 | A “China Impact in the arts” The performing arts in a privatizing China |
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| Norway’s Ultima Contemporary Music Festival is held annually each autumn. This year the spotlight is on Japan. |
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| The Avignon Festival rebornTalking about subjects like the Festival’s new Associate Artist program. |
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| Three years since the Royal Shakespeare Company, moved to new premises, the Barbican Centre adopts new strategies |
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| LG Arts Center is an emerging theater in Seoul operated but a corporate philanthropic foundation and targeting a middle-to wealthy-class audience |
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| The activities of the Five Arts Center, toward the creation of contemporary Malaysian theater |
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| An organization tuning out world-class actors
Talking with the Director of The National Institute of Dramatic Art of Australia |
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| The “City of London Festival” is an arts festival that has taken route in the international financial center of “the City” |
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| In pursuit of Theater for the Playwright
Talking with Artistic Director Ostermeier of the Schaubuehne |
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| Founder Val Borne talks about the Dance Umbrella festival |
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| A look into the activities of the JCDN, a pioneering arts NPO dedicated to getting out information about the Japanese contemporary dance scene |
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| An organization for the promotion of the arts in the American Midwest, Arts Midwest |
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| Breathing new life into contemporary dance, What is the source of the vitality in Finnish dance today? |
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| This interview explores the actor education system at The Royal Academy of Dramatic Art, an institution with a 100-year history |
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| South Africa’s comprehensive culture center ARTSCAPE and its programs |
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| What is SESC, the Brazilian organizations that runs comprehensive culture and arts facilities in Brazil |
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| A look at the Singapore arts scene, invigorated in recent years by new theaters and festivals |
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| Placing top priority on new writing and nurturing playwrights Scotland's Traverse Theatre |
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| Bringing Korean performing arts to the world scene |
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| Taiwan's new cultural policy — The Taiwan National Theater now semi-NPO |
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| Egypt’s first private sector arts and culture facility, Cairo's El Sawy Culture Center |
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| One of South America’s oldest and most active theaters, the Municipal Theater of Santiago, approaches its 150th anniversary |
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| Re-established as a stronghold of contemporary theater in Shanghai
Creative efforts of the Shanghai Dramatic Arts Centre |
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| Working to build an infrastructure for contemporary dance in Germany
Speaking with the founder of Tanzplattform Deutschland |
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| What lies ahead for the Beijing Modern Dance Company and its international dance festival in today’s Chinese contemporary dance scene? |
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| As the Institute of Contemporary Arts (ICA) celebrates its 60th anniversary, what is the vision of its new artistic director? |
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| As it prepares to reopen with a newly renovated building, Berlin’s House of World Cultures is broadening its vision and role |
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| Organizing a large-scale Japan-themed festival for 2008 The policies behind the Kennedy Center’s international programs |
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| Speaking with the Director of Programming for the grand-scale arts and culture centre Esplanade, the symbol of Singapore’s “Renaissance City” program |
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| Looking at French policy in culture and the arts through the activities of the front-line administrator, Jean Digne |
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| New developments in the Japan Society, a promoter of exchange between Japan and the U.S. for 100 years |
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| Stimulating the Korean performing arts scene The role of Seoul Performing Arts Festival |
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| Connecting the theater people of Asia The Japan Foundation international collaboration program |
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| The Rolex Mentor and Protege Arts Initiative, fostering encounters between artists across generations |
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| The Kunsten Festival des Arts, making Brussels a center generating new trends in contemporary art |
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| Pioneers of China’s contemporary independent arts scene Caochangdi Work Station |
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| Training arts managers to support the activities of the multi-cultural, multi-ethnic artists of Indonesia Jakarta’s art NPO Kelola |
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| The Playwrights’ Center of Minneapolis, encouraging US-Japan theater exchange as a resource supporting the development of playwrights |
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| Looking into the heart of the Asian Cultural Council, an organization that has helped support over 5,000 artists |
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| The IETM network, contributing to the promotion of collaborative commissioned works and tours in Europe |
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| Interview with Marie-Hélène Falcon, Director of TransAmeriques, the leading performing arts festival in Canada’s Quebec Province |
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| Oh Tae-sok, a genius of Korean theater and Artistic Director of The National Theater of Korea and The National Drama Company |
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| The Minneapolis-based Walker Art Center, an international hub for cutting-edge performing arts |
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| As the Yokohama Noh Theater ventures into the uncharted field of traditional arts production, attention focuses on its planning expertise |
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| Pioneering the role of the university-based arts center, The Hopkins Center for the Arts in New Hampshire, USA |
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| Striving for regional development, Romania’s Sibiu International Theatre Festival gathers participants from 70 countries |
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| European arts scene leader Frie Leysen talks about the role and activities of arts festivals |
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| Berlin’s HAU as an epicenter of the performing arts — What’s the ideas behind its aim to “Create friction in the world?” |
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| Art bringing hope to Echigo-Tsumari The ongoing journey of Fram Kitagawa |
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| A gateway to recognition for young musicians Looking at Young Concert Artists in today’s music world |
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| Bangkok Theatre Network An organization sparked by a Thai version of Akaoni |
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| Homeless and Artists Working Together Streetwise Opera |
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| Another aspect of Japanese theater communicated through posters |
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| Leading South Korea’s dance world CID-UNESCO Korean Chapter and SIDance |
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| The world of Samuel Miller, a leader in arts management in the U.S. |
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| Serving as the “control tower” for the international outflow of Korean culture, Korea Arts Management Service (KAMS) |
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| CINARS, over a quarter of a century The vision and accomplishments of founder Alain Pare |
