International Theatre Institute ITI World Organization for the Performing Arts

The Director General’s Congress Report 35th ITI World Congress 14-22 July 2017, Segovia/Spain

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K100 2 The Director General’s Report Director Congress The International Theatre Institute ITI ITI Institute Theatre International 14-22 July 2017,14-22 July Segovia/Spain 35th World ITI Congress L og - C ir cle CM YK K10 C45,M90Y2K1 3 Editorial 4 5 Words from ITI the President Words

Words from the President ITI Since 2008, ITI has developed constantly and the Congresses have become events increasingly engaged in the performing Dear ITI members, dear readers; arts. This publication is the proof. Please read and look, and show it to your colleagues, friends, authorities and funders. Over 140 pages of the Director General´s Congress Report invite you to browse, to look at and to read all things related Mohamed Saif AL-AFKHAM to the ITI World-Congress. President ITI

The pictures and texts show you the cultural diversity that ITI represents. They demonstrate the diversity of persons of which ITI consists – long-term players, young practitioners, students, women and men - representatives of all the five UNESCO regions – Africa, the Americas, the Arab Countries, Asia Pacific and Europe.

In this extensive publication, which more pictures than any of its predecessors, you will be able to read what the Congress, and ITI as a whole, is all about.

I would like to thank all the persons that have contributed to this report. I know that the work that is behind the creation of it is humongous.

6 Words by the President of the Spanish Centre ITI the Organization. The notable presence of Dance, at the same level as Theatre, may also be considered among the 35th ITI Congress / Segovia 2017 landmarks of this edition of the Congress. Words by the President of the Spanish Centre ITI of the Spanish Centre the President by Words Prof. Alberto García Castaño Congress Honorary President On the other hand, our conversations showed how important it is to encourage performing arts teaching at all levels of The 35th World Congress of the International Theatre Institute education, particularly at universities where it is essential that (ITI) held in Segovia in 2017 was an unforgettable experience the language of the arts is heard in a strong, clear, informed for all those who had the privilege of being present. The voice. success of that meeting showed that the objectives of peace, tolerance and dialogue among peoples may be achieved At that marvellous gathering, we all learned in a setting with help from the performing arts, as it is expressed in the of harmony, love and solidarity; beyond flags, ideologies principles defended by the ITI since its creation in 1948. or religions; together under a common rallying call: “ACT! Performing Arts Transforming the World!” Like a large family, under the common denominators of Theatre and Dance, we shared different artistic visions, For a few days, we were able to glimpse the reality of the debated our concerns and participated in diverse elusive planet we all dream of, a harmonious world in which performing experiences, whilst being able, at the same time, we shared the most beautiful things the things for which it to enjoy youth theatre projects and many other activities is worth living. and initiatives. This encounter and gathering of the members of the organisation also allowed us to design new forward Along with the ITI Spain Team, I feel thankful and honoured thinking strategies to implement over the next two years. because life does not always provide us the opportunity to learn while facing major challenges and sharing them with More than seven hundred participants from sixty countries other people, who sometimes appear to be far from our from all the continents attended the event in the city of reality, but who in fact are very near. Segovia, a vibrant heritage centre. This was an event like none before due to the number of theatre and dance Together, at this Congress, we have sent a beautiful message performances, workshops, lectures and master-classes that out to the world: “Performing arts are a fine contribution to managed to attract the attention of visitors and residents Peace and harmony among all the peoples of the world.” of the city, drawing them into this festival of Performing Arts which sought to dissolve borders and release words of Alberto García Castaño beauty, peace and mutual understanding into the wind.

Among the most significant points of the 35th Congress, one must emphasise staging the First University Theatre Festival that opened its doors to major participation by a young generation of artists who are to forge the future of

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Foreword by the DirectorITI General by Foreword

Foreword by the Director General ITI in a different culture and different working attitudes, and it Dear ITI members, dear guests of the congress, dear readers; always faces different circumstances.

Each ITI World Congress is always something special and So for me personally, the Congress did not end with the unique. It starts with a commitment to a series of goals, then organization of the Congress. It continues with putting it continues with putting together the programme, and ends together a Director General´s Congress Report and it with organizing everything so that we are finally creating an continues even more strongly in implementing the event that serves the needs of ITI. programmes and plans on a global and local level.

The main goals of the 35th ITI World Congress were: 1) to It is with great pleasure that I would like to present to you the create an artistic congress, a Congress that focused on the essential texts and information about this Congress. But it is artistic, educational and humanistic values of ITI; 2) to include not only a book of texts, it is also a picture book. Dance in the Congress and 3) to widely open the gates of ITI for students and young professionals of the performing arts. Well, dive into the universe of the 35th ITI World Congress in Furthermore ITI wanted to create a Congress that brings the Segovia once more – the 160 pages are inviting you to do so. members of ITI and guests from all over the world together, so that new visions can be developed, new projects take With best regards form, and new alliances can be achieved, in order to bring about a better future for performing arts communities all Tobias Biancone over the world. Director General ITI

Each ITI World Congress is an endeavour that always starts from scratch. An ITI World Congress is always at a different place, it is always hosted by another team, it is always based

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Words by the President ITI 6 Words by the President of the Spanish Centre ITI 7 Foreword of the Director General ITI 8 Content

1. Preparation for the Congress The Main Partners of the Congress 14 Publications for the Congress 15 Welcoming the Participants of the Congress 16 Congress Schedule 17

2. The Next Generation of ITI Comments by the DG 18 Young Practitioners • About Young Practioners 18 • Performances of the Young Practitioners 19 Student Festival • Network for Higher Education in the Performing Arts 21 • Participating Member Universities at the Student Festival 22 • Opening 23 • Performances of the Student Festivals 24 • Workshop & Discussions of the Student Festival 26

3. Congress Official Opening of the Congress 27 Speeches • Alberto GARCÍA CASTAÑO, President of the Spanish Centre ITI 28 • Clara LUQUERO, La Alcaldesa of Segovia 29 • Deputy Mayor María Jesús FERNÁNDEZ ORTEGA 29 • Javier RAMOS, Rector of the Rey Juan Carlos University 30 • Salvador CARMONA, Rector of the IE University 31 • Mohamed Saif AL-AFKHAM, President ITI 32 • Tobias BIANCONE, Director General ITI 33 The President´s Appreciation of the Achievements of ITI 2014-2017 34 Commemoration of ITI Members Who Passed Away 36 Welcome to the Centre, Cooperating Members and Guests 37 Flag Ceremony 37

4. Artistic Part Comments by the DG 38 Performances 39

10 Keynote Speeches Comments by the DG 45 • Konstantin RAIKIN 46 • Javier OTERO GARCÍA & Enriaue PÉREZ VELASCO 51 Content • Paloma PEDRERO 55

5. Educational Part Comments by the DG 59 Workshops 60 Round Tables 65 Lectures 66

6. Humanistic Part Comments by the DG 67 Presentations 68

7. Communication Part Comments by the DG 69 Congress Orientation 69 ITI Centres’Speed Dating 69 Open Space 69 Young Practitioners´ Speed Dating 69

8. Statutory Part General Assembly Report 70

9. Annexes to the Statutory Part Finances • Accounts, Budget 88 • Treasurer´s Report 88 • Contribution Scale 90 Charter Changes 92 Membership Overview 93 Director General & Executive Council 2017-2020 95 International Projects • Comments by the DG 96 • Projects 97 Partner Organizations • Comments by the DG 104 • New Partner Organizations 105 • Overview Partner Organizations of ITI 108

11 10. The Future of ITI / Programmes ITI Programmes 2017-2020 109 2018 – The Year of ITI – 70th Anniversary of ITI 112 Content

Committee, Networks, Forums & Project Groups Programmes 2017-2020 Comments by the DG 113 Artistic Project Groups • International Dance Committee - IDC 114 • International Festival Forum - IFF 116 118 Top Right: lasdfjöasdjfansdföa • International Monodrama Forum - IMF Top Left: blablalb • International Playwrights´ Forum - IPF 120

International Playwrights‘ Forum Playwrights‘ International • International Stage Directors Network - SDN 122 • Music Theatre NOW Network - MTNN 123 • Network Emerging Arts Professionals NEAP 124 • Traditional Performing Arts Forum - TPAF 126 Educational Project Group • Forum for Theatre Training and Education – FTTE 127 Humanistic Project Groups • Action Committee for Artists Rights – ACAR 129 • Network Heritage, Indigenous Cultures & Migration - N-HIM 131 • Social Change Network – SCN • Theatre in Conflict Zones Network – TCZN 133 Communication/Research Project Group 137 • ITI Publications Committee – IPC Collaboration Projects 138 • AKT-ZENT World Theatre Training Institute • iSTAN International Stage Art Network 139 Next Congress 140 142 11. Declarations & Motions/Resolutions Comments by the DG Overview of Declaration and Motions/Resolutions 143 Declarations 143 Motions/Resolutions 144 145 12. Award Ceremony Final ceremony of the Congress New World Theatre Ambassadors 150 Overview World Theatre Ambassadors 151 151

12 World Dance Ambassadors 151 New Honorary Members 151 Overview Honorary Members and Honorary Presidents 151 Content New Members of the ITI/UNESCO Network for Higher Education in 151 Editorial the Performing Arts 151

13. Media Response 152 14. Congress Organization 154 15. Expression of Gratitude 157 16. Addresses / Directory 158 17. Copyright / Photo Credits 159

13 Preparation for the Congress for Preparation

The Main Partners of the Congress The main partners of the 35th ITI World Congress are:

• Spanish Centre of ITI • Municipality of Segovia • General Secretariat ITI • Executive Council of ITI • Congress Task Force • ITI/UNESCO Network for Higher Education in the Performing Arts • International Dance Symposium Preparation Team

(The whole list of the teams, see page 156 of this Report).

14 Available English, languages: French, Chinese Spanish and website ITI the on available download for is Leporello Stick also The Card. aMemory on Participants to all Congress distributed the has version been digital The ITI. Secretariat flyer createdLeporello General by the ITI” is “What Flyer Available English, languages: French Spanish and website. ITI the on available download for is also toolkit Stick The Card. aMemory on participants to all Congress distributed the has version been digital The Communiations, Switzerland Team, Secretariat General Futura with in collaboration the with together ITI, of Created General Director by the 2017 2/ Version aCentre running and Tools opening for Centres ITI Toolkit for Available English languages: French and website. ITI the on also available download for is Report Stick The Card. aMemory on Congress Participants to all distributed the has and been Organizations Partner and sent to all hasversion been Centres, Members, Cooperating digital The taken. has been to report decision DG print not the 145th the During Council in Moscow, Session Executive the Communications, Switzerland. Team Secretariat General Futura with in collaboration the with together ITI, of Created General Director by the 2014November 2017 –April ‘s Report General Director The Publications for the Congress Available English, languages: French Spanish and Created printed Spanish and by the Centre ITI. of Programme of the Student Festival Available English, languages: French Spanish and in printed form. Participants Spanishby the Centre. to all Congress the Distributed printed and ITI LeafletSecretariat createdGeneral by the Young Practitioners at the 35th ITI World Congress Available English, languages: French Spanish and in printed form. Spanish Centre. to all Congress the Distributed Participants printed and by the Flyer ITI ceated Secretariat General by the Programme Performance Available English, languages: French Spanish and in printed form. Spanish Centre. to all Congress the Distributed Participants printed and by the Flyer ITI ceated Secretariat General by the Presentations Available English, languages: French Spanish and in printed form. Spanish Centre. to all Congress the Distributed Participants printed and by the Flyer ITI Secretariat created General by the Workshops Overview 15 Publications for the Congress Give-aways Welcoming of the Participants of the Congress of the Participants Welcoming Bag Created and produced by the Spanish Centre, distributed to all delegates, artists and guests.

ITI & Congress Pins Created and produced by the General Secretariat, distributed to all delegates, artists and guests.

T-Shirt Created and produced by the Spanish Centre, distributed to all delegates, artists and guests.

Memory Stick Card Created and produced by the General Secretariat, distributed to all delegates, artists and guests.

16 19 July Wednesday Day & Time Day & Time Day & Time Day & Time Day 21 July Friday 20 July Thursday 18 July Tuesday 17 July Monday 16 July Sunday 15 July Saturday 14 July Friday 13 July Thursday & Time Day 23 July Sunday 22 July Saturday & Time Day Main Congress:Main 17to 2017 22July Congress Festival: Prologue –Student 2017 14–16July

8 8 8 8 9 9 Opening Dance Class Dance Class Dance Class Dance Class Morning Morning Morning Morning Arrival andregistration forthosewhoattend theCongress Prologue /Student /Early Festival registration orobserver asparticipant formainCongress participants Arrival andregistration forthosewhoattend theCongress Prologue /Student /General registration Festival orobserver asparticipant formainCongress participants General registration formainCongress (fordelegates participants whodonotwant inGeneral to Assembly Part take 1) part General registration formainCongress participants Early registration formainCongress participants Departure ofDelegates,Departure Guests, Students, allCongress Participants Good Good Good Good Good General Assembly Part 3 Welcome 10 10 *Lectures C:Space forPedagogy andPerformance /Dance inthecity inGeorgia

9 9 9 9 *Lectures B:Dance bombsandthesniperfire two between /Dancing withsensesandimagination *Lectures A:Aderelict londonasthebackdrop formoral decay inKenneth MacMillan´s The Judas Tree / The stageasamirror ofahuman'slife/Architecture ofthebody -how dowe buildspace? Table:*Round Clinical with Committee Presentations From to theBody theMask/Jorge Gallego Registration forparticipants General Assembly Committee Reunions Congress Orientation India Dancing withtheSensesand Registration, Break Workshops Regional Council Kathak Taleem -Part 1 Dancing inthe Woods Imagination -Part2 Space Open Coffee/Tea All parallel Meetings Part 1 All parallel Break Part 1 Part 1 Liuba Cid. Coffee/ , Break Social andEducational Social Applications ofthePerforming Arts Tea 10 10 10 10 11 11 of Theatre and of Theatre Performance A Theatreof Things Department Department Studies General Assembly Introductory Introductory Workshop &Goldman /Bausch Coffee/Tea Part 3 Starts: 11.00/11.4512.3013.15h Starts: Break Coffee/ Coffee/ Coffee/ Coffee/ Coffee/ 4 Showings of35minutes Break Break Break Break Break Tea Tea Tea Tea Tea 11 11 11 11 12 12 Tea Break Coffee/ Coffee/ Theatre Conflict Zones & Heritage, Coffee/ Coffee/Tea Break Break Moving towardsEmpathy/USA Tea Tea Indigenous Cultures, Migration The Balancing Break IAPAR, India General Assembly Presentations Round Tables Committee Reunions / Academy Bern oftheArts Act Speed DatingSpeed Space Open ITI Centres Dancing and withtheSenses Part 1 All parallel Georgetown University, I PlegeAllegiance 35 Part 2 Part 2 Ceremony Enter intheRelation Imagination -Part 1 Focusing onActing Enter intheDance, Award Award Theatre -Jazz 12 12 12 12 13 13 *Round Table*Round th USA Creating andMaking Theatre at theIntersections /Naum Panovski –Part 1 Creating andMaking Theatre at theIntersections /Naum Panovski –Part 2 ITI World Congress 2017,Segovia /Spain –14-22July Ateneo deManila Wayside Philippines Café Fitzmaurice Voice Work forActors –Part 1 /Alida Bevk Fitzmaurice Voice Work forActors –Part 2 /Alida Bevk General Assembly, Reunions Keynotes Lunch Break 14 14 13 13 13 13 Coffee/ Reception Break Tea 15.30 Discussion ofthePerformance15.30 Discussion 15.30 Discussion ofthePerformance15.30 Discussion 15.30 Discussion ofthe 15.30 Discussion Lunch Lunch Lunch Break Break Break Coffee/ Break Tea The Franklin Method Performance Lunch Break Lunch Break Lunch Break Lunch Break *Lectures A *Lectures B *Lectures C 14 14 14 14 15 15 Intangible Cultural Heritage: Stoomp. Enrique P. Velasco General Assembly Paloma Pedrero Javier Otero Konstantin Raikin Part 2 Lunch Break 16 16 15 15 15 15 Lunch Break Lunch Break Lunch Break Coffee/ Coffee/ Coffee/ Coffee/ Break Break Break Break Tea Tea Tea Tea , Spain University Rey Juan Carlos Juan Rey Theatre inaChaotic Cape TownUniversity Beyond theShows: The Challenges ofITI Is Cultural under Diversity Threat? Cornelia DÜMCKE Open Space,Open Orientation, Dating Speed Press Conference A Continental B. Divide; Anderlic The Joy of Diversity / Marta CanteroThe /Marta Joy ofDiversity Beyond Cultural Colonialism /Anina JENDREYKO Presentation &Photo Exhibition Nadie Xiqu Arts -Chinese Showcase Acting Xiqu Arts Panel Discussion Laboratory forCitizen‘s Creativity South AfricaSouth IPF 10minsPlay Reading Storyteller /Ada Francoy enACT Theatre Transformation Pennone Mani&Maryann /Rama World General Assembly Judas Theatre Improvisation andPhysical Training /Daniel Bausch Character and Design Visual Dramaturgy /Irina Kruzhilina Home -Presentation ofCross Cultural Student Looking againat shared The ofpublicdemonstration act asnatural –Part 2 instinct The ofpublicdemonstration act asnatural –Part 1 instinct Ethnographic Sensibilty for Acting /Israfeel forActing Ethnographic Shaheen Sensibilty AKT-ZENT: Theatre ofSilence & Palmieri / Schmalor spaces forDance and Theatre /Nube asBridge Sandoval &Bernardo Rey 16 16 16 16 17 17 Part 2 Coffee/Tea Social Art Art Social Theatre Faso /ITIBurkina -Part 1 Social Art Art Social Theatre Faso /Burkina -Part 2 Video Art Break Kathak Taleem -Part 2 Meditative /Janice Playwriting Poon Hombre deMaiz/ Yahaira deSalazar Free timeforindividualsightseeing, shopping, relaxing, enjoying... Discussion ofPerformances Discussion Micro Performances The Taming oftheShrew Shanghai Theatre AcademyShanghai Theatre with participating 17 17 17 17 18 18 insititutions Coffee/ Coffee/ Break Break Break Break Coffee/ Break Tea Tea Coffee/Tea Dance at Space theOpen /Nicolas Rambaud Tea China Break Storytelling forKids/Ada Francoy ACAR: Tools Rights forArtists andpartners AKT - ZENT:T Young Practitioners SpeedDating Philosophical Thoughts in Philosophical Thoughts HowIround: WorldMap Theatre Theatre inPrisons / Vito Minoia Thinking withtheFeet: Little Happiness /J.C.Gargiulo Lecture /Prof. Rufino Dionis General Assembly Dance heatre Training Beyond Limits (if needed) 18 18 18 18 Renewed Illusions 19 19 The Bitter Shell University, Spain Rey Juan Carlos Juan Rey Coffee/Tea Festival Lounge Performances 21.00 Discussion ofthePerformance21.00 Discussion Break Coffee/ Break Tea Let‘s to Get Know Dance withLaura Segovia Coffee/Tea Conference 19 19 19 19 Dinner BreakDinner 20 20 Each Other Break Tea Break Tea Break Tea Break Tea Break Tea Break UL AGRFT of Birds Slovenia Coffee/ Coffee/ Coffee/ Coffee/ Coffee/

Selected Choreographic Selected ChoreographicSelected Moment Closing De LorcasuBernarda Coffee/ Break Madame Bovary Madame A TerrifiedSoul Tea Israel /Palestine Performances Performances 10 Millones 10 Millones El León yla Performance Performance Performance Performance Performance Domadora 21 21 20 20 20 20 Works Works Slovenian Illusion Party Shame Spanish Spanish Chinese Performance: Cuban Cuban Anhui Dinner BreakDinner Street Dance Synposium Programme Dance Classes 21.30 Discussion ofthePerformance21.30 Discussion 21 21 21 21 Accademy TeatroDimitri 22 22 The Old TenantThe Dinner BreakDinner Switzerland Dinner BreakDinner BreakDinner Dinner BreakDinner BreakDinner Festival Lounge Dinner Dinner Dinner Dinner Dinner Break Break Break Break Break Closing Party 23 23 22 22 22 22 Performances Aqueduct Segovia Congress Night Gala Festival Festival Lounge Lounge 23 23 23 23 00 00 Segovia Aqueduct Segovia Segovia Aqueduct Segovia Segovia Aqueduct Segovia Opening Night Opening de SanIldefonso de SanIldefonso Closing Night Inauguration Performances Performances Symposium Symposium Night of the Night ofthe Performance Night Gala Congress La Granja La Granja Hearts Dance Dance Dance Dance 16 July Sunday 15 July Saturday 14 July Friday 13 July Thursday

00 00 00 00 17 Congress Schedule The Next Generation of ITI Next Generation The

The next generation in action

Comments by the DG • More than 100 students taking part in the first Student For the future of the International Theatre Institute the Festival of the ITI/UNESCO Network for Higher Education inclusion of young professionals is an important strategy. The in the Performing Arts with students from China, India, risk of any association is to become a closed circle with gate Philippines, Slovenia, South Africa, Spain, Switzerland, and keepers that do not let anybody in. And if an association falls USA. into this trap, then it inevitably declines. This is true for ITI as a whole and it is true for any Centre as well. With almost being The initiative was supported financially by individual 70 years old, ITI needs to open up and include the young Centres supporting the travel of young practitioners, the and active members of the performing arts. One might be General Secretariat through travel and hosting support, the afraid of the new ideas, the new approaches and the fresh Spanish Centre, the Segovia Municipality (both by through viewpoints they bring in. But this is a necessary process. And hosting and logistical support) and also by the participating if the members of ITI are open for new ideas and new forces, universities of the Network for Higher Education in the ITI will grow stronger and become larger. Performing Arts via travel support.

The visions of the artists are changing along with the realities The inclusion worked thanks to the joint effort of all the of the world and the expectations of the audiences. So, it is members of ITI and was made a success thanks to the special more than appropriate to include the newcomers with open efforts of the young professionals and students. arms and a high interest. This is what happened at the 35th ITI World Congress. Thanks This was just the beginning, Let´s continue to keep that to the wise decisions of the Executive Council, the Centres attitude within ITI and within the Centre for the future. and the General Secretariat, ITI was able to welcome: • More than 50 young professionals attending the Congress and some of them showing performances during the Congress.

18 Anushka VAZE,Anushka India teacher)village Die junge young indische (The Indian Dorf-Lehrerin Zubin KHETANI, India India Tanmayee AMBEKAR, Ether/Real 17Monday July Sayik SIDDIQUEE, Bangladesh SundorirRupchan Pala Yolane France KOCHER, tombe tombe… qui fille Jeune La Tuesday 18 July 19 Performances by the Young Practitioners Performances by the Young Practitioners Young the by Performances

Wednesday, 19 July Thursday, 20 July

100 Reasons The Hunting Reflection Buddhi WEERASEKERA nd Hope NNENA ONWENU, Uganda Niresha WEERASEKERA, Sri Lanka

Meu Universo Epic of Gilgamesh Jefferson FAGUNDES, Brazil Amandine AUDINOT, France Giorgia CIAMPI, Italy

20 through exchanges lecturing and so on. to collaborate another initiatives individual on one with have started members to creation the Network, the of Thanks Work done so far results. and activities biannually to UNESCO its about reports network The other relevant and issues. heritage intangible cultural artists, equality, diversity, of cultural improvinggender status the regarding UNESCO culture, of goals the ITI and education, by abides UNESCO. of Educationalup Itstrictly by Sector the set that has been UNITWIN of rules the follows Network The continent. research and every from institutions institutions education higher academies, universities, with together is ajoint initiative UNESCO of Arts ITI, and Performing Education in Higher for the Network ITI/UNESCO The Network the of President and ITI General Director by the Introduction forNetwork Higher Education in the Performing Arts [email protected] by contacting form application the and Charter, rules existing the Network, the information about further for Secretariat Please ask General applications. for the is open network the is This why Network. the of like would part to be members apparent was it that more Network, the for members potentialand existing between meeting In an unofficial Members new for Call • • • has already initiated different Network programmes: The worldwide (decided at the first General Assembly) General at first the (decided worldwide Education Higher Institutions Arts Performing of Mapping Assembly) General first the at (decided Education Institutions Higher Arts Performing Evaluation and Systems Assessment existing for on creation an International of The System Ranking based Congress Student 35th the –as organized Festivals before World ITI 21 Student Festival Student Festival Festival Student

List of all the members of the ITI/UNESCO Network for Participating Member Universities at the Student Higher Education in the Performing Arts Festival • Yerevan State Institute of Theatre and Cinematography, List of leaders of the Network participating at the first Student Yerevan, Armenia Festivial: • University of Dhaka, Dhaka, Bangladesh • Derek GOLDMAN / Joanna RUF, Georgetown University, • Ecole Supérieur des Arts, Mons, Belgium USA • Shanghai Theatre Academy STA, Shanghai, China • Manuela TRAPP, Bern University of Arts, Switzerland • University of Costa Rica, San José, Costa Rica • Ricky ABAD, Ateneo de Manila University, Philippines • IAPAR International Association for Performing Arts and • Geoffrey HYLAND, Cape Town University, South Africa Research, Pune, India • Daniel Bausch, Accademia Teatro Dimitri, Switzerland • Toho Gakuen College of Drama & Music, Tokyo, Japan • Ales VALIC / Mija SPILER, ULAGRFT (University of Ljubljana, • Escuela Nacional de Arte Teatral ENAT, Mexico DF, Mexico Academy of Theatre, Radio, Film and Television), Slovenia • Universidad Nacional Autónoma de México UNAM, • Vidyanidhee Prasad VANARASE, IAPAR (International Mexico DF, Mexico Association of Performing Arts and Research), India • Universidad Autónoma de Nuevo Leon, Nuevo Leon, • GONG Baorong/XU Jiali, Shanghai Theatre Academy, Mexico China • Ateneo de Manila University, Manila, Philippines • Alberto GARCIA Instituto universitario de la danza “Alicia • Raykin Higher School of Performing Arts, Moscow, Russia Alonso”, Rey Juan Carlos Universidad, Madrid, Spain • University of Cape Town, Cape Town, South Africa • As guest: Asociación Paladio Arte • Institut de Teatro, Barcelona, Spain • University of the Arts, Zurich, Switzerland Further members that attended the Student Festival • University of the Arts, Bern, Switzerland without student participation: • Accademia Teatro Dimitri, Verscio, Switzerland ARANA GRAJALES Thamer, AREVALO GOMEZ Epifanio, • Academy of Theatre, Radio, Film & Television, Ljubljana, VALERO ROZO Yuly Andrea, ARBOLEDA ZAPATA Jhon Ferney, Slovenia RET (Red Escuelas De Teatro Colombianas) • University of Juba College of Art, Music & Drama, Juba, Jean-Henri DRÈZE (Mons, Belgium) South Sudan • Chulalongkom University, Bangkok, Thailand • Georgetown University, Washington DC, USA • Naropa University, Boulder, Colorado, USA

22 Student Festival with a speech or awelcome address. or aspeech Student with Festival the of guest and all participants –all the welcomed Festival coordinator and Student the of Network the of university amember of leader and ITI Council Member Executive coordinatorand Daniel Student and BAUSCH, the of Festival Network the of Co-Director GOLDMAN, Derek well as host; as Network, Alsonso”, the of university amember of leader “Alicia la Danza de InstitutoUniversitario the of Director GARCÍA CASTAÑO, President Spanish the of Centre and ITI Alberto Arts; Performing Education in Higher for the Network Tobias President and ITI/UNESCO BIANCONE, the of ITI DG 23 Student Festival – Opening Performances of the Student Festival of the Student Performances

Friday, 14 July Saturday, 15 July

A Theatre of Things I Plege Allegiance Bern University of the Arts, Switzerland Georgetown University, Washington D.C., USA Expresa 1 Theatre, La Cárcel Expresa 2 Space, La Cárcel

Conference of Birds Nadie ULAGRFT (University of Ljubljana, Academy of Theatre, Radio, Paladio Arte, Spain Film and Television), Ljubljana, Slovenia Paladio Place Expresa 1 Theatre, La Cárcel

The Taming of the Shrew Académie de théâtre de Shanghai, Shanghai, China San Nicolas Church

The Old Tenant Accademia Teatro Dimitri, Verscio, Switzerland Expresa 1 Theatre, La Cárcel

24 Performed in the galleries and yard of La Cárcel La yard of and galleries in the Performed Spain Madrid, Alonso, Alicia Universitario Instituto Shell) Bitter (The Amarga Cascara La Cárcel La Theatre, 1 Expresa Town, Cape of Town,University Cape Africa South Miss Julie 2Space, Cárcel La Expresa Ateneo Manila de University, City, Manila, Quezon Philippines Wayside Café Cárcel La Theatre, 1 Expresa recherche),la Pune, India etde IAPAR du spectacle internationale (Association arts des The Balancing Act Sunday, 16 July 25 Performances of the Student Festival Workshops, Round Tables & Discussions of the Student Festival & Discussions of the Student Tables Round Workshops,

Welcome Workshop Panel Discussion: Theatre in a Chaotic Word Derek GOLDMAN, USA & Daniel BAUSCH, Switzerland Expresa 2 Space, La Cárcel. Saturday, 15 July Expresa 2 Space, La Cárcel, Friday 14 July Closing Moment Direction in the Performing Arts and Multidisciplinary Expresa 2 Space, La Cárcel, Sunday 16 July Space. Design and Creativity Liuba CID, Spain Expresa 1 Theatre, La Cárcel, Saturday 15 July

From the Body to the Mask Jorge GALLEGO, Spain San Nicolas Church, Saturday 15 July

Contemporary Indian Theatre Practices Ajay JOSHI, India San Nicolas Church, Sunday 16 July

Ethnographic Sensibility for Acting: Reembodyment off Traditional Games in Multicultural Performance Situation Department of Theatre and Performance Studies University of Dhaka, Dhaka, Bangladesh San Nicolas Church, Sunday 16 July

26 Top Right: lasdfjöasdjfansdföa Top Left: blablalb Ateliers, tables rondes & discussions du festival des étudiants & discussions du festival tables rondes Ateliers,

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. pulvinar, wisi quis blandit varius, lectus velit tincidunt ligula, Cras ante justo, commodo a, volutpat et, consequat eget, eget ornare mi felis et ante. Cum sociis natoque penatibus diam. Quisque vestibulum laoreet elit. Aliquam interdum leo et magnis dis parturient montes, nascetur ridiculus mus. Sed quis quam. Sed enim arcu, pulvinar vel, mattis vitae, ultricies non leo ac nibh interdum sagittis. Aenean iaculis, nulla a eget, nunc. Sed elementum quam vel eros. Sed laoreet semper tristique, tellus erat lobortis eros, a porta tellus eros ante in lacus. Nunc diam turpis, commodo et, porttitor a, quis quam. Quisque quis nisl. Donec blandit. hendrerit sit amet, dui. Maecenas tortor nisl, venenatis non, pellentesque eu, laoreet vel, leo. Ut ligula. Etiam velit. Vivamus tincidunt, neque quis feugiat molestie, augue dolor adipiscing metus, dignissim Suspendisse accumsan, metus sed pharetra adipiscing, malesuada erat quam a enim. In hac habitasse platea nulla metus dapibus elit, at blandit dolor diam eget orci. dictumst. Pellentesque habitant morbi tristique senectus In pretium sem lacinia pede. Quisque justo sapien, auctor et netus et malesuada fames ac turpis egestas. Donec quis viverra, volutpat non, lacinia id, urna. Donec mattis ornare dui. Sed vitae mauris. Donec faucibus erat eget odio. Integer nibh. Integer sed eros. Praesent ullamcorper, elit vel convallis sodales. Mauris molestie dui vel est. Sed bibendum tempor sodales, pede massa imperdiet tortor, convallis iaculis elit lacus. Nam rhoncus. Proin sit amet nibh. Integer lorem nulla, tellus sed augue. Donec sed wisi. Fusce eget mi. Nam neque. mattis eu, accumsan a, vestibulum ut, wisi. Vivamus euismod Ut pellentesque, libero vel tincidunt dictum, diam turpis lorem. Maecenas eget justo. Pellentesque ac lectus nec odio tincidunt nunc, a convallis wisi ante nec mauris. Cras metus pharetra porta. Donec neque metus, interdum a, varius vitae, sem, vulputate at, lacinia vel, auctor quis, ipsum. Pellentesque porttitor a, quam. Ut porta orci et purus. Proin quam lorem, consectetuer lacus ut ipsum tempus eleifend. Integer accumsan ac, suscipit vitae, varius in, ligula. euismod pellentesque dui. Fusce a velit. Pellentesque sodalesOfficial Opening of faucibus ligula. In mattis tellus eu tellus. Vivamus varius massa in enim. Curabitur tempor, arcu in sodales aliquam, lectus dolor egestas velit, ut pharetra felis quam a massa. Loremthe Congress ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam

27 Official Opening of the Congress

Speech of Alberto GARCÍA CASTAÑO experience. An organisation that fights for peace, that fights President of the Spanish Centre of ITI to promote human principles, is exactly what we had been Distinguished Delegates, members of the ITI Executive seeking for a long time and which we have found in the ITI. Council, Mayor of Segovia, Mayor of La Granja, dear Rector of Building a new ITI in Spain has not been, and is not, a simple the Rey Juan Carlos University, dear Rector of IE, dear friends task. We are starting to lay the foundations. everybody, because I believe that today is a source of deep satisfaction for me, because, as I often say to my students, all One year ago, I asked the Director General Tobias Biancone, of the family is gathered here today, a large part of the family what do of ITI members need or expect? He told me only and that is something that does not happen every day. two things, “passion for art and a vocation of service”. In other words, “passion for art and vocation of service” and Today, I am deeply moved because we have had the chance that has been the cornerstone for building a new ITI in Spain. to offer the members of ITI the possibility of coming together We are not a large organisation from an economic point of here in Spain. And that is something that is important, view, now we do not have major financial resources, but we something that is very important, on a personal level, and it do have many people with great passion and with a great is something that is very important for Spanish people. It is vocation of service. I believe that this is the most important very important at a time when culture is undergoing great thing. Working with your heart, working with your soul and difficulties in our country. That is why the presence here dedicating yourself day by day and that, I believe, is what we today of all of you and the fact that Spanish artists feel that are achieving. they are not alone and that they form part of the great global family is in itself a great message for all our society. There are not only artists in our organisation, there are many young teachers from the University and there are many Twenty-five years ago, I was entrusted with a complex professors of chemistry, physics, medicine and mathematics project in Spain when it was decided to create the first that have joined our struggle to ensure that the performing university institute dedicated to the performing arts. The first arts do not only occupy their place within the area of higher one and the only one; there is no other in Spain with these education and the academic world, but also for them to characteristics. Dance, theatre, these have been our passion, be a commitment for the future. Given that it is an ethical and according to a friend, passion gives rise to the exception. and moral commitment of all of us to leave a legacy for our We have dedicated ourselves to this project with passion children. And what better legacy than our cultural heritage. and with love. Just three years ago, we made our first foray I believe that this is where the essence of our work lies. From into the ITI. Spain had been absent from the organisation for the work that we attempt to do every day and for which we some time and we attended the Congress that took place count on the help of all of you. in Armenia to see what was happening in the ITI, who was in the ITI and how we could join and serve the international Welcome to Spain, welcome to this wonderful city of Segovia community from there. At that time, I never even remotely and I welcome you with all my heart to the Spanish Centre thought that three years later we would all be gathered here. of ITI. I believe that being able to form part of this organisation has been an enormous experience for us, an unforgettable Thank you very much.

28 always present in theatre, remote in most that the way from Allof that strategies. is generous and to define supportive gather together goodwill of women and men when exists 35° the World of Congress. motif us, All this the of is ITI this “Act!”through As imagination progress. and reminds through culture, is done to it And going through be theatre, intolerance. of full in aworld equality About struggles. of full peace in aworld about an event begins talks which Segovia in morning This respect. for peace, for urgency the urgency Acanvas deals which the treasures with it symbolizes. and what for For what means it world’s evolution. the toof art, remind us what Picasso’s has meant to Guernica history the today in 2017because which are developing actions some in 1937. exhibition universal this I bring to detail this opening to Spanish the Guernica accompanied Paris Hall the the of Marzuela Professor Agapito Marzuela. musicologist Segovian ancientyou, our by our dance recovered tradition from todaywhich entradilla I represent. hasthis La received city Creative dreamy risk, Welcomememories. judgement. to to best our commitment,and respect and innovation Talent concerns, wishes. these these share questions, these like we are to to to week going ever For one us. happen are? we dream do Who to become? not we What would deeper, and we who further to see ourselves see we can live. Ithink than that, more that, theatre is mirror where the in human which world beings were the mirror of the arts once wrote that theatre the performing Someone the and to all. morning this of Congress, good participants Accidental the and Ildefonso, Mayor Real San Sitio of de Dance Institute, Alicia University the of Alonso director this of institution, board the of UNESCO other members and ITI/ of University, President General ITI/UNESCO, of Director Juan Carlos Rey the of IE University, the of Rector Rector (Mayor) Segovia of Alcaldesa La LUQUERO Clara of Speech them all best. them the wished and ITI of delegates the Mayor welcomed deputy The Ildefonso San de Sitio Real of Mayor the of (in representation ORTEGA FERNÁNDEZ Jesús María Mayor Deputy Welcome Congress! have and agood to all for thatand generations are come. you home. Know all, for is which miracle women all for and acultural men city by UNESCO Humanity, of declared to Cultural a Heritage city enthusiastichere today most welcome Igive to the you a I which represent Segovia of all people of name inthe the to celebrate this Mayor city our and congress. choosing As for us today, we which bring entradilla tellsLa that gift us about in thattimes, way in any always. place world in the 29 Official Opening of the Congress Official Opening of the Congress

Speech of Javier RAMOS we do, what we will do during this week in Segovia, to search Rector of the Rey Juan Carlos University for what art is, and culture, taking into account the different Honourable Mayor of Segovia, Honourable Provisional Mayor nationalities, were telling the Delegates we have during this of Real Sitio de San Ildefonso, President and Director General week for the 35th World congress, working together for a of the International Theatre Institute, Vice-Presidents and common goal, which is the human beings reach the highest Members of the Institute’s Staff, Honourable Rector of IE levels, reach culture, art, to the most genuine expressions University, dear Alberto, responsible for having Dance and of wisdom and human quality. I can only wish to all of to Art at the University, dear Delegates of the 35th ITI World enjoy this surroundings, which for me have represented congress, participants to this impressive site of Segovia at the surroundings for reflection, of personal growing, that you university. If I may I am going to tell you a personal anecdote, make the most of the relations with the different Delegates six months ago I had to take an important decision in my and of all the events which this great Congress have prepared life, which I believed would have effect on many people, for you. thousands of people and the decision was important, at that moment I had to choose a stability, a contribution to society Thank you. in the field of science and decide if I would change my life, disrupting my comfort zone, and decide if would dedicate to be at the service of a great community, an university of 40.000 people. I will tell you what I did at that moment, I thought, and when I did not find the solution I escaped, I escaped to the city of Segovia, I came to think, to think along with the people I love, in these case my family, and here I found the solution, or at least, here in Segovia I came to a reflection, which I like to think is changing the lives of thousands of people; many times we have to make sacrifices, we have to think big, as it is said in English, dream big, we have to come out of our comfort zone to change the world, to be better.

As the Mayor would say, or as we saw at the presentation of ITI, we have to look for peace, for justice, for the transmission of culture, of the highest human values. And for that there are only two ways or at least in my experience, there are two ways of doing it, one is to work jointly with people with the highest ethical standards and also have the same goals as ours, and the other is finding a moment for reflection in an environment which promotes a civic way of thinking and working jointly to find those same goals. Well, that is what

30 environment. of to ensure in this that an type education we provide in order technology top-level with facilities our equipped Fourthly, to attention we pay close technology. We have initiativeand others. for that do work inthey the company, to innovation able develop also must be they but to learn up only not anew must set character. students Our an entrepreneurial of is third promotion values the our of The this campus. humanism, we welcome all here you to of this Congress and In this regard, that in and line with internationalism and thatvalue value, we advocate, is afundamental humanism. second The from abroad. teaching our of come staff 60% are campuses international.our on Furthermore, students other countries, come the in from and total, of students 60% is internationalisation. our of At 80% campus, this Segovia which of first the values, fundamental of aseries on we work that on integral education, Based individual. the of education to an integral develop attempts university The School. IE Business the what previously in on was 2007out based We started institution. young is a very IE University America. relating of discovery as to the what later would known be to Monarchs have Catholic the began contacts first the interesting events in historical Spain, such as when extremely to some host the It is has aNational it been and Monument 11th aprevious on century monastery. Romanesque century 15th in built the was Cruz Santa of Monastery The Monastery. the and minutescouple of to University the tell about you Please a just allow me Cruz. Santa of toand this Monastery It is areal pleasure to me for welcome to you this university authorities. University,Carlos ITI Juan Rey the of Rector Mayor Segovia, President of ITI, of días. I‘m to Buenos going speak in Spanish. morning. Good University IE the of Rector CARMONA Salvador of Speech Thank you very much. very you Thank success. possible greatest the with toyour objectives congress able achieve its will be Iam atmosphere sure and thata friendly in facilities our like to assure to guarantee that you we utmost will our do this in us by event holding trust here. its placing Iwould onceI would again like for to to my gratitude ITI express International York New Times. the of ranking age, to 25th the place employability in the University, have our young raised despite its University the of values five defence all of character. these ethical The an with to students our imbue we try least, not but Last, 31 Official Opening of the Congress Official Opening of the Congress

Speech of Mohamed Saif AL-AFKHAM From the bottom of my heart, I welcome you once more. I President ITI wish you a motivating, inspiring and peaceful congress. A Distinguished Ms Clara LUQUERO, La Alcaldesa de Segovia congress where you can meet your friend and create new Distinguished Mr Salvador CARMONA, Rector of the IE friendships. University Distinguished Ms María Jesús FERNÁNDEZ ORTEGA, Deputy We are all in the same boat. The boat called ITI. It is the boat Mayor of the Real Sitio de la Granja de San Ildefonso, that should safely and proudly move into a good future for Distinguished Ms Mar SANCHO. Cultural Politics Director the world, for the performing arts and artists, working for a Castilla and León Community better world, working for a world rich in culture and a world Distinguished Mr Javier RAMOS, Rector of the Juan Carlos in mutual understanding and peace. University Dear Alberto GARCIA CASTAÑO, President of the Spanish Thank you very much Centre of ITI Dear Executive Council Members of ITI Dear Tobias BIANCONE, Director General of ITI Dear ITI Members from all over the world, Distinguished Guests, colleagues and friends, Ladies and gentlemen,

It is a great pleasure and honour for me to welcome you here to the Opening of the 35th ITI World Congress in Segovia and La Granja, in Spain.

For a week this place is become the performing arts capital of the world. It was a joint effort of all the organizations of the speakers that you heard, and from ITI to plan and schedule this Congress, probably the biggest Congress in the history of ITI. I would like to express my gratitude to all the persons and institutions that were involved in making this happen.

Unfortunatly, this large congress is not the congress with the biggest budget ever. That means your understanding and flexibility is necessary to make it a creative Congress. It will be a joint effort of all the organizers and you, the ITI Members and friends, if this Congress should be a successful Congress. Inform yourself, ask and most important – lend the organizers a hand when they are desperately needing it.

32 learn to act in their school. Imagine that anybody who wants wants who that Imagine anybody in school. their tolearn act to children are able the neighbourhood that inyour Imagine visions. likeI would to invite to now you use your imagination to create visions. our for have scope awide to is That why big. we need thinking is with nothing wrong There one, result. until the we will see by aware one that steps, alot of realizing avision in life our needs We have we create if ourselves. vision, to especially be barriers the to is do to to weWhat our need give power vision, our rekindle us? life are of stopping barriers to the if do we need do What mankind. for and society for individual, the for We vision is benefit the if the succeed, for especially persist. if we – that what we envisionbe experience finallyattained can thatIt is visions my are experience essential. is it And also my arts. the of education dance visions the music for and strong theatre. we need And –theatre, arts performing the for visions culture, for arts, the for strong we need For creating world, peaceful and rich aculturally everybody. groups, include not own in do mind and interests their interests, the of own and their with deal only who deal in war, who to crisis, greed; people and the those turmoil It is that obvious to leave we follows cannot world vision the the arts. performing the for world´s the International ITI, Institute Theatre organization largest in life. your for life is is the What for anything also true true achieving for that an avision, idea, isAll know you necessary of Congress. 35th the of at opening World the all you to here in Segovia, see ITI great is year it pleasure than more avery one preparation of After ITI General Director by Tobias BIANCONE Speech on your wayon to realising your visions common visions. our and your way Congress on through the voyage” and I wish “bon you here. being for you Thank each other. with we conduct dialogue by the and lectures presentations, keynote speeches, workshops, performances, inspired by the get motivated and coming in in it the Let´s days. education and arts performing the Let´s together. it do Let´s visions and discuss culture, for strategies understanding. Peace. For all the people. in Rich culture. in Rich mutual place everybody. for a better We have to to visions make strategies and develop this world Well, that Iam convinced we have that to is direction in. the go in peace. existed world the if everybody for and your friends for and you for feel would it how Imagine least: not but last And arts. performing the and culture of recognize value the people where aworld Imagine cultures. that is aworld Imagine in rich many, many differentkindsof help and to create conflict of zones peace. an everlasting to theatre use of the dance how and Imagine hope could bring accessible all over be world. would the to all people arts performing in the education if be would effect whatImagine the theatrewhere dance and inspire can people. the places safe thatImagine all such over venues exist, world the perform. can theatre dance and artists where for have you stages of amultitude thatImagine in your city gender, status, ethnicity. and belief age, their social of independent to learn can to act, to learn act 33 Official Opening of the Congress Official Opening of the Congress

The President´s Appreciation of the Achievements of ITI no money for the Congress, and with no money no security and its Members 2014-2017 for the delegates. Which meant for the Executive Council This speech was read by Emilya Cachapero, Vice-President of ITI that each delegate and artist that would have attended for the Americas. the Congress would be at risk. Under these circumstances there was no other possibility as to cancel the Congress. Distinguished guests, dear colleagues and friends This was a huge disappointment, a loss of energy and This is a historical event because never in the history of ITI, money for everybody. The feedback that ITI received has were there so many Centres and Cooperating Members however helped towards strengthening ITI. An avalanche present at an ITI World Congress: 61 Centres and 6 of encouraging words was received which affirmed each Cooperating Members. Amazing. And never has there been member is full behind ITI. This assuring and supportive so many delegates, artists, educators and guests attending a reaction was very much appreciated. I would express my Congress: More than 600. gratitude to all of you for this. One of the initiatives that we For me this means that there is a very high interest in ITI and received was from the Spanish Centre and the result is that a splendid commitment to our organization. we are here, and celebrate the 35th ITI World Congress in With this speech, I am continuing the tradition that Segovia. was initiated by my predecessors. I will talk about the On behalf of ITI I also would like to thank Marcio Souza achievements of ITI in the last three years, I will talk about and his team for the humongous amount of work they did what results ITI members all over the world have achieved. in preparation for the Congress and for ITI. Let´s hope that ITI is very rich in culture and activities. Just have a look ITI will go to Manaus one day to make the dream of Marcio into the Director General´s Report 2014-2017: World Souza and his team come true. Theatre Day celebrations all over the globe, International The other challenge was the relocation of the headquarters Dance Day celebrations all over the globe. Conferences, from Paris to Shanghai. Just to let everybody know, ITI still has festivals, showcases – all kinds of events organized by you, an office at UNESCO. As a matter of fact, ITI is now even closer the members of the ITI Centres and the members of the to UNESCO and the move has been well respected by Irina Committees, Forums, Networks and Groups of ITI. Bokova, Director-General of UNESCO, and by the UNESCO All these events have been created by you and your Assistant Director-Generals: Francesco Bandarin, Assistant colleagues and friends. And together all these activities show Director-General for Culture, and Eric Falt, Assistant Director- ITI to be a joint effort within a culturally rich organization. General for Information and External Relations. An organization that is building bridges over borders, and striving to unite us all as a cultural organization. The staff from Paris decided not to move with ITI to the new For the last three years major challenges have had to be location. This meant for the Director General that he had to solved. build up a new team from scratch. Obviously that was not an One of the major challenges was the cancellation of the easy task and he had a lot of untold problems to handle, both Congress in Manaus. We live in a troubled world. As you have in Paris and in Shanghai. His goals to put the workload of the experienced, the political situation in Brazil has changed. General Secretariat less on him but on the team, took some Literally, from one day to the other, the government officials time. I guess at the beginning he was burning the midnight in Brazil were not allowed to keep their promises. That means oil very often. For quite a while he had to reduce the travels

34 organizing Regional Council meetings, and on many on and Council other meetings, organizing Regional finances, the Charter,Congress, ITI overviewing changing the taskdifferentgroups and forces, the working preparing in Centre, own their for had inCouncil worked members they Executive the Additional tasks tothe all in his tasks. difficult were and there to assist ITI DG toof the development the Yerevan contributing were Congress. All them of actively Council since times seven has met the Executive The work. dedicated their his and team likeI would General for to Director thank the Centres. existing the strengthen and French Spanish, and Centres new will which to help open team Centres Toolkit the The prepared ITI in for English, 2017 at UNESCO in Paris. World Day Theatre 2015 in Fujairah, 2016 and in Guangzhou Day 2015 2017 and in Shanghai, 2016 for and in Paris; for Internationalfor find did Dancesponsors headquarters The since 2017 available in French. made has also been is regularly, sent now out ITI of and Newsletter The renewed. World Day Theatre International and Dance Day have been Russian websites Also is the Congress, in the development. for available in English, French, Chinese, Spanish Arabic. and is design and anew with launched website has been ITI are: the Headquarters the of achievements the of Some influence sphere of all its overworld. the expand can and stronger become can that so ITI members, its and ITI serving this of efficientdedicated to areteam that part now is very Tom Simin Chen and Johnson Domecyn, Malory Yiming, in Shanghai. the Headquarters office of the establishing Tang for in Shanghai right before, the person was she school a already she established As in his work. General Director the assists who Collaborations, of Director the Zhongwen, is mention Chen aspecial deserve who persons the of One strong team. and finallybuilthe dedicated hasBut up a meetings. and festivals events, Centres all demands from the couldand meet not to attend Thank you very much. very you Thank in and your life. in your heart ITI of values the keeping for and ITI supporting for achievements, likeI would to to my gratitude your each express for you of locally, globally. and regionally arts, performing the together. of We we are if win can members there only the for it we do if win can we only we common goals, follow our if Alot We has done. done. to win can be only A lot has been joint-work groups. of individuals the of and work the ITI, of to members the thanks now, is it if stronger But is it always strong. organization our represent forms –is making art music that values these –the that power is inherent The totimes. theatre, dance and by UNESCOFounded in 1948 has it overcome many rough arts. is world´s the ITI performing the for organization largest doing. are members at what amazed ITI will you and be Report change. BrowseDG´s through social for the using arts the areThey music into dance and to hope zones. conflict bring use theatre, they and arts, performing professions the the of in towards work people they educating arts, performing the inherent values to peace,and are they spreading artistic the building bridges, they are promoting mutual understanding Together Centres the international with our are they activities. are, Centres, the pillars for with Committees together strong Forums,and Itis Networks, simply astonishing.achieved. The Centres what they 46 14 and on. reported Committees 2014-2017Report at what amazed is will you going be General´s thick Director 260-page through browse you the If efforts. these all them for group. like Iwould a dedicated to acknowledge Council Executive the made friendship their and ITI for work their expertise, Their ITI. for issues that were importance of 35 Official Opening of the Congress Commemoration of ITI Members Who Passed Away Arnold WESKER, United Kingdom (1932-2017) (2014-2017) Honorary Member of the International Playwright Forum, The Commemoration was presented by a video with music, World Theatre Ambassador followed by the president asking the delegates to stand up

Commemoration of ITI Members Who Passed Away Away Passed Who of ITI Members Commemoration for a minute of silence. Syed Shamsul HAQ, Bangladesh (1935-2017) Honourary President of the Bangladesh Centre of ITI. Poet, Fernando MIER Y TERAN, Mexico lyricist and writer. Great Mover for the Performing Arts in Mexico, Leader of Tampico Congress Reoti Sharan SHARMA, India (1924-2017) Former General Secretary of Indian Centre of ITI, Playwright José SOLE, Mexico (1929-2017) Former Director General of Mexican Centre of ITI, Stage Actor, Tankred DORST, Germany (1925-2017) Director, Playwright World Theatre Day 2003 Message Author. Playwright and storyteller. Dario FO, Italy (1926-2016) World Theare Day 2013 Message Author, Playwright, Theatre Nicos SIAFKALIS, Cyprus (1934-2017) Director Actor and director. Director of the International Institute for Ancient Greek Drama & Theatre. Radu BELIGAN, Romania (1918-2016) World Theatre Day Message Author, former President ITI, Trisha BROWN, USA (1936-2017) Honorary President ITI, Comedian, Director Dancer, Choreographer and Artistic Director. International Dance Day 2017 Message Author André-Louis PERINETTI, France (1933-2017) Secretary General of ITI-Worldwide, Theatre Director

Martha COIGNEY, USA (1933-2016) Honorary President of ITI, Former President of ITI-Worldwide and of ITI-U.S.

Fuad AL-SHATTI, Kuwait (1933-2016) Former President of the Kuwaiti Centre of ITI and former member of ITI Executive Council

Refik ERDURAN, Turkey (1928-2017) Former President of the Turkish centre of ITI. Playwright, columnist and writer.

36 named. were they up when to asked them and stand Assembly that were present at General the Guests and Members CHEN read all Centres, list of the Zhongwen the Cooperating Guests and Members Cooperating Centres, tothe Welcome Congress. Spanish Centre Centre, Centre host 35th the the for World ITI presented flag the worldwide, to the President of the ITI AL-AFKHAM, Saif present, not Mohamed was President World Congress in Yerevan ITI 34th organized the in 2014 President the which Centre Armenian the As of ITI of Flag Ceremony 37 Official Opening of the Congress– Welcome 38 Artistic Part function, also due to the two locations: La Granja and Segovia. Segovia. Granja and La locations: also to due two the function, not did it But wanted to they and best. their do symposium to intention organize the organizers agood had in trying all. Itis clearCongress that after decision awise not the was to decision the have the of aDance Symposium as part Well, there is space still improvement. for From my viewpoint themselves. to performamers the performances the of fromchoice the of players, all the key surefor ajoint effort It was possible. that it made is all persons on gratitude the The considered Congress. highlights the the to of be be were can high them of quality, of some All performances the this in reached an excellent goal Congress, way. ITI the of prologue duringthe students´ the and performances professionals young the of space performances at open the even and keynote the speeches, late night performances, evening of and at number the looks one when Just ITI. for issue important are most values the artistic Congress. The the after meeting Yerevan unanimouslywas taken at first the decision Congress. This the of part artistic the on importance the of to most put decided Council ITI of Executive The DG by the Comments an artistic next congress. next an artistic is –let´s Important will it where happen. createindependent Congress, next the for even do better can I am sure ITI other. each also other and inspire can each between bridges build theatre, dance music and theatre discuss can together, can in specializing artists this by doing performing Only tables. keynotes round the and workshops, the performances, the at one, at main be the location: preferably should everything Congress dance. with But dance has it to and next the plan has ITI thatIt isto mycontinue firm conviction to include • • • • • • Programme: Segovia Acqueduct Night Opening Congress 1 Cárcel,La Ex.Presa Sala Spain Bernarda su Lorca De Monday, 17 July Suite Pas de deux Don Quixote Don &TorerosPas deux de Scene Breve Vida La Man’sA Rich Frug Destino del Cautivos Suite Napoli 39 Artistic Part– Performances Performances – Artistic Part

Tuesday, 18 July

El León y la Domadora Spain IE University, Aula Magna

Madame Bovary Slovenia Sala Ex.Presa 2, La Cárcel

Inauguration Symposium Gala Spain Segovia Acqueduct

Programme:

• Ritmos • The Scientist • Bachiando • Muerte del Cisne • Historias • Balada para un loco • Bach Flamenco

40 • Programme: Segovia Acqueduct Hearts the of Night (street) Ildefonso San Granja de La Spain Street Performance: Illusion Party Aula University, IE Magna Company China / Theatre Huiju Jingju Anhui & A Terrified Soul Wednesday, 19 July The New-Cracker: The Magic of the First Kiss First the of Magic The New-Cracker: The 41 Artistic Part– Performances 42 Artistic Part– Performances • • • Programme: Theatre, Site Ildefonso Royal San Canonigos of Works Choreographic Selected University IE Verhoef &Vijay Padaki Poon Sze Wan,With Marijana Parc Zarka, Amit Jaewan, International byOrganized the Playwrights´ –IPF Forum 10 Plays Reading Minute Càrcel 2, La Ex.Presa Sala Argos Teatro /Cuba 10 Millones Thursday 20 July •

Elis Kristoffersson Elis surface of Sense Rambaud Nicolas amor Un de año Oubaoui Cheikh Oubaoui silence of noise The PhadkeParimal danscape urban The • • • • • Programme: Stage, Nights SiteMagic Ildefonso Royal San of Gala Night Spanish • Treboada •

Puerta de Tierra Tierra de Puerta Pensando en ti Póker Flamenco Luis de Alonso Boda La Him & Her Him &Her Fuga Gitana • • • • • • Programme: Stage, Nights SiteMagic Ildefonso Royal San of Symposium Dance Night Closing Aula University, IE Magna &Palestine Israel HASSANMurad Adi and MOORE Shame Càrcel La /Congress Prologue Festival Student the of participants by the Created performed and Performances Micro Student Cultural Cross of – Presentation Home Friday, 21 July Gotan Lorquianos Carillón In Memoriam In Dueto & Vals Lago de los CisnesDueto &Vals los de Lago Memento Mori

43 Artistic Part– Performances 44 Artistic Part– Performances • • • • • • • • Programme: • • • • audience: the Gala Night speakersaddressed the following the During Segovia Acqeduct Night Gala Congress Saturday, 22July Ónira Rapsodia

Giselle II Act / Giselle Acto II /Giselle Acto Giselle II Act Sarasate de Zapateado Cisne Pas Deux Negro de Negras Alas QuixoteDon Pas Deux de Cisne del Muerte La Tobias l’ITI de BIANCONE, Général Directeur GARCIA CASTANO,Alberto Président du Centre espagnol AL-AFKHAM, Saif Mohamed Président l’ITI de Clara LUQUERO, Maire Ségovie de is why you find the full texts in this report. fullis why the find you texts that asOTERO important GARCÍA VELASCO PÉREZ &Enrique Paloma PEDRERO Javier and Konstantin of RAIKIN, viewpoints I consider the arts. on the vistas werenew delegates offered Congress duringthe the keynote three life. speeches With professional of to aspects new door the open can it and source inspiration a strong of be can a keynoteFor me speech DG by the Comments 45 Keynote Speeches Keynote Speeches – Konstantin RAIKIN RAIKIN Speeches – Konstantin Keynote

Konstantin Raikin understand the most important laws of life, human society, Conference hall psychology and the interconnection between the spiritual Tuesday, 18 July and the material, creative work and production, egoism and collectivism, dictatorship and democracy, love and duty, elements and reason, etc., etc. Theatre Will Save Us Due to their susceptibility, i.e. their agile emotional I grew up in a theatre milieu. I am from a theatre family. My structure, people who work in theatre – first of all, actors parents, my elder sister, my uncle – all of them are actors. – carry reflections of all the modern human problems and For many decades, my father was perhaps the most famous phenomena. As Hamlet said, “They are the abstract and brief and beloved actor in our country. He suffered from a heart chronicles of the time: after your death you were better have condition. Throughout his whole life he battled health issues, a bad epitaph than their ill report while you live.” but theatre would often save him. When he entered the stage, the pain would abate, he would be overflowing with This is truly so. I love actors. I love the actors’ milieu. Of course, vitality, looking incredibly striking and tireless. I am speaking, first and foremost, about good actors from For almost fifty years, my father had been the Artistic Director good companies, where a constructive and creative element and principal actor of his company. During his shows, he had prevails over the destructive element, where centripetal almost never left the stage, enduring enormous physical forces triumph over centrifugal forces. I certainly understand strain, and throughout his whole career – until his last days, that nothing human is alien to them – they might be prone when he was already quite an elderly man – he had appeared to egoism, jealousy, envy, but normally these feelings are in at least twenty performances a month. obvious in them as they are in children, expressed naively and openly and, what is most important, are so easily suppressed At the age of 16, I also entered the theatre and since then when the performance begins and the creative, collective, I have been doing theatre for my entire conscious life. For unifying feeling of comradeship comes into force, subduing more than 45 years I have performed on stage, for over 40 everything else. years I have taught acting and worked as a director, for over 30 years I have been the Artistic Director of a major drama At that point all personality traits, which may get in the theatre company in Moscow. Not only has my whole life been way of that collective creativity, retreat and wither away. It connected with theatre, but I could even say that theatre is does one a lot of good to be an actor – of course, an actor the essence of my life. I perceive the entire world around me in a good theatre company, but perhaps we don’t need to from the theatrical point of view: dramatic structure, acting, repeat this every time. For the most fastidious people, I could set design, sound and lighting score, etc. clarify once again that for me a good theatre company is the one (irrespective of its style or trend) where creativity On the whole, my perception is based on Shakespeare’s clearly prevails over everything else. Thus, being an actor is formula “All the world’s a stage”, which is also true if you wonderful and beneficial: you benefit a lot from standing reverse it: “Stage is the entire world.” The entire world fits into in front of a full house, feeling that you have a grip on the this tiny little box. Exploring the laws of theatre, we get to audience. It is power through art. The most supreme, divine

46 entire audience. great the How is difference the between achance gives me This the to stage. see the wall facing over iswhich auditorium the window back located – in the an open from In my watch theatre, performances Ioften audience! the of to members the happen metamorphoses ovations! receives what during these And greatan actor what refill agenerously compensating energy acting, of asine qua non physical strain, and nervous colossal the self-confidence - itnourishes thesoul. Even considering successThis is an for invigorating actor. strength, Itprovides adecisivewin fight,to enjoyhappen of a kind similarsuccess. audience, the of triumphantly score break agoal, arecord or who, also in front tears to Perhaps sportsmen eyes. their only away, beat faster, brings which makes which hearts their audience, creates breath takes which people’s something a theatre actor, who, right right here and now, in the front of similar by gratitude of caused to one the ahurricane cause Writers, painters, never sculptors, evencould filmactors arts. – performing drama stand-up, opera, – ballet, sense broad theatre in a about success I am speaking as theatre actors. else enjoys such one an enormous no that arts positive in the might quite think feel happy. they However, Iam absolutely realize not do they are unhappy how therefore they and they Luckily happiness. of are moments they aware not these of and are majority the people These are even not playgoers. in theatre work not do who and who people the for pity feel might One living. this is what makes life worth your life. In fact, throughout remember you which happiness of moments are the unity. and These humanfeelings of understanding acute are most the These actor, director, production. or an of charm the intothemselves to artistry, talent, slavery surrender lovingly audience the members when It happens interest, inspiration. and force, political byphysical love, their or but admiration, not by fear their is which some of caused overpower people soul, expresses the best qualities of his qualities individuality, of her or best the expresses soul, and audience his heart member, with her or every working –at this – moment Itis because so arethey in unity! their interest. hisspiritual own with her Yet or beautiful how is now in accordance person every else. In fact, like everyone being about is that noting embarrassed one no It is worth rows –an exercise back the for eyemuscles, muscles. the for thisrows, exercise first in the is an neck are the sitting for distance is metre it already tennis. who For those twenty the with although are this following ping-pong, verbal people to Thus right. heads the are turned –athousand speaks She to left. heads the are turned –athousand says He speaking. is now who actor the of heads direction in the thousand its turns heads, simultaneously a thousand with monster tamed audience, the And like a speaks. she then speaks, he First Twenty them. divide metres portal. isshe right near the stage portal, stage heroine. proscenium is the He on left near the hero the and the we are Now between a dialogue hearing one. becomes house whole -the other. one become all them And of similar. to that close areout all each them very of very And Itturns are together. segmented. audience is longer no The house in the silence theatre. of all people Now the unifying divine, The silence attention. universal silence of The comes. However, The people. of show begins. anjust assembly the mottle, audience the isfractured, whole, segmented, the On wave house, they at the of him, take pictures… other end in the is sitting who know they toshout someone could hear they them, that so quite other people loudly sometimes jokes, chatetc. they crack and At beginning the girlfriends, two friends, –husband wife,sit and in two pairs seats: normally, their are they taking Now way should! they it the exactly and is which powerfully playing performance watching the people, life, same the and everyday their from enter they when theatre the street, the right from people 47 Keynote Speeches – Konstantin RAIKIN Keynote Speeches – Konstantin RAIKIN RAIKIN Speeches – Konstantin Keynote

because it is not the sheep-like sameness of the crowd, but a Yet if the town has a theatre, even a mediocre one, the supreme unity of the spirit of a large number of very different audience can sometimes watch Russian classical plays and people. And it turns out that in their best expressions people listen to good Russian language; thanks to that, audience are very similar. members perceive this speech and start applying at least some of it in their everyday life; other people in this town, This is how theatre is doing its great deed, working its even if they are not playgoers, hear these words and magic, making its miracle! And how interesting the audience expressions. Thus, circular ripples of a rudimentary culture members look, if you are watching them from the direction of of speech spread over the surface of the weedy pond filled the stage! Sometimes I peek at them from behind the scenes, with ditch-water of the primitive everyday vocabulary and through a crack in the portal, or some other way. I see how, raise the general level of understanding. I feel much easier in the darkness of the house, under the influence of theatre working in a town where there is a theatre. magic, they lose their usual masks. How, in a childishly divine manner, their faces become silly, how they sprawl because of Theatre as the hearth and home of spiritual and intellectual surprise and compassion, reflecting everything that happens life has always been in demand in Russia, and in the turbulent on stage! Indeed, in order to start liking people, one should years it often became a lifesaver for those who tried to keep just peek to see how they watch a good, powerful theatre warm in its proximity. Not far from Moscow, in the Tula performance. region, there is the remarkable Museum Polenovo. It was It goes without saying that theatre is a kind of chamber art created around the estate of the outstanding Russian artist compared to film and especially television. It is just a germ, Vasily Polenov. According to the museum staff, this house but a very strong one. It is capable of having an impact on and the estate survived in its time only because the great the spiritual and intellectual atmosphere of the city where it artist was also a famous theatre lover, who energetically and is situated. I often tour Russia with my one-man shows. I visit consistently advocated theatre among the inhabitants of the lots of various towns, big, mid-sized, and small. When I come local villages – peasants and their kids. to some small Russian town for the first time, by the look of the audience coming to see my show, I can tell precisely In the revolutionary years, when aggression towards the whether this town has a theatre company or not. landowners was kindled among the common people, and poor village dwellers were instigated “to throw the red cock”, I can determine this by the ability of the audience to i.e. to put the nobility’s houses on fire and “rob what was understand quickly the grammatically correct literary Russian robbed”, according to the Bolshevik’s formula, in Polenov’s language, which is delivered from the stage. That is the estate all these destructive moods would be smashed language I use in my performances. Unfortunately, nowadays against the rehearsals of one more production, which local casual speech of common Russian people is in most cases peasants were preparing under the guidance of the artist. very different from literary speech. It is more primitive and They were so carried away with theatre work that it would rude, therefore the audience of the town, where there is no not even occur to them that they could try to destroy or rob drama theatre, finds it difficult to switch from their language the house of their theatre supervisor. Thus, Theatre saved the to the way I speak – especially if there is humour in my speech House. and I speak quickly. They are clearly lagging behind me. Another example. The most northern theatre in the world

48 Keynote Speeches – Konstantin RAIKIN RAIKIN Speeches – Konstantin Keynote is located in the Russian city of Norilsk, which is above the warm, brightly lit house, go to the cloakroom to leave our Arctic Circle. This city is the most northern city in the world. fur-coats, felt boots, hats, mittens, warm socks – everything Nickel is mined there. Once, Norilsk was also the place of exile that we had to wrap ourselves in – and finally put on our for Stalin’s political prisoners. It was in this atmosphere that fancy evening shoes; women would also need to comb an amateur theatre was born, which was later reorganized their hair and adjust their makeup; then, ‘all dressed up’, after into a professional theatre, and all this happened up unto walking in a beautiful foyer, seeing smartly dressed friends 1941 – twelve years before Norilsk got the status of a city. and talking to them without haste, we would all enter the That means that the theatre is twelve years older than the auditorium in anticipation of joyful impressions, which would city. Some of the great political prisoners took part in the warm our hearts and bring us all together.” Indeed, theatre creation of this city, such as Lev Gumilev, son of the famous has a unique ability to unify people and, at the same time, poet, princess Olga Benois, who became the set designer what it gives them is not the feeling of sameness, but the for the prison camp theatre; among the actors were Evdokia acute sense of supreme spiritual kinship. Urusova, also born a princess, an actress of Ermolova Theatre, Georgy Zhzhenov, and Innokenty Smoktunovsky, who Curiously, on the low mundane level, people seem to discover subsequently gained international fame. “In the zone”, i.e. in lots of irreconcilable differences between one another, they the prison camp, theatre festivals would take place every year quarrel and fight, but on the high level of spiritual ascent and the nominees would be given awards. On the whole, the they appear to be very similar and even dear to each other. history of this theatre is amazing and once again it proves Therefore the true living theatre is the great peacemaker. the idea that sometimes theatre emerges under the most difficult life circumstances as an irresistible creative need for For many years we toured Ukraine annually with my spiritual unity and salvation. The amazing record of Norilsk company. We mostly visited Kiev and Odessa. We brought theatre continues today. there practically all of our productions. I could say that we had never enjoyed so much success before. The emotional, A few years ago the theatre burnt down as a result of a fire. passionate Ukrainian theatre audiences would give us such The city was left without its theatre. Then the local authorities ovations that sometimes we did not know what to do with of Norilsk made a decision to build the new theatre as soon that. We were good friends with many of our Ukrainian as possible. In half a year the theatre was built from scratch, colleagues. Some of them were truly great actors. furnished with top-notch equipment, and opened. I brought my one-man show to this opening. Ukraine has always been famous for its good actors, strong theatre traditions, and has always been perceived as a part When I spoke to a representative of the authorities, he told of the common theatre space, which it shared with Russia. me: “We cannot survive without our theatre. Nothing can Then, as it is known, political relations between our countries replace it. Nothing – not a disco, not a club, not a restaurant, became strenuous, conflicted, and even hostile. We began not a movie theatre. Nothing else can give us such a feeling to hear about Ukrainian Russophobia, about the attempts to of shared festivity and unity. My parents introduced me ban the Russian language, about the reassessment of many to our theatre as a child. I remember how we and all the historical events, denial of our common historical values, etc. audience members would arrive a half an hour earlier, so It was very painful to me to follow this, because a large part that after the fierce cold and polar night we could enter the of my life was connected to Ukraine, I knew and loved this

49 Keynote Speeches – Konstantin RAIKIN RAIKIN Speeches – Konstantin Keynote

country, my wife is Ukrainian, our daughter knows and loves the Ukrainian language etc. At some point of the deepening political conflict, I bitterly thought that I would probably never go to Ukraine again and would never perform there again. At the same time, I could not but feel pain remembering those wonderful passionate audiences in Kiev and Odessa, which had received us with such admiration so recently, as it seemed…

And just a few months ago, I received an unexpected invitation from the Russian embassy in Ukraine to perform my poetic one-man show in Kiev and Odessa during the days of the Russian language in conjunction with the celebration of Pushkin’s birthday. I was to perform in Kiev in a theatre with 1500 seats and in Odessa in a theatre with 1000 seats. I accepted the invitation, although I worried a lot.

I understood that I was bringing my work to an unfriendly country (to put it mildly) and was trying to guess how the audience was going to greet me. In fact, I was not even sure whether people would come. A week before my arrival, I found out that both shows had been sold out. I was still worrying, but now my hope was getting stronger. My hope was built on the emotional memory, which must have remained after our many tours, it was built on the poetic heights of the Russian language which the majority of the population of Kiev and Odessa spoke, and finally, it was built on my own acting skills and experience.

I am pleased to say that what I saw was beyond my expectations. Rarely or, perhaps, never have I felt such an emotional engagement of the heart, such a unanimous understanding, inspiration and gratitude of the audience. I was standing amidst that storm of ovations and thinking that culture was smarter than politics. And theatre, despite all of its seemingly intimate scale, is the strongest means of restoring humanity, the strongest cure for hatred and hostility.

50 Javier Otero Garcia & Enrique Perez Velasco national and international levels of the importance of such Thursday, 20 July heritage, to guarantee mutual appreciation, and to provide Conference hall for international cooperation and assistance. Javier OTERO GARCIA & Enrique PEREZ VELASCO VELASCO GARCIA & Enrique PEREZ OTERO Javier

So… what is this Intangible Cultural Heritage? STOOMP: a creative tool for the preservation of performing From now on ICH, means the practices, representations, arts as an essential element of the World’s Intangible Cultural expressions, knowledge, skills—as well as their associated Heritage. instruments, objects, artefacts and cultural spaces— Good morning…! We are here today to give a message that communities, groups and in some cases individuals of hope… The hope of a chance of lastingness for our recognize as part of their cultural heritage. This intangible traditions, our rituals, our languages and our expressions in cultural heritage, transmitted from generation to generation, the performing arts. Nowadays you can see all museums is constantly recreated by communities and groups in loaded with paintings, sculptures, and photographs from response to their environment, their interaction with nature any age of our existence… You can also watch cinema, video and their history, and provides them with a sense of identity and television from the earliest times, to this very present… and continuity, thus promoting respect for cultural diversity We can even enjoy the music of ancient civilisations, or the and human creativity. songs of any culture, or actually an original classic and all its Such heritage is manifested in the domains of: versions, interpretations, and arrangements… • Oral traditions and expressions • Performing arts And yet… Why is so difficult to enjoy an original performance • Social practices, rituals and festive events of Kutiyattam Sanskrit theatre? Why is so tough to understand • Knowledge and practices concerning nature and the theatrical roots of Aalst Carnival in East Flanders? Why • The universe can‘t we easily appreciate the artistic expression of Al- • And traditional craftsmanship among others… Ayyala‘s popular performance in Oman? And finally… Where our job does as stage directors goes? All those processes we Let’s review a few examples of what UNESCO has considered run thru, all the techniques we create in situ to take an actor to be Intangible Cultural Heritage in the realm of Performing to where we want, and the decisions we take while shaping Arts: our expressive language in the theatre, who can preserve Kunqu Opera is one of the oldest forms of opera still existing that? How can we document that? in China, with its origins dating back to the Song dynasty (10 to 13th centuries). It has distinguished itself by the virtuosity Well… We are proud to show you today how we tamed the of its rhythmic patterns and has exerted a dominant influence beast of information technologies to serve in the persistence, on all the more recent forms of opera in China. Kunqu the continuance, and perpetuation of the performing arts. combines song, recital, body movement and dance with 2 It all started in 2003, when UNESCO adopts the Convention major types of dance and an endless variety of movements to preserve, safeguard and ensure respect to the intangible to express specific emotions. Al-Barah is a Bedouin musical human heritage of communities, groups and individuals. tradition from the Dhofar Mountains in southern Oman. This convention also aims to raise awareness at the local, It takes the form of a warlike dance performed to drums and

51 the chanting of poetry in a local tribal dialect. Al-Barah is from their roots. Kumiodori is a Japanese performing art performed in a half circle formed by ten to thirty men and found on the Okinawa islands. It is based upon traditional women. As they chant and clap, two male dancers holding Okinawan music and dance, but also incorporates elements Javier OTERO GARCIA & Enrique PEREZ VELASCO VELASCO GARCIA & Enrique PEREZ OTERO Javier daggers perform codified dance movements, brandishing from mainland Japan, like Nogaku or Kabuki, as well as from their daggers above shoulder level. China. Kumiodori dramas recount local historical events or legends, accompanied by a traditional three-stringed The dancers’ steps are uncomplicated, but coordination instrument. The physical movements of the performers with other performers and the music requires considerable evoke those of a pythoness at traditional rituals of ancient skill. Each tribe has its own characteristic form of al-Barah, Okinawa. possessing different drum rhythms and dance movements. It is performed outdoors, on occasions such as weddings, All parts are performed by male actors, and techniques circumcisions and religious feasts. unique to Okinawa can be seen in the methods of hair- dressing, costumes and decorations used on stage. The need The Caribbean Festival of Arts, CARIFESTA, started in 1952 to strengthen transmission motivated Kumiodori performers and is still being celebrated today, has assumed a pre- to establish the Traditional Kumiodori Preservation Society, eminent place among the elements that define and give which trains performers, revives discontinued dramas, and expression to the uniqueness of the Caribbean reality. Like carries out performances on a regular basis. In addition to other significant institutions that symbolize a Caribbean classical works that emphasize themes of loyalty and filial commonality, the Festival reinforces their unity in the midst duty, new dramas have been produced with modern themes of our splendid diversity. and choreography, but retaining the traditional Kumiodori style. Kumiodori plays a central role in preserving ancient Chhau dance is a tradition from eastern India that enacts Okinawan vocabulary as well as transmitting literature, episodes from epics including the Mahabharata and performing arts, history and ethics. Ramayana, local folklore and abstract themes. It has three distinct styles two of them using masks and its origin These are examples of what UNESCO, along with the State is traceable to indigenous forms of dance and martial Parties involved, has considered as part of the ICH. Now… practices. Its vocabulary of movement includes mock what the UNESCO Convention do with ICH? The Convention combat techniques, stylized gaits of birds and animals and has stablished „safeguarding“ as measures aimed to ensure the movements modelled on the chores of village housewives. viability of ICH including the identification, documentation, Chhau is an integral part of the culture of these communities. research, preservation, protection, promotion, enhancement, It binds together people from different social strata and transmission —particularly through formal and non–formal ethnic background with diverse social practices, beliefs, education— as well as the revitalisation of the various professions and languages. aspects of such heritage. Among the measures adopted by the convention we find the following as the most prominent: However, increasing industrialization, economic pressures The approval of a general policy to promote the function of and new media are leading to a decrease in collective ICH in society and to integrate safeguarding of such heritage participation with communities becoming disconnected into planning programmes. The designation or establishment

52 the video recording to understand and comprehend and them? recording to video understand the with along document to use awritten … Would need you people? the occidental by difficultunderstand to actually are linked their and emotions—which Kunquthe Opera danceof movements codified recording the document is audiovisual the material… However, avideo can how to arepresentation media performance document or best sure for that we know the arts, realmIn the performing of on… so and interviews recordings performances, of video documental, material audiovisual like and documents, photographs, Convention,by the in records and their images, include they to criteria of determined in aset any list are the of subject Entries importance. its awareness raise and about heritage this of diversity the that demonstrate help elements heritage intangible those is which up of made Humanity of Heritage Cultural Intangible the of Representative List alive. The And consider require urgentParties measures to them keep that communities concerned elements State and heritage (USL), intangible of Safeguarding is composed which Urgent of in Need Cultural Intangible of List Heritage The to lists gather major ICH records: entries and two accessiblehow means? are those UNESCO has developed accomplish at they And detail what of level it? Moreover, we havedo to accomplish measures? safeguarding those means of Then… what kind practices. customary respecting ensure and to documentation establish access to ICH while spaces intended for performance its or expression. And also transmission the ICH and of such of through and forums management in creation training for the institutions of The at: measures financial aimed and administrative technical, in danger. And finally the adoption of appropriate legal, ones the safeguardingICH,particular in toa view effective with as well as research studies, methodologies artistic and scientific, of technical promotion and encouragement The ICH. of safeguarding territorial the for of competent bodies cultural heritage. Taking heritage. cultural into account and guidelines, these UNESCO‘sof intangible of safeguarding the for programs is part currently STOOMP process inbecoming the of project convention, by the the developed practices safeguarding criteria good the of upon roots very its from Designed ICH‘s of lists. elements performative safeguarding comes to it choice when is best the why STOOMP we believe comprehension of what such fragment represents. …That‘s the content of linkabody and that with it supports video, a is that aweb will fragment application you STOOMP let thatAnd is core the tool: our of video. of time in a fragments information linked to specific data and of annotations: is concept Chunks That the video of audiovisual meaning the of content very the itself. expand will definitely increase the and capabilities communicative information, searchable accessible and at any that time of abundle will up with end video that, your whole With time,of such as an image, file…?… an recording, audio apdf to media that of slice other kinds nice could you if also attach to content the for it? Even attached you better… wouldn‘t be that What if accessed slice by just searching be can time of content awritten to that attach and slice? avideo of time of come toshould could you aid! if What our slice asegment dancing…or here is And information technologies where acting nor to performing, is of depth enough store the no amillion it obviously words, but worth should avideo then Well yes… words, a thousand isthat it said an image‘s worth to wants her say? he/ motivation? does importantly… more And what exactly them?feelings are driving is What source the his/her of dancing? or manythe aperson‘s acting, layers What behind capture can image dimensional moving atwo how fact… musical theatre? Kumiodori techniques of Inperformance unique the document can video asole How performance? of an Al–Barah‘s movements codified the what about Or 53 Javier OTERO GARCIA & Enrique PEREZ VELASCO apart from the video annotation concept, STOOMP has two Project, the Alicia Alonso Institute and the Rey Juan Carlos other main features for its safeguarding duties, so here is how University. we tamed the beast to our favour: Javier OTERO GARCIA & Enrique PEREZ VELASCO VELASCO GARCIA & Enrique PEREZ OTERO Javier First of all the videos uploaded to STOOMP will enjoy the Right now the project is in the first of two years of review highest security standards and the most rigorous policy in by the ICH Convention to make it into the Best Safeguarding copyrighted material and intellectual property rights, along Practices Programme, and we strongly believe it will make with the best technology in safety and reliability of today‘s it there and start fulfilling the hope for a better place to cloud storage. Meaning that the content you provide is properly safeguard and protect our traditions, our rituals, strongly protected, safely guarded, and consistently accesible our artistic languages, and our expressions in all areas of the at any time anywhere in the world. performing arts.

Second, STOOMP takes into account the power of communities and team work by offering a platform for content exchange, shared knowledge development, and interpersonal communication. What does this means?… well let‘s say you can upload a video and request video annotations to another STOOMP user whose you give editing permissions for.

Or you can create a team including all involved in a project and start uploading videos and annotating them altogether. You can also moderate the annotations of others or comment on them, thus creating a shared knowledge base for the content itself.

This is an invaluable feature for researchers and examiners in the performing arts, mostly because along with the annotation concept, it reduces the inherent subjectivity of the audiovisual content hence making the data appropriate for scientific research. These are the three main features of the STOOMP Project: • Video Annotations • Secure Storage and Access Protection • and Collaborative Workflow I t started two years ago founded by Javier Otero and me and with the support of the Video Dance Heritage UNESCO

54 environment which surrounds him/her. Anxiety takes overenvironment surrounds which him/her. Anxiety desires, many byhis/her conscience repressed times the or in is Never satisfied pulsations instincts. and his/her of and life control affective his/her of has poor neurotic person The by an intensedisorder is which interior characterized conflict. appropiated to me. “Psychological Isays: very seemed which definition I give a medical you neurotic people. say Experts are complicated people. we artists Let’s see, way I represent Istart. theater now So to others. eyes of the essentialwords to becomes me, to the my and living way of in these what is it from that expressed something I hope And commitment. and truth within from Always truth. the from course, Of forward. Ipushed and athread randomly grabbed tell, in and differentThereforeorder in write thisto tonalities. I there is age alot to reach you when certain because form, lines could have content another had These you. another and for something Ihave And path. written career mi theatrical and myself to me for time tell about it’s Now something you to here. all having for you me of Thanks me. offer can circumstances life which courage and to total with do humbleness that Iwill try Something world. great responsibility, to represent Spanish the theater in the this me for is a great willyou understand honour,As a and World of Theater Ambassador. to Title the grantresolved me candidatures the presented they looking which, after Council to Executive the speacial thanks Congress. Very have in all gathering us of done here in this 35th World ITI they immenseeffort the meaningful, arethey very alot and togenerous And hospitality. thank all organisers, and the their for authorities its and Segovia of city thank beautiful the place dear colleagues, I likewould in morning, first to Good The Meaning of Theatre (for me) Conference hall Friday, 21 July Paloma PEDRERO and they could not stop the laughter. could audience the they stop not and has to “The authentic passion with them funny improvisations. Idirected my for family. choreographies, small Births, performances to Iused organizeholidays my with brother my and cousins to me theater,took the Christmas nor duringweekends one no neither Although words. Thoughts. New characters. stories, Paradise. Letters, myearthly was injust That case. first to box trash did she not take and the the room, family the of shelf later, the on to my books place the parent decided year one exactly And back. man came never The books. the have would he man to comes back the that when take back at her, yelled My mother could she afford not said and it and hands my in of the sister, classical of novels. left acollection frequently. day, One to and came my asalesman home’s door I which read how, know don’t books three or I treasured two to werethem, realm used the I culture of theaters. and But, agreat profesional me. for Neither, carrer poor expect not family, Myfamily, did unstructured and ahumble action. to Iturned soon very And rebellion. to practice I started is winning. That for to possibilities less say, young very from teams the bull. Also with the always inwas of favour with I And televisión on bull fights. football and towe used see to Why animals school? mistreated? were being At home children lunch Why their some could bring not everything? each other? resolved command Why women men did if killed Why people head. my crowded little questions remember,I can athousand years three Iwas old, maybe Since world. the of unfairness the of acknowledgement the indifference an unbearable of united Afeeling to memory. Ihave time the from At it Iremember least Ithink. From birth, everybody. early in almost is feeling very This loved. be and tol unable ove being of feeling the illness having of ourselves byillness ten. all multiplied Itis of human but the beings illness our is the in fact, Well, Because it. with Iagree yes, Self”. the defending for mechanisms the abussively existence and employs his/her 55 Keynote Speeches – Paloma PEDRERO Keynote Speeches – Paloma PEDRERO PEDRERO Speeches – Paloma Keynote

laugh, not ourselves”, I demanded to the young performers. Nine years later, at 26, I could punch for the last time in the Without ever seeing in live, I had theater imbued in my skin. clock which controlled my life. I renounced to the fixed It was the moment of light. Because I did those “artistic” salary, to the raise in salary every three years, and to security. scenes before my family’s eyes because it was the momento A security which made myself unhappy, and I threw myself in which I felt gazed at, admired. That is tos ay that I did to the madness of dramatic art. Of living in the thin rope, theater in order to be loved. Time passed by and I became an but very near the skies. When I left the hospital something adolescent, and I started to do theater in school. Every March marvelous had happened to me. I had written my first play I went to the Scool of Pilar, only boys’ school during that time, called “The Call of Lauren”/ La Llamada de Lauren”. A play that to rehearse some texts which we would perform on June, at without ever imagining it, turned me into a theatrical writer. the school year’s closing. At 15, I fell in love for the first time Recognition came to me immediately. And the play started to with a boy also 15, with whom I performed on stage. I fell in be translated and being performed in some countries other love rehearsing a scene of a friend, Luis Matilla, called “Post- than Spain. But the most incredible thing was the unexpected mortem”, a futurist text in which two adolescents happened success. It was the discovery of the fact that playwriting for to know each other at a funeral home, they discovered the me was a fluid, joyous, and elevated act. Never, nothing, despicable business with the dead of the small-time traders, was ever so easy for me. Playwriting was, that one indeed, and they decide then to escape with their dead parents to my place in the world. My Paradise. So I started abandoning search for liberty in some other place where they could bury performing, although it will always be in my nostalgy, them. The Young couple fell in love during their journey, as and I started to dedícate to elaborate stories, characters, we performers fall in love along the way. My first love was conflicts… dramatic texts where I could communicate with born out of the stage. And the desire to become an actress the world from within TRUTH. Say to others: look, this is what was beginning to grow. But it was not going to be easy. At I feel, this is what I think, and this is me. Do you want me now? seventeen, due to the economical problems at home, I went Many years after making this questions to myself, I realized to work in a hospital as Clinical Assistant. In the hospital not, that people do not love you more because of you write Maternidad in Madrid. Eight hours a day every day. Without better or because you do other incredible things, they only any academic title. There I learned a lot, I felt fear many times, admire you more. This anagnórisis, this my self realizing such I encouraged the pregnant women and I discovered, also, a simple truth, made me realice also that I was the one that that that was not my place in the world. So at night I used had tol ove myself.. Because yes indeed, because I was worth to go to the university where I was studying Sociology and it; as much as everyone who are able to love essentially. So Marxism. During the weekends I used to rehearse with my I stopped writing for the love of the people and started to theater troupe called “Cachivache”, children plays which we write to be able to love. used to perform during popular events for a very modest price. At 18 you can manage everything, if the motor, the Since many years ago, I write for LOVE. To GIVE. To transmit desire is as strong as was mine. Easily I could see the need to others mi trust in human beings. To transfrom them and I had to apply for dramatic art clases, studies which I could transform this pitiful world which hosts us. combine with my social anthropoly studies and the Gregorio Marañón Hospital.

56 Keynote Speeches – Paloma PEDRERO PEDRERO Speeches – Paloma Keynote

Theater, thus, has been, and is for me an arm charged with substantial tos ay to others. For others. This transformation flowers, as the firearm of the Portuguese Revolution; a way made me change my path. for understanding life. A way of living life. Because life and theater are the same for me. I would not be able to be here Since Twenty years ago I teach performnig and dramaturgy without practicing this gift from the gods. A gift I was given, workshops tu socially excuded persons. Homeless people, I believe, with only one condition: To humbly share it. To give wth mental or physical illness, persons in risk of suffering to those who did not have it. To know that I did not own it. violence, marginal or expelled from their countries. Destroyed persons. Theater has given me everything. From being a needy and sad girl, a disoriented adolescent, a Young woman without Ten years ago I founded an ONG called “Fallen from the sky”, a future, I turned to be a creature full of projects for which from which we do theater a joyful tool against exclusión. I only needed a paper and a pen. With that I wrote plays, In this momento I direct a workshop for refugees and which then I performed with my conspiratory performers, immigrants. With students from 15 different countries. Today which after I would publish with generous publishers, and “Fallen from the sky” is my strategic center of action. which later travelled all over the world. And there, wherever my plays travelled, there I was, invited by companies and Firstly, we have to teach the students, mixing them with theaters. There I knew many places, different cultures, professional actors and artists, after that we begin with and new people. Theater gave me friends, the best of the the investigative work about a thing that would end with existence. Cherished friends with whom I have shared rehearsal and the show. With Caidos del Cielo (fallen from dreams and parties. Theater has given me also incomes the sky) we put in practice We have performed IN THE great top ay a house, food and clothing. In order to have and to main theaters of Madrid. We have won important prizes. My educate a beautiful daughter. Fallen from the sky, which in any moment could be anyone of us, is my goal to write. To direct plays, to struggle to find And no, it has not been a path of roses. You know that to write spaces and resources. Because with the, I have discovered in Spain it still means to cry, which used tos ay our Larra; you the truly power of the scenic arts. The theater, which is the know that rulers do not apprecciate very much their fighting highest social art among all the arts, it is a source of cure. artists, that the right of authors are not being respected, that Of redemption. To work with your body, your voice, your people are a Little bit reluctant to enjoy non comercial plays emotions and your soul, as the only instrument, which or funny plays; that sometimes things dont come as you have regenerates and gives light. To work being aware that you wished they would and that failures are always loyal friends are nothing without others, that the only way to grow is by of fatigues. You also know that creative processes become helping your partner. That to perform is to travel with your more intricate with age. Those first plays which I used to write conscioussness, it is a miracle that human beings can achieve so fluidly do not exist. Today my processes are much slower in the stage. and hardworking. But also, they are much more mine. Today I do not write a line that I do not want tos ay. And, as I have I assure you that only from the moment when we are aware told you, today I only write when I feel that I have something that we are here to do something, to transform, to be in one

57 Keynote Speeches – Paloma PEDRERO PEDRERO Speeches – Paloma Keynote

another. To be in peace and harmony, we will achieve a fairer and better world. A world with more feminist and primary values. Where construction and creation are an essential part to our identity.

A world in which all of us can find our place, from which we become more free and generous. It does not matter if it is a baker shop or a spaceship. A theater for all of us. This sacred place where breathing becomes easier. Our place in the world.

58 Educational Part Educational

Comments by the DG is not only important for the person who learns, it is also of The educational part of the Congress was rich and diverse. value to the person who gives out his or her knowledge. With over 30 workshops, 4 round tables and 15 presentations, the ITI delegates, Congress guests and local people had a From my viewpoint ITI should consider to do so further in the multitude of educational events to choose from. future. For a future congress it is important to evaluate what is needed and wanted by the participants. Fine scheduling of A full workshop programme was introduced to the ITI World the educational offers, the avoidance of placing workshops Congresses in 2011 in Xiamen/China for the first time. in faraway places, promoting the educational activities well and selecting excellent educators are key for making the In Segovia, thanks to the initiative of General Secretariat, educational part of a Congress valuable. backed by the Executive Council and made possible by the Spanish Centre and many individual ITI members, including the workshop leaders, the idea of using the Congress as a serving platform for educating and informing ITI members were taken up once more – with great success.

The feedback that I received from most of the people who participated in workshops/round tables, to the educators that lead said workshops or presented their works, has been appreciative, even enthusiastic.

Knowledge transfer is important for ITI. A Congress is an excellent place to make such a transfer. Knowledge transfer

59 Educational Part – Workshops Part – Educational

Workshops

Monday, 17 July

Fitzmaurice Voice Workshop for Actors (Part 1) Alida BEVK, Slovenia IE University

Dance with Laura Segovia Laura SEGOVIA: Université IE, Spain IE Creativity Center, Casa de la Moneda

60 IE Creativity Center,IE Creativity la Moneda de Casa Venezuela Yahaira SALAZAR, DE Maiz de Hombre University IE Janice POON, Hong Kong Mediative Playwriting Anteroom Glass Factory, Royal of Ildefonso Real San Sitio de Spain EDELMAN, Ruby 1) (Part Instinct Natural as Demonstration Public of Act The Anteroom Glass Factory, Royal of Ildefonso Real San Sitio de Spain MAHIQUES, Vincent FranklinThe Method University IE Slovenia BEVK, Alida 2) (Part Actors for Voice Workshop Fitzmaurice Tuesday, 18 July IE University IE PERRONE, France &Maryane MANI Rama EnACT Theatre Transformation University IE Russia KRUZHILINA, Irina and Design Dramaturgy Visual Character University IE BAUSCH,Daniel Switzerland Theatre Improvisation and Physical Training 61 Educational Part – Workshops Educational Part – Workshops Part – Educational

Wednesday, 19 July Ethnographic Sensibility for Acting Israfeel SHAHEEN, Bangladesh Xiqu Arts – Chinese Acting Showcase IE University LIU Ping, LONG Hong, LONG Jing, LIU Jing, China IE University Theatre as Bridge Nube SANDOVAL, Colombia ACAR: Tools and Partners for Artists Rights IE University Ann Mari ENGEL, Suède & Thomas ENGEL, Germany IE University Social Art Theatre (Part 1) Hamadou MANDÉ, Burkina Faso Storytelling for Kids IE University Ada FRANCOY, Spain IE University

Dancing in the Woods Caroline BILLEN, Belgium Anteroom of Royal Glass Factory, Real Sitio de San Ildefonso

Dancing with the Senses & Imagination (Part 1) Jakub MARGOSIAK, Poland Anteroom of Royal Glass Factory, Real Sitio de San Ildefonso

62 Plaza del Azoguejo del Plaza RAMBAUD,Nicolas Spain Space Open the at Dance Anteroom Glass Factory, Royal of Ildefonso Real San Sitio de Spain EDELMAN, Ruby 2) (Part Instinct Natural as Demonstration Public of Act The Anteroom Glass Factory, Royal of Ildefonso Real San Sitio de Spain ARANCE, Isabel FocusingTheatre-Jazz, on Acting Anteroom Glass Factory, Royal of Ildefonso Real San Sitio de India MALKANI, Gargi TaleemKathak University IE Germany DÜMCKE, Cornelia Is Cultural Threat? under Diversity Thursday, 20 July (Part 1) (Part IE University IE Hamadou MANDÉ, Burkina Faso 2) (Part Theatre Art Social University IE &Riccardo Germany PALMIERI, SCHALMOR, Christine Italy AKT-ZENT: Theatre of Silence University IE &Jamie GAHLON, USAVijay MATTHEW HowIround: World Theatre Map

63 Educational Part – Workshops Educational Part – Workshops Part – Educational

Friday, 21 July

Moving Towards Empathy Emilya CACHAPERO, US Centre of ITI IE University

Dancing with the Senses & Imagination (Part 2) Jakub MARGOSIAK, Poland Anteroom of Royal Glass Factory, Real Sitio de San Ildefonso

Enter in the Dance, Enter in the Relation Francois VEYRUNES, France Anteroom of Royal Glass Factory, Real Sitio de San Ildefonso

Kathak Taleem (Part 2) Gargi MALKANI India Anteroom of Royal Glass Factory, Real Sitio de San Ildefonso

64 Wednesday 19Wednesday July Glass Factory, Royal of Ildefonso Real San Sitio de Library ROLDAN, Spain Carlos Dance in Thoughts Philosophical Feet: the with Thinking 19Wednesday July Glass Factory, Royal of Ildefonso Real San Sitio de Library Alma Spain and LLERENA, HERNANDEZ BARBERA Celia M. FERNANDEZ CONSUEGRA, Victor Art & Video Dance for Spaces Shared at Again Looking Tuesday 18 July Glass Factory, Royal of Ildefonso Real San Sitio de Library Spain CERNUDA, Polina SMIRNOVAAmador MAHIQUES, Vicent and Performing Arts the of Applications &Educational Social Clinical, University IE Spain MARTIN, Belen & CANTERO Marta Diversity of Joy The Round Tables

Friday 21 July IE Université TOLLEDI, Italy Fabio Germany; STILLMARK, USA; ORTOLL, Alexander Jorge Migration Theatre Conflict Indigenous Zones Heritage, & Cultures, 65 Round Tables Lectures

Lectures Space for Pedagogy & Performance in the City Parimal PHADKE, Inde A Derelict London as the Backdrop for Moral Decay in Keneth MacMillan’s the Judas Tree Dance in Georgia Maria Cristina DE LUCAS OLMOS, Espagne Levan KHETAGURI, Géorgie

The Stage as a Mirror of Human’s Life Library of Royal Glass Factory, Real Sitio de San Ildefonso Chuluunbat BATGEREL, Mongolie Vendredi 21 juillet

Architecture of the Body: How Do We Build Space Grzegorz KABUDA, Pologne

Library of Royal Glass Factory, Real Sitio de San Ildefonso Mercredi 19 juillet

Dance Between Two Bombs & The Sniper Fire Georgette GEBARA, Liban

Dancing with Senses & Imagination Jakub MARGOSIAK, Pologne

Library of Royal Glass Factory, Real Sitio de San Ildefonso Jeudi 20 juillet

66 initiatives are getting stronger.initiatives are getting is That why Iam glad that the bridges. needs moment the this we live in world at observe: can side). everybody As other the on sideto one art show their from artists hindering (at abridge that Iron was that the Curtain was it needs time that world the is and fact was the ITI of strengths the of One this is attitude. awrong a community. or For me a person of development the for arts performing by the disregarding useshown of the of value the may enterviewpoint into minds our arrogance and may be an elitist Sometimes arts. inherent performing in the that are values are interested to artistic people use the intense was plans that are the and many proof Networks interest Congress three the of The in delegates these (TCZN). Network (SCN) in Theatre Conflict Zones the and Network Change Cultures, Indigenous (N-HIM), Social Migration the Heritage, (CIDC), Network the namely Committee Development and Cultural the of Identity out that evolved Networks three thatthat the of designation bears such meetings as the Congress the of part is the not only Humanistic Part The DG by the Comments Something extremely valuable. extremely Something friendship. just maybe at end the yield we can fruits The abilities. your with arts we contribute How to performing knowledge. we share How our in ITI. wea Congress. participate How eachdeal other. with we contribute How to success the of to each other. we show respect How we How example: for It is is everybody. and also me and you humanisticthe part Congress of will you that find at picture the look you if But 67 Humanistic Part Humanistic Part – Presentations

Presentations Weaving the City’s Theatrical Net: Laboratory for Citizen’s Creativity Tuesday, 18 July Clara LUQUERO, Mariée SANTIAGO, Maite HERNAN GOMEZ, Beyond the Shows: The Challenges of ITI Spain Alain CHEVALIER & Marine LIARD, Belgium Université IE Université IE Renewed Illusions: Motivational Presentation AKT-ZENT World Theatre Training Institute: Theatre Manuel FEIJOO, Spain Training Beyond Limits Université IE Christine SCHALMOR, Germany & Riccardo PALMIERI, Italy Université IE Ethic and Aesthetics of Theatre in Prison and its Educational-Inclusive Role Wednesday, 19 July Vito MINOIA, Italy Social Values Through Storytelling Université IE Ada FRANCOY, Spain Université IE

Presentation (Book presentation, short lecture and photo exhibition) Manu MEDINA & Juan Carlos GARGIULO, Spain Université IE

Dionis Rufino Lecture Dionis RUFINO, Spain Université IE

Pequeñas alegrías / Little happiness Juan Carlos GARGIULO, Spain Université IE

Beyond Cultural Colonialism - Intercultural Theatre Work Anina JENDREYKO, Switzerland Université IE

68 that ITI represents. That was one of the results of the Open Open the results of the of one was That represents. that ITI Tank” values that could tolead artistic discussions the about “Think of akind projects: and to lead would activities new acreativebe playground visions new where are voiced that my intention Congress´ that Segovia the Space should Open Itwas ITI. on voice can viewpoint their a place people where Space is Open Space. Centres The Open the was between tailored to encourage communication finalactivity The should definitelybe continued. which young the for Xiamen Congress activity is and auseful introduced first Dating.atthe was This Speed Practitioners Young the was above the Thirdly, from directly following and Centresmore interests. and that have similar activities goals, chance the are and regions to doing or collaborate one with what Centresto know in other gave Centres opportunity the Dating Centres the together this aregion, bring of Speed Council Regional the Congress. While to an ITI activity new Dating Centres is a ITI Speed Dating. The Speed was Second information. further needs she address if can she that or he member a long-term –meaning each newcomer is system assigned is a“twinning” congress next implemented in the be congress. should What tools the todelegates navigate through the himself/herself gave section Answer and a Question presentation with brochures, etc. this leaflets, Congress the with schedules, also generally. all for delegates but the newcomers, Together was the for primarily Orientation, Congress of these first The communication. into main events created were especially delegates to the bring World Congress. Four considered an essence ITI of the be can into communication arts areas and regions performing the of different from professions, countries, people old, the young, the members, long-term newcomers, delegates, the Bringing DG by the Comments success. continuous Dating with Session are organizing aSpeed Since Xiamen the Congress in 2011 Young the Practitioners Young Practitioners’ Dating Speed ideas in work. their and will viewpoints and follow up the participation the for are grateful Secretarait Council General the and Executive The Analysis. each other in with groups aSWOT did and assembled Space Open the of well. For this Congress participants the do, should etc. to “old and Itis newcomers open as ITI hats” Space is a place Open to is what discuss doing, The what ITI Space Open well received. extremely event has been CACHAPERO Emilya of leadership the Under this activities. Centre another from information about someone with aCentre of individually Centres. member exchange can One dating for ITI time World Congress:at an Speed first For the Dating Centres´ITI Speed Congress. what during the is happening everyone and Congress is orientation anice to tool introduce to newcomers Congress Orientation plans. strategic future implemented in its will be information that valuable very some Space that has given ITI 69 Communication Part Assemblée générale Statutory Report Assembly Part – General General Assembly Report Kosovo – Elmaze NURA This report has been sent to all the member Centres which Latvia – Brigita SILINA have the right to vote on 20 November 2017 and has been Macedonia FYROM - Ivana KOCEVSKA approved. Mexico - Isabel QUINTANAR Mongolia - Boloroo NAYANBAATAR Monday, 17 July & Saturday, 22 July 2017 Morocco - Latefah AHRRARE List of the ITI Centres with the right to vote Nigeria - Taiwo AFOLABI (Centres who paid the contributions up to the last Congress Oman - Imad ALSHANFARI 2014, according to the ITI Charter. List of the name of the Philippines - Jose Laderas SANTOS country and delegate with the right to vote) Russia – Olga KANISKINA Algeria - Cheikh OKBAOUI Saudi Arabia - Ibrahim Q. ASSIRY Austria – Franz Eugen DOSTAL Sierra Leone - Elvira M.J. BOBSON-KAMARA Bangladesh – Nasir Uddin YOUSUFF Slovakia – Vladislava FEKETE Belgium Flanders – Guy COOLEN Slovenia - Staša MIHELČIČ Belgium Wallonia – Valérie CORDY Spain - Alberto GARCIA CASTANO Burkina Faso - Hamadou MANDE Sri Lanka - Jerome DE SILVA China –JI Guoping Sudan - Ali MAHDI NOURI Croatia - Zeljka TURCINOVIC Sweden - Ulricha JOHNSON Cuba - Antonia FERNANDEZ Switzerland - Claude GRIN Cyprus - Minas TIGKILIS Togo - Julien Y. MENSAH Czech Republic - Martina PECKOVÁ ČERNÁ Uganda - Jessica KAAHWA Egypt - Hazem SHEBL USA - Teresa EYRING Estonia - Anu LAMP Venezuela - Yahaira SALAZAR Finland - Hanna HELAVUORI Vietnam - LE TIEN Tho Fujairah/UAE - Mohamed Saif AL-AFKHAM Zimbabwe - Lloyd NYIKADZINO Georgia - Levan KHETAGURI Germany - Thomas ENGEL Proxy Votes Ghana - Akosua ABDALLAH (Centres who give their right to vote to a member who is Greece –Emmanouil KOUTSOURELIS present. A delegate can only have one proxy vote.) Hungary - Anna LAKOS Kuwait – giving the proxy vote to Saudi Arabia – Ibrahim Q. India - Vidyanidhee SUDHEER VANARASE ASSIRY Indonesia - Katia ENGEL Congo Republic – giving the proxy vote to Burkina Faso – Israel - Gad KAYNAR Hamadou MANDE Italy – Roberta QUARTA Syria – giving the proxy vote to Sudan – Ali MAHDI NOURI Ivory Coast – Abdoulaye OUEDRAOGO Yemen – giving the proxy vote to Fujairah/UAE – Mohamed Japan – Shuji SOTA Saif AL-AFKHAM Korea – CHOI Chy-Rim

70 Assemblée générale Statutory Report Assembly Part – General South Africa – giving the proxy vote to India – Vidyanidhee SUDHEER VANARASE

Quorum There were 52 Centres with the right to vote and 5 proxy votes = 57 votes. The Quorum is 29, according to the Charter.

Majorities (per Charter of ITI) • The needed majority for a decision for agenda, reports, contributions scale, motion, declaration and similar issues is the majority plus one vote: 30 votes • The needed majority for an Executive Council member is the majority: 29 votes • The needed majority for a Charter change is 2/3 of the assembled delegates who have a right to vote: 38 votes

Rapporteurs Jean-Henri DRÈZE, Belgium Wallonia, for the French version Nick AWDE, United Kingdom, for the English version

Counter of the Votes Baroloo NAYANBAATAR, Mongolia Yahaira SALAZAR, Venezuela

Election of the Honorary President for the Congress Alberto GARCIA, President of the Spanish Centre

Election of the President and Vice Presidents for the Congress Mohamed Saif AL-AFKHAM for President, Emilya CACHAPERO, Ann Mari ENGEL, JI Guoping and Hamadou MANDÉ for Vice Presidents

Approval of the Agenda for the General Assembly This Agenda was approved by the General Assembly

71 Statutory Report Assembly Part – General Lundi 17 juillet 2017 (Matin et après-midi) problems faced by the world today. She said that all were to feel at home in Segovia. A) Welcome to the Congress: Official Opening of the Congress • Ms María Jesús Fernández, Deputy Mayor of La Granja Lively introductory music came from a female/male duo, de San Ildefonso, reinforced these words of welcome. dressed in traditional costume of Castilla and Léon, playing Situated in the mountains above Segovia, La Granja de a shawm (dulzaina) and snare drum. San Ildefonso was host to the 5th International Dance A video presentation followed: an overview of the Symposium (co-organised by the International Dance International Theatre Institute, its structure, General Committee of ITI and the Spanish Centre) during this Secretariat and other ITI figures, its new Shanghai base World Congress. and goals, with special mention of World Theatre Day and International Dance Day. • Mr Javier RAMOS, Rector of the Rey Juan Carlos University, recalled how he had recently decided to ‘escape’ to 1. Welcome addresses Segovia in order to work on his vision of changing lives, to CHEN Zhongwen, Director for Collaborations of ITI, get people out of their comfort zones, to think of working introduced the following who delivered welcome speeches: for peace, justice and human values. He said he saw one • Mr Salvador Carmona, Rector of IE University, bid the focus of this drive as being very much in art and culture – Congress welcome while highlighting its international and and the performing arts. humanist character, values that the University shares with ITI and which inform its core streams of entrepreneurship, • Mr Alberto García, President of the Spanish Centre, said technology and ethics. He framed this within the that it gave him great satisfaction on this day to feel part University’s setting of the Convent of Santa Cruz la Real of a great family of artists. The cultural event about to which comprises the campus and includes the Gothic commence represented an important message for the church which forms the main conference hall, in addition artistic community of Spain. He recalled how three years to the chapter house and refectory, both also converted previously the Spain Centre had communicated to ITI its to conference halls. Declared a World Heritage Site by desire to share its passion for sharing culture. In order to UNESCO in 1985, the City of Segovia is also celebrated realise this event, the Centre drew on the experience not for its cathedral, Alcázar palace and Roman aqueduct. only of many artists but also teachers, researchers and Mr Carmona emphasised the holistic and technological producers. approaches of the University and hoped that its friendly environment would be rewarding for all. • Mr Mohamed Saif Al-Afkham, President of ITI, said that for the period of the Congress Segovia was the world’s capital • Ms Clara Luquero, Mayor of Segovia, bid the Congress for the performing arts and he extended his gratitude to welcome and said that the performing arts are the mirror all those who had worked on what was the biggest ITI of the world. She added that it is necessary for all to keep World Congress to date. On the other hand, he added, an eye on the future, to think of the urgency of peace, and this Congress did not enjoy the biggest budget. Mr Al- she pointed to the relevance of Guernica in reflecting the Afkham therefore asked for the understanding of all in

72 Ouverture du Congrès Statutory Report Assembly Part – General this respect, and that people should ask themselves how of handing over the flag to Mr Alberto García of the Spanish important the event is for us, and to understand that we Centre and the Mayor of Segovia Ms Luquero to applause are all in the same boat, namely the International Theatre from all. Institute, and that we are sailing into a golden future for the performing arts and culture and into a world of mutual understanding and peace.

• Mr Tobias Biancone, Director General of ITI, said that it was necessary for all to make the greatest efforts to realise these important goals. He stressed a world of peace thanks to the theatre and dance represented here. He urged a powerful vision of education in the arts, a vision that is essential yet requires many steps to realise. Use your imagination, promote diversity everywhere, nurture the need to create safe spaces all over to the world for theatre and dance to inspire people, to make them accessible to all. He asked all to imagine a world existing in peace – we can realise this with our common vision.

(The speeches can be found in this report.)

2. Welcome to the Centres, Cooperating Members and Guests Ms Chen Zhongwen introduced the different Centres and Cooperating Members and Guests present at the Congress, with each being invited to rise from the floor to present themselves to the assembly.

3. Flag Ceremony As is the tradition of each ITI Congress, at the inauguration of the General Assembly, the flag of the International Theatre Institute is presented in a handing-over ceremony to the President of the organising Host Centre by the President of the outgoing Host Centre – in this case Armenia.

In the absence of Mr Hakob Ghazanchyan, Director of the Armenian Centre, Mr Mohamed Al-Afkham assumed the role

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B) Statutory Part of the Congress: Beginning of the in the Executive Council be secured? General Assembly • How can the General Assembly be better acquainted with the candidates before the election? Comments by the DG • How can the need of two election rounds be circumvented The General Assembly is the most important meeting of the or avoided? Statutory Part of our Congress. It is an essential activity that ensures the organization of ITI is in alignment with the legal The Regional Council meetings were held during the structure of the organization as described in the Charter Congress because it made sense. It might be necessary in the and Rules and Guidelines. The General Assembly is for the future that at each Regional Council meeting one member heads of delegations, in accordance with how and why the of the General Secretariat could attend to give general Assembly was conceived in the first place. information about ongoing projects.

The General Secretariat provided all the documents necessary Some aspects of the Statutory obligations of the Congress so that the chairpersons could go through the agenda in went very well, some parts need improvement. Since an efficient way. A General Assembly is administrative, not entering the office ITI abandoned a lot of unnecessary heavy artistic, in nature. For the General Secretariat, a huge part administrative processes. ITI advanced with its modernisation of the Congress preparation is taken up by the General but needs to do more and administration should be lean Assembly. management.

With having such an artistically rich Congress, such as the (The comments about Committees, Networks, Forums and one in Segovia, it should be evaluated in future whether the Project Groups can be found on page 113) General Assembly should not be separated out and done just with the head of delegations, independent of the Congress, for instance during a day at UNESCO.

Nevertheless, most parts of the General Assembly went through quickly and efficiently in Segovia.

There is only one point that needs to be addressed for future Congresses: the election of the Executive Council. From my viewpoint, something went wrong at the past three Congresses with the elections. Here are a few points that need to be addressed and changed in the future: • Why are less and less candidates elected into the Executive Council? For example in Yerevan 16 of 20 were elected, in Segovia 13 of 20. • How can an appropriate representation of all the regions

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4. Speech of the President of ITI and existing centres. Appreciation of the achievements of ITI and its members • Ms Cachapero then noted how the activities and 2014-2017 meetings of the Executive Council and working groups • Mr Mohamed Al-Afkham thanked the Spanish Centre and over the period have risen to the challenge. She stressed Hosts for their speeches of welcome and the Opening the productive collaboration of the Executive Council and Ceremony. He asked the assembly to make the workings the work of the Secretariat in order to foster cooperation of the Congress as smooth and as speedy as possible so with the national Centres in the goals and vision of ITI. that it would be both enjoyable and efficient. • Ms Emilya Cachapero, Vice President of ITI, listed the 5. Commemoration of ITI Members Who Have Passed major events and challenges that have marked the period Away (2014-2017) between the two ITI World Congresses of Yerevan 2014 Homage was made with a video presenting those who have and Segovia 2017. passed away recently. All present then stood to pay their • Concerning the cancellation of the 2016 World Congress respects with a minute of silence. in Manaus, Brazil, Ms Cachapero said that the crisis in Brazil meant that was no option but to cancel that Congress. 6. Statutory Organisation ITI acknowledged that this had incurred loss of money Mr Tobias Biancone assumed the role of coordinator of the on all sides, in particular for the Brazil team, but also that statuary share of the activities of the General Assembly. the Members were behind ITI in taking such a difficult decision. There was applause from all for the Brazil team, 6.1 Verification of delegates’ credentials and the right who were not able to attend, for their efforts. to vote • Concerning the relocation of the Secretariat from Paris Present were 52 Centres who had the right to vote in this to Shanghai, Ms Cachapero reported that ITI has retained General Assembly, plus 5 Centres who had assigned their a base in the main UNESCO building and that the two votes in their absence, resulting in a total of 57 eligible votes. organisations have grown closer. The move to China went Accordingly, the number required for a simple majority was well and, since the majority of the staff chose not to make 29 votes. For the two thirds required for Charter changes this the move, Mr Biancone has built a new team there from was 38 votes. scratch. • A big thanks was extended to Ms Chen Zhongwen for her 6.2 Establishment of the quorum (for the duration of the efforts in this process, and there was applause for her and Congress) the rest of the Secretariat staff. The quorum was establishing by taking into account the • There followed a presentation of several developments present participants in the statutory meetings of the General by the new staff: the redesign of the ITI website, with Assembly: 29. versions in the UNESCO languages English, French, Chinese, Spanish, Arabic and Russian currently in 6.3 Election of the Honorary President for the Congress development; the expansion and development of World This function was confirmed to be held by Mr Alberto García. Theatre Day and International Dance Day; and the new Toolkit in English, French and Spanish to help both new

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6.4 Election of the President and Vice-Presidents for the 7. Approval Charter Changes & Contributions Scale General Assembly 7.1 Charter Changes These functions were confirmed, by transfer, to the members (This document was sent to all Centres in September 2016) of leaders of the Executive Council (to the President and the Ms Engel was encharged with the coordination of changes four Vice Presidents). to the ITI statutes. It was noted that for almost 70 years the statutes have needed to be amended on several occasions, 6.5 Election of two rapporteurs (one English-speaking and at this point the necessity has arisen to make the and one French-speaking) and two counters of votes following changes. Nick Awde and Jean-Henri Drèze were elected by respective Minor changes: applause as the English-speaking and French-speaking • The mentioning of having additional regional and rapporteurs. Boloroo Nayanbaatar of the Mongolian Centre international offices; and Yahaira Salazar of the Venezuelan Centre were elected • The term ‘performing arts’ to replace ‘theatre’; by voice vote as the vote counter. • The clarification of ‘conference’ and ‘general assembly’. Major changes: 6.6 Adoption of the Agenda for the General Assembly • Clarification made to widening the definition of what Vote: After the verification of the ballots, the agenda was constitutes a cooperating member; approved by the majority. • Changes to the conditions of exclusion, namely if you do not abide by the Charter a Centre may be excluded as a 6.7 Election of the Chairperson for the Executive Council member. Elections (a delegate not from a candidate Centre) The assembly was then asked to offer remarks and comments By transfer, this function was entrusted to the Vice President on the presentation of these amendments. The assembly was for Europe, Ms Ann Mari Engel of Sweden. also reminded that consultation by of the national Centres with Executive Council on changes to the statutes had been 6.8 Election of the Jury for the Executive Council subject to a three-month period of advance warning. Elections (three delegates who are not from a candidate Remarks and comments from the assembly then followed: Centre: one Head of the Jury, and two Members) • The Mexican Centre questioned the actual powers of Mr Eugen Dostal of the Austria ITI Centre was elected the Centres vis-à-vis the activities of the ITI in controlling President of the Jury. protocol and expansion of members. The Japanese Ms Jessica Kaahwa of the Ugandan Centre and Mr Ramendu Centre reiterated this concern. Majumdar of the Bangladesh Centre were elected Members. • Ms Engel replied that this would need to wait until the next Congress but that the existing term ‘with endorsement’ Note: As there was a recounting of the Election of the Executive in the Charter already assigns greater consultation to the Council two new members were elected during the Saturday Centres. Session of the General Assembly: Olga Pozeli from Greece and • Linked to this question of consultation at Centre level, Boloroo Nayanbaatar from Mongolia. They were assisted by Ms the Cypriot Centre posed the question about the political Jessica Kaahwa from Uganda. implications of a Turkish Cyprus Centre being established. • Ms Engel and Ms Cachapero acknowledged that that this

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was a question of both power and of courtesy. UNESCO/UN scale and he invited any issues to be put up for • The Philippines Centre expressed their wish that the discussion at the next meeting of the Executive Council. national Centres be better informed of the different The Bangladeshi Centre asked for clarification on the amount collaborations that ITI carries out with national artists and of the contribution for Saudi Arabia. Mr Biancone replied that organisations. They were reminded of the fact that the this was a small centre that has just started and discussions statutes provide information and possibly support from on its contribution would start once it received funding from national members, but that the decision to collaborate the country´s authorities. with ITI rests with the Executive Council. The Mexican Centre pointed out that whatever the • The Mexican Centre requested that the national Centres explanations, it is best to pay its contribution, have the power to propose new Centres. Mr Biancone reiterated that the percentiual amount are • The Indian and Bangladesh Centres said that new groups calculated as the contributions that countries pay UNESCO accepted for participation at the Congresses needed to and to the United Nations. have the obligatory support of the national Centres via The Philippines Centre sought a point of clarification that consultation prior to each Congress. certain situations or national circumstances should be taken • Ms Cachapero said that that there should be changes into account in order to more accurately define contributions. to the guidelines to reflect this and that discussions Mr Biancone replied that that with regard to the calculation should aim at making changes to the Charter for the next of contributions, the statutes are legally binding but he Congress. added that this can be reflected in future Charter changes. • Mr Al-Afkham called for further attentiveness to the preparations and procedures concerning changes to the Vote: The Contribution Scale was approved: with Yes 41, No 0, Charter for each Congress which would also help ITI adapt Abstention 2. and attract more people. • The Philippines Centre acknowledged that in light of 8. Approval of the Reports Ms Engel’s clarifications it was clear that there exists a 8.1 Report of the Director General – including Centres need and acceptance for necessary expansion but that and Committee Reports 2014-2017 introducing courtesy does not have to wait – operational Mr Biancone reminded the assembly that a hard copy would guidelines in dealing with the Secretariat should be in be provided upon the request of a Centre. operation as of now. Vote: The Director General´s Report 2014-2017 was approved • Ms Engel agreed, adding that ITI had a living Charter and unanimously. that expansion was not to imply ‘stepping on’ the national Centres. 8.2 Finances First Part: Accounts 2014-2016 Mr Hamadou Mandé, member of the Executive Council and The Charter changes were approved with 1 abstention. (2/3 the Burkina Faso Centre, indicated the relevant parts of the majority is reached) financial report where could be found expenses, income and explanations. The expenditure categories are: staff costs, 7.2 Approval of the Contributions Scale offices, communication, travel/accommodation, the Paris Mr Biancone stated that contributions are based on the headquarters.

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The Philippines Centre asked that new funding requests, funding. She stressed that this was not much but hugely for example to international organisations interested in significant. This was met with applause from the hall. sustainable development, should be added to ITI’s objectives. • The Mexican Centre extended an invitation to all to Mr Al-Afkham agreed and said the Executive Council would attend the events it was organising to celebrate ITI’s 70th consider this. anniversary. Vote: The Accounts 2014-2017 were approved: with Yes 47, No 0, • The Philippines Centre also extended an invitation to all to Abstention 2 participate in their events.

8.3 Treasurer’s Report 2014-2016 8.4 Discharge of the Executive Council and General Mr Mandé thanked all the collaborators who had allowed Secretariat him to carry out this task. He highlighted the main areas Vote: The Discharge of the Executive Council and the General of significant expenditure, namely moving expenses, Secretariat was approved: with Yes 49, No 0, Abstention 1. development costs in new premises, overheads related to management and general operating expenses. He pointed 8.5 Finances Second Part: Budget 2018/2019/2020 out the financial support that has enabled the development Mr Biancone outlined the main points of the budget and of the websites, the realisation of a number of projects, asked the General Assembly to empower the Executive including the World Congress in Segovia. He recommended Council to decide on the changes that the current the assembly to approve ITI’s financial report. negotiations might entail. The Treasurer´s Report was approved: with Yes 46, No 0, Mr Al Afkham asked if there were any comments. Abstention 1 The Cypriot Centre asked if the sponsorships listed had come or are yet to come. Mr Al Afkham then opened the floor to comments. Mr Biancone said that these were already paid but that there • The Israeli Centre asked about the financial implications was a need for further funders for the 70th Anniversary of the move of the Secretariat from Paris. Mr Biancone celebrations in 2018 and to help make the Theatre of Nations replied that at present ITI is keeping office in the main be born again – a large sponsor would be needed to take UNESCO building in Paris. A member of the International the festival to different cities like “Theater der Welt” (Theatre Music Council is assisting ITI in handling mail and other of the World) in Germany. Without funds this would not be issues. possible. It therefore was important that the assembly should • With the future of the Paris base in mind, it could be vote to give the Executive Council the power to adapt the important and strategic to consider a part-time worker provisional budget according to the results of current and there and also to develop a more proactive relationship future negotiations. with UNESCO. Here Mr Biancone noted that for the time Mr Al Afkham said that the greenlight should be given to the being UNESCO is in fact supporting ITI. Executive Council to work on the budget for the years 2018- • Ms Engel thanked Mr Mandé and said that ITI has balanced 2020. the budget for a long period of time. This sound financial Vote: The Power to decide on the Budget 2018/2019/2020 was management has meant that for the first time financial granted to the Executive Council: Yes unanimously. support would be available to committees to apply for

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9. Election of the Executive Council 9. Election of the Executive Council The election was postponed – approved by voice vote – with 9.1 Election Procedures (presentation) the election of the Executive Council to take place at the end Ms Engel outlined the procedure by which this election of the day’s session. should be carried out. • The election of the Executive Council was to be carried 10. Approval of the Re-Election of the Director General out in two rounds, namely: the first round concerning the (Re-elected by the Executive Council, 140th Executive candidature of the new members; and the second round Council Session, January 2015, Fujairah/UAE) concerning the candidature of the previously elected In order to fulfil this point of the agenda, the President of members. the General Assembly requested Mr Biancone to leave the • It was confirmed that there were 57 votes present or by hall so as to allow the members of the assembly to express proxy, which would bring a simple majority of 29 votes. their points of view and observations freely and without • The Executive Council is composed of a maximum of 20 hindrance. seats. Mr Ali Mahdi Nouri, Secretary of ITI, asked the General • A total of 24 new Candidate Centres and Candidate Centres Assembly to confirm the vote made by the Executive Council standing for the second term presented themselves at its 140th Executive council Session of January 2015 in alongside 11 Outgoing Candidate Centres standing for Fujairah/EAU, which confirmed Mr Biancone for a new re-election, all of whom had sent confirmation of their mandate as Director General of the International Theatre application and information about themselves to the Institute. national Centres within the prescribed deadlines. Vote: Mr Tobias Biancone has been re-elected as a Director • It was noted that this election involves candidatures from General: Yes, unanimously with applause. national Centres and not individual candidatures.

Mr Tobias Biancone was re-elected Director General of the The 24 new Candidate Centres and Candidate Centres International Theatre Institute. standing for the second term were: He re-entered the hall and expressed his thanks to further Cheikh OKBAOUI, Algeria applause. Guy COOLEN, Belgium Flanders Antonia Mercedes FERNÁNDEZ VERGARA, Cuba Break for lunch. Levan KHETAGURI, Georgia Vidyanidhee VANARASE, India On a point of order: Mahdy SHAFIEE, Iran The President of the Assembly General asked Mr Ramendu Fabio TOLLEDI, Italy Majumdar, Bangladesh, honorary president of the ITI Shuji SOTA, Japan Publications Committee and main editor, to present the GIM Changhwa, Korea Republic latest edition of the publication The World of Theatre. The Elmaze NURA, Kosovo presentation was received with applause. Ivanka APOSTOLOVA, Macedonia FYROM Alberto GARCÍA CASTAÑO, Spain The scheduled order of the Agenda was then restored: LE QUY Duong, Vietnam

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The 11 outgoing Candidate Centres standing for re-election be done after the re-counting of the voting sheets was done, in were: agreement of the General Assembly on Saturday, 22 July 2017.) Hamadou MANDÉ, Burkina Faso JI Guoping, China 11. Approval of International Projects Andromachi DIMITRIADOU-LINDAHL, Cyprus (Projects were to be submitted by June 30, 2017.) Mohamed Saif AL-AFKHAM, Fujairah/UAE Joachim LUX, Germany 11.1 Art Speaks for Peace Cecilia GUIDOTE-ALVAREZ, Philippines A project integrating a cultural diplomatic initiative to Alfira ARSLANOVA, Russia break the impasse of territorial dispute, submitted by the Tatjana AŽMAN, Slovenia Philippines Centre. Ali MAHDI NOURI, Sudan Vote: The project was approved unanimously. Yes 41, No 0, Daniel BAUSCH, Switzerland Abstention 0 Derek GOLDMAN, U.S.A. 11.2 Passage 23°E: Theatre and Theatricality from the Each took to the podium to make their case for election. Baltic to the Aegean Submitted by the German Centre. 9.2 Election of the Executive Council – first and second Vote: The project was approved. Yes, 41, No 0, Abstention 1 rounds Those candidates were elected in the first round: 11.3 International Conference on Theatre for Social Vidyanidhee VANARASE, India Change, 2018 Fabio TOLLEDI, Italy Submitted by Janakaraliya Cultural Foundation of Sri Lanka Alberto GARCÍA CASTAÑO, Spain (Co-operating Member of ITI) and the Social Change Network LE QUY Duong, Vietnam (SCN) of ITI. Vote: The project was approved unanimously. Those candidates were elected in the second round: Hamadou MANDÉ, Burkina Faso 11.4 Yuri Lyubimov International Theatre Award JI Guoping, China A joint project by the Lyubimov Foundation and the Mohamed Saif AL-AFKHAM, Fujairah/UAE International Theatre Institute, submitted by Ms Katalin Joachim LUX, Germany Lyubimova (Yuri Lyubimov Foundation, Mr Anatoli Vassiliev Alfira ARSLANOVA, Russia [World Theatre Ambassador and World Theatre Day Message Tatjana AŽMAN, Slovenia Author 2016] and Mr Tobias Biancone). Ali MAHDI NOURI, Sudan Vote: The project was approved unanimously. Daniel BAUSCH, Switzerland Derek GOLDMAN, U.S.A. 11.5 First Ngoujel Prize of Young Theatre Critics Submitted by the Congo Republic Centre of ITI. (Note: This is the name list of the elected Executive Council Mr Biancone said ITI was not in a positon to commit to members for 2017-2020. It includes the correction that had to subsidising the costs of this project. With this change the

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project was put to vote. 12.3 World Mime Organisation (WMO) Vote: The project was approved with this change. Yes 40, No 0, Represented by Marko Stojanovic, President of WMO. Abstention 1 The World Mime Organisation is an international association founded in 2004 with the aim of bringing together mime 11.6 Prospects of Partnering in Theatre Arts Training and artists, both professional and amateur performers as well as Performance of Uganda Youth and Children Theatre educators, institutions, theatres, festivals, formal and informal Submitted by the Ugandan Centre. groups and audiences with an interest in mime. Vote: The project was approved unanimously. Vote: The new partner organization was approved unanimously.

12. Approval of New Partner Organisations of ITI The President of the General Assembly then thanked all the According to Article II, B. Admission, 2d of the Charter of ITI, participants and adjourned the session until the following the Executive Council may accept international organisations Saturday. as fully fledged members. The Executive Council submits new Partner Organisations for approval of the General Assembly. Information was distributed.

12.1 International Music Council (IMC) Represented by Silja Fischer, General Secretary of IMC. The International Music Council is the world’s leading membership-based professional organisation dedicated to the value of music in the lives of all peoples. IMC’s mission is to develop sustainable music sectors worldwide, to create awareness about the value of music, to make music matter throughout the fabric of society and to uphold basic music rights in all countries. Vote: The new partner organization was approved unanimously.

12.2 European Federation of Professional Circus Schools (FEDEC) Represented by Donald B. Lehn, President of FEDEC. FEDEC is an international network started in Europe of 58 members – 44 secondary, vocational and higher educational circus schools and training programmes, and 14 organisations – involved in information, research and circus arts advocacy, located in 24 countries across the world. Vote: The new partner organization was approved unanimously.

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Saturday, 22 July 2017 (Morning only) 14. Brief Presentation of the Planned Activities of all Committees, Networks, Forums, and Project Groups C) Presentations 2017-2020 Mr Mohamed Al-Afkham outlined the agenda for the day All the reports were approved by the Executive Council in and its timing. its 146th Executive Council Session during the Congress and presented. 13. Executive Council 13.1 Presentation of the new Executive Council members 14.1 Action Committee for Artist Rights – ACAR 2017-2020 Summarised by Mr Thomas Engel and Mr Thomas Irmer, who 13.2 Acknowledgement of the outgoing Executive proposed making a resolution for a UN Plan of Action and Council members building up stronger communication networks about ACAR- Ms Emilya Cachapero said that acknowledgement of related issues. the outgoing Executive Council members would not be possible because she wished to carry out a recount of the 14.2 Dramatic Theatre Committee – DTC votes because the results contained anomalies in total votes It was announced that the Committee no longer exists. received relative to the quorum, i.e. the total votes considered admissible – the difference between the results obtained 14.3 Forum Theatre Training and Education – FTTE by the candidates was very small. She said that this was a Summarised by Mr Hamadou Mandé, who said that the step not usually done at ITI but that it was commonly done committee was working on four main projects: developing elsewhere and so all should feel confident in this decision. specialists for community theatre; masterclasses; art Mr Al-Afkham said that the recount would be done in the education in schools; and to produce a document for best afternoon and that the results would be communicated in practice in theatre education. the evening of the same day. Ms Cachapero asked for new eyes and proposed that there 14.4 International Festival Forum – IFF be a new jury drawn from Centres who were not in the Summarised by Mr Le Quy Duong, who gave a video election to make the second count. The Mongolian, Greek presentation of performing arts in Vietnam and introduced and Ugandan Centres were proposed and their delegates the team of cultural delegates from the country. He Boloroo Nayanbaatar, Olga Pozeli and Jessica Kaahwa agreed announced the intention to develop a platform for to take up the positions. Mr Al-Afkham then asked the international festivals, and to organise an ITI festival for the General Assembly to agree. 70th anniversary in Da Nang. He concluded by saying that he Vote: There came unanimous agreement for the new jury and the looked forward to seeing everyone in Vietnam in 2018. new process. 14.5 International Dance Committee – IDC (Note: The acknowledgement of out-going Executive Council Summarised by Ms Marcia De La Garza, Vice-President IDC, members was done during the Award Ceremony. There was no who reported that the board had grown to 10 members. Presentation of the new executive Council members during the She outlined plans for International Dance Day and the Congress.) International Message, forthcoming festivals, and how the

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committee’s outreach is continuing to develop and expand. 14.11 Social Change Network - SCN Summarised by Ms Cecilie Guidote Alvarez, who described 14.6 International Monodrama Forum – IMF the network’s actual and proposed projects, emphasising Summarised by Ms Olga Pozeli, who welcomed 10 new outreach to vulnerable groups, global peace initiatives with members and outlined the challenges for monodrama UNESCO patronage, and an international conference entitled worldwide. She detailed the new SoloAfrika Festival of Theatre of Renaissance for Humanity in a Green Society to be Monodrama created in Cape Town, South Africa by Mr Kurt held in Sri Lanka, 2018. Egelhof of the South African Centre. 14.12 Theatre in Conflict Zones Network – TCZN 14.7 International Playwrights’ Forum – IPF Summarised by Mr Fabio Tolledi, who announced that the Ursula Werdenberg, General Secretary, Switzerland, network had produced important results at this congress, announced the result of the forum’s elections, with a new with many people in attendance. He outlined new upcoming president Mr Gad Kaynar-Kissinger. There had been no projects and conferences, and noted that the network’s International Playwriting Competition in two years but this structure is now streamlined. He said that TCZN is linking with was balanced by a focus on workshops, the creation of five ACAR on the Visa No Visa and Passport for Artists projects. regional groups and establishing an archive. 14.13 Traditional Performing Arts Forum - TPAF 14.8 Music Theatre NOW Network – MTNN Ms ENGEL announced that since no one was present on Ms Engel announced that since no one was present on behalf behalf of the committee, information would be distributed of the Network, information would be distributed instead. instead.

14.9 Network for Heritage, Indigenous Cultures and 14.14 Network of Emerging Arts Professionals – NEAP Migration – N-HIM (formerly Young Practitioners Committee) Summarised by Mr Jorge Ortoll and Mr Matthias Gehrt, All the Young Practitioners came up onto the stage. who reported that N-HIM (Network – Heritage, Indigenous Coordinator Mr Taiwo Afolabi announced the name change Cultures and Migration) had only two members present from YPC to NEAP and the creation of a new board. He because others had been denied visas. N-HIM would proposed a network to develop projects and residences with therefore concentrate on creating meetings where all could the Centres. be present – communication is a goldmine for the network. Germany is addressing the issues faced by religious minorities 14.15 ITI Publications Committee – IPC in an Iraq project. Ms Alfira Arslanova, President of the IPC, informed that the committee will continue to publish the website, evaluate 14.10 New Project Group – NPG “The World of Theatre” publication and other publication Ms Emilya Cachapero announced that the group has projects for ITI. announced that it has disbanded. The model is unsustainable due to finance and the group has decided to align with (Note: The World Theatre Training Institute AKT-ZENT and iSTAN – young practitioners. International Stage Art Network are collaboration projects of ITI.

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The information about the projects are sent out over email and D) Motions and Declarations Newsletters to the ITI community. The information is also part of 18. Approval of Motions and Declarations the Congress Report.) (Motions and Declarations had to be submitted by July 20, 2017) 15. Approval of the ITI Programmes 2017-2020 Ms Engel introduced the Motions and Declarations and Submitted by the Executive Council and Director General. called for votes. Mr Mohamed Al-Afkham put forward 23 programmes for approval, noting that others which were proposed had Declarations already been implemented during the period 2014-2017. He Declaration 1: Demand for a UN Plan of Action for the safety noted that in the humanistic world ITI must continue to be of artists and the safe promotion of the arts. a leader. Submitted by Ms Engel, ACAR President, Sweden Centre, and Vote: The programmes were approved unanimously. Mr Thomas Engel, ACAR Coordinator, Germany Centre. The EC recommended to approve. 16. ‘2018 – The Year of ITI – 70th Anniversary of ITI 2018’ Vote: The Declaration 1 was approved unanimously. Presentation of the plan and concrete projects Mr Biancone proposed a celebration for the whole year, and Declaration 2: That the 35th World Congress expresses said that a range of different ideas had been put forward. its support for Israeli theatres and artists in their protest Prague was an interesting centre for events because this was against the restriction of their freedom of artistic expression where the first Charter was approved. Dance and theatre in general and the exclusion of Prisoners of the Occupation events could take place in UNESCO, Paris, although this from the Acco Festival in particular. would be dependent on funds. The Vietnamese Centre had Submitted by ACAR and the Israeli Centre. The EC called on networks and committees to consider Da Nang recommended to approve. as a meeting point for all in 2018. A commemorative logo Vote: The Declaration 2 was approved unanimously. in English, French and Spanish was being asked for. Further research into the history of ITI was commencing. Mr Biancone urged everyone to join in raising ITI’s profile. Motions The Vietnamese Delegation from Da Nang was then Motion 1: For the establishment of a particular status for the welcomed to the stage for the Flag Ceremony. There international cultural organisation facilitators. followed applause from all the General Assembly. Submitted by Mr Jean Léopold Ngoulou, Secretary General, Republic of Congo ITI Centre. 17. Next Congress The EC proposed to approve the final proposition, concerning Mr Biancone said there existed a variety of options. He saw the working process regarding approvals, at the next General great positivity in looking at the countries of Africa for the Assembly. next Congress, noting Burkina Faso as an option, although Vote: The final proposition of Motion 1, concerning the working difficult to travel to, presents no difficulty for visas. He stressed process regarding approvals was approved. Yes 35, No 0, however that it was open to all to propose a host country. Abstention 1

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Motion 2: hat the ITI General Secretariat reinforce that each it was difficult for it to approve the motion because of the Centre reinforces the position and presence of emerging arts letter writing process, which had been done already but professionals in their delegations and activities during each needed to be reinforced. The question of budget also made Congress. it difficult for the EC to make a fixed decision. Submitted by the Nigerian and Zimbabwean Centres. The EC proposed to make this a proposal. The EC proposed that this is to be interpreted as a Vote: The Motion 5 was approved as a proposal to the Executive recommendation and will be taken into consideration for the Council. Yes 42, No 0, Abstention 0 next Congress. Vote: The Motion 2 was approved as a recommendation. Yes 42, Motion 6: To firstly celebrate and support the historic No 0, Abstention 0 peace agreement in Colombia, and secondly to reaffirm our commitment to the reconciliation of Colombians to the post- Motion 3: Call to the European Union to find a new procedure conflict process. for visas that will make it possible for artists from all over the Submitted by the Colombian Centre. The EC noted that this world to participate in our international congresses, festivals was an important motion and EC recommend to approve and meetings. Submitted by the European Regional Council. only the second part of the proposal. The EC recommended to approve. Vote: The second part of the Motion 6 was approved unanimously. Vote: The Motion 3 was approved unanimously. Motion 7: New Member suggestions – to get a better view Motion 4: That ITI should decide that the publication The of the theatre of the hosting country Spain; to start an ITI World of Theatre should be published every second year, migrant centre or association; to keep foreign and cultural independent of the date of the ITI World Congress. ministries of member countries more informed about ITI Submitted by the Austrian Centre, supported by the events as well as the press; to better know each other and Bangladesh and Russian Centre. The EC recommended that have more performances at the congresses. the publication committee make the decision regarding Submitted by New Members. The EC suggested to regard the future and frequency of the publication of The World of these as recommendations. Theatre. Vote: The Motion 7 was approved as a recommendation, Vote: The Motion 4 was approved with the recommendation of unanimously. the Executive Council, unanimously. Motion 8: For the establishment of an individual artists’ Motion 5: That letters of support should be sent to the platform to help recruit artistic workshop leaders, chancelleries especially in Africa, that the equality of programming and foster collaboration among theatre opportunity for all should be respected, that UNESCO be makers. requested to write letters to ambassadors, in particular those Submitted by Ms Irina Kruzhilina. The EC recommended to of the European Union based in Africa, seeking solutions consider this a request for participation. Ms Kruzhilina agreed to the problems of obtaining visas for artists, that there be and asked all those interested to contact her for more details. financial support for the functioning of the financial office. Vote: The Motion 8 was approved as a request for participation, Submitted by the African Regional Council. The EC said that unanimously.

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Other proposals and presentations: Ms Engel then introduced other proposals as an information for the General Assembly.

1. Call to create an ITI LGBT working group Proposed by Ms Ulricha Johnson, Director of the Sweden Centre, who asked ITI to investigate the level of members’ interest.

2. World Theatre Map Members of USA-based Howlround presented the World Theatre Map, an online user-generated directory and real-time map of the global theatre community at www. worldtheatremap.org. The site was demonstrated and currently involves 3,000 active theatre practitioners.

3. Theatre in Prisons Presented by Mr Vito Minoia, President of the National Theatre in Prison Coordination Institute and also President of IUTA, who delivered an official Message from the International Association of Theatre Universities - IUTA. He outlined a brief summary of the sector’s history and recent work. The IUTA’s next conference will take place in Moscow in 2018.

4. Call to create awareness for visa issues Presented by Mr Matthias Gehrt who proposed setting up a committee to look at visa issues and in particular to develop the global artist’s passport in order to challenge the perceptions of ministries and governments across the world.

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E) Closing Statements 19. Closing Statements by the Director General of ITI and the President of ITI

• • As Director General, Mr Biancone stressed that theatre, dance and the performing arts equal power. ITI is built by artists for artists and he urged all Members to ask themselves what the artists would do. He concluded with the declaration that theatre has no borders.s • As President, Mr Al-Afkham urged everyone to make ITI bigger and better through its activities. He extended ITI’s thanks to the host city of Segovia for helping to make the Congress such a success. And with this he brought the final session of the General Assembly of the International Theatre Institute’s 35th World Congress to a close.

Followed by the Award Ceremony and the reception offered by the Spanish Centre of ITI

Submitted to the Centres with a right to vote for approval on 20 November 2017

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Finances 670,000. Thanks to such a great generosity, ITI withstood and Accounts/ Budget overcame a testing period, and is now well settled down in All the documents for the Accounts 2014-2016 have been Shanghai/China. distributed and submitted to the General Assembly during the 35th ITI World Congress. The Budget 2017 has as well The Director General of ITI has used the opportunity provided be been distributed. Both documents include explanations. by the new location to build up a new team, develop ITI (The documents can be sent to an ITI Centre on request.) worldwide and increase ITI’s global visibility. The Accounts 2014-2016 have been approved by the General Assembly. To achieve these goals, the Director General has taken the The budget of 2017 has been presented and has been following steps: approved by the General Assembly. The Power to decide on • The ITI website has been newly launched in multiple the Budget 2018/2019/2020 was granted to the Executive languages: English, French, Chinese, Arabic and Spanish. Council by the General Assembly. • Additionally, the websites of International Dance day, World Theatre Day, and Congress have been created. • To supplement these endeavors ITI has also created a Treasurer’s Report 2014 to 2017 video which gives an overview of ITI, various editions of ITI Following the decision made at the 34th ITI World Congress documentations, and different brochures have also been in Yerevan, the General Secretariat concentrated on the produced. preparatory work of relocating the Headquarters from Paris to Shanghai. After a lot of arduous administrative work, the With the backing of this financial support, the DG could set General Secretariat officially relocated from Paris to China up an efficient team to continually improve the services for all and open its office 1 April 2015, while keeping an office at ITI members. The amount of income through membership UNESCO in Paris. The Shanghai Municipality, through the contributions has increased in the period since the Yerevan Shanghai Theatre Academy as a trustee, paid a total amount Congress: 2015 the amount of membership contributions of € 154,788 for the relocation costs, which included the was € 53,659, for 2016 € 99,114 (higher amount due to back transportation of ITI material, the furniture for the office, the contributions being paid, planned Congress in Manaus and equipment for the office (computers, printers, etc.) and the 9 new Centres). renovation of the existing location to suit the needs of ITI. The list of achievements based on this ample financial Following the agreement, the Shanghai Municipality has paid support are impressive: the funds necessary for the salaries with the social charges, • The World Performing Arts Capital has taken its first steps. rent, office cost, travel, office management based on the ITI´s • The Network for High Education in the Performing Arts, yearly proposal. The budget has to be under € 670,000 and a joint venture of ITI and UNESCO with Performing Arts should be exhausted by the end of each year. Universities and Academies from all over the world, organized their first General Assembly at Shanghai. ITI received for 2015 a total amount of € 520,477; and for 2016 • The International Stage Design Network iSTAN was a total amount of €596,799. For 2017 the same budget is € launched in Beijing.

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• The Educational working group for a Conference “How to Members, and had the bravery to support us in this wise Bring Theatre to People” had the first meeting. decision to relocate to Shanghai. Today, two and a half years after moving, we are able to say: locating to Shanghai/China This financial support has enabled the General Secretariat to has given, and will continue to give ITI more possibilities to create a budget to fund to encourage young practitioners to expand and to become stronger. join the ITI network, to bring with them the enthusiasm of youth as well as bringing new perspectives from a younger ITI succeeded in ending the financial years 2014, 2015 and generation to the ITI family. The financial support will allow 2016 without any deficits. the General Secretariat to create a budget for support of the ITI Committees and their projects and needs.What’s I recommend the General Assembly to approve the accounts more, this adequate financial support, when implemented 2014 to 2016 and give the Executive Council the power to in conjunction with the Spanish Centre and Segovia take the proposed budgets for 2017 and 2019. Municipality, has ensured that the General Secretariat is able to create a big Congress with an abundance of workshops, Hamadou Mandé, Vice President and Treasurer ITI worldwide presentations and international performances.

The most important point regarding our move is that relocating to Shanghai/China has helped to attract project sponsors: • For international Dance Day 2015, a total amount of € 84,096 was given by sponsors for the celebration and conference in Shanghai • For International Dance Day 2016, a total amount of € 230,871 was donated for the celebration at La Villette Paris. • For International Dance Day 2017, a total amount of € 2000,000 was given for the 3-day celebration in Shanghai. • For World Theatre Day 2017, a total amount of € 200,000 was received for the celebration at UNESCO in Paris.

Thanks to the sponsors ITI has been able to build up some reserves! Here, I would like to give thanks for the Contributions of the Centres and Cooperating Members. It is apparent that some of you are fighting with a lack of finances and yet your commitment is unquestionable. I would also like to give thanks to all of you who gave your trust to the Director General and Executive Council

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Contributions Scale Category 9 / Catégorie 9 1650€ Comments / Commentaires Ireland / Irlande The Contribution Scale of the Centres of ITI is historically Category 10 / Catégorie 10 1300€ based on the Contribution Scale of UNESCO which in itself Czech Republic / République Tchèque is based on the scale of the United Nations. It is calculated Fujairah/UAE / Fujaïrah/EAU according to the gross national income of a country. Israel / Israël South Africa / Afrique du Sud Centres (90) Category 11 / Catégorie 11 900€ Category 1 / Catégorie 1 114000USD Algeria / Algérie USA / Etats-Unis Argentina / Argentine Category 2 / Catégorie 2 28500€ Brazil / Brésil Germany / Allenagne Croatia / Croatie Category 3 / Catégorie 3 6500€ Greece / Grèce Japan / Japon Hungary / Hongrie Category 4 / Catégorie 4 5800€ Mexico / Mexique Category 5 / Catégorie 5 4600€ Philippines Category 5b / Catégorie 5b 3000€ Romania / Roumanie Italy / Italie Category 12 / Catégorie 12 700€ China / Chine Austria / Autriche Category 6 / Catégorie 6 2350€ Bangladesh Finland / Finlande Egypt / Egypte Korea Republic / République de Corée Iceland / Islande Netherlands / Pays-Bas Category 13 / Catégorie 13 500€ Sweden / Suède Armenia / Arménie Switzerland / Suisse Azerbaijan / Azerbaïdjan Chinese Taipei / Taipei Chinois Bosnia and Herzegovina / Bosnie-Herzégovine Category 7 / Catégorie 7 2000€ Cuba Belgium Wallonia / Belgique Wallonie Cyprus / Chypre Belgium Flanders / Belgique Flandre Estonia / Estonie (each 1000€) India / Inde Denmark / Danemark Indonesia / Indonésie Iraq / Irak Kosovo Iran Kuwait / Koweït Russia / Russie Latvia / Lettonie Spain / Espagne Luxembourg Turkey / Turquie Macedonia FYROM / Macédoine ARYM Category 8 / Catégorie 8 1750€ Monaco

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Mongolia / Mongolie Togo Oman Uganda / Ouganda Serbia / Serbie Zimbabwe Slovakia / Slovaquie Special Category / Catégorie spéciale 0€ Slovenia / Slovénie created because the Ruler of Sharjah has supported ITI with Sri Lanka a substantial sum in 2007 / créée parce que le souverain de Vietnam Sharjah a soutenu l‘ITI avec une somme substantielle en 2007 Category 14 / Catégorie 14 250€ Sharjah/UAE / Sharjah/EAU Botswana Colombia / Colombie Cooperating Members / Membres coopérants Faroe Islands / Îles Féroé Scale from 200 € to 1000 € depending of the kind of Georgia / Georgie organization or institution. Jordan / Jordanie Échelle de 200 € à 1000 € selon le nature d‘organisation ou Mauritania / Mauritanie de l’institution. Morocco / Maroc • Consejo Argentino de la Danza, Argentina Nigeria • CRT St Blaise, France Palestine • Escola Superior de Teatro e Cinema, Portugal Puerto Rico • Global Arts and Development Centre, GADEC, Ghana Saudi Arabia / Arabie Saoudite • International Theatre Festival of Small Laboratory, Russia Senegal / Sénégal • Performances „Chelovek Theatre“, Chelyabinsk, Russia Sierra Leone • Janakaraliya, Theatre of the People, Sri Lanka Sudan / Soudan • Maison d‘Europe et d‘Orient, France Syria / Syrie • MY PHAT Centre for Professional Training and Venezuela International Collaboration in Performance, Vietnam Yemen / Yémen • National Theatre Institute, Sri Lanka Category 15 / Catégorie 15 100€ • Professional Association of Canadian Theatres, Canada Benin / Bénin • Theatre Designer‘s Institute, Bangladesh Burkina Faso • Theatre Institute Chattagram, Bangladesh Cameroon / Cameroun • Theatre of Young Spectator of the Sakha Republic, Central African Republic / République Centrafrique YAKUTIA, Russia Chad / Tchad • Youth and Children Centre for Arts Foundation, Gambia Congo Democratic Republic / République Démocratique du Congo (Congo Kinshasa) Congo Republic / République du Congo (Congo Brazaville) Ghana Ivory Coast / Côte d´Ivoire Mali Niger

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Charter Changes During the General Assembly on Monday, 17 July 2017, it was noted that for almost 70 years the Charter of ITI has been amended on several occasions, and at this point the necessity has arisen to make the following changes.

Minor changes: • The mentioning of having additional regional and international offices; • The term ‘performing arts’ to replace ‘theatre’; • The clarification of ‘congress’ and ‘general assembly’.

Major changes: • Clarification made to widening the definition of what constitutes a cooperating member; • Changes to the conditions of exclusion, namely if you do not abide by the Charter a Centre may be excluded as a member.

The Charter changes were approved by the General Assembly with 1 abstention. (2/3 majority is reached)

The 2017 version will be available in English, French, Chinese and Spanish on the ITI website.

92 Statutory Part – Membership Overview

Membership Overview Ghana Serbia Greece Sharjah/UAE Centres Hungary Sierra Leone Iceland Slovakia Algeria India Slovenia Argentina Indonesia South Africa Armenia Iran Spain Austria Iraq Sri Lanka Azerbaijan Ireland Sudan Bangladesh Israel Sweden Belgium Flanders Italy Switzerland Belgium Wallonia Ivory Coast Syria Benin Japan Togo Bosnia and Herzegovina Jordan Turkey Botswana Korea Republic / South Korea Uganda Brazil Kosovo U.S.A. Burkina Faso Kuwait Venezuela Cameroon Latvia Vietnam Central African Republic Luxembourg Yemen Chad Macedonia FYROM Zimbabwe China Mali Chinese Taipei Mauritania Colombia Mexico Congo Dem. Republic/Congo Kinshasa Monaco Congo Republic / Congo Brazaville Mongolia Croatia Morocco Cuba Netherlands Cyprus Niger Czech Republic Nigeria Denmark Oman Egypt Palestine Estonia Philippines Faroe Islands Puerto Rico Finland Romania Fujairah/UAE Russia Georgia Saudi Arabia Germany Senegal

93 Statutory Part – Membership Overview

Cooperating Members

Banga Naya Samhati, India Chinese Opera Institute, Singapore Consejo Argentino de la Danza, Argentina CRT St Blaise, France Escola Superior de Teatro e Cinema, Portugal Global Arts and Development Centre, GADEC, Ghana International Theatre Festival of Small Laboratory, Russia Performances „Chelovek Theatre“, Chelyabinsk, Russia Janakaraliya, Theatre of the People, Sri Lanka Maison d‘Europe et d‘Orient, France MY PHAT Centre for Professional Training and International Collaboration in Performance, Vietnam National Theatre Institute, Sri Lanka Professional Association of Canadian Theatres, Canada Seoul International Dance Competition, South Korea Short+Sweet, Australia Theatre Designer‘s Institute, Bangladesh Theatre Institute Chattagram, Bangladesh Theatre of Young Spectator of the Sakha Republic, YAKUTIA, Russia Youth and Children Centre for Arts Foundation, Gambia

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Director General & Executive Council 2017-2020 Ali MAHDI NOURI Sudan Director General Secretary of ITI worldwide Tobias BIANCONE Executive Council and Executive Board member Suisse Tatjana AZMAN Director General of ITI worldwide Slovenia Ex officio member Executive Council member

Executive Council Daniel BAUSCH Switzerland Mohammed Saif AL-AFKHAM Executive Council member Fujaïrah/EAU President of ITI worldwide LE QUY Duong Executive Council and Executive Board member Vietnam Executive Council member Derek GOLDMAN USA Alberto GARCIA CASTANO Vice-President for the Americas Spain Executive Council and Executive Board member Executive Council member Fabio TOLLEDI Joachim LUX Italy Germany Vice-President for Europe Executive Council member Executive Council and Executive Board member Vidyanidhee Sudheer VANARASE JI Guoping India China Executive Council member Vice-President for Asia Pacific Antonia FERNANDEZ Executive Council and Executive Board member Cuba Hamadou MANDÉ Associate Executive Council member Burkina Faso Vice-President for Africa Executive Council and Executive Board member Alfira ARSLANOVA Russia Treasurer of ITI worldwide Executive Council and Executive Board member

95 International Projects International

Comments by the DG International Project 1 The change of discussing the International Projects from the last part of the General Assembly to the first was a good ART SPEAKS FOR PEACE: Integrating a Cultural move. It has given the delegates the possibility already to Diplomatic Initiative to Break the Impasse of Territorial connect with those who launched an International Project Dispute during the Congress. Unfortunately, kind of International Proposed by the Philippine Centre of ITI Projects sneaked in afterwards, and the person launching it, expected that it would be approved at the last session of the Nature of Project: Launching of the Global Peace Movement General Assembly which was detrimental to the Project as “Not by Force but by Art” under the patronage of UNESCO. there was no time to translate it to French. It is a Music Theatre Arts Peace Concert to be hosted in The increased number of the International Project that were the Philippines with artists from claimant countries of the submitted and their content show to me that ITI members conflicted West Philippine Sea/ China Sea. It will serve as a are keen to include global participation and thus bring platform for recharging memories of affinity, friendship even added value to ITI. kinship in the region to lower the decibel of confrontational dialogue and aggressive behaviour to mitigate and possibly prevent the conflagration of armed conflict in the disputed area. The dynamic application of a performance arts fest/ media event can collectively appeal to stop violence against mankind and Mother Earth by popularizing information and appreciation among the public to impact on regional consciousness and generate the will to adhere to an ASEAN Code of Conduct and acceptance of the United Nations Law of the Sea. It is a cultural diplomatic initiative underscoring

96 are essential to ingredients live in peace. that justice,remember tolerance freedom and equity, truth, We conflict. must armed that ignorance isolation breeds and as acreative army prejudice, to combat poverty, exclusion, harnessed be can that is war insanity. Artists history from disputes. of We resolution lesson draw the a peaceful must to and violence care use of for involved the to from refrain communications sensitize inform, motivate can and all clashing of a reasonable, Effective resolution interests. ethical ground for more conciliatory political rhetoric in determining the heal to can likegathering in Gilead” fertilize help a “Balm music peace planned theatre relevant countries.from The Peace for nominated artists roster UNESCO ITI and of Artists the from drawn will be selection artist’s The Sea. Sea-China regard with to West in the contending Philippine islets parties considering rising together the tension link among people and bond can arts the of language universal strategy. The to people people and interaction for is catalyst the page) Arts Peace. for (See next as Artists honoured Ensemble Earthsavers aUNESCO Peace, of with Medal of director gifted Alvarez Cecilia Guidote- ITI-CIDC, of Network Change Social and Philippine Centre International the of (ITI) Institute Theatre Dr. to Irina President Bokova the Director-General, the of given blessing by personal and letter attached Please see exchange. cultural Day including Dia del Galeón, a historic vessel for trade and month: United Day, the Nations, World Food Anti-Poverty the of triangulated the for observance in October held be Itcould region. in the leaders cultural distinguished with Cultural Peace for Forum Development Sustainable and International complemented aspecial with be Educational Peace for Speak Festival will York. in New signed Art This 2017. June of Day 8th the on has been Action Acall for United Nations celebrateswaters The that us. Ocean bind the utilize oceansand the commons protect and as aglobal collaborate -we can by Force “Not by Art” but dictum the Vote: International The Project 1was approved unanimously. ALVAREZ, GUIDOTE Cecile [email protected] Contact Project to international and earth. prevail on trust understanding nations of in generating fabric culture social the in binding cohesive, crucial of role the in recognizing transformative pathway the welcome to areas be open would world in the conflicted from artists Guest development. sustainable and intowards culture promoting peace of cooperation regional in 2017ASEAN dialogue steering task of opportune the for Accordingly, chairmanship Philippines the the holds of region. Asia-Pacific in the connectivity harmonious of value to time auspicious ease critical tensions the underscoring an rapprochement, cultural of UNESCOthe decade led We conflict. are to in leaders negate armed political pressure and opinion public global on to impact heart the Speak peace for is aconcienticizing forceArt that touches 97 International Projects International Projects International

International Project 2 Contribution: To popularize theatre making and performance. Scope: Work with 400 talented youth and children in 3 years Prospects of Partnering in Theatre Arts Training and in 18 districts. Performance of Uganda Youth and Children Theatre Strategy: The project shall be low budget, paying operational Proposed by the Uganda Centre for ITI expenses only. Time Frame Work: the project is set up for 3 years and Uganda has the highest young population in the world with conducted in 4 phases. 73% of the population under 30 years of age. Human Resource: Technical (music, dance and drama Project Description: The Uganda Centre for ITI proposes directors & designers) collaborative theatre training in skills of theatre making, Sustainability: The project envisions setting up local effort marketing and performance for the youth and children for fund raising as well as marketing of the performance in Uganda as a way of fostering theatre appreciation and productions. continuity. This theatre project aim at engaging the rural- Expected Challenge: The initial operational costs. Indicative urban youth and children, with the view that intercultural Budget: First year operational funding sought is: $26,125.00. theatre collaboration is a rich source for dialogue between (Detail breakdown to be forwarded upon request) cultures and countries, hence an adequate way to promote theatre culture. Project Contact Uganda Centre for ITI, P.O. Box 11909, Kampala. Problem Summary: True, there is a remarkable visibility of [email protected] theatre’s presence in Uganda, but this is concentrated in Kampala - Uganda’s capital and that there is no effort to Vote: The International Project 2 was approved unanimously. include the rural youth and children in theatre practice as the State‘s attention is in favour of advancement of sciences studies. The impact of which is a steady decline of youth exposure to conventional theatre practice.

Justification: To turnaround this steady undermining of theatre we are opting to undertake a grassroots approach of reactivating theatre practice through collaborative efforts with local and international partners to counteract the lack of funding, professionalism, cultural and religious biases, political suspicion and public ignorance of theatre’s potential as social barometer.

Objectives: To establish a strong and broadminded youth theatre practice.

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International Project 3 institutes: Bosnian Centre of ITI, Croatian Centre of ITI, Estonian Centre of ITI / Estonian Theatre Agency, Finnish Passage 23°E. Theatre and Theatricality from the Baltic Centre of ITI / T.info, Hellenic Centre of ITI, Hungarian Centre to the Aegean of ITI, Macedonian Centre of ITI, Romanian Centre of ITI, Submitted by the German Centre of ITI Serbian Centre of ITI, Slovak Centre of ITI / Theatre Institute Bratislava. The socio-political upheavals of the 1980s and 90s have Other institutions active in the field of information and rigorously changed a whole continent and led to the creation documentation of theatre as well as theatre studies and of a “New Europe”, which was restructured geopolitically and practice from Austria, Bosnia and Herzegovina, Bulgaria, economically. So far, the geo-cultural consequences of this Croatia, Czech Republic, Estonia, Finland, Georgia, Greece, process have not been analysed thoroughly. Hungary, Latvia, Lithuania, Poland, Romania, Russia, Slovenia and Slovakia have already been involved in the actions taken The project Passage23°E aims to develop a Europe oriented in the frame of Passage 23°E. innovative information and knowledge space to generate and link information about current cultural developments, We want to invite and encourage further institutions, concentrating especially on the field of theatre and especially further Centres of the International Theatre theatricality. Institute, to become an active part in the development of A vivid exchange of ideas about and experiences with this project. important artistic, socio- and cultural-political contexts as well as theoretical and historiographical aspects of theatre Project Contact shall be fostered within this project. By doing so, PASSAGE Project Webpage: passage23e.iti-germany.de 23°E shall contribute to the discussion of the terms “Europe” Project Coordination: German Centre of the International and “European Culture”. Theatre Institute

In the long-term Passage 23°E shall lead to the establishment Vote: The project was approved. Yes, 41, No 0, Abstention 1 of a shared information and documentation format concerned with actual and historic dimensions of Central, Central Eastern and South Eastern European theatre cultures – a format for encounters and discussion for artists, pedagogues, researchers, politicians who concern themselves with cultural and educational policies and journalists as well as for a wider interested public.

Not least, the project wishes to intensify the cooperation with and among Central, Central Eastern and South Eastern European centres of the International Theatre Institute. So far the project has been communicated with the following

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International Project 4 2. Understanding ‚Theatre‘ in terms of ecological issues at local and global levels International Conference on Theatre for Social Change 3. Defining ‚Theatre for Social Change‘; theory and practice – 2018 through Berthold Brecht - Dario Fo – Augusto Boal and Submitted by Janakaraliya Cultural Foundation of Sri Lanka beyond (Cooperating Member of ITI) and the Social Change Network 4. Role of Theatre in deconstructing extremist ideologies; (SCN) of ITI consumerism, sexism and patriarchal values, racism and extremist nationalisms, religious fundamentalism An international conference on „Theatre for Social Change“ 5. Theatre for total human wellbeing; theatre for a sustainable (TSC) is proposed to be held in Sri Lanka, to further the world system understanding of how theatre can contribute to social change. Project Contact Sri Lanka, similar to many other parts of the world, is going Parakrama Niriella, Janakaraliya Cultural Foundation, Sri Lanka through a period of intense and tumultuous change: It’s [email protected], www.janakaraliya.org Facebook: emerging out of a protracted conflict, burdened still by Janakaraliya-Cultural-Foundation structural inequality and struggling to deal with its ethnic and religious diversity as well as the legacies of conflict. Thus, Vote: The International Project 4 was approved unanimously. it makes Sri Lanka an interesting location for theatre networks to gather and share their experiential knowledge. Not only would international theatre groups working on similar issues have a lot to offer their Sri Lankan counterparts, but the rich theatre scene in Sri Lanka will also attract many scholars in the field of applied theatre practice. There is all round consensuses that Theatre for Social Change (TSC) in very general terms operates on the cutting edge between performing arts and socio-cultural intervention. Like many other political and applied theatre practices, TSC seeks to understand more clearly the way the world survives and behaves. However, there is need to contemplate on whether theatre at present is missing anything in its conceptual focus in understanding affairs of the world. In such global context, it is proposed this project of the International conference on Theatre for Social Change – 2018 would deliberate upon the following broad issues:

1. Community theatre from now to the future; based on experiences in Asia, Africa and Latin America

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International Projects 5 Lyubimov staged over 100 dramas and operas. „People tried to stick me with the label of political theate. But that‘s wrong. Yuri Lyubimov International Theatre Award I was engaged in an aesthetic, in the expansion of the palette A joint project of the Lyubimov Foundation and the — what shades could be added in working with space and International Theatre Institute (ITI) style,“ he says. Submitted by Katalin Lyubimova (Yuri Lyubimov Foundation, Anatoli Vassiliev (World Theatre Ambassador and World The life of Yuri Lyubimov is a life dedicated to theatre and the Theatre Day Message Author 2016) and Tobias Biancone (DG arts. He always showed his artistic convictions and integrity ITI) and continued to work for his goals when he could not work in his country anymore and had to migrate to other nations The Yuri Lyubimov Foundation and ITI are proposing to where he was able to work and show his performances. establish the Yuri Lyubimov International Theatre Award as a continuing international project. The aim of the project is to Yuri Lyubimov always strived for excellence of creation and promote excellence of creation and artistic courage that are highest quality of his productions. That is why such a prize so important when we aspire for the future and evolution of should bear his name. theatre all over the world. The jury will consist of members proposed by the Yuri The yearly award is presented in Moscow, Russia, to an Lyubimov Foundation and ITI. The rules have to be outstanding theatre personality every year, about a week developed. If approved by the General Assembly of ITI, the before the 30 September, the birthday of Yuri Lyubimov. Award will be announced during the celebration of Yuri Yuri Lyubimov (30 September 1917 – 5 October 2014) was a Lyubimov‘s centenary on the 30 September 2017, in Moscow. Soviet and Russian stage actor and director associated with The first Award will be given in 2018. the internationally renowned Taganka Theatre, which he founded in 1964. He was one of the leading names in the Project Contact Russian theatre world. Lyubimov eschewed Soviet drama for For Katalin Lyubimova, Anatoli Vassiliev and Tobias Biancone. the more imaginative worlds of poetry and narrative fiction, [email protected] he also worked on classic drama texts, which he broke apart, reconstituted and presented from a pronounced critical Vote: The International Project 5 was approved unanimously. perspective. Under Lyubimov, the theatre rose to become the most popular in Moscow, with Vladimir Vysotsky and Alla Demidova becoming its emblematic actors.

Lyubimov‘s productions were banned by the Communist authorities. In 1984, he was stripped of Soviet citizenship. Thereupon he worked abroad before returning to the Taganka Theatre in 1989. His staging of Eugene Onegin - his tribute to Pushkin whom he venerated all his life - premiered in the Taganka on his 85th birthday to much critical acclaim.

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International Project 6 partnership for the management of the activity and to give it priority, if not the monopoly, to the ITI network. 1st Ngoujel Prize of Young Theatre Critics Establish a stable financial resource for partners in the Submitted by the Congo Republic Centre of ITI organization.

A. Name of the Event: 1st Ngoujel Prize of Young Theatre H. Project Implementation Plan: Critics 1. To find, in Segovia, voluntary countries to host for the experimentation of the competition in 2017 – 2018. B. Nature of the activity: Competition 2. 2. (Task of the ITI) Grant travel and subsistence allowance, to enable the delegate(s) of the Republic of Congo to C. Beneficiaries: ITI Centres, the populations of the acceding train the local organizers and, if possible, supervise the countries, and especially young people. organization of the competition. 3. (Task of project promoters) to convince the public D. Areas of interest: artistic (everything starts with a show, in authorities of the host countries and formally cooperate this case a theatrical performance.), Educational (written with them. tests), Humanist (drawing of a raffle for the benefit of 4. (Task of the ITI Centres of the selected countries) Support all competitors), but also Emulative (Competition at the the action of the project promoters and attract the individual level, competition of educational structures interest of other virtual partners (schools, universities, and even at the local level), Productive (generating inputs associations, cultural spaces, etc.). through participation fees). 5. To find sponsors in each country to ensure the awarding of prizes to winners and incentives to all competitors. E. Characteristics of the activity: The basic principle of the 6. Organize the competition on the basis of the rules of competition is the pre-publication of a questionnaire procedure used in the Republic of Congo. aimed at young people (up to 25 years old), focusing on the substance and form of a given performance. NB: The competition was first tested in Pointe-Noire in 2011, thanks to a grant from UNESCO, with the support of the ITI F. Purpose of the suggestion: To experiment in at least two General Secretariat. There were two other editions in Pointe- countries other than the Republic of Congo. Noire (2012 and 2015) and one in Kinkala (2014). In the absence of sponsors and State commitment, competition was still G. Objectives of the partnership: In the short term: To verify limited to a few schools. In this year 2017, the government the universality of the activity in ‚guinea pig‘ countries, to has officially marked its commitment to the activity. Hence, carry out the activity in at least one city of these countries, the project to organize the competition in a national formula to gauge the impact of the competition on the youth and in 2018. also its profitability for the organizers. In the medium term: Increase the number of ‘guinea pig’ countries and, in I. Project management: some cases, organize competition in an inter-city or even Designer: Mr Jean Léopold Ngoulou Tel. : +242 05 553 39 a national format. In the long term: To establish a network 68 Email: [email protected] Pointe-Noire, Republic of

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Congo Legal manager: Association L‘Arche de Ngoujel. Such. entries (and therefore participation fees). It has self- : +242 06 846 43 85 Email: [email protected] financed more than 70% during the experimental editions of Pointe-Noire. J. Funding: 3. The more sponsors (to deal with competitors and other Pre-financing: L‘Arche de Ngoujel, partners of the ITI expenses), the more the participation fees are released to network, and other partners. Funding: Government and the organizers. other virtual sponsors. 4. Availability of several archival documents: Rules of procedure, press clippings, recommendations of K. Main expected results (for the cooperation requested authorities, conventions signed by educational structures from the ITI): and other administrations 1. Intensification of the visibility of the Centres through the organization of the competition and its financial Vote: The International Project 6 was approved précising that. Yes repercussions. 40, No 0, Abstention 1 2. Establishment of a reliable financial resource for the Centres for the pre-financing of the competition and other projects. 3. Guarantee, for the General Secretariat of the ITI, of the receipt of the statutory contributions by the Centres

L. Project Benefits and Key to Happiness 1. In essence, the present project consists in networking an already experienced and approved activity (ITI and the Congolese State). 2. The more competitors, the more the activity generates

103 Partner Organizations

Comments by the DG That we added three Partner Organizations to the existing ones was an important step for the close collaborations with organizations that have similar goals. For clarification, according to the Charter of ITI Partner Organizations can participate in the General Assembly and in project of the Committees, Networks, Forums and Project Groups of ITI. As an example, in the past, World Dance Alliance participated in the International Dance Committee, and the International Theatre Critics Association has participated in the ITI Publication Committee (formerly called Communication Committee).

The plan for 2018 is to create a meeting with all the Partner Organizations. With the new Partner Organizations, the General Secretariat drafted for each one a Memorandum of Understanding (MoU) to closer define the collaboration.

104 Partner Organizations

New Partner Organizations Benefits: ITI is collaborating with IMC since a long time, especially when supporting initiatives that were initiated by International Music Council (IMC) UNESCO as the Status for the Artist or the 2005 Convention Represented by: Silja FISCHER, General Secretary IMC on Cultural Diversity. IMC is an organization that has a similar structure. IMC has similar projects in the field of Music. Description: The International Music Council (IMC) is the ITI includes music for instance in the Music Theatre NOW world‘s leading membership-based professional organisation Network. A closer collaboration is resulting in an intense dedicated to the promotion of the value of music in the common strategy for UNESCO activities. Joint projects are of lives of all peoples. IMC‘s mission is to develop sustainable benefit for both organizations. music sectors worldwide, to create awareness about the value of music, to make music matter throughout the fabric Vote: The International Music Council was approved as a new of society, and to uphold basic music rights in all countries. Partner Organization of ITI unanimously. IMC was founded in 1949 at the request of the Director- General of UNESCO as a non-governmental advisory body to the agency on musical matters. It is based at UNESCO headquarters in Paris and functions today independently as an international NGO official partner of UNESCO. In the course of its existence, IMC has developed into a highly influential network advocating for appropriate policies and practices aimed at strengthening the work of its members and partners worldwide. IMC‘s network is present in 150 countries on all continents, with national music councils and international, regional and national music organisations as well as specialised organisations in the field of arts and culture. IMC members of honour are chosen among the world‘s outstanding professionals, educators, performers and composers. Through its members, IMC has direct access to over 1000 organisations and 200 million persons eager to develop and share knowledge and experience on diverse aspects of musical life. IMC is represented by a Regional Music Council in each of the following 5 regions: Africa, The Americas, Asia Pacific, Europe and the Arab World. Their mission is to contribute and develop regional programmes and to support activities that are specifically tailored to the needs of IMC members and partners in the region. www. imc-cmi.org

105 Partner Organizations

European Federation of Professional Circus Schools integrating elements of the Circus Arts in their work. A closer (FEDEC) collaboration is for ITI and FEDEC a win-win proposition. Represented by: Donald B. LEHN, FEDEC President Vote: The European Federation of Professional Circus Schools Description: The FEDEC is an international network (FEDEC) was approved as a new Partner Organization of ITI (that started in Europe) of 58 members – 44 secondary, unanimously. vocational and higher education circus schools and training programmes, and 14 organisations involved in information, research and circus arts advocacy, located in 24 countries in Europe and all over the world. Founded in 1998 at the instigation of the first vocational circus arts schools, the FEDEC is committed to supporting the development and evolution of training, teaching and creation in the field of circus arts.

Since it was founded, it has worked with European support networks for the development and evolution of training, teaching, creation and employment in the field of formal and non-formal education (LLL-Platform), arts education (EYCO, ELIA and AEC) and circus professional sector (CIRCOSTRADA). Its 58 members are key players in their countries, developing training systems and contributing to the structuring of various levels of education. Thanks to its member federations and partner members, FEDEC is a platform which represents over 500 schools and centres (44 for secondary, vocational and higher education training, continuing training and e-learning, and 350 leisure and youth circus centres). www. fedec.eu

Benefits: Even if this organization is based in Europe and has Europe in the name, it is actually an international organization and very active. In some countries, the Circus Arts are part of the performing arts, for example in Cuba. In the recent part the education in the Circus Arts include more and more elements in the performing arts. Furthermore, important theatre stage directors (example: Robert Lepage) and choreographers (example: Mourad Merzouki) are

106 Partner Organizations

World Mime Organization (WMO) and providing opinion on drafts and proposals for such Represented by: Marko STOJANOVIC, President World Mime regulations; Organisation (WMO) • Taking necessary action to improve and popularize mime and art, especially the dramatic and audio and visual arts Description: World Mime Organisation (WMO) is an and non-verbal communication; international association established in 2004 with the aim • Organizing and providing professional assistance to its of bringing together mime artists, professional and amateur, members in improving their work; educators, institutions, theatres, festivals, formal and informal • Establishing international cooperation in accordance with groups and audience appreciating mime. the adopted international policy of the WMO; WMO is dedicated to the survival of the art of mime and • Organizing and ensuring the functioning of a unified mime artists in the new social, economic, media and information system for the purposes of mime and technological international environment. We are successfully providing required information to its members through implementing socially responsible and sustainable projects its own information system in the country and abroad; dedicated to empowering challenged youth such as children • Planning and organizing international competitions, and teenagers with hearing impairment through our “Music festivals, and additional education and events in the of Silence” Project teaching them mime and other stage country and abroad www.worldmime.org arts and crafts WMO was officially registered as a non- governmental and non-profit organization in Serbia by Ofer Benefits: The artistic, educational and humanistic values of Blum and Marko Stojanović. WMO created World Mime Day the mime are inherent in the goals of ITI. A collaboration with which is held every year on 22 March, the birthday of Marcel World Mime Organisation and the development of joint- Marceau. The goals of the World Mime Organisation are projects is of benefit of both organisation. WMO and ITI are (excerpt of the Charter): following the same goals. So having WMO as a partner is a • Creating a worldwide network of mimes (World Mime win-win situation for both. Network) and mime enthusiasts; • Bringing together mimes and other artists – professionals, Vote: The World Mime Organizations (WMO) was appraoved as a amateurs, educators, fans, audience; new Partner Organization of ITI unanimously • Bringing together the institutions that focus on mime and other arts and non-verbal communication – companies, schools, festivals, theatres, media, production companies, and other legal entities and informal groups; • Promoting and re-establishing mime as a mainstream art- form • Defining and protecting the rights of mimes • Representing joint interests of WMO members before international, state, and other bodies and organizations for art, culture, and sports; participating in preparations of regulations that are of interest for WMO members

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Overview Partner Organizations of ITI • OISTAT - Int‘l Organization of Scenographers, Theatre Architects and Technicians International Partner Organizations • SIBMAS - International Society of Libraries and Museums • UNESCO for the Performing Arts • AICT-IACT - International Association of Theatre Critics • UNIMA - International Puppeteers Union • AITA-IATA - International Amateur TheatreAssociation • WDA - World Dance Alliance • AITU-IUTA - International University Theatre Association • WMO - World Mime Organization • ASSITEJ - International Association of Theatre for Children • Theatre Without Borders and Young People / ASSITEJ • ATI - Arab Theatre Institute • ETC - European Theatre Convention Partner Organizations in China • FEDEC - European Federation of Professional Circus Schools FEDEC • Shanghai Theatre Academy STA • FIA - International Federation of Actors • China Theatre Association CTA • FIRT-IFTR - International Federation for Theatre Research • Central Academy of Drama Beijing • IDEA - International Drama/Theatre & Education • International Stage Art Network iSTAN Association • IMC - International Music Council

108 and developments in society.) developments and were as they needs aware not the of businesses) are extinct (Many world. the of organizations(and needs the and all over world, communities the members their and arts performing of the needs the as fits it see and ITI of form the aStrategic Planning groupare into has important, to look ITI from need Centres what the members only Not its and membership its and ITI of form the Re-evaluating 4. Europe, as well as smaller makes it where sense. regions Countries, reunion(s) and Arab Asia Americas, the Africa, for Councils Regional in allEstablishing continents organize and continents all 3. Establishing and strengthening Regional Councils on has ITI to evaluated. from benefit can they how and Members Cooperating for evaluated. Guidelines be has to Centres, Scene Newsletter” the such “Behind as the Means to Secretariat. communicate General the and with Council Executive the want and from need what they out Centres the with has to done to find be survey A face-to-face Strengthening development, including opening new Centres. Groups 2. Centres, Cooperating Members, Committees/Project an office in Paris. issues legal re-establishing for and funding of viewpoint the include evaluation should in Paris The again. Council having of staff has to evaluateExecutive possibility the officeParallel the to of in establishing Shanghai,the the upbuilding ateam has continued. to be continuing toThe office work the in establish Shanghaiand anin Office Paris establishing re- / Shanghai in Office the of 1. Establishment Council Executive and Secretariat by General Submitted 2017-2020 Programmes ITI Centres what they need and want from GS and EC. GSand want and from Centres need what they the Evaluate asking for aregular of Centres. briefing Survey are communitiesactive they field and arts performing the Council in and communication their to members their Regional Groups and assist Committees/Project better can Secretariat Evaluate Groups. General the how Project Councils, Committees/ Centres, and Regional and Council Secretariat/Executive General communicationthe between Improve Groups. Councils, Committees/Project Regional Council Groups, Working Executive Council/Board, Executive for Secretariat Communication assistance General by the ITI within communication of 9. Improvement possibilities. financial and to needs the young to practitioner Executive Council sessions, according World Invite Congresses. in ITI large future of attendance Council and eventually Groups and Executive in the Project inCentres, Committees/ young the including for Campaigning practitioners young for ITI up toopen Campaign 8. internationaland collaboration. projects &educational communities, accent put artistic on arts performing local and global information for members, Council task force, an Executive Establishing information for Congress World ITI 36th 7. artistic an of Creation World Congress. ITI candidates next the for call is for made an open discussionfor Then approval. and Council to work Executive the the Group submits Working a Congress. The of criteria form the the for are putting as experts) Group (mayA Working ITI-members non include World Congress ITI an of form the for criteria tocreate Group Working 6. ITI. of representation age and in all bodies ethnical gender, of geographical, diversity Promotion the of ITI of structure the in diversity of 5. Promotion 109 The Future of ITI Programmes – Programmes The Future of ITI – Future The

10. Improvement of communication to the performing logo, of a communication concept. Make it a joint initiative arts associations & members locally& globally. of al the Centres, Regional Councils, Cooperating Members Website, newsletter, meeting with the ITI Partner and ITI members. Organizations, participation at festivals, conferences, speeches of President, Vice-Presidents, EC Members and 15. World Theatre Day and International Dance Day DG on behalf of ITI worldwide. Arrange a meeting for the Establish procedure for authors, promotion of the message, leaders of the Partner Organizations in Shanghai and/or creation of events, if possible a main event at UNESCO in Paris, Paris/UNESCO. in Shanghai or in collaboration with a Centre in its country. Include the proposals of the Centres and Committees/ 11. Artistic work in ITI Project Groups. Have the message of the author no less than Discussing the artistic work within ITI and how it can be two months before the event. achieved. Evaluate if it needs a Working Group for this or if that should not be discussed with all the EC members and 16. Strengthening Dance in ITI GS members. Discuss how to select new World Theatre In collaboration with the ITI International Dance Committee Ambassadors and World Dance Ambassadors, promote and Partner Organizations. them, invite them in events. 17. Strengthening the relation with UNESCO 12. Continuing the work to modernize the Charter of ITI World Performing Arts Capital, UNESCO/ITI Network for Putting together a working group with specialists in ITI Higher Education in the Performing Arts, Status of the Artist, and external specialists to create a Charter that reflects the advocacy for the performing arts for UNESCO, UNESCO needs of the performing artists and minimizes unnecessary Convention on the Protection and Promotion of the administration. Diversity of Cultural Expressions (including to designate a representative of ITI for this convention), etc. 13. Create Theatre of Nations Members of the Executive Council and experts in creating 18. UNESCO/ITI World Performing Arts Capital a new concept for Theatre of Nations (not just another Establishing of an office in Shanghai, in coordination with festival, but something unique, as it was in the beginning: a) UNESCO, design of selection criteria with experts, launch of creating the concept; b) parallel to it create a foundation with the first call, selection of international jury, selection of the ample funds for having the Theatre of Nations not only in first capital, coordinate with ITI network and activities, etc. rich locations but also in interested and interesting locations which are not able to find the funds. 19. Educational work in ITI Development of a joint strategy and collaboration of all 14. 2018 – The Year of ITI. 70th Anniversary of ITI the educational efforts in ITI (AKT-ZENT ITI Research Centre, Together with the GS create a Working Group of the EC Forum for Theatre Education and Training, Network for to coordinate the activities of 2018, including Centres, Higher Education in the Performing Arts, etc.). Develop the Committees/Project Groups in the activities. Creation of a Conference Series “How to bring Theatre to People”.

110 Programmes The Future of ITI – Future The

20. Assist the Network for Higher Education in Performing Arts Activities after the ITI World Congress, second general assembly and conference, second student festival, etc.

21. Humanistic work of ITI Presence of ITI at international conferences and events, connecting them to the Project Groups of ITI. Initiate one or more big international events on the theme of respect for the performing artist(s) and performing arts; indigenous cultures, migration and heritage; theatre for social change and theatre in conflict zones.

22. Cultural diversity in a country and its representation within ITI Research and evaluation of how the diverse cultures of a country are represented in ITI and how ITI can include in its activities as much cultural diversity of a country as possible.

23. Free intellectual and cultural exchange Follow up the political decisions regarding culture and international trade negotiations, join forces with other culture organization to defend free intellectual and cultural exchange.

111 70th Anniversary of ITI 70th Anniversary of ITI – The Year of ITI Year The –

2018 – The Year of ITI – 70th Anniversary of ITI Anniversary Logo in your language As decided during the General Assembly the year 2018 is The General Secretariat offers to the ITI Centres to create the 2018 called “The Year of ITI – 70th Anniversary of ITI.” That means logo in their language. If you want the logo, please send an that celebration activities on a global, regional and national email to [email protected] and attach a Word file with level will be organized. the text in your language. For this year and for the anniversary events, the General Secretariat created a special logo. Creation of a Special Calendar on the ITI Website Please let us know if you are organizing a Celebration events List of the global celebrations: or if you are organizing festivals, conferences, workshops, • Peace Event, Manila, Philippines, April seminars, a showcase, etc. that are part of ITI´s initiative of • World Theatre Day Event at UNESCO in Paris, with all the celebrating the 70th Anniversary. five message authors, 27 March • iSTAN, International Stage Art Network, biannual summit, Please send the information well in advance to info@iti- award ceremony and exhibition, 24 May worldwide.org so that we can put it on the ITI Website and • Music Theatre NOW Educational Event, Shanghai also make the ITI members aware of it on the ITI Newsletter. • Educational Event for Africa, Ouagadougou, Burkina Faso, June Vive ITI! • Birthday Celebration during Festival, Da Nang, Vietnam, 2018 is the year of ITI. Let´s celebrate it, include artists and June / July audiences, and increase the visibility of ITI. • Celebration Event in Prague, Czech Republic, in September • Celebration Event in Mexico, November • Hainan Event, Grand Finale, Hainan, China, November

(State of affairs December 2017. More information to be found on the ITI Website soon.)

112 Comments by the DG Shanghai: One is to create a Toolkit for Committees, Networks, It was a pleasure to see how the Committees, Networks, Forums and Project Groups of ITI, the other is to arrange a Forums and Project Groups have evolved and how strong meeting for the leaders/coordinators either in Shanghai, Paris and dedicated the participation in almost all the committees or at another appropriate place.

is. In fact, I could observe a quantum leap in commitment. Groups and Project Forums Networks, Committees, For this I would like to express my gratitude to all the office During the Congress, Committees Members met to discuss bearers, leaders, members and delegates who were part of about future projects and collaboration and to welcome this. Congratulations. new members. The work of the Committees, Networks, Forums and Project Groups is at the core of ITI. Through their work ITI is able to do valuable international cross-cultural exchange. If Overview of the ITI Committees, Networks, Forums & done well it increases the attractiveness of ITI. If excellently Groups managed it will increase membership in the Centres, and for Artistic Project Groups ITI as a whole. If valuable results are achieved, a Committee, International Dance Committee - IDC Network, Forum or Project Group is doing valuable work for International Festival Forum - IFF the benefit of the area it works in – for the artists and the International Monodrama Forum - IMF people. I am convinced if a Committee, etc. of ITI achieves International Playwrights‘ Forum - IPF a leading position in its field of activity it will be highly International Stage Directors Network - SDN appreciated by the communities of the performing arts all Music Theatre NOW Network - MTNN over the world. Network of Emerging Arts Professionals - NEAP Once more congratulations to all who made this quantum Traditional Performing Arts Forum - TPAF leap possible. Two of the “committees” ceased to exist. The New Project Educational Project Group Group and the Dramatic Theatre Committee. I know that Forum Theatre Training & Education - FTTE the members of both project groups did a brilliant job and were doing activities that ITI appreciated a lot. For me it looks Humanistic like the part of work of both project groups did in the past Action Committee for Artist Rights - ACAR are being integrated in the existing working groups. At this Network for Heritage, Indigenous Cultures & Migration - point I would like to express my gratitude to those who have N-HIM relentlessly worked in either of these two groups. Social Change Network - SCN A vision, a mission, clear goals, strong leadership/ Theatre in Conflict Zones Network - TCZN coordination, membership, openness for new members, good administration, finances are some of the key issues for Research, Documentation and Promotion Committees, Networks, Forums and Project Groups. If any of ITI Publications Committee - IPC the ITI committees have questions or need assistance they should write to the General Secretariat of ITI. There are two plans for 2018 at the Headquarters of ITI in

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International Dance Committee IDC well as actively participating in worldwide events initiated Vision by ITI Centres and other institutions and initiatives. We believe that the experience of dance is the most universal • aDvANCE Insider, e-publication embodiment of the human spirit. We are connectors and • Hosting International Dance Symposiums doers in a collaborative environment who foster the art of • DANCE CATALYST campaign dance in all of its past, present and future forms. • Connecting with dance centres, dance houses, dance presenters and others, to strengthen the impact of IDC Mission in the dance field and facilitating cooperation with nearly The International Dance Committee, IDC provides a 100 national Centres of ITI. framework for international dialogue and cooperation for the • Connecting one-on-one with dance professionals and global dance community to: create, showcase, teach, learn, practitioners worldwide to invite new talents, skills, and preserve, and elevate dance; strengthen the cultural, social, expertise to IDC. political and educational relevance of dance worldwide, and • Fuel the creation and realisation of projects that advance promote dance as an evolving, vibrant art form. IDC’s mission and goals. • Promote the archiving of precious dance documents to Aims provide access, through dance libraries, to all. • To further the study, practice and appreciation of all dance genres and traditions by people of all ages, capabilities, Future Plans cultures and nationalities. • Events International Dance Day and Message (2018-2020) • To champion the innovation and preservation of the art of • 6th International Dance Symposium in Jerusalem, Israel dance. (2019) • To help facilitate partnerships, mobility and exchanges • ChoreoLab during 36th ITI World Congress between dance artists around the world. • New Proposals Network for Rescue and Preservation of • To support dance artists to gain a better footing in their Worldwide Dance Heritage (Launch) artistic, social and professional status. • Gala of Nations (Launch) • To combat all forms of racism, as well as social or political • Global Marketing aDvANCE Insider, e-publication DANCE discrimination. CATALYST, campaign • To promote dance globally as a milestone of cultural identity and diversity, and to recognise it as a bridge between peoples that serves to encourage peace and friendship across the world.

Key Activities • International Dance Day - Assisting ITI in the selection of the international message author, celebrating the day with one main event involving said message author, as

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Board Members / Members Contact Alberto GARCÍA CASTAÑO, President, Spain For more information about the International Dance Marcia DE LA GARZA, Vice-President, Mexico/USA Committee (IDC) please connect with: Ruby EDELMAN, Vice-President, Israel Alberto GARCÍA CASTAÑO: director.universidad.danza@ JUN Hong Jo, Vice-President, South Korea hotmail.com andGloria GARCÍA ARAMBARRY: gloria.garcia@ Gloria GARCÍA ARAMBARRY, General Secretary, Puerto Rico urjc.es Luis LLERENA, Spain Andromachi DIMITRIADOU LINDAHL, Cyprus Nicolle VIEIRA, Brazil Beatriz DURANTE, Argentina Bernarda JORGE, Dominican Republic Oscar TORRADO, Spain Honorary Presidents Kerstin ANDERSEN, Denmark Patricia AULESTIA, Mexico Keith BAIN, Australia

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International Festival Forum IFF The 1st ITI World Performing Arts Festival to be held during Vision, Mission and Goals the autumn time 2018 in Da Nang City, Vietnam. The exact • To support all Centres of ITI and performance artists, dates will be decided in coordination with the in Da Nang especially young practitioners from all over the world to City and ITI Executive council. The Call for papers will go after have equal opportunities and freedom of expression; it, during the autumn 2017. The website launching is planned • to make international collaborative and tour-able by the end of 2017. productions with artists from different cultural and traditional backgrounds; Invitation: all the IFF members and ITI Centres are invited • to value the traditional heritage; to appreciate the cultural to introduce 5 productions from their country that they diversity; would like to be considered for selection together with the • to connect original talents; to enrich the theatrical performances publicity photos, reviews, videos, slides. imagination; to protect creative identities; • to make theatre belong to all people around the world; The Organizer will provide: accommodation (free standard • IFF is a great platform for all ITI Centres and other members accommodation for max 20 people during 7 days for each to come closer to one another through the context of production), living expenses, and free ground transport for international collaboration in the performing arts; all participants, free technical supplies for all productions, • to build the Festival Network for all National Centres of ITI both indoor and outdoor. in order to create more opportunities for theatre artists from different cultural backgrounds to share professional The 1st ITI World Performing Arts Festival contact: skills and creative work with each other [email protected]

Future plans Board Members / Members In association with Da Nang City Council, Vietnam, Le Quy LE QUY Duong, President, Vietnam Duong, is currently in the process to prepare the 1st ITI World Emmanouil KOUTSOURELIS, Vice-President, Greece Performing Arts Festival in 2018. The Festival will be a great Hazem SHEBL, Vice-President, Egypt platform for all ITI Centres and performing arts practitioners GIM Changwa, Vice-President, South Korea all over the world to present their outstanding creative works Dušana TODOROVIĆ, General Secretary, Serbia and sharing professional experience in the years in which ITI celebrates its 70th Anniversary. This first festival would be just a platform IFF to organize the ITI World Performing Arts Festival every two years in different countries, regions and continents with a plethora of different themes, contents and forms. We hope this will fulfil our desire to grant a sufficient platform and an official voice to ITI artists so they can engage with global issues.

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Contact For more information about the International Festival Forum please connect with: LE QUY Duong: [email protected] Dušana TODOROVIĆ: [email protected]

Facebook: www.facebook.com/IFFcommittee.

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International Monodrama Forum IMF Key Activities Vision Promoting monodrama festivals around the world and To promote and celebrate monodrama, a play with one actor integrating our aims within these, or using these as platforms in every region of the world as a financially viable and yet an to pursue our aims. innovative and entertaining form of theatre. Future Plans Mission • Cape Town Monodrama Festival (South Africa, 4 - 9 To harness networks and expertise within and beyond ITI, to September 2017) build databases, undertake research, distribute information, • International Festival of Monoperformances (Visaginas, archive material, develop knowledge and technical skills in Lithuania, 10 - 15 October 2017) pursuit of our vision. • International Monodrama Festival (Pafos, Cyprus, 23 - 30 October 2017) Aims • Fujairah International Monodrama Festival (UAE, January/ • To develop international and national networks for February 2018) monodrama shows. • International Festival of Monoperformances Vidlunnya • To encourage and support experimental and innovative (Ukraine, 6 - 15 June 2018) artistic research in the field. • Fundamental International Monodrama Festival • To organize professional training for actors, directors and (Luxembourg, June 2018) other theatre professionals working in monodrama. • International Festival of Monodrama MonoAKT (Kosovo, • To inform and educate theatre critics specializing in June 2018) monodrama. • Thespis (Kiel, Germany 10-16 November, 2018) • To organize workshops, master-classes and other projects in order to contribute to the creative process. • To organize meetings, conferences and symposia, in the framework of monodrama festivals, on the art of Board Members monodrama. Mohammed Saif AL-AFKHAM, President, Fujairah/United • To facilitate theatre people in countries facing language, Arab Emirates cultural or other restrictions. Minas TINGILIS, Vice-President, • To protect and safeguard national traditions and world Annette DOFFIN, Vice-president, Germany cultural heritage. Nina MAZUR, Vice-présidente, Ukraine Boloroo NAYANBAATAR, Vice-President, Mongolia Jolanta SUTOVICZ, Germany Olga POZELI, Secretary, Greece

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Katia ENGEL, Indonesia GIM Yena, South Korea Lucian BULATHSMHALA, Sri Lanka Members Nikhil GADGIL, India KIM Jeong-ok, South Korea GIM Ghanghwa, South Korea Fray Paolo DIOSDADO CASURAO, Philippines Ebraheim ALQAHOUMI Fray Robert Tian SIONG SO, Philippines Abdul Chafoor ALBALOSHI, UAE Alfira ARSLANOVA, Russia Jessica KAAHWA, Uganda Abdulla RASHEED, Fujairah/United Arab Emirates Jerome L. DE SILVA, Sri Lanka Pascal WANOU, Benin Steve KARIER, Luxembourg Minas TINGILIS, Cyprus Contact Alexander RUBINOVAS, Lithuania For more information about the International Monodrama Maria TANANA, Lithuania Forum IMF please connect with: Olga POZELI: olga.pozeli@ Antonina MIKHALTSOVA, Belarus gmail.com Colin WATKEYS, United Kingdom Mentor ZYMBERAIJ, Kosovo Kurt EGELHOF, South Africa CHOI Chyrim, South Korea Seyed Ashraf TABATABAIE, Iran Boloroo N, Mongolia Emre ERDEM, Turkey Marianna MKHITARYAN, Armenia Irin Pervin LOPA, Bangladesh

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International Playwrights’ Forum IPF Future Plans II (open to further ideas) Vision • Collaboration of IPF with the Korean International Duo We are committed to promoting playwriting and playwrights Performing Arts Festival internationally and also to strengthen young playwrights • Creating 5 regional IPF Groups worldwide. • Building up an IPF Drama Archive

Mission Awards for the Winners of the 10 Minutes Plays We are involved in projects and networking for and with Competition playwrights, dramaturges and translators all over the world. Unfortunately, the IPF could not offer a prize money to the We are interested in worldwide exchange, and in educating winners. But as a result of the readings at the congress we young playwrights, dramaturges, and theatre practitioners. have got the following interesting offers: We are very happy to announce that: Aims 1. Lucian Bulathsinghala (Ceo) Authors Composers & • To get plays on stage. Performers Organization of Sri Lanka, has offered to • To get plays translated. publish the plays in English. • To network and disseminate information to playwrights 2. Cécile Guidote-Alvarez, Manila, Philippines, will broadcast all over the world. the plays in Filipino language (Tagalo) at her private, local Radio Broadcasting Company in Manila. Key Activities • International playwriting competitions • Playwriting and dramaturgy workshops • Long-term project in the Philippines and workshops in Office Bearers Europe and Asia in order to reach out to various countries Gad KAYNAR-KISSINGER, President, Israel in the world in order to educate and train playwrights GIM Chang-hwa, Vice-President, South Korea and young practitioners in the basics of dramaturgy, Rathna Pushpa KUMARI, Vice-President, Sri Lanka playwriting and theatre arts. Stasa MIHELČIĆ, Vice-President, Slovenia Ursula WERDENBERG, General Secretary, Switzerland Future Plans I • Philippines, Bacolod, February 2018 (long-term project Members since 2012) August Melody ANDONG, Philippines Local responsible leader: August Melody Andong Tatjana AZMAN, Slovenia • Sri Lanka, Colombo, 21-27 March 2018, Jasen BOKO, Croatia Local responsible leader: Rathna Pushpa Kumari Siobhan BOURKE, Ireland • Pune, India, IAPAR, November 2018, (date will be Fray Paolo CASUARO, Philippines announced) Richard CRANE, UK • Local responsible leader: Vidyanidhee Vanarese (Prasad) Boaz GAON, Israel Svetislav JOVANOV, Serbia

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Lia KARAVIA, Greece Contact Giorgos NEOPHYTOU, Cyprus Ursula WERDENBERG: [email protected] Heikki KUJANPAA, Finland Talia PURA, USA Facebook: SHEN Daniel Liang, China www.facebook.com/ITI-International-Playwrights- Dag THELANDER, Sweden Forum-273508366155435/ Magdalena ZIRA, Cyprus Constantina ZIROPOULOU, Greece Andrea ZAGORSKI, Germany Márcio SOUZA, Brazil

New IPF Members (since 2017) Sadhana AHMED, Bangladesh Yvon Lewa-Let MANDAH, Congo Republic SANG Rhee Jae, South Korea Priyanthi WAIJAYANTHIMALA, Sri Lanka Ajay JOSHI, India Vladislava FEKETE, Slovakia Gherardo VITALI ROSATI, Italy Armit ZARKA, Israel Marijana VERHOEF, Germany Jeffrey STANLEY, USA Saeed Reza KHOSHSHANS, Iran

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International Stage Directors Network SDN As a parallel to ITI’s Playwrights´ Forum, a network for directors is being developed. The proposed goals of the network include: • To promote the interests of stage directors and to focus on the quality of directing. • To exchange knowledge and know-how between stage directors. • To impart knowledge and technical expertise to newcomers and students through workshops and internships. • To invite stage directors to work at a theatre in another city or country and stage a play with the actors of that location. • To create international projects with different stage directors, actresses, actors, dancers, choreographers and stage these at the ITI World Congresses, Theatre of Nations Festivals, Conferences or other international occasions. • To create conferences with documentary presentations of the work done by the members of the network and host discussions about the work. • To give beginners in stage directing and professional stage directors the opportunity to observe how a stage director employs cultural identity to create a play. • To develop stage directors in community theatre who can work with non-professional participants and use their art in conflict zones.

Contact For further information contact the General Secretariat: [email protected]

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Music Theatre NOW Network MTNN • Establish regular activities for the MTN network. Vision • Strengthen the international aspects of MTN by holding The Music Theatre NOW Network is committed to the the 2019 outside of Europe. artistic development of music theatre worldwide. From • Building up the MTN archive based on nearly 1000 experimental projects to productions in opera houses applications until now we embrace all forms of music theatre, including hybrid • Major event in Shanghai theatrical forms where music is a crucial and indispensable aspect of the performance. Board Members Guy COOLEN, President, Belgium Flanders Mission Ana ABLAMONOVA, Lithuania Music Theatre NOW Network’s main task is to ensure the Laura BERMAN, Switzerland dissemination of information about music theatre and Beth MORRISON, USA audience education. The MTN Network takes a special Axel TANGERDING, Germany interest in music theatre outside of the Western European Roland QUITT, Germany tradition and in contemporary work which reflects these Nick Rongiun YU, China other traditions. Shuang ZOU, China

Objectifs Honorary Member • To raise awareness of music theatre around the globe. Danny YUNG, Hong Kong, China • To facilitate the production and presentation of music theatre. Contact • To stimulate cooperation and exchange of productions For more information about the Music Theatre NOW Network among producers and presenters. MTNN please connect with: • To preserve and communicate the diversity of newly Christian GRAMMEL, Coordinator Director, Germany: created works. [email protected]

Key Activities Website • International competition by Music Theatre NOW for the www.mtnow.org most interesting music theatre productions of the past years. Facebook • MTN meeting where the winning productions are shown www.facebook.com/MusicTheatreNOW on video and discussed. • Web archive of New Music Theatre. Sign up for the MTNN Newsletter http://eepurl.com/7mSGb Future Plans https://issuu.com/mtnow • Improve competition MTN 2018 based on previous experiences.

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Network of Emerging Arts Professionals NEAP Key Activities The Network of Emerging Artists was formerly called Young Communication Practitioners ‘Committee (YPC). a) Maintain an online presence through the website, active social media channels and a group email list. Vision b) Create a bi-monthly newsletter featuring the activities A network of a fully connected group of the next generation of our members, and distributing information about of artists and arts professionals that are active together opportunities. in maintaining effective communication, facilitating c) Sustain a dialogue with Centres and Committees on collaboration across national boundaries and borders, and programs, projects, information etc. creating visibility and opportunities at the ITI congress d) Foster engagement of Network of Emerging Arts through our activities. Professionals within each Committee

Goals Collaboration • Build and nurture a network of emerging arts professionals a) Research funding opportunities for international within and outside of ITI collaboration • Identify opportunities for collaboration between ITI and b) Facilitate exchange of ideas, skills, and artistic practice the network • Cultivate supportive intergenerational relationships Activities between Centres and the individual artists in our network a) Support activities that give visibility to emerging artists • Ensure a strong presence of emerging artists in during the Congress Committees and at the ITI World Congress through our • Facilitate Micro-performances at the next congress programs with the Finnish ITI Centre Peer-led workshops • Establish a mentorship program

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• Speed dating session(s) Rashed ABUDULLA, UAE • Explore potential for cross-over between Network of Nataliya RUKHRENKO, Spain Emerging Arts Professionals and Student Festival Michael REALIN, Spain • Professional development workshops Jessica MEADOWS, Spain • Orientation meeting for first-timers and social activities GIM Yena, South Korea for Network Lea KUKOVICIC, Slovenia b) Facilitate activities between Congresses D CORTEZANO, Philippines • International Drama Colony Creation Arts Residency Stephane BALOURI, French with the ITI Croatia Centre in July 2018 Hope KAAHWA, Uganda • Attendance at the Joint Committee meeting in 2018 Yolane ZALAY, France and at some EC meetings

Contact Board and Board Members For more information about the Network of Emerging Arts Coordinators Professionals (NEAP) please connect with: Lloyd NYIKADZINO, Zimbabwe Lloyd NYIKADZINO, Zimbabwe: [email protected] Taiwo AFOLABI, Nigeria Taiwo AFOLABI, Nigeria: [email protected]

Active Members Buddhi WEERASEKERA, Sri Lanka Bronwyn STEINBERG, Canada Fin Ross RUSSELL, United Kingdom Nina KRIZAN, Croatia Tanmayee AMBEKAR, India Diego Landin DEL RIO, Spain Giorgia CIAMPI, France Amu LAMP, Estonia Frank G. RIVERA, Philippines Pieter ZEEMAN, Netherlands SOL Lee Han, South Korea Anushka VAZE, India Zubin KHETANI, India Sayik SIDDIQUEE, Bangladesh Jeferson FAGUNDES, Brazil Amandina AUDINOT, France Mayuree WEERASEKERA, Sri Lanka| Ana KVINIKADZE, Georgia

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Traditional Performing Arts Forum – TPAF Report Join the Network / Newsletter / Contact The Traditional Performing Arts Forum has met two times If you would like to receive the newsletter, take part in the so far, once in Guangzhou and the second time in Yunchan activities or be a board member or corresponding member just before the Congress. In keeping with the rules of TPAF, of TPAF please write to PANG Jinlai [email protected] or a board and plans were approved just before the Congress, WANG Ling [email protected], both are members of the and because its coordinator, JI Guoping, was not able to stay Chinese Centre of ITI. longer at the Congress due to professional obligations, there was no plan to have a meeting at the Congress. Maybe that was not clear to everyone at the time.

The plans for 2017-2020 are: • To create further meetings and events for TPAF and experts in traditional performing arts. • To create a traditional performing arts festival. • To continue to the TPAF newsletter. • To enlarge the membership in TPAF.

(Elected in Yunchan just before the Congress): President JI Guoping, Chine Board Members JI Guoping, China - President Abdus SELIM, Bangladesh Levan KHETAGURI, Georgia Anshuman BHOWMICK, India Taeko NAGAI, Japan Sarantuya SAMBUU, Mongolia Savas PATSALIDIS, Greece Christina NYGREN, Sweden Narine SEYRAN SARGSYAN, Armenia Intigam SOLTAN HASANLI, Azerbaijan MAO Fredric, Hongkong, China Chua SOO PONG, Singapore Rathna PUSHPA KUMARI, Sri Lanka

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Forum for Theatre Training & Education FTTE annual conference on how to involve people from different Vision target groups in community theatre as participants of the To share the humanistic and artistic goals of the organization, performance. The experts in the specific field presented based on the core values of ITI: inspiration, representativeness, their experiences from different projects with videos, transparency and collaboration; specialized in training and presentations, speeches, surveys, open dialogues. The education in the field of the performing arts, and at the whole event enhanced the mutual understanding and vanguard of developments in the area. The FTTE aims to be the best ways of cooperation for achieving the goals of representative of the current diversity of theatre approaches how to bring theatre to people within the dynamics and and theatre training around the world, and also seeks to possibilities of the cultures of the East and the West. promote the learning of the practice of theatre for personal 2. Chekhov International School: Master Classes (Melikhovo, development, artistic research, and social transformation. Russia) To provide a platform for sharing knowledge and practices Mission of theatre professionals in an effort to renew dialogue at FTTE is a workgroup, a platform within ITI / UNESCO that the international level towards the Theatre of the Future. invests specifically in the training of the arts. There is a vast 30 theatre professionals joined our programs (announced network open to all members of the ITI Centres who wish through an open call) from countries including Uruguay, to participate. The principles of democracy, mutual respect, United States of America, Italy, Norway, Belgium, Spain, transparency and alternation must guide its action. Egypt, Canada, Denmark, Russia, the Netherlands, United Kingdom, Austria, Israel, Germany, Switzerland and Aims Finland. • To promote, develop and conduct training and research 3. Tomorrow is preparing now (Ouagadougou, Burkina Faso) projects. Give young schoolchildren in Burkina Faso a chance to • To affirm quality as a hallmark of ITI/FTTE activity in this participate in a project and to propose to the authorities area. in charge of education an original way of introducing • To provide international platforms for theatre education, art education into the school world. It aims to provoke training and research. the encounter of two worlds which are fighting the • To support creation and research by young theatre same struggle but which prejudice in our local context practitioners. tends to oppose by considering one (the school) as a • To collect and share relevant information. respectable universe and the other (the arts), Better as a • To support the arts in countries where freedom of artistic hobby, at worst as a pariah activity. It is essential to drop creation and theatre education are not readily available. watertight bulkheads to give younger children a chance • To support the mobility of artists and teachers that their elders certainly did not have. The objectives are to introduce students to theatrical practice; bringing Key Activities together the world of the arts and the world of formal 1. How to bring theatre to people? (International) education; Create and disseminate shows. An event on exchanging thoughts and ideas between specialists from different countries for establishing an

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Future Plans Israfil SHAHEEN, Bangladesh Joint and collective project: Recollection of the practices Jeffrey SICHEL, USA of training trainers and theatrical education with a global Anu LAMP, Estonia dimension with a view to the production of a collective work: Christine SCHMALOR, Germany • Work on the production of a document on theatrical Ulla SVEDIN, Sweden training, assessing the diversity of training practices in the Shafi AHMED, Bangladesh context of arts education Mikkel FLYVHOLM, Denmark • Realize a working group (Google group) Derek GOLDMAN, USA • Form a working group of specialist in artistic education Samia HABIB, Egypt and artistic training (2X9 people) Kevin MOORE, USA • Have the permanent support of a human resource at the José ASSAD, Colombia ITI General Secretariat Alberto GARCIA, Spain • Collaborate with the Publication Committee. Zelimir MESARIC, Croatia Alain CHEVALIER, Belgium Board Members and Members Djamel KHABER, Algeria Hamadou MANDE, Coordinateur, Burkina Faso Hamiza BOUKIR, Algeria Marine LIARD, Secrétaire, Belgium Wallonia Maria HORNE, USA Jean-Henri DRÈZE, Belgium Members Carlos CELDRAN, Cuba Naum PANOSVKI, USA Iuri IMGEBRISHVILI, Georgia Carmen CARAFEL, Spain Contact Arana THAMER, Colombia For more information about FTTE or if you like to participate Amrut SAMAK, India in FTTE, please connect with: Marko STOJANOVIC, Serbia Hamadou MANDÉ: [email protected] Atsushi KAKUMOTO, Japan Marine LIARD: [email protected] Arthur CASANOVA, Philippines Elmaze NURA, Kosovo Akosva ABDALLAH, Ghana Elvira M. J. BOSSON-KAMOUN, Sierra Leone Indy LEE, Hong Kong Apostolos APOSTOLIDES, Cyprus Bethusi LESOLOBE, Botswana Viktor MELNIKOV, Denmark Emre ERDEM, Turkey Svud NAMSARAI, Mongolia Boris DAUSSA-PASTOR, Spain

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Action Committee for Artist Rights ACAR and in connection with other international networks and Vision activities. “Cultural diversity can be protected and promoted only if • ACAR has reacted to more than 20 personal cases of human rights and fundamental freedoms, such as freedom threatened theatre artists within the last 3 years. of expression, information and communication as well as • Following through with the ITI resolution concerning a the ability of individuals to choose cultural expressions, are fair visa policy for theatre artists and a motion to support guaranteed.” According to the First guiding principle of the the new UNESCO survey on the status of the artists at the UNESCO Convention on the Protection and Promotion of the ITI world congress 2014. Diversity of Cultural Expression ACAR watches and makes • ACAR represents ITI in international networks and at the international theatre community react to threats and international events dealing with threats to theatre artists. violence against theatre people and severe restrictions to work with theatre activities, wherever it occurs in the world. Future Plans • Proposal for resolution ‚Declaration for an UN Plan of Mission Action for the Safety of Artists and the Safe Promotion of ACAR collects, proves, analyses and makes public cases of Art‘. violation of the rights of theatre artists and the right to free • ACAR wants to send out working definitions of criteria for artistic expression. The cases are addressed to politicians on the violation of artistic freedom and the fields of artists‘ a formal political level in the name of ITI, according to ACAR’s rights including concepts of censorship. The working reaction scheme. ACAR cooperates with other Human and group consists of Bangladesh, Finland, Germany, South Artists Rights organizations and networks worldwide. Korea, Sweden, Uganda, United States. • Every ACAR newsletter to all Centres will include a Aims reminder to send in reports on violations of artists‘ rights • To highlight violations on artists rights and freedom of to monitor the situation in each country. expression. • On the occasion of the 70th anniversary of ITI in 2018 • To support politically persecuted artists. ACAR proposes to set up a theme for the World Theater • To bring the specificity of theatre work as a collective Day Message that addresses the concerns of artists‘ rights. and public live art into the international artist’s rights • The Artists‘ Rights committee will continue its work movement as a non-hierarchical working group which addresses • To develop a UNESCO reaction scheme for persecuted demands and actions according to the ACAR reaction and censored artists. scheme (which can be found on its website). • During the congress ACAR received a letter from the Key Activities Israeli Centre concerning the ACCO festival in Israel about • Via ACAR, ITI raises its voice by making official statements its cancellation due to administrative interventions and to political authorities. These statements have been submitted a proposal for a resolution prepared on the basis of the experience and the research by the committee, with participation of national centres,

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Board Members Contact For more information about ACAR, please connect with: Working Group Secretariat of the Action Committee for Artist Rights Ann Mari ENGEL, President, Sweden c/o ITI Centre Germany, Mariannenplatz 2, D-10997 Berlin Thomas ENGEL, Coordinator, Germany Secretary: [email protected] Thomas IRMER, Coordinator, Germany Website : Corresponding Members www.iti-artistsrights.iti-germany.de Cheikh OKBAOIU, Algeria Ambroise MBIA, Cameroon Alexandra RICE, Belgium Fanyia WILLIAMS, United Kingdom Hamadou MANDÉ, Burkina Faso Gad KAYNAR, Israel Tatjana AZMAN, Slovenia Hanna HELAVUORI, Finland Teresa EYRING, USA Abdus SELIM, Bangladesh NA Kyungmin, South Korea Bettina SLUZALEK, Germany Barbara KASTEN, Germany Joppa SVENSSON, Sweden Jessica KAAHWA, Uganda

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Network for Heritage, Indigenous Cultures & Migration • To examine further the contributions of ancient and N-HIM classical theatre and how they continue to be relevant to Vision our present. To strengthen identity – through theatre - of the marginalised demographics all over the globe and preserve the unique Future Plans contributions and insights made by theatre creators, both 1. An in-between Congress Board meeting of NHIM is being in posterity and at present; to use globalisation positively to planned, possibly in Europe. No final plans yet. build cultural bridges to enable a better understanding of 2. Matthias Gehrt and Anina Jedreyko to collaborate on a ourselves. project with Iraqi religious minority. 3. Upgrade visibility on Facebook and other social media. Mission Frequent communication among members is essential. As a newly formed ITI network, we need to examine how we 4. Some Network members do splendid jobs in their field can effectively work in harmony with these three large fields and work on their own, or without other ITI collaborators. to create dialogue and project partnerships that highlight Their important work should be platformed and exposed these three fields within our network, both with other ITI via ITI NHIM FB and other social media, e.g. Community members and with non-ITI theatre-makers and friends. building through theatre and performance by Carlos During in indigenous cultures in Argentina / Uruguay Aims border; - Academic research on indigenous tribal theatre • To facilitate cultural exchanges, through dialogue and forms in Brazil by Zeca Ligeiro. project collaborations with global partners, within the 5. Posting of current activities in Facebook to disseminate network, within ITI and beyond ITI. widely. Monthly skype calls or as needed. A determination • To investigate classical and indigenous cultures to better to communicate with greater frequency. understand our possibilities of creating better bridges in 6. As the refugee / asylum issues become greater in the future through theatre. magnitude, we need to identify centres that deal with trauma experiences of children and youth who are Key Activities forcibly uprooted from their • To install better and more frequent communication among existing network members; • To actively seek ways to work with other networks - dance, Board Members / Members monodrama, new work, children’s theatre, etc. – to bring Jorge Ortoll, USA, President about a better understanding of the dynamics of the new Christos GEORGIOU, Cyprus, Secretary world we are living in of forced and voluntary migration and mixed heritages. Matthias GEHRT, Germany • To respect the great value of preserving cultures of Jjamba PHILLY, Uganda indigenous people throughout the planet through Carlos DURING, Argentina dialogue, performance and representation; Zeca LIGEIRO, Brazil

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Jesus QUINTERO Ramon VERDUGO Anina JEDREYKO, Switzerland Claudia BERGER, Switzerland Rama MANI, Switzerland / France / India Nora AMIN, Egypt Nasirudin YOUSSUF, Bangladesh

Contact For more information about the Network for Heritage, Indigenous cultures & Migration N-HIM please connect with: Jorge ORTOLL: [email protected]

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Social Change Network SCN „Theatre of Renaissance for Humanity in a Green Society“ Vision organized in Sri Lanka in mid-2018 to work out future Contribute to the building of a caring and sharing society, plans in using theatre for social change based on social justice, peace and compassion. 3. Developing and launching social media spaces for interactive work. Mission 4. Use Global webcast of the award-winning Philippine Building effective and efficient networks at national, regional, Radio Balintataw to feature a Broadcast Theatre Festival and global levels among theatre workers who are engaged on Social Change beyond borders with a drama serial in transformative action with the aim of positive social on SDGs including a conference on folk wisdom and transformation (with special emphasis to conflict / post- indigenous heritage as rich source for socially relevant conflict societies). theatre materials coordinated through the Philippine ITI Committee communications Aims 5. Initiate a cultural exchange programme with emphasis on • Mapping, coordination and promotion of national theatre for social change. networks. 6. Utilize Theatre Networks for effective cultural • Set up an information and coordination hub at the communications for building community resilience and National Centre of ITI in Colombo. rehabilitation due to climate catastrophes and armed • Plan and promote events of bilateral, multilateral conflict through healing workshops for trauma of victims encounters as well as exchange programs among of war, climate and drugs, setting an International Award contributing theatre groups and artistes at regional and for Theatre for Social Change related to UN conference international levels. like COP on Climate Change or UNESCO event such as • To strengthen the networking committee to ensure it International Arts Education Week or World Theatre remains highly functional and vibrant. Week either as a playwriting or production competition or exceptional patronage to inspire & encourage best Future Plans practices The following common future plans submitted and approved 7. Philippines Dance Exchange programme coordinated by by the congress meeting will be properly implemented. NCCA in partnership with Philippine ITI Dance Committee 1. Launch the Global Peace Movement: “Not by Force But by linked to an annual Street Theatre Festival for the Art” with UNESCO patronage organized by the Philippine observance of World Dance Day for Peace and Conflict Earthsavers UNESCO Artist for Peace and ITI Social Change Rapprochement. It can be related to the Shanghai Network through a Music Dance Theatre Concert with dance Festival. Spain and Mexico expressed interest artists from claimant countries in the conflicted China and willingness to collaborate with the Philippines as Sea in 2017 as Philippines chair ASEAN 2017 under the a triangulated collaboration to provide a face of Dia de leadership of President Rodrigo Duterte with assistance of Galeón on the 70th Anniversary of ITI. DFA-ASEAN-UNACOM to be held either on October UN 8. Activities will be launched for collecting information on week on December Human Rights Week 2017. theatre companies, teams and individual practitioners 2. An International conference under the banner theme worldwide to build up the Social Change Network of

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ITI. A powerful social media campaign will be carried ITI while the Philippine ITI secretariat and social change out and a website and a face book page will be created network base will return to the University of Makati with and maintained for this. Music and songs created and satellite centres in the regions. expressed on the social change and Video clips on • The Young Theatre Practitioners Award initiated by activities of the members of the SCN worldwide will Philippine Centre is planned to be expanded as a be collected and include in the website and Facebook. uniquely designed award for Social Change in the Asia- Efforts will be taken to publicise a CD included with Pacific Network where Philippine heads the sub-regional music and songs on righteous Social Change through ASEAN-Pacific Bureau. joint coordination efforts of Philippine presidency and Sri Lanka secretariat. Philippine-Spain Twinning Programme This social change paradigm demonstrated by the Philippine These were programmes of the Social Change Network approved Centre is appropriately agreed upon to be twinned with the through the General Assembly, July, 2017 parallel comprehensive program undertaken by the local Other activities to be implement during the years 2017/18 by government of Segovia led by the Mayor of Segovia, the members presented by the Social Change Network reported by Honourable Clara Luquero and its Spanish Centre through a its President also approved at the closing ceremony, July 22, 2017: relevant twinning project between Segovia and the City of Echague (formerly known as Nova Segovia) led by Mayor Kiko Philippine Centre of the ITI Dy in the province of Isabela including educational, heritage- • The Philippine ITI Centre through the Earthsavers UNESCO based tourism, trade exchanges and creative industry to Artist for Peace is participating in a high-level organization provide a vivid face of continuity of the hosting of the of a special conference in Cartagena, Colombia 35th Congress of the ITI on the theme of Arts Transforming organized by the South South Collaboration Council societies towards peace and sustainable development. (SSCC) about sharing best practices from 5 continents on rapprochement and integration after completing Philippine-Vietnam Co-Production decades of armed conflict with the Farc rebels, November For the program of the 70th Anniversary of ITI hosted 3 to 5, 2017. through a festival in Vietnam, a collaborative production of a • The cultural caregiving services nationwide, organized Vietnamese play with persons with disabilities (PWDs) will be through Earthsavers Dream Center / UNESCO Artist undertaken first on broadcast theatre at Balintataw on DZRH for Peace year round as a mobile workshop in national and global webcast while a LIVE presentation will be provinces throughout the year to vulnerable groups for showcased through the courtesy of the Vietnamese Centre rehabilitation and healing trauma of victims of conflict of ITI and the Philippine ITI through its Earthsavers Artist for and climate refugees, empowerment of persons with Peace. disabilities synergized with the out-of-school, indigenous A resolution of thanks from Social Change Network led youth as well as to instill appreciation of heritage and by Philippines and Sri Lanka to the Spanish Center the environmental protection and building of an educational government of Segovia and San Idelfonso led by the institute for lifelong techno arts learning will rise in Aklan mayors and the ITI Secretariat led by Director-General Tobias at the last quarter of 2018 for the 70th year anniversary of Biancone and President Mohamed Al Afkham.

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In the membership project teams of the Philippine ITI seat of 54 prisons and the Ministry of Justice and other 42 of presidency are: Frank Rivera, Gardy Labad, Gigi Velarde- institutions. The intention is to develop the initiative David, Sonny Valencia, and Susan A. Claudio. at international scale. The work of documentation Dance Committee chaired by Lisa Macuja with the (magazines and books) will be promoted in collaboration collaboration of the Philippine ITI Communications & Festival with Committee of Publications. Committees led by Jose Laderas Santos assisted by Ellen Toquero to be joined the ITI led Higher Education Network Colombia in the Philippines linked with Seoul Institute of the Arts and September 2017 – The ITI Colombian Centre in conjunction based at the University of Makati (UMAK) with the International Theatre Festival of the Caribbean has been attended by artists from ITI Centres such as Iceland, Sri Lanka Spain, France, Mexico, Peru, Venezuela, Cuba, Dominican • 1 September to 15 October 2017 – Street Theatre Republic, Argentina, Brazil, Finland, Germany and among campaign against the prevailing Sinhala & Buddhist others, who have contributed development of the cultural racism life of Latin American region. • 1 to 30 November 2017 – 2 fifteen days Residential Workshops for Schooling Students based on „Education Spain for Social Cohesion“ Cultural programme in Madrid Opera House arranging for • 15 February to 30 March 2018 – First Mobile Theatre twining on work transforming disable persons integrated Festival of the year and School programmes in Kandy with professional artists linked with the Philippine Centre of District (Central Province) the ITI. • August (dates to be decided) 2018 – International Conference based on „Theatre for Social Change“ South Korea 22 to 30 September 2018 – Regional Seminar on Conflict Italy Resolution and Community Theatre at Incheon, Theatre • In 2017 and 2018, continue the publication of European Activists from Japan, Korea and China will be invited. Journal „Theatres of Diversities“ that I founded on 1996 at the University of Urbino (Italy) and the Magazine „Cercare, Uganda Carcere Anagramma di“ entirely dedicated to Theatre and • December 2017 – Launch of Children‘s Theatre Festival Prison on international level. • 2 January 2018 – Starting of mobilization for World • The initiative is promoted in collaboration with the Theatre celebrations, Workshops for Skills development National Coordination of Theatre in Prisons, headed by on Acting, Play Writing, Directing and Management will Teatro Aenigma, and that involves 44 theatre companies be conducted. that work in prisons, and that promote every year from • 27 March 2018 – World Theatre Day Celebrations with the 2014 the National Day of Theatre in Prisons, contextually sponsorship of ITI National Centre, Uganda. to the World Theatre Day. For the edition 2017, 99 events • 2 June to 30 August 2018 – Joint Theatre Workshops were organized all over Italy, with 4 initiatives abroad for different communities with the International (Tunisia, USA, France, Argentina), with the involvement collaborations of theatre practitioners from different

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countries such as Spain, Sri Lanka, Bangladesh. Julien MENSAH, Togo • 1 to 18 December 2018 – Theatre Workshops for upcoming Yvon Lewa-Let MANDAH, Congo theatre artists both in Kampala and Hoima Districts Ivana KOCEUSKA, Macedonia Georgette GEBARA, Lebanon Togo in 2017/2018 Isabel QUINTANAR, Mexico Planning and implementing community theatre activities on Patricia EUVITES, Mexico social change to unite different ethnic communities in the Viktor SEBEK, Vice-President for Sustainable Development conflicts ridden areas in the country. concerns, Colombia HYUNG Yoo Duk, Vice-President for Collaborative Theatre Congo - Centre national de l‘ITI 2017-218 Educational programs, South Korea 15 to 30 March 2018 – Organizing a festival with the theme of „Living in Harmony“. Contact For more information about the Theatre for Social Change Mexico Network SCN please connect with: Mexican Centre of ITI/UNESCO - linkage for the 70th Cecile GUIDOTE ALVAREZ: [email protected] Anniversary celebration of ITI including programs for Parakrama NIRIELLA: [email protected] indigenous peoples of Latin America.

Board Members / Members Cecile GUIDOTE ALVAREZ, President, Philippines Viktor SEBEK, Vice-President for Sustainable Development Concerns, Colombia HYUNG Yoo Duk, Vice-President for Collaborative Theatre Educational Programs, South Korea Parakrama NIRIELLA. Secretary, Sri Lanka

Members Jerome DE SILVA, Sri Lanka Lucian BULATHSINHALA, Sri Lanka Luz Patricia MORENO LINERO, Colombia Marife SANTIAGO, Spain Marta Villegas FONTELA, Spain Vito MINOIA, Italy Abdul Hameed ALSALEH, Saudi Arabia RHEE Jaesang, South Korea Jessica A. KAAHWA, Uganda KIM Jinman, South Korea

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Theatre in Conflict Zones Network TCZN Board Members / Members Future Plans Alexander STILLMARK, President, Germany NO.V.A. project (NO Visa for Artists) and ‘A passport for Fabio TOLLEDI. Secretary, Italy artists’ (Communication Campaign), promoted by Theatre Anina JENDREYKO, Switzerland in Conflict Zones Network, N-HIM-Heritage, Indigenous Nora AMIN, Egypt Cultures, Migrations Network, ACAR- Action Committee for Olga KANISKINA, Russia Artists Rights (upcoming project). Nube SANDOVAL, Colombia Shuji SOTA, Japan Tournee of Freedom Theatre of Jenin in Sweden and Gherardo Vitali ROSATI, Italy Germany, promoted by Swedish Palestinian Friends Society Rama MANI, Switzerland/France/India and ITI Germany (2018). Zeljka TURCINOVIC, Croatia Vladislava FEKETE, Slovakia Metamorphosis Project, intercultural activities and theatre Ann Mari ENGEL, Sweden production, ITI Italy, Astragali Teatro (ongoing). Martina PECKOVA, Czech Republic Ali MAHDI, Sudan Roma project (celebration of Roma and Sinti Culture Day), ITI Tarik ALI, Sudan Italy, Astragali Teatro. Contact Festival of Theatre in Conflict Zones, Japan, promoted by ITI For more information about the Theatre in Conflict Zones Japan (ongoing). Network TCZN please connect with: Alexander STILLMARK: stillm @ gmx.net Ellen Steward Award, promoted by LaMama Umbria, ITI Italia, Fabio TOLLEDI: fabio.tolledi @ unisalento.it ITI worldwide (2018)

137 ITI Publications Committee IPC Members Research and Communication Project Group Group Project and Communication Research Key Activities Mofidul HOQUE, Bangladesh • The World of Theatre Merce SAUMELL VERGES, Spain • ITI info Olga KANISKINA, Russia • Social Theatre Book Jose Laderas SANTOS, Philippines • Theatre Fest Book Philly JEMBA jr, Uganda • Translated Plays Adil DIEFALLA. Sudan Jim O´Quinn, USA Future Plans Guna ZELTINA, Latvia • World of Theatre Guingame Kira CLAUDE, Burkina Faso • Bangladesh Centre will continue the publication of English Ajay JOSHI, India version of the World of Theatre and the next edition will Anna LACOS, Hungary come out in 2019. The seasons 2016 2017 and 2017-2018 Levan KHETAGURI, Georgia will be covered in this edition. Zeljka TURCINOVIC, Croatia • ITI info Russian Centre will continue publication of ITI info Anu LAMP, Estonia with refreshed content. Maria KYRIAKOU, Cyprus • Website www.iti.publications.com made by Russian Vito MINOIA, Italy Centre will be available in September 2017 for all. It´s Olga FOUX, Russia aim is to promote projects of IPC and open access to publications, sent by all ITI Centres. Honorary President • Social Theatre book. Russian Centre plans to compile Ramendu MAJUMDAR, Bangladesh articles or issues concerning social theatre from all countries and publish it biannually from Congress to Contact Congress. For more information about the ITI Publications Committee • Theatre Fest Book. Publication on the web site www.iti. IPC please connect with: publications.com listings of all international festivals. Alfira ARSLANOVA: [email protected] • Translated Plays Book. The committee will explore the Babul BISWAS: [email protected] possibility of publishing regularly Plays Book translated into English. Cooperation with other committees would be highly appreciated.

Board Members / Members Alfira ARSLANOVA, President, Russia Babul BISWAS, Secretary, Bangladesh

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AKT-ZENT World Theatre Training Institute complementary tool for any new programme addressing The World Theatre Training Institute AKT-ZENT works learners world-wide. exclusively for the innovation of theory and practice of theatre training. All seminars, master-classes and lectures The World Theatre Training Institute AKT-ZENT accepts in any country are considered as part of the permanent proposals for cooperation from all ITI centres and committees. World Theatre Training Laboratory. They are giving birth to exercises and methods to be published in the World Theatre Training Library. Contact Artistic Director Since 2010 AKT-ZENT develops the first full-scale curriculum Dr. Jurij Alschitz: [email protected] for the M.A. “Teaching Professional Theatre Practice”, which has been implemented in international pilot programmes. Programme Director The world is entering a new, rapid, stage of its development, Christine Schmalor: [email protected] in which the distribution of new information technologies assumes the character of a global knowledge revolution. This Websites so-called noosphere is determining the motion of an entirely www.theatreculture.org or www.wttl.theatreculture.org new type of society and has impacted upon how artists relate and act within it.

The artistic director Dr. Jurij Alschitz enters with the World Theatre Training Institute a new era of educational practice with a range of innovative projects. The scientific focus lies in the development of hybrid tuition which combines distance learning and contact education through an international team of teachers.

The most prominent project of the hybrid programme is “EXERCISE 40/40”. Here, the team-teaching model works with the methods of spherical education and knowledge resonance a.o.; the emphasis on specific learning algorithms with high impact foresees an intensive contact phase of 40 days enough for 40 years of self-creation with the effect of reducing time and saving financial resources; furthermore reaching students in any region of the world.

The World Theatre Training Institute has launched its own hybrid theatre platform for online education as a

139 Collaboration Projects Collaboration

iSTAN International Stage Art Network The Board of ISTAN: iSTAN, the International Stage Art Network is a joint venture Tobias BIANCONE, President between ITI and the Central Academy of Drama in Beijing. CHEN Zhongwen, General Secretary For the future iSTAN is organizing a competitions, exhibitions ZHANG Quingshan, China, Vice President and summits. Hamadou MANDÉ, Burkina Faso, Board Member Vidanidee Prasad VARANASE, India, Board Member For the near future iSTAN is planning the following: Carlos CELDRAN, Cuba, Board Member • iSTAN Costume Competition and Makeup Competition. Tatjana AZMAN, Slovenia, Board Member More information on www.i-stan.org Latefa AHRRARE, Morocco, Board Member • iSTAN Exhibition at the CAD Campus in Beijing – Gunilla PALMSTIERNA-WEISS until March 2018. She has received in If you are interested to be informed or to participate in iSTAN 2016 the first iSTAN Lifetime Achievement Award. please write an email to [email protected] • iSTAN Award Ceremony, Exhibition and Summit, in May 2018 • Participation in the Educational Event of ITI in Africa, May or June 2018 • Participation in the Hainan Celebration Event in Hainan, China, 22 to 27 November • Creating a conference about the collaboration of stage art disciplines, in 2018

140 Projets de collaboration Projets

141 Next Congress

Next Congress Where will the next Congress be? When will it be? Before doing a Call and send it to the ITI Centres, the Executive Council is preparing a list of what a Congress consists of and what is expected of a Centre if it intends to host a Congress.

The Call should be sent out no later than mid-2018 and the next Congress is expected to happen 2020.

142 • • • • & Declarations Motions/Resolutions Overview present. intentionalive the and improvement for is changes for and is that ITI witness Motions and Declarations of number The follows. action if clear are effective they only are they accepted… if Resolutions become is it Motion But is it discussions if according not. about or to Charter the avoids unnecessary and well Yerevan works and Congress Assembly. introduced stepwas This at the General the for accordance Charter, the with arecommendation with and Assembly, are accompanied they in not by if comments, to General the are they submitted at before them looks Council Executive the not, are Charter.the they sometimes As have motions and declarations Both, in to alignment be with improvement, opinion. concern sometimes and are of statements General Council Director the or Executive by Groups, the Project Forums or Networks, by Committees, thatMotions are by Centres Councils, made Regional and continue should and Congresses. in future continued at 35th has the been Worldtradition Congress ITI This arts. preforming the for and artists performing the of makes improvement –always in of favour that status the ITI of voice are declarations a alwaysstatement for a strong The DG by the Comments The Nigeria and Zimbabwe ITI Centres Zimbabwe ITI propose and Nigeria The 2: Motion facilitators international the for status organizations cultural 1:Motion expression artistic of right freedom for unconditioned and unreserved their of in restriction protest their the against artists performance 2: Declaration arts the of promotion safe the and artists of safety 1:Declaration the for aUN for Plan Action Demand of Motion for the establishment of a particular aparticular establishment of the for Motion Support to Israeli theatre the and Support • • • • • • platform. artists’ an individual establishment of The 8: Motion 7: Suggestions Member Motion New Colombian Centre the from Proposal 6: ITI of Motion requests. Council Regional African 5: The Motion World Congress. date the of ITI the of independent year, second every is Theatre” of published to be “World (atITI Congress) the that publication the decide should the of Assembly General World 4: Theatre: The of Motion artists 3: Call to European the Motion Union regarding for visa include emerging professionals arts in their delegation. reinforce ITI that each Centre Secretary that General the 143 Declarations and Motions/Resolutions Declarations and Motions/Resolutions Declarations

Declaration 1 Demand for a UN Plan of Action for the safety of artists and Submitted by Ann Mari Engel (ACAR President, ITI Sweden) the safe promotion of the arts and Thomas Engel, ACAR coordinator (ITI Germany)

Evidently, attacks on artists continue to rise globally. Yet plans EC proposes to approve. and programs to safeguard their right to create, publish and distribute without facing censorship, intimidation or personal Vote: The Declaration 1 was approved unanimously. safety are limited and weak. “Journalists are articulate, well organized and their work for the protection of journalists has led to a number of Declaration 2 international declarations and support programmes. This is Support to the Israeli theatre and performance artists in not the case with artists,” explained Freemuse co-founder Ole their protest against the restriction of their unreserved and Reitov in his keynote speech on 2 May 2017 at the World Press unconditioned right for freedom of artistic expression Freedom Day event in Jakarta. “Artists express themselves differently and in many countries they are poorly organized. As a result of the decision inspired by the policy of the Israeli There should be no distinction between the condemnation Culture Minister to exclude for pure political reasons Einat of attacks on journalists and artists.” Weizmann´s play PRISONERS OF THE OCCUPATION about Considering that the Convention on the Protection and Palestinians in Israeli Prisons, the entire steering committee Promotion of the Diversity of Cultural Expression defines of this year’s Acco Festival, and its artistic director, Avi Gibson, as the first guiding principle that cultural diversity can resigned. This act has been backed up by the other artists, who be protected and promoted only if human rights and were designated to perform their works in the event, as well as fundamental freedoms, such as freedom of expression, by the Israeli performing artists’ unions who decided to boycott information and communication as well as the ability of the Festival of 2017. The details of this case have been delivered individuals to choose cultural expressions, are guaranteed. to ITI’s Artists Rights Committee by the Israeli Centre. The 35th The ITI Action Committee for Artists Rights (ACAR) calls the World Congress expresses its support to the Israeli theatre and 35rd ITI World Congress to support the initiative of Ole Reitov performance artists in their protest against the restriction of at the 2017 World Press Freedom Day event in Jakarta. their unreserved and unconditioned right for freedom of artistic • To strengthen the UN mechanisms and commitment to expression in general, and the exclusion of PRISONERS OF THE protecting artists ensuring the safe promotion of art, as OCCUPATION from the Acco Festival in particular. guaranteed by the 2005 UNESCO Convention • To revamp UN mechanism for filing human rights Submitted by ACAR and the Israeli Centre. complaints to make it more accessible and better to use. Vote: The Declaration 2 was approved unanimously. ACAR appeals to the 35rd ITI World Congress to call the UNESCO, UN and parties to create an UN Plan of Action for the safety of artists and the safe promotion of art, according to the reaction scheme for journalists.

144 Declarations and Motions/Resolutions Declarations

Motion 1 elderly delegates, with a long experience and many trips Motion for the establishment of a particular status for the done before; international cultural organizations facilitators Considering, in the discharge of too strict consulates, the problem of the phenomenon of clandestine emigration We, participants in the General Assembly of the International caused, inter alia, by international activities, both sports and Theatre Institute ITI - held in Segovia, Spain, from 17 to 22 cultural; July 2017: Considering that ITI is the official cultural partner of UNESCO; Demand: Considering the multitude of other similar cultural 1. That the recognition of ITI Centres and similar structures, organizations that are affiliated to the ITI; as partners of governments and National Commissions Considering the parallelism in form of what, for any nation, for UNESCO, should become automatic; sports activities, on the one hand and on the other hand, the 2. That national animators of ITI Centres and similar structures performing arts; receive the same rights and benefits for international Considering the parallelism in form of the roles played athletes in their respective countries, governments and by international sportsmen and by international cultural consulates in a gradual manner, taking into account the organizations facilitator in their countries; age and Experience of concerns; Considering the exorbitant amounts of the cost of travel and accommodation for delegates in the countries where the That for this purpose, ITI and similar international organizations activities are held; instruct the animators of their national structures active Considering that international activities are rarely organized attestations in these are reported, according to the age and in low-income countries where, precisely, cultural animators duration of the beneficiaries in the network: international have insufficient or even a complete lack of means of activism, experience, and trust. subsistence in the case of activity abroad; Considering the reserve treatment of sportsmen and That the drafting of various documents be entrusted to the sportswomen by their respective governments, in particular designer of this motion, which documents are examined at the cost of their travels and their stays at international first instance by the ITI African Centers, because the most competitions; affected by these frustrations, in the margins of the MASA Considering the lack of documentation of ITI Centres and festival example, in March 2018 in Abidjan, for approval by similar structures by governments and National Commissions the next ITI General Assembly, which in turn will transmit the for UNESCO in many countries; final suggestions to UNESCO for systematic application by all Considering that, in exceptional cases, the number of Countries. delegates who benefit from the total or partial free travel and subsistence expenses does not exceed one (1) per pay; Suggested by Jean Léopold NGOULOU, Secretary General of Considering that the frustrations inflicted on cultural the ITI Center of Republic of Congo. delegates by consulates in some countries endure moral torture and undermine human dignity; EC proposes to approve the final proposition, about the Considering that visas are sometimes refused even to very working process regarding approvals at the next GA.

145 Declarations and Motions/Resolutions Declarations

Vote: The final proposition of Motion 1, concerning the working Motion 3 process regarding approvals was approved. Yes 35, No 0, Call to the European Union regarding visa for artists Abstention 1 We, the General Assembly of the International Theatre Institute, gathered to the 35th World Congress in Segovia, Motion 2 Spain in July 2017, demand to the European Union to find a The Nigeria and Zimbabwe ITI Centres propose that the new procedure for visas that will make it possible for artists General Secretary ITI reinforce that each Centre include from all over the world to participate in our international emerging arts professionals in their delegation. congresses, festivals and meeting. The Nigeria and Zimbabwe ITI Centres propose that the Being a global theatre organization, we experience very General Secretary ITI reinforce that each Centre include directly the growing obstacles for transnational mobility. For emerging arts professionals in their delegation. That Network this 35th world congress, participants from several countries of Emerging Arts Professional meet at separate times during were denied visa by European embassies in spite of being congress so that our members can attend other committee invited as delegates to the congress representing their meetings. countries. Continuation of micro-performances and schedule micro- performance in the programme other than performing We also experience on a national level many obstacles during lunch. These motions are seconded by Centres for international participation in events like festivals and Croatia, US, Finland, Uganda, Burkina Faso, Sudan, Togo conferences, due to these visa problems. and the Professional Association of Canadian Theatre, a cooperating member of the ITI. It is unacceptable that artists invited and financed by national and European official cultural bodies and ministries, are not EC proposes that this is to be interpreted as a recommendation accepted by the embassies of the same countries. and will be taken into consideration for the next Congress. We call upon the European Union takes a joint initiative to Vote: The Motion 2 was approved as a recommendation. Yes 42, facilitate the mobility of artists all over the world and thus No 0, Abstention 0 fulfill the objectives of UN and UNESCO declarations on the importance of cultural diversity.

Submitted by the European Regional Council of ITI

EC proposes to approve.

Vote: The Motion 3 was approved unanimously.

146 Declarations and Motions/Resolutions Declarations

Motion 4: Motion 5 World of Theatre The African Regional Council requests

World of Theatre: The General Assembly of the ITI (at the The African Regional Council Office of the International Congress) should decide that the publication “World of Theatre Institute met on Wednesday, July 19, 2017 in Segovia. Theatre” is to be published every second year, independent Following the course of the subjects on the agenda, the of the date of the ITI World Congress. African Regional Council makes the recommendations in the form of motions Reason: Over the years “The World of Theatre” has developed into the most significant chronology of contemporary The African Regional Council thanked the General Secretariat theatre. But this status is lowered if the date of the publication for the work done so far. But he asks, of the “World of Theatre” is changed, just because the ITI 1. to send letters of support to the chancelleries especially in World Congress has to be postponed (as it happened for africa the last three Congresses). This deferment causes gaps in the 2. respect the equality of opportunity for all. chronological reporting and as a result the actuality of the 3. That we request UNESCO to write letters to ambassadors, publication gets lost. in particular those of the European Union based in Africa, seeking solutions to the problems of obtaining visas for A fixed date for the publications would give the Centres artists the possibility to offer the publication to their members as 4. Financial support for the functioning of the financial a gift every second year, and improve the connection of office the members to a Centre. (Proposal: The “World of Theatre” should be published each 1st of May of an odd numbered EC proposes to make this a recommendation. year. Thus the next issue after this Congress would be published 1 May 2019). Through this action the number of Vote: The Motion 5 was approved as a proposal to the Executive copies could be increased, because with a fixed date more Council. Yes 42, No 0, Abstention 0 libraries could be attracted for a regular subscription.

Submitted by the Austrian Centre of ITI, Bangladesh Centre Motion 6 and Russian Centre. Proposal from the Colombian Centre of ITI

EC proposes publication committee makes the decision The ITI Colombian Centre, the International Theatre Festival regarding the future and frequency of publication of the of the Caribbean and the Foundation for the Dramatic World of Theatre. and Artistic Development For Magdalena FUNDAM are developing and envisioning a cultural infrastructure project Vote: The Motion 4 was approved with the recommendation of that will generate significant changes in the communities the Executive Council, unanimously. of our Caribbean region, as a result of the experience of the Magdalena Cultural Centre, which houses around 400 artists

147 Declarations and Motions/Resolutions Declarations

and students in the areas of dance, theatre , Music, plastic signing of the peace agreement, today it is necessary to arts, which are made up of low-income populations, mostly invest in better benefits for the expansion and access to a strata 1 and 2, many of them victims of armed conflict. This quality education in the arts, to increase the training, the proposal seeks from the creation of a cultural infrastructure innovation and the investigation turning this centre of directed to the formation, circulation, research and artistic Studies and cultural ITI processes in the link between the diffusion of quality that integrate artists of first level with the national and the international, which serves to promote purpose of generating artistic, pedagogic and playful spaces, programs relevant to the world of work and to be able to supporting the socioeconomic and cultural progress of a establish solid links with different sectors of the economy country like ours in the process of development. such as tourism, the creative economy and education. We are Background: Colombia has suffered the largest and most at the beginning of a path where art must be the transverse enduring armed conflict in the American continent with axis of social transformations. more than 50 years of war that produced more than 9 million Proposal: The national centers of the International Theater victims, resulting in more than 6 million displaced people Institute of the 5 continents, gathered in Segovia Spain at the across the country. The Magdalena became one of the 35th World Theater Congress, propose: departments with more affectation; Only in Santa Marta, its 1. A motion of celebration and commitment for Colombia capital, is about 270 000 displaced. In 1999, the International to achieve the historic peace agreement that puts an end Theatre Institute, in partnership with the International to the longest and most bloody armed conflict on the Theatre Festival of the Caribbean, held the first international American continent. artists forum for peace, in which Santa Marta was declared 2. To reaffirm our commitment to support the reconciliation the world capital of peace, through the participation of of Colombians and the post-conflict process that begins more than 15 ITI´s National Centres of several countries, who through the transforming power of the arts and theater, supported the first attempts at dialogue between the central which may play a fundamental role in the construction government and the FARC guerrillas. The ITI Colombian of a healthy Colombia that helps to re-signify through Centre in conjunction with the International Theatre Festival culture the reality of a country that terror cannot snatch of the Caribbean has been attended by artists from ITI centres its desire to see the future with hope, supporting a future such as Iceland, Spain, France, Mexico, Peru, Venezuela, Cuba, for Colombia more dignified inclusive and in peace. Dominican Republic, Argentina, Brazil, Finland, Germany Among others, who have contributed in various versions of EC proposes to approve the second part (2.) of the proposal. the FITC to the development of the cultural life of our region, from the artistic and pedagogical, which has received the Vote: The second part (2.) of the proposal of the Motion 6 was recognition of the President of the Republic Juan Manuel approved unanimously. Santos in support of the 2nd Forum Artists of the World for Peace, as well as artists such as Peter Goldfarb from the United States, Zeca Ligeiro and Licko Turle from Brazil, Gabriel Rossi from Argentina among other ITI member countries with a view to raising the quality of Artists of our region. This stage is of great importance for Colombia with the

148 Declarations and Motions/Resolutions Declarations

Motion 7 Motion 8 New Member Suggestions The establishment of an individual artist’s platform

Here are some our ideas as new members of ITI: I would like to propose the establishment of an individual 1. The intensive programme of the current Congress it could artist’s platform, which can help to recruiting artistic work be made more interesting if we could get a better view of shop leaders, programming and foster collaboration among the theatre of the hosting country. I mean, to visit one or theatre makers. some Spanish performances since we are in Spain. 2. ITI has s very good structure consisting of country Centres. Submitted by Irina Kruzhilina, USA/Russia But currently there are a lot of artists having difficulties in association themselves with one country. A huge amount EC proposes to consider this a request for participation of ITI members are migrants. May be it will make sense to start a migrant Centre or migrant association as a Vote: The Motion 8 was approved as a request for participation, substructure of ITI? unanimously. 3. In order to make our activities more known and accepted, I‘d like to keep Culture ministries and ministries of foreign affairs of the member countries more informed about our events. Make efforts to invite local and international press and correspondents of ITI-member countries. As Konstantin Raikin said in his speech, „artists are cleverer as politics in people understanding“. We are sure, the ITI activity makes the world a bit better. We just should inform bigger audience about it. 4. Also we can better know each other if we not only change name cards but let some more performances be shown in the congresses.

EC proposes to regard these as recommendations.

Vote: The Motion 7 was approved as a recommendation, unanimously.

149 Final Ceremony of the Congress Ceremony Final

Final Ceremony of the Congress SHANG Changrong, China Saturday, 22 July, one of the highlights of the Congress Wole SOYINKA, Nigeria happened. The new World Theatre Ambassadors and the Robert STURUA, Georgia first and new World Dance Ambassadors were announced. Anatoli VASSILIEV, Russia ITI also announced the new ITI Honorary Members – persons Arnold WESKER, United Kingdom who have dedicated their work for ITI for a long time and have helped ITI in the past or in the recent past. World Dance Ambassadors Alicia Alonso, Cuba and Cristina Hoyos, Spain New World Theatre Ambassadors One of the highlights of the Congress was the presence Philip Arnoult, USA and Paloma Pedrero, Spain of Alicia Alonso, the legendary dancer from Cuba who is a Two new World Theatre Ambassadors were announced. source of inspiration for professional dancer and dance lovers Philip Arnoult from the USA, a distinguished theatre all over the world. She is the first World Dance Ambassador. personality who is active all over the world with his Centre For ITI it was an honour that she came to the Congress and for International Theatre Development. Paloma Pedrero is a accepted to be an Ambassador for Dance. very active and well-known playwright, actress and educator from Spain. An honour was also that Cristina Hoyos accepted to be a (More info on the ITI Website) World Dance Ambassador. She is not only an eminent figure in dance, she also appeared in numerous international films Overview World Theatre Ambassadors as an actress such as Bodas de Sangre (Blood Wedding) and Philip ARNOULT, USA Carmen by Carlos Saura. Vigdis FINNBOGADOTIR, Iceland (More info on the ITI Website) Santiago GARCIA, Colombia Girish KARNAD, India Paloma PEDRERO, Spain

150 Nicole LECLERCQ, Belgium Christoph HAERING, Switzerland Lebanon GEBARA, Georgette Sweden ENGEL, Ann Mari Wei, China DONG CACHAPERO, USA Emilya Christina BABOU-PAGOURELI, Greece Members Honorary Ramendu MAJUMDAR, Bangladesh Germany BEILHARZ, Manfred Korea South Jeong-ok, KIM Romania BELIGAN, Radu Presidents Honorary Members Honorary and Presidents Honorary Overview SUBEDI,Abhi Nepal Yoko ODAGIRI, Japan NEUBAUER, Slovenia Hendrik Hungary LENGYEL, György Nicole LECLERCQ, Belgium Christoph HAERING, Switzerland ALVAREZ, GUIDOTE Cecile Philippines Sweden ENGEL, Ann Mari Mohamed DRISS, Morocco CACHAPERO, USA Emilya Christina BABOU PAGURELI, Greece are: Members Honorary ITI new The title. the deserve They me: I think with agree you Members Honorary new the at list of the look you If gratitude. achievement. Itis of the an expression after to someone way. is title given in an outstanding The contributed to ITI have they Presidents, when even or as Honorary Members as Honorary members ITI Council elects Executive The ITI of Members Honorary New (full list) list) (full Teatro de Escualas –Red RET -Colombia Spain “AliciaInsituto la Danza de Universitario Alonso”, Madrid, Education in the Performing Arts Higher for Network ITI/UNESCO the of Members New WALPOLE,Jennifer Australia &France SUBHEDI,Abhi Nepal Brazil Marcio SOUZA, SEPPÄLÄ, Finland Riitta Finland RANTALA, Raija-Sinikka Yoko ODAGIRI, Japan NEUBAUER,Henrik Slovenia Hungary LENGYEL, György 151 Final Ceremony of the Congress MUMBAI MIRROR BANGALORE1rn1r MIRROR AHMEOASAO MIRROR

PORTADA SEGOVIA PROVINCIA CASTILLA Y LEON NACIONAL INTERNACIONAL DEPORTES Home Pune Entertainment Columns News Sports Photos Videos Cricbuzz

Home\ Others\ Sunday Read STAGE NOTES FROM SPAIN ,...., Pune �Iirror Updaled: Jul 23, 2017, 02.30 A.v.lIST � A- A+ CD ® 0 8 lnicio , Segov心） E.I JS Congrc-so Mund1al ITI-Unesco tia泊 de Segovia d capital de-I teatro… By: Ajay Joslli ＿ Chinese opera-style Shakespeare, a nude solo s1,owfro11t Brazil, a dazzli1tg El 35 Congreso Mundial ITI-Unesco hara pla!Jin gibberish.fromIndia and more u,ifolded al a de Segovia la capital del teatro y la danza wo111a11's priso11 i11 Segovia i.11 Spain, the venuefor the El Festival Internacional de Teatro Universitario abrira el pr6ximo viernes los eventos recent InternationalTheatre paralelos al congreso, con obras representadas por estudiantes de centres Festival universitarios de varies pafses Situated an hour's cliive fron1 EL ADELANTADO I 11 julio, 2017 03 !\1adrid, thecapital city of Spain, is the UNESCO world heritage to,.,,n of Segovia. Nestled in the boso1n of Media Response La func的n del teatro en zonas de confiicto, rolling hills, Segovia ,-vas host to the los derechos de los artistas, o los programas 35tl1 ITI (International TI1eatre Festival), Congress last ,veek. For educativos y de investigac的nvinculados a the first tin1e, it ,vas preceded by the student Festival of ITI/ las artes escenicas seran algunos de los UNESCO network for higher territorios sobre los que transcurrira el education in perfonning arts. trig钧mo quinto Congreso Mundial del ITI­ Unesco, que desde el 14 al 22 de julio hara de Segovia y del Real Sitio de San Ildefonso el epicentro del debate sobre el futuro de las artes escenicas, con la presencia de 600 profesionales y estudiantes de 91 parses, y que se completara con eventos cara al publico como galas de danza o representaciones teatrales

Las caracterfsticas y el programa del congreso fueron dadas a conocer ayer en la presentaci6n of1cial que tuvo lugar en la Casa Consistorial de Segovia con la presencia de los maximos responsables de las instituciones que han colaborado en la organizaci6n y el desarrollo de esta cita internacional

El director general de ITI-Unesco, Tobias Biacone, explic6 que el congreso se sostiene sabre dos importantes eventos, como son la primera edici6n del Festival Internacional de Teatro Universitario y el V Simposio Internacional de Danza, que permitiran ver atractivas e innovadoras propuestas en ambas disciplinas escenicas

El Festival Internacional de Teatro alberga吃 del 14 al 16 de丿ulio en La Carcel Centro Fron1 top: The Shangai Theatre Academy received a de Creaci6n la representaci6n de las obras seleccionadas de entre las propuestas standing ovation for its Chinese opera-style adaptation of Shakespeare classics; A dance symposium featuring local por los 29 centros universitarios de artes escenicas de todo el mundo que forman Spanish troupes and international groups was also part of the International Theatre Festival and the Indian contingent parte de la Red UNITWIN-Unesco. Ade噬s, se completara con talleres sobre la of theatre and dance professionals at the 10-day fest ense百anza de artes escenicas dirigidos a los alumnos

El Real Sitio de San Ildefonso sera el lugar elegido para el V Simposio Internacional de Danza del 18 al 21 de 」ulio, donde se pod吃n ver las propuestas escenicas de los 1 O creadores seleccionados por el Com吱Internacional de la Danza de entre los India was recently inducted into the ITI fold after theatre director Vidyanidl1ee Vanarase revived its proyectos que compiten para su presentaci6n. La gala de inauguraci6n del simposio defunct chapter. Vanarase's play, TI1e Balancing Act, was selected to be staged in the students section of tendra lugar el 18 de丿ulio en el Azoguejo con una actuaci6n del BCN City Ballet ITI, along ,-vith a ,vorkshop on 'Conten1porary Tl1eatre practices in India' by this WJ.iter.The Iudian contingent also included noted Bharatnatyan1 dancer Parin1al Phadke fron1 Pune, well-known Kathak acompa行ando al Ballet de Camara de Madrid, y la de clausura tendra lugar en La dancer and director of Dha1it1i Kala Kendra in Ranchi, Gargi Malkani, actor and director Sunil Granja con la participaci6n del Ballet Espa百ol de Murcia, con invitados del Ballet Deshpande and Subhadip Sal1a, creative director of Indira School of Conununication.

Alberta de Canada y el Ballet de Camara de Madrid. La下iesta de la ilus的n', con TI1e student festival received an ovenvheln1ing response witl1 participation fron1 count1ies like South actuaciones circenses de calle y una gala fianenca completan las actuaciones cara Af1ica, South Sudan, USA, China, Philippines, Brazil, Japan, Sri Lanka, Bangladesh, Spain, Slovenia, Switzerland, Italy, Turkey, Hong Kong and India. al publico de este simposio DAY1 Students TI1eatre Festival July 14 En lo que se ref1ere al traba」o del congreso, ocupara los dfas 17 a 22 de julio en la The festival was inaugurated by Tobias Biancon1e, Director General of ITI and Derek Goldi11an, along sede de IE University, donde a traves de asambleas, reuniones de com代es y faros ,vith representatives fron1 ITI, Spain and the local Segovia 1nunicipality. In his inaugural speech, Tobias internacionales se trataran los problemas comunes en todo el mundo referidos a ren1arkeclon ho,v tl1e fuh1re of tl1eatre and perfor1ning a1ts depended on educators. "My vision for the nenvork is tl1at it beco1nes one of the strongest voices for tl1e education in the perfor1ninga1ts. TI1at the los distintos ambitos de las artes escenicas. Al traba」o te6rico se le sumaran galas educators exchange their best practices all over the ,vorl

CULTURA de Cuba y el Ballet Nacional de Espa百a. TI1e firstday sa,v t,vo platforn1 perfor1nanc.esand one full length play. A sh1dent fron1 Bangladesh perforu1etla short piece frou1 l11e lradilioual story Lelliug ritual - Pala - where lhe actor dous 111aJ.1y Segovia se convierte en escenario del poder characters and the narrative is ,-voven arotn1d it. It ,vas rustic, but gave the audience a sense of y la pasi6n del teatro internacional Bnngla

If this was not enough for a shoe.keelaudience, the longer play, Conference of Birds by the Slovenian tcan1, cornpJctcly threw thcn1 off. Enacting the popular classic, done in the past by staJwa1ts like Peter Brook, the young director had four of his n1ale actors and one fe1nale in the buffon stage for the larger

pa1i of the play. It seen1ed to challenge the sheer ae.sthetic.sof body dY11arnic.s. As a consequence, son1e 111e1nbers of lhe autlieuceleft lhe audilo1ituu. \i\lhenl <.1ui.z.ied hi.Julater 011 lhe ueetlfor Lhis explicit projection, the young director looked defiantlyand said, "Iley ,vhat's the big deal, it's con1111on in n1y c,ountry and ,-ve

An interesting and engaging conversation took place in the open house 'TI1eatre in a Chaotic ,,vor]d', ,.,,hich½'as an eye opener to the theatre scene in Soutl1 Africa. The theatre con1n1unity here has to deal with racial subjugation, exploitation, corn1ption and discrintination and had son1e con1pelling sto1ies to share. Though these were student productions, I could see their confidence to speak out, backed by a strong support fro1n their professors. '111is 111utual respect and can1araderie \·Vas encouraging.

DAY2. JULY15

Asthe discussions on the ra1npant use of nudity on stage sa,,v no signs of ebbing, I ,vondered what was in store for us in the con1ing days. Nun1erous ,.,,orkshopsfor students and faculty had been designed

A stunning perfon11ance titled 'I Pledge J\llegiance' by tl1e students of Georgeto,V11 University ,vas a ,ve11- crafted narrative that questioned the very e,-.istence of the 1nulti-ethnic societal structure in the USA. An 0000 in1provised piece, it raised issues of identity, bureaucracy, gender, corruption and a1ienation of the nu1nerous 111igrants which 111ake up tl1e n1elting point tl1at is the United States of _1\1nerica. CADENA SER I Segovia 17/07/2017 - 23:00 h. CEST A local Spanish theatre group, Palade, which works ,vith the physically in1paired and n1entally disabled El XXXV Congreso Mundial !T l-UNESCO es ya una realidad. Representantes de m毡 staged the play Nadie. TI1ough not the best an1ong the lot, it ,vas quite 1notivating as a person in a de noventa pafses han participado este lunes en el arranque de este encuentro wheelchair and sonte otl1ers ½rithvarying degrees of n1ental and nervous disorders took centre stage. mundial entre organizaciones teatrales procedentes de todas partes del planeta. TI1ey ex1.1ded a confidencein their act ,vhich was laudable. Segovia acoge este evento cultural global, que arranc6 con la Asamblea General, una importante reunion de los miembros de la instituci6n para decidir el futuro del A Shakespearean classic, '111e 'l'au1iug of Lhe Shrew, adapted for a C1riuese opera wil11 iulricalely 1nade lnstituto Internacional de Teatro, y del conjunto de las artes escenicas. up characters, ,vas a runaway success. Pe1forn1ed by students of the Shanghai TI1eatre Acaden1y in China, its editing ,vas sha1p despite a freetlo,ving na1Tative. Son1e delectable perfo11nances n1ade it a La alcaldesa de Segovia, Clara Luquero, se ha referido en la inauguraci6n al "color treat to ,vatch. que el teat「o do a las pe 「sonas". Luquero ha insistido tambien en que Segovia va a hacer que todo el mundo se sienta como en casa.

Por su parte, el Presidente de ITI Espana, Alberto Garcfa Casta百o, ha remarcado que Di\.Y3 JlTLY 16 "de la pasi6n nace la excepci6n". La autoridad mas importante del IT I en Espa百a record6 las palabras del Director General de esta organizaci6n mundial de teatro, TI1e last day of the students' festival started with TI1e Balancing Act directed by Vanarase. A play in Tobias Biancone: "para ser miembro de/ IT/ se necesitan pasi6n por el artey gibberish, it subtly looks at violence through the eyes of children. Having been staged 1nore than :l5 vocaci6n de servicio". ti1nes in India, it ,-vas well received by the foreign delegates. Ne)<.1up, Wayside Cafe fron1 Philippines, an in1pressionistic.play on 111e11101ies that ,ve hang on to in life and after,used so1ne 111oven1ents and text woveu as a larger uarralive. '111ough il could have been 1nore lig]1lly preseuled, il delivered the essence well. Another production that n1ade a lasting in1pression was JUDi\.S, an adaptation of the classic, lYiiss Julie, pe1forn1ed by students of Cape To,vn {Jniversity. It speaks of the tint<'-S of the apattheid and the suppression, exploitation and cruelty n1eted out to the minorities. Weaving tl1rough this larger picture is the sto1y of two young boys \-Vholive on a fa1111 - one the n1aster's son, who is white and the other, ,vho is the son of an African fa1111hand. The ,.,,bite boy falls in Jove with his f1iend, but the story takes a tragic h1rn. TI1ough there are explicit scenes of ro1uance ben,veen the boys, they have been po1trayed such that they never see1ned obscene, 111aking tlli.sa re.1narkable pe1for1nance.

A site-specifictheatre, piece, TI1e Bitter Shell by students of the Rey Juan Carlos Uttiversity, Spain, ,vas n stellnr perforn1nnc0.. lJsing phyc;i0.nlth<'. atre, nnrrntives nnci 1novcn1ents, it wns n po\.v0.rf11loon 1111ent on oppression. Different parts of the play were enacted at differentlocales, ,vitl1 the audiences walking along ,vitl1 the actors, as t11e story progressed.

TI1ough the students' festival culn1inated ,vith this sho,-v, the groups were asked to stay back for the rest of th<'\¥orl

participantes del Congreso. Aunque "no es el congreso con mayo「 presupuesto de festival actually look place in a wo111an's prison, vvhich had held political prisoners and ,-vas no,.,, la historia", esta seguro de que con la cooperaci6n de todos los participantes sera converted into an i1uportant cultural space for the Segovians. un encuentro inolvidable. De acuerdo con AI-Afkham, este Congreso es un impulso al "entendimiento y la paz". TI1e ITI Co11gress El acto comenzaba con la Entradil/a Segoviano, un gran ejemplo de la importancia July 17- 23 que el ITI da a estas tradiciones culturales, como el publico pudo comprobar con un vfdeo que repas6 la historia de este encuentro teatral internacional. Tras estas The first

Casta的 ha recocibido la bandera identificativa de la Organizaci6n mundial del countlies that are pa1t of the ITI, India was elected to tl1e executive council for the firsttin1e. TI1e other teatro de manos del Presidente y del Director General de la lnstituci6n. 1nen1bers on board are fron1 Bt1rkina, Faso, China, Fujairah UAE, Ger1nany, Italy, Kosova, Russia, Slovenia, Spain, Sudan, Switzerland, USA and Vietna111.

The venue of them \iVorldCongress is an old monastery, which has been conve1ted into the IE University, wl1ich is a n1on11111ental building that is an exan1ple of 111odern architech1re blending ,vith the archetypical Its 1nagnificent arched cor1idors, wooden stairc.ases, tl1e high-ceilinged chapel conve1ted 152 into the 1uain auclitoriurn, cobbled passages, an ornate entrance door, give this university a n1ystical feel.

A novel concept tern1ed 'Speed Dating' got the pa1iicipants to interact \\ritheach other and present their work and neh-vork. Nw11erous co111111i.tteesset up by tl1e ITI catering to social change, heritage, indigenous culture and 111igration and theatre in conflict zone, encow·aged students to create sho1t perfor1nances. '111e Chinese theatre group delivered two operatic perforn1ances including au adaption of Sl1akespeare's 1Y1acbetl1, \Vlli.ch got a standing o,·ation.

Another in1po1iant event, which ran parallel to tl1e theatre events, was the dance syn1posiun1, ,vhich included worksl1ops, lecture den1011Strations and interactive fo111nlS. TI1e l1igblight of tlli.s conference ,-vasthe daily late night dance periorn1ance against the backdrop of the 111ajestic 'aqueduct' in central Sego,ia. TI1e b1illiant pe1for1nances by Spanish groups gave a glin1pse into the local dance for1ns. Since the days on this side of the henli.sphere½'ere long v.ithdusk falling well after 10 ptn, these shows that began at 11 pn1 and continued ,vell until the next clay. But no oue was co1nplaining.

The University can1pus had lovely gardens and cosy nooks, v;hich were converted into pe1forn1ance spaces for sn1aller groups or served as a place to si1nply chill out Nun1erous collaborations took shape, \,vhichfulfilled tl1e ru11bition of ITI - b1inging \-vorldtl1eatre under one roof

Dr /1.jny,Tnshi is a P1111e-hnsP-dtheat rP- r.rih·c nnd scholar. Ad closed by G, hindtasla 1mes Report this ad Why I PORTP.TIL � e-paper 10°C New Delhi, India • Follow us: '# f G+ @ CONVERTIBLE ENTABLETA India world opinion Isl 2017-18 Ind vs sl entertainment lifestyle business tech education photos videos • • • 91 Paises se reunir的 en el XXXVCongreso IAPAR's play on violence as seen by children to be Mundial del ITI-UNESCO en Segovia performed in Spain The play called 'The Balancing Act' is a part of an ongoing 'Performance As Research' project, designed and directed by Vidyanidhee Vanarase (Prasad), the founder of IAPAR

Updated:Jul 13, 201713:39IST ! P\JNEI A_ Prachi Bari W Hindustan Times., Pune

Segovia, 2 feb (EFE).- La danza, el teatro y la musica converti诅n Segovia en un gran escenario, en el XXXVCongreso Mundial ITI-UNESCO, que se celebra顶 del 14 al 22 de julio con la participaci6n de 91 paises, unos quinientos delegados y cientos de artistas.

El director del Instituto Universitario Alicia Alonso y presidente del Instituto Internacional del Teatro (ITI), Alberto Garcia, ha dado a conocer hoy los detalles del programa en el Ayunta1niento de Segovia, aco1npafiado de la alcaldesa, Clara Luquero, y del alcalde de San Ildefonso-La Granja, Jo的 Luis Vazquez.

Segovia y El Real Sitio de San Ildefonso han sido las sedes escogidas tanto para la celebraci6n del congreso con10 para el desarrollo del V Silnposio Internacional de Danza y el I Festival Internacional de Teatro Universitario de la Catedra UNITWIN UNESCO.

Este acontecilniento supone un reto tanto para Segovia con10 para La Granja, que se convertir的 en capitales 1nundiales de las Artes Esc的icas y The play"s original version was performed in March 2014, with a different ensemble of actors, which later was re\�ved with the newer cast including Aditi

en centros culturales de referencia internacional. Media Response Venkateshwaran, Anushka Vaze, Amrut Samak, Nikhil Gadgil and Tanmayee Ambekar,(HT PHOTO) El congreso y los actos que lo co1nplementan cuentan con un presupuesto f International Association for Performing Arts and Research's (IAPAR) play, 'The Balancing de 300.000 euros, segun Garcia, quien ha indicado que a lo largo de los nueve dias se abordaran te1nas y proyectos relativos a las artes escenicas, la Act', will now be perforn1ed in Spain. They have been invited to be part of the 35th World educaci6n en este an1bito y las redes de colaboraci6n. Congress of International Theatre Institute (ITI), an affiliateNGO of UNESCO, in Segovia in from 14th to 22nd July. Ade1n邸， contara con extenso programa artistico que aglutina las galas de inauguraci6n, la noche de Brasil, la Fiesta de la Ilusi6n, la noche Fla1nenca, G• This play is a part of an ongoing 'Perforn1ance As Research' project looking at violence and o las diversas representaciones de las con1pafiiasteatrales invitadas al fear as experienced by young children. It has been designed and directed by Vidyanidhee evento.

Vanarase (Prasad), the founder of IAPAR. The play focuses on violence as seen and Profesionales de las artes escenicas, la direcci6n, la coreografia, la danza, el experienced by young people. teatro, el disefiode vestuario, la iluminaci6n, la dran1aturgia o la escenografia se reuniran para trabajar, debatir y crear futuros con1partidos The Congress will be attended by more than 80 member countries of the International con los a1nantes de las artes, estudiantes e investigadores. Theatre Institute. The festival v-rillfeature performances from nine countries, namely Ade1n邸， ha subrayado que la presencia de 29 centros universitarios de Switzerland, China, Slovenia, Bangladesh, South Africa, Spain, Philippines, USA and India. distintos paises pennitira debatir te1nas co1no la equiparaci6n de la creaci6n IAPAR is the only Indian institution invited for the festival. artistica a la ciencia, los problen1as relacionados con la diversidad funcional o con el g的ero. "Children's creative urge has been nourished through different cultural activities to a large extent. As part of the festivities, they have access to different craft materials, handle forms Tambien estaran presentes la Red de teatro en zonas de conflicto, la de and get to know the ideas. Children's fresh outlook, a sense of natural justice and a capacity ca1nbio social, patrin1onio, culturas nativas y 111igraci611 o el Co1nite de for innovative improvisations provides a whole new dimension into learning the rational as acci6n por los derechos de los artistas, que tendran una funci6n funda1nental en las reuniones, comites y debates. v-rell as emotive elements of culture, which are significant," explains Vidyanidhee Vanarase.

Read more En cuanto a la importancia de esta iniciativa para la ciudad y para Espana, Garcia ha avanzado la posibilidad de atraer a Segovia importantes inversiones de paises, que ya han mostrado su interes, co1no China o En1iratos Arabes.

Asin1ismo, ha explicado que la elecci6n de Segovia "no fue nada f邸il In India, children's activities are regarded incidental, but nobody grudges their joy while aunque, finalmente, consigui6 el voto unanilne", tras una refiidalucha engaging in the seen1ingly silly activities. "If we use them as the handle for the new process, contra rivales tan potentes como Hamburgo (Alen1ania), La Habana (Cuba) o the fantasy may hold an invitation to grow and develop," he said. El Cairo (Egipto).

"International Association for Performing Arts and Research is a network of Artists and Arts La visita del director general de Instituto Internacional de Teatro de Professionals seeking to exchange ideas, increase opportunity within the arts community UNESCO, Tobias Biancone, durante el Festival de Segovia en Danza en julio de 2016 fue, seg11n Garcia, "detenninante" porque le pern1iti6 "vivir la and connect the people within it. It is a primarily an important forum to interact v-rith esencia de Segovia y la implicaci6n de segovianos y turistas con las artes". foreign artistes, with seminars, symposiun1s etc. Por su parte, Luquero ha asegurado que esto "es solo un avance" de lo que Vidyanidhee attended this congress in 2014 and decided to set up India Centre. "My primary significa戊 para la ciudad la in1plantaci6n del instituto Alicia Alonso y ha concern was that n1any things happen at a global level and the idea is to open the Indian insistido en que "cada euro destinado a cultura revierte en riqueza performing arts to these kind of projects, disseminate the information and spread it across econ61nica, empleo y pron1oci611 internacional de la ciudad". EFE

the country." 1011604

The play's original version was performed in March 2014, with a different ensemble of cco/erbq actors, which later was revived with the newer cast including Aditi Venkateshwaran, Anushka Vaze, Amrut Samak, Nikhil Gadgil and Tann1ayee Ambekar.

"The Balancing Act is a play in gibberish. This play looks at violence as seen and experienced by young children. Today, young people see violence almost everywhere. It starts with their journey to school. Simple things like crossing the street has become a stressful activity and then they have to deal with studies, unfriendly pedagogies and peer pressure. With the pressures of 'development' and 'modern life', they live in a nuclear family. Most of the tin1es, both the parents are working professionals and they don't have sufficienttime for their children," explains Aditi Venkateshwaran, an actor in the play.

"The questions raised in this play seem to apply to many of the struggles of a whole generation, no n1atter the age. With the play 'The Balancing Act', we are trying to explore violence and abuse as seen and experienced by children in their day to day life," explains Amrut Samak.

Till now, the play has been staged 22 times, including shows at prestigious festivals like the Colombo International Theatre Festival 2014, Kala Academy (Goa-2015) and Kala Ghoda Festival Mumbai 2017.

153 Congress Organization Congress

Congress Organization Symposium Below are the Members of each partner: Rufino SÁNCHEZ, Coordinator for Voluntary Service Enrique PÉREZ VELASCO, Production and Communications General Secretariat ITI Director Tobias BIANCONE, Director General Javier OTERO GARCÍA, Technical Director CHEN Zhongwen, Director of Collaborations Gemma PAGÉS PALLACH, Responsible for Logistics and CHEN Simin, ITI Project Officer Transport Malory DOMECYN, ITI Communications Officer Levent Haluk KARATAS, Social Networks Manager Tom JOHNSON, ITI Project Officer Paloma MEMBRILLO, Coordination Assistant TANG Yiming, ITI Establishment Officer José María RUBIO GIMBERT, Coordination Assistant Jose Maria Rubio GIMBERT, Temporary ITI Project Officer Municipality of Segovia Executive Council of ITI Clara LUQUERO, Mayor Mohamed Saif AL-AFKHAM, UAE/Fujairah, President Marifé SANTIAGO, Culture Councilor Emilya CACHAPERO, USA; Vice President (The Americas) José Antonio GÓMEZ MUNICIO, Culture Coordinator Ann Mari ENGEL, Sweden, Vice President (Europe) Avelino RUBIO CORRAL, Production Responsible of Culture JI Guoping, China, Vice President (Asia Pacific) Council of Segovia Municipality Hamadou MANDE, Burkina Faso, Vice President (Africa) and Elvira ADEVA CORTÉS, Communications Responsible Culture Treasurer Council of Segovia Municipality Ali MAHDI NOURI, Sudan, Secretary Francisco ÁLVARO ÁLVARO, Production Assistant, Municipality Alfira ARSLANOVA, Russia of Segovia Tatjana AZMAN, Slovenia Noelia MUÑOZ DE DIEGO, technician, Culture Council of Daniel BAUSCH, Switzerland Segovia Carlos CELRDAN, Cuba Isidoro BERNABÉ BERNABÉ, technician, Culture Council of Cecile GUIDOTE ALVAREZ, Philippines Segovia LE QUY Duong, Vietnam Paloma GARCÍA RENEDO, technician, “Segovia Cultura Joachim LUX, Germany Habitada”. Marcio SOUZA, Brazil Fabio TOLLEDI, Italy Congress Task Force Tobias BIANCONE, DG ITI Spanish Centre of ITI CHEN Zhongwen, Director for Collaborations ITI Alberto GARCIA, President of the Spanish Centre ITI Ann Mari ENGEL, EC Luis LLERENA, Secretary General of the Spanish Centre ITI Emilya CACHAPERO, EC Gloria ARAMBARRY, Congress Coordinator of the Spanish Hamadou MANDE, EC Centre ITI Ali MAHDI NOURI, EC Alma LLERENA, Coordinator for the International Dance LE QUY Duong, EC

154 Congress Organization Congress

Fabio TOLLEDI, EC Volunteers Media Team: Luis LLERENA, Spanish Centre Norden TACHFINT CHAKIR Ignacio MARTÍNEZ ARMAS ITI/UNESCO Network for Higher Education in the Mercedes URBANO LARA Performing Arts César RECUERO CUEVAS Tobias BIANCONE, Director General ITI, President Network Cristina RUIZ CERVERA Derek GOLDMAN, Co-Director of the Network Marta MINGORANCE RIVERO Daniel BAUSCH, Executive Council Member ITI, Board Member of the Network Press Team CHEN Zhongwen, Director for Collaborations ITI Manuel García Aguilera: Coordinator Tom JOHNSON, ITI Project Officer Volunteers Press Team: International Dance Symposium Preparation Team Guillermo HORMIGO LÓPEZ (International Dance Committee IDC and Spanish Centre of Fabio MARTÍNEZ ALCAIDE ITI) Social Network Team Andromachi LINDAHL, President of International Dance Levent HALUK KARATAS, Coordinator Committee Esther BERZAL SAIZ, Assistant Marcia DE LA GARZA, Vice-President of IDC, USA Isabel FERNÁNDEZ IBÁÑEZ , Assistant Nicole VIEIRA, Board Member of IDC, Brazil Carlota PINA, REJES Assistant Alberto GARCÍA CASTAÑO, Board Member of IDC and President Spanish Centre of ITI Volunteers Luis LLERENA, Board Member of IDC Rufino SÁNCHEZ, General Coordinator for Voluntary Service Alma LLERENA, Program Coordinator for the International Alicia GARCÍA DOMINGO, Coordinator for Volunteers Team of Dance Symposium Segovia Leticia PÉREZ CID, Coordination Assistant for the International Yasmine BENFKIH MOHAMMED Dance Symposium Natalia SÁNCHEZ LÓPEZ Gloria GARCÍA ARAMBARRY, Congress Coordinator of the Daniel BERMÚDEZ GIRALT Spanish Centre Matilde VALENCIA PERRINO Ingrid Lorena BUITRAGO CANON Translators Arturo COLLINS RIVERA Torresound, S. L. Farah CRUZ DE LOS SANTOS Jeimy Nicole ESCOTTO QUEZADA Media Team Isabel del Rocío FERNÁNDEZ IBAÑEZ Alma LLERENA: coordinator Aína GARCÍA-ANGULO DELAGE Víctor BARBERA: coordinator Anabelle Virginia GRULLÓN COLON Jairo Omar HERNÁNDEZ BONILLA

155 Congress Organization Congress

Cintia Magdalena JUÁREZ PATRÓN Ignacio MARTÍNEZ ARMAS Claudia Penélope MORENO CARLÍN Mercedes URBANO LARA María de los Ángeles MUÑOZ PÉREZ César RECUERO CUEVAS Carlota PINA REJES Cristina RUIZ CERVERA Rocío RUBIO RAMOS Marta MINGORANCE RIVERO Kathia Jocabel FERNÁNDEZ UREÑA Alicia VILLORA ESTEVE Guillermo HORMIGO LÓPEZ Fabio MARTÍNEZ ALCAIDE Esther BERZAL SAIZ Isabel del Rocío FERNÁNDEZ IBAÑEN Carlota PINA REJES Norden TACHFINT CHAKIR Ignacio MARTÍNEZ ARMAS Mercedes URBANO LARA César RECUERO CUEVAS Cristina RUIZ CERVERA Marta MINGORANCE RIVERO

Fabio MARTÍNEZ ALCAIDE Esther BERZAL SAIZ Isabel del Rocío FERNÁNDEZ IBAÑEN Carlota PINA REJES Norden TACHFINT CHAKIR

156 Expression of Gratitude Expression

Expression of Gratitude Municipality of Segovia, to the Spanish Centre of ITI, to the An ITI World Congress is a humongous undertaking. It starts Executive Council of ITI, to the Congress Task Force, to the ITI/ with an idea, followed by commitments by several partners, Network for Higher Education in the Performing Arts and to strives to meet a lot of expectations, and finally takes form the General Secretariat of ITI. Together they made it possible with active players in the performing arts participating in a that more than 700 persons participated in the event in huge gathering at one location. Segovia. Looking back at what happened in Segovia, and taking into consideration the feedback that I have received, the Unlike any other Congress before, the General Secretariat Congress reached one of its primary goals – it was an artistic was greatly involved in this Congress. Without finding a Congress. Delegates, guests, and local people were able to sponsor, we would not have been able to help the young watch theatre and dance performances from Spain and all practitioners and students at the Congress. Without the over the world. Participants were able to attend workshops, commitment of my strong team in Shanghai, many of the presentations and keynote speeches. In Regional Council events that happened in Shanghai would just not have been and Committee/Project Groups they could discuss future possible – due to lack of finances and manpower. Therefore, activities. In the General Assembly, the head of delegation I would like to thank my team for supporting me, and more could decide on who leads ITI and what ITI should focus on. to the point ITI, in an exceptional way. A special 谢谢 [xièxiè] In communication-oriented events they could gather and (thank you) goes to the Deputy Director General, Chen connect for future collaborations. Zhongwen, for her commitment to the cause.

One more important goal was reached; the ITI World Congress An ITI World Congress is conceived for the members of ITI opened the door for the new generation – more than ever. and for the development of ITI. Each of you. Attending the By having the student festival of the ITI/UNESCO Network ITI World Congress shows your dedication to ITI. That is why for Higher Education in the Performing Arts as a prologue I would like to express my gratitude to each of you as well. to the Congress, and in enabling the attending students to To make it short, as I expressed it in my shortest speech ever stay until the end of the Congress, as well as inviting and at the end of the Congress: “Muchas, muchas, muchas gracias facilitating the attendance of young practitioners, this goal a todos. ¡Ole!” ** was reached comprehensively. Another important goal of the Congress was that it should Tobias Biancone be a place where people can gather together. Sometimes, Director General ITI when a Congress is held in a huge capital, or during an ongoing festival, uniting people towards a mutual goal is ** Many, many, many thanks to all of you. Ole. (¡Olé! is an almost impossible to achieve. In concentrating most of the interjection of Arabic origin and widely used in the Spanish activities in Segovia, this objective proved attainable. language, which is used colloquially to animate, clap, or cheer). I would like to express my gratitude to all the main partners and their members that made this Congress possible: to the

157 Addresses / DirectoryAddresses

Addresses / Directory If you would like to address the ITI members who have participated in the Congress, please send us the information so that we can publish it in the ITI Newsletter. All the emails of the Congress delegates and guests are in the data base of the ITI Newsletter. Email for the ITI Newsletter: [email protected] If you would like to contact a Centre or a member of a Centre, please check in the ITI Directory that is on the ITI website and is regularly updated. www.iti-worldwide.org

158 Copyright / Photo Credits / Photo Copyright

Copyright / Photo Credits Publication initiated by Tobias Biancone, Director General ITI Edited by Tom Johnson International Theatre Institute ITI World Organization for the Performing Arts Translation into French: Malory Domecyn UNESCO, 1 Rue Miollis 75015 Paris, France Publication created by Futura Communications, Switzerland www.futuracom.ch Headquaters of ITI 1332 Xinzha Road, Jingan, Shanghai Copyright © 2018 by ITI Paris, France & Shanghai, China China 200040 Photos Copyright: Different ITI Members. The main source Phone: +86 21 6236 7033 of the photos have been provided by the Spanish Centre. Fax: +86 21 6236 3053 Special thanks go to Alma Llerena, Gloria Garcia Arambarry Shanghai Theatre Academy and the Spanish Centre. ITI Office 630 Huashan Road, Jingan, Shanghai ITI would like to express its gratitude to all who contributed China 200040 their texts and photos for this report and gave ITI the right International Theatre Institute ITI to use them. Fujairah International Office of ITI Fujairah Media Office, P,O. Box 1 Fujairah United Arab Emirates info(at)iti-worldwide.org www.iti-worldwide.org

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