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Applying for Creative Europe funding for a Cooperation Project requires real commitment and many hours devoted to completing the application form, warns Lorraine von Gehlen.
Moving her artist management company to Berlin has allowed Natalie Richardson to work among like-minded experimental artists.
Having worked in children’s arts and health in a London hospital, Victoria Jones, now in Melbourne in Australia, compares the respective creative programmes.
As one of the oldest cultural networks in Europe, the European Festivals Association’s mission has always been centred around artistic quality and long-term impact, says Kathrin Deventer.
A huge vocal work is premiered this weekend in Birmingham, followed by performances in Berlin and London. Stephen Newbould describes how it has come together.
Mark Hewitt couldn’t believe his luck when he received funding from the Artists’ International Development Fund to collaborate with a foreign musician of his choice.
Part of the Brighton Festival, 'caravan showcase' presents contemporary English theatre to international programmers. Catherine Love explains how English theatre companies can benefit from the showcase and other year-round activities.
On an arts programme secondment with the British Council in Ukraine, Liz Pugh has been witness to the turbulent geopolitics of the past six months.
Lucas Stewart reports on the difficulties involved in ‘Hidden Words, Hidden Worlds’, a British Council project in Burma seeking to develop ethnic minority language literature.
A new gallery for visiting international artists has recently opened in a terraced house in South Shields in the north east of England. Padma Rao tells the story.
Black theatre company Nitro has recently opened a sister company in Sydney, Australia. Felix Cross tells how it has all been possible.
Christoph Jankowski introduces Creative Europe, the new EU funding progamme for the cultural and creative sectors.
Chris Bannerman tells how he reluctantly became a key driver in a complex collaboration involving choreographers, dancers and academics from the UK, China and Taiwan.
Working in partnership with a Ugandan arts organisation has been a fraught experience (an understatement) for Blackpool’s TramShed, but as Zac Hackett and Marge Ainsley report, they are not giving up.
Mark Fisher charts the global success of ‘Made in Scotland’, the programme which showcases dance and theatre companies at the Edinburgh Festival Fringe.
In a relatively buoyant global art scene, Mauro Herlitzka looks at the increasing interest in Latin American art, aided by an acquisition programme for UK galleries.
Charlotte Gregory describes how a cross-border, Interreg-funded exchange has shared the French passion for contemporary circus.
Cila Warncke discusses the role of literature in promoting democracy and social change in a country like Myanmar.
Lisa Ball-Lechgar describes how Abu Dhabi has placed culture as a vital element in its ongoing development and growth.
Helen Marriage reports on her first six months at Harvard on a Loeb Fellowship and explains the practice of ‘placemaking’, something she would love to see over here.