Beitrag von Goldschmidt

If you ever wondered what we do and how do we support music from Germany to be succesful abroad, here is a short video about it #influencerforoneday #germanmusicexport #initiativemusik

As with other activites I engage with, the mini.Zuekunft Festival is a space of experimenting with combining what is (too) often left separate. Can we really afford to leave out music&dance in the transformative processes we are already twirling with? Might dance, music & movement actually be powerful non-linear antagonists to be weighted against war&armament, disillusionment&cynicism, division&polarization? Reason tells me no. I mean what has me dancing or enjoying myself ever changed about Putins ambitions or hunger in the world or ...? But what if dancing together is exactly not about following that kind of muscle. But a training of a muscle often left...separate. It appears that dancing releases much more endorphines other kinds of physical activites - allowing for increased activity in the parts of the brain associated with emotional processing. Already the greeks talked about this when they spoke about "catharsis", the process of "purification of the soul" that brings about a state of "renewal and restoration". So it might not change what's "out there" but my perception of me in it. From a systemic-transformative point of view I believe this to be significant.

Here the direct link https://lnkd.in/dsznrW_4

Thanks for sharing, Oliver Schmitt, indeed some explosive material! A well written article in one of the leading daily newspapers in Germany, Katrin Terpitz. One could be tempted to simply adopt the views of private organizers in the German market. Unfortunately, it is more complex. Some food for thoughts: 1.     The allocation of slots is based on market demand and not on the foreclosure of competition. 2.     Putting slots out to tender is not a solution, or does anyone assume that an ANUGA in Cologne will have to be postponed because a private competitor with a 20,000 m² show is offering a premium on the rental price for the venue? 3.     Existing overcapacities in the German market provide plenty of space for private organizers. 4.     Subsidies in Germany are mainly due to the high investment requirements for venues - in contrast to other European cities, which heavily subsidize the attraction of events. 5.     I have been arguing for more than 20 years for a division of the organizing and venue business, not because of German competition law, but for simple economic reasons. However, I doubt that this will improve the options for private organizers. Of course, there is much more to this, but the above may serve as a good basis for discussions. I would be interested in your views/comments. 

Theatre is not my favourite medium, but a recent visit to the National Theatre in London to see Nye has sparked an interest. Now I am looking out for climate-related performances. The first is a little too far to travel for an evening, but a performance of Thomas Köck’s, Your Palaces Are Empty, at the Hans Otto Theater in Potsdam not only rehearses the theme, but also lives it. The production – rehearsals and performance – is carbon neutral and is part of the German federal government’s project Zero. Some of the initiatives include: All lighting LED Fewer – but longer – rehearsals to reduce travel Set materials – change from steel to wood (which is then recycled) Re-using costumes These are the reported ones. I am sure that to reach carbon neutrality there is much more needed (and probably actually done). Importantly, state-funding for larger theatres in the EU will, from 2025, require recipients to publish sustainability reports, including their carbon emissions – scopes 1, 2 and 3! Learning how to do the accounting becomes increasing important for all businesses, and now the arts, too. As for the play (https://lnkd.in/eqytKw7m), I sense that it is “difficult” – essentially it is a critique of modern capitalism and its underlying philosophy of labour and resource exploitation. Tania Ciulea (MSc) Chris Fox

Interesting discussion about the German model of dual #exhibition #organizer / #venue role, against a backdrop of an investigation by the competition watchdog in Germany.

I know & you know Garmisch is great and I have nothing to do with the following video myself, but I'd like to share it because the #marketing team of #zugspitze has achieved something monumental here. At least, it's about nothing less than the #topofgermany. 🚡 🏔 Good #communication doesn't always require boldly eloquent #speeches. When working with #visuals and #music, it becomes even more important to achieve a harmonious overall #composition. Here we see sensational #camerawork, and (despite the initially perhaps overly dramatic music) human individual scenes that suggest a #storytelling of eternity and the future, which converge with you in your present. Just saying... as a language enthusiast. 😉🧗♂️ Bayerische Zugspitzbahn Bergbahn AG | Zugspitz Region | GaPa Tourismus GmbH | Alois Dallmayr Kaffee oHG (keine bezahlte Werbung)

The Unifying Power of Festivals: From Diaspora Communities to Corporate Spheres ❤️ 💙 💛 💚 💜 Happy Holi ❤️ 💙 💛 💚 💜 Festivals play a pivotal role in both personal and professional spheres. They are platforms for cultural preservation, community building, and productivity enhancement. Festivals are powerful tools that unite communities, celebrate shared heritage, and boost productivity in both personal and professional spheres. For diaspora communities, festivals serve as a vital link to their roots. They provide an opportunity to preserve traditions, affirm cultural identity, and foster a sense of belonging and unity. Recognizing and celebrating various cultural festivals promotes diversity and inclusion. This fosters a culture of respect and understanding, leading to a more harmonious and productive work environment. As we navigate our increasingly diverse and interconnected world, the power of festivals is more relevant than ever. https://lnkd.in/euB3XcNB #festivals #diaspora #holi #happiness #culture #identity #community #india #germany

Family Business at its best:

📰 This month, the German newspaper “Trierischer Volksfreund” published an article featuring an interview led by Andreas Feichtner with our Director Edilia Gänz about the scope and impact of our organisation’s activities. 🌟 In this article, Edilia shares how we support international collaboration between cultural organisations, boost emerging artists’ careers throught the support of their new works that is enabled through venture philanthropy while advocating for #sustainability #diversity #inclusion and #innovation in the performing arts sector. 💬 "We take measured risks to enable innovation. But that's why we love innovation - there's no guarantee that it will work, but if it does, it can be phenomenal. Many new projects - whether in dance, opera or the increasingly important education or digital sector - are in tune with our times and anticipate social developments.” 👇 Read the full article here! https://loom.ly/Mj7BYeU 🙏 Special thanks to the FEDORA Prizes Sponsors Van Cleef & Arpels, Kearney, CARLARA - Carbonnier Lamaze Rasle , and #TheSilverCompany. The FEDORA Prizes are co-funded by the Creative Europe Programme of the European Commission. #FEDORAPlatform #FEDORAPrizes #CulturalPhilanthropy #Opera #Dance #Education #Digital