WÜRTH Chair of Cultural Production

Aktuelle Promotionsvorhaben

Noa Mamrud

Portrait Platzhalter

Portrait

Noa is an early-stage researcher at the Horizon 2020 innovative training network FEINART. In 2019, she graduated with distinction from the MA programme “Arts Administration and Cultural Policy” at Goldsmiths, University of London. At Goldsmiths, she started her academic investigation about the personal and working lives of independent dance artists in neoliberal forms of production and living. Noa comes with extensive professional experience in the field of contemporary dance that took place both in Israel and Europe. Alongside teaching, management, and production roles, she worked as a professional dancer and collaborated with various independent choreographers and dance companies. In addition, she took part in several further prestigious study programmes for artists in Canada, Austria, and Israel.


Noa is interested in bridging theory and practice by integrating management positions in arts organisations alongside consultancy roles in the field of culture and public policy. She is most excited about the design of receptive, creative, and innovative working environments that allow people and art to flourish. In her ambition to optimise the conditions for such environments, she builds on her multifaceted understanding of the art field as both an artist, researcher, and manager.

Promotion

“Accommodating to the Contemporary Demand – Mitigating Economic Precarity and
Building Resilience in the Independent Art Sector”

This research project discusses the labour and financial precarity of the independent art sector, primarily in the field of socially engaged/activist performance. The investigation of such field, entailing most acute issues in cultural policy, will illuminate the economic and political challenges increasingly rampant in the fragile relationship between state (authority)-funding to independent organisations and projects.


The research embarks from the crisis of our current times, Covid-19, and argues that its consequences are a radicalisation of the field’s experience of precariousness, vulnerability and uncertainty that was prior to the crisis. It suggests that the new pandemic situation brought along an economic necessity for a more robust, sustainable, and resilient sector. Therefore, in addition to continuously advocate and work the value of socially engaged art, future endeavours should be geared towards finding creative ways to mitigate economic precarity and build resilience in the field.

The aim of this research project is (1) to map, question and analyse the tools, strategies and mechanisms used by state (authority) support agencies and other bodies for funding; (2) to develop different business models and enhance the social and economic conditions of the labour in the field; and (3) to complement policies with measures for fostering resilience and stability in the socially engaged art field and largely in the independent European performing arts sector.

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