The deadline for my flight is nigh. I am excited, as well as a little stressed out. Too much to do still, too little time. I am currently working on my portfolio, my English CV, and packing my stuff. But it's Easter too, so there's a family brunch planned for tomorrow.
Ricky Hendriksen gave me the idea the other night to compose a portfolio, to have something to show what I have been working on up until now. It will consist of interesting things like my festival merchandiser period for Thanks Merchandising, my touring days with bands such as Within Temptation, Orphanage and the likes, my production job for the Dutch Insomnio ensemble, my various festival coordination gigs, but also what I do when I'm not at work, my days playing drums in Necrotaph, and, of course, my going back to college. So this is going to take a day.
Oh - I went to this Katzenjammer gig in Tivoli, Utrecht the other day, mindblowing band. Four wild Scandinavian women going at it playing all sorts of instruments ranging from balalaika and banjo to glockenspiel and wastebin. Check out this song right here to get the Janis Joplin chills!
zondag 24 april 2011
vrijdag 15 april 2011
Traditions of cultural governance and financing.
As a college student in art and economics, I am interested in traditions of finance in an ever-changing socio-political environment. The Netherlands (and perhaps all of Europe) have been a haven for cultural exploration in the sense that so much of what has occurred in the post-WWII decades have been government funded. This situation is rapidly transitioning due to the change in political climate, which has switched from social to market-based, liberal views.
Most government funds in the arts have been, or will be by this year, withdrawn, without the implementation of a different tradition of funding on a greater scale, like community-based, or crowd-based funding.
This means that smaller, perhaps more experimental organisations, but also educational initiatives and cultural parties for various (ethnic and non-ethnic) groups of younger members of society, will have a very slim chance of survival. Organisations large enough to have an inbound marketing department will, in spite of having difficult times ahead, survive at the cost of the smaller businesses. Furthermore, on the whole, risks will be avoided, creating a loss of jobs and many other unforeseen consequences. Costly programs, for example, that do not generate a short term economic gain, such as educational arts programs will be dropped. Previous 'befriended' organizations will now regard one another with suspicion.
Most government funds in the arts have been, or will be by this year, withdrawn, without the implementation of a different tradition of funding on a greater scale, like community-based, or crowd-based funding.
This means that smaller, perhaps more experimental organisations, but also educational initiatives and cultural parties for various (ethnic and non-ethnic) groups of younger members of society, will have a very slim chance of survival. Organisations large enough to have an inbound marketing department will, in spite of having difficult times ahead, survive at the cost of the smaller businesses. Furthermore, on the whole, risks will be avoided, creating a loss of jobs and many other unforeseen consequences. Costly programs, for example, that do not generate a short term economic gain, such as educational arts programs will be dropped. Previous 'befriended' organizations will now regard one another with suspicion.
In the long run, audiences will diminish due to the lack of educational initiatives. A person does not value a discipline in art without getting acquainted with the proper codes and history of that art form.
In other parts of the world, where a tradition of government-based funding does not exist, they have a different tradition in collecting money for the cultural industry. The United States, for instance, has a community-based system, with churches, commercial businesses, corporations and philanthropists taking up the role of fundraisers for purposes of welfare, cultural activities (of a religious, social, artistic nature, or otherwise). There is much to be learned from this way of thinking in a declining social political climate. This is a paradigm that differs from our European way of thinking.
There is much to be learned in this field. Not only: ‘How do they do it?’, but also, and maybe more prudently, ‘How do we get a majority of the population to change their paradigm?’, from paying taxes for the cultural industry (among others) to a more philanthropic way of thinking. How can we create a social platform of peoples, corporations and other potential groups on a scale large enough to generate funding for the existing cultural industry?
For this purpose, I went looking for a region in the United States that has a thriving cultural industry (despite America’s current dismal socioeconomic situation) and I came to the conclusion that New Orleans not only has such, but also that New Orleans is situated in a poorer region that has just encountered two major crises in the past ten years. So it is interesting to see how the community at large copes with these circumstances and how it affects the cultural field.
As a professional, taking work booking interesting acts in a variety of places, I am also a location manager for various cross-media festivals throughout the Netherlands, as well as having done various other production-related activities, such as stage management.
In the past I have worked with bands such as Within Temptation and the like, contemporary ensembles, underground initiatives, merchandise companies, venues, as well as pop-, rock-, classical-, jazz- and theater festivals. I did pre-production for many of these initiatives and I booked acts for some. I have been a sound tech, theater tech, runner, backliner, merchandiser, and tour manager.
As a person I am very dedicated to the people I surround myself with. I concern myself with other people's wellbeing, but even more with my own and their integrity on the whole. I am process-minded and philosophical: I reflect a lot. The thing that makes me tick is people’s ambitions, their enthusiasm in achieving goals. It stirs me up and that propels me constantly to my own next level.
I am confident that I can achieve just about anything, as long as I feel that I am monitored without (or with suspension of) judgment, yet I remain open to suggestions and coaching from others. I have the same work approach towards others…allowing others to work according to their own style, yet offering suggestions where appropriate. I also work well in a stressful environment, and can remain calm in stressful situations. I can be that person that inspires you to get the best result out of your personality, your existence. I never judge. I am relaxed. The more stressful the situation, the more tranquility I radiate.
Having worked for rock bands, contemporary ensembles, festivals and theatre productions over the past 18 years (I am 35 years of age), I can say I have, production-wise, seen and done a lot, and it is time to move on. My focus now lies on my education, and I only use my skills to maintain a basic income to support my studies. My goal is to transcend from the typical stage manager type that I have become (a true stage manager can be easily spotted by his peers some three hundred yards away) to a conceptual advisor, a connector between key individuals and organisations from different worlds in the arts industry.
In other parts of the world, where a tradition of government-based funding does not exist, they have a different tradition in collecting money for the cultural industry. The United States, for instance, has a community-based system, with churches, commercial businesses, corporations and philanthropists taking up the role of fundraisers for purposes of welfare, cultural activities (of a religious, social, artistic nature, or otherwise). There is much to be learned from this way of thinking in a declining social political climate. This is a paradigm that differs from our European way of thinking.
There is much to be learned in this field. Not only: ‘How do they do it?’, but also, and maybe more prudently, ‘How do we get a majority of the population to change their paradigm?’, from paying taxes for the cultural industry (among others) to a more philanthropic way of thinking. How can we create a social platform of peoples, corporations and other potential groups on a scale large enough to generate funding for the existing cultural industry?
For this purpose, I went looking for a region in the United States that has a thriving cultural industry (despite America’s current dismal socioeconomic situation) and I came to the conclusion that New Orleans not only has such, but also that New Orleans is situated in a poorer region that has just encountered two major crises in the past ten years. So it is interesting to see how the community at large copes with these circumstances and how it affects the cultural field.
As a professional, taking work booking interesting acts in a variety of places, I am also a location manager for various cross-media festivals throughout the Netherlands, as well as having done various other production-related activities, such as stage management.
In the past I have worked with bands such as Within Temptation and the like, contemporary ensembles, underground initiatives, merchandise companies, venues, as well as pop-, rock-, classical-, jazz- and theater festivals. I did pre-production for many of these initiatives and I booked acts for some. I have been a sound tech, theater tech, runner, backliner, merchandiser, and tour manager.
As a person I am very dedicated to the people I surround myself with. I concern myself with other people's wellbeing, but even more with my own and their integrity on the whole. I am process-minded and philosophical: I reflect a lot. The thing that makes me tick is people’s ambitions, their enthusiasm in achieving goals. It stirs me up and that propels me constantly to my own next level.
I am confident that I can achieve just about anything, as long as I feel that I am monitored without (or with suspension of) judgment, yet I remain open to suggestions and coaching from others. I have the same work approach towards others…allowing others to work according to their own style, yet offering suggestions where appropriate. I also work well in a stressful environment, and can remain calm in stressful situations. I can be that person that inspires you to get the best result out of your personality, your existence. I never judge. I am relaxed. The more stressful the situation, the more tranquility I radiate.
Having worked for rock bands, contemporary ensembles, festivals and theatre productions over the past 18 years (I am 35 years of age), I can say I have, production-wise, seen and done a lot, and it is time to move on. My focus now lies on my education, and I only use my skills to maintain a basic income to support my studies. My goal is to transcend from the typical stage manager type that I have become (a true stage manager can be easily spotted by his peers some three hundred yards away) to a conceptual advisor, a connector between key individuals and organisations from different worlds in the arts industry.
dinsdag 12 april 2011
vrijdag 8 april 2011
There and back again: I GOT THE TICKET!!!!!
Since I currently am broadening my horizon and expect that not only Dutch people will read what I have to zay, I will continue posting in English. Isince this is my second language, I could do with a little help on my grammar. Please, feel free to give me pointers in the Reactions section or by email, whichever suits you best.
Now, how about a status update:
I GOT THE TICKET!!!!!
Thank you all so much! I will be leaving April 26 and be back on May 6. I will harass organizations, catch some sun, post lots of pictures and generally show my face in the New Orleans community. "Hear ye! Hear ye! The Dutch guy has arrived!"
So far, I sent some emails to the following organizations, hoping they will be able to help me in my quest: The New Orleans Fringe, the Contemporary Arts Center (Which sounded to me somewhat like the Eindhoven TAC, not only in name but also in ideas and mission), the New Orleans Arts Council,
The Fringe is a Theater (arts) festival that is based upon the (original) Fringe festival in Ireland. Eight performing groups were excluded from another festival in Dublin but decided they would perform anyway. They found inexpensice venues on the fringe of Dublin and just went ahead.
The New Orleans Fringe states in its mission that it " nurtures emerging and established performing artists by presenting fun, fearless and affordable theater to the community and creating ties between artists, audiences, businesses and local organizations." (excerpt from http://www.nofringe.org/mission.html) Their mission and vision on art and the cultural economy really speaks to me. It differs from most Dutch arts festivals in that the Fringe triest to be a bridge, or platform, between the community consisting of art users on one end and the performers and artists looking for audiences on the other. In the Netherlands, a gap has appeared between cultural providers and their audiences whereas ties with money providers such as the government were more prudent.
The Contemporary Arts Center (CAC) is a exhibition space that also provides in performing arts from jazz to theater companies and back. In their mission and vision they state that they " are nationally recognized as a leader in the presentation and support of contemporary arts, artists and emerging art forms. In doing so, [the CAC] will explore and involve the diverse cultures of our communities." (excerpt from: http://www.cacno.org/about.html) OUR communities. So they also place their communities in the heart of their mission, rather than the importance, or implicit value of the displayed and performed art in itself. They link it to what really matters; the communities they serve.
(...)
(To be continued)
Now, how about a status update:
I GOT THE TICKET!!!!!
Thank you all so much! I will be leaving April 26 and be back on May 6. I will harass organizations, catch some sun, post lots of pictures and generally show my face in the New Orleans community. "Hear ye! Hear ye! The Dutch guy has arrived!"
So far, I sent some emails to the following organizations, hoping they will be able to help me in my quest: The New Orleans Fringe, the Contemporary Arts Center (Which sounded to me somewhat like the Eindhoven TAC, not only in name but also in ideas and mission), the New Orleans Arts Council,
The Fringe is a Theater (arts) festival that is based upon the (original) Fringe festival in Ireland. Eight performing groups were excluded from another festival in Dublin but decided they would perform anyway. They found inexpensice venues on the fringe of Dublin and just went ahead.
The New Orleans Fringe states in its mission that it " nurtures emerging and established performing artists by presenting fun, fearless and affordable theater to the community and creating ties between artists, audiences, businesses and local organizations." (excerpt from http://www.nofringe.org/mission.html) Their mission and vision on art and the cultural economy really speaks to me. It differs from most Dutch arts festivals in that the Fringe triest to be a bridge, or platform, between the community consisting of art users on one end and the performers and artists looking for audiences on the other. In the Netherlands, a gap has appeared between cultural providers and their audiences whereas ties with money providers such as the government were more prudent.
The Contemporary Arts Center (CAC) is a exhibition space that also provides in performing arts from jazz to theater companies and back. In their mission and vision they state that they " are nationally recognized as a leader in the presentation and support of contemporary arts, artists and emerging art forms. In doing so, [the CAC] will explore and involve the diverse cultures of our communities." (excerpt from: http://www.cacno.org/about.html) OUR communities. So they also place their communities in the heart of their mission, rather than the importance, or implicit value of the displayed and performed art in itself. They link it to what really matters; the communities they serve.
(...)
(To be continued)
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