolfsberger (Austria)
Born in Austria, Annette has been working in The Netherlands and Great Britain for the past decade. After her studies of political science, cultural policy and African languages in Vienna and Rotterdam, Annette worked for a broad range of performing arts festivals and venues in Austria, before she moved to Amsterdam to work at Melkweg (www.melkweg.nl) as production manager.
For the past two years, Annette set up and directed Enter_, a regional network in the East of England for artists, businesses and researchers working at the intersection of new technology art. Enter_ produced Enter_Unknown Territories, a new international conference and festival for new technology art that took place in Cambridge in April 2007 (www.enternet.org.uk/unknownterritories).
Annette was an executive committee member of Trans Europe Halles, the European network for independent culture centres (www.teh.net) from 2004-2007 and is a board member of Agentur, an artist run initiative in Amsterdam which provides space to artists for projects, installations and research (www.agentur.nl). Currently she commutes between Cambridge to produce Enter_ events and projects, and Amsterdam to produce Sonic Acts taking place at the end of February 2008 (www.sonicacts.com).
Audrey Wong (Singapore)
Despite her teacher’s recommendation to study psychology, Audrey Wong chose to pursue the less financially lucrative path of her first love — literature, which led to a Masters in English Literature at NUS. It eventually dawned on her that she’s carrying on a crazy family tradition of getting involved in the arts instead of being a more economically-productive Singaporean (her mother is Cultural Medallion recipient & Chinese opera artist Joanna Wong). She joined The Substation in 1996 and the following year, launched the Moving Images film programme with then-Artistic Director T. Sasitharan. In 2000, she obtained an MA in arts administration from Goldsmiths College, and returned to The Substation as Artistic Co-director together with Lee Weng Choy.
With The Substation – a multi-disciplinary, independent arts centre - she has initiated, curated, and managed arts festivals, independent theatre productions, exhibitions, artists’ exchanges and networking. In 2003, Audrey and Co-director Lee Weng Choy launched the Associate Artists programme which aims to support independent artists’ practice and careers. She taught part-time at the Theatre Studies department of National University of Singapore from 2001 –– 2004 and is currently lecturing part-time for the Masters in Arts & Cultural Management programme at Lasalle College of the Arts.
She is on the Programme Advisory Committee (Theatre) of the Singapore Arts Festival, and is a founder-member of Magdalena (Singapore), a society promoting networking and skills-sharing among women in theatre, which has affiliation with The Magdalena Project global network. With Magdalena (Singapore), she collaborated with four other theatre artists on a performance presentation “Her Space” in 2005 and co-organised the Crossroads 2006 International Festival of Women in Theatre, where she put together the community/outreach programme. She has a particular interest in working with young, emerging artists with a contemporary sensibility from all disciplines, and teaching/working with youths. She occasionally writes about the arts – in visual art, performance, and cultural policy matters.
Guy-André Lagesse (South Africa / France)
Guy André is a visual artist of Mauritian nationality, born in South Africa; he has been living in Marseille for 20 years and develops artistic projects in the public space. He is one of these artists who can combine a great experience in visual arts, music, performer and scenography. His work is characterized by a strong will to share artistic experiments with amateurs, enthusiastic handy(wo)men, inventors…
Howard Chan (Hong Kong, China)
Howard CHAN works as a cultural programmer in Hong Kong. Chan has been concerned with the bridging of different knowledge areas and resources in the society. In 2002, he co-founded and chairs the Community Museum Project (CMP), a curatorial/research collective that disseminates and articulates the culture and practice of everyday life. As part of this collective, he co-curated Objects of Demonstration (2002, 2004), (This is Not) Fake Museum (2003), Street as Museum series (2005), Designs By Users (2005), and In Search of Marginalized Wisdom: Sham Shui Po Craftspeople Exhibition (2007). With community as the subject and settings, and crossing the boundaries of exhibition, publication and tours, CMP uses “museum” as a method to give shape to vernacular culture often overlooked by the society. Recently, CMP has formed School of Indigenous Creativity (SIC) together with art organizations in Hong Kong and the Netherlands. SIC is a social enterprise model that based on knowledge exchange and creativity. In 2007, SIC organized the first Socially Yours: Alternative Design Networking Seminar, an international platform for socially progressive creative practitioners.
Chan has been active in the community-driven cultural scene in Hong Kong and overseas. In 1998, he co-founded the independent art space 1aspace. He co-organized IN-BETWEEN: International Conference-Exhibit Program on Independent Art Space 2001 and 2002 and is a working member of Intra-Asia Network, which unites the artist-in-residence programme organizers in Asia-Pacific.
Paul Bogen (UK)
Paul started his professional career as an actor. Realising he could not act he quickly moved into theatre management working for a South African and then two children’s theatre companies.
In 1985 Paul accidentally found himself as the manager of an experimental Polish mime group, living under martial law in communist Poland. When the authorities would not allow his Polish wife to leave the country, Paul escaped with her back to the UK by impersonating a British Diplomat.
On his return to the UK, Paul then became Manager at The Kings Head Theatre Club in London, producing fringe shows and transferring the more successful ones to the ‘West-End’ stage.
In 1990 he became director of The Junction in Cambridge, opening the first purpose built arts centre for young people in the UK. During his 17 years at The Junction Paul produced two outdoor festivals, two international festivals, the world’s first digital mural and the first drive-in movies in East Anglia. The Junction was a pioneer and innovator in the development of combing new technologies and art. It was one of the first UK arts organisations to have a web site, and from the early 1990’s experimented in, and developed a range of innovative digital art projects. The Junction was re-developed in 2005 through a £7.5 million building project that included the construction of a new seated performance space.
From 1999 to 2007 Paul was President of Trans Europe Halles. He is currently a board member of two theatre companies and is a fellow of the Royal Society of Arts.
Paul was appointed as Managing Director of Opportunity Links in April 2007, a not-for-profit organisation that delivers information provision to parents and provides technical know-how and strategic services to central and local government.
Raoul Grunstein (Finland)
Raoul Grünstein is economist and Chairman of Korjaamo Group, a group of five companies active in sponsorship, marketing, consulting, productions and culture. Before this Raoul was publisher of Image Publishing for two decades establishing and developing a group of quality magazines in popular culture, design, business, travel and wine/food. After selling last year the publishing house he has concentrated in building Korjaamo Culture Factory, a multidisciplinary cultural centre for theatre, music and visual arts, as a Chairman and Artistic Director. Raoul has been active in photography since early 90’s. He is also a nice guy.
Sigrid Niemer (Germany)
The founding member of the International Culture Centre ufaFabrik was born in the North of Germany and studied Arts and Education in Berlin. Since 1979 she worked for the organization ufaFabrik in different management positions, today she is a member in the Board of Directors of the “International Culture Centre” and Head of Communication.
Beside that she is teaching young professionals in the field of Communication and Mediation, in Berlin at the “Freie Universitaet” in 2006, or at the Akademie für Kultur und Bildung in 2007. Internationally she played an active role in developing the Network “Trans Europe Halles”, an European Network of independent Art and Culture Centres, gave lectures, workshops and presentations about Communication, Participation, Sustainable Development and Culture & Art for different organizations, like in St. Petersburg (1998) “21st Century Ark”, Bangkok (1999) “Public Building. Public Culture. Public City”; Marseille (2001) “New Arenas for the Art“; Dublin (2002) “The Civil Arts Inquiry”, and in Mai 2005 in Buenaventura / Italy “Il DNA dei centri culturali indipendenti”.
Tay Tong (Singapore)
Tay Tong has been with Theatreworks (Singapore) since 1989. Appointed General Manager in 1993, he went on to obtain an MA in Arts Management & Cultural Policy from Goldsmiths College, University of London in 1999. He was appointed Managing Director of Theatreworks in the same year.
In Asia, Tay Tong has worked intensively in brokering greater intra-Asia dialogues and exchanges through the Arts Network Asia or ANA, which was initiated and set up in 1999 by Theatreworks. ANA is a forum for Asia’s expression and its relationship to the rest of the world. It recognizes the cultural diversity and pluralisms in Asia and it functions in 11 Asian languages. It networks individuals and groups through residencies and projects, to develop local communities in Asia.
Since 2002, Tay Tong has managed and directed Theatreworks’ Continuum Asia Project (CAP) has been active in Luang Prabang, doing capacity building work, including reviving the Laotian Pharak Phalam, a traditional dance-drama form, with masters and young artists; as well as people-to-people exchanges especially among the Laotian youths and Asian youths.
Tay Tong was awarded the Japanese Chamber of Commerce & Industry’s Culture Award in 1996, in recognition for his contribution to the Singapore arts scene and is the first arts manager to be given this award.
Birgitta Persson (Sweden)
Birgitta Persson has been the Secretary General of Trans Europe Halles since 2004. First at the coordination office in Kaapelitehdas in Helsinki, Finland and since 2005 at Mejeriet in Lund, Sweden. As a coordinator of the network, Birgitta Persson is responsible for the communication, marketing and branding of the network as well as the two yearly conferences/meetings of the network. Visionary and strategic planning for the network is done together with the executive committee. As coordinator she supports and advices members and emerging cultural initiatives. Another important task is to fundraise locally, regionally, nationally and internationally for the network.
During 1995 to 2004 Birgitta Persson worked at TEH member Mejeriet as head of marketing, promoter, project manager and fundraiser. She has organised more than 100 concerts, arts exhibitions, dance events and has initiated, organised and fundraised several international artistic projects in all artistic fields.Fazette Bordage (France)
After studying musicology and psychology, and hosting a musical magazine on FRANCE3 television, in 1984 Fazette Bordage was instrumental in refurbishing “Confort Moderne” at Poitiers (F), an ancient warehouse rehabilitated as a venue for cultural activities for young people. In 1986 Confort Moderne became a member of the TransEuropeHalles European cultural network of art places re-using industrial sites, which she coordinated from 1994 till 2000.
Mains d’Œuvres, a place for citizen and artistic intervention, reinvigorating a 4000m2 factory at Saint-Ouen (nearly Paris, F), is a new space that she and her team have been working on and which opened end of January 2001. Since 2001, she is also responsible for the coordination of a resource platform, called Artfactories meant for independent multidisciplinary art spaces, which are born from citizen and artistic projects.
OBSERVERS:
Sandy Fitzgerald (Ireland): in charge of collecting notes and materials for the follow up publication.
Sandy Fitzgerald has over thirty years experience as a manager, artist, and activist in the cultural sector. He was a founder member and, later, Executive Director of City Arts Centre, Dublin (1973 to 2001), overseeing the Centre’s development from one room (1974) to the opening of the largest centre of its kind in Ireland (1988). The programme of CityArts included all artistic disciplines, with a full public programme of visual art, theatre, music, dance, comedy, conferences, and special events. The Centre also initiated pioneering educational and accredited programmes in community arts, disability arts initiatives and outreach programmes. In addition Sandy was a founder and board member of CAFE (Creative Activity for Everyone - 1984 – 1990) now CREATE, the arts development organisation for Ireland; board member of the Royal Hospital National Cultural Centre (1985 – 1990), later to become the Irish Museum of Modern Art; board member of the Dublin Film Festival (1988 - 1993); board member of the Junior Dublin Film Festival (1990 – 1994); Executive Committee Member of Trans Europe Halles, a European network of Cultural Centres (1997 – 2002).
We also allowed three independent observers to attend the lectures (but not the case studies). They were:- Leila Hattea, who is currently doing a European Voluntary Service in Parkteatret in Norway. She was interested in attending the programme as a future cultural manager.
- Shauna Janssen, who is currently finishing her studies in Cultural management in Montreal. She is working particularly on the issue of independent cultural centres located in former industrial buildings.
- Dominique Proy, who is working for “Earth Interactive Governance”, was really interested in the topic of “how can sustainable development be implemented in independent cultural centres”.
Shauna Janssen will contribute to the follow up publication by writing an article. Dominique Proy gave an informal speech about Sustainable Development and the importance of taking this concept into account in everyday life activities. Most of the Asian participants were actually not aware of this concept and had a lot of interest in hearing her input.
Outcome: List the project’s concrete results including details of publications, exhibitions, performances, etc. Please include audio-visual materials and other documentation on the project (reviews, publications, articles, etc).
Sandy Fitzgerald (Dublin) was appointed as an observer and took notes during all sessions. He is now collecting all the materials needed to put together the publication (like all PowerPoint documents and visual materials used by the trainers). He will be designing the document and organising the contents together with ASEF and Artfactories. A draft of the booklet is nearly achieved.
This publication will be hosted on each organising partners’ website. The publication will be an online open-source document, which means that its contents should be scalable, to answer better to different evolutions in the sector or to evolve with the content of other potential trainings that would be organised. However, there will also be a printed version of the document that will stand for publicity material. The publication will be accessible by mid 2008.
Goals: Elaborate on the project objectives (as listed in your contract) and whether they were reached.
To improve the cultural management strategy skills of artists and managers from Europe and Asia
Both trainers and participants have quoted the courses as high quality. The organisers, thanks to the background of Artfactories et Trans Europe Halles have managed to gather speakers whose experience was peculiar and relevant in a proper field, to provide a more effective transmission.
Speakers have been exchanging emails and meeting each other before the proper kick off of the training. This was extremely important for the quality of the course. As the schedule of the event was very tight, we found it really important to have a good briefing of the trainers before, so that each topic proposed would be specific and not repeating what another trainer could have been approaching in another session.
The day which was dedicated to case studies was, according to the participants, a very good way to put in practice what they had been learning during the three previous days, which had been planned in the format of “lectures”.
We (organisers) could evaluate, during the last afternoon’s oral feedback session that the participants were satisfied of the content of the training. Especially because a lot of them are artists themselves and never followed a management course.
To foster exchange of local experiences among emerging contemporary art practitioners coming from Europe and Asia
Straight from the opening dinner, participants have been very communicative and willing to share their own experiences and issues. Although there was a proper time dedicated to case studies, a lot of exchange between the participants experience took place during breaks and evenings, in an informal way.
Moreover, trainers all allocated a part of their session to discuss with the participants. These discussions were very fruitful. They were the proper time when issues could be tackled, and point of view could be explained, which showed differences and similarities between the different contexts of Europe and Asia.
To create opportunities for practical collaborations between the participants within Europe and Asia, as well as between the two continents
The creation of a Euro-Asia cultural centres network
I have chosen to draw these two objectives together as they are closely linked to each other. The idea was not to create a formal network: in creating this training, our idea was rather to gather people with common values about contemporary art, in order to create a synergy between the projects they respectively lead.
The feedback session revealed the need and will of the participants to carry on the relationship they started during the training week. Several ideas were given about how to practically keep an informal network in shape:
- “second round” of the training, with further content, in a centre in Asia- a residency programme will be launched in Europe- an artists exchange is planned in South Asia
2. Reflection on the project Please connect these answers to the evaluation techniques and indicators you described in your project application
Working methods (including positive and negative experiences gained via new approaches)
The challenge in this project was to assure adequate funding. Artfactories was only approached in March 2007 by ASEF and was, because of its and relentless efforts in fundraising able to match the ASEF funding.
A good balance in share of budget and responsibility has been found, ASEF being in charge of the international logistical part, the blog and the co-conceptualisation and trainer search from the Asian perspective, while Artfactories in charge of local logistics, local fundraising and European input in the programme, with Trans Europe Halles.
Publicity and it’s effectiveness (reflections on the audience you reached, impact on the community, policy, etc)
As our event was aimed to a restricted audience, we did not have to produce any publicity materials, apart from calls for applications. However we did communicate on the event thanks to Artfactories, Trans Europe Halles and ASEF websites. Even after the selection was made, and until the very week of the training, we received calls and emails from people interested in attending the training.
For a number of participants limited to 20, when we sent out the call for participation, we received about 80 applications. Thanks to the feedback of the participants, we realised that the participants got the open call through different ways: mainly internet and newsletters from TEH and Artfactories, but also from networks and word-of-mouth. So many of them were relevant that we eventually extended the number of participants to 22.
Project partners: please reflect on the collaboration with your project partners.
The production of this event was indeed smooth, thanks to the professional approach of our partners. Artfactories and Trans Europe Halles have known each other for a long time and share the same values about the importance of sustaining independent art spaces. Our third partner, the Cultural Exchange Department in ASEF was also totally convinced of the benefit of this training for the structuring of independent art centres. So we all started the organisation of the training on the same wavelength and with the same expectations, which made the job pretty easy and actually nice to work on.
The geographical distance was not a real problem concerning our work, as we could regularly virtually meet thanks Skype mostly.
Reception: feedback from participants and audiences
The facts written below are based on the answers read from the feedback forms filled by the participants and the suggestions made by the trainers, given both by written documents and also during the oral feedback session on the last afternoon. The answering rate for the feedback form is 90%. Please have a look at the enclosed feedback form (Annexe xxx).
1) SUCCESS
According to the participants feedback, the combination of invited participants was very relevant (94 %) and the content of the discussions and workshops was good (65.5%) to excellent (29.5%). The good combination of selected people made it a very energetic and interesting group who were very committed during the training.
It seemed that the training on financial management was extremely useful seen only a minority of the participants possessed a good level of knowledge on financial management. “During my session on finance, I was surprised to discover how little financial knowledge the majority of the participants possessed and the minimal level of financial information they produced within their organisations”, said Paul Bogen.
The participants’ feedback on administrative support from ASEF and the partners, reviewed as excellent or good are over 90%.
90% of the participants were satisfied with the design and length of the project. Participants gave many additional suggestions.
The opinions of the participants on the facilitation and moderation was equally well rated. The group of trainers was very good, had the right trainers skill set and were also excellent in moderating and encouraging the participants to share and discuss their experiences. The atmosphere created felt open and very receptive.
The Blog proved to be a very effective tool of pre-event communication.
Participants have been very articulate about what they gained from this training. Empowerment, knowledge, setting up partnerships with like-minded people, inspiration and new working methods are frequently mentioned in their feedback. “I came into the meeting when I was in the middle of a difficult phase with my centre. I lacked a lot of hope and energy. First of all I returned extremely empowered. I learned some general things that are very important for the future development, such as the Vision/Mission, and the communication skills, all things that one is aware of, but that I never acknowledged into such depth. Also it inspired and pushed be to professionally develop the local network of art/culture promoters and use Actes-If as an example. I learned a lot from hearing people stories and experiences. They gave me great ideas which I now want to bring to my centre.”
All participants were invited to write a postcard to themselves with a specific action they wanted to take to improve management in their organization. The postcards will be sent to the participants in May 2008 to remind them of their action.
Strong connections have been established between different participants. The replies collected from the participants show that 88% of the participants made plans to collaborate with each other or have specific plans of action within their organization.
2) IMPROVEMENTS
A preliminary meeting between the trainers, much in advance, might have made the organization of the programme smoother. Our very low budget did not allow us to do so, but luckily the European trainers were acquainted with each other and the Asian trainers knew each other too, and they all took the time to communicate with each other in advance to develop their sessions through exchanges of emails, and they met in Paris one day before the kick off of the meeting.
Remarks were especially by the trainers that a training of 3 specific days to cover all the issues brought up by the trainers was rather intense. Suggestions were made for designing the training in lecture sessions in the mornings and group sessions in the afternoon, allowing more discussions on specific issues.
In future the Blog could be used to give specific tasks to the participants to encourage them to communicate more before the meeting.
Lessons learned: would you do something different if you would do it again? What were the most important points of attention? What would you advise other organisations to focus on when they would engage in a similar project?
Thanks to the overall very positive feedback from trainers and participants that we received, and also due to the high demand for such training, we will certainly carry out the project in the near future.
Working again on such project, we would try to:
- plan the action more in advance. When we have been approached by ASEF to co-organise the training, it was only a few months before the event would take place. Planning the training more in advance would probably allow us to find other different funding partners to be able to invite more Asian speakers and have a preliminary meeting between trainers to draw the content of the training together with the trainers. Such preliminary meeting is what we would mostly advise to other organisation which would organise a training.
- organise the schedule in order to arrange more time for discussions in between the participants within the lecture, and maybe try to put together very small groups who could tackle one selected issue related to their own situation with a monitoring lecturer/speaker.
Context: how did the project influence the local/regional/national cultural sector? Or maybe the local/regional/national authorities/policymakers?
During the oral feedback session, almost all participants have mentioned that they feel empowered by the training. It helped a lot of them realising that they are not alone in their situation, even if they feel they are struggling everyday to sustain their cultural centre. Some of them already started collaborating together. Collaborations are useful for recognition of their existence and (precarious) situation by cultural policy makers.
Moreover, the presentations about networks, on the first afternoon of the training, gave good examples of the implementation of networking collaborations. Some participants went back home with the strong project of creating a local network, mostly to gain in solidarity and have a stronger discourse towards cultural policy makers in their city/region/country.
Also, the fact that this event was supported by ASEF is a very good point for the influence authorities at national and international levels. Indeed, ASEF, as a euro-asian organisation founded under the framework of the Asia-Europe Meeting, is asked to provide reports of the events on which its Departments are involved. It means that the 43 government members of ASEM (among them, all countries of European Union and a lot of countries of Asia) will be informed of the content of the “Independent Creative Art Spaces Leadership Training”. This is actually a big thing, as some political leaders are not even aware of the existence and the peculiar features of independent art spaces in their own country, while theses centres do a great background work crossing arts and education, and they create employment and urban development.
Future: in what way will activities be sustained and continued in the future? Do you expect any particular follow-up of the cooperation?
As the event just finished, we are currently thinking how to carry out this project.
We had organised a symposium in Shanghai in 2004 with ASEF, and this new and bright cooperation makes us feel the importance to keep this organisation as partners. We are currently discussing what will be organised as a follow up project and what can be imagined in the future.
We think that working with Trans Europe Halles is a great opportunity and we really would also like to include them as partners for the next project; the main thing is to find a way to have the project financed. Different solutions occur to us about this, but however we would like the training to remain highly affordable for the participants.
Apart from the publication, which will be the charge of the ASEF and Artfactories, we are expecting follow up projects from the participants’ sides, and we will keep the blog lively to follow them (http://indepartspacestraining2007.wordpress.com/). This blog had been created in November 2007 so that the participants could virtually meet before the actual training. We think it can be a good base for the “former” participants to be able to keep in touch with each other, and keep the others updated of the different collaborations.
General evaluation: is there anything else you want to share with us about the way the project has developed?
Our team itself is feeling empowered by this event. It was a great opportunity to be in intense contact with these 21 project holders. Firstly because despite their disparate geographical location, they share the same core values about cotemporary creation and the importance of working with communities. In Artfactories, we also share these values. Secondly because, even if the participants face major financial difficulties or have issues with being understood by policy makers, they keep a vibrant faith in what they do. We are very proud to be able to give an opportunity to these people to have a chance to exchange their own experience and work together, when they might have never met each other without the training.We hope we will be able to extend this action to a broader number of people.
3. Reflection on the ECF How did you experience your relation with ECF (grants procedure, personal contact, etc)? Do you have suggestions for improvements?
As we are directly submitting our Final narrative Report (since our event has been completed in December), I just would like to mention how we managed to include communications on the ECF on our communication materials:
We have been careful to mention the logo f the ECF on all our materials. Due to the small audience targeted for our event, we have not produced any leaflet or printed programmes to advertise the event. However, the ECF logo has been published on the participants’ guide (a guide for practical details and schedule of the training), and on invitations that we sent out to guests, partners and journalists. The Foundation has also obviously been thanked at the opening dinner.
We have been communicating on the training on our website and in our monthly newsletters, and Artfactories set up links to the ECF’s website.
For a check, please take a look at two examples of Artfactories’ communication documents enclosed with this report.
As the person in charge of the application, I must say that I have absolutely nothing to suggest for improvement! I have been extremely happy to be in touch with members of the team of the ECF who have always been kind, patient and very helpful, either on the phone or by emails. The website is, according to me, very complete and helped me a lot to understand the aims of the Foundation.
Once again, Artfactories is very proud to have received the support of the ECF, as we assume that we also share the same values regarding contemporary cultural policy making in Europe. Please keep us posted with all the events/conference that you organise and we will be very pleased to relay the information on our own website and newsletter.
Thank You!
Thank you!
APPENDIX
1. COMMUNICATION MATERIALS OF ARTFACTORIES2. FEEDBACK FORM (PATTERN)3. FINAL BUDGET4. PICTURES OF THE TRAINING
1. SAMPLES OF COMMUNICATION MATERIALS
2. FEEDBACK FORM (PATTERN)
Independent Creative Art Spaces Leadership Training
Paris , France9-15 December 2007
PARTICIPANT FEEDBACK FORMPlease complete this form and return it to Katelijn Verstraete at the end of the Forum or send
it by fax to +65 6872 1207, attn: Katelijn Verstraete by 1 January 2008.
SECTION A: PERSONAL PARTICULARS (optional)
Name :
Organisation :
Phone no :
Fax no :
Email address :
Have you participated in an ASEF project before? Yes No
SECTION B: PERSONAL EXPECTATIONS
1a. What attracted you to attend this Training? (You may tick more than one)The content of the training (diversity of topics, ..)The format of the training (mix of lectures and case studies)The opportunity to network with participants from other ASEM countries The fact this training was held in Paris, France Others. Please specify:
1b. Were your expectations met?Yes Yes, partly No Not sure
1c. What have you gained most from your experience at this Training? (Please rate from the scale from 1 (less important) to 5 (the most important) of the following, OR please specify if choosing OTHERS)
1d. What is your general impression of the other participants? (You may tick more than one)The combination of participants was suitable and constructive for the meeting.Not suitable or constructive (please state reasons below)Generally, the professional/ intellectual background of the participants was relevant.Not relevant or satisfying (please state reasons below)Others, please specify:
1e. Quality of the content for workshops and lectures as laid out in the programme Excellent Good Average Poor
1f. Use of internal discussions in the programme:Excellent Good Average Poor
1g. Design and length of project programme Excellent (length) Good Average (design) Poor
1h. Facilitation and Moderation by the facilitators Excellent Good Average Poor
SECTION B: ADMINISTRATION
2a. Efficiency of the administrative support from the Organizers Excellent Good Average Poor
2b. Clarity of information provided by the Organizers: Excellent Good Average Poor
2c. Did you have any problems with registration and other logistic issues?
No Yes, please specify
2d. How did you gain information about the event? Website E-mail
Telephone others, please specify
2e. Quality of the blog ( http://indepartspacestraining2007.wordpress.com) Excellent Good Average Poor
SECTION C: Recommendations
3. Recommendations for improvement:
3a. With regards to logistics
3b. With regards to format / programme
SECTION D: Future Plans
4a. Does this Training provide enough substance for you to follow up on specific points?
No, please specify
Yes, please specify
4b. As a result of the Training , have you made any specific plans?
collaborations with other participants online collaborations
publications others, please specify
4c. Do you intend to continue building networks with the contacts you made during the meeting? If yes, with whom?
No Yes, with contacts in my own country
Yes, with contacts in my own region Yes, with contacts in the other region
If YES, please specify:
4d. What in your opinion are other important issues that could be addressed related to independent creative spaces and under what format?
4e. Would you recommend an organization in your country to co-finance/co-organise ASEF events?
Yes No, please specify
THANK YOU !If by email, please send back to [email protected]
3. FINAL BUDGET
Financial Report Page
Income Actual income in €
ASEF 48883Ministry of Culture and Communication 10000 Ministry of Foreign Affairs 0Paris City Council 0BNP Paribas Foundation 2000ECF 15000
Total income 75883
ExpenditureActual
expenditure in €
Expenditure covered
by ECF ORGANISATION 1. Asian secretariat (administration costs, mailing…) 1943
2. European global coordination 10361 10000Sub total 12304
WELCOMING 3. Spaces and equipment rental 2696 30004. Cultural Programme 0 5. Documentation+online follow up (webmastering) 2362 20006. Food 5368 / 7. Lodging 9271 / 8. Local transports 717 /
Sub total 20414 15000TRAVELS AND FEES 9. Travels of Asian trainers and participants 11665 10. Travels ASEF organisers 5354 11. Travels European trainers and participants 5322 12. Trainers fees and commissions 4106
Sub total 26447 FOLLOW UP ACTIVITIES 13. Publication 9911 14. Follow up projects between participants 5946
Sub total 15857 MEDIA / COMMUNICATIONS 15. Communications in Asia 0 16. Media and PR 254
Sub total 254 CONTINGENCY
17. Unpredictability 1% 18. Bank Charges 607 TOTAL EXPENDITURE 75883
4. PICTURES OF THE TRAINING
Participants are debating after a lecture – Mains d’Œuvres (Saint-Ouen)
Raoul Grünstein (Image Match, Finland) is giving a lecture about how to develop sustainable relationships with private companies – Mains d’Œuvres (Saint-Ouen)
Some participants and trainers and ASEF Deputy Executive Director Bertrand Fort (on the left), at the Musée Guimet (Paris), at the occasion of ASEF’s 10th Anniversary
Tay Tong (Singapore) is giving a lecture about his community project: Theatreworks, 72/13 – Confluences (Paris)
Domique Proy (observer during the training) is giving an informal speech about sustainable development implemented in cultural centres – Confluences (Paris)
Fiona (UK) and Maitree (Thailand) are working on their case study – La Maison des Métallos (Paris)
During the oral feedback session – Mains d’Œuvres (Saint-Ouen)
Sandy Fitzgerald (Ireland) is taking notes for the follow up publication while Birgitta Persson (Trans Europe Halles) is giving a speech about European cultural networks
