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Programming

Quels sont les critères actuellement utilisés pour les choix de programmation ? Qui est responsable de la programmation?

 

Other examples:

Festival name – STORMOPKOMST

Country – BELGIUM

 

About the Festival – STORMOPKOMST is a multidisciplinary art festival for children and adults with a special focus on art forms and disciplines which don’t get much attention from art organisations for children and the childrens’ programming of cultural centres: visual arts, media art, music, architecture and interdisciplinary art forms with one of these displines as a starting point.

 

Website – http://stormopkomst.be/en/

 

Good Practice

Objective: bringing artists and performers who usually create art for adults to create a piace that could reach a children/young audience yet being of interest for adults.

Best Practice:

A double bill with work from choreographer Mette Ingvartsen (evaporated landscapes) & Arne Deforce, cello player of contemporary classical music, who played music from Saariaho & Cendo). Both the music & the visual piece of Mette were linked through their themes: landscapes. Both performers never performed in this kind of double bill (as they both move in different circuits); nor performed for an audience of children before. I think both for the artists as for the audience, we broadened their view of what art for children could be.

Challenge: the programmation, as most part of the festival’s organisation rely on the only permanent member of staff, director Sarah Romboust.

Festival name – FESTIVALEKE

Country – Belgium

About the Festival – description of Festival – ‘‘Un rugissement artistique et éclectique Un acte festif et subversif…Un festival pluridisciplinaire de formes brèves !’

Website http://festivaleke.wixsite.com/festivaleke

 

Good Practice

Objective: to create a festival made from and for young artists recently graduated from performing arts schools and academies, to give them artistic voice and freedom.

Actions:

It started as a Do It Yourself kind of festival organised by a group of ex arts students to raise funds for a specific building that was supposed to be destroyed, it evolved in 5 years but kept the the same spirit. The first rule in programming and identifying the festival is that of small performances 20 minutes each in different artistic disciplines, intuition and learning by doing approach.

They do not choose themes for their programmation, just a synergic effort of ‘what’s in the air’ for the creators and performers that are chosen to take part in the festival, based on their ethnicity and style. The Festival has 3 programmers whose aim is to share diversity in both the performers and the audience.

Festival name – Murmurez Frénétiques – Aux Microfractures

Country – Belgium

About the Festival is a local brussels festival organised by a collective of artists including actors, plasticiennes,graphistes, metteurs en scene seeking new form of creation . the festival mixes together all performing arts form with also an environmental friendly approach on food and beverage.

Website – https://www.facebook.com/microfractures/?hc_ref=PAGES_TIMELINE

 

Good Practice

Objective: linking performative arts to organic food experiences.

Actions:

Started in 2014, the festival proposes each year an eclectic programme of theatre performances, music, debates and gastronomic experiences linked to arts. Each year they choose to collaborate with local organic food collectives and cooperatives that will interact with the performers in between shows or at the end of the shows raising awareness on more environmental friendly food and drinks production and consumption.

 

Festival name MIRAMIRO

Country BELGIUM

About the Festival Miramiro festival wants to be a stage for a wide variety of qualitative performances of circus, dance , theatre, performance, … in public spaces bringing people together and offering something to experience.

Website https://www.miramiro.be/en/miramiro/

 

Good Practice

“The quality of the programme is assured by the artistic team who selects the receptive part of the programme based on prospection. During the year the artistic team goes to see a lot of shows. We try to keep informed as much as possible of upcoming creations and are part of networks (also international) in order to exchange info, including on artistic creations. Our audience has to rely on Miramiro for being a quality label rather than having big known names in the programme (most of the programme is a blind date for our audience).

In order to reach a broad audience we want our programme to have something for everyone. A special programme for families with children in the afternoon (children are the audience of the future after all). Circus as an artform that can cross bridges between generations and backgrounds, there are dance performances, theatre… different artforms color the programme. Also the element of trying to get people to go outside their comfort-zone, gives them the possibility to try something else, something they are not expecting. Lowering the treshold by having a big part of the programme free (and low ticketprices), leaving the walls of the theatres, playing in the streets, parks, neighbourhoods”

 

Festival name EUROPEADE

Country – Each year a different EU City

About the Festival Folklore multi disciplinary festival. The Europeade is the expression of a belief in the friendship and brotherhood between the peoples of the European continent, founded on the idea of “unity in diversity”.

It takes concrete form, among others, in an annual gathering of thousands of Europeans who come together over five days to give expression to this conviction – through the folk arts and traditions of their respective regions.

“Europeade is a five-day party for 5,000 dancers, musicians and singers.

It is not just an event.  We create European friendship and unity through our diversity.

Europeade is an independent annual meeting of 5,000 people involved in folk dance and music from all over Europe. 

We meet for a week in summer every year, often in a new city in Europe, old friends and new groups together. 

We show our dances in displays in large arenas and in the streets of the city, and hold a ball, a parade, and an oecumenical service. 

Groups dance, sing and play their music in costume throughout the city all day and all night! 

We share our regional culture with the local inhabitants and each other.”

 

Website http://www.europeade.eu/en/home

 

Good Practice

Each participation region/group has a dance performance at the opening or closing ceremony of 3 minutes. Choirs have a performance during the choir evening. Music groups have a performance during the music concert.Also each group can dance/play/sing for 25 minutes/performance at the streets and on the places in the city on Thursday, Friday or Saturday. There are many workshops where they can participate when the groups don’t have a performance.

 

Festival name ALTOFEST

Country ITALY

About the Festival Altofest – International Contemporary Live Arts Festival – from 2011 gathers together a growing community of international artists, citizens of Naples and creators of thinking.he Festival is built with the citizens of Naples who host the works of international artists in their houses and/or private spaces (apartments, terraces, basements, courtyards, whole buildings, artisan shops…). The process is built by experimenting with innovative poetics and aiming to the involvement of places, and with them the system of relationships that are hosted by the places themselves.

Website http://www.teatringestazione.com/altofest/altofest/

 

Good Practice

How are the artists selected?

“To select the artists, we prepare a questionnaire that reveals the artist’s poetic and aesthetic issues raised by the work proposed. The questionnaire is aimed at developing a common discourse on the ability of art to be the engine of urban and human regeneration. As artists and citizens we started from these questions:

What makes us strangers to each other? Where is the origin of the distance? Why is culture absent from people values and in the daily needs?

We found in “proximity” and “gift” the keys to conceive the structure of ALTOFEST, relating the presence of the artist to the community his spectator belongs to, rather than the spectator as an individual.”

Festival name FESTIVAL DI MORGANA

Country ITALY

About the Festival Festival di Morgana is an international puppet festival focusing on folk and contemporary culture, with particular reference to puppetry, and promoting the trans-national mobility of cultural operators and the circulation of artistic and cultural works and products to support intercultural dialogue. It is originated as a Review of the opera dei pupi (Sicilian traditional puppetry that in 2001 was declared by UNESCO a Masterpiece of the oral and intangible heritage of humanity)

Website http://www.festivaldimorgana.it/2016/

 

Good Practice

Objective in Programming: Since the very beginning, during a period of deep crisis, the Association and the Festival’s have operated as mediators on all levels (local/regional,inter/national) and have foreseen a great variety of activities aimed to preserve and promote Sicilian traditional puppetry (the opera dei pupi) and folk traditions, and to support traditional puppeteers’ activity. Such practices are strictly connected to the construction of local cultural identity as shown by the UNESCO’s declaration.

Actions:

The FdM has always helped the development of puppeteers and spectators’ awareness about the role that the opera dei pupi had in its original context of production, while the exchange with other traditions and contemporary puppet art prove to be priceless to experience cultural diversity, foster talents and develop competences of both audiences and artists, traditional and contemporary, young and elderly. In order to help the oral transmission of the knowledge of traditional puppeteers, the Festival has often included a variety of events adopting a multidisciplinary approach and has involved local companies/artisans/operators in the organization and production of shows, educational activities about the traditional techniques of puppets’ construction, and the performing practices as well as seminars/conferences. Some recent editions of the Festival better show this attitude and variety: – Variety of the programmes In 2009 and 2010 for example, the FdMs focused on Ludovico Ariosto’s “Orlando Furioso” and Matteo Maria Boiardo’s “Orlando innamorato”, that are part of the traditional chivalric repertoire of the opera dei pupi. While in the former different artists – of different age and fame – performed innovative shows, in the latter the opera dei pupi companies from all over Sicily were scheduled and performed both at the Museum and in public spaces in different Sicilian towns. This helped to promote the distribution of those shows in the regional territory, reinforcing the relationship with local audiences. All the shows attracted young, adult and elderly people because, on the one hand, their apparent linear and simple plot fascinates children while its cultural value recalls the memory of the elderly who would attend the opera dei pupi shows every day before its crises. Moreover, some related events were organised to make spectators more aware of the value of this practice, related to local identity and the possible connections it can inspired (with literature, art, puppetry, etc.): some exhibitions as well as a conferences. The variety of activities (shows, conferences, exhibitions) characterizes almost every edition of the FdM. When possible, also some workshops have been organised by both Sicilian and foreign puppeteers/artists. In 2013 for example, the American contemporary and satiric puppeteer Paul Zaloom held an open workshop on the use of recycled objects within toy theatre and explained the challenge of mixing different media – e.g. toys and objects and real time video projection. – Multidisciplinary approach The intercultural and multidisciplinary approach is rather more evident in some other editions that focused on contemporary puppet art (e.g. in 2015 FdM was inspired by Tadeusz Kantor’s work) – Creativity of the youth To encourage the artistic creation among the youth, in the past two editions for example, the students from the Accademy of Fine Arts of Palermo were involved in the creation of sceneries or puppets inspired to contemporary puppet artists – namely Enrico Baj whos works are part of the Museum’s collection – and were exhibited during the Festival. – Collaboration among artists The FdM has proved to be a great occasion of exchange for the artists involved who have often collaborated either to propose innovative shows where their talents mixed – e.g. puppeteers and traditional storytellers – or for new productions – e.g. the show “La Saracina”, 2016

VIDEOS ABOUT PROGRAMING:

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