Subject

Performing Arts Management

  • code 11552
  • course 1
  • term Term 3
  • type op
  • credits 3

Main language of instruction: English

Teaching staff

Head instructor

Lc. José ZAPATA - pepezapata@uic.es

Office hours

Upon request and coordination

Pepe Zapata pz.pepezapata@gmail.com

Jose Sanchis jsanchis.obc@auditori.cat

Introduction

The new habits of cultural consumption are conditioning the way of managing the performing arts in all its value chain: research and creation, production, distribution, exhibition and reception. As a consequence, all the agents that are part of the sector need to rethink their role, including the very approach of what we understand by performing arts.   Combining a careful selection of theory and methodology items with practice, we will know fist hand real cases of organisations and referential experiences in the sector, going into detail in new forms of management and considering the space these agents occupy in the performing arts ecosystem, allowing us to carry out a critical and transversal analysis and obtaining a holistic and global vision.

Music industry finds itself at a crossroad. Main actors and artist’s status has shifted dramatically over the last years. While music education and specific live concert events are boosting, recording industry and traditional promoters and festivals are facing a major crisis. The industry needs to redefine main actors’ role and detect new tendencies and tools for managing this new scenario.   

Within a rapidly changing domestic and international environment, the work of arts and cultural managers is becoming more complex and significant. The creative industries are growing rapidly and patterns of cultural work are changing. Cultural organisations and festivals are in a period of fundamental, pervasive and long-term change; managers must deal with a host of dramatic, often contradictory, demands and challenges. Through encouraging you to become critically reflective, the course will develop your knowledge of the contemporary issues affecting the management of arts organisations and festivals.


Pre-course requirements

A passion for arts and culture, a solid educational background, and a desire to deepen these fields of interest and understand them in a professional context.

A general background of cultural history and specifically music history will be helpful.


Objectives

- To deliver a general framework of global tendencies in music management.

- To develop leadership skills and inside knowledge for a highly competitive and complex business.

- To learn dealing with artistic capital and talent.

- To provide the students with a theoretical framework.

- Definition of the business structure and strategies in arts administration. Identification of processes and procedures involved in its creation, programming, management and production.

- Correct decodification of industry context, actors and momentum, that operate as inspiration or guide for own projects.

- Apply the acquired knowledge and abilities to solve problems in new or unfamiliar environments within multidisciplinary contexts

Competences / Learning outcomes of the degree programme

Basic competences

1.

To have and understand knowledge which provides a grounding or opportunity to be original in terms of development and/or application of ideas, often in a research-based context.  

2.

To know how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.

 

General competencies

3.

To know how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.

4.

To act responsibly, and produce good quality rigorous and efficient work that is placed at the service of society.  

 

Cross-disciplinary competencies

5.

To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

 

Specific competence

6.

To identify business structures in creative cultural industries at a global level and manage the processes and work procedures involved in their creation, programming, management and production.

Learning outcomes of the subject

  • The student knows how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.

  • The student knows how to act responsibly, and produce good quality rigorous and efficient work that is placed at the service of society.

  • The student knows how to identify business structures in creative cultural industries at a global level and manage the processes and work procedures involved in their creation, programming, management and production.

  • The student knows how to design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

Syllabus

Theatre management:

  • What do we mean when we talk about performing arts.
  • Ecosystems, agents, networks, stakeholders.
  • Venues, festivals and fairs.
  • From strategy to values, the relevance and uniqueness of the projects.
  • Development of a production: from the artistic conception to the budget design.
  • From values to communication, from communication to marketing.
  • Engagement with audiences from storytelling. Segmentation, empowerment, participation
  • From data to information, and from information to knowledge. Measuring efficiency and effectiveness and analyzing of the performing arts projects

Music management

1.       Introduction to music management.

2.       Reality of the sector.

3.       Presenting music-venues.

4.       Actors.

5.       Analysis management structures.

6.       Festivals.

7.       Guests professors will give a more detailed view of some of the sectors like, private promoters, festival programmers, executive producers or agents.

 


Teaching and learning activities

In person

Theatre management:

  • A combination of a careful selection of theory and methodology items and the application of these resources in practical cases.
  • Theory: a diachronic tour, from strategies to real projects and experiences focused on performing arts.
  • Practice: readings and case studies, visit to relevant performing arts organizations.

 

Music management

  • The aim of the subject is to provide the students with a complete overlook of all the aspects that are involved in the production of a concert.
  • We will discuss about where, who and how.
  • We will have some guests that will help us have a better understanding of the music production or about organizing a Festival.
  • We will provide the students with very useful material like contracts, riders and articles.
  • Discussion of real cases in class will be a very important part of the subject. We will encourage the participation of the students in regular debates.
  • Anyone who works in the performing arts should go to all kind of concerts so finally, going to concerts should also be part of the subject, so I will provide some tickets for concerts and we will discuss them in class.

Evaluation systems and criteria

In person

Theatre management:

  • The subject will be assessed by the average of 2 marks:
    • attendance and class participation: 40%
    • continuous evaluation during classes: 60%

 

Music managment:

  • To come with the final mark of the subject two short written essais will be needed. The result will add up to 70 % of the final mark

  • 25 % will be from class participation

  • The best students, that is to say those with the best marks on the written part and that have taken part actively in the classes will be entitled to add a 5% extra to their mark.

Bibliography and resources

Theatre management:

  • Anderson, Ch. (2008). The Long Tail. Hachette.
  • Carr, E.; Pauls, M. (2011). Rompiendo la quinta pared: Marketing para las artes en la era digital. Fundación Autor. Cashman, S. (2010)
    • Thinking Big! A Guide to Strategic Marketing Planning for Arts Organisations. Arts Marketing Association.
  • Godin, S. (2015). We Are All Weird: The Rise of Tribes and the End of Normal. Portfolio.
  • Harlow, B. (2015). Taking Out the Guesswork. A Guide to Using Research to Build Arts Audiences. The Wallace Foundation.

http://www.wallacefoundation.org/knowledge-center/Documents/ Taking-Out- theGuesswork.pdf.

  • Kaiser, M.; Egan, Brett E. (2013). The Cycle: A Practical Approach to Managing Arts Organizations. Brandeis University Press
  • Levine, R.; Locke, Ch.; Searls, D.; Weinberger, D. (1999). The Cluetrain Manifesto: The End of Business as Usual.

http://www.cluetrain.com/

  • Osterwalder, A.; Pigneur, Y.; Clark, T.; Smith, A. (2011). Business Model Generation.
  • Planellas, M.; Muni, A (2016). Las decisiones estratégicas. Los 30 modelos más útiles. Penguin (3a edició).
  • Solis, B. (2015). X: The Experience when Business Meets Design. Wiley.

 

Music management: 

  • Ross, A. (2011). The Rest is Noise. Listening to the Twentieth Century. Farrar Straus Giroux.
  Newsletter about arts https://www.artsjournal.com 


Teaching and learning material

      Material
            ANGL performingartsj.sanchis.pdf 
            artist contract artistcontract.docx.pdf 
            Catering rider 10-antonyathejohnsonscateringrider2012copy.pdf 
            debate free concerts freeconcerts.docx 
            Monkingme presentaciomonkingmev2.pdf 
            Opera opera.pptx 
            Performing arts 3 performingartsmusic3.pptx 
            PowerPoint Music class 2 performingartsmusic2.pptx 
            Production rider 01-antonyprodrider-lasersacrystals.v12012.pdf 
            rehearsal rider 03-antonyrehearsalaudiospec2012copy.pdf 
            Schedule LOTR lotr-rotkv-4nopersonaldata.xlsx 
            Schedule Opera luciadil-rehearsalplanning.pdf 
            Schedule POTS potsmusicschedulev.2.pdf 
            simple orchestra rider fitxatecnicaobcbratislava1octubre.pdf 
            Where have the big donnors gone wherehaveallthedonorsgone.docx 
      Websites
            COVID-19 Edimburgh labor lost http://https://www.scotsman.com/health/coronavirus/business-leaders-warns-tens-thousands-jobs-risk-after-edinburgh-festivals-cancellation-2526641?mc_c 
            Covid Cirque du Soleil https://www.hollywoodreporter.com/news/coronavirus-cirque-du-soleil-lays-95-percent-staff-closing-shows-1285928?mc_cid=cfdb254240&mc_eid=dee4db1d2a 
            covid for event managers http://https://theconversation.com/coronavirus-has-dimmed-the-lights-on-live-entertainment-what-now-for-event-managers-134374?mc_cid=503072a1fe&mc_eid 
            Covid live streaming is here to stay http://https://www.ludwig-van.com/toronto/2020/04/20/report-live-streaming-is-here-to-stay-the-future-of-an-emerging-technology/?mc_cid=081145fdf9&mc_ 
            Covid Metropolitan Opera https://www.nytimes.com/2020/03/20/arts/theater-dance-classical-art-stay-home-virus.html?mc_cid=fadc9d0fab&mc_eid=dee4db1d2a 
            Covid streaming http://https://www.wqxr.org/story/can-classical-musics-streaming-present-become-part-its-future/?mc_cid=39c0184a7f&mc_eid=dee4db1d2a 
            Covid tickets refund http://https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html?mc_cid=41aa6e3046&mc_eid=dee4db1d2a 
            Covid Uk music https://www.theguardian.com/music/2020/mar/23/uk-musicians-lose-139m-earnings-coronavirus 
            Edinburghs festivals canceled http://https://www.theguardian.com/culture/2020/apr/01/edinburghs-five-festivals-cancelled-due-to-coronavirus?mc_cid=ea07c70c02&mc_eid=dee4db1d2a 
            festival green agenda http://https://mixmag.net/feature/sustainable-sesh-how-clubs-and-festivals-are-boosting-the-green-agenda?mc_cid=4f7bab731d&mc_eid=dee4db1d2a 
            Most strange place for concerts http://https://www.loudersound.com/features/weird-gigs-metallica-korn-the-cramps-wormrot-sex-pistols-rage-against-the-machine 
            Possible trends after covid in the music sector http://https://van-us.atavist.com/19-covid-theses?mc_cid=ea07c70c02&mc_eid=dee4db1d2a 
            social distance in auditoriums without vaccine http://https://www.middleclassartist.com/post/the-post-covid-concert-hall-catastrophe-why-audience-attendance-is-the-least-of-our-problems 
            trends music sector https://sonosuite.com/music-industry-trends/ 
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