Complete Programme

 

During the three days of the 6th World Summit on Arts and Culture, the delegates had the opportunity to participate in conferences, panels with experts and parallel sessions addressing the main challenges and opportunities emerging within the cultural field marked by globalisation, shifts in social and economic development, and new forms of communication. To complement the Summit programme, they had the chance to experience a cultural programme especially designed around these themes. 
With these perspectives in mind, we seek to engage with the following questions:
How do arts and culture transform the possibilities of development in the world in which we live?  What models provide evidence of this transformation?
The theme for the 6th World Summit went through two sub-themes seeking to respond the question of what are the new models for cultural development:

1.   Critical Times
We are witnessing paradigm shifts resulting from various scenarios such as responses to crises, rethinking of development priorities locally and in the context of the reassessment of the Millennium Development Goals, and the emergence of new forms of creation, participation in and appreciation of culture in the world. In critical times, what is the role of culture?
The first day served as a starting point for a reflection on the last decade considering the substantial changes that have taken place around the world. Whether from financial realities, social and political contexts, climate changes, inequities, traditional schools of thought and centres for convergence, to name a few, the role of the arts and culture will be examined as a leader, provoker, trigger and/or consequence.

2.   Creative Spaces
Creative spaces  considered the role of the arts and culture in the activation of diverse spaces for creative convergence and exchange, as well as important vehicles for knowledge transfer, innovation, and the development of entrepreneurship.
The second day was an opportunity to hear from a range of models for cultural development that expand the notion of new and creative spaces recognising the need for a more cohesive cultural ecology that is creative and sustainable.

  Monday 13 January (Day 1)


20.30 OPENING CEREMONY

The Summit’s opening ceremony was held at the Centro Cultural Estación Mapocho – Official Venue for the World Summit.  A tailor-made cultural programme was developed to showcase Chile´s many contrasts, celebrating its cultural diversity and geography from the traditional to the contemporary.
Place: Plaza Baja CCEM

  Tuesday 14 January (Day 2)


8.30 – 9.00 REGISTRATION (Summit materials - registration pack)

9.00 – 9.30 INTRODUCTION

Welcoming remarks: Executive Director of IFACCA, Sarah Gardner; Executive Director of Centro Cultural Estación Mapocho, Arturo Navarro; and 6th World Summit Programme Director, Magdalena Moreno.

9-30 – 10.30 KEYNOTE SESSION 1.
MULTIPLE SCENARIOS OF CULTURE: DILEMMAS IN THE INCLUSION AND EXCLUSION OF SYMBOLIC REPRESENTATIONS.
SONIA MONTECINO (CHILE)

Sonia Montecino received the Chilean National Award for Humanities and Social Sciences 2013. She is Vice-Dean of Outreach and Communication of the University of Chile, doctor in anthropology for the University of Leiden, Netherlands, and one of the most important and versatile Latin American intellectuals. Her work is very diverse and topics range from gender studies, identity connections between food and culture, hybridization, interculturality, urban culture, globalization, art and aesthetics, among others.
Moderated by Aadel Essaadani. Chair, Arterial Network. Morocco
Place: Sala de las Artes                                                      

10.30 – 11.00  Coffee break. Café Plaza Baja

11.00 – 13.00 PANEL SESSION 1.
GLOBAL CHANGES, LOCAL CHANGES: THE ROLE OF ARTS AND CULTURE

This panel  analyzed the changes occurring around the world and draw attention to culture as a key factor in the adaptation, reconstruction and reconfiguration of communities dealing with such shifts. From international discussions, local realities can be fundamental in contributing to the understanding of the world we inhabit. It seems the definition of the arts, culture, creativity, industry, and even ‘cultural policy’, are all in a state of flux.  It is therefore increasingly complex and challenging to imagine the types of policies that might keep pace with such a fast developing and adapting sector. What are the considerations required in developing cultural policy to respond to such changes? What is the role of culture in contexts of crises?  
-Chile: Alejandro Aravena. Architect and Director of Elemental
-United Kingdom: Peter Bazalgette. Chair of Arts Council England and President of The Royal Television Society
-Egypt: Mohamed El Sawy. Former Minister of Culture and philanthropist, Director of Culture Wheel Foundation
-Belize: Diane C. Haylock. President and CEO of National Institute of Culture and History
Moderated by Paulina Soto. Research Director of Patrimonia Consultores. Chile
Place: Sala de las Artes

13.00 – 14.00  Lunch

14.00 – 16.00 PANEL SESSION 2.
CULTURE – A MILLENNIUM GOAL FOR SUSTAINABLE DEVELOPMENT


During the last decade the international community has collected sufficient evidence on the role that culture plays in development. The conclusion is that, most of the time, development policies and projects excluding culture have failed sustainability. Culture is both a driver and an enabler of sustainable development. This panel focused attention on the current discussions surrounding the inclusion of CULTURE as one of the Millennium Development Goals (MDGs) of United Nations (UN) in the post-2015 Development Agenda. What would the impact be, not only for developing countries, to have Culture as a development goal? How would this validation from the UN impact the considerations of Culture in the development of broader national policies?
-United Nations: Heraldo Muñoz. United Nations Assistant Secretary General and United Nations Development Programme Regional Director for Latin America and the Caribbean
-México: Alejandra de la Paz. National Coordinator of Cultural Heritage and Tourism. Conaculta
-Argentina: Monica Guariglio. National Director of Cultural Policy and International Cooperation. Ministry of Culture
-Fiji: Frances Koya Vaka’uta. Lecturer in Education at the University of the South Pacific
Moderated by Mike Van Graan, Executive Director of African Arts Institute and former Secretary General of the Arterial Network. South Africa.
Place: Sala de las Artes

16.00 – 16.30 Coffee break. Café Plaza Baja

16.30 – 17.30 CONVERSATIONS WITH MINISTERS AND AUTHORITIES OF CULTURE 1.
RESPONSES TO
CRITICAL TIMES

Conversations with Ministers and Authorities of the Arts and Culture  focused on responding the theme of the first day: Critical times.
-Italia. Massimo Bray. Minister for Cultural Heritage and Tourism
-Paraguay. Mabel Causarano. Minister of Culture
-El Salvador. Ana Magdalena Granadino. Presidency’s Culture Secretary
-Spain. José María Lassalle. State Secretary of Culture
Moderated by Enrique Vargas. Deputy Director, Cultural Affairs Division, General Secretariat for Iberia-America (SEGIB)
Place: Sala de las Artes

17.30 – 19.00 PARALLEL SESSIONS: CRITICAL TIMES

1. Cultural heritage at risk: protection and reconstruction post-disaster

Cultural heritage of a community can be material or immaterial, and can consider cultural and artistic expressions, traditions and industries that make up its local identity. There is an inter-dependent relationship between the destruction of the material cultural heritage of a locality and the potential destruction of intangible practices that are relevant to the cultural legacy of a society and vice-versa. What are the scenarios of crisis or conflict foreseeable in our local and national realities? Which are the factors, both man-made and natural, that can put our cultural heritage at risk? What kind of initiatives emerge as a response from Government and civil society to aid in protection and/or reconstruction?
-Chile: Pablo Allard. Architecture and Dean Faculty of Architecture and Art. Universidad del Desarrollo
-Ecuador: Fernando Carrión. Coordinator of Program Studies of the City. Latin American Social Sciences Institute (FLACSO)
-Netherlands: Christa Meindersma, Director of Prince Claus Fund
Moderated by Carlos Aldunate. Director of Chilean Museum of Pre-Columbian Art. Chile
Place: Sala de las Artes

2. Artistic leadership in critical times

In times of ongoing change, leadership can emerge from quite diverse contexts to confront crisis, one of them being artistic and cultural leadership. The artist, the collective, curator, arts manager or independent groups amongst many others, can undertake a fundamental role in the transformation of its environment through culture. What examples bear witness to this leadership? What is the role of Government in this context? Is it one of support, promotion, or rather, one of distance? How do artists and arts works transform their surroundings through their work or practice? 
-Belgium/Peru: Jota Castro. Curator Emergency Pavilion Venice Biennale 2013
-Australia: Rachel Perkins. Managing Director Black Fella Films
-Chile: Mahani Teave. Pianist and founder of Rapa Nui School of Music
Moderated by Cristóbal Bianchi. Research Department, National Council for Culture and the Arts. Chile
Place: Sala Pedro Prado

3. Decentralization and local sustainable development

People are more connected that ever, becoming global citizens, and need not rely solely on traditional decision-making groups such as traditional schools of thoughts and convergence. The concept of decentralization appears in the design of cultural policies in practically every corner of the world. There is no denying that cultural activities away from the epicentres take place and will continue to.  However, it is unclear if, in practice, decentralization policy in the arts and culture actually occurs and is effective. On the other hand, the concept of “Going Glocal” used by the sociologist Roland Robertson refers to the tendencies of impact of the local on the global. Can we aspire to long term national cultural policies that reflect the needs and ambitions of the whole nation, not only for the benefit of a select group of cities? What are the different cultural models and policies that are putting into action regionalization and decentralization? What is the role of local and regional government, and which are the alliances to achieve such local sustainable development?
-Brazil: Pedro Vasconcellos. Director of Citizenship and Cultural Diversity, responsible for Puntos de Cultura (Point of Culture Program). Ministry of Culture
-Chile: Justo Pastor Mellado. Executive Director of Parque Cultural Valparaíso
-Croatia: Ana Zuvela. Research Fellow at the Institute for International Relations and Coordinator of Culturelink Network
Moderated by Jorge Rojas. Minister’s Cabinet of National Council for Culture and the Arts. Chile
Place: Sala Camilo Mori

4. Community leadership: models for active participation

An important factor for achieving sustainable development is to provide the grounds for the potential and capacity for people and their communities to lead a creative, productive and fulfilling life. Development is not a static concept; neither is culture or is a community. In times of crisis, we respond in different ways to changing scenarios, not only as individuals but also as collectives. Jeremy Nowak offers an analysis of the development of neighbourhoods linked with creative spaces, through an approach that seeks to highlight the power of cultural production for social change. The author stresses the need to improve public spaces, to facilitate connections across urban and regional boundaries, and the provision of alternatives educational opportunities to its residents. To achieve this goal, it proposes to understand the artistic and cultural activities based at a community level as a subgroup of the creative sector. What models of community leadership have emerged as of late that show this activation through arts and culture?
-Korea: Cecilia Heejeong Kim. Artist and Member of Arts Council of Korea (ARKO)
-Australia: Marcus Hughes. Programs Manager - Kultour / Adjunct Associate Professor, Moondani Balluk Academic Unit, Victoria University
-Argentina: Patricia Kistenmacher. International Representative of the Latin -American Network on Art for Social Transformation
Moderated by Patricia Arévalo. Director of Regional Council for Culture and the Arts of Arica-Parinacota
Place: Sala Acario Cotapos

5. New challenges for supporting arts and culture

In recent times, developed countries, with the traditional stability and capacity for supporting the arts and culture, have gone through transformative changes as a result of the global recession. In this scenario, the budgets for arts and culture have tended to be the first that are reduced. In order to confront this situation, many countries have re-assessed their funding and subsidy systems for arts and culture. What are the changes, impacts and challenges for the decision making process when the demand is not satisfied with the available resources? How have other countries not so affected by the global financial crisis responded to such changes? What lessons can be learnt? What leadership can they take?
-Australia: Tony Grybowski. CEO of Australia Council for the Arts. Australia
-Spain: Teresa Lizaranzu. Director General of Cultural Policy and Industries at the Ministry for Education, Culture and Sport
-Canada: Robert Sirman. Director and CEO of Canada Council for the Arts
Moderated by Magdalena Aninat. Minister’s Cabinet of National Council for Culture and the Arts. Chile
Place: Sala Pedro de la Barra
6. Multiple players: public and private support for the arts and culture

In many societies of today, both state and private stakeholders are vital for providing support and collaboration for agents that participate in the development of a state, nation or community. Due to the need of new models of development, have appeared private or independent agents that participate more or less systematic way in the development of a region. These agents can be corporations, NGOs, individuals or civil society organisations. They have different forms and are related to sponsorship, programs of corporate social responsibility, philanthropy, community plans, among others. These agents appear as multiple opportunities in the paradox of current critical times of, on the one hand, increased demand of cultural goods at all levels, and on the other hand, cuts in public subsidies for the creative sector. How to include these different private and independent agents in a common path with the artistic and cultural sector towards a culture for development that takes into account the creativity and integration of different artistic expressions? How could the interests of the art sector, the State and other agents be circumscribed to material and immaterial culture for development?
-England: Beatriz García. Head of Research, Institute of Cultural Capital. University of Liverpool
-El Salvador: Alejo Campos. Director of International Relations and Cooperation of the Presidency's Culture Secretary
-Singapore. Kathy Lai CEO. Singapore Arts Council
Moderated by Todd Temkin. Poet and founder of Valparaíso Foundation. USA/Chile
Place: Sala Nemesio Antúnez
19.00 – 19.30 Light dinner and transfer to cultural programme – Pickup from parking CCEM (Plaza Siglo XXI)CULTURAL PROGRAMME (Pre-booked delegates only)
-20.00: Otelo, Chile (Teatro Municipal de las Condes)
-20.00: Historia de Amor, Chile (Teatro Cinema)
-21.30: Futuro, Argentina (Gabriela Mistral Cultural Centre - GAM)
This plays are part of the Festival Internacional de Teatro Santiago a Mil
22:30 Transfers to Hotel – Pickup from Teatro Municipal de las Condes, Teatro Cinema and Gabriela Mistral Cultural Centre - GAM

  Wednesday 15 January (Day 3)


8.30 – 9.00 REGISTRATION (Summit materials - registration pack).

9.00 – 10.00 KEYNOTE SESSION 2.
TECHNOLOGIES FOR CREATIVE EXPRESSION. HAYES RAFFLE (USA)


Hayes Raffle is an award-winning product and interaction designer working to combine the simplicity of traditional object-design with the flexibility of digital systems. He is currently a Staff Interaction Designer at Google [X] working on Project Glass.
With over a dozen years of professional and academic experience, Hayes' expertise includes industrial design, human-computer interaction, fine art, and cognitive science. He completed his B.A. cum laude in fine art at Yale, and his Ph.D. and M.S. at the MIT Media Lab where he invented new technologies for artistic and musical composition, materials for tangible interpersonal communication and toys for children to learn complex ideas through play. Placing high value on both functionality and aesthetics, he specializes in approaching problems with refreshing solutions.
Moderated by Kerstin Brunnberg. Chairman Swedish Arts Council
Place: Sala de las Artes

10.00 – 10.30 Coffee break. Café Plaza Baja

10.30 – 12.30 PANEL SESSION 3: Creative platforms for re-thinking industry

Innovation presents us with a plethora of opportunities for imagining, designing, and managing that expand the horizon of possibilities for entrepreneurship – a fundamental aspect in the development of creative industries. This panel looked at this development from a policy, creative industry, entrepreneurial and communications perspective. What are the necessary conditions for the development of this creative based sector? How do innovation and design enrich the productive processes of other industries? 
-South Africa: Erica Elk. Cape Craft and Design Institute
-Spain: Ángel Mestres. Director of Trànsit Projectes
-Costa Rica: Manuel Obregón. Minister of Culture
-New Zealand: Elisabeth Vaneveld. Executive Director of Big Idea Charitable Trust
Moderated by Minna Sirnö. Director, Arts Promotion Centre. Finland
Place: Sala de las Artes

12.30 – 14.30 Lunch and transfers to parallel sessions and tours – Pickup from CCEM parking area. Café Plaza Baja CCEM

14.30 – 16.30 PARALLEL SESSIONS: CREATIVE SPACES 1

7. Social innovation and development: creative platforms

Social innovator and entrepreneur Stephen Huddart identifies collaborative platforms, networks, cultural centres, groups and inter-sector partnerships, as part of the organizational models for social innovation in the non-profit sector. In this sense, they are also alternative platforms for the expansion of:  artistic processes (through the encouragement of creativity), the economy (through the inclusion into the value chain), and social, in the effects of social cohesion (through the participation and self-identification of the community). What examples demonstrate the proliferation into these and other news spaces and platforms? What types of innovative policies are required to sustain this development? Is there an active and fluid dialogue between the arts and cultural policies, and those developed in other sectors, such as trade and social planning? 
-Algeria: Ammar Kessab. Governance Expert at the African Development Bank (AfDB)
-UCLG: Hernán Lombardi. Minister of Culture of the City of Buenos Aires and Co-President of the Culture Committee of United Cities and Local Governments
-UK: Graham Sheffield. Director of Arts for the British Council
-Cuba: María Caridad Mederos. National Director of Cultural Programs, Ministry of Culture
Moderated by Leonardo Ordóñez. CEO of Santiago Creativo. Chile
Place: Sala de las Artes

8. New formats of international exchange programs and engagement with local contexts

Development in general terms is possible if the cultural specificities of the locale are taken into consideration. Otherwise, there is a risk of increasing gaps of inequality by imposing external criteria. There are growing concerns about the local impact of globalization. In the arts and culture, this can also occur. The impact on the local community and its environment obliges us to reflect on the conventional formats of international cultural exchanges and the legacy they leave. Biennales, Festivals and other major international cultural events run the risk of disconnecting with the local ecology. However, they have the potential to become a shared voice within that environment. What international models have generated a dialogue with its local context? How have such projects impacted positively in the community beyond the event through meaningful engagement? What lessons can we learn? 
-Japan: Rei Maeda. Coordinator of Echigo-Tsumari Art Triennale
-Scotland: Faith Liddell. Director Festivals Edinburgh
-Chile: Carmen Romero. Executive Director of Fundación Teatro a Mil
-Canada: Jack Stanley. Director Programs for Fogo Island Arts
Moderated by Alejandra Wood. Executive Director of Centro Gabriela Mistral (GAM). Chile
Place: Sala Seminario 1 (underground GAM)

9. Sustainable Cities: models for social-cultural integration

In 2009, Richard Florida published the book: Creative Cities. Because where you live could be the most important decision of your life.  In that book, he refers to the concept of the creative class mobility and its urban impact.  On the other hand, the reality of many cities is centred on the fight against poverty, migration of youth and young professionals from those places, and segregation of cultural diversity or gender, among many others. How are cities being thought of as spaces for integration? What are some examples of how the arts and culture have been the key factor in transforming a city into a creative, inclusive and sustainable place to live?
-Portugal: Nancy Duxbury. Senior Researcher at the Centre for Social Studies, University of Coimbra
-Germany: Stefan Hilterhaus. Artistic Director of PACT Zollverein
-Colombia: Luis Miguel Usuga. Cultural expert and former Secretary of Culture of Medellín
-Australia: Marcus Westbury. Founder of Renew Australia and Renew Newcastle
Moderated by Andrés Rodríguez. Executive director of Municipal Theatre of Santiago. Chile
Place: Sala Teatro Principal (Matucana 100)

10. Creative economy and the value of culture

The standard tools and language used in measuring results, and impact for that matter, in public spending in the arts and culture, often don´t coincide or are not relevant in gauging its actual impact. On one hand, many consider the contribution that culture makes, for example in terms of trade and employment, legitimizes the existence of public policies that support the cultural sector.  Is this the right focus? Should the economy view culture as a tool to generate productivity, or on the contrary, should it concentrate in reaffirming the social value of cultural expressions? What is the value of the social and intangible benefits associated with cultural activities? If the objective is to guide decision making in public policy, measuring the value of culture should be achieved through the various components that define it.  In this sense, can the intrinsic value of culture be measured from the economy? 
-Brazil. Georgia Haddad Nicolau. Director of Entrepreneuship, Management and Innovation, General Secretary of Creative Economy, Ministry of Culture
-South Africa: Avril Joffe. Executive Director of CAJ: Culture, Arts and Jobs. Sub-Saharan Africa
-Netherlands: Arjo Klamer. Professor in the Economy of Arts and Culture at Erasmus University Rotterdam
-USA: Bruce Seaman. Associate Professor of Economics, former Department Chair, and a Research Associate at the Andrew Young School of Policy Studies at Georgia State University
Moderated by Juan José Price. Professor of Cultural Economics. Universidad de Chile and Universidad Católica de Chile
Place: Sala América (Biblioteca Nacional)

11. Memory and reconstruction

Movements led by social and cultural conflicts can often become catalysts for transforming that very conflict into a space for creativity and innovation. In fact, in many countries around the world, stories and experiences of deep social conflict have derived into the development of cultural organizations and production. The Museum of Memory and Human Rights is presented as a moral repair project to the victims of the dictatorship in Chile.  It proposes a reflection that goes beyond what happened in the past and that serves new generations to build a better future of respect for the life and dignity of its people. The process of artistic development has often used trauma, conflict or tension as a starting point to tell a particular story that otherwise could not be told. In scenarios of conflict, what spaces of creation are generated by providing a place of artistic freedom to address the complexity of the environment? How do memorial museums engage with younger audiences? How do we balance respectfully honoring the victims of the past, and provide a proactive positive healing place for community building? From these themes, this session seeks to reflect on the importance of spaces of contemplation in the reconstruction of memory and as well as giving voice to initiatives fighting for a safe place for creative development.
-Palestine: Rawand Arqawi. Acting School Coordinator at the Freedom Theatre
-Chile: Ricardo Brodsky. Executive director of Museo de la Memoria y los Derechos Humanos
-USA: Silvia Fernández. Program Director of International Coalition of Sites of Conscience
-Rwanda: Carole Karemera. Director of the Pan African Dance Festival and Deputy Secretary General of Arterial Network
Moderated by Bárbara Negrón. Director of Observatory of Cultural Policies. Chile
Place: Sala Auditorio (Museo de la Memoria)

16.30 – 17.00 Coffee break. Café Plaza Baja

17.00 – 18.30 PARALLEL SESSIONS AND TOURS: CREATIVE SPACES 2

12. Arts and education: new models and new audiences

Polish philosopher Zygmunt Bauman refers to liquid modernity as the determining factor in the transitory nature of the structures and traditional definitions of culture. The distinction between high culture and popular culture is blurring and opening up formerly rigid concepts and a diversity of cultural and artistic products to engage a more heterogeneous audience.  One of the most important challenges in the design of cultural policies is the access to cultural goods and services for everybody and particularly for future generations. Public and education programs promoting arts engagement is part of the responsibility of any public cultural institution. What models, plans or programs exist to respond to the diverse needs of younger generations? How are the issues of disparity in access for most vulnerable groups addressed? What other formats provide examples of alternatives educational models that are less rigid for the promotion of arts and culture in these contexts?
-Argentina: Sonia Jaroslavsky. Spectators Education Program, Ministry of Education, Government of the City of Buenos Aires
-USA: Sunil Iyengar. National Endownment for the Arts
-JAPAN: Mitsuhiro Yoshimoto. Director of Center for Arts and Culture and Chair of specialist committee for Cultural Policy at Tokyo Metropolitan Government
Moderated by Felipe Mella. Director of Balmaceda Arte Joven. Chile
Place: Sala de las Artes

13. New systems/ new models: the importance of networks

As Spanish sociologist Manuel Castells points out in his trilogy The Information Age: Economy, Society and Culture, we are living in a global system of constant interaction. Even nation-States have gone from being sovereign subjects to strategic actors in a shared and complex environment, requiring creative and innovative ways of establishing alliances, agreements and horizontal relations between local, regional, national and supranational structures. In 2009, the Spanish Agency for International Development Cooperation (AECID) published an article entitled: Cultural Networks: key to surviving globalization. Since its creation in 2001, IFACCA has become one of many international organisations working to promote international connectivity.  Many culture ministries, arts councils and cultural institutes have developed funding programs to support network-building.  What are the new formats of network development that arise from the challenges we face locally and internationally? How does the new information age, enhanced by the use of technology, support connectivity without imposing hierarchical structures? 
-Mexico: Juan Meliá. President of Intergovernmental Committee of Iberescena
-India: Anupama Sekhar. Asia Europe Foundation
-Vanuatu: Tarisi Vunidilo. Secretary General for the Pacific Islands Museums Association (PIMA)
Moderated by Pablo Chiuminatto. Doctor in Philosophy, associated professor, Universidad Católica de Chile. Member of the Board, Regional Council of Culture and the Arts in Valparaíso.
Place: Sala Seminario 1 (underground GAM)

14. Creative spaces for experimentation

The definition of what is public space or creative space is increasingly changing.  Furthermore, we can no longer clearly differentiate between targeted audiences from the general public when it comes to the presentation of creative content. Through the changes occurring in traditional spaces for arts and culture, we are seeing new patterns in cultural engagement habits, the experimental use of conventional spaces, and the urgency for spaces supporting artistic practice and creative risk-taking.  There is a sense of a “take-over” from the arts community as a kind of reclaiming a more open and porous platform for the creation and presentation of their work.  The flow on effect is that it is also widening the scope of engagement with audiences that traditionally would not have considered themselves as an arts audience.  Considerations such as arts in the public domain, creative spaces that consider the full creative chain in their remit of presentation and promotion and broadening of the traditional places of presentation of artistic practices, make this a rich canvas for discuss when imagining the developing of new creative spaces. What new models are being generated for artistic experimentation? How does the city, the local community, or the arts sector respond to this changing landscape? What is the dialogue between the public and the arts? Is there are shared space and what are the behaviours required for negotiating such a space?
-Chile: Antonio Altamirano. Director of Festival Cielos del Infinito
-New Zealand: Deborah McCormick. Director of Scape Public Art, Biennial of Public Art in Christchurch
-UK: Madani Younis. Artistic Director of Bush Theatre
Moderated by Orlaith McBride. Director of Arts Council Ireland
Place: Sala Teatro Principal (Matucana 100)

15. TOUR BIBLIOTECA NACIONAL DE CHILE (NATIONAL LIBRARY OF CHILE)

16. TOUR MUSEO DE LA MEMORIA Y LOS DERECHOS HUMANOS (MUSEUM OF MEMORY AND HUMAN RIGHTS)

19.00 Transfers from CCEM, GAM, BN and M100 to Hotel Sheraton and NH Hotel
20.00 Transfers to Official Dinner – Pickup from Hotel Sheraton and NH Hotel

20.30 OFFICIAL SUMMIT DINNER
Congreso (Latin American music). Chef Rodolfo Guzmán. Place: Castillo Hidalgo (Cerro Santa Lucía)

22.30 Transfers to Hotel – Pickup from Castillo Hidalgo parking area

  Thursday 16 January (Day 4)


8.30 – 9.00 REGISTRATION (Summit materials - registration pack).

9.00 – 10.00 KEYNOTE SESSION 3.
CULTURE AND CONTEXT: THE MAORI EXPERIENCE. HONOURING OUR PAST TO DEVELOP OUR FUTURE. KARL JOHNSTONE (NEW ZEALAND)

Director of New Zealand Maori Arts and Crafts Institute (NZMACI). The organisation operates the national Maori schools of wood carving, weaving, bone and stone carving and canoe construction. Having worked in the cultural heritage sector for over approximately 15 years, Karl has developed a experience, networks and unique ability to apply and facilitate customary concepts, values and thinking in contemporary environments are the secret to the success of his many projects. Karl has been responsible for developing numerous national and international initiatives, all of which are underpinned by traditional knowledge and Maori tribal perspectives.
Moderated by Magdalena Moreno. 6th World Summit Programme Director. Chile
Place: Sala de las Artes

10.00 – 10.30 Coffee break. Café Plaza Baja

10.30 – 12.00 CONVERSATIONS WITH MINISTERS AND AUTHORITIES OF CULTURE 2.
DEVELOPING CULTURAL POLICIES FOR THE FUTURE

This closing panel of Ministers  looked towards to what lies ahead in the future. Through diverse perspectives and realities, the discussion will explore the challenges and opportunities that are evidenced by the changing cultural landscape, the creative cycles, the considerations for younger generation engagement, innovation and the entrepreneurship, and the inevitable reality that public funding cannot meet the entire needs of the arts and cultural sector amongst other concerns. What are the types of cultural policies that will assist in this ever changing cultural landscape? And what is the role of Government in thriving for a sustainable cultural ecology?  There is no doubt that Culture is a key for sustainable development.  However, should this be considered as a millennium goal?
-Chile. Roberto Ampuero. Minister President of National Council for Culture and the Arts
-Lithuania. Šarūnas Birutis. Minister of Culture
Moderated by Alan Davey, CEO Arts Council England
Place: Sala de las Artes

12.00 – 12.10 VIDEO RECORDED INTERVIEW WITH CHINESE ARTIST AI WEI WEI, CREATED FOR THE 6TH WORLD SUMMIT

12.10 – 12.30 WRAP-UP. ENRIQUE VARGAS. GENERAL RAPPORTEUR
Enrique Vargas, Deputy Director Iberian-American General Secretariat (SEGIB),  summarised the discussion and the key ideas that appeared during the summit.
Moderated by Sarah Gardner. Executive Director IFACCA
Place: Sala de las Artes

12.30 – 13.30 CLOSING CEREMONY AND PREVIEW OF 7TH WORLD SUMMIT ON ARTS AND CULTURE
Place: Sala de las Artes

13.30 – 15.00 Farewell Lunch
Location: Terraza Acceso Norte CCEM

CULTURAL PROGRAMME (Pre-booked delegates only)
-19.30: Inauguration of Bauhaus Film Exhibition (Goethe Institut). Place: National Museum of Fine Arts
-19.30: Concrete and bone sessions (Branch Nebula. Australia). Place: Skate Park. Parque de los Reyes
-21.30: Baile ausente de un arcángel (Chile). Place: Museum of Memory and Human Rights

22.00 FITAM Party
Place: Events Centre Ex Oz

 

Programme 6th World Summit on Arts and Culture (pdf)