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Profile of Speakers FACP

Sep
09
2014
by : .... Posted in : Blog

Wiendu Nuryanti
The Vice Minister of Education and Culture of The Republic of Indonesia
Was born in Yogyakarta, May 15,1959, she is Deputy Minister of Education and Culture of Culture Field, she receive her Bachelor degree f tom the Faculty of Architecture. University of Gadjah Mada (UGM) in 1982. Then, she went to Architecture and Urban Planning at the University of Wisconsin in the USA, and receive her master degree on 1987.
Work Experience:
. Chairman, January 2005 – January 2007, the Department of Laboratory Design Architecture & Planning, Faculty of Engineering, University of Gadjah Mada . Senior Lecturer, January 2004 – Present, S3 Program Faculty of Architecture and Planning, Faculty of Engineering, University of Gadjah Mada
. Senior Lecturer, January 2003-
Piesent, Faculty of Humanities Program S2 (S2 Archaeology) Faculty of Architecture and Planning . Senior Lecturer, January 2002 – Present, Program S2 Architecture Faculty of Architecture and Planning, FT UGM
Trainer in Training:
– Coordinating Ministry for Economic Affairs, National Seminar: Field Services Liberalization Benefit For The National Interest, 2007
– Ministry of Culture and Tourism, World Culture Forum, 2007
– Ministry of Culture and Tourism, Program Dissemination Cross-Sectoi Forum in the Context of Accelerated Development of Tourism, 2007
– Ministry of Culture and Tourism, Tourism Resources Development in the Region, 2006
– Indonesian Art Institute Yogyakarta, Local Wisdom In order to design Facing Global Competition, 2006
– Ministry of Culture and Tourism, International Business Workshop O Tourism 2005,
Goenawan Mohamad
Literature, Culture
Born 29 July 1941. is an Indonesian poet He is the founder and editor of Tempo
and man of letters. Goenawan Mohamad (“Time”) magazine in Indonesia,
was born in Batang, Central Java. His which was twice forcibly dosed by the
early writings include Potret Seorang Suharto’s New Orderadministration
Penyair Mada Sebagai Si Malm Kundang because of its vocal criticism of the
(The Portrait of A Young Poet as Malm authoritarian regime. In 1999, Mohanu
Kundang) (1972) and Seks, Sastra, Kita was named International Editor of the
(Sex, Literature, Us) (1980),”Kesusastraan Year by World Press Review magazine
dan Kekuasaan’ (Literature and Power) In 1998, he was one of four winners of
(1993)’Setelah Revolusi Tak Ada Lagi the CPJ International Press Freedom
(Once the Revolution No Longer Exists) Awards, and in 2006 he received the D«
(2001), Kata, Waktu (Word, Time) (2001), David Prize award.
‘Eksotopi’ (Exotopia) (2003), Tuhan dan
Hal-hai Yang Tak Seiesai’ (God and other As a writer, Goenawan Mohamad was
Unfinished Things) (2007)! well known for his weekly column in
Tempo, ’‘Catalan Pinggir5 (Sidelines),
For his 70th birthday several of his which is mainly commentary anu
works ate published; ‘Mjuxisme, Sem, critique on current affairs and the raec
dan Petnbebasan’ {Marxism, the Arts, ‘headlines’. He expressed criticism
Emancipation) (2011), -Indonesia/Proses’ of one-dimensional, narrow-minded
(Indonesia/Process) (2011), ‘Poisi dan viewpoints and thoughts in Sidelines,
Antipmsf {Poetrv . i AmipoeOy) which have been compiled into six
(2011V ‘Dt Sekitar Sajak’ (On Poems) books. In Sidelines, Mohamad never
(2011), Tokoh * Pokok’ (Persons + ended with a del initive conclusion, htt
Issues) (2011), Teks dan Iman (Texts always with either questions or open-
anAFaitliJpOll), ‘Detra. Duka, Dss: ended comments intended to encoura^
Sebuah Pertimabngan anti-theodxse’ readers to continue thinking
(Ash, Grief, E tc: A consideration against ,
theodice)’ (2011). ‘Roang dan Kekuasaan’ Mohamad was one of the founders ot
(On Space and Power!’, (2011). ‘Rupa’ the Lontar Foundation and is on the
(Images). (2011). ‘Pagi dan Hal-hal Yang international advisory board of the
dipungut Kembali’ (Morning and Things human rights groupARTlCLE 19.
Retrieved’) f2011i. He is an alumnus of the College of
Europe 1966-1967.
His latest books of poetry is ‘Don Quixote’ (201 i’.-ind ‘70 Ptnsi” (70 Poems).
His plays are published m ‘Tan Maiaka dan Tig a Lakon lam’
m

i Professor in Philosophy
“World Stage And Lorn! Tradition”
i While we are already accustomed to i seeing culture as a stable and fixed system within a community, today, relentless deconstmctive critique of culture has made such a notion somewhat naive. Even if to some extent it is still reasonable to see a culture as | a system, its structure would be
better understood as highly dynamic and dissipative: it keeps dissipating its rotting elements, and thereby regenerating and reshaping itself in its interaction with the outer world, with other cultures
And due to the intensity of cultural
interaction these days, so many elements of our culture do change substantively. Indeed, culture is a provisional imaginative picture of the junctions of various streams. Culture consists of very complex and loosely connected elements j that can be ordered and reordered in accordance to changing circumstances. Culture has its own tndeterminacies, internal strains, contradictions, conflicts and improvisations. Hence the shape, even the core, of a culture is never ; really definite, its configuration may vary, dependi ng on the interest, the interpretive horizon, and above all, on the dialogical partner. The significance of particular elements therein manifests itself only in encounters of “translation’ whereby vis-a-vis ‘the other’, these elements are interpreted, defined, imagined and put on stage (represented).
Tradition is a sort of ‘transubstantiation’ of the amorphous flow of culture, ciphers which hide more complex and ambiguous patterns, ideological effects of various and on-going forms of translation. Like ‘identity’, tradition is a transitory product, something we constantly construct and reconstruct
through various forms of ‘miss en scene, staging’ or ‘representation’ vis- -vis, and in terms of the other. Hence, more than a mere ‘transmission’, tradition is in fact an on going process Of transformation’ ot ‘transfiguration’. Tradition is the sum total of various efforts to make the multiform experiences of the flux intelligible, which in the course of time they become precomcious and pre-personal layers of perception, take the form of particular multiple patterns of feeling, imagination, particular logics, and evaluation: the peculiar spiritual world of a community.
Global technology, communication, politics and economy in fact have extended as well as intensified cultural encounters of mutual translation.
While in every celebration of its ritual, tradition is rearuculated, in the mise- en stme of translational encounter, like in a global festival for instance, it is reinvented: its ambiguous spiritual alphabets and patterns are given new forms, put into new language and new conversation. The participatory event of a ritual is transformed into a contemplation of a spectacle; the celebration of imagination, delight and sheer caprice; it turns into esoteric contemplation of the sublime, fn World festivals what can be expected then is the enlargement of self through interaction of other particularities, through the recognition of the subtlety of each other’s world. World stage, then, would be intersection of multiple waves of existence in it* most sensational forms, where human soul realizes its own particular world and enlarged by meeting other souls, in a new sense of unity.

Bambang Sugiharto is a professor of philosophy at the Parahvanean mversity, Bandung, Indonesia. He attained h,s f,Ph and PhD degree’from the San Tomasso University (Rome, Italy). He is the author of several book on
— (mostly in Indonesian
Cambridge Scholars pTb uE 20“m (Nm CM,e ‘
and international journals ^
Comparee de Philosophie et D’Esthetique, Tokyo-Co^X’gm (2003^0^ f’fll of The Council for Research ,n Values and PhilLph ZSITMl fellow of (he Institute for Advanced Study in Asian CultSn . ( L Chinese University of Honpknner fJhn7 u r, Theologies, The
%
Profile of Speakers
(ml
Bai He
Performance Operation Center Manager
Beijing Poly Theatre Management Co., Ltd.
Select the Essential Make the Future
A view of Asian performing atrs market through the development of Poly theatre line
I. Introduction of Poly theatres
II. Develop from basis, receive different types of performances
III. Base in big cities, reach out with the same management standard
IV. Asian culture’s elite and innovation
V. Widespread art, make ‘mature’ audience
VI. Plan for Beijing Poly theatre Management Company

: . . ‘ ‘ ” ‘• ”
illilli ‘ • . :
Lee Sangman
The Founder of Sejong Center of Performing Arts
Mr. Lee Sang Man served as the president of The International Gelphic Counsel head quarter in Berlin, Germany (2007-2009). Prior to I.D.C. he served as director of board and founding member of Arts Education Service (government agency), also General Director (2004- 2007), third biggest Arts Complex in Goyang City, Korea.
Chair person of Daum Institute training Art Manager and research cultural art promotion policy. He also served seven years in Performing Arts Magazine Auditorium as an editor as well as the president of Performing Art Critic Association. Prior to 20 years as Chief Music Program Producer. He contributed the last 50 years of his life as writing articles leading Korean news paper and abroad and created first Internal Music and Performing Arts Festival-
National Art Prize Seoul City Cultural Prize Government Cultural Medal
Also, last 50 years, he taught Musicology, Art Management, and Journalism at many universities.
Born in Seoul Korea on May 12,1935, Mr. Lee Sang Man studied at:
Seoul National University majoring in Music composition and Musicology. School of Technology, Brussel, Belgium for Art on the News Media,
University of California, Los Angeles (UCLA) for Management Art M.B.A University of Yale for Theater Administration and Philosophy of Art M.BA.
New York University (NYU) for Financing and Economy of Art Korea University for Journalism

Garin Nugroho
Indonesian Movie Director
“Learning from the Planting System of Tumpangsari”
Fundraising for production is one of the most essential parts of culture management mapping. In the mapping lie various fractions, among which are individual characters, attitudes of the organizational system and the vast spectrum of the society’s cultural characters.
This culture management mapping is not static. Instead, it expands and adapts to the changes of the situation and condition as well as the time and space. In that regard, I always adopt one of Indonesia’s agrarian culture’s planting systems called Tumpangsari planting system. Tumpangsari planting system covers time management method, management of sustainable systems, product diversity according to the time and space involved in the activity of production and distribution including system of life itself.

Born in Yogyakarta, June 6th 1961. Graduated from 2 disciplines: Faculty of Law in University of Indonesia and Film and Television Faculty in Jakarta Institute of Art.
Began his involvement in film industry in 1985 with a wide variety of works, from endorsements, music videos and documentaries to television series and story movies. His movies have been played on various international film festivals including those held in Cannes, Berlin and Venice.
Besides making movies, he writes columns in public medias such as Kompas and Tempo. He also publishes books and comics related to the themes communication, culture and politics.
His movie titled “Opera Jawa (Requiem from Java)” is one of his finest works that had soared the international culture sphere. A work created to commemorate Mozart’s 250th birthday, it was well complemented by stage performances and installation works. Stage performances of Opera Jawa had been put before the public in Taman Ismail
Marzuki in Jakarta, Tropen museum in Amsterdam, Theater Spektakel in Zurich and BranJy Museum in Paris. While the installation works had been presented in House der Kunzt in Munich, Bentara Budaya in Kompas, Jakarta, National Gallery of Indonesia in Jakarta and last in Espace Cuturel Louis Vuitton-Paris.
Until today, he has been chairing Director of SET (Technology of Aesthetic Science), which also sets up community development projects, and various workshops both nationally and internationally apart from producing his personal projects and other projects created by associates in the new generation of art. Amongst its workshops is Indie Movie, which has been held annually for 6 years in 5 Indonesian cities and up to 600 participants in each city. Other than being the Director of SEF, he is also the originator and supervisor of Jogja Asia Film Festival, Wakatobi-environment Film Festival and a board member of Syafii Maarif Institute foundation.

v in anting your rroauciwn uy Crowdfunding
Every production needs financing.
Some (local) governments offer loans or subsidies to artists and entrepreneurs,
some people receive investments or gifts from friends and family, but in the current financial crisis it can be difficult to raise enough funding to finance your production.
Luckily a new way of f unding is available: Crowdfunding. Crowdfunding is a collective effort to raise money (or resources) to realize a project that is started by other people or organisations. Instead of having one large f under, you have hundreds of funders who are also the ambassador of your project. Worldwide this is already used by millions of people and in 2011 SI,5 billion was raised through crowdfunding.
In this presentation I will discuss the concept of crowdfunding. Ho it start? What types of crowd! business models are there and you crowdfund successfully? C use it for all projects and orgai How does this change the way working?
I will give an introduction int< world of crowdfunding. Using cases from the Art and Culture from the US, iiurope and Asia, presentation is interesting for who want to know more about crowdfunding, whether you w use crowdfunding for your ow or start a crowdfunding platfo an organization to help people network to raise funding
Ronald Kleverlaan is serial-entrepreneur and the co-founder of WBBclusive leading crowdfunding software company in Europe, Their software raised a euros for more then 300 successful crowdfunding campaigns, doubling ever)
Ronald has a Master in Business from the University of Amsterdam and an International Master in Information Management from the Asia-Europe Ini (University of Leeds/Madrid/Kuala Lumpur)
He founded the Dutch Crowdfunding Roundtable and speaks and writes ab< crowdfunding on international conferences. Ronald has lived and worked in Netherlands, Brazil, Malaysia and Vietnam. He is also the co-founder of the Crowdfunding Network.
Gilles Demonet
Director of The Music Management Programme at The Sorbonae University Paris, Guest Professor at The Shanghai Conservatory of Music
Professional Qualifications and Experience
2012 : Directorat Pontdes-Arts International
Culture Company Ltd
2009 : Delegate Director of the Observatoire du
financement des entreprises parle tnarche 1999-2008 : – CEO, International vice-president, IMG Artists France
– Orchestral tours (France, Spain, Lebanon): Berliner Philharraoniker, Concertgebouworkest Amsterdam, Bayerischer Rundfunk Orchester, Saint-Petersburg Philharmonic, London Symphony Orchestra, etc.
– Ballet tours: Mariinsky Ballet, English National Ballet, etc.
– Concerts production (Chatelet Theater, Theatre des Champs-Elysees, etc.)
– Consultancy (programming, budgeting, managing)
Academic Professional Qualifications Teaching:
2007 : Paris-Sorbonne (Faculty of Music and
Musicology). Head of the Music Management Department. In charge of international projects (Abu Dhabi, China,
Estonia)
2011 : Shanghai Conservatory of Music
(Arts Administration Department).
Guest Professor (European music market)
Research and publications: Observatoire Musical Francais (Paris Sorbonne)
2008 : CoDirector of the S£rie: Activites et
institutions musicales
Essays
. 2007 : Orchestra touring in France (legal, economic and organizational aspects) . 2008 : The risks incurred by the promoter of Classical Music Concerts in France . 2009 : The production of musical shows at the Stade de France (Paris)
. 2011 : Production and distribution of multidisciplinary (music and dance) projects in France
Symposiums
June 2011 (Venice, Italy)
July 2011 (La Spezia, Italy)
Dec. 2011 (Guangzhou, Opera House)
April 2012 (Toulouse)
May 2012 (Paris)
Sept. 2012 (Solo City, Indonesia)
Languages
French, English, Italian, German.
Educational Qualifications
2010 : PhD in Music and Musicology (Origin and duties of the Music Director in
Opera Houses and Orchestras in France)
1980 : Master Degree in Law
: Performing arts (music): cost, value and price : The conductor in the XIX’ Century as a manager : To manage a concert hall (international training session)
: Notation of opera staging : Live broadcasting of opera performances in movie theaters (coordination m partnership with the French Operas Union)
: The European musk market (30th Annual Conference Federation For Asian Cultural Promotion – FACP)
Profile of Speakers
Dewi Gontha
Director of Java Festival Production
f
Introduction
s
PT Java Festival Production is a company that was established in 2005 to hold ‘
the first Jakarta International Java c
Jazz Festival. The Company’s mission (
is “Bringing the world to Indonesia” ;
through music and entertainment. <
Passion for music was the one asset that j the team originally had to start of its first project. Believing that Indonesians could produce a world-class music festival was the goal and the company had succeeded in doing so in the past 8 years.
Now the Company has 3 annual music Festival catering different music genres for all ages. The additional two festivals are The Java Soulnation Festival and the Java Rockinland Festival. Through the different Festivals, the Company has been able to promote Indonesia in a positive way and to create a good image through music showing the talents, creativity and professionalism that Indonesians possess.
Throughout the years, the company had also held other events such as the live performance of Diana Krall, Jamiroquai, Andrea Bocelli, The Roots and Julio Iglesias. While starting to be acknowledged by others, the company had also organized events such as:
– Private Event for Statoil Hydro, presenting a Norwegian artist.
– Private event of SocieteGenerale
Singapore in Jakarta presenting an
Indonesian talented singer.
– National Christmas celebration in 2010 attended by the President of Indonesia.
– Organizing the visit of President Obama to the University of Indonesia.
Jakarta International Java Jazz Festival
The Jakarta International Java Jazz Festival started in 2005 and had attracted 47,500 visitors that year. In 2012, which was the 8th year, the Festival attracted around 106,000 visitors.
The usage of the word Jazz in the middle of the festival’s name had raised some questions from the Festivalgoers at the time. Back in 2004 when the planning was still concocted, many questioned whether Jazz would be a popular enough music genre to create a successful Festival. The younger generation who mostly listened to Pop, Rock and R&B were doubtful of the event However, with a wide spread of age range inside the strong team whose members were very passionate about music, everybody contributed abundant creative ideas for the Festival s program. The Festival in 2005 ended successfully, presenting arusts such as the Father of Soul James
Brown” to the new upcoming young jazz singer (at the time), Jamie Callum.
With the combination programs, the company managed to attract visitors of between 18 years old to 65 years old, although the majority was between of 25 – 50 years old. As the festival grew, the number of visitors grew and the percentage of each age range also increased.
Through the years, the company had been attempting to educate its audience how vastly varied the styles with the body of Jazz and how endless the possibility for different musicians to create new music underneath Jazz umbrella. For example, the Festival once presented Slank, a well-known Indonesian rock band at the Java Jazz Festival and had them collaborating with some International Jazz musicians. As a result was a show of the rock band Slank that has never been seen elsewhere.
Java Soulnation Festival
This Festival was first held in 2008 presenting Hip Hop, R & B and Soul.
In the opening year, it attracted around 16,000 visitors. The Festival grew to be called the urban music Festival and last year it attracted around 40,000 visitors within 3 days in a much smaller venue compared to where Java Jazz Festival was first held.
Having its festival with a combination of indoor and outdoor area, the Festival mostly attracted younger audience despite its goal to reach wider viewers of ail ages. In its endeavor to fulfill this goal, many popular artists from different generations such as Simply Red, Arrested Development, The Ting Tings and Akon were presented to expand the net.
Java Rockinland Festival
Java Rockin’land Festival was first held in 2009 to present Rock and alternative music. Held mostly outdoors, the Festival attracted 54,000 visitors in 2011 within 3 days. It had staged names such as Mr. Big, Cranberries, Stryper, Mew, Vertical Horizon, Melee, Frente, Loudness, Good Charlotte and many more
Creating an outdoor festival experience and presenting an ambience where visitors can feel comfortable as long as they like—all through the event, is the main goal of this festival This is done by providing food and entertainment, by presenting a program that will be attractive for all ages
First: How To Attract Festival
Enthusiast
There are a few points worth paying extra attention to in order to win a large i audiences interest:
1. Program
Creating a good program that presents a combi nation of both current and legendary artists to attract wider age range.
2. Timing
Choosing the right dates and time is very crucial to the success of the event.
3. Ticket Pricing
– Creating ticket pricing in Indonesia is very sensitive. Consider the program before deciding and releasing the ticket prices.
– Creating progressive ticket pricing is to lure people to buy tickets as soon as they are released and not to wait until a few days before the event.
– Know that the students are more sensitive to ticket price compare to the professionals. To attract the students, we need to release lower ticket price.
– Ticket pricing should be decided after the performing artists’ formation has been fixed to help predicting the age range of the artist fans.
4. Promotion
The promotion of each event plays a vital role in their success. Using printed medias is very important to reach the professionals and the more mature generation. Using the radio to promote the event will reach a wider market, most of whom are the younger music lovers. Choosing the right radio stations to promote a certain event must also come into consideration, judging from the nature of the event that will prescribe the message to convey in the promotion. Televisions play the largest role in reaching out to the rest of nation due to the high level of the Indonesians’ consumption intensity of television programs.
| Second: Ticket Sales
PT Java Festival Production was the first company to do create fully online ticket sales for many events in Indonesia. Previously, people could buy the voucher online to then be exchanged on the spot of the event. However, this was finally converted into an entirely online ticket booth. A few points to consider:
– Avoid ticket exchange, which will take a lot of time and energy. Replacing this with a straightforward online system makes the whole process far more efficient. People wouldn’t have to spend much time traveling to buy tickets and people can buy from overseas as well with their credit cards or paypal.
– Work with ticket boxes all over Indonesia to enable people who don’t have credit cards to still be able to purchase, where they will get the actual ticket right away.
– Make student offers with special discounts.
* Avoid duplication by using barcodes.
– Collaborate with sponsoring banks.
Ms. Dewi Gontha was born in Leidschendam, Westhemm part of Netherland and grew up in the family whose parent keen in entertainment industry. From young age, she has already involved in many great events. She has graduated from master degree in Boston University, USA. Recently she is President Director for several big companies concentrated in production, promotion and marketing of various music festivals and concerts such as Java Jazz Festival which presented James Brown, Fourplay, John Legend, Tony Braxton, Diane Warren, Jamie Cullum, Santana, Stevie Wonder, Java Soulnation Festival presented Simply Red, The Ting Ting, Nelly, LMFAO, Depapepe, Akon, etc.; Java Rockin’land Festival presented Stryper, Cranberries, 30 Second To Mars,w Neon Trees, Mr. Big, Secondhand Serenade, etc. Some concerts were Julio Igesias, Andrea Bocelli, Jamiroquai, Children Are The Future Concert with Sadao Watanabe and many more. In addition she also run merchandising stores and investment consultation company. Her organizational and work experiences show that Indonesia is not merely able to perform traditional art and culture shows but also perform world artists and group bands in their peak popularity.
Profile of Speakers
Glorife Samodio
FACP Governor of Manila
“Breaking the Arts into the World of the Renaissance Generation ’
Glorife Soberano-Samodio De La Salle University, Manila
It is a widely accepted fact that marketing the arts is a universal problem. Even the most developed and creative countries and citieshave become more aware that the interest for the arts has to be well sustained for it to maintain a healthy culture and arts landscape.
In developing countries, the task of promoting the arts has become more challenging since it cannot be denied that culture and arts is also closely tied ‘ in with the economic situation of the country. The rising production costs, lack of spending power and insufficient art education seem to be the culprits for a less active arts market. But is it all there is to it?
There is also that pressing question from among arts promoters on why ate the arts audiences seem to be graying? Is it true that the arts, specifically classical and fine arts only appeal to the older people? What can be done by arts organizations to reverse this alarming trend, and what must now be done to
make the classics more palatable to younger audiences which are now called as the “Renaissance Generation”?
This paper presentation seeks to answer these questions based from the author’s compilation of observations of various arts managers and promoters from the Philippines and the United States, which would greatly represent the cases of these two different countries as to how arts marketingis done to stimulate audience engagement from young people. The role of the academe being a provider both of talent and audiences in the arts will likewise be discussed—that the better it develops student artists, the better it can serve the viewing public with the high quality art that they deserve to see. Moreover, the better the academe develops yonng audiences, the better it can serve and inspire artists to work on their craft as they deserve to be seen and experienced. These young people of today will be the next arts audiences, and if they are not developed well at this point in terms of appreciation and patronage, there will be no future for the arts and the creative industries in the coming years.
Keywords: Creativity, Arts Marketing, Arts Education, Cultural Education


:r-;;
Ms. Samodio is an arts educator, events organizer, cultural worker, director, production designer, marketer, artist, graphic designer and scriptwriter. She is currently the Culture and Arts Director in De La Salle University, a position she has held since 2002. Ms. Samodio took her undergraduate and graduate studies at De La Salle University in 1992 and 199S, respectively; and majored in Marketing Management. Her introduction to arts management was taken as a short course m the Asian Institute of Management, with their Managing the Arts Program m2004.
She has attended various conference and seminars in culture and arts education, creative industry, theatre education, student affairs management, production management, directing, production design, technical and lighting direction- She has also been invited to give talks on arts education and arts marketing in local and international conferences.
She is a Kennedy Center( Washington, DC) International Cultural Exchange Fellow the secretary of the Sub-commission for Cultural Education in the National Commission in Culture and the Arts (Philippines), and a governor of the Federation for Asian Cultural Promotion, and president of the Association of Cultural Offices at Philippine Educational Institutions.

Joko Widodo
Mayor of Solo City
Ir. H. Joko Widodo also known as Jokowi was bom in Surakarta, 21 June 1961. He is the two times elected Mayor of Surakarta (Solo) from 2005 – 2010 and
2010 – 2015. He earned his degree from | the Faculty of Forestry from University I Gajah Mada Jogjakarta in 1985.
He took many lessons from Europe where he has visited many cities during his business trip. Under his leadership, Solo has a branded a tagline as ‘The Spirit of Java” and one of his major decisions was to relocate the junk dealer in the Garden Banjarsari without turbulence. It was the effort to revitalize the function of the open green spaces, give conditions to the investor to also think about the public interest, perform a direct and open communication.
Solo, a 44km square city with 530,000 people is a cultural city with multi¬ethnic background. It is a city rich with cultural heritage and historical artifacts, both intangible and tangible. Although Solo is a city that prizes her history dearly, she is also capable of highly esteeming the collective value of change as a natural demand of time progression. Along with the growth of technology, the awareness to conserve and to study our art and culture is progressing as well Soloes answer to the challenge of a changing time is a culture-based development system that pursues the various changes of time through three approaches: The first approach is to position the city as a venue for various national and international events.
Second is to condition the infra and supra structures of the city to qualify as a hub of many interests and activities. Lastly, is to brand the city as a cultural city that has uniqueness and a strategic stronghold.
Take Batik and Javanese traditional dances as two examples. Solo has built a reputation as a city of Batik and the center of Javanese traditional dance development although there are many Indonesian cities that actually have similar potential. In Solo, Batik craftsmen and Javanese dance choreographers have managed to not merely preserving the ancient philosophy of the motives and motions. They take it even further to advance applying those elements into more contemporary forms of Batik and Javanese dances.
Some of his achievements were when he made Surakarta as one of the members in the Organization of W’orld Heritage Cities, signed m 2006, and later Surakarta was the host city of the organization conference in 2008. In 2007 and 2008 Surakarta become the host city of the World Music Festival which in 2007 was held in Vastenburg Fort Complex, and in 2008 was in Mangkunegaran Palace. Besides their honor in his work, he himself received many reputations Among them were elected as one of “10 Leaders 2008° by Majalah Tempo. The Best Major in the World on 2009, Bung Hatta Award for his suceed leadership in Solo City and Universitas Sebelas Maret Surakarta (UNS) Award.

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Profile of Speakers
Glorife Samodio
FACP Governor of Manila
“Breaking the Arts into the World of the Renaissance Generation”
Glorife Soberano-Samodio
De La Salle University, Manila
It is a widely accepted fact that marketing the arts is a universal problem. Even the most developed and creative countries and citieshave become more aware that the interest for the arts has to be well sustained for it to maintain a healthy culture and arts landscape.
In developing countries, the task of promoting the arts has become more challenging since it cannot be denied that culture and arts is also closely tied in with the economic situation of the country. The rising production costs, lack of spending power and insufficient art education seem to be the culprits for a less active arts market. But is it all there is to it?
There is also that pressing question from among arts promoters on why are the arts audiences seem to be graying? Is it true that the arts, specifically classical and fine arts only appeal to the older people? What can be done by arts organizations to reverse this alarming trend, and what must now be done to
make the classics more palatable to younger audiences which are now called as the “Renaissance Generation”?
This paper presentation seeks to answer these questions based from the author s compilation of observations of various arts managers and promoters from the Philippines and the United States, which would greatly represent the cases of these two different countries as to how arts marketingis done to stimulate audience engagement from young people. The role of the academe being a provider both of talent and audiences in the arts will likewise be discussed—that, the better it develops student artists, the better it can serve the viewing public with the high quality art that they deserve to see. Moreover, the better the academe develops young audiences, the better it can serve and inspire artists to work on their craft as they deserve to be seen and experienced. These young people of today will be the next arts audiences, and if they are not developed well at this point in terms of appreciation and patronage, there will be no future for the arts and the creative industries in the coming years.
Keywords: Creativity, Arts Marketing, Arts Education, Cultural Education
Ms. Samodio is an arts educator, events organizer, cultural worker, director, production designer, marketer, artist, graphic designer and scriptwriter. She is currently the Culture and Arts Director in De La Salle University, a position she has held since 2002. Ms. Samodio took her undergraduate and graduate studies at De La Salle University in 1992 and 1998, respectively, and majored in Marketing Management. Her introduction to arts management was taken as a short course in the Asian Institute of Management, with their Managing the Arts Program m 2004.
She has attended various conference and seminars in culture and arts education, creative industry, theatre education, student affairs management, productton management, directing, production design, technical and lighting direction. She has also been invited to give talks on arts education and arts marketing m local and international conferences.
She is a Kennedy Center( Washington, DC) International Cultural Exchange Bellow the secretary of the Sub-commission for Cultural Education in the National Commission in Culture and the Arts (Philippines), and a governor of the Federation for Asian Cultural Promotion, and president of the Association of Cultural Offices m Philippine Educational Institutions,

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