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Arts Management in a Global Context: cases and

constructsIntroduction and overview of the workshop

Aim of Today’s Workshop1) To build international consortium of Arts and

Cultural Enterprise researchers2) To discuss different perspectives in the definition

of “Arts and Cultural Management” and some basic concepts.

3) Develop consensus around research projects to be shared and explored

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

What the literature says: historical

perspective of arts, cultural and creative

production systemsArts Management in a Global Context

August 9 2013

Culture Shaped By Culture:The Case of Arts and Cultural Management

Jaime Ruiz Gutierrez

Arts Management in a Global Context: Complexities involving the state, third and

private sectorAcademy of Management Congress

Orlando Florida

Research Questions

• What is Arts Management ?

• Where it has been emerged ?

• What is Its proposal ?

• There is a "model” ?

Sources

• History

• Empirical research

• Cases

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

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”

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

Models

Parameter Model ONEManagement Subject CompanyCreation Subject RationalMethod DeductiveBasic Skills Strategic PlanningManagement Direction Top-downImpacts Economic, PrivateEnvironment Stable and Predictable

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

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

Some results. Bogota

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.

Comparison

Parameter Model ONE Model TWO

Management Subject Company Community

Creation Subject Rational Experiential

Method Deductive Trial and Error

Basic Skills Strategic Planning Organizational Learning

Management Direction Top-down Bottom-up

Impacts Economic Social

EnvironmentStable and Predictable Unstable and Contingent

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

Arts and Cultural Administration Systems

Historical PerspectivesInstitutionalized Cultural Systems (O’Connor, 2010):

Streams in Research:

Culture IndustriesCultural Industries Creative Industries1970’s 1996 2010

UNESCO – Creative Sector Report

Public Subsidy for High Arts-‘Who’s culture get’s funded’

-Subsidy for pop culture and marginalized sectors of economy-Rise of the cultural marketplace

Marketization of the arts

DCMS policy Release

Cultural Studies ResearchCommunity Arts FocusCreative Practice

Economic Geography/ Cultural Economy

DiMaggio (1983) Can culture survive the market placeCunningham (2002) from Cultural to Creative Industries

Cultural Tourism

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

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?

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

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

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

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

Top down and bottom up Arts Management - Jaime

The role of social networks on the working and success conditions of people in the arts

Its not what you know, it’s who you know?Testing:

Sample N=251Australian 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.

Arts Enterprises between Market, State and Community sectors

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

What does Arts and Cultural Management mean to you?

What kinds of research are you interested in this sphere?

From our Survey

Arts Enterprise Business Strategy and Management

Collaboration and Networking in the Arts

Community Development

Creative IndustriesCreative Workforce

Crowd Sourcing & Social Media

Cross-Country comparisons of Art Sector and Arts Enterprises

Cultural TourismCultural Heritage

Historic perspectives of Arts Enterprise

New business models for Arts Enterprises

Regions, cultural clusters, creative cities

Themes:

Arts enterprises and Institutionalism

Value creation, economic and social value, impact, externalities

What are some good projects that we can collaborate on?

Projects:

Qualitative studies

Case study comparisons

Quantitative studies

Mixed methods studies

Practice-led studies

Social network mapping

Semiotic analysis

How will we manage these projects?

Communication mandates

How will we remain manage these projects?

Who will be responsible for what?

How will we measure our effectiveness?

Thank you!Ben Farr-Whartonben.farr-wharton@scu.edu.au

Jaime Ruiz-Gutierrez jruiz@uniandes.edu.co