Frank Kimenai (Amsterdam, 1978) is a versatile cultural professional, specialised in the performing arts. He never played theatre, but he did start his career as a youngster playing in all sorts of punk- and metal bands and organising DIY shows in squats, bars and other uncommon places. Although trained as an ecologist, Frank chose the path to the dark side, and in the very month he got his masters degree in biology, he started (much to his parents disdain) a job as a music promoter in one of the biggest venues of the Netherlands, the 013 in his then hometown of Tilburg. From there on, his entrepreneurial drive took over and he initiated several projects, the most important being the cutting edge and multidisciplinary Incubate festival, where he was the CFO and MD for seven years. After that came 6 years of hard labour as an entrepreneur in the music business. Frank started and ran his own booking- and management agency called Lexicon Bookings. This one-man operation quickly evolved into a five-person company, and represented a large number of international, genre defining, forward thinking, awesome artists in the Benelux area. Frank also managed and consulted a hand full of Dutch bands on their national and international endeavours, taking them to festivals like SXSW, performances on (inter)national radio and television, and helped them negotiate contracts with national and international record companies. After six years though, it was time for a change. Frank had been giving his (both solicited and unsolicited) opinion on several aspects of cultural policy and pop music during several occasions, and consulted organisations like the Dutch Performing Arts Fund, the Raad voor Cultuur and the Dutch consulate in the US about (pop)music, funding, trade missions, music export and internationalisation. Much of these consulting job took place on the intersection of culture, politics and economics; a biotope where he feels most at home. With a healthy dose of grass roots ethics, an entrepreneurial mindset and and international gaze, Frank is now consulting the Dutch cultural field – from architecture to cultural heritage and from libraries to his beloved performing arts – about the possibilities of European cultural funding in his job as a program manager at the the Dutch Creative Europe Desk. He really likes his job. The little off time he has, he likes to spend diving, fishing or dreaming about a restaurant specialised in chili.