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1999, CENTRO
The Cultural Center of the Inter-American Development Bank, an international financial organization, was created in May 1992 at the Bank's headquarters in Washington, D.C., as a gallery for exhibitions and a permanent forum from which to showcase outstanding expressions of the artistic and intellectual life of the Bank's member countries in North, Central and South America, the Caribbean region, Western Europe, Israel and Japan. Through the IDB Cultural Center, the Bank contributes to the understanding of cultural expression as an integral element of the economic and social development of its member countries. The IDB Cultural Center Exhibitions and the Concerts and Lectures Series stimulate dialogue and a greater knowledge of the culture of the Americas. The Cultural Promotion in the Field funds projects in the fields of youth cultural development, institutional support, restoration and conservation of cultural patrimony, and the preservation of cultural traditions. The IDB Art Collection, gathered over several decades, is managed by the Cultural Center and reflects the relevance and importance the Bank has achieved after four decades as the leading financial institution concerned with the development of Latin America and the Caribbean.
2002
The IDB Cultural Center was created in 1992 by Enrique V. Iglesias, President of the Inter-American Development Bank (IDB). The Center has two primary objectives: 1) to contribute to social development by administering a grants program that sponsors and co-finances small-scale cultural projects that will have a positive social impact in the region, and 2) to promote a better image of the IDB member countries, with emphasis on Latin America and the Caribbean, through culture and increased understanding between the region and the rest of the world, particularly the United States. Cultural programs at headquarters feature new as well as established talent from the region. Recognition granted by Washington, D.C. audiences and press often helps propel the careers of new artists. The Center also sponsors lectures on Latin American and Caribbean history and culture, and supports cultural undertakings in the Washington, D.C. area for the local Latin American and Caribbean communities, such as Spanishlanguage theater, film festivals, and other events.
1999
The Cultural Center of the Inter-American Development Bank, an international financial organization, was created in May 1992 at the Bank's headquarters in Washington, D.C., as a gallery for exhibitions and a permanent forum from which to showcase outstanding expressions of the artistic and intellectual life of the Bank's member countries in North, Central and South America, the Caribbean region, Western Europe, Israel and Japan. Through the IDB Cultural Center, the Bank contributes to the understanding of cultural expression as an integral element of the economic and social development of its member countries. The IDB Cultural Center Exhibitions and the Concerts and Lectures Series stimulate dialogue and a greater knowledge of the culture of the Americas. The Cultural Promotion in the Field funds projects in the fields of youth cultural development, institutional support, restoration and conservation of cultural patrimony, and the preservation of cultural traditions. The IDB Art Collection, gathered over several decades, is managed by the Cultural Center and reflects the relevance and importance the Bank has achieved after four decades as the leading financial institution concerned with the development of Latin America and the Caribbean.
Published in <b>1999</b> in Washington (D.C.) by IDB cultural center, 1999
The Cultural Center of the Inter-American Development Bank, an international financial organization, was created in May 1992 at the Bank's headquarters in Washington, D.C., as a gallery for exhibitions and a permanent forum from which to showcase outstanding expressions of the artistic and intellectual life of the Bank's member countries in North, Central and South America, the Caribbean region, Western Europe, Israel and Japan. Through the IDB Cultural Center, the Bank contributes to the understanding of cultural expression as an integral element of the economic and social development of its member countries. The IDB Cultural Center Exhibitions and the Concerts and Lectures Series stimulate dialogue and a greater knowledge of the culture of the Americas. The Cultural Promotion in the Field funds projects in the fields of youth cultural development, institutional support, restoration and conservation of cultural patrimony, and the preservation of cultural traditions. The IDB Art Collection, gathered over several decades, is managed by the Cultural Center and reflects the relevance and importance the Bank has achieved after four decades as the leading financial institution concerned with the development of Latin America and the Caribbean.
2002
The IDB Cultural Center was created in 1992 by Enrique V. Iglesias, President of the Inter-American Development Bank (IDB). The Center has two primary objectives: 1) to contribute to social development by administering a grants program that sponsors and co-finances small-scale cultural projects that will have a positive social impact in the region, and 2) to promote a better image of the IDB member countries, with emphasis on Latin America and the Caribbean, through culture and increased understanding between the region and the rest of the world, particularly the United States. Cultural programs at headquarters feature new as well as established talent from the region. Recognition granted by Washington, D.C. audiences and press often helps propel the careers of new artists. The Center also sponsors lectures on Latin American and Caribbean history and culture, and supports cultural undertakings in the Washington, D.C. area for the local Latin American and Caribbean communities, such as Spanishlanguage theater, film festivals, and other events. The IDB Cultural Center Exhibitions and the Concerts and Lectures Series stimulate dialogue and a greater knowledge of the culture of the Americas. The Cultural Development in the Field funds projects in the fields of youth cultural development, institutional support, restoration and conservation of cultural patrimony, and the preservation of cultural traditions. The IDB Art Collection, gathered over several decades, is managed by the Cultural Center and reflects the relevance and importance the Bank has achieved after four decades as the leading financial institution concerned with the development of Latin America and the Caribbean.
2003
the preparation of the report and edited its final version. The opinions expressed in this paper are the responsibility of the authors and do not necessarily reflect the official position of the Inter-American Development Bank. Cover: Shell-shaped pendant belonging to the Quimbaya prehispanic Society. Gold Museum Collection – Bank of the Republic, Colombia
Ibermuseus Program. 10 years of cooperation among museums. 2007-2017, 2017
2006
The IDB Cultural Center was created in 1992 and has two primary objectives: (1) to contribute to social development by administering a grants program that sponsors and cofi nances small-scale cultural projects that will have a positive social impact in the region, and (2) to promote a better image of the IDB member countries, with emphasis on Latin America and the Caribbean, through culture and increased understanding between the region and the rest of the world, particularly the United States.
JCMS: Journal of Common Market Studies, 1966
2011
The views and interpretations in this document are those of the authors and should not be attributed to the Inter-American Development Bank, or to any individual acting on its behalf. The Research Department (RES) publishes the Latin American Economic Policies Newsletter, as well as working papers and books, on diverse economic issues. To obtain a complete list of RES publications and read or download them, please visit our web site at: www.iadb.org/res/32.htm.
International Financial Institutions and Their Challenges, 2015
2014
is now in the midst of an impressive phase of innovation, which is expanding the region's influence in the cultural arena. One of the world's fastest growing sectors, the cultural sector has quadrupled its share of world trade since 1995. In 2012 it represented an estimated $2.2 trillion, or 11% of the global total. Signs that the cultural industries are taking off in Latin America are widespread. As the 2010 Creative Economy Report noted, regional governments are now actively promoting policies for this sector: incentivizing tourism, creating new cultural infrastructure, and strengthening intellectual property protection. The vitality of Latin America's cultural sector is evident in the growth of film, audiovisual, and digital media production, artistic expression and performance, increasing concern with national cultural patrimonies, and sustained attention to both tangible and intangible cultural heritage, as potential economic resources and drivers of development. All are significant expressions of the potential benefits to be derived from the wealth of regional cultural resources. Nonetheless, at present there is scant available basic data describing the region's growing cultural sector, the relationships of this sector to the regional economy, and accompanying analysis supporting possible future directions for development. These circumstances threaten to cripple the continued growth of the creative economy. In this context, CLALS, together with its counterparts at the IDB's Culture, Creativity, and Solidarity Affairs Division, elected to collaborate in the development of an agenda for the next generation of research in this area, with a focus upon how best to conceptualize culture as a critical component of, and resource for, regional development, while also identifying associated key questions and challenges. The purposes of this collaboration is several fold: to help advance conversations about culture and development in the IDB and elsewhere and to take stock and to identify timely and viable research initiatives to pursue in this area, which lead directly to better frameworks for future investment in Latin America's creative economy. Given the ongoing efforts of its Cultural and Creative Economy Laboratory as represented by such recent products as The Orange Economy (2013), together with CLALS the IDB's Culture, Creativity, and Solidarity Affairs Division is ideally positioned to promote best practices with respect to the relationship of the region's cultural sector to its development, through high-profile events and research. With an established reputation among the top research-oriented Latin American area studies centers, CLALS is ideally positioned to provide the necessary research support to map out the critical knowledge space in this area, in anticipation of next steps for policy and investment in the creative economy. This collaboration with the IDB also enhances its existing "Culture and Creativity" program portfolio. With a goal of deepening understanding of how vibrant regional cultural expression intersects with emerging priorities in urban planning and development, this collaboration further represents a major CLALS initiative in "Urban and Metropolitan Studies," an ongoing strategic priority at American University. To this end, CLALS draws on considerable
In the last ten years a new space for artistic production has emerged in developing countries, brought about by the coming together of local arts organisations and international development organisations. At the same time the arts have come to be seen in increasingly instrumental terms, not only in poor countries, but also in wealthy industrialised nations.
2016
under the supervision of Antonio Vives, Manager a.i. The authors are Marco Ferroni, Mercedes Mateo, and Mark Payne. Comments and contributions by
International Journal of Cultural Policy, 2018
This essay looks at two major tendencies in cultural policy recommendations in Latin America: (1) the economic contribution of arts, heritage and especially the cultural and creative industries; and (2) cultural rights, with a focus on inclusion, access, empowerment, and the integral development/ well-being of citizens. The two tendencies, which are part of cultural development policies, are not easily integrated into an all-encompassing policy because they follow different logics and management strategies. Nevertheless, both of these tendencies, which emerged in the heyday of neoliberalism (the 1990s), continue to provide the major justifications for cultural funding, although the current economic crisis has led to budget cuts. After a review of cultural development policies, this essay examines innovative strategies to compensate for scarce funding, including those that seek to bridge both tendencies. The cases examined below correspond to discussions of cultural policies in Latin American forums with hundreds of policy-makers and analysts over the past 20-plus years.
H-ART. Revista de historia, teoría y crítica de arte , 2019
Cultural Organizations, Networks and Mediators in Contemporary Ibero-America (edited by Diana Roig-Sanz and Jaume Subirana, Routledge), 2020
Introduction to the book Cultural Organizations, Networks and Mediators in Contemporary Ibero-America. This book proposes an innovative conceptual framework to explore cultural organizations at a multilateral level and cultural mediators as key figures in cultural and institutionalization processes. Specifically, it analyzes the role of Ibero-American mediators in the institutionalization of Hispanic and Lusophone cultures in the first half of the 20th century by means of two institutional networks: PEN (the non-governmental writer’s association) and the International Institute of Intellectual Cooperation (predecessor to UNESCO). Attempting to combine cultural and global history, sociology, and literary studies, the book uses an analytical focus on intercultural networks and cultural transfer to investigate the multiple activities and roles that these mediators and cultural organizations set in motion. Literature has traditionally studied major figures and important centers of cultural production, but other regions and localities also played a crucial role in the development of intellectual cooperation. This book reappraises the place of Ibero-America in international cultural relations and retrieves the lost history of key secondary actors. The book will appeal to scholars from international relations, global and cultural history, sociology, postcolonial Studies, world and comparative literature, and New Hispanisms.
2009
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2010
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2009
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