Good morning. We are going to start our public session now with this 10-minute Portuguese traditional delay. Thank you for your understanding. Welcome to a library of Murvula. This is a new cultural equipment of the city. Claudio will explain you a little bit of where we are. And soon after, we will start our public session with Marie and Elena. Thank you so much for coming. And I hope you enjoy it. Thank you. And welcome to Biblioteca de Murvula, the Murvula Library. We opened in November 2016. And I would like to show you just a few images of what it was before and what it is now. So this was the previous building. So we are in Quinta das Fontes, Fountain. Murvula has a huge history of small farming around. And this was one of them. It was, have you seen this at the entrance? OK, so the idea was to maintain it and to keep it as the central part of this building so everything was built around it. And this is where it started. So I'm not sure, sorry. I don't know really for how long the building was. But as I said, it opened in November 2016. So we are working since then. Just so you can see a bit. And this is what we have now. This neighborhood didn't have any kind of cultural equipment at the date. So this was the first one. And it's not trying to develop projects not only concerning library issues, but also we have this auditorium. We have other rooms, a room for children. So we are trying to develop in this neighborhood around and throughout Murvula every kind of projects related to a library. Sorry, this is a Portuguese strategy. This is important because we belong to the public network of Lisbon. And there's this program library 21st. And this is the first library built in that framework. So this library is not seen as only a library. It's seen as much more in the development of the area. Culture, this is the only house where people used to live. And that's where we work now. Where we part of your work this morning, the other room, baby's room, our backyard. This is not seen normally in the library. It's a fountain from the old farm. OK, the neighbors around where we are trying to work with since we are here. Basically, that's it. Just so you have a small presentation of what we were. What was this place? What we are trying to do now? And hope you have a nice session now on. Thank you. Hello. Good morning. My name is Marie. I am the coordinator of the On the Move network, which is a cultural mobility information network. And we are very glad to have our meeting here with many of our members and with the great hosting of PoloCultural Gaiwata Bovista and the team of Mafalda here. So On the Move is a network which provides free, regular, and updated information about mobility opportunities in different disciplines. And right now, we have 48 member organizations and seven individuals. I mean, there are two good news, in fact. Half of the members are here in Lisbon. And this is the first time that we have so many members in one city where we host the General Assembly. And the second good news is that you don't need to be a member to access the information which is online. So whatever information which is online is open to everybody. I would like also to say that to give maybe a definition of what we mean by cultural mobility or artist mobility. For us, and we refer to a report which was made in 2008, which is called Mobility Matters, mobility is any type of initiative, any type of experience which allow one artist, one theater company, one dance company, one collective, for instance, to have an experience for a certain period of time in another country. So it can be an experience, a short-term experience. It'd be a long-term experience. And for us, mobility can have a different type of format. It can be a residency. It can be a touring. It can be a collaboration project. It can be also training opportunities in another country. So it's very kind of wide scope. And on the move as well, we try as much as possible also through our member organization. And all the members, I mean, they are physically, most of them are here in this room. But also we put all the organization and the website on the PowerPoint so that you can have access also later to the information. So we try as much as possible to cover all discipline in the kind of information that we are sharing. So we are here today for this public discussion. In fact, the discussion is also live streamed through the partnership of one of our member, Harold. And we prepared this discussion yesterday with the member. And what we really would like, that's why there is no chair here. There is no table. It's really like to have a common discussion with you. And I think we are almost half-half, like half of member organization on the move and half of people, artists, cultural professionals based in Lisbon or maybe in other city in Portugal if you made your way this morning to come here. So we really want to engage into a conversation about this question of tips and advice to international, to help to international your practice or to strengthen it at an European and international level. And we would like very much to have this shared discussion during about like two hours. There is another thing I would like to say before I pass the word to one of my colleagues. It's, I mean, as you can, we are international and European network. And very often, English is not our native language. You can say, you can notice that with me, for instance. So it's important also in the conversation if you feel that you prefer to have some form of translation from Portuguese to English for the question, please do not hesitate. And we will coordinate with Mafaldas. This is also very important in the sense of the conversation. In order to kick off the discussion, we thought it would be also interesting about this question of internationalization of practices to understand also the answer to the question, why? Why do you want to go international? Why it's important to position yourself as a company, as an artist on a more European and international scope? And I would like to pass the mic to Marianne, one of our individual member to maybe give some of the ideas she has about this question of the why. And I also would like to say that Marianne is not any type of individual member. She was even the founder of On the Move like a few years back. So thank you, Marianne. Thank you, Marie. Founder, not funder. Too bad. I would have liked to have been the funder, but. So thank you for coming. It's really nice to see faces that one knows and one doesn't know. I'd just like to start with a little question. How many of the Portuguese or people coming here from Portugal have had experiences with artistic mobility? Not a huge amount. Okay. Well, those of you who have will understand what I'm going to say. We wanted to give a couple of hints about what artistic mobility is. And we thought it would be good to put them in a kind of a scheme or a frame. And you could choose lots of different ways of doing this. But I chose to look at what's called the value chain or the production chain, which is used in a lot of different industries. And so it breaks down all the different steps of what it means to produce something and what is involved. It is cyclical. So it could start with any one of the different steps and it continues. Each step builds on the other. And I wanted to present it to you in the framework of mobility because from the beginning, in the 90s, when many of us started to say to the culture politicians, we need you to support our mobility, we always said that mobility is not an end in itself. It's a means to an end. And it's a means to several ends, some of which can be quantified. You might get a production or a publication or a piece of visual art or a film out of it. But many of the benefits of mobility cannot be quantified because they have to do with much more deep things, changes in our values, appreciation of a different kind of perspective. So if we look at the value chain, it starts usually with creation, the creation process, then the production, then the diffusion of whatever has been diffused. Then we move to something which is often called documentation, but that could also be criticism or reviews of the work or works about the work. It could even be just plain communication about the work. That leads to education and training. Whether that is education or training of the artist, of a cultural manager, of the audience, use of the work in other kinds of courses. And of course, that's the production of intellectual broadening of knowledge, which goes back into the creation phase. So for each one of those phases, what we can get from the best, let's say artistic mobility experience will be quantitative creation. You can go someplace and create a work or it can be part of your creation period, but it can also be inspiration. It can also be seeing what artists of the same discipline are doing in another country to be able to reflect on your own work. It could be research for materials, researching a story, researching the smells of a neighborhood, in terms of production. In the performing arts, we naturally think of co-production. So when producers from different festivals, for example, might pull their money and resources together to help produce the work of an artist. Or it could be that one is looking for members of a team to help produce a great lighting designer, a really inventive, illustrative, a really inventive illustrator for publication. In terms of diffusion, Marie has also talked about this in terms of touring, but diffusion is also a means for artists to actually present their work to a different kind of audience coming from a different culture. How do they see my work? Do they react to it in the same way? Do they react to it differently? Do they react to it at all? I want to judge my own work from that audience's reaction. And audiences can be diffusing themselves too. We now see that where people have the will and the resources, they will go to another country or city to see a work or to follow the artists that they like. Documentation. A few years ago, the Flemish Theater Institute made an initiative which actually asked the question when artists are so nomadic, when they're so mobile nowadays, we as the National Theater Institute cannot put on our database of artists that this is our artist. And at that time, they were looking at the choreographer, Meg Stewart, who was born in the US, was kind of adopted in Belgium in Flanders as a Flemish artist, not really, had long residencies in those years in Vienna, in Austria. So whose artist was she? So even the documentation of artists, and if you work in film, this is crazy. Every member of the film crew comes from a different country. Where is the documentation point? Well, it's shared by all of us. And we can also say that critics, theater critics, film critics, music critics, also are part of this internationalization of the documentation. No longer can they only review and analyze the work from their own cultural perspective, they have to look more widely. And then we go into education and training of yourself as an artist, of yourself as a cultural manager, but also training young artists and cultural managers how to be mobile. And a lot of what on the move does is give courses and training and information about what to expect if you want to internationalize your career, if you want to start working abroad, if you want to start experimenting, what are the tips and tricks? And I think that's the best introduction to this day. So we will be counting on you, after my colleague speaks, to ask us any kinds of questions that you have. Thank you. Thank you very much, Marion. Maybe I pass the mic to Johan Flock from the Fresh Art Coalition Europe, also like to give all the form of input in this reason why also like you want to develop your career in a European or international context. Hi, hello, good morning. I'm standing so I can see you and you can see me. I'm gonna just go back to Marie's presentation as she was talking about these wonderful studies made 10 years ago already by the European Commission on Mobility Matters. In this study, very long, very detailed, very precise, they were actually analyzing some of the interesting motivations for creators, creative workers to try to be mobile and work internationally. And one, I mean, I've shortlisted a couple of these reasons because I guess it encompass was Marion was presenting. The first reason is economic reasons. If we are mobile as artists and cultural managers is because we need the financial resources that are attached to mobility. So we need to sell our work abroad. We need to find partners for our production abroad. So this is the reality. We don't like to talk about money in the arts. We're always a bit afraid, but this is the main reason actually like to work internationally. The second big reason is attached to prestige, which is also something that is quite interesting. In many countries, when artists and companies are building their career and their professional pathway, they really take into account that the international dimension of their work will bring prestige and will help them develop further their career locally back home. And we have a lot of examples of this. Australian companies touring the world but not being even known in their own country and not being able to present their work in Australia. And it's because they toured so widely across the world that suddenly they get the recognition and funding from their local partners and access to local festivals, et cetera. So the international dimension actually brings credibility, recognition to artistic work and in the end both journalists, critics, funders are aware of this, that the international dimension is quite important in an artistic pathway. So it's also a motivation. Like to present your work in Taiwan or in Montreal can be very, in a way, prestigious. So you can put that on your funding application and you get maybe hopefully more support. There is like a third big motivation to work internationally and Marion touched upon this already. It's the idea of artistic dialogue and it's not entirely the intercultural dialogue. I try to artificially distinguish the two. The artistic dialogue is really the idea that for my work I need to partner with artists or artistic contributors from other countries. And I want to work with a Finnish music composer or I really want to work with this Singapore-based choreographer. And it's because we believe that there is an artistic development that is very interesting that we want to partner with foreign artists or foreign contributors. And this is a big drive and for meeting a lot of artists I can see that many artists are keen to work with their peers from other countries and this is a real true drive for many countries, I would say.  I want to see how the Japanese react to my piece. I want to see how I can translate my emotions, my creativity, everything into another country, another culture and I want to, I'm looking at this confrontation, this discussion that can be interesting. And then there is a last big motivation which is not exactly a motivation. This is what we call the opportunity effects. Basically, I don't plan to go to Taiwan for two months for residency, but there is a wonderful call and they're looking for artists. So you know, like why not me? I should apply to this. So there is this kind of random, so many opportunities are existing out there and in the end you have calls to be programmed in festivals, calls to go to residencies, calls to go to see work. I mean, you have so many opportunities that sometimes it's not, you don't have a strategy and we are not always very good with strategies anyway, but it's just like, okay, why not? I mean, there is an opportunity for me to present my work in Mexico. I should apply. It would be silly not to apply. So sometimes, and I also see that with many artists and creative workers, they really want to, you know, perhaps the opportunities. And then we have what we call the bad motivations and I'm gonna go very quickly through that, but there is also with these kind of motivations, you know, financial prestige, opportunities, et cetera. There are sometimes some side effects with the mobility, which is I wanna go on holiday and that would be wonderful to be selected by this call, by this residency place in Japan because I've never been to Japan and I would like to go and visit Japan and discover the culture, et cetera. And there is sometimes a kind of a lack of distinction of personal, private life, holiday, family holiday and work. And sometimes we don't do this distinction very well. And there is another, I would say, side effect which is I want to discover the world. It's not necessarily to go on holiday, but sometimes I have a production, I have my, I'm a choreographer, I have my dancers with me, I have a big set, I have my technicians, but I really want to go and travel the world, whatever, wherever, whoever wants me, they have me. And sometimes I say to these artists, like if you want to go and travel and discover the world, do buy you a ticket. You don't have to have a full production traveling with you. You don't have to go through all the visa process and the fret and et cetera, you know, like and the cargo and all these things. Like if you just want to discover the world, we have a lot of low cost airlines and lots of opportunities to go and travel the world. This is for me. I hope this, you come with many questions and comments. Thank you very much, Johan, on this international path. It's the question that we often get either for people who have not been so much in a European international context to develop work, or for people who have been quite active, but who are like repositioning themselves as far as their companies, as far as their artist collective is concerned. The question is very often like how do we start or how do we continue to work, but maybe in another world region, for instance. And here, before we open the first floor to discussion, I would like to invite my colleague who will also co-facilitate this discussion with me. So Elena de Federico, who works for the IETM network, the International Network for Contemporary Performing Arts, to open also this discussion about the relevance and the role of networks at the European and international level and how networks can help you as an artist, as an organization, as a company, also like to discover new context and to be also like an entredor to develop some projects, so yeah. Yes, thank you Marie, good morning everyone. So indeed we are moving now the discussion from the why, getting international into the how, and I think this is gonna be the biggest part of the discussion today. So as Marie said, I'm Elena de Federico and I work for IETM, which is the International Network for Contemporary Performing Arts, an international network indeed, working, gathering a huge number of contemporary performing arts professionals, mostly organizations, but also individuals around the world, literally. IETM has a long life, it was set up in 1981. It has of course developed while the word and the context for international collaborations developed as well. So it was created in a moment where international collaborations and contacts were particularly difficult for the independent scene. They were quite a given or more, let's say, they were easier for national institutions and public funded organizations, theaters, but collaborations within the performance, the independent sector particularly were much more complicated. Things have gotten easier in a way in the last years, low cost travel options that Johann mentioned, the internet, I mean you name it, we are much more connected internationally, at least in theory and virtually. But what IETM believes is that nothing can replace live encounters. So we used to say that we believe in live arts as we believe in live encounters or vice versa. So what IETM does basically is to organize large gatherings, large meetings twice per year and smaller meetings around the year where members but also no members, professionals and non-professionals from the performing arts field can get together and simply get to know each other, first and foremost on a personal level and establish these kind of connections, which do not necessarily need immediately to collaborations, co-productions or other formalized way to work together, but they often are a springboard towards something. So they develop and they are nurtured through time and they can eventually end up with joint projects, for example collaborations, touring, co-productions, new projects, et cetera. But there are many other networks existing here and some of them are here in this room. So I would be really happy to pass the microphone for example to Stefan who is from another network and then we move the microphone around. The aim is also to move here, you know like we are not facing always a stage. So, merci Marie, thank you. Hi, I'm Stefan. I coordinate Chickostrada Network, which is a European network for circus arts and street arts. So I'm gonna say one thing which is very obvious and then I'm gonna say one thing which could be practical. So the very obvious thing is that networks are a place where you accelerate, which means that you accelerate because you make new meetings, you encounter new people, you eventually have new ideas, you can build new projects. And the idea if you do it well, it can be more sustainable. And this is obvious, but it's good to repeat it anyway. And the practical thing is that networks are a place for resources. Resources as information. So if you find information, if I knowledge and if I knowledge, you know a little bit better how to go abroad, why do you have to go abroad, how you can go abroad. So these are the two things I would like to share and I'm here to discuss with you if you have any questions. I'd like to ask Ulrich Kame from ITI, the International Theater Institute, if you can say what that is about and what is the importance of networks and what does ITI do to facilitate these international collaborations. Okay, ITI is the International Theater Institute, which is a UNESCO founded organization from 1948 after the Second World War, where the goal was to bring culture over borders and have artistic exchange to make the world a better place. And so we gather sometimes and also the networks, you might think that because we live in a time now where you can do everything yourself on internet, it's still valuable to know that there are centers like ITI, has a hundred centers all over the world and Europe on the move has centers and to know that you can just call us or visit us and we know what person to guide you to or what webpage to guide you to. It just makes things easier for you. So we're here to help and we have a lot of networks and committees and we can guide you to wherever you want. So yeah, that's the best thing with networks like this. We're focusing here. We had three networks in a row that work for the performing arts, but there are networks for all disciplines and also interdisciplinary. So I think it's interesting here from Anna about the Vienna, the new Warsaw Vienna. Hello, I'm Anna Galaskoszil and I'm a president of On The Move, but for many years I was working at the Polish Theater Institute. However, recently I changed my work and I started to create with a team an international event, but also a program. It's called Warsaw Biennale Warszawa. And it's important to say that it's a new institution, public municipal institution in Warsaw. But it's really important in terms of creation, new place and new program that from the first beginning the international dimension was something really important for us. And the key issue and it was during all our talks something that was like on the top of the list of our aims that this is gonna be like really crucial. And of course, mobility as a very important factor of it. I think that today also when you really want to make your work international but also invite different artists for your project. Of course the mobility aspect is something that you have to take into consideration. But I think that it's also a time when transnational collaboration is so important. That we are not thinking anymore or we shouldn't think in my opinion so much about this national dimension not only promoting of our countries as it is, but I think that it's like very important factor of building real transnational groups of artists, activists, cultural professionals and mobility is really like a crucial issue for that. Thanks Anna. Getting slightly political. I was in a meeting last week and somebody said it beautiful saying that we were talking about a situation in Europe with shrinking spaces for civil society and this return of nationalism and is rhetoric of the member states. And somebody said it beautiful saying mobility, particularly artistic mobility, the mobility of people is one big threat for the nation state, for the rhetoric of the nation state, closing on itself, closing the borders.  We're talking about networks but it's not the only way you can engage in mobility. Residencies are probably another maybe obvious way to start really getting into the context somewhere else. So I'm looking at Marie maybe to talk about trans artists. Yes, I'm really located in this room so I'm going to turn this way. So I'm Marie Foll, I work for Dutch culture and we run a platform called Trans Artist which lists about 1,500 residencies worldwide. We try to keep up to date but I mean the staff working and this is extremely small so a lot of things are not up to date but it's still a good resource to be able to find places, to filter through them and to be able to know, okay, I have a specific ID in mind, I work in a specific discipline and then filter through the database based on those criteria or to see the latest open calls or to look in a specific country because you really know you want to go to let's say France, easy, then you have a really long list of residencies and then you can see a bit what kind of offer is there, how your discipline is represented there and what places you can find. We are not the only platforms, there are many other residency listings worldwide, you probably know some of them but I would also recommend and especially we were looking at a group beforehand and within the performing arts I would really recommend to contact your own networks because usually they know within a specific discipline that Circus Trada has been doing mappings of residency within the Circus field for instance, same thing goes for other discipline or other regions, if you have a very specific goal it's also good to a specific discipline, a specific country in mind, it's good to contact either an info point in this country or a network in your discipline because they will really know the best residency for your specific discipline so that's also, I mean I'm not saying that our resources is not great but there are also really a lot of them for you guys. Talking about other resources about residencies, Kira. Hi, so there's a lot of different networks out there and honestly one of the best places to start is just to Google residency for whatever you're doing and one of the platforms you're probably finding is called ResRT's which is another very large network of artist residencies in the world and then I run a network of residencies in China called China Residencies which is a network of over 40 different spaces that give time and space and support and sometimes financing to create projects in mainland China and Hong Kong and yeah, echoing what Yohan was saying earlier there's so many opportunities out there, some of them are called fellowships, some of them are travel grants, some of them are incubators, there's so many different ways to find support for a project and we know that the information is kind of hard to find but you're in a room filled with people who can probably answer all of your questions so please yeah, don't be shy and let us know what we can help you with. And getting international is very exciting of course but sometimes it's interesting to see what happens in your own country or really in the neighboring countries so I'm looking at Marta up there because she works in Angar in Barcelona and she can tell us about her experience in terms of residencies and maybe trends also that you see. Thank you Elena. Well, yes I work in Hangar, Hangar Barcelona, I know there is another Hangar here in Lisbon and we, thanks to this meeting here in Lisbon I had the chance to, well we had the chance to meet each other and for sure we will collaborate in the future even if we are two very different initiatives. So yeah, Angar in Barcelona is a production center and also we have several residency programs, most of them open to international applications and some of them granted and some of them self-funded by the artist. What I think it's interesting about Hangar is that it's more that residency space, we also provide support to the artist and resources, production resources, not just funding. And in the region of Catalonia, we are part of a regional network of our production centers from Catalonia. I don't know if you know it, it's called Sharshap Broad. I suppose that sounds strange but maybe I can share the link with you later on. And yeah, I mean we are, there are about 30 members and we are also developing a map of other art production centers in Catalonia. So for us, such a small region of Catalonia, we have a lot of spaces that provide space and resources to artists to do their work or to do research. Well, basically just to say that Angar, Hangar is basically focused on visual art but also interdisciplinary practices and sound art and performance. Well, Sharshap Broad, the members are also kind of the same. So I think most of you here are from maybe the performing field but you are more than welcome to visit us also in Barcelona. Thank you. And maybe, I can't find Dushan, I was hoping Dushan. Well, okay, I'm sorry, I was looking too far away. I thought you were wearing blue anyway. Yeah, because it's interesting also to hear your experience from another country and from another kind of organizations. Hello, I'm Dushan Doach. I come from Center for Contemporary Arts in Ljubljana. Just a little bit to understand the position of the organization that I work for. We are really small nonprofit organization. We don't have employees. We have pretty much similar problems as most of the many of Portuguese organizations but at the moment it's the municipality funds are more stable than the national funds so these are the conditions that we work. So my organization is actually network in different ways. One of that is locally. It's an association of NGOs and freelance artists and they are struggling towards the authorities in Slovenia, Ministry of Culture, municipality and that's really good that you have alliance locally and nationally. Then the other network that we are joined is on the move and we are members for quite some long time and we have found some similar interests because we are also information providers but we don't offer that kind of support anymore. We couldn't manage because of the lack of funds. Nowadays we have the support for curators and critics in visual arts and we have video archive. So via this network actually we could get some more information about different sectors like performing arts. We are more connected. We broaden our knowledge about production getting opportunities and one very good case was that via this network we got involved with a partner from the Philippines and then later get the support by Europe Asia Foundation. So that was really something that was valuable for my organization and I appreciate that networks that are initiated from the ground and that are stable that have long term vision. The other case maybe not so successful of networking was a project based network. It was the network of video archives and European level and it had just time limited financial support and when this support was finished we lost contact, the network didn't evolve and so on. My advice would be for every organization to a little bit check how they are structured locally, how what are their needs internationally because we all have these needs, that's a reality and we are supposed to evolve that kind of need. So the residences, grant opportunities, everything that my colleagues shared with you it's really very valuable. So for a starting point maybe as you have also heard try to see whether you need residency, what kind of residency networks exist, whether you work in a production house where there are some networks about that and in that way you stay connected and for example, I'm not gonna advertise to the producers but we are one of the best organizations that get funds from Creative Europe Program and that's also the reason because the situation of funding locally and nationally. So they are well trained, experienced, good partners maybe that's also an advice to start with Slovenians but otherwise you see as we are here from all over the world so thank you. Thank you very much Dushan. Maybe I will go a little bit in front because I think some people start to have a neck problem so we have the reason eventually why to go international, why to develop a project in a European international context the importance of network, how networks can be also antidote so while that. The trends and the potentialities also like of residency as you say also Dushan is important when we talk about if we go back to this idea of network it's not only the formal and the big network it's also like networks start from home, you know like also when you want to go somewhere it's also to ask your colleague who are in the same city sometime who have been already in another country who have been developing a project in this particular context so it's how also you start your own informal network. Before we move a bit further and you know like on the conversation I would like to ask whether there is like maybe one or two immediate question or remark also based on your own experience or what you heard here or maybe like some of the idea with passing the mic also like to under move member and after of course to you if you have any question this is the aim of this conversation is also to put a face on face but on different organization member organization of on the move in order after that to you know like be able to contact this person or to discuss directly you know like after this discussion but do you have any direct question or comment? Yes? You have to speak with the mic. Yeah. I don't know if you're going to get into that further ahead but because Lisbon is going to have an info point maybe you could explain how it works. Yeah, this is one of the question we will come up in the discussion this question of access to resources so it can be information and also we will come also of course to the question of funding yesterday when we started to talk about this conversation Mafalda say like people wants to know about funding where is the money and I say yeah this is a question we get everywhere we go but of course it's after the question can be shaped differently depending on the context from which the artist or cultural professional are asking the question so we'll come to this question definitely because it's a very important one is there any remark or question in relation to what we said about the motivation to go international about the question of residencies opportunities or about the networking aspect? Yes, yes, yeah. And if you can just say your name and yeah. The Tanik Air Productions Independent Protections. My doubt about residencies is abroad is mainly because most of the residencies that we can apply, we have to pay money to go. Even if we don't have to pay money to stay there we have to spend money for the trips, the food for the people, the per diems, the artistic fees. And I think we spend a lot of our time trying to find that money that could go to the piece or the creation that they are doing. And sometimes I think it's a waste of money and time and resources. So sometimes I don't really know why we do it. Of course, sometimes we do it for strategy. We know that if we go to somewhere maybe they will buy the piece after. But actually sometimes it's more money that we spend on that than what we will get in the end. And of course there's other reasons for instance knowing the place, knowing the people, getting that for the piece. But residencies most of the times are also in places that we don't see anybody. So we could do it here where we are. And I work with some artists that don't find a reason to go abroad because they think like what I'm saying that's an open question actually. Maybe, I mean I have some thoughts on that but I guess Marie, Kira on the residency aspect. It's very true what you're saying when it comes to residencies and specifically within the performing arts the cost of having a company travel are much higher also. I mean with trans artists we cover all disciplines and most of the residencies we have are for visual artists the costs are lower. They have another incentive also to go abroad, let's say but if I focus on your case what I see more and more is that or what I can see is that residency within the performing artists are very often on the national basis. You will do them actually close by because it's just much easier. You don't have to cater for accommodation. You can still focus on the residency in order to develop your piece and that you won't necessarily go so far away. However, on the international basis it is indeed an investment. Most of the time if it's completely funded it's still an investment because you invest time, you invest your company in this process and I would say that it's quite relevant when it has to do with the co-production that you will work with other artists that the residency will facilitate the connection in this sense at least in my view this makes a lot of sense then to engage with the residency but indeed the point you are making to yeah I don't see the point of going it's not necessarily irrelevant all the time it's absolutely true and this is something that we keep on repeating to many artists as well know why you are going because yeah sometimes it's also best to just do it where you are and to develop your work and don't over invest something if you have too many doubts as well. So not saying like don't go anywhere on a session on international mobility but still yeah it's a very relevant. I can add something else. Also I know some countries they support this kind of a trips but in Portugal that's not the case or they are trying to do it but they don't do it in the better way so it doesn't really help on these situations on traveling and getting money for this case but even then it can be a waste of money anyway even if it's the government putting it. We feel your pain we know how bad it is we totally get it. One resource that can be helpful is we just launched a new platform almost a week ago that's called Rivet and it lets you search only by things that have funding so and you can search by what has the most funding and you can say only show me things that give money so that way you don't waste your time looking at things that don't give money so that's a small step in the right direction and we're all here also doing what we can to lobby governments and also work with organizations to let them know that having something even something that's free can be very expensive and we really want there to be a lot more transparency about what it actually costs to go on these things because we know that not everyone can afford it and we know that even though there are a lot of benefits to being able to travel it takes a certain amount of privilege to be able to travel in the first place and so we totally hear you, we understand and we're doing what we can to try to fix it on a structural level but also for individual groups and yeah I think one of the best things to do is like Maria said is to do this kind of cost benefit analysis not sound too corporate but to think about it like what does it take from you? What are you gonna have to spend and what are the things that you could get out of it and a lot of times maybe there's a way to fund it by getting maybe some government support maybe some private support maybe some of your own resources or a group of people if you think it will be worth it in the end but it's definitely part of the process of figuring out whether it's possible and whether it's worth it. I am so lucky I have two mics now. So we come in a natural way to what the question of funding so it's just perfect. Just two or three points in relation also to what Kira said and if we refer to on the move website as well I mean the kind of information that we are signposting we only focus on mobility opportunities be it residency, training, touring, collaboration, co-production, whatever exploration grant on funding where at least travels are at least partially funded. So if it is residency we will put the one where travels are at least partially funding and here you will say to me yeah but it's not because travel are funded that all the costs are funded but usually when travels are funded the rest of it as well comes into the package. I don't say in all cases but at least there is a certain type of support. I would like also to highlight this is also an information that we can share but with PoloCultural Gaivota as Bovista and in partnership with the Asia Europe Foundation we will update the mobility funding guide for Portugal at the end of the, I mean it will be more in autumn so it will be also another source to find, I mean try at least to identify maybe like interesting sources of funding which can be interesting for you and it's the perfect moment where I can pass the mic to Fatima and Valentina so we are very lucky this year because also in our members we have more like mobility funders so like different organization where we can, which can also like fund mobility type of project and here we start more like with the connection with Asia, with Asia Europe, I mean it was already mentioned by Dushan, you had also a project between Slovenia and the Philippines a few years ago so it's also interesting to know about this kind of funding opportunities which can be used with maybe not now now but you know like in case you are looking for additional funding at least that the fact that you know that the resource is there it allows you also to waste less time into searching for the information. Fatima, Valentina we have two of you. Hi, good morning to everyone. No, I'll just stay here. My name is Valentina and I work in Singapore for the Asia Europe Foundation together with my colleague Fatima. Just a few words to talk about the more information part of the funding which is what we've been working on with On The Move for a few years now. The Asia Europe Foundation, the mission of the Foundation is to really bring people together from the two regions so we cover a very broad spectrum of countries, 51 at the moment and initially what we thought was really useful is to find a one point online where people can find all a listing of all the organization that are funding because sometimes even knowing where to look for the information is not that easy. So we kind of compile these guides which are country based. We work on all the Asian guides and the European guides with On The Move and then we also have one guide which kind of puts together the more international foundation that cover internationally and also regionally within Asia funding opportunities. In addition to this, so in addition to giving information on funding, we also have started last year a real fund for travel called Mobility First and my colleague Fatima was in charge of it, we'll give you all the information about it and really we are looking at supporting individuals that want to travel. So essentially it's a travel grant but we try to make it as simple as possible in terms of how to apply for the funding because again we know and we know for our experience that we had in the past for example with Dushan we were running another type of program before which was quite interesting but very complex because it really required a lot of preparation and a lot of criteria to be able to apply. Mobility First is the opposite so we went really simple and we said no we have to try and make this really as easy as possible for people to understand very few things. So I think we did quite well in year one and now we're starting with year two so maybe Fatima can give you a bit more details on that. Hello, so as Valentina said we launched the grant last year and it was we had like 800 applications and around 20 were from Portugal and we supported one. So in the second year we encourage more Portuguese artists and cultural professionals to apply. We support three kinds of mobility routes so from Europe to Asia, from Asia to Europe and intra Asia so for Portugal it would be from Europe to anywhere in Asia as long as it's in our member country list. We support a wide range of activities that is not boxed into types and so on so it's residencies, festivals, workshops, trainings even go and see or short term explorations because we see the value in getting out of your own context and going outside with no particular pressure on a concrete kind of output at the end. As Valie said we kind of streamlined administrative processes and reporting and everything's online and the website is there somewhere you can approach us after and yeah we encourage more applications from Portugal and it's ongoing now. I just have a question because you said it's for individuals we are talking also quite a lot with performing arts. How is individual being defined? I mean it's for people I do understand this but can groups apply or this kind of thing? Actually there are two kinds of applications one is for individuals as an individual artist and cultural professionals who want to go out so outgoing mobility. For groups we accept applications from organizations and the concept is that an organization organizing an event in their country let's say here and they can apply up to five people from other countries to come to the event. However for like dance groups or theater groups and so on we tell them to submit an individual application or if a particular festival wants you but it's only up to five and we are aware that big groups are like much more so there's that gray area. And what yeah we'll pass you the mic just to say on that also because we work together on this but it's they really try and we will have also the experience of the European Cultural Foundation on the step I will come to Helena later but this is important because you have the criteria of eligibility you know like you know which country you can apply from and the kind of eligibility also in terms of dates and everything but they are always questioned because each case is a bit specific so it's very important also like eventually when case are specific to contact here it's like Fatima so that you will be happy you will get many email from Portugal after that but it's also important to get in touch with the person because sometimes you start the application process and in fact this was not the correct way to do it so it's also again a way to avoid wasting time. Do you share from your experience? Yeah just for short comment actually whenever you have this international collaboration and you start finding the financial resources when you get one like in our case it was Europe Asia Foundation then you apply to different smaller grants so we are collecting this patchworking of funding and I really like the situation maybe you know it when you are applying for another resource and you have another fund and you have financial resources and you have approved, applied and when you stick the box approved you say okay I have one seed money and then it's easier to get smaller amounts from embassies, cultural centers and that kind of stuff so in that way it can be a good, good, good starting or stimulation to collect the money even if you go to the residency finally you must have free financial resources smaller ones but at the end you are there and you create something. Thank you very much for the strategy yeah a question here. Thank you, good morning to everyone. My name is Jesus and an artist here in Lisbon since the last six years, more or less I beg your pardon for my English as I am not in so many opportunities to travel abroad in international meetings my level of English could be not so good as you and I was hearing all the points of view that most of them are from from a producing kind of point of view and not so much as an artist's point of view so the focus is located more in the financial thing how to gain money or to obtain money and for the artist this is not the main point because artists are not about being a stranger or making a stranger networks it's about sensibility and vulnerability and for us it's very difficult to have a thinking of a producer because that makes our art less deep. So when we are applying to a ground we have to think as a producer and as a strategic and I think that you are all strategic we artists don't need to be strategic and to make the application I think that you are the one that could work with us as a kind of curator to have stories of success that people that are artists and not producers but you are making the way, how is the breach? So there are a lot of grants and you have to apply and you are losing a lot of time to think like this is strategic thing and what about your sensibility and your presence because sometimes as you colleague spoke before about going holidays abroad in a kind of a residence way of life artists is a kind of way of life so we are all the time on holiday but we are all the time working I don't like the work work the work work I don't like I like the dedication, the motivation I don't like the work work so we are all the time on holidays and all the time working and with our rather in the place so the only thing that is saying is very good that Europe distributes money and all of you are working to defend that money from the government to place money from the government's total financial amount to the cultural side and not only in the industry or whatever is good for you to defend but I also think that you have to work with the artist to make the artist not an entrepreneur but an artist, a better artist with the chances you are making for us I'm sorry again for my English You know, don't say that to a French person we are very bad in English so I think your level of English is really good Now maybe to react on that, I mean like this is a discussion that is often happening like this question of the artist as entrepreneur or as professional, this question of how you become a manager of your own professional life like it or not like this question of working we have also some under-moved member who are themselves artists so maybe they would like to comment on that here I'm thinking of Mike for instance who is working, who founded the African Cultural Policy Network but you are yourself a prayer writer so how do you deal to react on this comment on how to manage this question of being an artist being focused on your creative life and this question of managing the grant application and make your project sustainable, find new partner I mean it's difficult to divide our brain you know like between this different type of working methodology which are totally different in an ever-evolving context where opportunities can also arise from one day to the other so any tips or advice for our colleague? Get someone else to do it for you No, but seriously maybe if I can maybe start with a couple of stories just in terms of answering this but also talking about mobility I come from South Africa and one of the, I'm very aware that people's necks are kind of being turned so let me just maybe stand here so one of the ways in which mobility also works is that there are these international producers based in London and they do these musicals like Cats and the like and they come along to South Africa and they basically do these productions with South African artists who are very talented, very technically skilled and they bring along their directors and their choreographers and their set designers to make sure that what audiences see is exactly what they would see in London or in New York or in Paris or whatever but it's that production from South Africa that they would tour around the world because in terms of the economies of scale it's much cheaper to tour a South African production of an international musical than it is to take an Australian cast or a London based cast or an American cast because of the exchange rate so they're able to pay South African artists at a much lower rate and so profits kind of accrue to the international producers in a way it's like the globalization of the performing arts in the same way as any other product is outsourced to Vietnam, to Bangladesh, to China by producers in the global north so that's kind of one way of talking about mobility as well but I just wanted to tell another story about three weeks ago I was invited to bring a play to Malmo and it's a play ironically about African migrants and refugees and it was going to be taking place at the international cities of refuge network at the assembly and the three actors were about to board a plane in Cape Town when one of them was basically refused entry onto the plane because there was a problem with his visa and how it transpired was that he had had a gig in Denmark a few weeks earlier and he had got a Schengen visa from the Danish government that lasted until the 7th of May so the gig that he was coming for in Malmo was happening on the 4th of May and when he applied for a visa the Swedish embassy because Malmo is in Sweden gave him a visa from the 8th of May when he tried to get onto the play they said to him this is a single entry visa so you've used the visa to go to Denmark so therefore you cannot use this visa now but you know so you had to get off the plane and we had to have all kinds of phone calls with the Swedish embassy and the like and the next day you had to take a plane from Cape Town to go to the Swedish embassy to get that basically changed because in terms of their regulation apparently they cannot issue a visa that coincides with an already existing visa so in other words if the one from the Danish goes to the 7th then technically they cannot issue one that comes before the 7th even though the visa has been used so technically it is no longer valid if it's a single entry visa it's no longer valid one would think but I'm raising this point because it kind of goes to these issues of mobility the first story goes to the whole question of inequality in the world you know like who is able to travel who has resources who is able to I suppose the power relations kind of inherent in international kind of mobility who is able to provide the resources and so therefore is able to call the shots in terms of the aesthetics and what how the program is kind of done and the second one goes to the issue of who is able to travel in terms of you know not being able to apply for a visa or not having to apply for a visa we have to say the other day that the UNESCO report on mobility last year showed that people from the global north you know can travel to about 150 countries without a visa for at least three months whereas people from Africa can travel to about half that number of countries without a visa so if you folk for example given your historical relations with Mozambique or Angola wanting to do a collaborative project you would need to make sure that you know those folk, your colleagues from those particular countries can travel are able to get visas for the time that you kind of require so that's just like in terms of the broad discussion about mobility that I wanted to raise as well but to come back to your question I think it's a very very valid question it's something that we face you know on the African continent as well and one of the models that we have tried to implement is one that we really discovered in London an organization that many of you might know is called Arts Admin and I'm not sure if you have those kinds of models here we're basically one art administration company administers the affairs of a whole range of artists individual artists as well as companies and they basically do all the applications on their behalf they do all the narrative reports they do all the tour organizations so that the artists just get on with being artists not every artist wants to be an entrepreneur not every artist wants to fit into the neoliberal paradigm of creative industries and cultural industries so I think that we need to kind of take cognizance of that and develop models that really support artists who want to just be artists and not necessarily fit into what these big organizations are trying to make it all fit into for what it's worth Thank you very much there is an immediate question here Sante question I would just like to add to what you said about who's able to travel I'm Maria I'm from Access Culture here in Portugal we're an association of cultural professionals and cultural organizations that work for the improvement of access physical, social, intellectual access to cultural participation so when we consider who's able to travel and when the calls come out and when you think about residences, etc. I would just like to remind everybody that we need to think of the needs of disabled artists and to make sure that we don't exclude from the start some really marvelous artists because we didn't choose well we didn't consider their needs when we chose the venue where the residency or the project is going to take place when we didn't go around looking for the proper hotels restaurants, whatever, transport in order to give them equal opportunities to participate Thank you Thank you very much Valentinia No, it's on the bottom you just press Sorry Yeah, what you were saying is absolutely important and just to add on to that our Fund the Mobility First also has a call open for people with disabilities which is kind of part of the same fund so we don't have any distinction but we really welcome people with disabilities to apply as well and we have allocated obviously more funding for them to have also someone to accompany them in whatever travel they have to do Thank you Thank you very much There were many issues raised in the different last comment also like the one of course I was expecting that from Mike like many issues as well that we would like to raise particularly because you mentioned this issue of visa I mean like freedom of movement basically like which affect a lot of people including artist and cultural professional and it leads also to the point of where to find information on for from organization which can help to facilitate this process and here I would like to highlight that for quite a few years we's on the move we have been trying with different member on the move and many of them are here in the room so it's quite interesting as well for you to know to have what we call the mobility info point that mean organization in different European country and now even we have one mobility info point in the US, that means that which provide or which aim to provide information either on their website or on a direct one to one tap of consultation process information about visa issue information about social protection information as well about double taxation issue this we get a lot of question from Portuguese artist and dance company, theater, music group as well so and what we are very happy about and this is what you were mentioning as well is that now thanks to the support also of the city of Lisbon and with the polo cultural Gaiotas Boa Vista I said it yes but after there is another name that you will say there is now part of the mobility info point network you know like one organization which is helping for that in Lisbon and in Portugal and I would like, maybe you can say if you don't mind you're sorry, sorry Marta Sofia, Sofia I met Sofia at the producer academy which was held last week in Brussels which is organized by Sifas and on the movie is one of the partner Elena was also one of the contributor on we talk about fair international collaboration and Sofia you mentioned a bit of you know like the same kind of stories that the one shared by Mike you know like all the difficulties you had like to bring a it was from Brazil or and from India I think it's you have to cross at the bottom maybe if you want to share it yes I work in a cultural association and also I'm working with now with a choreographer Marcel Wevelin he's from Brazil and he works with all of interpreters he's from Brazil and two from Japan and our difficulty is when they are coming to Europe okay they can come for a period but after then if we want to tour on Europe they need to come back home and then because of the visa finished and stay in the country like three thirty days one month and then come again so this is a big problem for us for touring so here I am passing the mic to Mafalda because what Sofia said also when we were at the producer academy is that how the two of you communicated also on this issue and so that how your office can also help to provide information and facilitate that kind of process okay so I'm going to speak in English but I'm directing especially for the Portuguese artists and organizations here Lisbon City Hall has opened this info point it's an info point that informs in bureaucracy for artists and cultural organizations in what concerns to national problems but also to provide mobility facilitation and in what concerns this visa example we talked a lot about this problem we read everything we called everyone and then we found the solution but we also have these well it's not a formal protocol but it's an agreement a gentleman agreement with the Ministry of Foreign Affairs that works like this if you can send us enough proof which is not that difficult of the coming of a foreign artist to Portugal and you have a problem with the issue of the visa we as Lisbon City Hall contact the Ministry of Foreign Affairs and tell them look these artists is at this embassy asking for this visa and we're sure that is coming for this purpose we've studied the situation we have enough proof so you can issue the visa and actually the Ministry already does this with the RASMA students and they told they were available to do this also with artists coming to Lisbon of course that if they don't come to Lisbon and if they come to other place in Portugal we are of course equally available to take care of the process but actually Policultural Gavetas Bovista has this info point this is situated in the same building in Santosh in Lisbon and we are open for presence attendants we answer by email we answer by telephone we can Skype also besides informatic problems but we can do that and we opened one year ago it's completely free so if you need anything we are of course completely happy to get you there and help win whatever we can thank you very much and we are very happy to have like a Portugal part of this mobility info point so maybe I will just mention some other mobility info point so if Yana wants or Christine say something about the German mobility info point and so we have Germany what is interesting as well is that in terms of mobility flow because or yeah somehow because of where the money is coming from I mean it's true that there are many artists also like going to Germany to France to the Netherlands I mean Renier and Marie also have a mobility info point in the Netherlands so also to the UK Welsh Art International is also our contact point so it's also where I am with my two mic where the mobility info point are but it's really important because talking about wasting time wasting time about funding application about all this administrative issue and here every case is different I mean and now with also like you work for a dance company you can have dancer coming from different country with different visa requirements so the more access to this kind of free and professional organization and all of them are also connected to local or national ministries administration sometimes also to legal consultants so it's also a way to get updated information Mafalda? I just wanted to add that I forgot sorry that when we had these visa problems we also contacted other info points so I contacted Mobicultur because we had a problem with France and so it's not only Lodzja Lisbo Kultura which is the name of the info point in Lisbon but it's also the whole network that we contact and we get immediate and direct help from the other countries of the network okay sorry I forgot to say that thank you Marie I guess this is also the advantage to have this network that you get all connected also on an informal basis so it's and one of the most also like recent mobility info point it's the Czech mobility info point maybe you want to mention something about it? Hi everybody we are now in like working progress now we have the web page only in Czech but in autumn we will definitely have also English version but there is my email with contact so if you will have some questions about mobility in Czech Republic it's possible to do it now by email you won't find it on the web page in English but it's also possibility so and once again the power point and all the resources will be available as well on the website of the PoloCulturalGaivot as Wavista and also on the website of On The Move so that you have also direct access to this information is there any immediate reaction question on what we are because it's beyond the neck issue yeah we try to do something different like running around and Hello my name is Francisco I came here with Maggie we are Los Pepes we are visual artists and actually our question is for the Czech girls it's like we already have a friend in Czech Republic who has a studio in Prague and we want to do some work with him and we were wondering what's the best way to get funding to do that to get a show there and he's gonna do a show here maybe like an intercambio intercambio yeah exchange something yeah exchange okay I will pass the mic to two persons to Pavla director of the Art and Theatre Institute the colleague of Martina and also later to Helena from the European Cultural Foundation okay my name is Pavla and my institution I must explain a bit more about our institution because InfoPoint for mobility it's our last project but we work internationally for a long time and our big event also during communist time was Prague Quadrennial it's still running and I wanted also to show you that we have a lot of open calls for individual artists you can check on our website but after 1990 we deal with the situation with our new democratic system and this very weak independent scene internally but also in the international cooperation so we started to facilitate this work and creation especially of artists and cultural workers we started with educational activities with exchange residency program and this is maybe answer for your question because you can contact us and we can provide because we provide support both sides partly for Czech and foreign artists as well and also we do visitors program so for producers or managers of companies or festivals they can come and visit Czech events, festivals and of course the last project it's info point for the mobility so you could visualize Pavla, Martina and you can also like so maybe Helena as well Helena is working for the European Cultural Foundation so it's quite interesting because we have different representative of mobility funding so we had the presentation I mean the introduction of the Mobility Fund Mobility first between Asia and Europe or within Asia with the Asia Europe Foundation but Helena is running one of the oldest she's very young but one of the oldest Mobility Fund not only from Europe to neighboring country but now also within European Union countries so maybe Helena you want to present about it Yes, gladly so hello everyone and to answer your question in this particular case of going to Prague well we have I think a very good one solution to it we offer travel grants and in fixed quite simple to understand lump sums and they you actually if you decide to go there with a slower method so taking a train or bus you get even more money and the only requirements that we have for you is to indeed have a partner organization that's willing to write you an official invitation letter but it seems like you already have one and then you apply 60 days in advance and this is the requirement because for those artists within our geographical scope of 59 different countries lot of them have to apply for visa we want to leave enough room for people to also have those things sorted in time even if they would be dependent on this travel grant that we give and step now just to give you otherwise an impression step is really focused on on underground arts and independent arts especially but you as an applicant you can actually be well an artist, cultural worker but you can also be from another field but work with the themes of arts and contemporary arts and culture so you could be an academic you could be a journalist, art critic it's quite a wide spectrum that we have and it's really interdisciplinary arts that really pop up in this travel grant scheme as well so similar requirements then can go for your partner organization that we really try to support NGOs working in this independent field but they can ideally also have a dimension somewhere else perhaps they also represent the academic sector or something that only touches the edges of what we see as arts and culture but want to get into it more so stepping this is in the content sense very flexible and it's actually a way why are you traveling cultural practitioners to how we get this look into the contemporary wider European yeah what's happening in the field and it's very very valuable information so this is why we ask you to write after your travel your travel report but this can also take actually a form of a film for instance or a short video or another type of expression what is it that you experience and what did you see and we hear from you and your experiences very gladly and even during your travel you can also for instance take over the ECF's Instagram page if you want to showcase something that you witnessed during your travels but so yeah step can be found on a website which also has also been shown here or you can ask me further questions if you want to hear for instance about the eligibility which we try to keep quite open of course but certain limits are there for age limits the only limit is you need to be 18 but there's no upper limit and you can be a starting artist you can be mid-career or you can really have been in the field for a while already so yeah thank you very much thank you my name is Christine and I'm coming from an organisation in Germany which focus on the visual arts and I do get a question for you Helena could you just to give us an impression just give us some figures how many applications you receive each year and how many applications you take yes thank you so the volumes we're talking in step we have something approximately 600 applications a year but it's an always ongoing programme so you don't need to worry about trying to time your application into a certain time period and approximately the past three years about half 55-60% have been successful and most of the applications that are not successful are unfortunately just quite technical and things like for instance that people did not feel completely the budget which we try to keep simple but we also understand that as said artist is not a producer artist doesn't even want to necessarily think in numbers so we constantly try to keep this in mind as well and design everything our online spaces or the application form which currently has only five questions but we really try to keep it also as accessible and as easy to understand for everyone because so we are indeed based in almost 60 different countries and we have a huge variety of languages and backgrounds of people that we reach and also Sandy was mentioned about accessibility here in general and what we are doing right now is to look into a website and make this also very accessible for instance for visually impaired artists and travellers Thank you very much Helena Is there any immediate question before? Maybe what we can suggest as well because I think that maybe some people and it's also what we thought of yesterday maybe some people feel more comfortable after to talk directly to the person they would have put a face on so maybe we can continue the conversation like during 20 minutes and after leave you time also like to directly talk to Helena or Pavla or other people who have been speaking there are maybe two or three other points that can be mentioned I mean very much so here we talk more about this question of information access funding opportunities in term of information access a few years ago when personally I started to work with on the move the information access where in Europe very much focus on the Western European country and what is interesting for the past few years is that they have been like more platform of information in order to connect to let's say region countries in Asia for instance but also like within Europe and here I will pass the word to Gregorz and maybe you can explain a little bit about the E-PAP platform Thank you Hello everyone I thought I will skip this line of the presentations what I'm going to say will be also a bit connected with what Johan and Marianne said at the beginning is European performance platform is it's not a network we are not the members organization it's a platform it's an open space for now covering 18 countries of the Eastern Europe the countries which we call themselves we call ourselves Central Europe everyone else calls us Eastern Europe this is the so if I if I confuse you with these two different words that's it's more or less the same part of the map but differently called and if if I would use two keywords to explain why this project started is a curiosity and feeling of luck and feeling of the lack of communication within the region so whenever people from Croatia, Poland, Slovenia meets it's it was for years much easier for us to discuss about the current scandals in a French performing arts field or the the big productions in the German theater world but we didn't know we didn't know too much about each other and especially after 1989 there was this big need or the wish to go to the West instead of working within the region so this might refer to the curiosity at a certain moment realized okay we don't we don't know our neighbors and so what we try and now coming back to the to the to the to the question of Mary what we try to do on the mobility level is also gathering the the hard data like of course if you if you want to establish your mobility track it's important to know that you need to have a visa issued in your passport when you want to get to the certain country but it's also very much important to understand the narration of the difference and very often it's it's quite normal if you are the the Europe based Europe grown artist or the human being at large and you go to China or Japan you expect the culture differences this is something we expect when you when you start your trip when you go from Poland to Czech you might not expect but this culture difference happens and there might be more radical sometimes in a way I will not go to the details as long as it's live streamed but so it's it's it's as much important to gather the data about the the resources the the taxation rules the the international festivals you can reach try to to attract to to present your work and it's also as much important for us as to kind of cover the narration of the region how differently because of the political because of the historical reasons we see the culture the society or the particular topics so this is more or less what we try to do we moved from Poland a little bit more eastward maybe to get back to talking about funding opportunities available maybe you want to talk about Russia baggage hello I represent the Russian theater union and during the last few years we have been launching our new program which is a general grant program and it is called air baggage its main goal is to stimulate artistic mobility and international cooperation and in the frame of this program we support cultural professionals to visit international theater festivals and networking meetings and these grant covers international return travel and in spite that we usually define the list of the concrete events we work on the separate scheme which could be open for any kind of the events for the foreigners to come to Russia and please if you have any project or you are interested to cooperate with someone in Russia you can you could get in touch and we would be happy to help you to find your travel and what else I want to put attention to our website which is rtlb.iu English page which contains some useful information for you which will help you to plan your visit to Russia and these guides are contemporary dance in Russia contemporary theaters in Russia which will give you some introduction to what is happening in theater fields in Russia and also the festival guides as we have around 160 regular festivals in Russia it will help you to find the concrete festival by January, by months, by city and by the application deadline and what else is the mobility and networking guide which was developed in the frame of the Seats Imagination funded by Europe Commission with the main goal to stimulate international cooperation between Russia and Europe and which contains some advices on how to plan your trip to Russia so this is useful things please come to our website I will just I want to add shortly my name is Anastasia and I just want to say that I think that Marie was totally right about the thing that you should yes, you, this Marie that you should try when you plan your trip to go somewhere that you should try to find contacts in this country I'm sorry, I will try to turn because we are in the center of the room because we are theater union of Russian Federation and Art Bagash program is the example of this opportunity for you to go to such exotic countries Russia but sometimes we don't have in every country we don't have funding programs and travel funds but in every country we have an arts institute or so or in Czech Republic and you can try to contact us just to ask for an advice and something like that and I'm sure that you can find similar organizations in every region and it will be a great start to plan your visit there that's just short-edged so we are hearing a lot about a lot of interesting opportunities free information available, funding, there's money there there's free information I mean I really hope that this session will help you to dig deeper into opportunities that are there and that you will engage in conversations with the people who are here but I wanted to draw a bit of a line among different things the different words that I've heard today I've heard talking about the artist and entrepreneur not being forced to also take care about that side the nitty-gritty and just focus on your art but still artists have to pay the bills so what about fair practices in terms of paying artists and of course on a larger scale what about how can we make these international collaborations happen in a fairer way because we come from different contexts some of us are in positions of privilege you need to have strategic thinking you work between values and interests so it's a large conversation I hope Rainier can read what I'm meant to be and talk about both fair practices and fair collaborations because Dutch culture has been working a lot on both yeah we as Dutch culture we advise on international cultural cooperation with the Netherlands basically and yeah our aims are a bit like what Marianne said we work for we are funded by the ministries of culture and the ministry of foreign affairs and they believe that the market outside of the Netherlands is bigger so it's better to also make your money abroad and also it's good for your artistic practice and it's good to have your quality measured internationally and by advising artists from abroad and from the Netherlands we try to take away as many boundaries as possible and to make it as easy as possible to work outside of the Netherlands but also in the Netherlands by pointing them to the right partners, networks, the right funds because that can be a bit confusing in the Netherlands and we can advise you on how to how to phrase a possible application and where to put the application and with whom and we also in doing so we try to yeah try to see which conversations are going on abroad and which conversations are going on in the Netherlands and a few of those conversations lately have to do with a fair practice because there's a lack of funding and it looks like maybe you have experienced the same thing is that people are working harder for less money or there are more stringent things that funds want from the people so people are capitalizing on themselves basically and we try to connect those different discussions and different solutions to these problems to each other so that's what we do in networks like On The Move and with Elena from ITM we try to see what's going on in the rest of the world about what can be inspiring and enforcing the different artists in the Netherlands and from abroad by sharing these experiences and that's also why we contribute to Mike's toolkit No, the ITM toolkit on fair international collaboration because we are there for the Dutch field and we have to yeah we try to give the Dutch field the tools to do their work as good as possible but then a lot of people forget that the Dutch field is very privileged in the types of funding the types of education and everything that comes along with that so that's why I think a toolkit on fair cooperation is very important because in that way we can sensitize the Dutch cultural field into how the privilege impacts their collaboration with other organizations from less privileged contexts so that's what we do that's one thing of what we do but I think it's a good example to give here there's a lot of other things but it kind of feeds into each other so being active in these different networks hosting visitors in a visitors program doing our work in the info point mapping the Dutch cultural infrastructure for outsiders to find the right place quickly it all feeds into each other so where we kind of try to connect people to each other and try to make it as worthwhile as possible thank you very much Rainier as mentioned so we will come to a close like in about like five minutes so that you can interact and relax your neck and but I would like to end this session as well with one person here because it's also interesting to come back to Portugal here talking about Slovenia, which is a very good country as far as EU funding application within the Creative Europe program is concerned we have also another very good example here of a platform, a European platform related to photography whose coordinator is Procuratis so I think you were mentioning like coming from the visual arts sector I think it's a kind of mix of people coming more like from the performing arts sector but also visual arts sector so maybe in UNO you can explain a little bit about this platform which is rather new there was already an open call but it may be also of interest of some people here and if not directly for you maybe for your colleagues who work in the field of photography hello, thank you to be here I'm working in Procuratis a small cultural association based on Lisbon and we designed several projects related to exchange projects and European, mainly European exchange projects now we sometimes not very easy because there's a lot of work to do but we focus our attention in doing European projects and coming back a little bit to the question that you asked about why do European projects European projects to be done have to be a clearly static and conceptual choice to do European projects because it takes a lot of work to do and if it fits and it works it's really good we have experience to make one big European one cooperation project called Flanere we run it during two years and a half and now we are running a new platform parallel European photo-based platform that is based on visual arts we're working with several 16 countries now we have an exhibition opening in Budapest another in Darby in England and another in Maribor it's not in the Ljubljana but it's in Maribor and the main objective of the project is to bring emerging artists and curators to the art system, to the art market and also refresh the art market itself because sometimes the art system and the program the way to create and to program it repeats over and over the same artist so the idea is to bring new blood to the system and also provide new works and bringing refresh a little bit all the system and also engage the work between the artists and the curators here in the performing artists more between the artists and the programmers and the commissions so it's important to bring both sides to us to working together in European level this project is running during a four-year supported by the European Commission and also supported by the municipality of Lisbon it's interesting, the first person that I talked officially it was with my father about the project when we have the idea and then now we are running the project and we are half of the first year and it's working very well so if any one of you mainly for the visual arts and are related want to apply and to come to talk with us we are very welcome and it's a great adventure and it's very interesting and it's interesting also that we start a long time ago because we exist since 2005 but we start to be related with on the move in the beginning so this small bug of the exchange project European exchange project it's from the beginning from our genetic growth of the prokodach and then it's growing and now we have this huge project that is running thank you thank you very much Nuno so I think it's like the time a bit of the thank you the global thank you maybe Maffalda wants to say something before the thank you actually it's a thank you I want to thank you on the move and all the members to be here in Lisbon to attend the General Assembly to choose Lisbon has the city to the General Assembly of 2018 and want to thank all the Lisbon and all the Lisbon Portuguese and then Portuguese attendants to the public session that came here and make it bigger and I hope it was really useful and I hope you enjoy now the second part that it's a more personal one but I think it will be also very concrete in your don't be shy please ask everything because they are beautiful and wonderful and very generous people they will explain everything that you need okay thank you so much thank you very much I mean it's like the thank you time like so thank you very much for Maffalda for the team of Polo cultural gaivota Boivista because we are all very happy to be here your center is one of the most recent member organization of on the move and less than one and a half years after we are here as I mentioned at the beginning there have never been so many member organization and individual coming to a General Assembly so I think of course Lisbon attracts a lot as well but it's not only Lisbon because it's not only the weather as we could see outside so I would like to thank also Elena who has helped me to facilitate the discussion I would like to thank also this very quiet man there but we have been very active so VJ is working is from Holland which is and they are like recording and so it was a live stream event so thank you very much the website also of Holland is in the list here that will be also like available what is interesting as well is that they are developing a world map related to theater so it's also talking about access to information access to resources this can be also a very interesting resource to look at so it's you know maybe now I leave like the time for you to connect to the people as Mafalda say don't be shy the camera will be off and you can go directly to the people and we hope as well that you get a sense of this international pathway on the motivation the network, the residency maybe some new ideas on mobility funding maybe for your project and that you know hopefully and also the fact that the international is starting from home I mean with some projects which are highly European and international focus so thank you very much to all and have a nice discussion and thank you again to Holland thank you


In this module, we shall look into some practical aspects of profit-sharing investment accounts. We have gone into details of profit-sharing investment accounts in our previous segments or modules. We also mentioned that there are two types of profit-sharing investment accounts, restricted and unrestricted. Whether a profit-sharing investment account is restricted or unrestricted, we knew that this was based on the concept of mudaraba. In this module, we shall look into the possibility of answering four questions starting with the first one. In this module, probably I would have only time for question number one and in the subsequent modules, I would be looking into the other three questions. What are these four questions? Question number one, is it permissible to open a profit-sharing investment account with a conventional bank? So, this is our question number one. This is a valid question and we would see what is its answer. Number two, is it permissible for a bank, Islamic or otherwise, to change the profit-sharing ratio unilaterally? Number three, what is the treatment of funds in profit equalization reserve and investment risk reserve? In a previous module, we studied the use of profit equalization reserve and investment risk reserve for smoothening of the profits. The question is, what could be the treatment of funds which are left in these two reserves? And number four, is it permissible for an Islamic bank to offer guarantee of capital and return on profit-sharing investment accounts? We shall answer question number one first. To answer the first question, is it permissible to open a profit-sharing investment account with a conventional bank? For this to answer, we need to look into the contract of Mudaraba and its requirements and rules. Just to refresh our mind and memory, Mudaraba is a contract between two parties whereby one party provides capital and the other party does the business. On the condition that if there is a profit, that profit would be shared between the two parties in accordance with a pre-agreed profit distribution ratio and if there is any loss, that would be borne by the party providing capital. So this is Mudaraba. Mudaraba rules require that it should be between two parties. So one party provides capital and we said this party is known as Rabbul Mal and the other party does the business. Now can one of these parties be an institution, i.e. Rabbul Mal, the capital provider, can it be an institution rather than an individual or the other way around? Can the party receiving the funds and doing the business, can this be an institution rather than an individual rather than an individual? Modern corporation, the companies, businesses organized in companies, this is a new phenomenon. This is the product of the modern world. When Islam came into being about 14-15 centuries ago with the prophethood of Hazrat Muhammad sallallahu alayhi wa sallam, at that time this modern corporation wasn't there. Individuals and families, they used to do business. However, Islamic law does recognize the legal status of this new form of business, i.e. modern corporation because this is considered as a legal person and a legal person like an individual can sue others and can be sued. So Mudarba is allowed between any legal person, whether this is an individual or a company. This means that a profit-sharing investment account can be opened with a bank which happens to be a company. Now, is it permissible to open a profit-sharing investment account with a conventional bank? We have established that it is possible to open a profit-sharing investment account on a Mudarba basis with a bank but is it permissible to open it with a conventional bank? A conventional bank is an interest-based banking institution. Now, the answer is yes. It is permissible to open bank account, profit-sharing investment account with a conventional bank as long as it segregates the funds in profit-sharing investment accounts from the other funds. So this segregation is absolutely important for a conventional bank offering profit-sharing investment accounts or any other Islamic financial product. So a Mudarba, at the end, I would like to say, even a Mudarba can take place between a Muslim and a non-Muslim as long as the requirements of Mudarba are observed by both parties, i.e. by the Muslim and the non-Muslim party. So given this one, our answer to question one is that it is absolutely right to open a profit-sharing investment account with a conventional bank even if it is owned by non-Muslims. For example, when HSBC started Islamic banking, a lot of people started asking, is it permissible to open an Islamic banking account with a bank like HSBC which is owned by non-Muslim shareholders predominantly? The answer was yes as long as HSBC does its Islamic banking business in compliance with Sharia. So the answer is yes, profit-sharing investment accounts can be opened with conventional banks.


Hello friends. I am Dr. Leena Shreeder. I am heading the Department of Obstructs and Gynecology at the Manipal Hospital, Dwarka, New Delhi. I am going to tell you a little bit about polycystic ovaries, which is really one of the common problems affecting the youth of today, the young women. As you know that polycystic ovaries, the incidence has increased for the last 10 to 15 years. One of the reasons is genetic preponderance for it as well as our diet and sedentary habits. For example, a woman, she has regular periods, one of the eggs ruptures every month and you know the cycle of the menstrual cycle goes on. You can see this is one egg which is rupturing. So what happens in polycystic ovaries is multiple eggs form but not one of them ruptures. So she starts getting irregular mences. She starts putting on a lot of weight. They could be acne, they could be hercitism that is the male pattern of hair which is you know seen typically the beard hair or the hair under the chin. So this is seen. Now this is used to be considered only as a hormonal problem but now it has been very clearly proven that this is a metabolic disorder and it runs in families and the main reason is hyperinsulinia. That is the high level of insulin in families right from the beginning those ladies have a lot of polycystic ovaries. You will see that there is a sugar problem where ladies have more chances of having PCOS. It is not necessary that all these symptoms are in one woman. They can be two of these plus they can be an ultrasound picture or they can be just an ultrasound picture and none of these other symptoms the lady may be thinking I am getting regular periods but actually eggs are not forming and after a few years she finds that weight gain is happening. So important is that they should come early. Doctor has to go to the doctor quickly. He has to get his treatment. Weight loss. He said he has gone with exercise, diet. Due to that we can keep a lot of polycystic ovaries in control. This is very important for us to understand this disorder so that his long term problems are not there. For example the young girl she is having a regular period. She is putting on a lot of weight. Tomorrow she gets married. She wants to conceive. She may also have difficulty in conceiving. If she does not have difficulty she conceives. More chances of abortion. More chances of problems during pregnancy. Sugar problem in pregnancy. Diabetes that is. And when she gets old then at an older age there is a slight higher incidence of cancer's ovarian cancer in those women who have polycystic ovaries. That is why this importance is very important to diagnose this condition well in advance and I would say that there should be a overall general awareness towards this.


My name is Matt Adams from the State PPNC Management Centre. Today I'm going to have a quick chat about the cold climate jacket, which we've just awarded a contract to for the supply of six jackets per volunteer location across the state. There will be a range of sizes that will be allocated to each brigade. We're confident that a majority of people within the brigade will be comfortable within the jacket supplied. So as part of the process we researched the different type of fabrics and different type of materials that were out there on the market. We wanted a fabric that would actually give good wind and rain resistance properties apart from other features such as being flame retardant. So we looked at a material that had inherent flame retardant properties. Once we found the actual outer material that we were comfortable with we made up a garment and sent it out for consultation and field trials across the state at various locations. The jacket itself has flame retardant properties as I mentioned before if ever involved where we would get accidental contact with flamics into the product line burn. I hope that's okay. What did I miss out on?