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Most government funds in the arts have been, or will be by this year, withdrawn, without the implementation of a different tradition of funding on a greater scale, like community-based, or crowd-based funding.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Most government funds in the arts have been, or will be by this year, withdrawn, without the implementation of a different tradition of funding on a greater scale, like community-based, or crowd-based funding.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.
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