Culture » Overview

exploring the transformative power of the arts – building bridges across cultures – supporting young cultural innovators

The Salzburg Global Seminar’s Culture and the Arts Program focuses on the transformative power of the arts, facilitates cultural exchange at multiple levels, and provides capacity-building opportunities through the annual Young Cultural Innovators Forum. Through multi-year projects and strategic convenings, the Culture and Arts Program seeks to secure a more prominent role for the arts on policy agendas and to support the continuously evolving needs of the creative sector – as a major driver of sustainable economic development and social improvement – through the multi-year Salzburg Global Forum for Young Cultural Innovators.

 

Sessions in 2017:

The Art of Resilience: Creativity, Courage and Renewal 
February 7 to 12, 2017 

Salzburg Global Young Cultural Innovators Forum: Regional Fellows Event
April 27 to 29, 2017

Salzburg Global Forum for Young Cultural Innovators IV
October 14 to 19, 2017

For past sessions, click here


Inés Sanguinetti -“We should redesign past models of learning”
Inés Sanguinetti -“We should redesign past models of learning”
Andrea Abellan 
The arts have a powerful role to play in enriching education, explained Argentinian dancer-cum-educator Inés Sanguinetti when attending the recent Salzburg Global Seminar program The Art of Resilience: Creativity, Courage and Renewal. Sanguinetti made the switch from dancer to educator through Crear Vale la Pena (“Creating is Worth It”), an association that aims to put arts at the core of the learning process. Sanguinetti believes students today are all too often educated in the opposite of bonding, making them isolated and constrained by too many prejudices and too little empathy – and the arts can help change this. Through Art, Wellbeing and Creativity, one of the projects developed by Crear Vale la Pena, Sanguinetti and her team are trying to change this situation.  “We try to develop a kind of new laboratory of teaching and learning between schools and communities,” she explains.  Through the project, “social actors” and “creative agents” – typically community artists coming from a variety of different backgrounds including visual arts, dance, music, and even technology – are brought into schools where they help teachers design their classes. The methodology is based on involving arts in the curriculum and encouraging dialogue between artists, teachers, and the community. Sanguinetti compares this project with what used to occur in Ancient Greece, when going to the gymnasium was routine for students looking to train their body and mind. At that time, exercising was not viewed that far away from other subjects, namely philosophy and poetry. “Now we are taught that everything must be clearly differentiated,” she laments. “I do enjoy mixing different styles even in my choreography, ranging from martial arts to rugby or tango. I trust the power of moving together minds and bodies to explain any kind of topic and this can be very helpful to learn about new subjects,” she explains. Sanguinetti is not a supporter of the education system still being followed in some areas. In her view, traditional teaching methods are not capable of satisfying the needs of the students anymore.  “I see traditional schools as a dying institution. We should redesign past models of learning and teach the students the skills they actually need to survive to the 21st Century.”  Research conducted by the University of San Andrés based in Buenos Aires together with the University of Aberdeen in Scotland has reinforced Sanguinetti’s program. The increase in the students’ motivation, the improvement in the coexistence inside the classroom, and the positive attitude of the community towards the arts as a suitable form of learning and not only as an entertainment were all highlighted as positive outcomes from her programs.  Sanguinetti is now exchanging experiences and collaborating with other associations. These are based in different countries, namely Colombia and Chile. Soon she will start cooperating with organizations outside of Latin America, such as in Germany, where similar programs are being carried out. In her home country of Argentina, Crear Vale la Pena will start receiving support from the government. Thanks to this, the number of schools and associations implementing the program will grow from 20 to more than 150.  Through her experience in Salzburg, Sanguinetti had the opportunity to learn about similar projects conducted in Morocco and Cambodia, presented by Salzburg Global Fellows Karima Kadaoui, co-founder of Tamkeen (“Empowerment”) Community Foundation for Human Development, and Bun Rith Suon, manager of the culture and arts education project at Cambodian Living Arts, respectively. Sanguinetti expects to be able to start working with them too in the near future.  “We are already planning our next meeting to keep working on what arts can do for resilience. We are looking forward to keep exchanging ideas and collaborating between us.”
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Dawn Casey – “Museums usually talk about dead things... Contemporary issues should also fit in these spaces”
Dawn Casey – “Museums usually talk about dead things... Contemporary issues should also fit in these spaces”
Andrea Abellan 
Dawn Casey, currently the chief operating officer for the National Aboriginal Community Controlled Health Organisation (NACCHO), has a solid background across multiple sectors. However, it is her experience within the arts that is especially remarkable. She has been in charge of the direction of three of the largest Australian museums: The National Museum of Australia, Western Australia Museum and the Powerhouse Museum. Unquestionably, one of her bigger achievements has been her contribution to what she calls the “democratization of museums.” Or, in other words, her assistance to “make the arts and museums more stimulating and accessible to bigger audiences.” Raised in Cairns, Australia, Casey comes from the Tagalaka clan. As she explains, her personal experience and professional background has been determined because of her indigenous and female identity. She was denied access to education. “I always wanted to study French but it was not possible for indigenous people to take that course. Also, my parents would have never allowed me to do it,” she remembers. Casey’s story is a tale of hard work and overcoming obstacles. Her persistence had a clear intention. “I know what been discriminated means. My own experience showed me how unfair and wrong the system was.” Being a woman made things even more complicated. “Sometimes I didn’t even have the opportunity to be interviewed,” Casey recognizes. Despite these difficulties, she has not allowed them to stop her having a successful career. Her career and contributions have been acknowledged with a number of awards, such as three Commonwealth Public Service Australia Day Medals. She describes her current role with NACCHO as “going back to her roots” after many years working for the museum sector. At NACCHO she looks at health care policies seeking to promote health for Aboriginal communities. “Indigenous people are much more affected by chronic diseases because of their genetics so we try to help them and improve their situation,” she explains. Remarkably for someone who has worked with so many of Australia’s leading museums, Casey admits that she only stepped into a museum for the first time when she was 30. “It was quite a boring experience,” she admits, but this experience convinced her of the power that these institutions could have to act as effective communicative tools able to make communities understand both their pasts and presents. “Museums usually talk about dead things, explorers and settlers,” says Casey. “They are the place to showcase very well-researched materials that make us aware of our history. These are extremely relevant. But I think that contemporary issues – that can be more accessible and interesting to everyone – should also fit in these spaces,” she adds. Casey has thus worked very hard to this end. While working as a director at the Powerhouse Museum in Sydney she helped to organize Muslim cultural exhibitions aiming to attract people from diverse communities to come together, techno-nights looking to engage younger generations, and even Harry Potter exhibitions seeking to capture the attention of children. “I think it is a matter of combining very in-depth researched topics with lighter subjects that can arrive to other types of audiences,” she explains. Casey’s work towards integration does not stop here. She has always followed a strategy to involve professionals from different origins into her teams. “I always wanted to be sure that our job vacancies were advertised on those media easy to access by migrant and indigenous communities.” This is how she has managed to develop greatly multicultural teams. At the Salzburg Global Seminar session in February 2017, The Art of Resilience: Creativity, Courage, and Renewal, Casey helped to link the challenges affecting indigenous communities with other current issues such as the difficulties that refugees all over the world are facing. “They might look as opposite problems. But in my opinion they are both issues saying a lot about the nature of a country. In both situations, either when we stop a boat and do not allow people to enter our country, or when we do not recognize the rights of certain groups of people in their own land, we are disrespectful with human beings and this says a lot about the nature of a nation,” she states. This was the second time that Casey attended a session at Salzburg Global Seminar. She was a previously a participant in 2011 at the session Libraries and Museums in an Era of Participatory Culture. She fondly remembers that the session was “a great opportunity to share and exchange ideas – something that does not happen frequently when you are a museum director and it is always you who is supposed to sell things to others. This is one of the reasons why I appreciate being part of this open space again to enjoy the dialogue and be able to exchange ideas.”
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Rajan Kotru - “If the Himalayan ecosystem remains intact, there will be people rushing there to pursue their spiritual ideals...”
Rajan Kotru - “If the Himalayan ecosystem remains intact, there will be people rushing there to pursue their spiritual ideals...”
Christopher Hamill-Stewart 
Rajan Kotru, head of the International Centre for Integrated Mountain Development (ICIMOD) program on Transboundary Landscapes, attended the Salzburg Global Seminar session The Next Frontier: Transboundary Conservation for Biodiversity and Peace. His project “Kailash Sacred Landscape” is a transboundary conservation initiative covering an area in the Himalayas where China, India, and Nepal all have territory. The project focuses on the preservation of ecosystems and biodiversity, but with an additional emphasis on cultural conservation – conservation aimed at maintaining the culturally and spiritually significant parts of the landscape. While in Salzburg, Kotru took some time to discuss the importance of integrating spiritual and cultural conservation with more traditional conservation. Despite a range of conservation efforts in the region beginning in 2005, issues of cultural conservation have remained largely ignored. The majority of efforts focused on tangible or measurable issues, such as ensuring the preservation of natural resources. Rajan Kotru wants to change this. Kotru believes “the cultural legacy of the Indian sub-continent is linked to the ecosystems and the geographic assets that we have,” with the most important “sacred asset” being the Himalayas. The degradation of geographic assets can have a similar effect on the area's cultural history and significance. These assets are valuable to the local populations, and they are a large source of income for the region: “people are rushing to the Himalayas to meet Buddhists and to meditate.”  Kotru claims many of the services coming from the Kailash Sacred Landscape are quickly degrading. Nevertheless, there is cause to remain optimistic. Kotru says, "Despite all this degradation that has been happening in the recent years, people are still coming to the Himalayas for spiritual reasons.” The Himalayas clearly still have great value to many individuals from a spiritual perspective, but, because of this rapid degradation of the ecosystems and environment, it’s becoming increasingly difficult to preserve this cultural heritage. The narrow lens of protecting physical resources, like wood and water, is leaving valuable but less tangible assets, like sacred landscapes and important religious sites, to be eroded away. Kotru believes that to change the way we preserve these precious areas, we need to “change the way we think.” The example of the Bhutanese model, which measures the happiness of the nation as an important factor in assessing the effectiveness of government, is one example that Kotru studied when looking at the value of cultural preservation. “Culture and spirituality are pillars of happiness,” he says, and so this model is one that is worth studying. In Bhutan, the preservation of cultural heritage is important to the people and the state, because they measure the nation’s happiness. He concedes, “It would be difficult to emulate Bhutan’s model in other countries,” but the emphasis on “respect for culture and for nature” is a lesson that can be almost universally applied. Kotru makes it clear that “if the Himalayan ecosystem remains intact, there will be people rushing there to pursue their spiritual ideals.” If we change our way of thinking, as Bhutan has, by emphasizing the protection of cultural and spiritual landscapes this will have benefits for biodiversity conservation, for the economic well-being of the areas and its inhabitants, and for the ancient cultures and traditions that are so important in these regions. Rajan Kotru was a participant in the Salzburg Global session The Next Frontier: Transboundary Cooperation for Biodiversity and Peace, which is part of the multi-year Parks for the Planet Forum. This session was hosted in partnership with IUCN (International Union for Conservation of Nature), MAVA Foundation, Arcus Foundation, Aga Khan Foundation, German cooperation (Deutsche Zusammenarbeit), Huffington Foundation, Robert Bosch Stiftung, the Whitney and Elizabeth MacMillan Foundation, and others. More information on the session can be found here.
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Eileen Briggs - "We are definitely in a reactionary mode"
Eileen Briggs spoke to FM4 while she attended The Art of Resilience: Creativity, Courage and Renewal
Eileen Briggs - "We are definitely in a reactionary mode"
Oscar Tollast 
Salzburg Global Fellow Eileen Briggs has revealed how art and creativity is being used to express opposition to the controversial Dakota oil pipeline. Briggs, a member of the Cheyenne River Sioux Tribe, spoke to Bethany Bell for FM4 while attending Salzburg Global's session The Art of Resilience: Creativity, Courage and Renewal. US President Donald Trump has signed an executive order for the construction of the Dakota oil pipeline to be completed.  Protestors from the Standing Rock movement believe the construction of the pipeline will affect the quality of drinking water. Briggs tells FM4 that she's "fiercely" part of the protection of her water and, "We are definitely in a reactionary mode." Prayer and songs have been used to express opposition. While being interviewed, Briggs performs a song that talks about walking on Mother Earth in a gentle way. You can listen to the full interview below. 
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What can we learn from the art of resilience?
What can we learn from the art of resilience?
Oscar Tollast 
  There is an untapped potential for the arts and cultural sector to enhance resilience of individuals, communities and societies. Resilience is the ability to recover quickly from difficulties and unexpected challenges. While other industries have previously been the first port of call, the arts and the cultural sector continues to have an influence. It can inspire, catalyze, and sustain projects which bring about positive change.  During a five-day session, participants at Salzburg Global’s session The Art of Resilience: Creativity, Courage, and Renewal discussed art and resilience and how it links across several thematic areas. These areas included: refugees, migration and integration; climate change; indigenous communities; post-conflict settings; urban upheaval and social injustice; and cultural heritage. Listed below are a few of the participants’ summarized thoughts from the final day’s wrap-up session. Art can help build the resilience that... ...Is required in post-conflict settings There can be at least three groups within a conflict: the victims, perpetrators, and the people left in between. Each group - indeed each person - will have a different experience. When looking at a post-conflict setting, it is advisable to analyze the situation in a more diverse way and identify the needs of everyone. With this in mind, “renewal” is a term which deserves as much attention as resilience. For renewal to occur, it is important to create spaces where people can meet. Spaces have to be open where people can “breathe again.” People on opposing sides cannot live together unless there is recognition of what has occurred. Survivors of massacres might not even know what has happened. The topic, however traumatic, has to be explored; these challenging stories can be told through the arts - enabling individuals and communities to heal. ...Surrounds refugees, migration, and integration Freedom of creative expression is a fundamental right for all displaced people. One way to address the needs of refugees, forced migrants, and displaced people through arts and culture is to create and design an arts-based policy framework. This structure can enhance opportunities and respect for migrants and refugees. The fundamental principles to address are artistic aesthetics and praxis, narratives of integration and impact, and deepening public discourse on identity and perceptions of display. The arts can create opportunities for displaced artists to curate and be curated across regional and international platforms, reaching new diverse audiences. Displaced artists aren’t merely subjects, but are both creators and collaborators. Fellows proposed a research and mapping exercise which may be achieved in collaboration with a global network of arts councils, a dedicated Salzburg Global Seminar session, and pilot projects emanating from the work. ...Comes from reinventing and reclaiming cultural heritage It’s the icon we often think of when cultural heritage comes to mind. Heritage proves existence, identity, indigenousness and our connection to history. It can prove you have the right to belong to the world. Preservation is a Western construct, as are museums. Art can help us to re-establish ourselves. The more we don’t know of our past, the more others can tell us who we are in the present - rightly and wrongly. Action should be taken to protect cultural artefacts before it is too late. Cultural heritage remains alive through art. Heritage is a layering of times, periods, events and our responses to them. Resilience is choosing how to live. It can be wearing a mask, adopting a persona, and acting “strong enough.” Something can become heritage when an old dance format is revived with new costumes and new themes. Out of it comes a strengthened old form and becomes an example of resilience.  ...Is needed to face climate change One of the biggest challenges we face on this planet is climate change, tackling its effects and preventing further damage from taking place. Culture-based solutions need to be scaled up and accelerated to respond to areas of concern. This action needs to take place at all levels of society. Salzburg Global Fellows suggested bringing greater visibility to the arts and cultural sector, while also creating a network of champions at a local level. The work of C40 Cities is a good example of an organization that is bringing cities to the forefront of positive change. Training programs could be constructed to relay and repeat the message. Later this year, the United Nations Framework Convention on Climate Change (UNFCCC) will host a Climate Change Conference in Bonn. The UNFCCC will promote art and culture related to climate change ahead of the conference. Efforts should be made to alter the minds of people in management in cities. Good work by local residents has to be made more visible.  ...Tackles urban upheaval In times of urban upheaval, alienation can come from dislocation, natural disasters, climate change, etc. Alienation is a form of injury. Artists can help by making the invisible visible. Artists can create beauty in environments previously destroyed. Spaces for creative collaboration across sectors should be promoted, creating a language for global wealth with an art lens. Social cultural agents and interactive areas can be strengthened to become change facilitators. Artistic tools should be identified to build social architecture that will be the foundation of urban infrastructure. Salzburg Global Fellows recommended that there should be a global platform for best practices and organizations that work on social cultural change transformation through the arts. We should promote public spaces that set the framework for action.  ...Shown by indigenous communities During the focus group discussions at The Art of Resilience: Creativity, Courage, and Renewal, the discussion on climate change generated thoughts on indigenous people’s own narratives and traumas. The focus group reviewed how indigenous people fitted in these stories. “There is a better way to be human for all of us.” Change is coming, so how can we work together? Language can be used to find meaning. Indigenous peoples’ cultural heritage is found in community and self-determination. The cost of speed is panic and exclusion, and exclusion concerns the people affected first. Individuals who have been resilient through trauma can act as role models. Indigenous communities have stories which define values and help prepare them for the future - and these should be shared more widely.   Moving forward Conversations during the session repeatedly came back to what is personal. There is a need for broad-based coalitions to tackle some of the issues. Fellows will now consider what they will do when they go back to work, what knowledge they will take from the five-day program and how art can be at the center of what they do. It’s important to venture out and speak to different groups, they were reminded. It’s also significant to connect with other sectors and form cross-sector partnerships. For these partnerships to exist, participants need to look at how the arts can speak to donors and organizations unassociated with the arts. Can this cohort of 60 Fellows help people reconnect with their creativity? Good things take time. It is important to persist even if progress isn't achieved in a week. Success will be measured by how the Fellows continue to work together and secure their future. The Salzburg Global program The Art of Resilience: Creativity, Courage, and Renewal is part of the multi-year Culture, Arts and Society series. The session is being supported by the Edward T. Cone Foundation. More information on the session can be found here. You can read all the discussions on Twitter by following the hashtag #SGSculture.
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Anida Yoeu Ali - “You can have very powerful conversations without speaking a single word”
Anida Yoeu Ali - “You can have very powerful conversations without speaking a single word”
Andrea Abellan 
Anida Yoeu Ali likes to refer to herself as a “global agitator” It is the best way for her to define the social provocation her art is constantly seeking. The poem she shared with the audience at the opening of the recent Salzburg Global Seminar session The Art of Resilience: Creativity, Courage and Renewal, set the tone for the following five days, creating a special and inspiring atmosphere:  I will return to a country I have never known That burns a hole inside my heart the size of home The piece, titled Visiting Loss, describes how she felt before returning to Cambodia, her country of origin, after 25 years living in the United States. Her path to self-discovery and reflections about her own identity play a fundamental role in her work.  Ali combines her work as an Art and Global Studies teacher at the University of Washington Bothell with the development of her own projects through Studio Revolt, a media-lab she manages with the Japanese filmmaker Masahiro Sugano. Together they develop “unconventional narratives” that range from short videos and films to live performances. These projects largely differ to what audiences are used to finding in traditional media, both in terms of content and form. Although she points out that they are not always fully understood by the audience, Ali keeps believing in that “sort of chemistry” that emerges when connecting her creative performances with Masahiro’s special visual aesthetics. The Buddhist Bug, one of her most recognized projects, is one such example. It consists of a bright, huge, saffron-colored creature that Ali has taken to a number of open spaces. The main goal of this project is to raise awareness about identity and displacement issues. Ali’s body is a fundamental part of the performance as it makes the bug be alive and able to move so it can get closer to people.  “The work I do would not mean anything without the use of my body,” she explains. “I truly think that arts, and specifically performance, can engage the audience through the energy that our body emits. Of course I want people to ask themselves questions while observing my work, but I also want them be aware of those different emotions that are surfacing. You can have very powerful conversations without speaking a single word.”  Another important feature that characterizes the Buddhist Bug is the use of humor to talk about challenging and compelling topics. “It leads the audience to reflect on different subject such as the challenges of religious hybridity, or what the sense of belonging and tolerance means. However, people always have to look twice to understand what is really happening. Then they smile, or laugh because in the end they are just looking at a bug,” Ali states. Her work is usually placed in public spaces; location a key part of her performances. Ali’s goal is to take contemporary arts out of galleries, the “boxes” where artistic representations are frequently trapped. Her hope is to open conversations with bigger populations. The “surprise element” is another of her priorities when building a project. The original – and not discreet – clothes she wears together with her unexpected actions enable her to catch audience’s attention when they less expect it. The artist likes playing with the surprise factor as a form of engagement.  Even though she recognizes that she could not imagine herself doing anything else rather than arts and teaching, she is very clear when talking about the difficulties that being an artist involves. “You must have a lot of faith and courage to do what you do. As artists we often lack resources and proper support. Also, we are constantly judged, especially in my case as my work is always placed in the street. I get a lot of criticism and judgement by the press and through social media. I guess you need a very thick skin to do this” she declares. Despite the many difficulties her work involves, she still has many ideas to keep the audience surprised. For instance, she is planning to focus her next project in the United States on the so called “Trumplands,” those areas where the current president was voted for the most. “I am very interested in opening up discussion there. These are mostly rural areas where people do not see difference so they can only imagine what difference means and that often relies just on stereotypes and misinformation,” Ali explains. When asked about the outcomes she was expecting to achieve through her participation it the session The Art of Resilience: Creativity, Courage and Renewal, she didn’t hesitate for a second. “I believe we have to create and reinforce these international connections as we have already started to do. We need to break up our bubbles and try to put ourselves on the radar. As artists we should work together for our communities and the world.”  To conclude, Ali insists on “the need to produce new and innovative projects, instead of keep trying to make old models work – which did not help in the past.”  The Salzburg Global program The Art of Resilience: Creativity, Courage, and Renewal is part of the multi-year Culture, Arts and Society series. The session is being supported by the Edward T. Cone Foundation. More information on the session can be found here. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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Orijit Sen - "Comics allow the audience to identify with the characters – it lets them enter their world"
Anida Youe Ali
Orijit Sen - "Comics allow the audience to identify with the characters – it lets them enter their world"
Andrea Abellan 
Comics have traditionally been used to tell fictional stories, but the medium can also be an interesting format to portray reality. In fact, in recent years well-established media outlets have increasingly used this storytelling method, publishing cartoons to inform about current affairs. Indian graphic artist and designer Orijit Sen, a participant of the Salzburg Global Seminar session The Art of Resilience: Creativity, Courage and Renewal, shares his thoughts on the medium and how he has used illustrations to tell difficult and compelling stories. AA: You say that Art Spiegelmann’s graphic novel Maus had a strong influence on you. In this work the artist talks about his own challenges of being in a Jewish family during the holocaust. Do you also find motivation from your own experiences to create your drawings? OS: I am a visual artist and my main goal is to tell stories through my drawings. It is the reason why I prefer to define myself as a “storyteller”. I grew up in India during the 70s – in that time TV was not as common as it is nowadays. I have been drawing since I was a child as comics were the easiest way we had to create our own visual culture. Every time I build a story I fully immerse myself in it first. My work is all about my personal experience so I would never make a piece of a place where I have never been or someone I have never met. I came across Art Spiegelmann’s Maus while I was at college studying graphic design and as soon as I found this piece I realized that serious comics were the thing I wanted to do for my whole life. AA: Your piece, River of Stories, considered to be India’s first graphic novel, talks about environmental, social and political issues surrounding the construction of the controversial dam on the Narmada River. Why do you think comics are suitable medium to raise public awareness? OS: Comics as a medium of storytelling allow the audience to identify with the characters – it lets them enter their world. In my illustrations, I try to be very detailed. I like painting people’s faces, their eyes and gestures, trying to be as accurate as possible. When I finished university, I got involved in an environmental group. We travelled together to Jhabua area, in central India. We met a lot of people there fighting against the dam project. However, the story of all these protests did not make it to the city. People would only see one side of the story: how great it was to have electricity and other facilities thanks to the dam construction. They did not reflect on how much did that the electricity cost and how many people had been displaced to pay for it. Stories like this one are usually told by figures and numbers so it is hard for individuals to relate to them. You can of course understand what it means when 1,000 people have lost their homes if you read about it, but it is not the same as when you can see it. Comics help us to engage with a topic and become immersed in it. You are one of the founders of the Pao Collective, which seeks to supports comics as a medium in India. How would you describe the state of comics industry in the country? The status of comics has evolved a lot since I first published River of Stories in 1994. Mainstream publishers are relying on Indian cartoonists more and more. But even today, comic artists in India cannot make of it a full-time job and still must dedicate their time to something else for their living. We have many good, young, talented artists with amazing ideas but we unfortunately are still lacking funding. From 2009 to 2011 you collaborated in the creation of A Place in Punjab, one of the world’s largest hand-painted mural installed at Virasat-e-Khalsa Museum. What message did you want to convey with it? The government asked me to make a mural for the museum to represent the cultural heritage and landscape of Punjab area. Again, my main goal was to tell the real stories of the people living there and properly describe their hopes and tragedies. I realized how many different perspectives Punjab’s inhabitants have about the same place. People used to talk a lot about how different the area was before the green business arrived. For instance, they repeatedly mentioned the ponds, where they used to spend lot of their time swimming with the buffalos and mingling with other people. However, when I was there I found all these ponds to be very dirty and only full of trash. I decided to create the Landscape of Memories where I portrayed both perspectives, past and present, so it was easy for visitors to compare them. The mural acts as a “storytelling mirror”. In your presentation at the Salzburg Global Seminar session The Art of Resilience: Creativity, Courage and Renewal, you have showed some pieces of your project Mapping Mapusa Market. What inspired you to start it? In the past I used to live in Goa and go to Mapusa market with my family quite frequently. It was always fascinating as it was full of amazing products and people. Later, when I was invited as a visiting professor at Goa University, I thought it would be a good idea to involve students from very different fields such as arts or history to work together. What we are doing at the moment is tracking and mapping different aspects of the market. This work is resulting in a visual map where people, products, and techniques are depicted. What are you expecting from this session? This is a very special opportunity. Here we are, 50 people from all over the world sharing so many different perspectives. It is a unique situation. More than specific expectations I am looking forward to be “surprised”. And so far, I think this is what will happen. The Salzburg Global program The Art of Resilience: Creativity, Courage, and Renewal is part of the multi-year Culture, Arts and Society series. The session is being supported by the Edward T. Cone Foundation. More information on the session can be found here. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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VOICES FROM YOUNG CULTURAL LEADERS

How should cultural institutions approach the creation and articulation of value?
Albino Jopela, archaelogist and lecturer at Eduardo Mondlane University in Mozambique suggests that considering the values of all of the stakeholders in a community will help ensure relevance and sustainability.


Why is it important for arts leaders to engage in cross-cultural conversations?
Jimena Lara Estrada, program coordinator for the Mexican Cultural Institute of New York, talks about connecting with other leaders and the hope that it instills.

How do you articulate value of arts in a society where it is largely seen as a commodity?
Eyad Houssami, founding director of Masrah Ensemble in Lebanon, talks about the challenges of making a case for the arts in a society where the concept of public value is very limited.

What role should orchestras play in their communities?
Mark Gillespie, general and artistic manager of Orchestra of the Americas and Salzburg Global Forum for Young Cultural Leaders Fellow, suggests that orchestras should connect with youth at a very early age so that musicians grow out of the community.