Red Asia Insurance’s Post

Does #HongKong have the potential to develop into a global performing arts hub? Was the first HKPAX | Hong Kong Performing Arts Expo 香港演藝博覽 a success, and will it return next year? These are just a few of the questions I juggle in this long read https://lnkd.in/g-uZ7N8K

IN SITU OPEN CALL #1 - Get ready ! IN SITU PLATFORM is a four-year programme supporting emerging artists developing artistic projects in public space or non-conventional places at the European level. For the first cycle of support, IN SITU will select 60 emerging artists creating with, for and in public space. This open call will be officially launched starting from 1 January. In the meantime, a preview is out so that you can spread it around and start getting ready. Follow this link to check the OPEN CALL#1 PREVIEW: https://lnkd.in/dXU9qvsF The IN SITU PLATFORM is a project co-funded by the European Commission's Creative Europe programme. To learn more about it: https://lnkd.in/d_HKNFCc Partners : Fanni Nánay, Atelier 231, Bildstörung - Europäisches Straßentheaterfestival Detmold, Bússola, Cifas, Urban Culture Institute – City of Weaves, Čtyři dny z.s. / Four Days association, L'Art Rue, Eye's Walk Festival FiraTarrega Professionals, LaStrada, Lieux Publics, centre national des arts de la rue et de l'espace public & pôle européen de création , Københavns Internationale Teater, Teatri ODA, Oerol Festival, Østfold Internasjonale Teater , Provinciaal Domein Dommelhof, Sardegna Teatro, BASE Milano, ZONA K, The Flynn, Norfolk & Norwich Festival, Freedom Festival Arts Trust, Project DARI, Collectif ACMUR, Cielos del Infinito

What came first, the city 🏙  or the festival 🎎 ? Okay, it’s almost always the city, but when the right festival / platform finds its niche in the perfect place, the location is often forever changed as well. Cities and their landmark festivals share a symbiotic relationship. Just think of the perfectly paired duos of Art Basel and Miami Beach; SXSW and Austin; Coachella and Indio, California, Cannes Lions or Film Festival at Cannes. An interesting read where we see so many factors at play - the convergence of local + global, destination marketing, co-creation between culture creators and city makers. What are other key shows, events, festivals that have placed their hometowns on the global calendar... #culturemarketing #artbasel #globalevents #globalcalendar #destinationmarketing #festivals https://lnkd.in/dTA7GMfB

If UK aims to emulate Singapore or SG-on-the-Thames; then the theatres and museums will close. This was foreshadowed in Yes Minister - way back in the 80s, when the Minister and Humpy were discussing funding for the Arts. The Minister noted that most of the funding went to theatres and galleries that the common voter did not go to or appreciate - and it subsidised the elite. His view shocked Humpy - it would herald the collapse of civilisation. But. There are museums in the UK that receive less than 1000 visitors a year, and there are probably some theatres that will never cover more than 30% of the operating costs - not just the repair and restoration. So some/many/most will have to close, merge.

My first article on Italy Magazine is about street art festivals transforming Italy's rural area. "In recent years, a wave of urban art initiatives has helped transform some of Italy’s depopulated villages, rekindling the vibrancy of communities left behind due to brain drain, low birth rates and other big-picture cultural and infrastructural issues. Such festivals — often run by local enthusiasts or cosmopolitan artists with roots in the host villages — are helping to redefine Italy’s sleepy hamlets not as relics of bygone eras, but as living, breathing cultural centers." https://lnkd.in/dcsJuv-s

FESTIVAL CANCELLED EVERYTHING ELSE GOING AHEAD AS PLANNED & SCHEDULED FOR THE #ZEROSUICIDESOCIETY #JOINTHEDOTSTOUR Due primarily to poor advance ticket sales, we've had to cancel the Bootle Festival, sadly. An easy decision in some respects, difficult in others, partly as everything seemed to be in place for a superb Festival. Also, I'd very tightly managed the financials; almost all the Performers agreed to waive their fee; the Lock and Quay generously donated the venue; the total projected costs were sitting around £3,600 so we only needed to sell 180 tickets to cover our costs. It seemed like very little financial risk. So much so, I was even prepared to personally underwrite the Festival. Many of our #Merseyside Partners had said: "With Festivals in #Liverpool, most people buy tickets at the last minute. Many just rock up on the day". But advance ticket sales were very poor, and even direct mailers to those right bang in the middle of our target audience were not resulting in people getting tickets. There was a risk to the viability of the Festival - not the financial viability of the Festival, as that was NEVER an issue - my concern was about having enough people in the venue on the day (eg 500-600) to 'create the buzz' we wanted: for those on the stage and those in the audience. Lots of people told me the Festival line-up we'd pulled together was extraordinary and said they'd be coming...but they didn't buy tickets - at least not sufficient numbers in advance to give us confidence the Festival would be a huge success. I had to weigh up all the data in front of me, take into account the views of our key partners, and take a decision. I took the decision to cancel the Festival. But the good news is that everything else we've planned, organised & scheduled is going ahead, inc: > Sat morning, 22 June, at the #Anfield Sports & Community Centre, hosted by the LFC Foundation and > what will now be our final Tour event, on Sun 23 June, the '#VoicesOfHope Concert with Reflections' at the Liverpool Arts Bar on Hope Street - with an extension, so it's now 10am to 12.30pm (so more music & more #LivedExperience Speakers): https://lnkd.in/eYzs4sag Please join us if you can, to be there with us for the Tour finale. There are only 100 tickets for this one so please book straight away if you want to be there for this very special closing event. Tickets are free (asking for a donation to The Jordan Legacy CIC) Ironically, the original vision for the Tour didn't include an outdoor Festival but it did include 'a Hope Gathering on Hope Street'. I'm somewhat consoled by the thought that, for all of us "in the #hope business", it's rather fitting we finish in Hope Street! Last but not least, apologies to all those in Merseyside whose inboxes have, over these past 3 months, been on the receiving end of my Obsessive Compulsive Enthusiasm! 😬 😁 🙏

Today’s #FridayReflection is the result of David’s post and a conversation I had this morning. Aberdeen is not a ‘cultural wasteland’. There’s always something to do, if you look hard. But what we fail to recognise in Aberdeen is diversity of backgrounds. And Aberdeen is very diverse. International. Multicultural. We all experienced culture in different ways as we were growing up. Whether we like it or not, our backgrounds will always dictate our expectations. This morning I had a conversation with a lovely lady working at the theatre. We had such an interesting conversation. And in a way, it was a moment I realised why so many of us find it difficult to settle here, specially in the first couple of years. In many parts of the world, going to the theatre is a different experience. It’s not something you buy tickets for months or even a year in advance. People are used to having a choice of multiple theatres, museums, and galleries. As a child I’d be going to a theatre or a museum 2-3 times a month. Different plays most of the time. You could just buy a ticket and walk in. Or it may have been planned. There was something for everyone. Only in the city I grew up in there were at least 5-6 large theatres and some smaller ones. But in Aberdeen, it can feel like there’s less choice. For those of us used to a more vibrant cultural scene, it can be easy to think there’s not much happening. If you add expensive ticket prices, this makes culture feel like a luxury reserved for the few. But that’s not the case. I’ll repeat: Aberdeen has a lot of to do. You just need to look hard. But that ‘looking hard’ is a problem. If we embrace the diversity that already exists and make cultural events more accessible, it could be a much more vibrant place. There’s no shortage of talent or opportunity. We just need to open things up. We need to offer more affordable events. But most importantly we need to promote better what’s already here more effectively. Over the years, I learned where to look and how to find cultural events in the city. But that took time. But it shouldn’t take years to figure out where things are happening. Culture should be more visible and accessible from the start. Otherwise we risk having people feel disconnected and thinking that we live in a ‘cultural wasteland’. Culture is something everyone should be able to engage with. There’s no need to reinvent Aberdeen’s cultural scene. We need to make it more inclusive and more welcoming Culture thrives when everyone has a seat at the table. #MulticulturalAberdeen #CulturalDiversity #InclusiveCulture #culturalHarmony #AberdeenEvents #ArtsForAll #DiverseAberdeen #Aberdeen #Aberdeenshire #diversity #diversityandInclusion

£1m funding approval will help transform Stalybridge Civic Hall into a cultural hub Stalybridge Civic Hall could soon become a more vibrant space for cultural and creative events if proposed funding plans for additional internal renovations are approved by our Executive Cabinet next week. Following completion of the roof replacement, the proposed upgrades to the internal space will help make the Civic Hall a more flexible venue for markets, festivals, theatre performances, and exhibitions. These improvements reflect input from local residents and stakeholders from consultation undertaken. If works are approved, completion will bring a series of exciting pilot events for 2025/26 to test the potential of the refreshed space, launching with The Royal Exchange Theatre’ ‘The Den’ project when it makes it exciting return to Tameside next May. A long-term plan will follow to secure the Civic Hall’s future as a key cultural and community hub. Read the full story here https://lnkd.in/duxm-ThR

Reflecting on my journey in organising my first public event, I am struck by the lack of infrastructure for performance art in Hong Kong. This challenge became all too real as I searched tirelessly for a venue to showcase one of the world's most renowned Shibari artists. The options were either vast spaces with daunting expectations to fill them or tiny venues that couldn't ensure financial viability. For organisers, this creates immense pressure and stifles creative potential because certain performances are niche, and we can't fill a stadium like Coldplay. If Hong Kong is serious about establishing itself as a hub for art and culture, it must invest in mid-sized venues that can nurture and support the artistic sector .These spaces are crucial for smaller organisers in breaking creative barriers and allowing artists to flourish outside the confines of large institutions. Fortunately, I was able to co-organise my event at the Mondrian Hong Kong, where we found a space that fit our needs perfectly. Interest was high, and we sold out two weeks before the event. This made me think could we have gone bigger. But the question is, where? I don't have that answer. This experience highlights a broader issue: small to mid-sized event organisers face numerous hurdles, from securing appropriate venues to navigating the complexities of artist work visas. Often, we begin promotion while the visa is being processed, which can take 4-6 weeks. The anxiety of uncertainty can lead to delaying promotion, but if left too late, tickets might not sell. Yet I won’t do an event without ensuring we comply with regulations. This visa lead time must improve for visiting artists. Simplifying processes is key. These challenges are real as I felt it. If we truly aim for art & cultural recognition, we need platforms, processes, and mid-sized venues where Hong Kong's vibrant creativity can shine on the global stage. Hong Kong has so much potential yet remains caught between extremes—too small or too big. I count myself lucky with my co-organiser. #hongkong #hongkongevents #artandculture #eventorganiser

Adelaide Fringe 2024 was a massive season and it took herculean efforts from everyone to get through! Incredible numbers attended, just over 1 million ticket sold and 4.6 million attendances .. (if anyone has questions about the difference between those numbers please ask! It's quite simple, there's lots of ways to attend that doesn't involve a ticketed show) it was fantastic to see so many tourists come to Adelaide for Fringe 2024 - they bought huge numbers of tickets and spent big in local hotels and restaurants. in many ways a big triumph, but of course there is more to the story and one of the scariest elements is the fact that festival presentation costs have gone up by about 30% in the last year or so .. the ticket sales were up by around 4% (1,040,305) and the average ticket price remained the same around $33. So it doesn't take much to look at the sums and realise it is very tough to make it all balance. Lots of festivals have cancelled and closed down in recent months because of these rising costs in the supply chains. We are going to work harder than ever to try raise enough money to shore up the Fringe in future - Adelaide Fringe is a precious jewel of the nation and we need all the help we can get to survive this storm.