Festivals Edinburgh Pre-conference Workshop
Join the team from Festivals Edinburgh for a day-long intensive on festivals management. Rooted in case studies and reflections on real-world work and scenarios, the day’s agenda includes presentations and discussions in the following areas:
Business Models: Explore the concept of business models, starting with an examination of the different models through which Edinburgh’s Festivals create, deliver and capture value.
Collaboration: Learn about Edinburgh’s notions of collaborative working, the factors at work in developing and formalizing festivals collaboration, wider policy contexts and the stakeholder engagement.
Marketing/Innovation: Explore both the practices involved in taking cultural brands to market and the increasing challenges and opportunities presented by new markets and digital technologies.
Creative City: This part of the agenda places the festivals within the wider context of the city’s cultural eco-system and identifies the manner in which they seek to add value to the creative city.
Registration Required for the Festivals Edinburgh workshop. $80, includes lunch.
The Association of Arts Administration Educators (AAAE) consists of more than 150 member programs, all training and equipping students in arts leadership, management, entrepreneurship, cultural policy, and more. The organization’s network of instructors and their alumni are the cornerstones of local arts communities across the globe. AAAE serves as a convener, a resource, and an advocate for formal arts administration education.
AAAE member institutions develop and run programs of all shapes and sizes: undergraduate to graduate, private schools to state universities, online, cohort-based, fellowship-based, and more. The organization maintains a network of program directors, scholars, and practitioners working to strengthen arts administration education. AAAE also supports its members in publishing and presenting research in arts management and administration.
www.artsadministration.org
Our mission is to stimulate the development of cultural management and cultural policy education in Europe and beyond, engaging and responding to new developments in politics, economics, societies, and technology.
Our members are higher education institutions, training centers, cultural organizations, consultancies, public authorities, and artists.
Since its creation, ENCATC cooperates with the Council of Europe, UNESCO, European institutions, and the European Cultural Foundation. As results of our internationalization policy, ENCATC is also a strategic partner of the Asia-Europe Foundation, the Association of Arts Administration Educators, and the Taiwan Association of Cultural Policy Studies.
We believe cultural management and policy education, training, and research have the power to make the cultural sector stronger, resilient, and sustainable in Europe and beyond.
In 2017, the 25th ENCATC Congress on Cultural Management and Policy will be organized from 27-30 September in Brussels, Belgium. The Congress theme will focus on "Click, Connect and Collaborate! New directions in sustaining cultural networks".
During the Congress, eminent experts from all over the world will analyze the latest research and share expertise from the field to answer questions such as: What is the real value of networks? Why are they essential? Are networks the right format to communicate and meet each other nowadays? How do we use digitalization to involve members in a network? What is the added value of joining one? How entrepreneurial are cultural networks? Which business model are they looking to develop? How sustainable are they?
ENCATC’s Congress will be the occasion to reflect on these questions, the future role of networks in the cultural sector, and the role networks play for higher education arts administration programs. What will all this mean for the way we work, connect, and collaborate?
The four-day event will bring participants exceptional content and programing on cultural management and policy, provide insight and knowledge from top experts, present the latest research trends, and offer exciting cultural activities and many networking moments. Each year, the Congress attracts an international audience that includes experts, academics, researchers, arts and cultural managers, artists, policy makers, students, and representatives from local, regional, and national governments.
Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. Join us for this visit to the Creative Scotland HQ to hear about the challenges and aspirations for Scotland’s creative industries – about partnerships and alignments across the public and private sectors, the development of evidence for effective policy, and how we try and help good stuff happen.
For your visit, with Clive Gillman, Director of Creative Industries, will give a presentation on how Creative Scotland is supporting the growth of Scotland’s Creative Industries.
Kings and Festival Theatres: http://www.edtheatres.com/about
Festival City Theatres Trust is the largest not-for-profit independent theatre management in Scotland. It manages three touring venues: the King’s Theatre, the Festival Theatre and The Studio (an extension to the Festival Theatre). The King’s (1,300 seats) is a traditional proscenium arch theatre built in 1906 and stages mostly number 1 touring drama, as well as hosting some local amateur dramatic organisations and the hugely successful annual Pantomime. The Festival Theatre (1,900 seats) underwent a major refurbishment in 1994; it stages predominantly lyric work, opera, ballet, dance and musicals, but is also the largest cinema in the UK. All of our stages host work from a number of Edinburgh’s festivals, including our Studio (160 seats), a recent addition to the portfolio built in 2013, which also acts as a rehearsal and learning space.
There are two options for your trip to Festival City Theatre Trust:
You can choose to visit the Festival Theatre which will include a short tour of the theatre and where you will meet Cerin Richardson, Head of Creativity and Diversity, who will talk about how we programme our venues according to which product will best fit which stage and, in the context of other venues in the city, how we compete for the market in a small conurbation.
You can choose to visit the King’s Theatre which will include a short tour if the theatre and where you will meet Duncan Hendry, Chief Executive, who will talk about how we are achieving our aim to become dementia friendly venues and how we stage relaxed performances for children with sometimes challenging multiple-disabilities.
Edinburgh Art Festival: https://edinburghartfestival.com/
Edinburgh Art Festival (EAF) is the UK’s largest annual festival of visual art, and a leading international platform for supporting the development, production and presentation of ambitious new work by Scottish artists. Each year, we work in partnership with Scotland’s visual arts sector, to present a rich and varied programme of exhibitions, publicly-sited commissions and events, the vast majority of which is free at the point of access. We are committed to sharing the very best visual art with audiences, locally, nationally and internationally; and to finding ways to present ambitious and challenging programme in a manner which appealing and accessible to general audiences. Partnership is at the core of our festival model, and critical to the development and delivery of our ambitions.
Your visit to their offices will provided an opportunity to hear from the director of EAF, Sorcha Carey. Her talk will focus on festival programming in a UNESCO World Heritage site and will explore the unique challenges and opportunities presented by programming contemporary art in a city renowned for its historical significance. Her talk will also look at how EAF commission invite artists to explore and transform the city, offering a very special backdrop for artists to experiment and develop ambitious new projects.
What does it mean to be an arts administrator, and an arts administration educator, in this new era? Is it enough to be a skilled marketing manager of a local chamber orchestra or mainstream (i.e. not challenging) theatre company, or is more required of all of us as artists and arts administrators? If as Shelley said, artists are the unacknowledged legislators of the world, what does that mean for our curricula and how will and should we as artists, administrators, and arts administration educators, handle the shock of the Internet’s alteration of what performance, publication, exhibition and audience mean, while the fundamental questions of what it means to be a modern society are now so urgently and shockingly put before us
Arts and Social Change, A Must: Part 2, How To: Content and Pedagogy for Arts Management Programs
Leonie Hodkevitch, Morenga Hunt
A global array of societal factors has prompted increased conversations about identity and community based on diversity, equity, and justice. The expectation that cultural projects should and can contribute to social justice through diversity, inclusion and equity has long gone beyond social projects and concerns a wide variety of art and cultural projects. Within this context, artists, arts administrators, and cultural workers around the globe are engaging more deeply to assist in addressing these urgent challenges. Forward looking arts administration educators and managers are having new discussions about the role of arts and culture in addressing issues of social justice, community cohesion, inclusion, and civic engagement. The panel will explore options for content and pedagogy, theories, practices, and models for programs. A group exercise and wrap-up discussion consider concepts and strategies that participants can apply in arts administration courses. By the end of this session, attendees will: (1) consider policies, strategies, and practices for inclusion of diversity and social justice content within arts administration curriculum; (2) add pedagogical strategies for inclusion of diversity and social justice content, (3) identify benefits and challenges of making these curriculum content changes, (4) share relevant diversity and social justice content in their own Arts Administration programs. (5) connect to other colleagues dedicated to this field.
The hypothesis for this paper is this: "A music-centred initiative explicitly modeled on the Slow Food movement and using sustainability metrics from the Music Cities research base will counterbalance Baumol's "cost-disease" problem and expand opportunities for performing arts organizations."
To examine the hypothesis, this paper brings together (a) comparative analysis of the Slow Food movement (founded in 1986), with a focus on multi-national localization, grass-roots communications networks, and success in changing long-standing consumption habits and production protocols; (b) research and theoretical frameworks recently developed by the multi-national Music Cities initiative; (c) a re-examination of economist William Baumol's "cost-disease" concept (first published in 1966) and new models for measuring labour productivity; (d) an assessment of new ways to measure success in the nightclub industry and the ways that artistic creators either affirm or negate a sense of place; and (e) a case study on music and arts initiatives in the city of Glasgow, Scotland, with a focus on funding models, results measurement, and the city's explicit prioritization of the arts as a contributor to a sustainable city.
It's important to note that in applying the Slow Food ethos to music and the performing arts, the word "slow" does not mean soft, bland, simple, or slow-paced. Instead "slow" connotes taking the time to savour complexity, to be enriched by repetition and variation, to value and enjoy listening. The idiom "keeping body and soul together" inspires the title of this paper because it resonates so deeply with the health of people and cities through the arts.
The results of this investigation will test the hypothesis; create new ways for arts organizations to measure and communicate value; and be relevant pedagogically by illustrating how a practical framework can anchor teaching about start-ups and value creation.
Today's arts managers are facing the same challenges as many other industries - the emergence of new audience participation patterns, fluid organizational structures, and changing social norms. On her recent sabbatical, Ellen Rosewall visited with organizations around the country who are innovating, and used these conversations as a base for research on how the arts are developing new programs, new structures, and new ways of participation in the arts. This session will explore some ways we can work with our students to engage them in the task of rethinking the arts for 21st century arts and audiences. (Spoiler alert: it does not involve lowering artistic quality)
This session will explore the value of experiential learning with industry partners as an effective approach to educating future entrepreneurs, leaders, and managers within the creative industries. Experiential learning is a key component of a fully-realized education and is the bridge that connects classroom learning with current real world practices.
We investigate this using several examples: Startup Weekend for Creative Enterprises powered by Google for Entrepreneurs, a global initiative that exists in over 135 countries; Global Marketing: Prague, an immersive study abroad experience where students work at FCB/Prague; and Chicago’s Wabash Arts Corridor, a civic, business, artist, and college collaboration.
We will use these examples to frame a conversation in which we can all share diverse perspectives and experiences to further experiential learning and creative industry partnerships.
Creative placemaking in the US: The case of Portland, OR
Eleonora RedailliCreative placemaking is an idea that is gaining traction in the field of arts and culture. Despite a growing popularity, creative placemaking is still a fuzzy concept that offers an unstable signifier based on a fractured and loose web of rationales and justifications, from which vested parties are still working out terms and agreement. In this research, I consider creative placemaking as it has developed as a national policy in the United States. First, I analyze the multilevel governance of the creative placemaking policy developed by the NEA, pointing out how three different tools have been used by the government to promote this policy: research, grants, and partnerships. Then, I turn attention to the local level and investigate how each of these tools is connected to a specific art program in Portland, OR: Trimet’s Interstate MAX public art program, Time Based Art Festival by Portland Institute of Contemporary Art, and My Story by We Are Portland. I study each of these programs, addressing the following questions: What are the art theories supporting the overall project? What is the role of artists? What is the connection with place?