Petition Tag - culture

Brazil has advanced greatly in recent years. On the one hand, it has become a model of democracy for Latin America. On the other hand, it has managed to incorporate the fight for gender equality and the promotion of racial equality.

But still Brazil has failed to promote the historic rescue of our native peoples, or Indians, who still remains somewhat on the fringes of the development process itself as a subordinate population. What is the reason for this delay?

They can not be left behind, because our history can not be orphaned.

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In the early 1960's, Kendeja was created as a reservoir for national culture in Liberia. It became a symbol of Liberian nation tapestry, melting in one pot traditions from every parts of the country.

Young men and women came from remote villages to learn and practice many aspects of a culture that was being ghastly swallowed by modernism. The kids went to school and graduated from high school just like any other child of the country, with the added advantage of having lived in a cultural environment where they learned to dance, sing, and practice many cultural acts that their peers were oblivious to. 1989 war brought an abrupt end to all things. Like everything else, Kendeja fell into pieces.

On Tuesday, June 9, 2009, L. Johnson officially opened his new hotel, on the land that once hosted the soul and heart of Liberia's culture. The ceremony was attended by President Ellen Johnson Sirleaf, Chief Justice Johnnie Lewis, the US and Chinese Ambassadors and a cohort of government officials, business leaders and international workers.

The government promised to reopen Kendeja, our national treasure, on another piece of land. The arts and culture community needs this promise to be fulfilled.

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Моля за вашата подкрепа. Поех тази инициатива със създаването, разпространението на представително лого на България, защото смятам, че нашата страна освен вкусна храна и кирилица има много по древни и общочовешки образи и символи с които да бъде представена пред света.

Обичам музиката и изкуствата и смятам, че чрез тях най-искренно могат да се обединят хората не само в България, а и по света. Мисля, че на всички нас им липсват символи и идеи зад, които да застанат. Нека те да не са крале, олигарси или деградирали социално-икономически и политически системи, а хора на изкуството и културата. Нека бъдат Орфей, Майстора, Алеко или стотици други заслужили, а не хора които са попаднали в историята ни случайно, понеже са ни излъгали да ги иберем или сами са се избрали. Надявам се, колкото се може повече хора да се опитат да приемат моята кауза, като тяхна.

Правя го безвъзмездно, защото живея дълги години в Лондон, изпитвам нужда да бъда съпричастен и съм благодарен на моя народ, който се бори със собствените страхове, властващата безнравственост и безчовечност! Подозирам, че на някои хора няма да им хареса моето предложение, но ако имате по-добро с удоволствие бих ви подкрепил!

С уважение, Михаил Яровой

Предоставям моето право, на всеки който би желал да репродуцира и разпространява това лого. Благодаря ви! :)

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Women represent 50% of those working in the performing arts, yet 89% of European arts institutions are directed by men.

The European Parliamentary Resolution, 10 March 2009, regarding Equal treatment and Access for men and women in the Performing arts, underlines that inequalities in career prospects and opportunities between women and men in this field are very much present and persistent, and insists that equality between men and women should be available for all players in the performing arts sector, in all disciplines, structures (production, broadcasting and teaching) and activities (artistic, technical and administrative).

Women dedicate time and energy to achieve individual goals, with enormous personal, social and financial sacrifices and are victims of a system that resists all possible forms of change. They are subject to discriminatory behaviour in selection and appointment procedures and access to cultural institutions, academies and universities, means of production and promotion and broadcast networks in all disciplines.
Talent alone is not sufficient for the artistic quality of a performance or success of a career leaving skills and talents unexploited, damaging artistic dynamism, influence and economic development and depriving the arts of talent and skills.

Regular contact with the public is necessary for recognition, and it is, therefore, essential to increase the presence of works created by women in programming, collections, publishing and consultation.

THEREFORE: We invite EU Member States to:

a) analyse and fight mechanisms producing inequalities or discrimination in the performing arts.

b) remove obstacles to women accessing top positions in cultural institutions, universities and accademie.

c) confirm that equal work by men and women must be matched by identical pay.

d) produce comparative analyses and statistics of the current situation in the arts to facilitate design and implementation of common policies so that progress is achieved.


Signatories:
Patricia Adkins Chiti, President of the Foundazione Adkins Chiti: Donne in Musica
Gigliola Zecchi Balsamo, Vice President
Fabrizio Martini, Mayor of Fiuggi, Member of Board
Gian Paolo Chiti, Composer, Member of Board
Bruno Ludovici, City Councillor, Member of Board
Nicolò Sella Di Monteluce, Senator, Member of Board
Giovanni Floridi, Notary, Member of Board
Lucilla Di Rico, Civil Servant, Member of Board
Elisa Costantini, City Councillor Fiuggi
Nancy Van de Vate, Vienna Modern Masters, Austria
Sonja Meller, FIFTITU%, Austria
Yiannis Miralis, European University of Cyprus
Lenka Kilić, Hudbaby, Czech Republic
Birgitte Alsted, Kvinder I Musik, Denmark
Anne Kierulff, IMPRA, Denmark
Pia Bode, IMPRA, Denmark
Sanna Ahvenjärvi, NAMU, Finland
Joanna Bruzdowicz, Rencontres Internationales Musicales en Catalogne, France
Helen Lux Dryselius, GEDOK, Germany
Renate Massmann, GEDOK, Germany
Beatrice Campodonico, Suonodonne, Italy
Paola Ciarlantini, Artemusic(a) – Compositrici delle Marche, Italy
Elisabetta Strickland, Gender Interuniversity Observatory Rome, Italy
Kikki Dellisanti, CEVEDIM, Italy
Angela Montemurro, Parnaso Donne in Musica, Italy
Silvana Velonà, Accademia del Tempo Libero, Italy
Vilma Campitelli, Musicologist, Italy
Patrizia Cerroni, I Danzatori Scalzi, Italy
Marilisa Puppi, Dancer, Italy
Dafina Zeqiri, Neomusika, Kosovo
Danielle Roster, CID Femmes, Luxembourg
Paula Azguime, MISO, Portugal
Mihaela Vosganian, ARFA, Rumania
Vojna Nesić, Udruženja “Žene u Muzici” Kragujevac, Serbia
Cruz López de Rego, Asociación Mujeres en la Música, Spain
Carmen Cecilia Pinero Gil, Euterpe Muyeres y Música, Spain
Stina Lyles, KVAST, Sweden
Elin Horburg, IMPRA, Sweden
Helene Lux Dreyselius, Evterpe, Sweden
Selen Gülün, Istanbul Bilgi University Music Department, Turkey
Debbie Golt, Women in Music, UK
Carole Kost, International Honour Committee, Italy
Pinuccia Carrer, International Honour Committee, Italy
Francesca Pinto Bonomo, International Honour Committee, Italy
Irma Ravinale, International Honour Committee, Italy
Claudia Buccellati, International Honour Committee, Italy

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The village of Mataria (part of Cairo) was popular among pilgrims from the Holy Land and was considered one of the holy sites and a blessed place. Of all the sites visited by pilgrims after Christianity was declared the religion of the Roman Empire at the beginning of the fourth century, this tree was regarded as the most holy.

It is told that as Mary, Joseph, and baby Jesus tried to escape from those pursuing them and the trunk of the sycamore tree miraculously opened its bark where they hid inside, escaping detection. The tree is said to have medicinal properties, which is the reason why its branches are depleted.

Nearby it is believed that a spring of water gushed out of the ground forming a pool where the Virgin Mary bathed Jesus is also said to be part of the miracles of the place because of its healing water. This is now known as the "Well of Mary"

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Jay Lindsey is an incredible R&B singer/songwriter who's talent is simply pure genius. He has been in pursuit of a record deal for many years, but in the music industry, more often than not, it's not a matter of what you know, but who you know.

Jay Lindsey has been singing since the tender age of 4, starting in the church with his family gospel group, "God's Chosen," lead by his mother, Reverend Sandra David. This amazing artist later ventured to New York City, where he was noticed by rap legend Big Daddy Kane, who took Jay Lindsey under his wing, and put him in the music video for Kane's single, "Hold It Down." He would go on to be noticed by the likes of fellow R&B artist Tyrese, who calls him "The Truth," Dru-Hill member, Jazz, as well as multi-platinum group 112, who took to twitter to label Jay Lindsey as BOLD, AUTHENTIC, CREATIVE, and HEARTFELT, after they heard his song, "Last Words Before Suicide."

In a way, Jay Lindsey is somewhat reminiscent of the late great R&B legend, Donny Hathaway, because of the pain that he intertwines between his lyrics and melodies. Other songs, such as "4 A Long Time," which is the first cover song Jay Lindsey ever did, showcases some of Jay Lindsey's vocal abilities. This extraordinary talented artist has endured homelessness, slept in abandoned buildings, sung on the streets of Hollywood Blvd in the cold and rain on many occasions, and more... all for his dream of being an official professionally signed recording artist. Jay Lindsey may not have a huge fan base at the moment. Due to limited resources, this artist has not been able to make a professional music video, or promote his music like he would like to, but his talent speaks volumes, and quite simply... the kid is good. He knows his music, and deserves a shot. This talent cannot keep going un-noticed, so today we come to you, the people.

We're asking you to stand with us in our fight to help this talented artist dream of finally securing a record deal, a true reality. Please go to You Tube. Once your there, type in "Jay Lindsey Campaign," and listen to that song.

http://www.youtube.com/watch?v=p_I9ThhOWmc Then type in "Jay Lindsey Last Words Before Suicide," and hear that song as well. http://www.youtube.com/watch?v=2yOAVYkdD0U

The one thing you'll immediately notice is this artist remarkable talent. You can stand with us today, by signing this petition. It's time for us to love one another. It's time for us to help one another. Let's help Jay Lindsey's dream become a reality. These signatures will be seen by the Interscope Records, and many other "green lighters" in the music industry. We thank you in advance, and may God continue to bless you all.

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On the 11 November 2011 Mavili Collective – a group of artists and theatre makers - occupied the disused building of Embros theatre and proposed an intense programme of activities.

The occupancy installed itself as a “re-activation” and proposed initially an intense twelve-day programme of activities bringing together artists, theoreticians, dance/theatre makers, architects and the general public. As Mavili Collective (2011) states in the manifesto that was sent to press and public: ‘This re-activation is not a proposition of a “better” model of production and management but is a proposition of re-thinking, responding and re-making.

This model emerges from the current lacks and shortfalls of our system and attempts to interrogate the global changing landscape at this moment in time.’ During the last year in Embros, in Athens over 500 artists, theoreticians and practitioners presented work; ranging from emerging artists and students to university professors and established practitioners, working across multiple disciplines.

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At present the Creative & Cultural Sector of Trinidad & Tobago earns about $1.9 billion for the local economy. The Artists' Coalition of Trinidad & Tobago (ACTT) believes that this sector can earn over $6 billion annually within 4 years if certain programmes are implemented. One of the most important of these interventions is the passing of 50% local content quotas on all Broadcast media in this our 50th year of Independence. 50/50- or 50 for 50!

In March 2001 the Recording Industry Association of Trinidad and Tobago (RIATT)- an organisation representing the interests of individuals and entities involved in the recording of all genres of local music, organised a march in downtown Port of Spain, to protest the lack of airplay for locally produced music. In 2003 and 2004 marches followed led by the Entertainment Industry Coalition- the original name for ACTT. Since the 1970s strong articulate lobbies existed for local content in television led by advocates such as Christopher Laird of Banyan and Fred Thornhill of Advance Dynamics. To date, various cultural activists and Interest groups have consistently pleaded for 50% local content- to no avail.

These protests articulated the need to pass local content quotas- just as countries such as Canada, Brazil, France and Northern Ireland have done to protect their cultural identity and products. Most countries in the world now are passing local content legislation and making it the foundation of the building of their Creative Industries- the 2nd largest industries in the world, worth trillions. We are certain when local content legislation is passed in Trinidad and Tobago, it will foster an economic and creative Renaissance- as well as strengthen our cultural sovereignty and national pride.

One of the principal misconceptions faced by the cultural fraternity is what constitutes 'local content'. Many believe we are asking to have legislation passed for radio stations to play ‘wine and jam’ music all day long. On the contrary, local content is not limited to only indigenous musical forms such as soca, chutney, parang, rapso, calypso and so on; but includes other genres of locally produced music such as hip hop, rock ,r n b, pop, jazz and gospel to name a few. There is more than enough quality music recorded in all these genres to fulfill any radio playlist...

Local content legislation will also provide the opportunity for increased revenue collected by Local Copyright Management Organisations (CMO’s). The greater part of this revenue collected from broadcasters will remain within the local economic system rather than be exported to owners and creators of foreign content. This will subsequently lead to an Increase in royalty distribution to local artistes.

Increased paid content in local TV and film will also result in downstream expansions in local theatre, fashion, visual arts, and other forms and be the arrowhead of exporting our Creative Industries to the world. The local Oil and Gas sector has local content quotas and the architectural and consulting sectors are also battling for local content in their sectors as well.

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2012 წლის იანვარს, ეროვნული სამეცნიერო ბიბლიოთეკა http://www.sciencelib.ge/ გადაეცა თბილისის ჯავახიშვილის სახელობის სახელმწიფო უნივერსიტეტს, მისი უძრავი ქონება კი ეკონომიკის სამინისტროს ბალანსზეა. ცნობილი გახდა, რომ ეკონომიკის სამინისტრო ბიბლიოთეკის შენობის გაყიდვას აპირებს.

http://www.investingeorgia.org/upload/file/National_Library_of_Science.pdf საინვესტიციო შეთავაზებაში შენობის სარეკომენდაციო ფუნქციაა სავაჭრო-გასართობი ცენტრი.

ხელისუფლების გადაწყვეტილება გაასხვისოს ბიბლიოთეკის კუთვნილი შენობა აშკარად ეწინააღმდეგება საბიბლიოთეკო საქმის შესახებ კანონის მე-4ე მუხლს.
http://www.nplg.gov.ge/index.php?sec_id=302&lang_id=GEO

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In January 2012 National Scientific Library, formerly an autonomous organization, was transmitted to Tbilisi State University, while its real property stays on the balance of the ministry of economy.

Recently it became known that the ministry has put the building of the library on the auction with the recommended future function of shopping and entertainment center. Government’s decision to privatize the building of the public library is against the Georgian Law on Librarianship.

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Honourable James Moore
Minister of Canadian Heritage and Official Languages
House of Commons
Ottawa, ON, K1A 0A5

March 20, 2012

Dear Minister Moore,

The BC Touring Council is a not-for-profit organization serving presenters and touring professional artists for over 35 years. Included in BCTC’s purposes is to support the work of regional performing arts presenters through a networking marketplace, and to promote and support the coordination of tours for primarily BC and Canadian artists.

The vitality of the presenting and touring sector is demonstrated with nearly $1,000,000 to be paid to BC artists, and another $746,000 going to Canadian artists, in this current season. The vitality of presenting is clearly demonstrated during the 2011-12 season when BC presenters paid $1.8 million in artist fees for over 500 performances in their communities. The revenue is anticipated to exceed $5.25 million.

The BC Touring Council works with more than 90 presenters in every part of British Columbia. These include volunteer organizations, festivals, municipalities, universities and schools, all of which share a common passion of supporting and developing artists, and building community.

With continued support for 20 years from Canadian Heritage, the BC Touring Council has hosted its signature event, Pacific Contact; a 3-day annual trade show and booking conference bringing together over 200 presenters, performing artists and artist management and agencies.

The conference includes:
• Over 40 juried live performing showcases;
• The ‘Contact Room’ where the buying and selling of shows occurs;
• Professional development;
• Networking opportunities with peers from across the province and the country.

In January, with less than three months before Pacific Contact, the BC Touring Council was informed that our funding request to the Canada Arts Presentation Fund was not approved. This represents a cut of approximately 25% of the budget. After a long history of funding, and without forewarning, the complete cut was a blow to the organization and members.

As a testament to the recognized value of this conference and the work of BC Touring Council, many supply companies and individuals offered deep discounts and personal donations to ensure the March 2012 event will be successful. The BCTC board and staff also adopted a number of cost-reducing measures. This is not a sustainable situation.

BC Touring Council Directors and staff have taken steps to understand the rationale for the withdrawal of funding including several meetings with officers from Canadian Heritage. We would like to know what funding criteria we did not meet this year that we have been meeting since 1992.

The real beneficiaries of the work of the BC Touring Council are the communities and residents of BC. Located in smaller communities throughout BC, our many members are volunteer organizations that wholly depend on the work of the BC Touring Council to introduce them to new performing artists, and to support their efforts in providing a variety of professional artistic experiences in their communities.

The BC Touring Council is one of a number of presenting and touring art service organizations across the country. The BC Touring Council is the only provincial presenting arts service organization in the country to have its Canadian Heritage funding withdrawn. With provincial arts funding already one of the lowest in the country, this cut will further impact the ability of the BC Touring Council to support presenting in the communities throughout the province. The loss of funding in BC also weakens the entire Canadian touring and presenting sector.

Funding support to the BC Touring Council from Canadian Heritage is vital and essential and we believe continues to meet the CAPF program objective which is to give Canadians access to a variety of professional artistic experiences in their communities. We ask that you reconsider our application and to restore Canadian Heritage funding to the BC Touring Council so that we can continue to support the work of artists across Canada and presenters in communities in British Columbia.

Sincere regards,

Margo Gram
Chair, BC Touring Council
Manager, Centennial Theatre North Vancouver

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This petition is specifically in response to the recent lawsuit against Balcony Music Club (BMC) and citations handed down to Maison, Mojito’s and Vaso, as well as complaints against the noise levels of Bourbon and Frenchmen Streets and against www.hearthenolamusic.com.

The French Quarter is the life-blood of New Orleans tourism – tourists come in the millions spending in the billions. And tourists don’t come here for a quiet sleepy town. After Katrina, city officials encouraged tourists to return to enjoy The Big Easy and people from the US and across the globe answered the call. As a result, tourism dollars have helped to reinvigorate the city. No city in the US boasts the live music scene that New Orleans does. The New Orleans Convention and Visitors Bureau website (http://www.neworleanscvb.com/press-media/press-kit/whats-new/) details the growth since Katrina.

We understand that French Quarter homeowners should enjoy the advantages of living in this incredible community. However we also believe that living in such a place comes with the understanding that crowds and music are a part of life. There are many beautiful and quiet neighborhoods in New Orleans. Moving next door to a music club would lead one to believe that peace and quiet is not a priority.

We assert that just as French Quarter residents expect bar/restaurant owners to comply with city noise ordinances that residents also take it upon themselves to take measures to keep noise out (by installing double paned glass or taking other such measures).

That being said, noise ordinances should be followed – with reasonable and agreed upon ordinances in place and officers equipped with properly working decibel readers. In the case of a noise complaint, officers can report to the scene and take a reading. If necessary, citations can be issued and reported with the actual decibel number. Business owners can then equip themselves with decibel readers, police their establishments (making adjustments to their venues if they wish) and work in cooperation the city. This way, should the noise level occur from street activity, officers can focus on the true culprits of the noise. As enjoyable as impromptu street music can be, business owners and the musicians who perform in their venues should not be penalized if they are not the true source of the problem.

**Please sign and share. The goal is 10,000 signatures.**

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L'Autan promotes not only music but also cultural diversity!

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The Barefoot Rugby League Show has been produced by an Indigenous production company Maling Productions. For the last four years the Panel program profiles Rugby League from The NRL NSW Cup, Intrust Super Cup QLD & Grassroots rugby league. Including visits to remote Aboriginal Communities.

Hosted by Indigenous staff members, Brad Cooke & David Peachey with feature stories covered by Paula Maling.

This program has been the most popular program and highest rating program on The National Indigenous Television service for the past four years.

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One third of the NT population are indigenous and hold the linguistic future of Australia’s Indigenous Languages in their hearts and minds. But cannot alone control of the policies of assimilation to English only imposed on them promoting the death of our 50,000 year old Indigenous language heritage.

Linguistic diversity is part of the diversity of life and the loss of these languages threatens the cultural traditions and the fabric of local knowledge linguistic and biological diversity, making the world more fragile, more vulnerable, with less to hope for in the future.

Article 14.1 of the United Nations Declaration on the Rights of Indigenous People, to which Australia is a signatory, says:

“Indigenous peoples have the right to establish and control their educational systems and institutions providing education in their own languages, in a manner appropriate to their cultural methods of teaching and learning.”

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The Crocodile Islands Rangers are the last line of defence for the breeding and nesting sites of endangered species, heritage areas, endangered indigenous language and traditional ecological knowledge, the jewel of countless generations of intimate co-existence with the marine environment in the Northern Territory of Australia.

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The local community makes the efforts of the local music entertainment industry difficult due to city noise ordinance limitations combined with neighborhood populations.

Police forces are sometimes called to assess these situations, sometimes issuing tickets, at sporadic times when they could very well be performing their civic duties in areas that are more worthy of their time.

The populace are also, at times, disturbed by the efforts of local musicians due to disagreements in genre/times of play/various other reasons.

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Halte à la vulgarité !

Dans de nombreux pays, la loi exige désormais que les fumeurs fument à l'extérieur afin de ne pas polluer ceux qui ne fument pas ! Dont acte!

Mais les nuisances qui nous polluent sont nombreuses ! Parmi elles : la vulgarité!

Elle est partout ! Dans notre environnement professionnel, à l'école, dans la publicité, l'art, les médias, le show-business. La vulgarité est présente dans toutes les strates de nos sociétés !

Elle est tellement ancrée dans notre société qu’elle en devient banale pour l’ensemble des gens. Si banale quelle est tolérée, acceptée, absorbée et même digérée sans que personne ne s’en offusque.

Ses immondices pénètrent notre conscience, nos coeurs et nos âmes. En grandissant dans cette vulgarité, les gens deviennent à leur tour vulgaire aussi ! C’est ainsi que cela se répand !

Halte à la vulgarité. Halte aux propos choquants, provocants, insanes, triviaux, obscènes, et innauspicieux.

Si vous aussi ne supportez plus cette décadence verbale, écrite, gestuelle, vestimentaire ou soit disante artistique, signez cette pétition : HALTE A LA VULGARITE

Nous voulons que cela cesse, nous voulons de la dignité dès à présent, pour le futur de nos enfants, pour le bien de l’humanité !

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suite au communiqué du 12 septembre annonçant la fermeture de la section adultes (14 ans et plus) de la bibliothèque de notre quartier.

You have probably heard that the South-West borough of Montreal took the decision to close the adult section (services to population ages 14 and up) of the Georges-Vanier Library.

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The James Theatre (Dungog Cinema) is the oldest purpose-built cinema still operating in Australia. In December 1912 the Dungog Electric Lighting Company set up an open air theatre seating 1000 on the present site!

Then in 1917 James Stuart who owned the land took over the Cinema and by Jan 1918 had constructed a new roofed building. The building, with its Spanish Mission facade added in 1930, is of significant cultural and architectural heritage.

The recent closure of the commercial cinema business is as a direct result of the film distribution change to the specific D-Cinema digital format and in no way a fault of the current management. The consequent scarcity of 35mm film prints or alternative digital media formats suitable for small cinemas to show movies in a reasonable time after release has meant business has declined. Also the cost of the new 2K projectors and E-Cinema server/media block systems has hampered their take-up by small independent cinemas.

The media moguls are too big to be fought by small operators, so help and lobbying at the highest level by Australian politicians and film industry luminaries is needed.

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Iranian schools should allow education where languages such as Azerbaijani are taught in school.

Azerbaijani or Azeri or Turki (Azərbaycanca, Azərbaycan türkcəsi, Azərbaycan dili) is a dialect belonging to the Turkic language family, spoken in southwestern Asia, primarily in Azerbaijan and northwestern Iran.

Azerbaijani is member of the Oghuz branch of the Turkic languages and is closely related to Turkish, Qashqai and Turkmen.

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Demand that the Canadian government protect Michif, the language of the historic Metis people of Canada, and other endangered native languages in Canada. The Metis were historically the children of French fur trappers and Cree native women, they developed their own unique culture and language that was a hybrid of French and Cree.

In modern day Canada Metis is also defined by being of mixed European and Aboriginal ancestory. There is a desperately strong need for more resources for people who wish to learn Michif, such as teachers, courses, classes, Resource Centres, books, magazines, websites & audio files such as CD's and MP3 files. Very tragically, this language is so endangered that only an estimated 500 people speak it.

The language Michif and other native languages are in serious threat of extinction due to horrible moves by the Canadian Government including Residential Schools.

The Metis were a valuable culture in Canadian history must be protected!

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As our supporters will know, we believe a national public library service is vital to the democratic impulse which lead to the great Libraries Act of 1850.

There is some great work going on in the public library service, and we want to celebrate that (see Libraries We Love) , but change is needed.

Libraries could do much more to meet social and individual needs. New thinking and additional money needs to be brought so that libraries can reach out to the greatest and growing need.

Our own experience shows that shared reading can play a practical and important role in delivering outcomes in public health, employment and educational attainment and we want to further develop the reach of the library services to deliver these and other outcomes.

We want to work with library staff and local authorities to bring these great changes about.

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Please sign to save the building and to keep the building and to preserve the heritage for generations to come.

it is One of the original Oscar Deutsch chain of Odeon Theatres. The Portsmouth Odeon opened on 14th December 1936 with Sydney Howard in "Chick". It was the largest and most expensive Andrew Mather designed Odeon of that year. Total seating was provided for 1,824, with 1,224 in stalls and 600 in balcony.

It has an impressive monolithic tower frontage in cream faience with vertical green bands and a roof of red Spanish tiles. The auditorium's ornate decoration included tall murals on side walls depicting film subjects.

A two week closure from 10th September 1960 for modernisation, including installation of 70mm with new wide screen and proscenium in front of original. Then began a glorious period through the 1960's of almost uninterrupted Roadshow presentations (with the Gaumont almost opposite taking the Rank first-run weekly release).

Tripling took place on 26th August 1973, with 573 seats in screen 1 (former balcony) and 132 in each of the mini-screens located in the rear stalls under the balcony. In 1990 a fourth screen was added in the former front stalls area and a new screen was installed in screen 1. Further refurbishment has taken place since then and the current seating is 1. 631, 2. 229, 3. 179, 4. 259.

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Currently in Brisbane, none of the sizeable live music venues host live music for those under the age of 18, with the exception of the Old Museum Building and Powerhouse. Most deem the issues with delicensing too expensive or too much effort.

To make matters worse, dedicated all ages live music venues in Brisbane are at an extreme low, and due to government regulation, associated costs and the general lack of interest from the QLD Government, have been forced to operate illegally or close.

Currently within the Brisbane CBD (Southbank to Bowen Hills) there are five active all ages venues, Edge, The Hive, Old Museum, Powerhouse and The Alley. Recently Room 8 @ Fort closed which was the only venue of the size required to host all ages shows for more than 150 people for our more extreme alternative style acts, short of using Riverstage, which is obviously far too large for an average show.

While these three active venues are all great, The Alley is also soon to be closed, leaving Edge at the Library in South Brisbane and The Hive, both too small and too strict to run shows of any variety and Powerhouse and Old Museum. All of these venues reject heavy bands from playing in their venues.

While heavy music might not be glamorous for the types of people this petition is aimed at, it is still a large part of the music industry and some of the bands coming out of Brisbane are amazing and need support. Freezing out heavy music just because you don't like it is cruel and unfair, considering that as an experienced promoter in this town, and having dabbled in many genres, metal and hardcore remain the most outwardly popular styles of music.

This leaves a huge portion of the Brisbane live music community without a place to play. Young heavy bands have nowhere to play short of community halls in the outer suburbs, which, needless to say is a nightmare of logistics and hardly ever works out for the people putting on these shows.

Yes there are venues and options, but through costs, issues with regulations and those in positions of power simply not liking styles of music, anything heavier than Frogstomp era Silverchair is cast asunder.

The issues I hear about with behavior of heavy music crowds is way out of order. If these kids dance violently, they know what to expect. If one gets hurt in the mosh pit, they've gone in there knowing that there's a good chance of it happening. I've seen indie crowds break a venue. I've never seen a metal or hardcore crowd do it yet.

I believe the government needs to assist us with our cause. Either by opening up a new space, or encouraging the current ones to diversify.

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On 13th March 2011 a letter signed by 46 Equity members appeared in the Observer newspaper:

http://www.guardian.co.uk/stage/2011/mar/13/theatre-funding-cuts-actors

The letter speaks out about local and Government cuts to the arts and culture.

Read the letter here:

http://www.guardian.co.uk/theobserver/2011/mar/13/letters-arts-spending-cuts?INTCMP=SRCH

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2011 marks the 25th anniversary of the London Lesbian and Gay Film Festival. It is one of the largest and most successful film festivals in the UK, with annual attendances of 28,000, and one of the UK’s most significant LGBT cultural events.

During this time the festival has played a vital cultural role, bringing audiences together to debate and discuss an extraordinary diversity of important work. It provides a space and platform for emerging talent, for provocative and political films, for innovation. Very little of this filmmaking can be seen in the UK outside of the festival. The BFI is to be congratulated for 25 years of commitment.

However, this year’s festival will be a shadow of its former self, with a radically cut-down programme of 6 days, rather than 14 and a substantial reduction of the activities and facilities that have made it an internationally acclaimed event. Of particular concern is the loss of the annual tour of festival highlights that ensured that the festival was enjoyed by audiences across the UK.

With 15% cuts to funding as a result of the government’s spending review, the BFI is necessarily having to tighten its belt. As such it’s understandable that some cuts need to be made to its activities. However, we are deeply concerned that the substantial cuts WELL ABOVE 15% to the 2011 festival will hinder this year's success and are a move towards the BFI severing its responsibilities for the event. Few festivals thrive - or indeed survive - without the support and commitment of a major cultural body. If the BFI was to drop the LLGFF we fear for its future.

Furthermore, we understand that the BFI will reviewing the future of the festival in April after the 2011 event and we urge Amanda Nevill (amanda.nevill@bfi.org.uk) Greg Dyke (greg.dyke@bfi.org.uk) and Board of Governors at BFI, Ed Vaizey (vaizeye@parliament.uk) and Boris Johnson (mayor@london.gov.uk) to ensure that:

The BFI commits to organising and hosting the annual LLGFF as an integral part of its cultural programme.

The BFI commits to ensure that the festival reaches out to audiences across the UK through a tour of cinemas or by making films available through its online platforms.

The BFI explores ways to reduce expenditure while maintaining the integrity of the festival’s programme, and in particular safeguards such vital elements as length of programme, pay for the festival curators, some industry services, and a budget to help filmmakers attend the Festival to present their work.

The BFI explores new avenues for support from individual donors.

The BFI considers the impact on its own membership base (25% of BFI members book tickets for the LLGFF) if it was to drop the festival.

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We the undersigned call on the United Nations to promote:

IFLAC: THE INTERNATIONAL FORUM FOR THE LITERATURE AND CULTURE OF PEACE.

This organization founded in 1999, creates bridges of Culture, understanding and peace. It promotes Conflict Resolution through Literature and Culture, and it publishes a daily IFLAC DIGEST NEWSLETTER on the Internet to spread the Culture of Peace. Its major project for 2011 is the PCTVI : the founding and development of a Middle East PEACE CULTURE TV AND INTERNET.

DR. ADA AHARONI, IFLAC FOUNDER - PRESIDENT
WWW.IFLAC.COM/ADA

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La condition économique et sociale des artistes plasticiens en France est dramatique et n’ont même plus accès aux reliefs d’une société sans âme. Sans revenus ni soutien, la plupart d’entre eux sont au plus bas des minimums sociaux et n’en peuvent plus de se faire expulser, de ne plus pouvoir travailler, de vivre le ventre vide.

Aucune structure n’est capable de leur apporter la moindre aide car in-considérés au delà de tout respect. Les artistes subissent à la fois l’exclusion économique, la censure de fait de l’action culturelle, des médias et des politiques. Tous sont sortis de tous les rouages sociaux sans qu’aucune voix ni la moindre main se penche sur leur réalité.

Je me permets de rappeler que l’absurdité de cette situation est cruelle. Paris et les grandes villes de notre pays témoignent et se sont construits de leur présence. Les peintres et les sculpteurs ont offert à nos villes une belle part de leur identité, ont aidé à humaniser leur rayonnement international. Nous ne pouvons que les remercier et leur montrer notre attachement pour ce qu'ils ont donné. Musées et éditeurs, institutions et conservations, écoles, galeries, commerçants, quartiers et noms de rues témoignent et se nourrissent de cet héritage.

Aujourd’hui, tous les fruits économiques liés à notre art sont dans les mains de la spéculation ou de l’organisation sans que le moindre regard soit porté à la création contemporaine. Les grandes sociétés s’organisent en fondation et captent le 3/1000 de leur chiffre d’affaire pour s’aménager une vitrine culturelle qui n’est qu’un outil spéculatif de détournement d’argent social. Les grands musées nationaux se nourrissent des dations et des donations pour déployer une machinerie de spectacle et de merchandising qui n’a comme seule véritable but que de faire de l’argent à leur seul profit. Des armées d’experts, de conservateurs, de décorateurs et autres conseillers hantent les couloirs de la république avec comme seule action de perdurer leur propre activité. Tout ce qui pourrait aider à la création et surtout à ses acteurs est capté, siphonné par une prédation institutionnelle qui ne cherche qu’à être vue sur la page de garde des médias.

Mais comment peut-on imaginer une société sans artistes, seraient-ils plus dangereux que la peste et le choléra réunit ? N’y a-t-il personne pour se lever et aider les artistes à se faire respecter ? Les sources de revenus naturels existent pourtant en dehors du seul commerce.

Le droit de représentation, loi s’il en est, (code de la propriété intellectuelle Chapitre II : Droits patrimoniaux art L 122-2) est bafoué par les sociétés, les galeries, les administrations, collectivités locales et associations opportunistes. Mais oui bien sûr, il est légitime de montrer ses œuvres, d’en obtenir un revenu et de le revendiquer sans faiblesse. Est il anormal pour un musicien, un comédien, un animateur de se faire rémunérer leur prestation.

L’art contemporain est totalement absent des grands médias et pourquoi donc ? Simplement que tout ce joli monde se refuse aux droits d’auteur et préfère s’en tenir aux artistes décédés depuis plus de 70ans. Vive l’art moderne et la liberté d’expression!

Le droit de suite (code de la propriété intellectuelle section 2 Article R122-2) est partiellement appliqué, pris en partie par le ministère de la culture, sous la bronca de marchands qui ne se sont jamais inquiété de la condition de l’artiste. Qu’en pense la caisse des dépôts et consignation qui cumule cet argent frais rarement réclamé par des moribonds.

Et le reste, la foison des sociétés d’auteurs, activistes juridiques et financiers sortis des grandes écoles de commerce, qui s’organisent pour capter la manne collective liées aux droits d’auteurs (copie privée, supports numériques vierges, répartition sur les flux numériques qui ne cessent de se multiplier.

Autant d’acteurs économiques et sociaux qui se fichent totalement de la condition de l’artiste, bien cachés derrière une professionnalité « culturelle » et quelques discours langue de bois. Les artistes n’ont que faire des beaux discours. Ils veulent simplement retrouver la dignité. Ils revendiquent le droit de vivre de leur art par une application systématique et universelle du droit de présentation. La recherche artistique nourrit la force vitale des humanistes et est la clef du respect de l’individu.

Les artistes ne veulent plus être pillé et soumis à l’inculture du seul commerce. Nous comptons sur vous pour diffuser très largement ce texte. Nous vous invitons à signer nombreux cette pétition afin de faire entendre haut et fort la voix des artistes contemporains et de leur amis.

Cette pétition est la disposition de tous ceux qui voudront bien se faire connaître auprès de l’administrateur du site www.wwpas.org

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John A. Macdonald was the first prime minister of the Dominion of Canada, but that was the end of a story. It was his predecessors, Louis-Hippolyte La Fontaine and Robert Baldwin, who made self-government possible. In fact, La Fontaine was the first Prime Minister.

His contributions are commemorated in the place names of parks, towns, streets, bridges and even a tunnel, yet when our children learn Canadian history, they are taught that Canada began in 1867. Canada was born amid shoot-outs, riots and fires. La Fontaine and Baldwin had created a balanced, fair government and knew that the change to a democracy would be a difficult process for the old oligarchy of Tories and businessmen to accept.

Confederation, dominated by the old Tory elite making the same claims, helped to perpetuate an illusion that Canada began in 1867, but place names survive, waiting for us to wonder why they were chosen, and in the process, to rediscover our past and learn of the real struggles our ancestors endured in order to make Canada the first colony to secede from the British Empire in a civil manner – without war. (Source: Joseph Graham)

The building we are advocating for was once the home of Louis-Hippolyte Lafontaine the great man who is mentioned above. This Victorian style mansion built in the 1830's is currently left to fall into ruin by the City of Montreal. Over the years there have been many people advocating for the building and yet nothing has been done. Something must be done to save the building.

http://www.journalmetro.com/montreal/article/758269--manifestation-pour-la-maison-sir-louis-hippolyte-la-fontaine

http://communities.canada.com/montrealgazette/blogs/metropolitannews/archive/2011/01/29/maison-louis-hippolyte-lafontaine-mansion-overdale-montreal-heritage.aspx

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Maryon Wilson Park is on Thorntree Road Charlton, London, situated nearby to Maryon Park. The animal care centre is hugely popular with both locals and visitors to the area. It's an oasis of calm in a bustling area and should be saved for everyone!

Greenwich Council are seeking to offload the responsibility and costs of the animal centre in their budget cuts. Our petition aim is to convince the council that this is a mistake and is totally against the wishes of the local electorate.

The park serves many local schools and people travel from far & wide to visit. It is one of the distinguishing and defining features of the area - it's loss would be far-reaching, detrimental to the area and community.

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