Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0101

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0102

• Abstract

  Recently, we can observe a shift – or let us term it a “rediscovery” – of cultural management approaches with regard to cultural politics in rural areas as well as in urban settings. This rediscovery highlights cultural managers as the central players within cultural development processes. It recognizes a new need for the reorganization of cultural infrastructure that is deeply rooted in socio-environmental changes such as globalization, demographic and technological change, and financial crises. What cultural managers actually do is to screen, explore and finally reorder the existing network structures of a given field and facilitate the implementation of new networks. Hence, it was only a matter of time to introduce basic network theoretical thoughts into the academic field of cultural management and cultural sociology research.

  The article gives an overview about the contemporary state of the art with regard to recent changes in cultural management approaches. In addition, it will provide the concept of cultural managers as ‘masters of interspaces’ who need to be empowered – not only by formal institutions, but also by local stakeholders. In this way, they can successfully fulfil their task and contribute to fruitful transformation processes within the cultural field. ‘Interspace management’ is the most important skill that modern cultural managers need to obtain. Here, network theory comes into play. Basic network theories are used to lay a foundation for a better understanding of the mechanisms that underpin cultural interventions. This starts from trust building and ends with the transformation of structural holes into weak ties. Here, five different roles that cultural managers can exercise during their mission are introduced. At the end of the article, an empirical case study of a cultural development process in the German state Thuringia is introduced in order to give an example for the importance of network theories and methodologies connected to cultural management.

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0103

• Abstract

  Urban arts policies have been studied frequently by urban scholars but shifts in the respective usage of the arts have been neglected. Frequently, the discourse of the present on how the arts are employed for urban development prevails, tuning out – incorrectly – how this discourse has been shifted over the years. To fill this gap, the author interviewed local experts and compared their statements on the topic of arts and culture in Baltimore’s urban development over a period of more than twenty years, in 1988, 2004, and 2010. How did artists and arts managers, urban planners and urban politicians view the arts as a tool for Baltimore’s urban development during these years? The study uses a qualitative case study approach. As such it has involved an in-depth exploration of the strategic usages of arts and culture in urban contexts. It is a result of the study that the meaning of arts and culture as a factor for urban development has changed considerably between 1988 and 2010. Whereas this meaning was “elevating the masses by the arts” in 1988, it was “the arts as key for the creative city” in 2004, and “nurturing the creative edge of artists” in 2010.

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0104

• Abstract

  The essay gives an overview on different fields and functions and main challenges in arts/cultural management operating in international and intercultural contexts. Three main fields can be identified: 1. Arts management in global fields of creative industries like in the film and music industry, in international festival management or in cultural tourism; 2. Cultural management as part of cultural diplomacy and cultural planning in developing countries; 3. Cultural management as intercultural change- and diversity management within one´s own country to deal with changes in cultural life due to migration.

  The article discusses the question if arts management follows a global standardized management concept or in which way arts management strategies are influenced by country specific economic, political and social conditions and role models in arts management. Finally it suggests some ideas how academic arts management programs could deal with new challenges due to internationalization.

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0105

• Abstract

  When dilettantism rose in the 18th century, it was an expression of investigative curiosity and creative passion beyond the existing scientific canon. The innovative drive of dilettantes was soon afterwards belittled by the establishment and disappeared into the equation dilettante = charlatan, used until today. The pioneering spirit of dilettantism, however, re-materialized in the professional amateur (pro-am), a societal character that turns ideas and hobbies into activities of quasi-professional standard. Especially in the arts, pro-ams are numerous and carry a significant potential for social participation and innovation. This essay reflects on how cultural managers could take a role in recognizing, promoting and fostering the pro-am potential in the arts and in society.

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0106

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0107

• Abstract

  This paper focuses on how film festivals research can be epistemologically framed and methodologically designed. ‘How can a film festival be observed?’ and ‘how can a festival secure its own survival and preserve itself over the time?’ are here the necessaries starting questions, for it urges one to look at how and where a festival is formed, in the moment when it takes shape. Drawing from the long story of Festival dei Popoli – International Documentary Film Festival, this paper aims to demonstrate that it is possible to identify three distinct objects of analysis: practices, narratives and autopoiesis, corresponding to three different but complementary ways of observing festivals (as interactions, narrations and organizations). This theoretical and methodological framework, inspired by systems theory, narratives and interaction analysis, can permit an uncommon observational perspective that is able to question what is often taken for granted.

Journal of Cultural Management 2016 (1)

http://dx.doi.org/10.14361/zkmm-2016-0108

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0109

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0110

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0111

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0112

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0113

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0114

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0115

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0116

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0117

Journal of Cultural Management 2016 (1)

https://doi.org/10.14361/zkmm-2016-0118