africa re:load 20 Kirfel - Global city - Local identity

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The document announces several upcoming events in Dar es Salaam, Tanzania focused on architecture, urban planning, and culture from September to October 2011. These include an experts symposium called "Global City - Local Identity" organized by the Goethe-Institut Tanzania from October 14-16, an event series called "Urban Dreamspace", the release of an "Architecture guide to Dar es Salaam" by African Architecture Matters, and a project called "DeInvisibilization" transforming the Ephraim Building into a public art space. The events aim to foster collaboration and discussion around innovation, culture, and identity in Dar es Salaam's urban development.

Africa Re:Load | Weimar 29./30. August 2011 Kirfel, Florian| florian.kirfel@uni-weimar.de | Bauhaus-Universität Weimar innovation collaboration entrepreneurship

GLOBAL CITY - LOCAL IDENTITY ,[object Object],[object Object],Africa Re:Load | Weimar 29./30. August 2011 Kirfel, Florian| florian.kirfel@uni-weimar.de | Bauhaus-Universität Weimar

Global City - Local Identity ,[object Object],[object Object]

URBAN DREAMSPACE ,[object Object],[object Object],[object Object],[object Object]

Architecture guide to Dar es Salaam ,[object Object],[object Object],[object Object]

Camenzind East Africa ,[object Object],[object Object],[object Object]

DeInvisibilazation Ephraim Building ,[object Object],[object Object],[object Object]

Global City - Local Identity URBAN DREAMSPACE ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

This talk deals with European experiences with collective strategies for the development of the performing arts, with a focus on Flanders. In the 1980’s, international networks and platforms for (co)production and presentation were set up (e.g. IETM). In the case of Flanders, this coincided with diverse domestic strategies: a.o. the emergence of artists collectives, a touring circuit, an advocacy organisation,… In a time when government support for contemporary performing arts was absent, the interplay of these strategies resulted not only in Flemish artists being launched on international platforms. It also lead to the development of an innovative Flemish funding system. It enabled artists, companies and producing houses to develop their work and to fully engage in a transnational networks for (co-)production and presentation. This way of working has resulted in growth: more productions, in more venues and countries all around the world. There are, however, downsides to the story. With government spending under pressure throughout Europe, producers are being forced to rely on an ever growing number of increasingly vulnerable partners. The position of individual artists in this network has become precarious. How sustainable is this growth in the longer term? Are the limits of the transnational co-production and distribution model in sight? How can we re-think our current working models?

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