sexta-feira, 14 de novembro de 2014

«WIMUST | Woman in Music - Uniting Strategies for Talent »


Da publicação (destaques nossos):

«THE PROGRAMME WIMUST has been supported by the Culture Programme of the European Commission and administrated by EACEA. The  project is undertaken by the Fondazione Adkins Chiti: Donne in Musica in collaboration with 65 Women in/for/and Music organisations, Conservatories and Universities, and individual members of the International Honour Committee in 28 European and surrounding countries: Armenia Austria Azerbaijian Belgium Cyprus Czech Republic Denmark Finland Francia Germany Italy Kosovo Liechtenstein Luxembourg Montenegro Netherlands Poland Portugal Rumania Serbia Slovakia Slovenia Spain Sweden Switzerland Turkey Ukraine and the United Kingdom.

The 1995 UNESCO World Commission for Culture and Development identified the relationship between gender and culture as essential for sustainable development. Donne in Musica has been working since 1978 to empower and mainstream the music of women composers and creators while encouraging the mobility of women musicians to enhance professional skills and artistic development through residencies, presentations and live performances, and to increase the circulation of ideas and music across linguistic and national borders. 
Music only exists when performed and its intangibility reflects the invisibility of the women who create. Talent alone is not sufficient for the success of a professional career; therefore, accounting for the representation of men and women in the performing arts would reinvigorate a sector. 
The status of women composers is dramatic. Thanks to the research undertaken by the participating organisations, we are able to confirm that they represent between 35% and 45% of all of the composers and creators of music in any European country but still only a maximum of 1% of their music (traditional, popular, classical, contemporary) is programmed by public funded institutions (in some countries this reaches 5% but the vast majority of European Orchestras of all kinds and festivals are still not programming a consistent number of works by women) while 89% of public arts and culture institutions are directed by men. In some EU countries this number is as high as 98% of all decisional makers in the field of music – and this includes the people heading and running training centres, schools, conservatories and University departments. Throughout Europe, composers are unable to earn a living only from their musical compositions and performing rights. In many countries, the music-generated income is well below national poverty level. Few countries give creativity sabbaticals, stipends, worthwhile commissions, guaranteed number of performances of new works, finance for research, recording, promotion and production, leaving skills and talents unexploited, damaging artistic dynamism, influence and economic development. Look at current music curricula (schools, conservatories, universities) or listen to what public funded organisations (orchestras, festivals, theatres, radio, television, jazz bands) are programming and ask yourself: “where are the women?” 
European policies and programmes for equal opportunities are acknowledged in the general labour market, but rarely applied to arts and culture». Continue a ler.

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