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Have your say. http://edu.surveygizmo.com/s3/1306168/Arts-Enterprise-Research-Form. Arts Management in a Global Context: cases and constructs. Introduction and overview of the workshop. Aim of Today’s Workshop. To build international consortium of Arts and Cultural Enterprise researchers

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  1. Have your say http://edu.surveygizmo.com/s3/1306168/Arts-Enterprise-Research-Form

  2. Arts Management in a Global Context: cases and constructs Introduction and overview of the workshop

  3. Aim of Today’s Workshop • To build international consortium of Arts and Cultural Enterprise researchers • To discuss different perspectives in the definition of “Arts and Cultural Management” and some basic concepts. • Develop consensus around research projects to be shared and explored

  4. What is our scope • Arts Management research encompasses the following areas: • Arts management and social and economic creation value • Impact measurement • Audience creation • Management practices within and between Arts Organizations

  5. What the literature says: historicalperspective of arts, cultural and creativeproduction systems Arts Management in a Global Context

  6. Arts Management in a Global Context: Complexities involving the state, third and private sector Academy of Management Congress Orlando Florida Culture Shaped By Culture:The Case of Arts and Cultural ManagementJaime Ruiz Gutierrez August 9 2013

  7. Research Questions • What is Arts Management ? • Where it has been emerged ? • What is Its proposal ? • There is a "model” ?

  8. Sources • History • Empirical research • Cases

  9. Historic keys Arte and culture related subjects • Classical Economist • A. Smith • J. Turgot • Art and Culture, gambling, fashion, luxury, nobility, wasteful, opulence • Arte and culture: dysfunctional for the society

  10. Contemporaneous • 1975 (Morgentsen 97) • Australia, UK, USA, Canada • Service Concept, not tangible, • Economics logic, Services economy • Art and Culture, “Evolution from to be a "right" to value creation factor”

  11. Model one. Empirical sources • Extension of business model to art and culture. (Greyser & Raymond, 1978) • Perez-Cabanero (2011) • Data Intelecto-demographic • Country, University, Subject, Affiliation • Typologies and categories • “Measurement”, variables

  12. Models

  13. Model Two. Empirical sourcesThree Cases • Olodum 1979 in Salvador de Bahía, in Northeastern Brazil • The group manages to effectively combine musical “products” related to the Carnival and the music industry with nonprofit cultural, social and political activities • Their creation sources are based on their African roots and it is through their search for identity that they are able to create a solid musical community. • The management strategies of the organization have been highly informal and innovative; its success is based on a cultural “survival strategy” related to the group’s ancestral African origins • In terms of decision-making, the process is of a collective and extremely informal nature which may have generated processes of empowerment among its participants

  14. Citizenship Culture: Transforming Bogotá • Culture as the set of meanings, beliefs and customs that belong to a social group whose behavior, or bad behavior, was determined by the culture; that is, individuals were governed to a greater extent by culture than by law. • Art, culture and recreation could improve people’s powers of interpretation, and that this would help drive regulation and self-regulation • This model of cultural change operated through “arts, antics and accountability …became an experiment that mixed fun with function. For example, the municipality’s inspired staff hired pantomime artists to make spectacles of good and bad performances at traffic

  15. Some results. Bogota

  16. Epiphany Festival, Bogota: Cultural Management and Social Learning • The oldest popular festival in Bogota (More than 100 years) in one of the most traditional and lowest-income neighborhoods • At the beginning It was organized by the neighborhood’s parish priest. Over time, however, various interests and community groups have become involved, working together to generate processes of collective learning • This social learning allowed the consolidation of various interest groups around the celebration, helping it continue regardless of the presence of an individual organizer. • The community is cultural manager too, and unlike many other organizations of this nature, the absence of the person at the head of the event has no repercussions on its execution and development. • Social learning is shown as a management instrument in which different experiences—including what could be called experiences of trial and error—have facilitated the development and consolidation of a suite of strategies that have allowed them to be institutionalized as cultural heritage of the city.

  17. Comparison

  18. Conclusion and limitation • Two approaches in Arts Management have been described where “Art and Culture” is a value-creation factor • Model one consists of a collection of knowledge which has been systematized primarily by means of: 1. Academic literature published in various journals related to the field; 2. Training schools and research centers mainly in developed countries; and 3. the practical work undertaken by many art and cultural managers and organizations as well as exercises in business consultancy • Model two more experiential and community based-model which impacts significantly on the societies in which it operates. This approach involves intuitive management processes which work towards satisfying diverse and urgent socioeconomic needs. The raw materials in these processes are the abilities and skills of the communities which are drawn from their cultural expressions. • These findings constitute just a starting point to guide reflection in order to achieve a more comprehensive vision of the Arts and Cultural Management

  19. Arts and Cultural Administration Systems

  20. Historical Perspectives Institutionalized Cultural Systems (O’Connor, 2010): Streams in Research: 1996 1970’s 2010 Cultural Industries Culture Industries Creative Industries UNESCO – Creative Sector Report Public Subsidy for High Arts -‘Who’s culture get’s funded’ Marketization of the arts -Subsidy for pop culture and marginalized sectors of economy -Rise of the cultural marketplace DCMS policy Release Cunningham (2002) from Cultural to Creative Industries DiMaggio (1983) Can culture survive the market place Creative Practice Cultural Studies Research Cultural Tourism Community Arts Focus Economic Geography/ Cultural Economy

  21. What are some of the gaps in Arts, Cultural and Creative research? • Lack of comparative studies • Leaves the field at risk of ‘self-proclaimed’ experts • There is room for the development of frameworks and templates to guide management in arts organizations (macro) • There is a lack of knowledge about the similarities and differences between different global contexts • (not helped by UNESCOs 2010 Global Creative Sector report – that presents the cultural industries as a coherent package globally). • There is a need to more adequately understand both market, and non-market roles of the arts – but the way we do this needs improvement

  22. Modern Challenges • Decrease in Public Subsidy – a Push towards Marketization… this has implications for: • Cultural sustainability • Operational processes • Labour exploitation • Globalization and connection • Balancing aesthetic integrity with operational security • Where are we heading?

  23. Why are we having this PDW • Coordinate an international approach the Arts Management research involving: • Research replication • Winning funded research • Global relevancy • Solve real problems in the management of Arts Organizations: • We need new theories to guide practice in assisting arts organizations to operate more sustainably, secure new methods of funding, and have a deeper consideration for cultural diversity and versatility

  24. Our Process for today (Delphi Method) • We will present possible research areas and decide on the ones most interesting to us (consensus) • We will explore possibilities for joint-project development across these areas (consensus) • We will plan and instigate actions for implementing these research projects

  25. We’d like to start by presenting some of our research…

  26. Three Research themes • Top down and bottom up Arts Management • The role of social networks on the working and success conditions of people in the arts • Arts Enterprises between Market, State and Community sectors

  27. Top down and bottom up Arts Management - Jaime

  28. The role of social networks on the working and success conditions of people in the arts Testing: Its not what you know, it’s who you know?

  29. Sample N=251 Australian Music, Film, Arts, Theatre, Arts Admin, design employees Excepting aesthetic recognition, a cultural worker’s network is not likely to greatly influence their success and working conditions. Rather, well-run organisations improve the working and success outcomes of artists and cultural workers.

  30. Arts Enterprises between Market, State and Community sectors

  31. Before we start… would anyone else like to share their research…

  32. What does Arts and Cultural Management mean to you?

  33. What kinds of research are you interested in this sphere?

  34. From our Survey

  35. Themes: Arts Enterprise Business Strategy and Management New business models for Arts Enterprises Value creation, economic and social value, impact, externalities Collaboration and Networking in the Arts Crowd Sourcing & Social Media Cultural Tourism Cultural Heritage Community Development Historic perspectives of Arts Enterprise Cross-Country comparisons of Art Sector and Arts Enterprises Regions, cultural clusters, creative cities Creative Industries Creative Workforce Arts enterprises and Institutionalism

  36. What are some good projects that we can collaborate on?

  37. Projects: Qualitative studies Mixed methods studies Social network mapping Case study comparisons Practice-led studies Quantitative studies Semiotic analysis

  38. How will we manage these projects?

  39. Communication mandates How will we remain manage these projects? Who will be responsible for what? How will we measure our effectiveness?

  40. Thank you! Ben Farr-Wharton ben.farr-wharton@scu.edu.au Jaime Ruiz-Gutierrez jruiz@uniandes.edu.co

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