Jet Bussemaker is satisfied. For the next few years, there will be little whining about the subsidies under her regime. She states this in her letter this weekend. After all, the basis of the system is fixed: there are great museums, symphony orchestras, opera and theatre clubs whose subsidies are cast in concrete. Or rather carved from classical marble, because money gets you
Despite the crisis, parents invest eagerly and heavily in their offspring's musical development. This is the finding of the Utrecht Centre for the Arts (UCK). Their talent development programmes are running well. "Parents are now more consciously choosing to spend money on this than ever before. They also come along to lessons more often and let their children start at an increasingly younger age," says cello teacher Floris Dercksen.
We saw it in March already been coming, but now it is official: culture minister Jet Bussemaker is ignoring the Museum Council's advice. So the advisory panel led by Joop Daalmeijer has not done its homework properly: its idea
There it is: the coalition agreement of the new cabinet of the man who previously managed to associate the terms 'subisidy slave' and 'empty halls' with the fine arts. The tone is different now, and we owe that to the input of the PvdA, just as earlier we apparently owed the sneering tone to Martin Bosma's PVV.
On Wednesday 1 August 2012, the Performing Arts Fund will announce the results of the lottery that granting arts subsidies has now become. Huge cuts are looming: companies and makers that by now seemed to be a permanent part of the Dutch arts landscape will disappear. Exactly what it will look like, we know
Opposition: have arts cuts calculated (...) These are cuts by the state, provinces and municipalities. The aim is to clarify how big the total cuts together are and what exactly the effects will be on supply and employment. (...) "With this request, we want to counter the politics of the short-term agenda. Good policy, including austerity policy, takes into account...
"I can fire anyone here. Except the actors." Sam Walters, artistic director of London production house the Orange Tree Theatre does not mince words. "Everyone in the office could leave. The directors too. But without actors no performance." The actor is unequivocally central to this theatre. As a director, you only prove yourself here when you get top performances out of your...
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