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The article offers updates related to the activities of the Association of Music Libraries, Archives and Documentation (IAML) in 2009 the Netherlands. It notes that the Muziekcentrum Nederland (MCN) for professional music life was opened. It states that Dutch IAML's board has organized a marketing and cultural entrepreneurship session and a children-oriented meeting in November 2009. It mentions that Theater Instituut Nederland (TIN) has created a new archival facility in Amsterdam.
The Netherlands developed, provided and evaluated training for a group of general practitioners (GPs). We used cultural knowledge and methods which were already available from the work of Hans Harmsen (2003; Harmsen et al., 2005b), and adapted it for the training on interpreting. In this chapter an overview is given of the needs of the group of GPs and of the design and evaluation of the training which was given in the fall of 2009.
Statistics show that the incidence of telework in the Netherlands has been rising since 2000, regardless of the precise definition used. The government has encouraged the use of telework by introducing tax benefits for employers who facilitate such work. This article looks at the extent of telework in this country and explores the progress in implementing the EU framework agreement on telework, concluded by the European social partners in 2002.
The Netherlands is seen by many as a ‘planners paradise’, with great governmental powers in spatial planning.2 However, since the mid-1980s many legislative reforms have taken place with the purpose to simplify the process of decision-making and speed-up plan-making. Simultaneously, the various tiers of government promoted a growing influence of private sector on spatial planning decisions. Therefore, the many changes in Dutch planning law following the crisis of the late 2000s, can be seen as a continuation of previous legislative reforms.
Nationalist populist parties and movements are growing in support throughout Europe. These groups are known for their opposition to immigration, their ‘anti-establishment’ views and their concern for protecting national culture. Their rise in popularity has gone hand-in-hand with the advent of social media, and they are adept at using new technology to amplify their message, recruit and organise. Geert Wilders and his Partij voor de Vrijheid (PVV) in the Netherlands are perhaps the best known of these new movements, enjoying steady growth since being founded in 2004. In the 2010 parliamentary election, the PVV won 24 seats, which made it the third largest party in the Netherlands, and gave it a keyrole in keeping the minority government of Mark Rutte in office. The PVV places strong emphasis on the need to address immigration and what...
The aim of my lecture is to give you an overview of the history of Dutch theatre dance. I will show you the richness of our dance landscape by the video examples. Dutch theatre dance has no long tradition and it is this lack of tradition that made dancers and choreographers curious for new elements from abroad and open to experiments. The result is a varied dance scene and well-known Dutch choreographers all over the world. In the year 2000, the prestigious Erasmus Prize was given to the dance in The Netherlands, embodied in the personality of Hans van Manen, and because of this I will start with a video fragment of one of his pieces. His work is very clear and plain. All of his dance pieces are about people, about men and women. He doesn’t like psychology, but he claims that as soon as you put two people on the stage, you have a story...
Generally speaking, Dutch copyright law does not differentiate in terms of the effects of copyright law according to various work categories. The Dutch Copyright Act protects “works of literature, science or art”, as exemplified in the non-exhaustive list of work categories of Article 10(1) which is modelled after Article 2(1) Berne Convention. Article 10(2) clarifies that the Act protects “every production in the domain of literature, science or art, whatever may be the mode or form of its expression”. Following the adoption of the two European directives on the protection of computer programs and databases, article 10 was modified to expressly cover these among the categories of works protected by the Act. Special provisions for cinematographic works are contained in Articles 37–42 of the Act.
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