Annual International Conference is inviting Participants: "Theatre Between Tradition & Contemporaneity"

Performing Arts Training Today

Performing Arts Management Today
Fundraising for Arts and Cultural Organizations

December 17 – 21, 2013
Bildungshaus Schloss Retzhof – Leitring/Leibnitz, Austria

Intensive programme of practical workshops, presentations, works-in-progress, lectures and discussions with performing arts experts and teachers from different countries – Australia, Russia, USA, Canada, South Africa, India, Netherlands, Sweden and more, please follow the news! The Conference language is English.

Special participation conditions for students and groups:
For students there is a reduced conference registration rate (150 EUR per person – student identity document must be presented).
For student groups of three or more people there is a special rate (135 EUR per person).

To apply for participation, please send your CV/resume with photo and a cover letter to

We help participants to organize accommodation and meals at the comfortable castle guest house.

Check the programme & more practical details on

The nearest international airports – Graz and Vienna.

Visit us on Facebook

Photo Gallery


REVOLUTION 2.0 | You must remember this: Egypt’s artists drove its Summer of Mass Re-Awakening | in the Culture of One World

Make no mistake: artists led Egypt’s Revolution 2.0, which deposed the country’s first freely elected Islamist president and the Muslim Brotherhood.

Egypt has hit the re-set button. Political reporters, world leaders and media pundits everywhere have already begun commenting on the political instability in that country. It is a complex situation and not for the naive. But they will conveniently forget the most important piece of the puzzle: the role of artists in this Summer of Mass Re-Awakening.

The military’s action to oust Morsi, a U.S.-educated religious conservative, and the Muslim Brotherhood was, in fact, but the final moving piece in Egypt’s complicated political domino. It should be remembered that this Summer of Re-Awakening actually began as a culture war. It was a fight for free expression. It was a defense on the importance of independent artists. It was a battle for Egypt’s soul.

It all began when Egyptian artists occupied the culture ministry building in Cairo. Protesting artists staged sit-ins and brought music and performance to the streets. They halted performances of plays and operas. They issued calls for support from the international world, distributing letters and videos that spread virally on the Internet.

Artists occupied the culture ministry building to demand the dismissal of the recently appointed Culture Minister Alaa Abdel-Aziz. Artists demanded a halt to what they called the takeover of Egypt’s cultural scene by the Muslim Brotherhood, the group to which the democratically elected President Mohamed Morsi is affiliated.

What had started as an act of defiance against the Egyptian culture minister then escalated in the run-up to the June 30 mass mobilization against President Morsi, the largest in that country’s history which were planned by the Tamarod campaign to remove Morsi from power. (Tamarod is a people-led, anti-dictatorship campaign for a developed Egypt.)

The artists’ sit-in was not confined to Cairo. In Alexandria and in other cities across the country, sit-ins occupied theaters and opera houses. Artists held strikes. Their aim was to demonstrate how state-owned cultural spaces can be just as effectively run by independent cultural activists and artists. These sit-ins also served as a platform for a series of discussions on culture policy and the role of Egypt’s culture ministry.

Since the occupation of the ministry began, artists have been performing in the streets or on make-shift stages in Cairo. Uyoon Al-Horreya (Eyes of Freedom) and 18 Days, two films about the Egyptian revolution, were shown, according to a TDR-The Drama Review update. In this Youtube video, posted June 11, Marimba Queen Nesma Abd El Aziz can be seen performing at a sit-in festival.

Islamists have declared ballet haraam sinful and forbidden by God (because nude bodies encourage “licentiousness”). Nevertheless, stars of the Cairo Opera Ballet, who were officially on strike, offered excerpts from the ballet Zorba the Greek. Also, the pop group Ahmed Saad gave an impromptu concert that entertained the police.

Among the demonstrators are actors Khaled El-Sawy, Mahmoud Kabeel, Lobna Abdel-Aziz, Hany Salama, Abdel-Rahman Abou-Zahra, Olfat Amr, Maha Abu Ouf, Aida Fahmi, Ahmed Bedeer; writer Mohamed El-Ghitani; film directors Khaled Youssef and Amr Abdel Aziz; pianist Mohamed Saleh; conductor and composer Hisham Gabr; harpist from the Cairo Opera Orchestra Manal Mohie El-Din; head of the Academy of Arts Sameh Mahran; former head of the Cairo Opera House Ines Abdel Dayem; Grammy award-winning sound engineer Alaa El-Kashef; pianist and arts manager Ahmed Abou-Zahra; violinist Osman El-Mahdy; principal dancer from the Cairo Opera Ballet Company Hani Hassan; and renowned theatre critic and academic Nehad Selaiha, among hundreds of others.

Egyptian Artists Spoke Out Against the Muslim Brotherhood
Egypt is deeply divided between Morsi’s Islamist supporters and a broad-based opposition, led by artists. Egypt’s writers, filmmakers, theatre makers, visual artists and performers, although they were comparatively small in size, worked to take back Egyptian culture from the Muslim Brotherhood, whom they contend have ruined the country.

Since his appointment, the culture minister Alaa Abdel-Aziz had dismissed three leading members of Egypt’s cultural scene: the head of the Cairo Opera House, Enas Abdel-Dayem; the head of the Egyptian General Book Authority, Ahmed Mujahid and Salah El-Meligy, the head of the Fine Arts Sector.

In response, Egyptian novelist Bahaa Taher said he would resign from the state-run supreme council of culture in protest. “Over the past days, the minister has dismissed many valuable, highly educated and accomplished artists and intellectuals from leading positions in Egypt’s culture scene,” Taher told a local media outlet. Taher was the winner of the 2008 International Prize for Arabic Fiction in 2008.

Egyptians artists and performers argued that Morsi’s administration was no better than the decades of dictatorship under former President Hosni Mubarak. They argued that the country’s ruling Islamist Freedom and Justice party is attempting to cement control over the direction of their artistic work.

Egyptian performers also feared budget cuts will limit the vibrancy of the country’s art scene.

The Freedom of Creativity Front, a coalition of artists supporting the sit-in, said in a June 6 statement that their rejection of the Abdel-Aziz is not personal, but in response to government policies that view the “country as spoils to be divided among its supporters and followers.”

The artists said the firings of artistic leaders of operas and theater reflect a trend toward restricting freedom of expression, as well as the government’s willingness to court religious conservatives by cracking down on methods of expression deemed “offensive” or “immoral.”

Khaled Fahmy, chair of the history department at the American University in Cairo, wrot
e in a June 8 Al-Ahram op-ed, “The interest of the Brotherhood in the Ministry of Culture is based on an old and long engraved belief they have; namely, that Egypt’s identity has been hijacked by a handful of Westernized intellectuals, and that the time has come for Egypt to regain its original, pristine Islamic identity.”

According to Egyptian artists, a leading figure in the Muslim Brotherhood’s Freedom and Justice Party, Isam El-‘Iryan, branded a number of journalists, artists, and intellectuals “pro-Western atheists and secularists who have betrayed the religious creed of the Egyptian people” (Al-Akhbar Daily, 7 June 2013, p. 2).

The same accusation was made on Friday 7 June from the pulpit of a mosque in Madinet Nasr, Cairo. A respected journalist in Cairo Nehad Selaiha stated in an email to NYU professor Erin Mee, “This is a dangerous turn of events: such accusations can be understood by militant Islamists as a fatwa to kill ‘those infidels’ with impunity, thus virtually sanctioning the killing of artists and intellectuals.”

A New York Times article reported that in the city of Deir El Gabrawi, “Egypt’s prosecutors have been flooded with blasphemy complaints since 2011 as Islamists exercising their new societal clout have pushed for prosecutions and courts have handed down steep fines and prison terms for insulting religion.” Some examples cited in the Times story include :

  1. A Christian teacher in Luxor was fined $14,000 for allegedly insulting the Prophet Muhammad in class.
  2. A writer was given five years in prison for allegedly promoting atheism
  3. A Christian lawyer was sentenced to one year for privately saying something negative against insulting Islam.
  4. Religious activists have forced officials to suspend teachers and professors.
  5. In at least 10 cases, Christian families have been expelled from their homes after perceived insults, according to Ishaq Ibrahim of the Egyptian Initiative for Personal Rights.

International Cross-Cultural Projects Had a Role in Egypt’s Revolution 2.0
As the mass protests reached their peak on June 30, 2013, Egypt’s artists had also been in the front lines of engaging the rest of the world to embody their cause from afar. For instance, a group of Egyptian writers, poets and artists filmed a video “message from the Egyptian people to the world” and posted it on YouTube on June 26, 2013, five days before the June 30 mass protests took place.

In that video, which appears below, various young artists took turns to say that their protests are peaceful. “Egypt’s “current leaders do not represent our Islam,” they said, adding that “They do not represent our beliefs. They do not represent Egyptians.”

Another example: While many independent artists held a variety of musical events and rock performances outside the presidential palace, the Egyptian writer/director Dalia Basiouny was in Cairo marching in the protest and filming the revolution. In a live-streamed performance action called “Embodying the Revolution,” the film images Basiouny took were then streamed onto the web for one hour and projected on moving bodies at CultureHub in New York City.

CultureHub‘s mission is to provide a shared space for artists to collaborate, share ideas and create interdisciplinary works of art that explore emerging mediums and technologies. The cross-cultural project, said Basiouny and her collaborator Sarah Cameron Sunde in New York, attempts “to transcend time/space/nation, embody the revolution and stand in solidarity with the Egyptians’ struggle for peace and justice.”

Back in Cairo, the culture minister Abdel-Aziz rejected accusations that he was trying to “Islamize” the arts. He told the Muslim Brotherhood’s Arabic-language website: “This talk of ‘Islamising culture’ is a strange expression, as if it is a slur or a charge. The majority of Egyptians practise Islam.”

The opera singer Dalia Farid Fadel said that the culture minister’s argument entirely misses the point. What is at stake, she said, is “the essence of Egypt.”

“The authorities are trying to change the essence of Egypt by slowly wearing away at the diversity of our culture,” she told the Guardian. “Egypt is on the brink of bankruptcy and in this situation, cutting down on the arts can be presented as a natural choice. But we cannot afford to lose the arts, they are such a strong part of our identity as Egyptians.”

In an op-ed for CNN, Cynthia Schneider, a professor at Georgetown University and a former U.S. ambassador to the Netherlands, wrote that “artists tend to occupy the front lines against repression. So it comes as no surprise that the occupation of Egypt’s Ministry of Culture protesting the ‘Brotherhoodization’ of the ministry under the leadership of Alaa Abdel-Aziz has helped drive the planned massive demonstrations against Mohamed Morsi.”

Schneider added that “Ironically, in targeting cultural leaders, the Brotherhood has helped unify its opposition. For the artists are the canaries in the coal mine, who lead the way in questioning authority and in holding up a mirror to society. Just as with the 2011 revolution, this ‘second revolution’ began with youth activists, many of them artists, and now has spread like wildfire through the population.”

To read the most current updates about how artists sparked the Egyptian Revolution 2.0, visit the Facebook page of TDR The Drama Review. TDR is a scholarly journal that focuses on performances in their social, cultural, and political contexts.

Res Artis Newsletter – July 2013

Save the date: May 11-15, 2014 Thematic meeting: Social Practice and Artist Residencies

The first Res Artis Thematic Meeting, hosted by ARTPORT TEL–AVIV—the new vision venture initiated by Jason Arison, chairman of The Ted Arison Family Foundation—will take place on May 11-15, 2014.
Art Residencies and social practice art have had parallel developments. Since the 1980s, art residencies have experienced an exponential growth, and their missions have diversified far beyond merely providing space and time for artists to create. Many residencies now focus on addressing social issues and often involve various communities in their activities. Similarly, social practice art has undergone various redefinitions during that time—from new genre art, to dialogic art, to relational aesthetics—and has become a more standardized practice.
However, the intersection of social practice and art residencies has not been explicitly addressed. The conference, a collaboration between Res Artis and the ARTPORT residency, will attempt to bridge this gap by exploring the intersection of art, art residencies, and social practices executed in both realms. Read more about the topics to be addressed in the upcoming conference here

Read More

Res Connect: a new Res Artis initiative

During the General Meeting in Tokyo last year, we discussed ways in which we could create a more comprehensive network for our field., a more inclusive network were the membership fee wouldn’t be a barrier for new exciting and promising residency programs wanting to join us.
Having in mind all this positive exchange of ideas,we started the Res Connect initiative. Res Connect allows current Res Artis members to act as donors who pay the membership fee for a potential member who is without sufficient financial means to join our network. Besides the financial support,this program also strengthens the bonds between two residency centers within our network and can also be the basis of a fruitful reciprocal relationship.
Learn more on how to apply for a membership fee and become a Res Connect recipient here

Read More

Visa & Mobility: We advocate through our activities

According to the Universal Declaration of Human Rights (UDHR, 1948) all people are entitled to the recognition of inherent dignity and certain inalienable rights, which are the "foundations of freedom and justice in the world." Freedom of movement is one of the most basic human rights.
For residency organisations the implementation of the full set of human rights for their residents, and for themselves, informs the basis of their work. This makes it for us a central matter of concern that we want our members to be well-informed about, and to have the opportunity to help each other with their significant experience in the field. As an organisation, we strive to support initiatives that concentrate on visa and mobility issues in the cultural field in the EU and beyond, and we attempt to be engaged in advocacy activities where we can affect amendment for our members. Learn more about our activities concerning Visa & Mobility.
Read More

Res Artis is at "International Opportunities in the Arts: Engaging Minds"
"Engaging Minds"
is the theme for this year's Transcultural Exchange Conference, which will take place in Boston from October 10-13, 2013. This is a bi-annual meeting that presents international opportunities in the arts to artists. Since many of our members present at this venue, we usually get to see many of you there.
Our President Mario Caro will contribute to a conversation on residency networks as part of the TransCultural Exchange conference. The session will be chaired by Maria Tuerlings, Executive Director of Trans Artists and will also include Caitlin Strokosch of the Alliance for Artists Communities. Please let us know in advance if you are going as we are looking forward to seeing you there.
For more information visit: 2013 Conference on International Opportunities in the Arts
presented by TransCultural Exchange

Read More

Res Artis Mapping: new partnership with China Residencies
Since 2011 the Res Artis Mapping project has undertaken the task of comprehensively maps the world of residencies. This project initially began with Res Artis members to maintain a current map listing of permanent residencies. Afterwards, and in cooperation with Residencias en Red, we focused on Latin America. In addition to information about each residency, the map also has the capability of graphically representing various layers that can be used to illustrate a variety of features such as the type of residency, affiliated cultural networks, and collaborative relationships established between residencies.
The aim is to provide information about residencies and their relationships—to each other, to funders, to other institutions, etc.—in order to promote further collaborations.
As we are focusing on the Asian region, Res Artis has recently partnered with China Residencies, an organization that has just completed an initial research trip meeting of nearly 20 programs across mainland China and Hong Kong gathering video interviews, photo documentation, and best practices of the Chinese residency field. Together with China Residencies we will include all this information in our map.
As we c
ontinue to build and update this fantastic resource with other regional partners we welcome you to view our Res Artis Mapping project here.

Read More

Res Artis office warming

In October 2012, Res Artis moved its offices to the Rijksakademie. However, it was not until June 20th of this year that we were able –together with the staff of Capital A— to hold a proper office warming . We are very pleased to be in the inspiring environment of the Rijksakademie. We invite you to arrange a meeting with us if you are in the neighborhood and hope to see you soon!

Read More

Res Artis has become member of On the Move

Res Artis is very glad to announce that it has become a member of On the Move (OTM). On the Move is a cultural mobility information network with more than 30 members in over 20 countries across Europe and beyond. Their mission is to encourage and facilitate cross-border mobility and cooperation, contributing to building up a vibrant and shared European cultural space that is strongly connected worldwide. Together we''ll be joining forces and sharing knowledge to support the residency field through information coordination, advocacy and joint activities to contribute to the mobility of artists and cultural operators around the globe. For more information about On the Move visit their website

Upcoming deadlines

Are you looking forward to have an artist-in-residence experience?

We are an association of over 400 centers and organisations in over 70 countries.

Our members are dedicated to offering artists, curators, and all manner of creative people a time and place away from their every-day life, an experience framed within a unique geographic and cultural context.

Browse our upcoming deadlines list and find your next artist in residence experience!

Arts & Democracy Project – Forced to Flee Resource Newsletter

Greetings from the Arts & Democracy Project!

On June 11th, the Arts & Democracy Project hosted Forced to Flee: Exiled Visions and Voices for Justice, a national conference call organized in collaboration with freeDimensional.  In this call we heard from refugee artists, artists forced into exile, cultural organizers and their allies, as they spoke about how they are using the power of art and culture to amplify the voices and visions of those forced to flee their countries of origin. Presenters included Sidd Joag, director of freeDimensional, Chaw ei Thein, Burmese artist and activist, Erika Berg, founder of Refugee Youth Empowered, Ova Saopeng, performance artist, cultural worker and co-creator of Refugee Nation. Todd Lester (Arts-Policy Nexus/ Art) framed the call and Andrea Assaf (Art2Action) was the moderator and respondent.

In this e-newsletter, you will find the conference call recording as well as other resources related to the Forced to Flee call.


Chaw Ei Thein is a painter and performance artist whose work stems from her contrasting experiences of growing up in a politically oppressive Burma and then shifting to a very different landscape in the United States. Chaw Ei's emotionally charged work addressing these conflicts in her native country has earned her critical acclaim, awards, and residencies in the U.S. and abroad. 

Refugee Nation is an interdisciplinary theater performance about a young generation struggling to understand their history and the silence of an elder generation still healing from the traumas of war. Refugee Nation tells the stories the Laotian refugee community created by a U.S.-led secret war in Laos. Since 2005, collaborators Leilani Chan and Ova Saopeng have been collecting oral histories from family and community members across the country to create an interdisciplinary theater performance that explores a growing part of the Asian American Diaspora that is yet to be included as part of the American experience. 


Refugee Youth Empowered is a visual storytelling project designed to empower refugee youth to (1) increase public awareness of refugee issues and aspirations while cultivating global citizenship in their non-refugee peers, (2) launch outreach efforts that build their cross-cultural community-building skills and partnerships, and (3) instill leadership skills that foster greater self-sufficiency and civic participation.

Forced to Flee: Visual Stories by Refugee Youth from Burma was a sobering exhibition organized by Refugee Youth Empowered in 2012. It displayed never-before-seen paintings that give voice to haunting memories, struggles and irrepressible hopes of refugee youth from Burma (Myanmar).  

Finding Voice Project is an innovative literacy and visual arts program in Tucson, AZ dedicated to helping refugee and immigrant youth to develop their literacy and second language skills by researching, photographing, writing, and speaking out about critical social issues in their lives and communities. Youth work through the creative process to publishing thought-provoking pieces, which they share with the community through exhibitions, community forums, publications, public installations, and online.

Mapping Memories is a collaborative media project which uses personal stories and a range of media tools (video, sound walks, mapping, photography) to better understand the experiences of youth with refugee experience in Montreal. Our objective has been to produce creative work that will have an impact on policy, education, art and on the lives of the youth involved.


freeDimensional advances social justice by hosting activists in art spaces and using cultural resources to strengthen their work.  Based on the belief that creative expression fuels social justice movements, freeDimensional works with the global arts community to identify and redistribute resources, and support meaningful relationships between art spaces and activists.  

Arts-Policy Nexus is a cross-cutting initiative of the World Policy Institute, directed by Senior Fellow Todd Lester.  It strives to connect socially engaged artists and policy-makers in order to create wider audiences which push for changes in individual behavior and public policy on issues that are crucial to our collective future

New Tactics in Human Rights helps human rights defenders work more effectively so they can achieve their goals and better address human rights violations around the world. They develop and share a range of online materials, including resources focused on arts and culture, offer training
s and mentoring, and facilitate a peer-to-peer on-line conversation that strengthens the global community of human rights advocates.

Article 19 envisions a world where people are free to speak their opinions, participate in decision-making and make informed choices about their lives. They campaign with people, monitor, research, publish, advise and advocate around the world to ensure the right to freedom of expression and each person's right to information. 

FREEMUSE is an independent international organization which advocates freedom of expression for musicians and composers worldwide.  

Legacies of War raises awareness about the history of the Vietnam War-era bombing in Laos and advocates for the clearance of unexploded bombs. The organization uses art, culture, education, community organizing and dialogue to bring people together and create healing and transformation out of the wreckage of war.

Theatre Without Borders (TWB) is a network of international artists, theatres and organizations that share a common interest in international exchange. TWB advocates for theatre artists who see themselves as members of a global community as well as citizens of their respective nations and cultures.


Creative Resistance Fund provide small distress grants to people in danger due to their use of creativity to fight injustice. These situations may include verbal threats, imprisonment or legal persecution, violent attack, professional or social exclusion, or harassment. The fund may be used to evacuate a dangerous situation; to cover living expenses while weighing long-term options for safety; or to act on a strategic opportunity to affect social change.

Art Spaces Hosting Activism is a tactical notebook produced by freeDimensional with New Tactics in Human Rights that recounts the creative and collaborative process developed by freeDimenstional for using surplus resources to provide individual assistance and strengthen community engagement.

Acting Together is a collaboration between the Peacebuilding and the Arts Program at Brandeis University and  Theatre Without Borders that explores the terrain where artists and peacebuilders engage people in creative
acts of courage and moral imagination. They have produced Acting Together on the World Stage, an award-winning documentary, Acting Together: Performance and Creative Transformation of Conflict, a two-volume anthology about peacebuilding performances in regions beset by violence and internal conflicts, and Tools for Continuing the Conversation.

As always, we're proud to highlight the great work in this field to support and cross-pollinate an extraordinary network of artists, cultural workers, policymakers, educators, and activists. Please be in touch, and let us know what you think!

All our best,
Amalia, Caron, Kathie, Javiera, and Michelle
Arts & Democracy Project 


Los Angeles, October 10-13th, 2013

Call for Participation & Working Group Descriptions – Deadline: July 31, 2013

Call for Participation: The inaugural 2012 Hemispheric Institute of Performance and Politics Graduate Student Initiative (Hemi GSI) Convergence, hosted by Duke University, examined emancipation, liberation, revolution, occupation, geopolitics, “artivism,” and militant research in order to engage the lived tensions of these contemporary concepts in bodies, knowledge, and locations.

To further dialogues initiated at Duke University, the second Hemi GSI Convergence invites graduate students from the humanities, arts, and social sciences to come together and develop exploratory spaces of lateral collaboration and alternative pedagogies. “Experimental Collectivities” will bring scholars, artists, and activists from throughout the Americas into discussions of care, labor, bodies, islands, and borderlands through panels, performances, film, visits to community spaces and research working groups.

Participants include : Raquel Barreto (UCLA), Zach Blas (Duke), Micha Cárdenas (USC), Jorgelina Cerritos (Playwright, El Salvador), Marissa Chibas (Performer, Los Angeles), Kency Cornejo (Duke), Hope Cristobal (Chamorro activist), Doris Difarnecio (Centro Hemisférico, Chiapas, México) Ricardo Dominguez (UCSD), Macarena Gómez-Barris (USC), Ismael Guadalupe (Viequense activist), Jack Halberstam (USC), Jen Hofer (CalArts, Antena), Terrilee Keko'olani (Kanaka Maoli activist), Josh Kun (USC), Fred Moten (Duke), Juan de Lara (USC), Marissa López (UCLA), Raúl Martín Ríos (Director, Teatro de la Luna, Cuba), Maria-Elena Martínez (USC), Vivian Martínez-Tabares (Director of Casa de las Américas, Havana, Cuba), China Medel (Duke), Sean Metzger (UCLA), Nicholas Mirzoeff (NYU), Lorie Novak (NYU), Tavia Nyong’o (NYU), José Luiz Passos (UCLA), Alex Rivera (Film director, Los Angeles), Leticia Robles-Moreno (NYU), Chantal Rodriguez (LATC), Marcos Steuernagel (NYU), Diana Taylor (NYU), and Low End Theory (experimental hip-hop and electronic music, Los Angeles).

The 2013 Hemi GSI Convergence is co-hosted by the University of California, Los Angeles and the University of Southern California from October 10-13th 2013. To participate, you are invited to submit an abstract to present your research in one of our ELEVEN WORK GROUPS (descriptions below).

Deadline:   July 31, 2013
Requirements: Research Abstract (500 words max), CV (2 pages)
Directions:  Send to
Please, indicate the Working Group you are applying for in the subject- line of the email.

Convergence 2013 Directors
Rebekah Garrison (University of Southern California)
Isabel Gómez (University of California, Los Angeles)
Yvette Martínez-Vu (University of California, Los Angeles)
Ana Paulina Lee (University of Southern California)
Olivia Sánchez (Los Angeles Community College)

The 2013 Hemi GSI Convergence is made possible by generous support of the Hemispheric Institute of Performance and Politics (NYU), Visions and Voices (USC), USC Graduate School, Center for Transpacific Studies (USC), Comparative Studies in Literature and Culture Doctoral Program (USC), American Studies and Ethnicity (USC), Department of Spanish and Portuguese (USC), Department of Spanish & Portuguese (UCLA), Department of English (UCLA), and the Latin American Institute Working-Group for Travel, Translation & Circulation (UCLA).

Los Angeles, 10-13 de octubre 2013
Convocatoria y descripciones de los grupos de trabajo – Fecha límite:  31 de julio

Convocatoria: La Convergencia inaugural de la Iniciativa de Estudiantes Graduados del Instituto Hemisférico de Performance y Política (Hemi GSI), organizada en 2012 en colaboración con la Universidad de Duke, examinó temas como emancipación, liberación, revolución, ocupación, geopolítica, el “artivismo,” y la investigación militante con el fin de involucrar en las tensiones vividas de estos conceptos contemporáneos en cuerpos, conocimientos y espacios.

Para desarrollar los diálogos que se iniciaron en Duke, la segunda Convergencia Hemi GSI invita a estudiantes de posgrado en humanidades, artes y ciencias sociales para reunirse y desarrollar espacios de exploración, de colaboración lateral y de pedagogías alternativas. “Colectividades experimentales” reúne académicos, artistas y activistas de las Américas para discutir temas de custodia, labor, cuerpo, islas, y fronteras en paneles, performances, presentación de películas, visitas a espacios comunitarios y grupos de trabajo.

Participantes: Raquel Barreto (UCLA), Zach Blas (Duke), Micha Cárdenas (USC), Jorgelina Cerritos (Playwright, El Salvador), Marissa Chibas (Performer, Los Angeles), Kency Cornejo (Duke), Hope Cristobal (Chamorro activist), Doris Difarnecio (Centro Hemisférico, Chiapas, México) Ricardo Dominguez (UCSD), Macarena Gómez-Barris (USC), Ismael Guadalupe (Viequense activist), Jack Halberstam (USC), Jen Hofer (CalArts, Antena), Terrilee Keko'olani (Kanaka Maoli activist), Josh Kun (USC), Fred Moten (Duke), Juan de Lara (USC), Marissa López (UCLA), Raúl Martín Ríos (Director, Teatro de la Luna, Cuba), Maria-Elena Martínez (USC), Vivian Martínez-Tabares (Director of Casa de las Américas, Havana, Cuba), China Medel (Duke), Sean Metzger (UCLA), Nicholas Mirzoeff (NYU), Lorie Novak (NYU), Tavia Nyong’o (NYU), José Luiz Passos (UCLA), Alex Rivera (Film director, Los Angeles), Leticia Robles-Moreno (NYU), Chantal Rodriguez (LATC), Marcos Steuernagel (NYU), Diana Taylor (NYU), and Low End Theory (experimental hip-hop and electronic music, Los Angeles).

La Convergencia Hemi GSI 2013 es co-organizada por University of California Los Angeles y University of Southern California, del 10 al 13 de octubre. Para participar, están invitados a presentar su trabajo de investigación a uno de nuestros ONCE grupos de trabajo (descripciones a continuación).

Fecha límite:  31 de julio
Requisitos:  Sumilla de investigación (500 palabras), CV (2 páginas)
Instrucciones: Enviar los 2 documentos a
Por favor, indique el grupo de trabajo que está solicitando en la línea de asunto del email

Organizadoras principales de la segunda Convergencia Hemi GSI:
Rebekah Garrison (Universidad del Sur de California)
Isabel Gómez (Universidad de California, Los Angeles)
Yvette Martínez-Vu (Universidad de California, Los Angeles)
na Paulina Lee (Universidad del Sur de California)
Olivia Sanchez (Los Angeles Community College)

La Convergencia Hemi GSI 2013 es posible gracias al generoso apoyo del Instituto Hemisférico de Performance y Política (NYU), Center for Transpacific Studies (USC), Estudios comparativos en el programa doctoral de literatura y cultura (USC), Estudios americanos y de etnicidad (USC), el Departamento de Español y Portugués (USC), el Departamento de Español y Portugués (UCLA), el Departamento de Inglés (UCLA), y el Grupo de trabajo “Viaje, traducción y circulación” del Instituto Latinoamericano (UCLA).

Mobility Funding Guides | Second Edition – Asia-Europe Foundation (ASEF)

Greetings from the Asia-Europe Foundation!

The second edition of Mapping for Funding Opportunities for International Cultural Exchange in Asia comes nine months after the launch of the first edition, offering a number of relevant updates in the Asian region and beyond.
A guide for Bangladesh is also now available, listing national, regional and international funding opportunities for cultural mobility aimed at individuals from Bangladesh and also international applicants looking to practice there.
Initiated by the Asia-Europe Foundation (ASEF) through its online portal, the 21 mobility funding guides are a concrete output of the mapping of funding opportunities for international cultural exchange in 19 countries in Asia.
The initial research was conducted with the cooperation of Korea Arts Management Service (KAMS), Japan Center, Pacific Basin Arts Communication (PARC), Tokyo Performing Arts Market (TPAM) and Arts Network Asia (ANA).
The main objectives of the mapping are to make available online, in a transparent way, the existing information on funding for the international mobility of artists and cultural operators in Asia and to give input to funders on how to fill the existing gaps in funding for international cultural exchange in Asia.
You can download the updated guides now at
We hope that the guides are useful to our readers!

TEH Newsletter #6 – Open call: Apply for artistic and networking projects between Europe and Asia!

Travel in Europe and Asia with Trans Europe Halles! It is still possible to apply for Creative Encounters and Creative Networks!

These open calls launched by ASEF together with Trans Europe Halles and ANA aim at supporting collaborative and creative projects between countries in Europe and Asia. Last year, the second edition of Creative Encounters supported 5 artistic projects, involving 8 initiatives in 8 different countries. These activities benefit about 120 participants and reached a large audience in each country.

For the first time this year, a specific call was created for international networks, to reinforce the dialogue between cultural professionals.

Deadline for application: 15th of August 2013

Apply to the projects.

Call for Papers on Collaborative Translation

Call for Papers: “Collaborative Translation: from Antiquity to the Internet”/La traduction collaborative : de l’Antiquité à Internet

5-7 June 2014, Paris
Regional Workshop of the International Association for Translation and Intercultural Studies (IATIS)
Organized by Université Paris 8 – Vincennes-Saint-Denis
Conference venues:  Bibliothèque Nationale de France and Université Paris 8

This IATIS Regional Workshop will explore the diversity of translation practices which challenge the myth that the singular translator could or indeed should assume the place of an “original” author. We hope to encourage scholars to think about the collaborative dimension to all forms of translation, past and present, and to interrogate how creative practices are negotiated within institutional contexts. We welcome contributions which present collaborative translation histories and practices from beyond Europe, thereby contextualizing Western thinking about translation.

The European history of translation has witnessed a tension between an individualistic and a collaborative approach to translation. From Antiquity to the Renaissance, translation was commonly practised by teams comprised of specialists of different languages. At the centre of translation teams experts from different cultures came together to find solutions to translation problems, and the acts of reading and re-writing were commonly separated and multiplied between participants. During the Renaissance, however, prefaces and tracts which discussed translation focused more and more upon an imputed singular act of translation. Indeed, the demands for unity within institutions and discourses of Early-Modern Europe—such as the standardizing of language and the consolidating of faith, household, state, monarchy and Church under their respective singular patriarchs—were coupled with demands for poetic unity in action, time, place and style. These pressures were felt in Renaissance theorizations of translation, which gave priority to an individualist model of translation at the expense of competing ones, such as collaborative translation. Devolving upon the individual the task which was often performed by the many allowed those writing about translation to imagine the translator to be a text’s surrogate author, at once giving the translator the daunting task of equalling the comprehension of the author in the author’s tongue and matching that author’s skill and style in another. The Renaissance thus paved the way for a new concentration on the individual translator, who found his, and rarely her, apogee during the Romantic period, when the writer as artist was idealized as the singular figure inspired with an immaterial, even spiritual, genius, and, following Walter Benjamin’s celebrated reading, one capable of offering up fragments of an ideal language. Nevertheless, Translation Studies broadly accepts Venuti’s argument that in the Modern period a desire emerged to efface the existence and creativity of the translator. Yet a less accepted notion is that this period also gave rise to the fabrication of the myth of the translator as a singular surrogate author. Indeed, translation has rarely, if ever, been an unmediated exchange where one person works in front of a text in isolation from their collaborators and peers, their editors and publishers, their country and its institutions.

The IATIS Regional Workshop in June 2014 is a three-day conference hosted by the University of Paris 8 ¬– Vincennes-Saint-Denis. It focuses on this repressed history of collaborative translation in order to recontextualize translation practices today. In particular, we invite papers which address how new technologies and the internet have expanded the potential for collaborative practices through the use of translation memories, cloud translation, fan sourcing, translation by web communities etc. But we also strongly encourage papers which bring these practices into relief, and so we encourage proposals for papers which might also consider the following topics, without being limited by them:

•    the history of collaborative translation;
•    collaboration in translation outside the West, today and in the past;
•    the cooperation between communities of different cultures for the transmission of their learning, science and literature;
•    pseudo-collaboration and the politics of translating collectively (conflict, negotiation, tactics, power…)
•    collaborations between authors and translators;
•    the exchanges, desires and compromises between translators, correctors, editors, and publishers;
•    collaborations between different parties involved in translating for the theatre, the opera and the cinema;  the influence of companies and public and private institutions in these industries;
•    the influence of affect or the human and interpersonal dimension in exchanges between parties to collaborative translation;
•    the nature of virtual exchanges and their influence upon translation;
•    the effects of institutional pressures to translate collaboratively to increase "efficiency";
•    the challenges of archiving collective works and problems generated by collective authorship.

Deadline for submission of abstracts: 1 October 2013
Conference languages: English and French
Please send abstracts (200-500 mots) to Easychair ( and your questions to

Publication: the organizing committee has secured peer review publication in book and online formats.
Paris Organizing Committee
Dr Anthony Cordingley
Dr Céline Frigau Manning
Dr Marie Nadia Karsky
Dr Arnaud Regnauld

This conference is a collaboration between the International Association for Translation and Intercultural Studies (IATIS), the Bibliothèque Nationale de France (BNF), the Labex Arts-H2H and three research laboratories of the Université Paris 8: Laboratoire EA 1569: Transferts critiques et dynamiques de savoirs; Laboratoire EA 4385, Laboratoire d’Etudes Romanes; and the Laboratoire EA 1573, Scènes et savoirs.

Between the Seas Festival 2013

Between the Seas Festival (July 22-28) returns to the Wild Project for its 3rd edition with some of the most cutting-edge, political and innovative performers from the Mediterranean. This year's program includes contemporary theater from Greece, a France/Algeria multimedia collaboration on A. Camus, andcontemporary dance from Italy, Spain, Turkey, Israel and NYC. Highlights include : City State, a devised performance by Greece's Kanigunda theater; Eyes, by the Arab-Hebrew theater of Jaffa; Redshift, a world premiere by Y. Mavritsakis, one of Europe's most prominent playwrights. Tickets are $20 (general); $15 (students/seniors). You may purchase online or on the phone: 212.352.3101. Visit for festival info.