Archive for the ‘Cultural Policy’ Category
Cultural Policy
Heritage Assessment Report MOLDOVA
Posted by ghenador on January 12, 2012
Posted in Cultural Policy, Moldova Culture | Tagged: Heritage Assessment, Moldova, Report | Leave a Comment »
The late Dragan Klaic discusses his pioneering work in cultural policy studies at CEU
Posted by ghenador on December 6, 2011
Posted in Art Management, Cultural Policy, Education | Tagged: Dragan Klaic | Leave a Comment »
ANUNŢ CONCURS: CASA DE CULTURĂ – MODEL DE CONSOLIDARE A COMUNITĂŢII LOCALE PRINTR-UN PARTENERIAT CIVIL.
Posted by ghenador on November 9, 2011
Fundaţia Soros-Moldova şi Centrul de Politici Culturale cu susţinerea Fundaţiei Culturale Europene (Amsterdam) anunţă lansarea proiectului „Casa de cultură – model de consolidare a comunităţii locale printr-un parteneriat civil.”
Scopul proiectului este crearea unor modele de reorganizare a caselor de cultură în centre de furnizare de servicii culturale pentru populatie în bază de parteneriat şi cooperare între instituţiile de cultură, organizaţiile ce reprezintă sectorul civic şi instituţiile Administraţiei Publice.
Reorganizarea activităţii caselor de cultură presupune în primul rînd că strategia de funcţionare a acestor instituţii se bazează pe necesităţile culturale ale comunităţii. Casa de cultură ar trebui să fie implicată în rezolvarea problemelor reale ale populaţiei, ceea ce ar putea fi asigurat printr-o gestionare eficientă şi un parteneriat stabil. În cele din urmă, o astfel de instituţie este capabilă să iniţieze proiecte culturale, să sprijine iniţiative civice şi să contribuie la sporirea standardelor de viaţă ale cetăţenilor.
La încheierea proiectului vor fi constituite premise pentru crearea, în baza caselor de cultură, a şase centre moderne de prestare a serviciilor culturale. Aceste instituţii vor contribui eficient la dezvoltarea comunităţilor rurale sau a centrului raional, vor introduce metode moderne de management, vor crea platforme pentru abordarea transparentă a problemelor existente.
Proiectul va fi implementat pe durata a doi ani. Persoanele care vor reprezenta instituţiile selectate pentru participare în proiect vor asista la un curs de formare în domeniul antreprenoriatului cultural compus din 4 sesiuni şi o deplasare de documentare în străinătate, după care vor elabora proiectele de reorganizare a activităţii caselor de cultură pe care le reprezintă şi vor beneficia de granturi pentru realizarea proiectelor propuse.
În cadrul acestui concurs se vor examina doar cererile de participare bazate pe parteneriat între casa de cultură (din sat sau raion), o organizatie neguvernamentală (locală sau centrală) şi administraţia publică (locală sau raională). Astfel, cererea de participare în proiect trebuie să fie o decizie colectivă structurilor menţionate mai sus.
În procesul de examinare a cererilor vor fi luate în considerare capacităţile instituţionale şi înţelegerea reciprocă între membrii echipei, precum şi nivelul coincidenţei viziunilor şi scopurilor solicitanţilor cu obiectivele proiectului. Toate cererile depuse vor fi analizate şi sub aspectul îndeplinirii criteriilor de competenţă necesare pentru punerea în aplicare a obiectivelor proiectului.
Dosarele depuse trebuie să conţină setul de documente menţionat în anunţul public al programului plasat pe site-ul Fundaţiei Soros-Moldova www.soros.md în limbile română sau rusă (vedeţi link-urile de mai jos).
Data limită pentru depunerea dosarelor de participare la proiect este 30 decembrie 2011, ora 16:00. Dosarele vor fi prezentate la sediul Fundatiei Soros-Moldova cu adresa: Chişinău, str. Bulgară 32, cu menţiunea: “Concurs în Programul Politici culturale”.
Informaţii suplimentare – la telefoanele : 270 031; 270 032 (persoana de contact Adrian Bivol), sau prin e-mail: abivol@soros.md
Pe parcursul lunii noiembrie 2011 în toate regiunile Republicii Moldova vor fi organizate o serie de consultări cu privire la proiectul propriu-zis şi condiţiile de participare în concurs şi vor fi oferite recomandări pentru pregătirea setului de documente vizat. Data şi locul de desfăşurare a consultărilor vor fi anunţate în prealabil secţiilor de cultură raionale. Aceste informaţii le puteţi solicita şi formând numerele de telefon de la Fundaţia Soros-Moldova indicate mai sus.
http://soros.md/files/events/PC_Call%20for%20proposals_ro.pdf
http://soros.md/files/events/PC_Letter%20of%20inquiry_ro.pdf
Posted in Cultural Financing, Cultural Policy, Moldova Culture, Projects | Tagged: Case de Cultura, ECF, Soros | Leave a Comment »
Historical perspective: cultural policies and instruments
Posted by ghenador on November 8, 2011
Moldova as a country, territory or political entity has undergone great changes in the past few centuries and has a long history of foreign domination; indeed, questions of territory and cultural identity have been at the core of its development as an independent Republic.
At the dawn of the 19th century, Moldova was a province of Romania. In 1812, it was annexed by Tsarist Russia until 1917, when Moldova first declared itself a Democratic Republic. This political status was short lived as the parliament (Sfatul Ţării, – the National Council) voted for unification with Romania just 4 months later – resulting in a 22-year period when the Moldovan language and culture became increasingly more Romanian and Western-oriented. In 1940, Soviet forces reoccupied the Region. Moldova remained part of the USSR until the collapse of Communism in the early 1990s.
As in other USSR Republics or Eastern European countries, cultural policy was a propaganda tool of the Central Committee of the Communist Party of Moldova. The Ministry of Culture and several arts associations were, therefore, obliged to conform to the Party’s ideology and to ensure that cultural policy and activities were carried out according to the Central Committee’s instructions.
Writers, artists and the cultural elite were also engaged as propaganda agents. The Committee granted them certain benefits and privileges in return for their efforts to consolidate the ideology of the system in a “credible and accessible” manner (Lenin’s slogan “art belongs to the people”). The totalitarian state controlled the process of creativity by valuing and rewarding works of “socialist realism” and rejecting a diversity of artistic approaches.
Arts associations were originally set up to monitor and promote artistic uniformity. As they became increasingly disparate and the composition of their membership was questioned, authorities set up three state Committees – for Publishing, Press and Radio-Television – to strictly monitor and censor the ideological content of literary and artistic works. They were also given the task of suppressing any expressions of affiliation to the Romanian language or culture. During the 47 years of Soviet occupation, Moldova was denied the right to their centuries-old common language, history and culture based on ancient, classical and contemporary Romanian traditions. The result was the disappearance of a distinct national culture during the period of Soviet Moldova. This fuelled a resistance and opposition to the ruling regime.
On 27 August 1991 the Republic of Moldova was declared an independent country. This historical event was precipitated by civil war. Public demands were made for official recognition of the Moldovan-Romanian linguistic identity, a return to the Latin alphabet, and the re-establishment of Romanian as the official language.
During the years 1991-2006, the main objectives of Moldovan cultural policies were:
to ensure conditions to promote creative works by preserving existing national institutions and revising procedures to remunerate artists for their work;
to protect the cultural heritage by improving the copyright system, supporting the publishing sector and developing archives;
to promote human potential through a reform of staff policy in the public cultural administration;
to support diverse cultural processes by identifying priorities and attracting human and material resources to realise these priorities;
to re-focus cultural management towards new models and mechanisms; and
to promote culture through electronic media and to create an integrated information space in the cultural field.
The most visible signs of change during this transition period were the freedom of speech, elimination of ideological censorship and development of legislation which has been modified to correspond with the rest of Europe. There are a large number of “good intentioned laws” in the Republic of Moldova, which have not yet been implemented or made viable on a practical level. Shallow reforms (too often understood as a simple reduction of funding) and the lack of a comprehensive cultural policy have also suspended the full implementation of cultural policy objectives.
During the communist governance, between 2001 – 2009, the results (performances) achieved with such a great effort were ruined one after another. Culture became again the most marginalised sphere, and all previously initiated projects degenerated into actions with a pronounced communist ideology.
The decentralisation process was suspended. The criterion of professionalism was replaced with the degree of servitude to power. Dozens of monuments and books were manufactured and published, with no historical or literary value, except for the glorification of the communist past.
The new ruling government, established in 2009, is a coalition of four parties with different social and cultural platforms. It was known from the beginning that this government is a transitional one, and will exist no longer than a year. Thus, the new ministries have not designed policies for the long or medium term.
Their only target was reanimating the country from the economic collapse and reinstating human rights and liberties, and the supremacy of the law.
From the cultural perspective, two new television stations appeared and a significant number of cultural events took place, which shows a great openness of the Moldovan culture toward the cultures of the world.
The 29 November 2010 was the day of the new parliamentary elections. These elections were particularly important, because they determined the path Moldova was to follow in the future.
However, the elections did not have the expected results. Although the governing coalition remained in power, the dissensions within the coalition have deepened, generating a prolonged political crisis. And, consequently, the announced reforms have been postponed, especially those in the field of justice, which are absolutely necessary for the future of Moldova.
Posted in Art Management, Cultural Financing, Cultural Policy, Moldova art, Moldova Culture | Tagged: Compendium, Moldova Cultural Policy | Leave a Comment »
World Art Managers Find New Funding Models In D.C.
Posted by ghenador on August 11, 2011
by ELIZABETH BLAIR,
Cultural diplomacy usually comes in the form of a traveling art exhibit or a celebrity visit to a war-torn country. But there’s a deeper kind of diplomacy taking place at the Kennedy Center in Washington, D.C. For the past four summers, arts managers from around the world have been coming to D.C. for training on how to improve their organizations back home.
Each year’s class of fellows is a little like a United Nations of arts management. They come from every corner of the globe; Pakistan, Russia, Ecuador, Zanzibar, Cambodia and China to name a few. In most of these countries, nonprofit staples like capital campaigns and membership drives are unheard of.
“The funding system in the United States is different than most of the world,” says Kennedy Center President Michael Kaiser. “We developed this private philanthropy model because of a separation of art and state that really emerged from the Puritans who thought that music and dance were evil.”
Today, an entire American industry, known as fundraising for nonprofits, has evolved from that “evil.”
Making An American Model Work Abroad
This summer, 36 arts managers from 28 different countries took a class taught by the Kennedy Center’s vice president for development. Among other things, they learned how to write a marketing plan and enlist volunteers.
But the question remains: How applicable are these American tools in, say, Nigeria, where earlier this year hundreds of people were killed in post-election violence?
Patrick Jude-Oteh runs a theater company in Jos, Nigeria. He says he had his doubts when he first heard Michael Kaiser teach. “I thought, ‘This cannot work in my environment. The environment is too volatile,’” Jude-Oteh says.
But now that he’s just completed his third summer as a Kennedy Center fellow, Jude-Oteh has changed his tune. He says one of the most important things he’s learned is to communicate directly with his audience.
“You get them involved in what you are doing,” he says. “The more people get excited, the more people are happy to be associated with you and that’s what has happened.”
Another fellow, Reem Kassem from Alexandria, Egypt recently did the unthinkable. Last February, a month after thousands of protesters clashed violently with police, Kassem organized an outdoor arts festival with dancers, musicians and workshops for children.
“It wouldn’t have gone without the new political situation in the country,” Kassem says. Under the old regime, she says, collective gatherings on the streets were prohibited.
During her summer at the Kennedy Center, Kassem was able to share the story with — and get help from — other fellows from all over the world. The director of a dance organization in the U.K., for example, suggested she ask wealthy Egyptians living in London or New York for support.
Kassem says she’ll return to Egypt equipped with a strategic plan to make the outdoor festival — called “Start With Yourself” — an annual event. “And I will come back [to Washington] next year with more questions,” she says.
‘We’re Saying Your Culture Is Important’
According to Michael Kaiser, cultural diplomacy is an important by-product of The Kennedy Center’s Summer International Fellowship program.
“We’re building long-term relationships with hundreds and hundreds of people who value our expertise,” he says. “We’re not saying our culture is important; we’re saying your culture is important and we want to make your organizations more robust.”
Posted in ARS DOR, Art Management, Consulting, Cultural Financing, Cultural Policy, Moldova Culture, Projects | Tagged: Art Management, DeVos Institute, Ghenadie Sontu, Kennedy Center, Managers, Michael M. Kaiser, Moldova | Leave a Comment »
Mission Statement
Posted by ghenador on August 8, 2011
Hosted by Sandra Gibson, President and CEO of Association of Performing Arts Presenters, and featuring Kennedy Center President Michael M. Kaiser, the Kennedy Center’s Arts in Crisis video series answers frequently asked questions heard at symposia on the Arts in Crisis national tour. Through July 2010, Michael Kaiser will travel to all 50 states, Puerto Rico and the District of Columbia in order to participate in arts community conversations that address the challenges facing non-profit performing arts organizations today through such areas as fundraising, building more effective Boards of Trustees, budgeting, and marketing. For more information about Arts in Crisis, please visit www.artsincrisis.org.
Posted in Art Management, Consulting, Cultural Policy, Education, Research | Tagged: Arts, Arts Budgets, Arts Management, Arts News, DeVos Institute, Fellows, Fellowship, Fundraising, Government Funding, Kennedy Center, Michael M. Kaiser, Mission Statement, Strategic Planning | Leave a Comment »
Un grup de cineaşti propun reformarea cinematografiei naţionale
Posted by ghenador on July 3, 2011
Cinematografia în RM este reglementată de o legislaţie imperfectă. Legea actuală este una de sorginte sovietică şi nu corespunde cerinţelor economiei de piaţă. În majoritatea statelor lumii cinematografia este subvenţionată de stat, iar partea majoră a finanţărilor revine companiilor private. La noi însă numai statul poate comanda un film conform legislaţiei în vigoare. În situaţia când ele nu se mai produc suferă şi imaginea ţării pe plan internaţional. La această concluzie a ajuns ieri un grup de cineaşti, care vin cu propunerea de a soluţiona dilema cinematografiei moldoveneşti.
„Legislaţia actuală este cel puţin bizară. Aceasta a fost elaborată de către cinovnici care habar nu au de cerinţele actualei cinematografii. Printre rândurile ei se vede şi platforma ideologică a statului. Odată cu schimbarea guvernului se schimbă şi ideologia, care imediat se răsfrânge asupra conţinutul unui film pe care-l comandă această guvernare” argumentează Eugen Sobor, preşedintele Uniunii Cineaştilor. Aşadar, în această situaţie experţii din domeniul cinematografiei de pe lângă comisia Parlamentară pentru cultură, educaţie, cercetare, tineret, sport şi mass-media vin cu o soluţie pentru a redresa situaţia prin înlocuirea legii cu privire la cinematografie. Tinerii specialişti au propus să fie creat şi un Centru Naţional al Cinematografiei (CNC) care va avea menire să coordoneze pârghiile acestei legi.
Proiectul de lege vine să schimbe raportul de responsabilitate pentru lucrarea produsă dintre stat şi autor. Aceasta ar însemna că nu statul îşi va asuma riscul pentru succesul acestei lucrări, ci producătorii de film.
Pentru aceasta grupul nu are nevoie de investiţii extraordinare din partea statului, nici de măsuri foarte radicale, spun ei. Legea, care în momentul actual se află în stadiu de proiectare, presupune că doar o mică parte din finanţarea a unui film să revină pe partea statului, cealaltă parte urmează să o dea compania care se ocupă cu proiectul şi elaborarea filmului. Potrivit lor, acest proiect de lege a fost elaborat în colaborare cu specialiştii în domeniu din Franţa şi corespunde cerinţelor europene. Noul proiect va atrage şi business-ul privat în cinematografia naţională, ne asigură ei.
Sobor totuşi rămâne foarte sceptic în ceea ce priveşte adoptarea acestei legi. El presupune că ea va stârni nemulţumiri în Ministerul Economiei şi cel al Finanţelor şi asta pentru că actuala guvernare se ţine morţiş de politica economisirii fondurilor bugetare şi o finanţare cât de nesemnificativă pentru cinematografie va stârni piedici.
Din exemplu Israelului rezultă că această lege poate avea şansa de supravieţuire. Dumitru Marian zice că prietenul lui de acolo care a propus o lege similară în 2002, dar a întâlnit neînţelegere din partea statului. După mai multe încercări fără rezultat el totuşi a obţinut o susţinere din partea societăţii. Rezultatul final al acestei istorii a fost că legea respectivă a fost adoptată, iar Israelul acum deţine locul cinci pe piaţa europeană după producerea filmelor.
Andrian Adam, Timpul
Posted in Cultural Policy, Moldova art, Moldova Culture | Tagged: Cinema | Leave a Comment »
Consiliul Europei ar putea acorda R. Moldova 150 mln euro pentru casele de cultură
Posted by ghenador on April 9, 2011
Consiliul Europei /CE/ ar putea acorda R. Moldova pînă la 150 mln euro, pentru transformarea caselor de cultură în centre culturale polivalente, a anunţat astăzi Boris Focşa, ministru al Culturii, la o conferinţă de presă, comunică MOLDPRES.
Focşa a specificat că în mai curent va depune o cerere la Banca CE pentru acordarea banilor. Ministrul s-a arătat convins de faptul că cele circa 150 mln euro vor fi alocate Moldovei. “Tratativele cu Consiliul Europei au durat 1,5 ani. La 14 mai în capitală va fi organizată o şedinţă cu şefii secţiilor de cultură din raioane, pentru ca aceştia să pregătească studii de fezabilitate. La întrevedere vor participa şi experţi ai CE, care vor oferi consultanţă. Pentru eliberarea banilor este nevoie de avizul Fondului Monetar Internaţional”, a remarcat sursa citată.
60 la sută din valoarea asistenţei financiare urmează a fi oferită sub formă de grant. Restul de 40 la sută este credit, fără dobîndă, care va trebui să fie întors Băncii CE de administraţia publică locală, timp de 20 de ani.
Ministrul a precizat că din cele circa 150 mln euro vor fi renovate în special casele de cultură din centrele raionale şi cele din satele mari, iar acest proces va avea loc în decurs de doi ani. Centrele culturale multifuncţionale vor putea organiza proiecţii de filme, concerte, spectacole de teatru. Din aceste venituri, angajaţii ar putea primi salarii mai mari, a spus Focşa.
În R. Moldova sînt înregistrate în prezent 1228 case de cultură. 17 dintre ele necesită reparaţie capitală, iar alte 71 sînt avariate. Toate casele de cultură se află în subordinea administraţiei publice locale. Un proiect similar a derulat şi în Franţa
Posted in Cultural Financing, Cultural Policy, Moldova Culture | Tagged: Casa de Cultura, Consiliul Europei, Finantarea culturii, Moldova | Leave a Comment »
Молдавская культура не дождётся поддержки от государства
Posted by ghenador on March 31, 2011
Инвестиции в молдавскую культуру отложены до лучших времён. Причина – нехватка средств и политическая нестабильность в стране. По словам замминистра, бюджетные источники, предусмотренные для инвестиций в сферу культуры, ограничены, поскольку в прошлом году страна была вынуждена заниматься природными бедствиями, а часть финансирования была произведена из бюджета Министерства культуры.
«К сожалению, особых инвестиций в сферу культуры в этом году не было. Бюджет на реставрации в этом году ниже, чем в прошлом. Мы не можем кого-то винить, потому что здесь идет речь об общей ситуации за последний год, которая не улучшилась, как нам хотелось бы. В культуру пойдут инвестиции сразу после того, как появится политическая стабильность. Проблема отсутствия этой стабильности сказывается на экономике и, следовательно, на культуре», – заявил заместитель министра культуры Георгий Постикэ.
kp.md
Posted in Cultural Policy, Moldova Culture | Tagged: Finantarea culturii, Gheorghe Postica, Ministerul Culturii | Leave a Comment »
Call for applications for technical assistance missions: Strengthening the Governance of Culture in Developing Countries
Posted by ghenador on March 3, 2011
Application deadlines: 30 April 2011 or 30 June 2011, midnight CET*
UNESCO launches an international call for applications for technical assistance missions in the framework of a project funded by the European Union (EU), aiming to strengthen the system of governance for culture in developing countries.
These missions will be based on the needs and priorities of the beneficiary countries and will be undertaken by top experts in the field of cultural policies. The missions will support the beneficiary countries in their efforts to establish legal, regulatory and/or institutional frameworks and/or introduce policies that address the role of culture in social and economic development, particularly through the cultural industries.
Which countries can apply?
- Developing countries Parties to the 2005 Convention on the Protection and Promotion of the Diversity of Cultural expressions; that are
- Eligible beneficiary countries under the EU thematic programme “Investing in People”.
Public authorities and institutions from eligible countries can submit applications for technical assistance missions to UNESCO. They will then be evaluated and selected according to established criteria.
This project contributes directly to the implementation of the 2005 Convention and aims to reinforce the role of culture as a vector for sustainable development and poverty reduction.
Application documents:
* Possible new deadlines could be added according to the quantity and quality of the applications received during the first two calls.
Evaluation criteria
A Steering Committee composed of representatives from UNESCO and the European Commission will evaluate and select applications for technical assistance missions on the basis of the following categories of criteria:
- Relevance: To what extent is the proposed request for technical assistance suited to the objectives and principles of the Project and the Convention? To what extent is the application relevant to the objectives and priorities described in the Call for applications?
- Feasibility: Are the stated goals of the proposed technical assistance mission realistically attainable within the expected timeframe (maximum of 63 working days allotted by application) and with the proposed human and financial resources?
- Effectiveness: To what extent does the request for technical assistance help the beneficiary implement its project and meet the needs and priorities of its country?
- Sustainability: Are measures/policies/impact resulting from technical assistance likely to continue and grow after the completion of the mission?
More information:
- Call for applications (PDF)
Posted in Consulting, Cultural Financing, Cultural Policy, Education, Europe, Moldova Culture, Projects | Tagged: Call for applications, EU, Europe, Strengthening the Governance of Culture | Leave a Comment »
Moldova Cultural Policy – Compendium
Posted by ghenador on February 28, 2011
Posted in ARS DOR, Art Management, Chisinau, Consulting, Cultural Financing, Cultural Policy, Education, Europe, Moldova art, Moldova Culture, Research | Tagged: Compendium, Moldova, Valeria Grosu | Leave a Comment »
Prof. Milena Dragićević Šešić: A collaborative, human and community engaging angle on cultural policy and management
Posted by ghenador on February 20, 2011
Author: Lidia Varbanova
Milena Dragićević Šešić is Professor of Cultural Policy & Management, former President of University of Arts in Belgrade. She is Head ofUNESCO Chair in Cultural Policy and Management (interculturalism and mediation in the Balkans) at the University of Arts, Belgrade. She is a prominent researcher in international projects in the field of cultural studies and cultural policies.Prof. Dragicevic-Sesic has published 100 essays and 15 books, among them: “Culture: management, animation, marketing”,” Neofolk culture”, “Art and alternative”, “ Horizons of reading”, “ Art management in turbulent times”, “Intercultural mediation in the Balkans”, translated in 16 languages.
1. What do you think are the main competences and traits which a young researcher in the field of cultural policy should obtain?
Methodological knowledge and skills – both for theoretical and empirical research, are of utmost importance – as in other research domains. At the same time, a cultural policy researcher has to have openness and abilities for interpretative and comparative analysis.
2. Considering your own experience, what would be your main advice to the young researchers who plan to pursue a career in the field of cultural policy?
I would advise young researchers to read a lot of different research and books from the “side fields” of cultural policy. Cultural policy is an interdisciplinary domain, therefore a researcher have to understand law, economy (both macro and microeconomic processes), sociology of culture, cultural studies, public policies, as well as cultural history, cultural management and contemporary art scene. This multidisciplinary knowledge is required so that researchers would be able to understand and elaborate new policy instruments. It is also important to constantly follow up what is new in many domains of science, and to read critical texts. This is not easy, but is the only way to enrich our own research work and give more “content”, as well as an adequate analytical background.
3. You have published many books and articles in diverse issues, related to cultural policy, and some of them are translated in several languages. What would be your advice to the young people to start publishing and making their work more visible internationally, both online and offline?
I would recommend (as I always do to my students) to young researchers to write a short text based on their empirical research – in order to bring some new and fresh ideas; then to send this text for reviews, first in their own country, and then abroad. This would give them a better chance that colleagues might read it and respond – especially those with similar interests. Then a bigger collaborative, maybe trans-border research project could start…
Conferences and professional gatherings are also good platforms for developing collaboration and finding adequate reviews for publishing texts. It is important to go there prepared – with precise and focused research interests, with ready texts, with project ideas, etc.
4. What was the worst professional advice which someone might have given you throughout your career?
Not to link research with action! I am still getting those advices, that if I want to be a “real and objective” researcher, I should avoid being part of the policy-related working groups who define new policy models and instruments and contribute to changing cultural policies…
I think that cultural policy is an applied discipline – it aims not only to discover and describe how things are, but how things MIGHT BE – for the sake of arts, artists and culture. Being involved in policy making, locally (in your city), nationally or internationally, might give different insights, new knowledge, fresh ideas and inspirations. This is the way how one could understand differently the practical needs, could also see the limits of the policy instruments, or the conflicting interest of different public policies. When you are only a cultural policy researcher, you could see the world only from one aspect. When you go down to real life, multiple perspectives start to open.
5. What are the main motivating factors for you to continue your work as a researcher and educator?
Combining research, education and policy-making provides an opportunity to change, to develop, and to understand contemporary cultural processes. Every new research opens to me new horizons, new approaches, and new views. Every generation of students brings something different to the class and to my research work, as well as teaching approach. I am a curious person, so, it is difficult to stop researching and teaching. Besides researching and analyzing European as well as Balkan cultural policies and practices since many years, I recently researched also cultural policies of the Arab world. Last year I explored theatre policies and practices in India….and I hope I will have time to follow-up these researches, to reflect in a critical manner and to share it with others.
6. For already 9 years, you lead the MA Programme in Cultural Policy and Management at the University of Arts, in cooperation with Universite de Lyon 2. What is the uniqueness of this program? What are its main goals?
The specificity of this program is that it is truly international: professors come from the region (Croatia, Slovenia, Romania, etc.), from Western Europe (Germany, France, Austria, Holland, etc.), as well as from overseas (Canada, USA). The students are also international, as the program is conducted in English and French. The main goal is to educate CULTURAL PROFESSIONALS, capable to do a research, to manage a festival, as well as to CONCEPTUALIZE a cultural program, to curate a cultural event, to create an intercultural mediation program, etc. It is up to student to define his/her future profession – would it be in the field of research, policy making, cultural administration, art production, cultural management, cultural mediation, etc. Our former students find jobs in ministries of culture, in the city administrations, as producers of big cultural events, in theaters and museums. Many of them manage their own small-scale NGOs, cultural agencies, or act as mediators/educators in museums, archives, libraries, etc. So, we do not teach them how to become “successful” – in a sense to gain a lot of money, to become art dealers, or commercial producers (although there are some), or to become very famous and glamorous cultural producers surrounded by stars… We teach them how to be human, how to serve the communities, how to bring together artists and audiences, and especially – how to involve as well as engage potential audiences in cultural practices. And something else which is very important for our region – not just to look for a vacancy, but to create jobs using their creativity and inspiration, their own ideas and initiatives.
The same approach applies to research – one might enter an already established institution and get a research task, or could create his/her own “cultural observatory”, cultural consultancy or agency, and then conduct research in areas which are important and interesting.
7. On your opinion, are there any errors or weaknesses in the way we teach cultural policy subject in the programmes curricula across Europe? Do you see any changes and new trends in our methodological approaches?
The problem is that it is quite difficult to become a cultural policy researcher if you study all educational levels (bachelor, master, PhD) in one and the same educational instituion. I think it is necessary to change. In my own professional life, it was of utmost importance that I studied at an art school, than I did a Master Degree in the field of sociology in France (D.E.A.), and then I completed Ph.D at the Department of Cultural Studies in the University of Belgrade. If I had an opportunity to do some postdoctoral studies in public policies, it would be also very beneficiary. This is why when we created the internationa Master Degree program (the UNESCO Chair), we decided to cooperate with different universities which do not have the same area of studies. We, as an art university, have entered partnership with the sociology and anthropology department of Lyon II university and with the Faculty of Political sciences in Grenoble. We enriched the program by engaging also professors in economics from the Faculty of Economy in Belgrade. As I already mentioned – we do that, because cultural policy and cultural management subjects are truly interdisciplinary.
8. In brief, what are your professional plans for the year 2011?
I intend to finish my book about Culture of Dissent (last 20 years in the Western Balkans). I plan also to finish my research about Memory policies as part of cultural policies (focusing on monument building practices) – this research will be part of a book – to be published by Culturelink, Zagreb (edited by Nada Švob Djokić and Aldo Milohnić). I will also work with Branimir Stojković on the 6th edition of our book “Culture, management, marketing”.
Colleagues from Finland, Jyvaskyla with many partner universities from other countries (mine included) had successfully developed COST project (culture within sustainable development). Our real collaboration will begin this year.
The highlight for this year will be in October 2011 when the Department for the Management and Production in Theatre, Culture and Media of Faculty of Drama Arts, University of Arts in Belgrade will celebrate 50 years of its existence. We think that we are the oldest Cultural management department in Europe. For this occasion I am preparing a book, dealing with the history of the Department, and the future of our discipline. Part of this book will be devoted to the first Yugoslavian meeting of professors of cultural policy, organized in 1988 in Zagreb. It would be pity to send this event to oblivion, as Yugoslavia was in those years one of the few countries worldwide with developed cultural policy research, as well as cultural policy teaching as an academic discipline. The “Belgrade and Zagreb schools of cultural policy research” have produced a lot of research, but unfortunately not in English, and therefore – it still stays unknown and not acknowledged internationally.
Posted in Art Management, Consulting, Cultural Policy, Education, Europe, Research | Tagged: Cultural Policy, Milena Dragićević Šešić, prominent voices, Research, young cultural policy researchers forum | Leave a Comment »
Cultural Policy Research Award
Posted by ghenador on February 16, 2011
A unique opportunity for young cultural researchers seeking to make a break into the research field and contribute to the production of new knowledge: the annual Cultural Policy Research Award (CPRA) is now open for applications.
With the Award, ECF, the Riksbankens Jubileumfond and ENCATC aim to encourage and enable cultural policy researchers to undertake comparative and cross-cultural applied research. The Award is devoted to research projects which shed light on contemporary European cultural issues and challenges. The CPRA prize money is 10,000 euros and is awarded to cultural policy researchers aged up to 35 years old, from wider Europe. Nominees are selected by an international jury of eminent European cultural policy researchers.
Applications for the 2011 Award must be submitted between 15 February and 30 May 2011, through the online application form on the CPRA website. More information on timelines and eligibility can also be found there.
ECF is committed to work across Europe and its neighbouring regions to inspire change through arts and culture. Visit this page for more information on our advocacy work.
Posted in Art Management, Cultural Policy, Education, Europe, Research | Tagged: Cultural Policy, Cultural Policy Research Award, Europe, Research | Leave a Comment »
Strategic Planning for Learning Organisations in the Cultural Sector
Posted by ghenador on February 2, 2011
A new book by Lidia Varbanova
Efficient management and leadership of any cultural organisation are immensely connected with the strategic planning process. Setting up the mission and vision, diagnosing and analysing the current situation within a constantly changing environment, elaborating the right set of strategies, functional plans and actions to achieve a desired future state and making them happen, actually cover the whole spectrum of functions that a successful manager needs. Creating tomorrow today is not an easy process but, if we do not envisage where we want to be, why and how to get there, ’tomorrow’ may not be the one we dreamt about. The concept of a “learning organisation” has become increasingly popular for modern organisations in all sectors, including arts and culture. It refers to the ability of an organisation to transform itself within a constantly changing context and escalating complexity by using unlimited mental capacity of its members, their ability to think critically and creatively.
Why this book is unique
- Strategic planning tools in the book are adapted well to the uniqueness of a cultural organisation and creative processes. The author understands well how cultural and artistic organisations operate in a constantly changing environment and financial pressure.
- The book proposes a well elaborated set of strategies (main organisational strategies, marketing and product strategies, as well as functional strategies) and provides plenty of examples on how these strategies could be elaborated and implemented in the cultural sector.
- The book offers a set of elements of the human resource management system in a cultural organisation and deals with diverse strategies related to human resources, especially the one which stimulate motivation, education and development.
- The author discusses complicated marketing concepts and terminology in a digested and simple language, with examples on using marketing-mix concept, developing audiences, elaborating communication plans in the arts.
- The book provides a clear practical orientation on the main elements in financial planning process in a close relation with fundraising techniques and practices, as well as sponsorship and alternative methods of support.
- The value of the book is also that each chapter ends with a clear guidelines and examples on how a concrete part of a strategic plan might look like. It is a well elaborated “guidebook” providing step-by-step practical help in elaboration of a strategic plan for any type of cultural organisation.
This book is a useful resource for cultural managers, directors of cultural organisations, cultural mediators, Board members, policy-makers, or project leaders who need a step-by-step approach in understanding the theoretical framework, the process of developing and the application of a strategic plan for a concrete organisation in the cultural sector (be it state subsidized, business-orientated or non-profit). The book is also useful for cultural researchers, consultants, students and academia as it provides a bridge between theory and practice, between methodology and its use in the management planning process. Artists could also benefit from the handbook, as it would help them to shift their mind from creative processes into the pragmatic language of management and economy in order to learn how to handle their organisations or projects in the long-term and within today’s world of money and markets.
The book is supported by the European Cultural Organisation and MATRA Programme of the Dutch Government, published in Russian and Romanian by Soros Foundation Moldova. The English edition will be published in 2011.
See photos from the launch of the book in Chisinau, Moldova: http://www.lidiavarbanova.ca/main/gallery/book-launch-moldova/
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“This excellent handbook offers valuable theoretical background and practical help to cultural organisations to develop a coherent strategic approach to their work. I encourage cultural practitioners as well as students to consider the book’s helpful advice, and to put into practice the principles, processes and techniques that will improve their effectiveness and impact.” Robert Palmer Director of Culture and Cultural and Natural Heritage Council of Europe
“Ms Varbanova has had the courage to present cultural organizations with a handbook on strategic planning. I honestly think that she should be congratulated for having done so. Her work is very clear, structured and thorough but, above all, this book contributes to breaking – hopefully! – the ill conceived belief, and the myths that follow from it, that management techniques, innovative or classical, cannot be applied to the cultural sector and to cultural organizations. Indeed every profession each has its specificities.” Mercedes Giovinazzo Director, Interarts, Barcelona President, Culture Action Europe
“A central goal of this publication is to provide its readers with a solid sourcebook for writing their strategic documents. However, an even more important goal is to inspire managers operating in the arts and culture and to enable them to realize new ways of learning, working, thinking and creating strategies for change. In times of ongoing transition and a critical need for systemic innovation not only in post-socialist countries but all over the world, tools for realizing new strategic approaches are more important than ever before.” Philipp Dietachmair and Dilia Ham European Cultural Foundation Amsterdam, the Netherlands
“The contemporary practice of management is going through changes and challenges. New conditions engendered by the crisis and the ongoing instability make constant revision and update essential. The culture sector, by its very nature, requires such flexible strategic approaches as essential. Lidia Varbanova’s book responds exactly to such complexities and requirements, as well as reveals itself as a perfect reference book for the professionals and managers in the culture sector, as well as for academia and students. The book illustrated with examples, assures convenience for creative solutions.” Assoc. Prof. Dr. Serhan Ada Head, Cultural Management Department Istanbul Bilgi University Turkey “Lidia Varbanova has an outstanding career as a professor and international consultant in issues related to strategies and management in the cultural sector and beyond. The modern cultural manager, administrator and thinker finds in Varbanova’s handbook a nurturing and useful read for the day to day work, but also for the medium and long term visionary attitude one has to entertain in this specific domain. Being precise and fully documented, filtered by both academic thinking and hands-on practice, this is a book that artists, intellectuals, students and cultural operators alike must read.” Corina Suteu Director Romanian Cultural Institute New York
“I think Lidia Varbanova’s book would indeed be a welcome addition to the cultural management field here in Canada. I would have welcomed such a resource back in 1999, when the NAC embarked on its first Strategic Plan: despite having been in the arts management business for many years, I had gained no experience in this area. It is indeed needed and very helpful.”
Heather Moore Producer and Executive Director National Arts Centre/Centre national des Arts Ottawa, Canada“I believe this publication will provide valuable tools and perspectives for many cultural organizations.I think it will be very useful as a tool for boards and executives working on their planning processes and it will also be a wonderful textbook for arts administration university programs.” Trudy Schroeder Executive Director Winnipeg Symphony Orchestra Canada
“While the cultural sector as a whole has become a valuable part of both the Canadian identity and the country’s economy, cultural organizations are often fragile and quick to feel the effects of political changes or a downturn in the overall economy. Lidia Varbanova proposes a well-elaborated set of strategies that, if followed, will be of lasting benefit in sustaining artistic excellence and service to the community. She provides plenty of examples on how these strategies can be chosen and used. In particular she places emphasis on strategies related to: building and engaging audiences; partnerships; innovation; networking; co-productions of all kinds; as well as the critical importance of ongoing advocacy” John Hobday Former Director of the Canada Council for the Arts and Executive Director of the Samuel and Saidye Bronfman Family Foundation Canada
Posted in Art Management, Consulting, Cultural Financing, Cultural Policy, Education, Projects, Research | Tagged: Cultural Policy, cultural policy researchers, ECF, Lidia Varbanova, Planificare Strategica, Politici Culturale, project management, Soros, Strategic Planning for Learning Organisations in the Cultural Sector | Leave a Comment »
Obiectivele și acțiunile prioritare ale AIE 2 in domeniul Culturii
Posted by ghenador on January 13, 2011
CULTURA
Obiective de guvernare:
1. Dezvoltarea artei contemporane ca mijloc de promovare şi afirmare a culturii naţionale, atît pe plan intern, cît şi pe plan internaţional.
2. Restabilirea activităţii şi infrastructurii culturale, în special în zonele rurale.
3. Finanţarea activităţilor culturale în conformitate cu priorităţile stabilite şi pe bază de proiecte.
4. Promovarea culturii ca factor primordial al păstrării şi dezvoltării identităţii naţionale.
5. Promovarea valorilor culturale naţionale ca parte componentă a patrimoniului cultural european.
Acţiuni prioritare:
Protejarea şi integrarea patrimoniului cultural naţional în sistemul valorilor culturale europene prin asigurarea existenţei unei viziuni strategice asupra dezvoltării culturii pe perioada medie, asigurarea reabilitării şi întreţinerii obiectelor istorico-culturale în baza parteneriatelor public-private şi digitalizarea patrimoniului cultural al Republicii Moldova;
Dezvoltarea cadrului juridic privind protejarea, conservarea şi punerea în valoare a monumentelor de cultură, istorie şi arheologie, precum şi în scopul stimulării implicării active a persoanelor fizice şi juridice în activităţi de păstrare, valorificare şi dezvoltare a patrimoniului cultural naţional;
Elaborarea Strategiei unice de dezvoltare a culturii şi de protejare a patrimoniului cultural naţional, care va cuprinde un Program de restaurare şi valorificare a monumentelor de cultură şi istorie, de susţinere a aşezămintelor de cultură, de reabilitare a infrastructurii, racordate la programele de dezvoltare economică, socială, educaţională şi urbană;
Perfecţionarea capacităţii de gestionare a patrimoniului cultural naţional prin crearea unui management adecvat;
Păstrarea şi folosirea resurselor culturale, inclusiv prin asigurarea unui cadru de colaborare eficientă între instituţiile publice, organizaţiile de cult, ONG-uri şi administraţia locală în vederea promovării, conservării, prezentării şi studierii patrimoniului cultural;
Crearea unui Consiliul consultativ pe lîngă comisia de profil a Parlamentului pentru a asigura o participare largă în procesul de luare a deciziilor în domeniul politicilor culturale a tuturor factorilor cointeresaţi;
Dezvoltarea comprehensivă a artei contemporane prin crearea condiţiilor necesare, susţinerea infrastructurii şi educaţiei artistice, înlesnirea accesului şi încurajarea participării largi a cetăţenilor la procesele cultural-artistice, elaborarea şi implementarea Legii privind uniunile de creaţie şi a Statutului omului de creaţie, în scopul susţinerii efective a artiştilor şi a creaţiei lor;
Modernizarea şi diversificarea ofertei de servicii a instituţiilor culturale, dezvoltarea unicităţii culturale locale prin modernizarea activităţii caselor de cultură, echiparea şi internetizarea bibliotecilor;
Reformarea sistemului de finanţare a culturii prin asigurarea transparenţei în elaborarea, gestionarea şi distribuirea bugetului culturii, revizuirea sistemului de salarizare a lucrătorilor din domeniul cultural, stabilirea unei cote minime de alocaţii pentru cultură în bugetele de toate nivelurile;
Finanţarea adecvată a domeniului culturii şi artelor, inclusiv prin identificarea mecanismelor de stimulare a investiţiilor în domeniu;
Pregătirea şi perfecţionarea resurselor umane pentru activitatea în noile condiţii economice;
Conectarea fenomenului cultural din Republica Moldova la circuitele culturale regionale şi internaţionale.
Posted in Cultural Policy, Europe, Moldova art, Moldova Culture, Projects | Tagged: AIE 2, Executiv, Guvern, Moldova | Leave a Comment »
Centrul de Politici Culturale – Consolidarea politicilor culturale în Republica Moldova – realizări şi perspective
Posted by ghenador on December 22, 2010
Posted in ARS DOR, Cultural Policy, Moldova art, Moldova Culture, Research | Tagged: Centrul de Politici Culturale | Leave a Comment »
SECŢIILE RAIONALE DE CULTURĂ ŞI-AU ELABORAT STRATEGIILE CULTURALE ÎN CADRUL UNUI PROIECT REALIZAT TIMP DE TREI ANI
Posted by ghenador on December 18, 2010
Secţiile raionale de cultură din R.Moldova şi-au elaborat strategiile culturale pentru perioada 2011-2015 în cadrul proiectului „Consolidarea capacităţilor de dezvoltare a Moldovei prin întărirea sectorului cultural”, realizat în perioada 2007-2010.
Vineri, în cadrul unei conferinţe de presă susţinută la agenţia INFOTAG, în cadrul căreia s-au făcut totalurile proiectului, directorul Fundaţiei Culturale Europene, care a implementat proiectul în Moldova alături de Fundaţia Soros-Moldova, Catherine Watson, a menţionat că proiectul a avut drept scop să investească în oamenii care activează în domeniul culturii, pentru a le aprofunda cunoştinţele la capitolul planificării strategice.
Proiectul a presupus organizarea mai multor seminare şi trening-uri cu şefii secţiilor de cultură, care au fost instruiţi cum să-şi planifice activităţile culturale, de unde să găsească surse financiare şi cum să identifice potenţialul cultural local.
Directorul de programe a Fundaţiei Soros-Moldova, Victoria Miron, a subliniat că cea mai mare realizare a acestui proiect este că oamenii din domeniul culturii au învăţat cum să guverneze singuri acest sector, extrem de important pentru fiecare ţară.
„Pentru a avea rezultate concrete în domeniul culturii, trebuie să pornim de la a elabora corect politicile culturale. Spre regret, cultura în Moldova funcţionează doar de la un eveniment la altul şi nu există o viziune mai largă în acest sens”, a spus Miron.
Expertul internaţional în politici culturale din România, Corina Răcean, a menţionat că în cadrul proiectului şefii secţiilor raionale de cultură au fost instruiţi cum să descopere singuri posibilităţile de dezvoltare a culturii.
„De multe ori pentru soluţionarea problemelor culturii se invocă lipsa banilor. Convingerea mea este că banii nu sînt o problemă, ei sînt un instrument pentru a rezolva problemele”, consideră expertul.
Directorul Centrului de Politici Culturale, Veaceslav Reabcinschi, a menţionat că ar fi bine ca ceea ce s-a întîmplat la nivel local să fie transferat la nivel central, precizînd că la moment R.Moldova, la nivel central, nu dispune de o strategie culturală pe termen mediu sau lung.
„Este trist, dar în Moldova nu există politici culturale. Cel mai elocvent exemplu în acest sens este faptul că în cadrul campaniei electorale nici un partid în programul său electoral nu a avut stabilite politici în domeniu culturii. Noi credem că este foarte periculos dacă un partid politic care vine la guvernare nu ştie ce va face cu cultura”, consideră sursa citată.
Bugetul proiectului a fost de 465 mii euro, dintre care 350 mii euro au fost oferiţi de Programul de Transformare Socială (MATRA) al Ministerului Afacerilor Externe al Olandei, circa 100 mii euro oferiţi de Fundaţia Culturală Europeană şi aproximativ 20 mii euro de Fundaţia Soros-Moldova.
Posted in ARS DOR, Art Management, Cultural Financing, Cultural Policy, Education, Moldova art, Moldova Culture, Projects, Research | Tagged: ECF, Soros | Leave a Comment »
Supporting cultural actors change Belarus Moldova Ukraine
Posted by ghenador on November 30, 2010
ESF & GMF Report “Supporting cultural actor change Belarus Moldova Ukraine”
Posted in ARS DOR, Cultural Financing, Cultural Policy, Europe, Projects, Research | Tagged: ARS DOR, Cultural Policy, Cultural Policy of Moldova, European Cultural Foundation, Moldova, Moldova Culture, Visual Art | Leave a Comment »
Viziuni de viitor: politica culturală a Republicii Moldova: de la schimbări la viabilitate
Posted by ghenador on November 26, 2010
În cadrul proiectului-pilot, cu sprijinul Fundației Soros Moldova și FCE, Amsterdam, a fost produsă şi publicată cartea “Viziuni de viitor: politica culturală a Republicii Moldova: de la schimbări la viabilitate”. Această activitate a avut ca scop inițierea procesului de consolidare a capacitaților în sectorul cultural din Republica Moldova și cuprinde rezultatele unei serii de activități organizate în cadrul proiectului-pilot.
Posted in ARS DOR, Art Management, Consulting, Cultural Financing, Cultural Policy, Education, Moldova Culture, Research | Tagged: ECF, Moldova Cultural Policy, Soros | Leave a Comment »
Culture and Creative Industries in Germany 2009 Monitoring of Selected Economic Key Data on Culture and Creative Industries
Posted by ghenador on November 3, 2010
What are we talking about?
Culture ministers of the EU met informally in October and saw to it that cultural and creative industries shall remain on the agenda. The exact relationship of the two sets (cultural and the rest), or put it differently, the direct competence of cultural politicians in the issue was not specified – keeping this habit from earlier papers and events.
Michael Söndermann has been assiduously monitoring the German creative sector for a while, and here is his latest report. Data from the largest economy in Europe are appropriate for defining the relative weight of culture proper within the creative sector. (The study applies the most common definition for these industries.)
As usual, the German book market had a robust turnover also in 2009, twice as much as the second largest cultural domain, the film industry. The eleven creative branches represented 2.7% of the economic value added in Germany – roughly the same share since 2003.
BO would warn against the division between the “subsidised sector” and these culture industries. In fact a lot of public support arrives to them, rightly, and in conformity with Article 107(3)(d) (formerly 87) of the EU Treaty.
Who are we talking about?
The comparison of the two graphs shows that the cultural branches produce more than their share in the workforce. Which is mostly due to the opposite performance of the book and the software market: 6% of people create 10% of revenue in the first case, while the software sector employs a third of the creative workforce and produces a fifth of the turnover only. Would you have thought so without Michael’s statistics?
The miraculous book sector is comprised of nearly 75 thousand people: 38 thousand publishers, 30 thousand booksellers and – believe or not – 6903 ‘own account writers’ (31% more than in 2003).
The circle with eleven slices represents a little more than one million jobs, including the self-employed. They are 3.35% of the German labour force. This number has grown bit by bit from 3.12% in 2003. On the other hand, although the absolute number of jobs in the five culture branches has also grown by tiny bits, their relative share fell below 20% within the eleven industries, from above 21% before 2006.
Regional Observatory on Financing Culture in East-Central Europe
(The Budapest Observatory) http://www.budobs.org
Posted in Art Management, Consulting, Cultural Financing, Cultural Policy, Europe, Research | Tagged: Creative Industries, Cultural Industry, Report, Trends | Leave a Comment »
