Member News
US NMC And MPA Introduce Innovative Curriculum On The Importance Of Respecting Creators’ Rights
The National Music Council (NMC) and the Music Publishers Association of the United States (MPA) have created a new, innovative education tool for primary school students designed to teach respect and admiration for creators, inventors and their works. The lesson plan and educational extension activities are available to educators via a free website, www.IMadeIt.org. The program was created to teach young students the consequences of disrespecting the rights of creators, and how activity such as appropriating the work of others without permission negatively impacts upon creators and stifles creativity in general.
US National Music Council “Copy Kid” Wins Emmy Award
The National Music Council/ Music Publishers' Association "Copy Kid" animated PSA that encourages young people to respect the rights of creators won best Community/Public Service Award at the 57th Annual New York Emmy® Awards. The animation, created by Bevin Carnes is part of a new, innovative education tool for primary school students designed to teach respect and admiration for creators, inventors and their works.
Atelier for Young Festival Managers POZNAN (20-27 October 2014): Apply until 15 April
The Festival Academy's second 2014 Atelier for Young Festival Managers, initiated by the European Festivals Association (EFA), will take place from 20 to 27 October 2014 in Poznan, Poland, in collaboration with the Malta Festival Poznan. Young festival managers from all over the world are invited to apply until 15 April 2014. Some 10 renowned festival directors will guide participants through the 7-day training programme against the backdrop of a vibrant Polish cultural city.
Mission of the Atelier
The Atelier for Young Festival Managers is an intense and rigorous 7-day training platform addressed at emerging artistic festival directors or those who have ambitions to become involved in programming or in programming-related departments within a festival. It is all about sharing experiences and passing on knowledge to a next generation of festival makers: knowledge about programming a festival, while focusing on the very essence of art festivals: the arts and the artist.
It is guided by the motto "The true role of a festival is to help artists to dare, to engage in new projects," borrowed from Bernard Faivre d'Arcier, longstanding Director of the Avignon Festival and President of the Lyon Biennial (France).
Format
The Atelier will select 45 young festival managers from all over the world. Around 10 distinguished festival directors, renowned festival pioneers, will each attend for at least two full days and guide participants throughout the week. In lectures, one-on-one talks, group discussions as well as intense workshops on case studies, issues such as artistic vision, political and social responsibility, internationalisation, networking, renewal and sustainability will be explored. First presenters will be announced soon. Have a look at the list of presenters of the previous Ateliers.
Application Procedure and Deadlines
The application form must be submitted by 15 April 2014. All information on the Atelier, selection criteria, application procedure and application form can be found on the Atelier website.
Our Host: Malta Festival Poznan
Poznan is an ideal setting for inspiring exchanges: it is one of the oldest cities in Poland and at the same time a centre of great contemporary cultural activity. Home to many independent theatre groups and annually hosting numerous cultural events, the historical city offers an enriching environment for participants and lecturers to be immersed in.
The Malta Festival Poznan is one of Poland's key cultural events that brings a broad range of multidisciplinary and international performances into the city every year. "Why 'Malta' doesn't age? Because for 23 years it has been changing constantly. At present, it is the biggest interdisciplinary festival of performing arts in Poland, comprising theatre, music, dance, film and visual arts" (Newsweek, April 2013).
"We are very glad to host this Atelier. Poznan is a perfect place for the next generation of young arts professionals to have creative exchanges of ideas and experiences. We are convinced of the need to support and facilitate such exchanges that will lead to new international collaboration projects and co-productions," stressed Michal Merczynski, Artistic Director Malta Festival Poznan.
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EFA Atelier for Young Festival Managers
Hosted by the Edinburgh International Festival (EIF), it will bring together 52 young festival managers from 28 countries and 9 renowned festival directors from all over the world who will share their experiences and visions.
Global Music Product Industry’s Passion Reflected at 2014 NAMM Show
The music product industry returns to businesses in every corner of the globe with a renewed confidence following the 2014 NAMM Show held in Anaheim, Calif., January 23-26. Promising signs of revitalization brought together more than 5,000 brands from around the world looking to reach the global buying audience found at the NAMM Show. Expanding product categories such as technology-driven music products and emerging brands pushed the show to its one of its largest and most diverse editions ever.
Colloque International du Cerdotola
L'INSTRUMENT DE MUSIQUE AFRICAIN ET SON ROLE DANS LA MUSIQUE MONDIALE
L'Afrique est un continent multiculturel. La diversité des peuples qui la composent, ajoutée à la culture de chacun d'eux, explique l'extrême variété des instruments de musique, taillés dans des formes et fabriqués avec des matières tout aussi diversifiées. Autant dire que l'une des préoccupations du colloque sera non seulement de dresser une liste aussi satisfaisante que possible de « l'instrumentarium africain », mais aussi de rendre compte du rôle de l'instrument de musique dans l'aire culturelle où celui-ci a vu le jour.
Dès lors, il sera intéressant d'examiner le statut, le rôle ou la fonction de l'instrument de musique africain dans la durée, dans l'espace et dans l'histoire. Des questions précises devraient, alors, interpeller la réflexion, notamment :
• Quelle est la nature des instruments de musique d'Afrique ?
• Que représente l'instrument de musique africain dans la constitution du patrimoine musical de l'Humanité ?
• Que reste-t-il de l'instrument de musique africain au 21ième siècle, en Afrique même, en terres de diaspora africaine et à travers le monde ?
• Les évolutions récentes donnent-elles à observer une régression, ou plutôt une plus grande utilisation, et partant, un rôle plus accru de l'instrument africain ?
• Les musiques du monde, lieu par excellence de la polyphonie des sons et rythmes venus d'Afrique et d'ailleurs, ne sont-elles pas aussi le lieu privilégié de l'expression culturelle multiforme des peuples ? Comment cela se traduit-il ? Avec quelle instrumentation ? Quelles sont les origines de ces instruments ? Quelle est la part de l'Afrique dans ce rendez-vous du donner et du recevoir ?
• Quelles stratégies convient-il de mettre en œuvre pour le recensement, la description, la sauvegarde, la conservation, la protection, la promotion, la valorisation, la pérennisation de l'Instrument de musique africain dans notre temps ?
L'on a prétendu que l'instrument de musique africain ne se borne pas uniquement à la production des sons structurés, agréables aux sens, porteurs de sens pour les connaisseurs, profanes ou initiés. L'on a affirmé que l'instrument de musique africain jouait aussi un rôle symbolique dans la société, qu'il était un moyen de communication privilégié entre l'artiste, la communauté et les forces surnaturelles.
A partir de ces postures et questionnements, le Colloque des Feux de Brazza 2014 aura atteint son but, s'il réussit à faire parler l'Instrument de Musique africain lui-même, à travers les spécialistes intéressés, auxquels s'adresse le présent Appel à communications .
Axes thématiques du Colloque
Sans contrainte aucune, et à titre indicatif, les participants présomptifs devront inscrire leurs interventions dans l'un des axes ci-dessous :
i. L'instrument de musique africain : source de musique, véhicule de culture ;
ii. L'instrument de musique africain : sa nature, ses formes, ses usages ;
iii. Les liens entre l'instrument, le musicien et la société ;
iv. La carte organologique des instruments de musique d'Afrique ;
v. La fabrication de l'Instrument de musique et l'éducation de l'instrumentiste.
vi. L'instrument de musique africain dans l'histoire des peuples et continents ;
vii. L'Instrument de musique africain dans la muséologie contemporaine ;
viii. L'Instrument africain en tant que patrimoine culturel : stratégies de pérennisation et de valorisation.
Pour plus d'informations:
CERDOTOLA
Yaoundé – Cameroun
E-mail:
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Date limite: 15 avril 2014.
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