By reconnecting youth to the practice of cultural traditions, no matter what their religion, color or ethnicity is, Indlondlo Zulu Dancers aims to encourage young people to stay away from drugs and criminal activities, while building an intercultural dialogue through dance, among the members of its dance troupe.
The NGO performs, as well as educates, cultural dances in the rural areas of the Valley of 1000 Hills / KwaNyavu / Mkhambathini and surrounding areas (South Africa). The aim really is about providing a positive model for young men from backgrounds lacking male role models, due to the history of a nation where families were torn apart because men often had to live apart from their families.
The concept of intercultural dialogue will have different meanings in different countries depending upon their histories, traditions, population structures, concepts of
citizenship and the distribution of rights and freedoms.
Indeed studies show that intercultural dialogue has been understood in a plurality of ways ranging from promoting: a culture of peace, a dialogue of or among civilisations, cultural co-operation or diplomacy, integration and social cohesion through community participation, etc. It has also been used interchangeably with terms such as ‘cultural diversity’ or ‘multiculturalism’. Some have even argued that the concept is in itself contentious and places artificial boundaries around cultures and their ‘representatives’.
The present resource maps views and collect examples of good practice on the role of intercultural dialogue in the arts and arts policies.
Joined by a global array of musicians, music researcher and virtuoso Jordi Savall traces the relevant story of the African diaspora and its musical legacy across centuries and continents in 'The Routes of Slavery'. This multicultural performance of music and dance, interspersed with dramatic readings, features artists from Africa, the Americas and Europe.
Together, the artists trace the journey of enslaved peoples from 1444 to 1888, showcasing the musical traditions they brought with them and how these cross-pollinated with other indigenous cultures during the African Diaspora. When Savall first designed 'The Routes of Slavery' several years ago, he chose from the outset to collaborate with, and give the performance platform to, artists representing the cultures to whose history the show pays homage.
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The Global Report series has been designed to monitor the implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005). It provides evidence of how this implementation process contributes to attaining the United Nations 2030 Sustainable Development Goals and targets. The 2018 Global Report analyses progress achieved in implementing the 2005 Convention since the first Global Report was published in 2015.
he Global Report series produce new and valuable evidence to inform cultural policy making and advance creativity for development.
Grounded in the analysis of the Quadrennial Periodic Reports submitted by Parties to the Convention and relevant new findings, this report examines how the 2005 Convention has inspired policy change at the global and country level in ten areas of monitoring. It puts forward a set of policy recommendations for the future, addressing the adaptation of cultural policies to rapid change in the digital environment, based on human rights and fundamental freedoms of expression.
'There are 65 millions of refugees in the world. Get to know some of their stories'.
The campaign #YoSoyRefugio comes from Proyecto Reflejad@s. It deals with raising awareness on the situation of people who have had to flee their countries, and find themselves in vulnerable contexts. Reflejad@s aims to give them a voice, so that people understand who are the human beings behind headlines and hot news.
Sharing their stories is a way to build a bridge between them, and the rest of the world.