Cultural managers have an urgent need for advanced trainings to face the changes in society and politics concerning the arts. But what competences does that include? Lorraine Lim, lecturer in arts management at Birkbeck, stated in the Guardian that according to a study among her students, the important skills nowadays are not only how to run an arts institution, but to manage different kinds of projects as portfolio work and to create a career out of short-term employments. With regard to globalization and the differentiation of the cultural sector, this includes often neglected aspects like dealing with failure, intercultural communication and - since glocalization is coming along with globalization - insights in international cultural infrastructures, and social and political circumstances.
Without doubt, we live in an age of oversharing, much aided by the on- slaught of technology. Yet still, information gaps exist. For instance, rele- vant, up-to-date and publicly accessible online information on arts and cul- ture and their professional management can still prove hard to find for some regions and countries. Anupama Sekhar presented culture360.asef.org, an online portal on arts and culture focusing on Asia and Europe to address this knowledge gap, at the ENCATC Annual Conference 2014 and in our Arts Management Newsletter about the conference.
Cultural managers in different parts of the world with diverse, often difficult political, social or financial circumstances need specialized and adequate trainings and further education. They are the topic of our next Arts Management Newsletter. In the issue December 2014 about Arts and Culture in the Near East Stefan Winkler, Franziska Faltin and Imke Grimmer presented the Goethe Institut's cultural management programme for Egypt and other Arab countries. Egypt, like a lot of Near Eastern states, has a vibrant, internationally inspired independent scene with dedicated employees. In contrast there is the traditional culture is financially shabbily treated and reglemented by the state. In the light of censorship, centralization and a lack of professionalism in cultural management the cultural sector could hardly make any impact on its content.
Cultural managers in different parts of the world with diverse, often difficult political, social or financial circumstances need specialized and adequate trainings and further education. They are the topic of our next Arts Management Newsletter. In the issue December 2014 about Arts and Culture in the Near East we talked with Hella Mewis about Theater in Iraq, where cultural managers are needed to ensure that the cultural sector can grow again and fulfill its tasks in the aftermath of the war, during the development of a new governmental system and against the terrorism of the fundamentalist Islamic State. Culture in Iraq contributes to the development of education, community values, and openness more actively than it is often the case in the Western world.
Picture: Criticism of the terrorist practices of the IS is particularly evi- dent in this scene from the play "Interview". © Mohamed Oda
Are you working in the cultural sphere (non-profit), public administration (public body & institutions) or the private sector (for-profit)? Do you have project ideas on how to contribute to the development of your city, together with partners from other sectors, and in a participatory and sustainable way? Are you looking for inspiration, knowledge-transfer and international exchange? If so, feel invited to apply to the program “Actors of Urban Change. Urban Development through Cultural Activities and Cross-Sector Collaboration in Europe”! It aims to achieve sustainable and participatory urban development through cultural activities. Participants are given an opportunity to strengthen their competencies in cross-sector collaboration. Through local projects, process-related consulting, and Europe-wide exchange, the program participants put their skills into practice.
Extended deadlines: CfP for the Research Session and the Research Award during the ENCATC Annual Conference 2015
The ENCATC (European Network of Cultural Administration Training Centers) awaits proposals for the 6th Annual ENCATC Research Session. It will held during the 23rd ENCATC Annual Conference about “The Ecology of Culture: Community Engagement, Co-creation, Cross Fertilization” in Lecce, Italy, on 21-23 October 2015. Subsmission from any relevant discipline will be considered, provided that they make an original academic contribution to the study of arts management and cultural policy.
Engaging Effectively with Broad Segments of the Population. Impressions from the Arts Administration Programs in the USA and the AAAE conference 2015
Prof. Dr. Birgit Mandel, president of the Association for Cultural Management at Universities in Germany, Austria, Switzerland and director of cultural management studies at Hildesheim University, visited two arts management programs in the USA and attended the main conference of AAAE, the Association for Arts Administration Educators at Universities and Colleges, that took place April 16-18, 2015, in Portland. There, she realized several aspects of managing arts that contradict the European presumption of the arts sector in the US.
Peter Gelb is General Manager of the Metropolitan Opera, one of the world’s largest and most complex arts organizations. Since his inauguration in 2006, he launched a number of new ventures for the Met, capitalizing on new media, theatrical broadcast, and a higher rate of new productions per year. Focusing on new and younger audiences, he brought grand opera to an audience of millions and opened a new revenue stream. But the debts are still growing and as the Met is „the most lavish privately financed opera house in the world“, the opinion of the wealth and patronaging older opera lovers play an important role when it comes to management decisions. The „fight at the opera“, that began when Gelb decided to combine the financial and general management with that of the overall creative director, is described by James B. Stewart in The New Yorker. It is comparable to the recent discussions about Chris Dercon, museum curator and director of the Tate Gallery, about his appointment as the new director of the Berlin Volksbuehne theatre. James Abruzzo has looked at the critique and the skills needed to lead an arts institution.
"The most precious things in life are not those you get for money," said Albert Einstein. Cultural managers, artists, and cultural policymakers are well aware that the personal and social value of culture cannot simply be measured through funding. Nevertheless, policy often tries to convey the rehabilitation of its budgets through funding cuts in the cultural sector while cultural institutions and initiatives complain about the lack of money – not just since the economic crisis. In this context, the ENCATC (European Network of Cultural Administration Training Centers) placed the question "Is it all about money?" at the center of its annual conference 2014.
How are companies earning trust through cultural engagement? Money for “publicity”: this over-simplistic marketing principle that underlies any sponsorship agreement is increasingly losing its attractiveness for corporate communications. Here’s the thing: today, entrepreneurial cultural engagement is less about image or about customer loyalty than it is about the central asset of trust. Hence, the idea of corporate cultural engagement has to be rethought. Business logicians of capital have to learn to think in culturally relevant terms and the artists have to see the economic externalities of their actions as a means of securing subsistence.