It is interesting to see that over twenty artistic directors can meet to discuss topics of interest. Some draw my curiosity? How were those attendees elected or selected? How can anybody consider industrializing our art and thinking of global repertory? To ask such a question implies a total lack of creativity in our art.
Regarding a course for the preparation of Artistic Directors, I have been advocating this for years. Fortunate to have been tutored by Dame Ninette de Valois, I also am curious as to what criteria boards use to establish the worthiness of applying candidates.
Just to clarify, I am absolutely happy in my present capacities, feel a great commitment to my art and am more creative than ever in my career.
My observations come from experience and the sincere concern for the future (sound one) of our Art.

If you were designing such a curriculum, what would it cover?

Hi Robert and welcome to CriticalDance. Picking up some of your points:

The attendees were invited by the organisers of the Rural Retreat, led by Assis Carreiro – Director of Dance East. If you want to contact Assis:

info@danceeast.co.uk

I believe that this was an area for the Directors to discuss. It is certainly happening these days as choreographers such as Mark Morris, Balanchine and Nacho Duato are performed in so many places. When you think about it globalisation started early in ballet with "Swan Lake" etc.

<small>[ 04 February 2004, 10:49 AM: Message edited by: Stuart Sweeney ]</small>