DOCSLIB.ORG

Storytelling Festival 2010 Eastern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Scottish International Storytelling Festival 2010 Eastern RoAuthentic voicesut from homees and abroad 22 October – 31 October Box office: 0131 556 9579 www.scottishstorytellingcentre.co.uk Welcome to the About the programme Scottish International We’ve given each event in our programme a category to help you decide which to book. The main programme is for adults, Storytelling Festival and takes place at the Scottish Storytelling Centre in Edinburgh. Authentic Voices: Eastern Routes complemented by stimulating talks experiencing first-hand the magic and At the Scottish Family events For centuries live oral storytelling, and discussions, rare film screenings, wonder of outstanding live storytelling. Storytelling Centre Live storytelling events, often blended with music and song, inspiring training workshops, intimate involving craft and storymaking has carried Scotland’s voices from ‘Meet the Storyteller’ sessions, and a But the essence of storytelling is not Live storytelling activities, especially designed for generation to generation – and special Festival supper for storytellers only in the telling but in the hearing – Live evening storytelling children and families. Please check round the world. and network members. so come and gather at Scotland’s only performances in the Centre’s each event listing for information International Storytelling Festival for a stunning, intimate theatre on age suitability, or check with the Now in its 21st year, the Scottish Then there’s an array of local partner unique autumn experience. Whether space. Live storytelling events relevant venue. International Storytelling Festival events, a busy education and community you come for one day or many, we feature international guest artists carries this ancient tradition into the outreach programme and the regional hope you find the Festival warming, representing their own cultures and Club events future with the stories of Highland ‘Festival on Tour’ strand; all making sure welcoming, and full of colour and spice! traditions, alongside the best of Two special storytelling club evenings and Lowland Scotland, and of the that the Storytelling Festival is about take place in the nearby Waverley Scotland’s storytellers. Wajuppa Tossa 27/10 Scots who travelled eastward. taking part, sharing the moment, and The Festival Team Bar. Experience a true Scottish Meet the Storyteller storytelling ceilidh! These are a Our Eastern Routes: Authentic A wonderful opportunity to get to great way to relax, join in, meet the Voices theme brings together know our visiting storytellers. In each storytellers and enjoy fine tales plus world-class storytellers, academics session an international guest tells ‘guid crack’. and educators from Sweden, Norway you a little about the culture and India, China, Thailand, Malaysia and traditions of their homeland, and Training & development events Japan with some of Scotland’s finest what inspired them to become a The Festival is the perfect opportunity wordsmiths in a 10-day celebration storyteller, then shares some of their to develop your storytelling skills, or of ancient and contemporary oral favourite tales. A relaxed, informal explore a specific area of storytelling traditions. storytelling taster in the Centre’s or share ideas, approaches and good Storytelling Bothy. practice. Come along to one of our The Scottish Storytelling Centre on Festival training and CPD events Edinburgh’s Royal Mile leads the way Talk & discussion at the Scottish Storytelling Centre Fong Liu and Harmony Ensemble 23/10 David Campbell 29/10 George MacPherson 24/10 with live storytelling performances Hear from an expert, or an expert and fire your imagination! Advance storyteller, about a specific oral booking essential. tradition or tradition bearer – a chance to deepen your knowledge Supported through the Scottish We’d also like to thank our local and North Edinburgh Arts Centre and understanding of the Festival’s Government’s Edinburgh Festivals Expo regional partners: Orkney Storytelling Festival themes. Part talk, part discussion, Fund, Creative Scotland, the City of Royal Botanic Garden Edinburgh often with a chance to ask Edinburgh Council and the Church of Argyll & Bute Council Scotland Loves Animation questions at the end of the event. Scotland. Blether Tay-gither Scottish Poetry Library Bogbain Adventure & Heritage Farm Scottish Seabird Centre The CatStrand Universal Hall City of Edinburgh Council University of Edinburgh School of Clackmannanshire Alliance Literatures, Languages & Cultures Filmhouse GAS (Grampian Association of Storytellers) Gladstone’s Land, The National Trust for The Scottish International Storytelling Scotland Festival is part of Festivals Edinburgh. Glasgow Storytellers Visit www.edinburghfestivals.co.uk for Glasgow Museums more information. Harbour Arts Centre The LOT National Library of Scotland Mio Shapley 24/10 02. Box office: 0131 556 9579 www.scottishstorytellingcentre.co.uk 03. Local partner events An array of family and adult events See more and save more with The Festival Pass involving visiting and Scottish Planning to come to several events? storytellers are programmed by the Scottish International Storytelling Festival together with local Full price £80 • An invitation to attend the Booking your Pass Festival partners, and interspersed Concession £60 exclusive Story Swap & Passes are available exclusively throughout the programme, to Networking Cafe from the Scottish Storytelling complement the main programme The pass extends from Friday 22nd on Sunday 31st October Centre. and Festival themes. – Sun 31st October and (otherwise open to Storytelling gives you: Network members only)* Book in advance by calling the Centre on +44 (0)131 556 9579 Festival on Tour • 9 paying events, comprised of: • A complimentary CD of Tales on with your debit or credit card Kamini Ramachandran 23/10 Grace Banks 26/10 This vital and ever-growing part 6 Live Storytelling evening events the Tongue – a special collection of details. of the Festival provides audiences 3 Talk & discussion daytime tales from Scotland’s storytellers, across Scotland with the chance Education and Become a Network events* narrated by Ewan McVicar to enjoy the riches that our visting communities member for just £12 international guests have to share. • 15% off your meals, snacks and • Festival ID pass programme per year drinks at the Storytelling Café The Festival on Tour programme is Alongside the public Festival Receive discounts on a range of (licensed). * Tickets are subject to availability coordinated by regional storytelling programme, the Storytelling training and networking events teams, with the support of the Centre delivers a popular outreach and get regular events and news Storytelling Festival. programme to schools, libraries and updates. For more information community groups across Edinburgh visit the Get Involved How to get here Festival on Tour events take place and the Lothians. From 26th section of our website www. Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR this year in Tayside, Dumfries & October to 5th November, Scottish scottishstorytellingcentre.co.uk Galloway, Argyll & Bute, and international guest storytellers or call 0131 556 9579. Our facilities The Centre is a 4-star visitor Aberdeenshire, Glasgow, Ayrshire, will be providing interactive live Our building is fully accessible to attraction which incorporates a storytelling sessions to children and Highland, Morayshire and wheelchair users. There’s a hearing shop selling storytelling books young people of all ages, including Clackmannanshire. loop in the theatre, and Braille and resources, a licensed Café those with additional support needs, signage throughout. Please let us serving delicious homemade See the back cover for a full list of along with their teachers, librarians, partner venues. parents and carers. know if you need assistance once treats and light meals, a family- you get here. friendly exhibition and baby change facilities. ONES How to book J IMON You can buy tickets for all events Book by phone using a credit or - S HOTO at the Scottish Storytelling Centre, debit card on P EAST MARKET STREET as well as ticketed events at CRANSTON STREET The Scottish Storytelling JEFFREY STREET Gladstone’s Land and the Royal +44 (0)131 556 9579 Botanic Gardens Edinburgh, Centre’s award-winning NORTH BRIDGE building is the home of the THE SCOTTISH through our box office at the Book in person using cash, STORYTELLING CENTRE CANONGATE Scottish Storytelling Centre. cheque, credit or debit card at the Festival. You can find us half HOLYROOD PALACE Please see the back cover for Scottish Storytelling Centre (open way down Edinburgh’s Royal HIGH STREET ST MARY’S STREET K contact details for all other 10am-6pm Monday-Saturday) U Mile, within easy walking . BLACKFRIARS STREET ORG . partner venues. distance of Princes Street and Tickets for some events are limited, Waverley train station. There SOUTH BRIDGE so please book in advance to avoid You can book online for events is no parking directly outside EDINBURGH CASTLE disappointment. We try our best to at the Storytelling Centre at the Centre, but Lothian bus capitalcollections . www.hubtickets.co.uk make sure event details listed here are correct, but it’s always worth number 35 stops outside our COWGATE WWW - The Festival box office opens on checking with our box office or the door, and there’s a taxi rank PRINT Monday 6th September 2010. relevant partner venue. just up the road. apanese J 04. Box office: 0131 556
Recommended publications
  • Animax Svod - Uk

    Animax Svod - Uk

    ANIMAX SVOD - UK DRAFT - CONFIDENTIAL DRAFT - CONFIDENTIAL ANIMAX DNA POSITIONING: ANIMAX is the destination for the ultimate anime experience ATTRIBUTES: ... Loud ... Colourful ... Unconventional ... Authentic ... Cheeky ANIMAX is a digital platform for the best in anime DRAFT - CONFIDENTIAL ANIMAX Target Audience Primary: 18 - 29 years, Secondary: 15 - 45 years Real time, multi-media consumption lies at the core of our viewers’ lifestyle. ANIMAX VIEWERS • Early adopters with relatively high discretionary income • Pop culture fanatics in search of what’s new…now • Multi-tasking consumers of cross-platform content • Aware of global trends and engaged in global issues • They want to watch TV on-line and on their mobile phones • They’re gamers and they own either a Play station or X-Box DRAFT - CONFIDENTIAL What you get with ANIMAX ANIMAX features hit anime series, movies and exclusive material such as behind-the-scenes interviews and music footage. ANIMAX provides…. • Unlimited access to content • Subscription = ad free • Available on IOS, Android, and PS3 from launch, other connected devices in phase 2 • Simulcast – latest shows from Japan ANIMAX strives to offer its devoted fan base dedicated content tailored to a dedicated platform. World-class production values and first look, high-profile titles. Anytime. Anywhere. On Any Device. + + DRAFT - CONFIDENTIAL ANIMAX Program Strategy ANIMAX aims to bring the whole world of anime to a much wider public with programming that includes: • Box Sets – a catalog of complete full seasons • Movies
  • Review of the Film Sector in Scotland Creative Scotland

    Review of the Film Sector in Scotland Creative Scotland

    Review of the Film Sector in Scotland Creative Scotland January 2014 This report was produced by: BOP Consulting (www.bop.co.uk) in partnership with: Whetstone Group (www.whetstonegroup.org) Jonathan Olsberg (www.o-spi.com) If you would like to know more about the report, please contact the project’s director, Barbara McKissack: Email: [email protected] Tel: 0207 253 2041 i Contents 4.6 Festivals ........................................................................................... 17 1. Executive Summary ............................................... 1 4.7 Archives ........................................................................................... 18 1.1 Introduction ....................................................................................... 1 4.8 Cultural impact of film ................................................................... 18 1.2 Watching film ..................................................................................... 1 4.9 Consultants’ assessment of the issues ..................................... 19 1.3 Learning about film .......................................................................... 1 1.4 Making film ........................................................................................ 2 5. Learning about film ............................................. 21 1.5 Earning from film – supporting enterprises and 5.1 Introduction .....................................................................................21 employment ......................................................................................
  • Animax SVOD UK

    Animax SVOD UK

    Animax SVOD UK Business Plan 1 ANIMAX DNA POSITIONING: ANIMAX is the destination for the ultimate anime experience ATTRIBUTES: ... Loud ... Colourful ... Unconventional ... Authentic ... Cheeky ANIMAX is a digital platform for the best in anime 2 ANIMAX Target Audience Primary: 18 - 29 years, Secondary: 15 - 45 years Real time, multi-media consumption lies at the core of our viewers’ lifestyle. ANIMAX VIEWERS • Early adopters with relatively high discretionary income • Pop culture fanatics in search of what’s new…now • Multi-tasking consumers of cross-platform content • Aware of global trends and engaged in global issues • They want to watch TV on-line and on their mobile phones • They’re gamers and they own either a Play station or X-Box 3 What you get with ANIMAX ANIMAX features hit anime series, movies and exclusive material such as behind-the-scenes interviews and music footage. ANIMAX provides…. • Unlimited access to content • Subscription = ad free • Available on IOS, Android, and PS3 from launch, other connected devices in phase 2 • Simulcast – latest shows from Japan ANIMAX strives to offer its devoted fan base dedicated content tailored to a dedicated platform. World-class production values and first +look, high-profile titles.+ 4 ANIMAX PROGRAM STRATEGY ANIMAX aims to bring the whole world of anime to a much wider public with programming that includes: • Box Sets – a catalog of complete full seasons • Movies (the competition doesn’t offer movies on their service) • Simulcast series from Japan • First they’ll air on anime-on-demand
  • The Grotesque Body and the Reconfiguration of Nation in Mexican Historiographic Metafiction

    The Grotesque Body and the Reconfiguration of Nation in Mexican Historiographic Metafiction

    Bodies of Evidence: e Grotesque Body and the Reconfiguration of Nation in Mexican Historiographic Metafiction by Kyle James Matthews B.S.O.F., Indiana University, 2003 A.M., Brown University, 2008 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Hispanic Studies at Brown University Providence, Rhode Island May 2013 © Copyright 2010 – 2013 by Kyle James Matthews is dissertation by Kyle James Matthews is accepted in its present form by the Department of Hispanic Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date____________________ __________________________________ Julio Ortega, Director Recommended to the Graduate Council Date____________________ __________________________________ Aldo Mazzucchelli, Reader Date____________________ __________________________________ Rafael Olea Franco, Reader Approved by the Graduate Council Date____________________ __________________________________ Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Kyle James Matthews was born in Cheshire, CT in 1981. He graduated with high honors from the Indiana University School of Music with a Bachelor of Science degree in Music and an Outside Field (Spanish) in 2003 after writing a thesis titled “Resonances of Faulkner in La muerte de Artemio Cruz.” He began at Brown University’s Department of His- panic Studies in 2005 and received his Master’s Degree in 2008; the title of his major paper was “El realismo grotesco en Rayuela.” After receiving a competitive dissertation fellowship, Kyle began work on this dissertation in 2009 and completed it in November 2012. Kyle has taught Spanish at Brown University’s Department of Hispanic Studies and the College of the Holy Cross’s Department of Spanish.
  • Politics and Mecha Sci-Fi in Anime Anime Reviews

    Politics and Mecha Sci-Fi in Anime Anime Reviews

    July 27, 2011 Politics and Mecha Why you can’t have one without the other Sci-Fi in Anime Looking at the worlds of science fiction summer 2011 through a Japanese lens Anime Reviews Check out Ergo Proxy, Working!!, and more Mecha Edition MECHA EDITION TSUNAMI 1 Letter from the Editor Hey readers! Thanks for reading this In any case, I’d like to thank Ste- magazine. For those of you new to ven Chan and Gregory Ambros for Tsunami Staff this publication, this is Tsunami their contributions to this year’s is- fanzine. It’s a magazine created by sue, and Kristen McGuire for her EDITOR-IN-CHIEF current and former members of Ter- lovely artwork. I’d also like to thank Chris Yi rapin Anime Society, a student orga- Robby Blum and former editor Julia nization at the University of Mary- Salevan for their advice and help in DESIGN AND LAYOUT land, College Park. These anime, getting this issue produced. In addi- Chris Yi manga, and cosplay fans produce ar- tion, it was a pleasure working with ticles, news, reviews, editorials, fic- my fellow officers Ary, Robby, and COVERS tion, art, and other works of interest Lucy. Lastly, I want to thank past Kristen McGuire that are specifically aimed towards contributors and club members who you, our fellow fan, whether you’re made the production of past issues NEWS AND REVIEWS an avid otaku...or someone looking possible, and all the members that I Chris Yi for some time to kill. ...Hence the had the pleasure of getting to know word “fanzine.” and meet in my lone year as Editor- WRITERS Greg Ambros, Steven Chan, Chris Yi in-Chief, and in my two years as a This year, I decided to give Tsunami club member with Terrapin Anime a sort of “TIMES Magazine” look.
  • Dickson, Lesley-Ann (2014) Film Festival and Cinema Audiences: a Study of Exhibition Practice and Audience Reception at Glasgow Film Festival

    Dickson, Lesley-Ann (2014) Film Festival and Cinema Audiences: a Study of Exhibition Practice and Audience Reception at Glasgow Film Festival

    Dickson, Lesley-Ann (2014) Film festival and cinema audiences: a study of exhibition practice and audience reception at Glasgow Film Festival. PhD thesis. http://theses.gla.ac.uk/5693/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Film Festival and Cinema Audiences: A study of exhibition practice and audience reception at Glasgow Film Festival Lesley-Ann Dickson A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy University of Glasgow School of Culture and Creative Arts September 2014 Abstract This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people) to function. From global media audiences to those physically present at screenings: it is people who make film festivals (Dayan 2000). Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution about what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice.
  • TV Review: "The Great" - UCSD Guardian

    TV Review: "The Great" - UCSD Guardian

    Accessed: 6/10/2020 TV Review: "The Great" - UCSD Guardian To learn more about The UCSD Guardian's coverage of the COVID-19 pandemic, click here → TV Review: “The Great” May 25, 2020 Chloe Esser “The Great” doesn’t care about history, and neither should you. From creator of “The Favourite” Tony McNamara comes another historical retelling that slides right out of the conventions typically associated with the period drama genre into a terribly clever, terrifically dark piece of its own. “The Great” covers Russian empress Catherine the Great’s rise to power as a teenage girl — with some massive liberties. The show neatly balances the courtly decadence and subtle power plays of “The Favourite” with the blood, sex, and quick wit that’s to be expected in a world where all historical dramas must compete to be the next “Game of Thrones.” Nevertheless, it’s a well-maintained balance. Heavily stylized, effortlessly witty, and maybe a bit needlessly obscene, “The Great” is a show that knows exactly what it is, whether or not that has anything to do with actual history. The show begins with German teenager Catherine (Elle Fanning), who has come to Russia to marry a man she has never met –– Emperor Peter III (Nicholas Hoult). An idealist and intellectual caught up in the wave of Europe’s Enlightenment, Catherine has big plans for Accessed: 6/10/2020 TV Review: "The Great" - UCSD Guardian her new home, and she is disappointed to find a court more concerned with hunting, sex, and booze than discussing the latest Voltaire.
  • Drawing Anime As a Cross-Cultural Therapy & Rebellion for Young Girls in Foster Care by Kaitlynn Zygmont a Thesis Submitted

    Drawing Anime As a Cross-Cultural Therapy & Rebellion for Young Girls in Foster Care by Kaitlynn Zygmont a Thesis Submitted

    Drawing Anime as a Cross-Cultural Therapy & Rebellion for Young Girls in Foster Care by Kaitlynn Zygmont A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (MA) in Humanities The Faculty of Graduate Studies Laurentian University Sudbury, Ontario, Canada © Kaitlynn Zygmont, 2019 ii THESIS DEFENCE COMMITTEE/COMITÉ DE SOUTENANCE DE THÈSE Laurentian Université/Université Laurentienne Faculty of Graduate Studies/Faculté des études supérieures Title of Thesis Titre de la thèse Drawing Anime as a Cross-Cultural Therapy & Rebellion for Young Girls in Foster Care Name of Candidate Nom du candidat Zygmont, Kaitlyn Degree Diplôme Master of Arts Department/Program Date of Defence Département/Programme Humanities Date de la soutenance December 10, 2019 APPROVED/APPROUVÉ Thesis Examiners/Examinateurs de thèse: Dr. Hoi Cheu (Supervisor/Directeur de thèse) Dr. Diana Coholic (Committee member/Membre du comité) Approved for the Faculty of Graduate Studies Approuvé pour la Faculté des études supérieures Dr. David Lesbarrères Monsieur David Lesbarrères Dr. Natalia Tukhareli Dean, Faculty of Graduate Studies (External Examiner/Examinateur externe) Doyen, Faculté des études supérieures ACCESSIBILITY CLAUSE AND PERMISSION TO USE I, Kaitlyn Zygmont, hereby grant to Laurentian University and/or its agents the non-exclusive license to archive and make accessible my thesis, dissertation, or project report in whole or in part in all forms of media, now or for the duration of my copyright ownership. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also reserve the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report.
  • American Horticulturist Volume 71, Number 10 October 1992

    American Horticulturist Volume 71, Number 10 October 1992

    American Horticulturist Volume 71, Number 10 October 1992 , ARTICLES EI Capitan de las Flores by Diane Jukofsky .......... .. ................ ..... .. 12 Texan-turned-Costa Rican Claude Hope revolutionized the world of hybrid annuals. The Sage of Salvi as by Tovah Martin .. .... .. .. .. ........ .. ..... ...... 20 Amateur breeder Richard Dufresne is the self-appointed public relations man for these members of the mint family. Solace for a President by Barbara McEwan . ..... ..... ...... ...... 26 For John Quincy Adams, plants offered an escape from a job in which he was miserable. OCTOBER'S COVER The Many-Hued Lupines Photographed by Al Bussewitz: by Errol Craig Sul/ . 34 PHOTOINATS These historically fascinating legumes have yet to secure The trunk of the dawn redwood, a place in Amgrican gardens. Metasequoia glyptostroboides, is buttressed and fluted at the base. A Tree History: The Dawn Redwood Its reddish brown bark turns gray by Susan Sand ... .. .. ..... ..... ... ........ ... ... 40 as it ages and exfoliates in narrow Once widespread throughout the Northern Hemisphere, strips. While the tree's eventual 70-to-120-foot height makes it its survival was in jeopardy a half-century ago. impractical for many landscape uses, it makes a beautiful specimen on a large open lawn. Beginning on page 40, the latest in a series of DEPARTMENTS tree histories by Susan Sand details the dawn redwood's rescue from Commentary ......... .. .... .. ...................... 4 near extinction. Letters ................................................ 5 Offshoots . ....... .. ... ..... .. ...... ........... 6 Book Reviews .......................................... 9 Classifieds . ...... ... ......... .... ... ............. 44 Pronunciations ..... ... .... .......... ....... ....... 46 American Horticultural Society The American HorticuLturaL Society seeks COMMENTARY to promote and recognize excellence in horticuLture across America. OFFICERS 1991-1992 n this age of Orwellian doublespeak, Mr. George C.
  • Social Enterprise in Scotland Census 2019

    Social Enterprise in Scotland Census 2019

    Social Enterprise in Scotland Census 2019 Technical Report CONTENTS 1. INTRODUCTION ........................................................................................................ 4 2. IDENTIFICATION OF SOCIAL ENTERPRISES ....................................................... 5 Defining Social Enterprise.......................................................................................... 5 Basis for the Assessment ............................................................................................ 5 Limitations ................................................................................................................ 10 3. DATA CLASSIFICATIONS ....................................................................................... 13 Classification of Regions .......................................................................................... 13 Classification of Urban-Rural Areas ........................................................................ 13 Classification of Areas of Multiple Deprivation ....................................................... 14 Classification of Economic Sectors .......................................................................... 14 4. INCLUSIONS AND EXCLUSIONS FROM THE STUDY ........................................ 16 Arts and Creative Industries..................................................................................... 16 Community Centres and Halls ................................................................................. 16 Early Learning and
  • Bandainamco Csr Reprt

    Bandainamco Csr Reprt

    BANDAI NAMCO Group CSR Report 2007 Contents page The BANDAI NAMCO Group Corporate Philosophy 01 Editing Policy NAMCO BANDAI Holdings Corporate Data 02 The first CSR report by the BANDAI NAMCO Group The BANDAI NAMCO Group Business Portfolio 03 This report published in fiscal 2007 is the Special Interview 06 first CSR report of the BANDAI NAMCO Special Topics 1 Group. As one of the special topics for the Let’s discover a popular amusement spot for everyone! report, we have included pages on NAMCO The secrets behind NAMCO WONDER PARK HERO’S BASE 10 WONDER PARK HERO’ S BASE, which was opened in September 2006, to introduce Special Topics 2 the new activities and ideas of the BANDAI Providing entertainment to everyone, including children, adults, and the elderly 12 NAMCO Group in a more detailed manner. Special Topics 3 Going forward, we will further promote 680,000 brochures distributed! “What’s ECO?” The Bandai Environmental Book 2006 14 our CSR activities through the synergy of the Group. The BANDAI NAMCO Group’s CSR Initiatives 16 We have just started our activities as a Group, and so we have not yet fully tabu- Safety, Quality, and Universal Design lated the environmental data of the compa- nies that make up the Group. However, we Safety & Quality So everyone can have fun safely 18 hope that this report will help its readers deepen their understanding of the BANDAI Universal Design To further improve user friendliness 22 NAMCO Group. We will actively continue to conduct our activities to fulfill our corpo- Environment rate social responsibilities.
  • Social Enterprise in Scotland Census 2017

    Social Enterprise in Scotland Census 2017

    Social Enterprise in Scotland Census 2017 Technical Report CONTENTS 1. INTRODUCTION ........................................................................................................ 4 2. IDENTIFICATION OF SOCIAL ENTERPRISES ....................................................... 6 Defining Social Enterprise.......................................................................................... 6 Basis for the Assessment ............................................................................................ 6 Limitations ................................................................................................................. 11 3. DATA CLASSIFICATIONS ....................................................................................... 14 Classification of Regions .......................................................................................... 14 Classification of Urban-Rural Areas ........................................................................ 14 Classification of Areas of Multiple Deprivation ....................................................... 15 Classification of Economic Sectors .......................................................................... 15 4. INCLUSIONS AND EXCLUSIONS FROM THE STUDY ........................................ 17 Arts and Creative Industries..................................................................................... 17 Community Centres and Halls ................................................................................. 17 Early Learning and