Royal Court Theatre International Playwrights Group 2015 – Call for Applications

Royal Court Theatre International Playwrights Group 2015 – Call for Applications

Apply to the Royal Court International Playwrights Group (Formerly the Royal Court International Residency). This will take place this year from the 6-24 July and we would welcome your spreading the word and recommending any emerging writers you think might be benefit from the programme. This project has evolved over the last 25 years and we are currently working in a much more focused way with between 5-7 international writers every year. Last year we had writers from Argentina, China, Germany, South Korea and South Africa.

Full details are available at the address below, and the deadline is 31 January, 2015. I send love to you and wish you all the best as we reach the end of 2014.

Elyse Dodgson

International Director

Royal Court Theatre

NELLA TEMPESTA: An adaptation of William Shakespeare’s The Tempest, New York

NELLA TEMPESTA: An adaptation of William Shakespeare’s The Tempest, New York 

By Motus Theatre


December 11 – December 21

Dec 11 at 7:30pm to Dec 21 at 4:00pm

Thursday – Saturday at 7:30pm / Sunday at 4pm
Ellen Stewart Theatre

The third and final production in La MaMa's TEMPEST 3 series is the U.S. premiere of NELLA TEMPESTA.

Italy's provocative and dynamic MOTUS Theatre Company explores questions of freedom, control and power by reflecting on the turmoil in our society – the impact of Hurricane Sandy, the consequences of the economic crisis and questioning of future landscapes. 

NELLA TEMPESTA is created from fragments of novels by authors including: Philip K. Dick, William Gibson, Aldous Huxley as well as Shakespeare's The Tempest and Une Tempête by Aimé Césaire. This version of The Tempest imagines the play about a world not as it appears to be ending, but a world on the verge of a new beginning.

“Nella Tempesta (Into the Storm) is an unconventional, engaging, poetic and exciting performance by Motus starting from Shakespeare’s Tempest and the re-reading by Aimé Césaire.
5 actors (+ 1) on the stage, a scenography made up with some multi-coloured blankets – that are enough to evoke the land and the sea, the present and the past, the visible and the invisible – a bare stage, white page in which the young and lithe cast act. 
The Tempest speaks about the real tempests we’re obliged to live today, and Shakespeare becomes an act of resistance for not being lost in this damn storms."

Motus, hailed by New York Times as fresh and ferocious, creates a form of theatre that doesn’t happen in front of the audience, but with the audience.

For Tickets: go to:

Roberto Cimetta Fund to support strengthening and sustainability of organisations and projects

Roberto Cimetta Fund to support strengthening and sustainability of organisations and projects

In the context of international mobility and exchange of artists and cultural operators, the Roberto Cimetta Fund is launching a funding line to support strengthening and sustainability of organisations and projects. This funding line aims to promote cultural and artistic initiatives lead by Arab artists and cultural operators developing local projects (venues, networks, platforms). We hope through this fund to create a leverage effect that could contribute modestly to rebalancing forces between Arab and European components in the exchange, as well as strengthening and sustaining cultural exchange between Arab regions. The grants provided will not exceed 3000€ and can be considered as co-funding depending on the projects selected. Only artists and cultural operators from the Arab world can apply to this fund. The experts and Board members of the Roberto Cimetta Fund will monitor the selected projects during their implementation.

This call for applications is open from 1st December 2014 for two months until 31st January 2015. The evaluation and selection processes will take place during the months of February and March 2015. The results will be announced on 1st April 2015. Three projects at least will be selected. The funds provided must be used within two years, unless agreed otherwise.

A Steering Committee composed of representatives of the French Ministry of Culture and Communication and the Roberto Cimetta Fund will meet to evaluate this first “experimental” phase and decide if it should be continued or re-defined.

The Roberto Cimetta Fund and the French Ministry of Culture and Communication hope that this fund can serve to strengthen projects that emerge following the benefits of a travel grant and at the same time support the financial autonomy of local independent cultural initiatives. 

Applications can be made in Arabic, English and French.

Eligibility criteria of this Fund and conditions for the provision of funds

The eligibility criteria and allocation conditions for the provision of funds are as follows:

   i.      Applications can be made by individuals (artist or cultural operators) or by independent organisations (only small or medium organisations whose annual budget does not exceed 20 000€. Support will not be provided to public or semi-public organisations).

ii.      The applicant (organisation or individual) must be based in the Arab geographical region. Age and nationality are not eligibility criteria of this Fund.

iii.      All contemporary artistic disciplines are eligible: performing arts, all forms of visual arts, literature, music, and cultural policy research…. This fund is specifically for artistic creation and cultural activities. Humanitarian aid or school/university projects are not eligible to this Fund. 

iv.      The project presented must explain how it will develop in the long term and contribute to local cultural development.  Sustaining a project implies any action that will allow the organisation or the action to last. For example this could be by providing a salary to an administrator, buying equipment, renovating a space, undertaking training, building networks…). Support to artistic production can be provided if the production itself can prove its “sustaining” effects. The aim of this Fund is to stabilise projects in their local environment, allowing them to establish recognition and develop their networking capacities. 

 v.   The call aims to offer funds to applicants that have difficulty finding the funding needed for their sustainable development. Proof of co-funding is recommended but not compulsory.

vi.  Special attention will be given to projects that transfer values such as respect for the diversity of cultural expressions, freedom of artistic expression, fair exchange and solidarity. Moreover, applicants must agree with the ethical charter of the Roberto Cimetta Fund. 

vii. Although open to projects from all geographic regions of the Arab world, this Fund will be particularly attentive to projects in rural or suburban areas.

viii. Eligible costs can be operational costs, costs for renovation or equipment, artistic production costs, travel or hosting costs, translation costs, etc. All expenditure must be clearly and chronologically defined in the application. If your application concerns renovation or equipment costs a pro forma invoice will be requested with the application.

ix. An agreement between the project leader and the Roberto Cimetta Fund will be drawn up if the project is selected. This agreement will clearly stipulate the aims of the project, the actions that will take place, the conditions of transfer of funds, the role of the Roberto Cimetta Fund and the monitoring process of the project.

 x. The report that will be required to obtain the final payment will be composed of a written activity report, a detailed expenditure report, proof of communication of the support of RCF and all other proof that the project has taken place (photographs, report from the various actors involved, etc.). 

xi. If the project concerns hosting the project leaders/beneficiaries abroad, or the hosting of foreign artists, it is important that the length of stay be sufficient in order for travellers to understand the local cultural context. This measure favours a proper understanding of the cultural and artistic challenges in a given local context and stresses the need to allow time to build trust between actors; for the sustainability of any artistic and cultural exchange.

xii.  Funding is directly transferred to the account of the project leader (organisation or individual) in the following way: 30% following the signing of the agreement, 50% after the intermediary report (approximately a year after the beginning of the activities), 20% after the submission of the final report and accompanying documents.  

It is possib
le to make a request online as from 1st December 2014 here. You can visit the RCF website at this address:

9th Annual Mexico/ U.S. Playwright exchange, New York

9th Annual Mexico/ U.S.  Playwright exchange, New York 

In collaboration with FONCA (México's National Fund for Culture and Arts) 

4 mexican playwrights 
4 u.s. playwrights 
10 day dialogue 
4 free new plays in translation 
1 celebración



saturday, december 13th – 4pm


by Antonio Zúñiga Chaparro

translated by Tatiana Suarez-Pico

Brenda Paz, a young immigrant woman from El Salvador, becomes a high ranking member of two factions of the brutal Mara Salvatrucha gang in the U.S. She embarks on a life of crime and is caught in a love triangle that brings about betrayal and bloodshed. Based on a true story  

saturday, december 13th – 7pm


By Luis Ayhllón

translated by Jorge Ignacio Cortiñas

An old man is dying of cancer and is being forced to sell his house when he is approached by an old frenemy who proposes they rob a jewelry store. To aid them in this unlikely endeavor, the two old men recruit a young meathead who moonlights as a porn actor.  Sunday, december 14th – 4pm


by Aída Andrade Varas

translated by Virginia Grise

Matthew, incarcerated for a crime he did not commit, struggles to understand the difference between guilt and innocence. He dreams of the ocean and a woman named Ana. When stories do not belong to men but to fate, who can you trust? Sunday, december 14th – 7pm


by Flavio Gonzalez Mello

translated by Carmen Rivera

In the wake of an unknown natural disaster, a group of people are trapped within the bowels of an “intelligent building.” Was it an earthquake? A fire? A terrorist attack? … Or has the building developed a conscience and has decided to commit suicide?

All public readings will be @ the LARK BAREBONES STUDIO:

311 west 43rd street, 5th floor (btw 8th & 9th avenues)

Subway: 1, 2, 3, A, C, E, N, Q, R to Times Square Monday, December 15th – 7:30 – 9:00pm


Come hear excerpts from these exciting new works, meet the writers, and help us celebrate this international exchange with food and drinks!



9:15 – 11:30pm

After Party @ Lark Play Development Center

Introducing Asymptote

Introducing Asymptote

I'm writing today to introduce all of you to Asymptote (, an online journal of literature that has published new work from 95 countries in 67 languages, by the best authors of our time such as J.M. Coetzee, Michael Hofmann, Lydia Davis, Herta Müller, David Mitchell and César Aira. In 2012, we were nominated Magazine of the Year next to The London Review of Books.

We're pretty unique in that we have a drama section, edited since April 2011 by Obie award-winning Caridad Svich. It's a pity that not more drama lovers know about us because our magazine, which is assembled by editors from 27 countries, is entirely free. If you have a moment, here is a lovely animated introduction ( that brings you up to speed on what we do.

We're currently trying to get word out of our fundraising campaign (, which was just launched less than a week ago. There are many exciting perks that we're giving away, from designer AsympTotes to literary care packages. The money that we raise will go towards keeping the magazine free to all readers; holding the second edition of our international translation contest (; organizing more international events to promote world literature (; and finally, developing an educational arm, so that teachers everywhere can incorporate Asymptote into their lesson plans and cultivate a love for world literature in the next generation of readers.

 Just this year alone, to promote world literature, we gave away three thousand dollars to the six winners picked out of the hundreds of emerging translators who participated in our inaugural translation contest. We organized fourteen events on four continents (you can find all their photos, videos and podcast recordings here), and started a "New in Translation" series on our blog, where we review the latest titles published each month. There remains much more that we can do for global literature on a platform that has already attracted so much attention.

 Do check out our campaign and, if our little magazine speaks to you, please donate what you can, and help to spread the word! Our fundraiser ends on 18 December, but the earlier you lend us your wonderful support, the more momentum you’ll help create.

Lee Yew Leong

Editor-in-Chief, Asymptote

An Invitation to Create: the People's State of the Union! USA

An Invitation to Create: the People's State of the Union! USA

Once a year, the President delivers the State of the Union address, a speech meant to highlight important national issues from the past year and suggest priorities for the coming year. It’s a broadcast from one to many. But what if, once a year, we could all speak and listen to each other? What if We the People reflected in our own communities on the condition of our culture and the state of our union locally, nationally, globally? What if we could supplement the President’s stories with our own? The People’s State of the Union is an invitation to do just that. 

The Action

The action will take place in three phases with opportunities for participation at any or all levels. 

  1. Coming Together – Live Events, Story Circles

From January 23-30, 2015, we’ll come together to tell our own stories, filling in some of the things that didn’t make it into the official speech. In living rooms, theaters, community centers, places of worship, parks, schools, and other settings, individuals and organizations will host creative gatherings with three main ingredients: art, food, and meaningful dialogue. Using a simple method called “story circles,” we’ll reflect on the last year through the following prompts:

  • Tell a story about a moment you felt true belonging—or the opposite—in this country or in your community.
  • Describe an experience that showed you something new or important about the state of our union.
  • Share about a time you stood together with people in your community. 

2. Sharing back Stories – For everyone, by everyone

Scribes at each site will document and upload stories shared at the live event to an online web portal, tagging significant themes to be easily sortable. Additionally, those who who did not attend a live story circle event will be invited to contribute their story online. These stories will be publicly accessible. Anyone can visit and discover the themes arising across the U.S. 

3. Poetic ADDRESS & National Context

In the week following the story circles nationwide, members of the USDAC National Cabinet will comment on themes that arise, tying individual and collective experiences to a larger narrative of who we are as a people and what we might imagine and stand for together. 

Simultaneously, a diverse group of poets from across the U.S. will be invited to co-create the “2015 People’s State of the Union Address,” drawing from the stories shared online as source material for a collective poem. The Poetic Address to the Nation will be performed and broadcast live from its premiere at the Bowery Poetry Club in New York City on February 1, 2015. Transcripts will be made available for future readings and performances. 

How To Participate 

Register to Host 

Host a story circle! It's as simple as it sounds. A story circle is a group of people, sitting in a circle, telling personal stories with the support of a facilitator. Those who register to host a People’s State of the Union event will be invited to take part in a story circle facilitation training online and will receive a toolkit to support them in holding a successful event. Find out more about how to host a story circle in your community using the button above! 

The People’s State of the Union is the first in a series of reimagined American holidays, developed by the USDAC and partners, intended to spur community dialogue in the service of justice and democracy through new, participatory civic rituals. 

2015 Festival Returns to Fort Mason — Save the Dates

2015 Festival Returns to Fort Mason — Save the Dates


Support SFIAF with a Tax Deductible Donation on Giving Tuesday Dec. 2.

May 20 – June 7    2015


150 Performances, 60 Ensembles from 10 Countries




The San Francisco International Arts Festival is thrilled to announce that in 2015 we will be moving back to the Fort Mason Center and will be co-presented by Fort Mason as part of its FMC Presents Series. The relationship gives SFIAF access to seven different venues on the Fort Mason campus and the ability to present over 150 ticketed performances by artists from the Bay Area and ten countries in the space of three action packed weeks. The Festival will also feature a major arts exhibition titled Bearing Witness: Surveillance in the Drone Age compiled by curators Matt McKinley and Hanna Regev as well as multiple educational, residency and outreach activities. 

Put us in your 2015 calendars now: March 1 to buy your tickets, May 20 Opening Night. Also, tomorrow December 2 is Giving Tuesday, please consider making a year-end tax deductible donation to the Festival. It all goes to support performances by the amazing list of artists below.

The lineup of performance artists confirmed to date for the 2015 Festival is as follows: Abada Capoeria, Abhinaya Dance Company, Āine Ryan, Allison Lovejoy, Alma del Tango, Alyce Finwall Dance Theater, Anne Bluethenthal & Dancers with MezoAmerica, Ariel Luckey, Bill Kalinkos, Bob Ernst, Cali & Co., Charline Formenty, Christine Bonansea, Compagnie Artara, Concerto Club with Gabriel Urgell Reyes, Croi Glan Integrated Dance Company, Dancing Earth, Deborah Slater Dance Theatre, devorah major with Brian Freeman and the Destiny Mohammed Trio, Diana Gameros, Eth-noh-Tec, Fogo na Roupa, Francis Wong & Tatsu Aoki with Lenora Lee, Grupo de Rompe y Raja, Horse Dance Theatre, Inferno Theatre, James Cousins Company, Jesper Arin, Kiandanda Dance Theater, Kitka Women's Vocal Ensemble, Krista DeNio Productions, La Misa Negra, La Peche, Laura Inserra, Loco Bloco, Łowiczanie Polish Folk Ensemble, Maboiuch, Madan Oak, Maria Jose Montijo, Mary Armentrout Dance Theater, Matt EL, Melody of China & Shih-yang Lee, Olga Kosterina, Project Agora, Punkkico, Sarah Cahill, The Foundry, Theatre of Yugen, tinypistol, Voodoo Cabaret and ZiRu Dance.

Open Submissions for Alwan 3rd i Film Awards Extended to Dec. 31, 2014

Open submissions for Alwan 3rd i Film Awards extended to December 31, 2014

Open Submissions for Alwan 3rd i Film Awards Extended to Dec. 31, 2014  

Wednesday, December 10th, 7:00pm at Alwan

Artists Talk: Henry Chalfant in Discussion with Ganzeer on Engaged Art  

This series of conversations is an occasion that aims to bring attention to the work of Middle Eastern artists.

In this event, the participants Henry Chalfant and Egyptian artist Mohamed Fahmy, known as "Ganzeer" (the Chain), will address art as an engaged practice, as a way of being and thinking aesthetically, outside of the studio, and responding creatively to quotidian events. Art seen through these lenses and practiced by the brush of lived-experience is particularly pertinent to the volatility of the urban environment, an environment that by its nature and on general principle is marked by social upheaval, economic transcience and political unease.

The Middle East is, to put it mildly, an interesting place, constantly in the air-waves, eliciting curiosity, response and offering spectacular ground for artistic commentary and intervention.

Artist, archivist, videographer, and author of several publications, including Big Subway Archive – an interactive photographic anthology of graffiti found predominantly in the subways of New York City – HENRY CHALFANT will deliver expert insight into the history of graffiti and street art, and their powerful nature as an effective form of communication and political artistic expression.

Politically-engaged artist GANZEER, Alwan's 2014-15 Artist in Residence, who has been an active participant in events in Egypt over the last few years and is embroiled in a conflict with the authority of the military coup, will reflect on his engagement and provide a presentation of samples of his work. This conversation with Henry Chalfant launches his residency at Alwan and provides an opportunity for contemplating the larger implications of cultural productions, their relevance to a world that is restless, saturated with crises and brewing with simmering conflict, but also hope. 

Suggested Contribution:  General Admission $10 | Students and Seniors $5  

Doors open at 6:30pm +more info

On the Move Newsletter – November 2014

On the Move Newsletter – November 2014

More news will be shared next month regarding the future development of On the Move. However we can already inform you that, thanks to the support of the French Embassy in the USA, On the Move will be represented at the Cultural Mobility Symposium in New York on 7 January 2015which is coordinated and hosted by the Martin E. Segal Theatre Centre in cooperation with Theatre Without Borders. This free and open symposium, also supported by the Ministry of Culture, Sports and Tourism-Korea and Korea Arts Management Service, will not only be the occasion to launch the first US Cultural Mobility Funding Guide but also a great opportunity to discuss key issues related to cultural mobility in a global perspective.

As for every month, we invite you to check OTM current and most updated news and opportunities, all with travels at least partially funded.

Beyond OTM facebook and twitter pages, do not forget to check ourFunding pages, particularly forEurope (with 29 cultural mobility funding guides) and the Arab World (focus on 13 Arab countries).

On the Move’s own news

Cultural Mobility: Symposium + International Funding Guide (New York, USA)

The Martin E. Segal Theatre Center is creating, in collaboration with On The Move and the U.S.-based grass-roots international network Theatre Without Borders, a free and user-friendly guide to funding for international exchange for artists traveling from and to the USA. Register for free as soon as possible for the 7 January 2015 launching event and symposium in New York!

Engage in policy

Status of the Artist: the review of UNESCO recommendation needs your inputs!

UNESCO is undertaking an important review of the implementation of the UNESCO 1980 Recommendation concerning the Status of the Artist, through a survey that will feed a report to be presented to the UNESCO General Conference in 2015. UNESCO Member States, Non-Governmental Organizations and other civil society organizations are invited to fill in this survey by 15 January 2015.

Raise funding

CEC-ArtLinks: Independent Projects Awards 2015 for Artists & Arts Managers from Eligible Countries

Project grants enable artists and arts managers from eligible countries (Eastern/Central Europe, Middle East etc.) to carry out self-directed projects in the US. Applicants must have a letter of invitation from a non-profit organization or individual in the US to apply. Deadline: 3 December.

Festival Belluard Bollwerk International & Migros Culture Percentage (Switzerland) > Call for projects "Fortress Europe"

Applications can be sent in by artists or practitioners from other fields working interdisciplinary; from Fribourg or the rest of the world; individuals or groups; with performative or installative projects or interventions connected to the thematic. Deadline: 15 December.

British Council: ELEVATE Startwell™ Challenge > Open call for applications (UK and East Asia)

The ELEVATE StartWell™ Challenge, presented by the British Council in partnership with the Lien Foundation, is focused on developing innovative new concepts to improve early childhood (0-8 years) play. Deadline: 5 January 2015.

COAL Prize 2015: Art and Environment

This sixth edition of the COAL Prize Art and Environment is part of ArtCOP21: an exceptional cultural festival initiated by COAL and its UK partner Cape Farewell, that will take place in France during COP21 (International Conference on Climate Change). Deadline: 30 January 2015.

For more funding opportunities (in particular in Europe, Africa, Asia, the USA), please click here.

React to a call

ANTI – Contemporary Art Festival (Finland)

ANTI – Contemporary Art Festival is an international contemporary arts festival presenting site-specific works made for public space
. ANTI Festival presents live, sonic, visual and text-based art from today’s most exciting and innovative artists in the Finnish town of Kuopio. Deadline for applications: 16 December.

The Public Domain: Season 2 > Open call by the Delfina Foundation (UK)

Over the last 25 years, the World Wide Web has expanded our concept of the public sphere from the physical to the virtual. For the second chapter of its recurring programme The Public Domain, Delfina Foundation is interested in exploring the collapse between these two realms through the use of technology. Deadline for applications: 18 December.

La Bécquée: European Contemporary Dance Festival > Call for applications

Check the conditions carefully but basically minimum payment are possible as well as travel cost and possibilities of residencies. Deadline: 31 December.

Cultural Fellowships in Russia

The Likhachev Foundation will accept applications from professionals in the field of culture and history or arts from foreign countries who are currently working on creative projects related to Russian culture or history. Command of the Russian language is very helpful but not required. Deadline: 1 February 2015.

For more calls (on photography, art and environmental issues, dance, theatre, art history and criticism etc.), please click here.

Get training

Swedish Institute: Young Leaders Visitors Programme

The Swedish Institute’s Young Leaders Visitors Programme (YLVP) is an intercultural leadership programme that aims to lay a foundation for dialogue and knowledge sharing among young leaders from the Middle East, North Africa and Sweden. Deadline: 12 December.

21st European Baroque Academy > Call for young musicians

The 21st European Baroque Academy will be placed under the artistic and pedagogical direction of Enrico Onofri. Renowned violinist and conductor, Enrico Onofri is also recognised throughout Europe for his teaching skills. He has imagined a summer program revolving around 3 violin concertos that enhance this instrument's virtuosity. Deadline for young musicians: 15 December.

European Diploma in Cultural Project Management 2015/2016

The European Diploma in Cultural Project Management, coordinated by the Marcel Hicter Foundation, is a pan-European training programme arising from the will to foster cultural diversity as well as trans-regional and transnational cultural exchanges. Deadline: 15 January 2015.

For more training (in Asia, France etc.), please click here.

Discover a residency

PACT Zollverein (Germany) > Call for residents

Open to professional artists who work in the areas of dance, performance, media arts or music and closely linked to PACT’s two other core strands of activity in presenting work and facilitating research and development, the programme is a key element in PACT Zollverein’s profile as an Artists’ House supporting lively exchange between practice and theory. Deadline: 4 December.

Centre international d’art et du paysage, Vassivière island, Limousin Region (France) > Residencies

The residencies are open to three artists and/or researchers applying separately or as a group to submit a research and creation project linked to the landscape of Vassivière and/or its history in various domains including visual arts, writing, philosophy, architecture, choreography etc. Deadline: 8 December.

MEMBRANA – Residency For Artistic Interface Criticism at Hangar (Barcelona, Spain)

The programme aims to provide support to a visual artist interested in developing an artwork based on the concept of interface. The artist will develop his/her project during a six weeks residency at Hangar (Barcelona). He/she will also be invited to participate in the on-going investigation of the PIPES_BCN research group which involves the drafting of a Critical Interface Manifesto. Deadline: 10 January 2015

Camargo Foundation (Cassis, France) > Core Fellowship Program For Fall 2015 and Spring 2016

Located in a smal
l town of the South of France, facing the Mediterranean Sea, the Foundation offers an exceptional environment to think, reflect, and create. The residency experience is enhanced by the quiet campus and the surrounding natural beauty of Cap Canaille and the Calanques national park. Deadline: 13 January 2015.

For more residencies (in Québec, United Kingdom, Russia, Germany, France, Japan etc.), please click here.

Meet others

Erasmus for Young Entrepreneurs

Erasmus for Young Entrepreneurs is a cross-border exchange programme which gives new or aspiring entrepreneurs the chance to learn from experienced entrepreneurs running small businesses in other Participating Countries. Apply now!

For more meeting opportunities, please click here.

Collaborate with

89plus Project > Open call

89plus is calling for artists, writers, architects, filmmakers, musicians, designers, scientists and technologists. Please submit as soon as possible to be considered for the various upcoming events and projects.

For more collaboration opportunities, please click here.

Look for a job

The Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden> Five Artistic Professors needed!

The three Academies of artistic practice at the Faculty of Fine, Applied and Performing Arts – the Academy of Music and Drama, the Valand Academy and the HDK-School of Design and Crafts – are recruiting five new professors to further develop their unique artistic research environments. Deadline: 8 December.

For more job opportunities, please click here.


The Guide to international artist residencies in Luxembourg

The Agence luxembourgeoise d’action culturelle a.s.b.l. (Agence culturelle) is publishing the first edition of the « Guide to international artist residencies in the Grand Duchy of Luxembourg » in close cooperation with institutions hosting residency programs. Check it out soon!

Creative Carbon Scotland: Creating and Updating a Travel Policy

Creating and maintaining an up-to-date travel policy can help your organisation reduce its carbon footprint, and embed sustainability within the core behaviour of your business. Check the travel policy by Creative Carbon Scotland for inspiration!

Announcing Fluid States events

Announcing Fluid States events


Sa Tagilid na Yuta: On Tilted Earth: Performance in Archipelagic Space

Manila, Philippines and other locations 


RoRo Journeys and Island Events: April – September 2015

Manila Gathering – November 5-8, 2015



Performance in archipelagic space, performance as inter/connection, identification and belonging, performing risk/performing at risk, performance as intervention for survival and restoration, performance in unstable sites



Resilience—the term has been used by government and aid organizations and the media to describe the ability of Filipinos to survive disasters and rebuild their communities. But it has also become a sinister discourse of victimhood and vulnerability.  What does it really mean in concrete terms?

A core team of artists and scholars will be traveling to various localities by bus and by boat, ‘rolling on and rolling off’ from one site to the next, to investigate resilience and in the process learning local practices, conceptions, and lexicons of performance in the archipelago. Designed in response to recent calamities in the country, the project addresses a key theme–what living ‘on tilted earth’ often ravaged by disaster means and entails for various communities in the archipelago, why and how are they resilient, and what this might mean in terms of performance, that is, actual doing in all its creative/expressive forms and manifestations. ‘Disaster’ is understood not only as a calamity like Yolanda/Haiyan but also as strife and dehumanization experienced in war or caused by dire poverty and their effects as well as by the blight of history.

1. RoRo Journey and Island Events

The ‘roro’ journey across the archipelago will connect various sites, from communities to universities, from the auditorium to the streets, plazas, and seafronts. The journey will immerse in or connect to performances and practices organically, as much as possible, that is, what there is at the site at the time of the visit, e.g., harvesting and Hudhud in Ifugao.

Proposals by Local and Visiting Correspondents .are welcome. If interested, please respond to the Call for Local and Visiting Correspondents available here.

1.1. Luzon: Imaginative flows and mobility across plains and mountains

The main island of Luzon is host to sharply contrasting cultures and performance practices of the people of the lowlands and the people of the mountains. This is not unique to Luzon and can be said of all of the islands, but such contrast is the focus of the Luzon journey in terms of performance conceived as ‘dap-ayan’, gathering, ‘haraya’, imagination, and ‘pagbaklay’, walking. Performances are works of the imagination occasioned by and striving towards a gathering, but, in order to gather, people must walk– not within familiar realms but across oftentimes dangerous divides.

The journey will take us across to major gatherings in the Christian lowlands—a community dance, a wedding, various fiestas—and in the mountains of the Sierra Madre and Cordillera—commemorations such as the Cordillera Day and a memory trek with the Aetas from Zambales to Aurora and up the Pinatubo. We will see how far apart the people of the mountains and those of the lowlands are from each other and what possibilities there are for connections. We will follow the paths of disaster, not only of typhoons and floods and volcanic eruptions that have radically changed the landscape or killed thousands of people, but also of impending threats to waterways in urban industrial zones.  We will come face to face with violence and its traces, both real and imagined, from the Lenten crucifixion practices in Cutud, Pampanga or the ‘beheading of Longinus’ in the moriones of Marinduque, the ‘battles’ of moros y cristianos in the tibag of Nueva Ecija, to the displacement of the Aetas from their ancestral lands and the killing of Macliing Dulag over a rift on the Chico River and his people’s ancestral domain. The journey is an encounter with a militant joy present in the many celebrations and devotions of the people; it is an engagement with ideas and memories of revolution and resistance against tyranny; it is an immersion in the poetic expressions of hope and love of ‘kapwa’, the brethren or other that is also always a part of the self. Not to be disregarded as interlacing themes of the journey are heritage, tourism, and practices of recreation.

Itinerary includes: Ifugao, Tadian and Bontoc in Mt. Province, with participation in the Macliing Dulag Memorial; Baguio City, with a symposium and interaction with artists based there; Angono, Rizal; Calamba, Sta Cruz, and Santa Rosa in Laguna; Naga, Legazpi, Sorsogon in Bicol; Pampanga, Zambales, Tarlac, Aurora, with a trek to Mt. Pinatubo; Pangasinan, Batanes, and Palawan.

Dates: April 22 – last week of May, 2015 (journey is cut up into segments with each one lasting 5-7 days)
1.2. Visayas: Flows of past present memories of land and sea and the bells in between

We live in a continuing past and that is not anywhere more apparent than in the islands of the Visayas where there are places like Balangiga whose people still want to have their bells back. Taken by the American soldiers more than a hundred years ago in the assault on Balangiga town during the bloody Philippine-American War, the bells are still in the United States, displayed as war booty and evidence of American ‘valor’ against the Filipinos.

The V
isayas journey will explore the theme of contesting memories of and contesting claims to—the bells of Balangiga; accounts of who to blame or how to explain the grave toll on lives and properties during and in the aftermath of typhoons like Haiyan; the stories of progress and wealth of the islands such as Negros, land of the sugar barons and the sacadas who work the land; and discourses of development seen in contrasting images, rhythms, and styles of daily living in Boracay’s ‘world class’ resorts and the villages of the Panay Bukidnon indigenous community. The journey will be a peregrinasyon, a pilgrimage ‘from routes to roots’ in which artists and cultural workers will try to learn/relearn what wisdom this tracing of routes taken and listening to the land and sea and the missing bells hold for us and how to be coeval with our indigenous roots, which are not of the past, dead, but very much alive and contemporaneous, albeit pushed to the margins of both the geography and our consciousness.

Itinerary includes: Palapag, Calbayog, Balangiga, and Basey in Eastern Samar; Tacloban and Palo in Leyte; Inabanga and Talibon in North Bohol; Bulukabok and Suwac and Bantayan Island in Cebu with a symposium at the School of the Seas; Escalante and Victorias Sugar Central, Silay, and Bacolod in Negros; Iloilo and Capiz and the community of the Panay Bukidnon in Panay.

Dates: April 1 – 15, 2015 (cut up into segments, but one continuous journey)
1.3. Mindanao: Flows of resilience in the land of promise and ferment

There are three big groups in the region: the original non-Muslim inhabitants called Lumad, the Muslim population, and Christian settler communities from central and northern Philippines. How the land which used to be controlled by the Lumads in 17 out of the present 24 provinces became the property of the settlers from Luzon and Visayas and by multinational corporations, with the Lumads now comprising only 6% of the population, is the story of Mindanao as a ‘land of promise’. How the region which was never vanquished by the Spanish colonizers became a playing field for American forces in the ‘global war against terror’ is the story of Mindanao as a land of continuous war waged by the ‘Moros’ for a separate Bangsamoro or Islamic state and concomitant aggressions by armed vigilantes protecting Christian property owners as well as attacks by the Philippine state forces. The land of promise has become a land of ferment and death, and recently also a land devastated by horrible landslides and floods, the years of rape of the forests taking their toll on human communities.

But surely these are not the only stories and images of Mindanao. There are more and different stories, perhaps inevitably linked to these, but we are determined to go beyond what the media and books say and have a face to face meeting with the rich and colourful cultures of the Lumads, Muslims, and settler groups in the region. There will be three simultaneous journeys, each following a theme: (1) history and heritage, (2) spirituality and religion, and (3) indigeneity and identity.

Itinerary includes: (1) Butuan and Camiguin; (2) Zamboanga, Ozamiz, Tubod, Iligan, Marawi, and El Salvador; (3) Cotabato, General Santos, Davao, and Bukidnon. All three journeys will converge in Cagayan de Oro for a conference.

Dates: July 2015 (dates to follow)

Sample details of the journey (Leg 2):
We will begin our journey in Zamboanga where the 2013 clash of rebel Muslim forces and government troops killed 154 and displaced thousands of families from 14 villages, many of them indigenous Muslim Sama-Badjaos. We will visit their relocation sites and join local teams of volunteers who are helping them. From Zamboanga we will travel to Ozamis and there experience a 270 year old Christian pilgrimage. Also in Misamis Occidental we will have a ‘food trip’ to sample the local cuisine and visit the Aquamarine Park. We will cross to Mukas, Lanao del Norte by ferry boat and visit the Dapit-Alim Meditation Site in Tubod, then travel to Iligan for a performance evening and interaction with local artists (IPAG). The next day we travel to Marawi and experience the welcome rite of Pagana Maranao, a walk through Padian Market, and a performance by local artists (Kambayoka). From Marawi we travel to El Salvador which is another Christian pilgrimage city, and later in the day end up in Cagayan de Oro. In Cagayan de Oro, there will be visits to resettlement sites for victims of the 2012 flood, and a conference to talk about the entire journey. An additional site to visit after the conference is the community of the Talaandig indigenous group in Malaybalay, Bukidnon. The journey will last seven days at most.

2. Manila Gathering

Dates: November 5 – 8, 2015

The Fluid States Philippine Cluster events will culminate in an international conference in Manila set for November 5 – 8, 2015. The conference will feature roundtables and panels and papers on the roro journeys and the main themes of the conference. A unique part of the program is a roro journey in the city on the second day, with the participants having a choice of three itineraries. The journeys will include visits to a maritime museum, a Buddhist temple, Intramuros the old city of Manila, interactions with community theatre groups and artist communities, a food and theatre tour, and a ferry ride on the Pasig River. The conference plenaries and panels will be in two venues: De La Salle University-Manila and the University of the Philippines-Diliman.

Proposals for individual papers and panels are welcome. Deadline is on September 30, 2014; notifications of acceptance on October 30, 2014. Email proposals


We live on tilted earth, where soil merges with sea, behind us the slope of mountains, located at what seems to be the edge of the world, at the beginning of the great expanse of the Pacific and what lies beneath and above it, the ring of fire and raging storms, the ring of disaster. The water surges in from the sea or rampages down from the slopes of mountains. The tilting is a constant and we have never perfected the balancing act it requires. Living on tilted earth, here we are, once again, after the strong earthquake and Yolanda, the image of victimhood, crying out for compassion to the rest of the world, who have come in droves to help. We are grateful. But then again we tilt to find another sense of balance, a sense of agency and self-possession, of self-responsibility. We strive to find our own feet, however wobbly. What might all these mean in terms of performance?

Performance in archipelagic space, performance as inter/connection, identification and belonging, performing risk/performing at risk, performanc
e as intervention for survival and restoration, performance in unstable sites, resilience, theatre and climate change

Key questions that might be taken up by papers, panels, exhibitions, and performances (in addition to the roro journey themes):

What and how is it to live (and die) on tilted earth, in the ring of disaster? How does this life and the experiences of death and devastation in disaster prone areas translate to views of the world and notions of human development, safety, and risk?

How may performance and performance research contribute to an awareness of viewpoints and
sensibilities that are often unacknowledged or invisible in discussions on the development of communities and disaster-preparedness? How can performance help mitigate disaster and its effects? How can performance help save and protect lives? How can performance revivify creativity and spur a reimagination of the future?
Corollarily: What are the costs—cultural, economic, and political— of connecting and traversing distances? Who bear these costs the most? How are these borne or negotiated? What are the productive uses of performance for living with and through the traumas and terrors caused by disasters like Yolanda/Haiyan or by calamities of crossing the seas (to study, work, visit, or relax)? How does performance narrate stories of hardship or victory, especially for people living on the coasts or on the plains, or pushed to inhabit the mountains?

What is it to live in an archipelago? What does it mean for people to live in a country with 7,100 islands beyond the simple (or complex) fact that the cultures in these islands differ one from the other? Is there such a thing as an archipelagic consciousness? What might this mean in terms of an awareness of difference and similarity, division and connection, fragmentation and belonging? How might ‘regionalism’ or ‘nationalism’ be located within or in relation to the archipelagic? How might conflicts and animosities be understood? How are all these informed or shaped by history and discourses of nationality? And how might performance help in thinking about these things?