Universitat Internacional de Catalunya

Performing Arts Management

Performing Arts Management
3
11552
1
Third term
op
Main language of instruction: English

Teaching staff


Ms. SANCHIS PERALES, José María - jmsanchis@uic.es

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.

Both performing arts sector and music industry, the whole ecosystem 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 performing arts and 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.
  • CB10 - Students should have the learning skills necessary to continue studying in a largely self-directed or autonomous manner.
  • CB6 - To have and understand knowledge that provides a basis or opportunity for the student to develop and/or apply original ideas, often in the context of research.
  • CB7 - Students should be able to apply their knowledge and ability to solve problems in new or little-known environments, within broader (or multidisciplinary) contexts related to their area of study.
  • CB8 - Students should be able to integrate their knowledge and cope with the complexity of issuing judgements based on information that, though incomplete or limited, includes reflections on the social and ethical responsibilities linked to the application of their knowledge and judgements.
  • CB9 - Students should be able to communicate their conclusions and the knowledge and arguments supporting these conclusions to specialised and non-specialised audiences in a clear and unambiguous manner.
  • CE1 - To identify and use the main economic management tools and methods that may be applied in the various types of cultural organisations, differentiated according to mission (public, non-profit or for-profit).
  • CE10 - To define, design and programme an innovative and sustainable cultural project that responds to the needs and interests of society and contributes to social enrichment and development.
  • CE11 - To undertake the proposed work in a public or private company or institution, managing time both efficiently and effectively.
  • CE2 - To act as an active mediator in processes related to cultural diversity, multiculturalism, globalisation and cultural identities, among others.
  • CE3 - To identify, analyse, design, plan and assess cultural policies, and recognise the role of the agents who take part in cultural actions in a specific environment and the tools for planning such cultural policies.
  • CE4 - To interpret and apply the national and international laws that regulate culture and art and, in particular, the basic aspects of intellectual property rights in order to manage and contract cultural services.
  • CE5 - To diagnose and resolve economic and financial imbalances in a financial or cultural institution and create and plan funding plans for cultural projects and sponsor programmes.
  • CE6 - To design and implement an efficient and viable business plan within the creative sector.
  • CE7 - To analyse, apply and assess marketing strategies in different cultural sectors, institutions and projects and develop a basic communication strategy for a cultural institution or project.
  • CE8 - To identify the business structures inherent to the creative cultural, visual arts and cultural heritage industries at a national and global level and manage the processes and work procedures involved in their creation, programming, management and production.
  • CE9 - To coordinate interdisciplinary work teams and use new technologies to manage, produce and disseminate cultural products and services.
  • CG1 - To analyse and interpret social and cultural environments to identify needs, opportunities, weaknesses and strengths.
  • CG2 - To lead, coordinate and form part of interdisciplinary work teams.
  • CG3 - To search for and/or administer economic resources within the framework of an institution or company, or a cultural programme, project or service.
  • CG4 - To know how to communicate, encourage and mediate between the various agents involved in a cultural project, programme or service.
  • CG5 - To act responsibly and produce high-quality, rigorous and efficient work that benefits society.
  • CG6 - To demonstrate an ability to be open and flexible with regards to cultural and social diversity.
  • CG7 - To know how to apply and adapt to new technologies in processes of cultural management, production and dissemination.
  • CT1 - To design, direct, produce and assess cultural projects, programmes, strategies, policies or actions that involve a number of different numerous professional profiles, agents and institutions.

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.

 


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



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