https://hdl.handle.net/20.500.12328/8 Thu, 13 Aug 2026 03:05:29 GMT 2026-08-13T03:05:29Z https://hdl.handle.net/20.500.12328/5573 Beirut Brussels School of Performing Arts/ Dar El Fan: Conceptual Project Umah Rae, Gijsen; Sarkis, Joanne Beirut Brussels School of Performing Arts (BBSPA) is a contemporary dance and circus arts center that aims to create a sustainable and accessible space for artistic training, creation and community engagement in Beirut, Lebanon. Founded by Umah Rae Gijsen and Joanne Sarkis, the project was developed in response to the lack of professional spaces, technical resources and long-term opportunities available to performing artists in Lebanon. By combining contemporary dance and circus disciplines, BBSPA plans to offer classes, workhops, performances and events for both children and adults. The center aims to create a safe, inclusive and community oriented environment that supports both artistic and personal development. In addition to its educational programs, BBSPA will host Dar El Fan, its professional collective. Dar El Fan This collective brings together emerging and professional artists to develop original contemporary dance and circus productions through research, creation, rehearsals, and performance. The collective serves as BBSPA’s professional artistic branch, creating opportunities for collaboration, touring, and artistic exchange both locally and internationally. Together, BBSPA and Dar El Fan create a complete ecosystem that supports artists from training and skill development to professional creation and performance. BBSPA seeks to contribute to Lebanon’s cultural landscape by providing artists with accessible professional opportunities while encouraging artistic exchange and international collaboration, particularly with organizations in Belgium, Europe and the MENA region. Through a combination of memberships, performances, workshops, studio rentals, merchandise and external funding, the project wants to build a financially sustainable model that supports the long-term development of Beirut’s performing arts community. Thu, 01 Jan 2026 00:00:00 GMT https://hdl.handle.net/20.500.12328/5573 2026-01-01T00:00:00Z https://hdl.handle.net/20.500.12328/5572 The Reclamation Assembly (TRA) Soekaloe, Kirti The Reclamation Assembly (TRA) is a Dutch-based practitioner-member association that connects cultural institutions with culturally embedded artists, performers, educators and knowledge-holders from marginalised communities. TRA’s USP is twofold: it helps institutions activate their programmes through living cultural context, while giving underrepresented, diasporic and marginalised practitioners access, visibility, fair pay and authorship protection. TRA will build a legal association, practitioner network, digital directory and ethical mediation framework. Through activation packages, consisting of performances, talks, workshops, demonstrations and advisory sessions, TRA will make collaboration between institutions and practitioners fair, practical and repeatable. TRA begins in the Netherlands, with the aim of creating a cultural sector where collections, programmes and histories are brought into rightful relationships with the living knowledge systems that give them meaning. Thu, 01 Jan 2026 00:00:00 GMT https://hdl.handle.net/20.500.12328/5572 2026-01-01T00:00:00Z https://hdl.handle.net/20.500.12328/5571 The Traveling Filmbus Prinz, Laura; Schiller, Yuval The “Traveling FilmBus” is a mobile, non-profit cultural initiative that brings high-quality, non-commercial cinema to villages, towns, and municipalities across rural Catalonia that lack access to public or arthouse cinemas. The project operates through a specially equipped “FilmBus” that travels to 24 municipalities in 8 partner comarques each 6-month summer tour, where it temporarily transforms a central public space into an open-air cinema for the weekend. Each stop includes multiple free evening screenings, using a projection system integrated into the bus and set up under the open sky. Screenings are free of charge but require prior registration. Developed as a direct response to "cinema deserts" (regions with only zero to two cinema screens), the project offers a flexible, mobile, and innovative model that requires no permanent infrastructure or financial investment from local councils. By blending curated arthouse cinema with the accessibility of pop-up community events, the project aims to bridge the “territorial gap,” working toward a reality where geographic location is no longer a barrier to cultural experiences. The FilmBus screens high-quality arthouse films. The programming catalog will be almost entirely European, with a strong emphasis on Catalan cinema. The annual tour route is structured around shifting seasonal themes, such as Memory, Migration, Dystopia, and Tourism. Each stop offers free film screenings complemented by daytime cultural activities, including workshops, masterclasses, and talks with creators. Organized in collaboration with local artists, directors, and actors, these activities aim to strengthen ties with regional creative communities and expand the project's cultural impact beyond passive viewing. Thu, 01 Jan 2026 00:00:00 GMT https://hdl.handle.net/20.500.12328/5571 2026-01-01T00:00:00Z https://hdl.handle.net/20.500.12328/5570 Women Artists and their Printmaking Legacies in the United States. Four Case Studies Across the 19th and 20th Centuries: Frances Flora Bond Palmer, Ellen Day Hale, Agnes Tait McNulty, and Elizabeth Catlett Rawlins Whitley, Ava Women printmakers have historically occupied a marginal position within North American art history despite their significant contributions to the development of printmaking as both an artistic and commercial medium. This research examines the lives, careers, and legacies of four women printmakers active between the nineteenth and twentieth centuries: Frances Flora Bond Palmer (1812-1876), Ellen Day Hale (1855-1940), Agnes Tait McNulty (1894-1981), and Elizabeth Catlett (1915-2012). These artists were selected because they represent different historical periods, social backgrounds, and professional experiences within North American printmaking. Together, their varied levels of institutional recognition and preservation provide an opportunity to examine the factors that shape artistic legacy. Through a comparative case study approach, the research explores how gender, race, class, and historical context shaped each artist’s opportunities, artistic production, and posthumous recognition. The findings demonstrate that artistic achievement alone does not determine historical visibility. Rather, the preservation and recognition of artistic legacies are significantly influenced by institutional stewardship, scholarly research, and curatorial decisions. Thu, 01 Jan 2026 00:00:00 GMT https://hdl.handle.net/20.500.12328/5570 2026-01-01T00:00:00Z