Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0101

• Abstract

  Digitalization offers new possibilities for cultural institutions but also challenges existing models. Looking at art institutions and their role as distributors and preservers of culture, this essay uses infrastructure theory and four case studies to discuss challenges that analog institutions face when they are dealing with digital art. The issues identified relate to resources, technical and financial, and knowledge about technological needs. The study also indicates that we hold on to old infrastructures and habits when it comes to preservation and distribution, but also when it comes to what an institution is and what it can be. Changing these habits takes time since they are often embedded in other systems. This suggests that the challenges institutions face in the cases of digital art are part of a larger infrastructural problem, which includes systems for funding, distribution of knowledge, educational programs, and habits.

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0102

• Abstract

  Digital technology is increasingly used in museums for collaboration and exchange of ideas among organizations. This paper explores how co-creating digital biographies of displaced objects can unpack the multilayered meanings and values that were imparted on these objects by the sociocultural contexts they encountered. Previous research has shown that the biography of a displaced object allows us to understand what it had experienced through its movements and encounters with social contexts; importantly, the construction and study of object biographies illuminates these social contexts themselves and, in doing so, improves intercultural understanding. Drawing on theories and previous research in cross-disciplinary areas including material culture and digitization, this paper examines the complex cultural identities of displaced objects and explores how co-creating their digital biographies empowers different organizations and communities to exchange knowledge and negotiate interpretations. 

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0103

• Abstract

  This essay analyses how the digital transformation is influencing the marketing communication measures used by arts and cultural organizations. Media use has shifted towards the online sphere; at the same time, overstimulation of the senses by advertisements provokes insecurities regarding product choice. As a consequence, consumers often base purchase decisions on online referrals. Since the offerings of the arts and cultural sector cannot generally be tested in advance, credible marketing communication presents difficulties. This essay applies the findings of relevant literature on referral marketing, particularly influencer marketing, to arts and cultural institutions. Influencer marketing can reduce uncertainties and aids customers in reaching decisions. Strategies, opportunities and risks are outlined to provide an overview of the marketing strategy. Two examples illustrate that opinions are divided regarding the growth in influencers who review art. 

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0104

• Abstract

  YouTube offers new possibilities for visual artists and DIY-musicians to increase their visibility. Applying a descriptive-exploratory approach, this paper identifies existing quality features: A comprehensive literature overview serves to extract and cluster quality features for YouTube. Two studies of 30 YouTube channels of visual artists and of 30 channels of DIY-musicians are used to test the identified quality features via content analysis. Qualitative expert interviews are used to validate and enrich the results for both art forms. For both groups of artists, the features technical quality, community building, target group orientation, connection to social media and appealing channel design are relevant. In addition, features were identified that are particularly important for either visual artists or DIY-musicians.

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0105

• Abstract

  Digitality offers new opportunities for cultural production, which is suitable for supplementing and expanding purely supply-oriented cultural production. These include simple but comprehensive opportunities for co-creation, that is the active inclusion of external resources in the process of value creation. In the context of the closure of cultural institutions in spring 2020, due to the mitigation measures against the spread of the Covid-19 pandemic, some cultural institutions tested new digital ways and modes of cultural production. The article presents a qualitative experiment that was conducted at the Vienna Burgtheater that provides information about the potential and limits of co-creative cultural production in a theatre context.

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0106

• Abstract

  The outbreak of COVID-19 has greatly impacted musicians and orchestras. While many orchestras had ample experience in producing and distributing their concerts online, others now had to experiment with new ways of performing online. But how to perform classical music without the rituals and routines of the concert hall? And what skills are required for musicians and orchestras to engage in online musicking? Based on our fieldwork during the experiment Online Musicking, which took place during the first lockdown in the Netherlands in 2020, we explicate the hidden work that goes into producing and distributing a collaborative classical music video, regarding performance qualities, audience participation, and societal relevance. The case of Online Musicking shows the challenges of shaping a digital offer for online audiences, and the value of experimentation for orchestras, which are finding new ways to produce and distribute their concerts online. 

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0107

• Abstract

  The link between international cultural management and policy scholarship remains underdeveloped. This article addresses this gap. Based on a triangulation of textual analysis and interviews, it examines how culture is understood in Creative Europe (2014–2019; 2021–2027) and in the Strategy for International Cultural Relations (2016–). Firstly, it provides an overview of debates around the deployment of culture by the Union. Secondly, it examines changes in the term culture in the aforementioned programs. The analysis reveals that the EU’s recognition of the importance of culture within and beyond its borders is not accompanied by a univocal understanding of the term – leading to a dualistic regime of diversity management. Thirdly, it reflects on the challenges that are likely to emerge if – as is planned – Creative Europe funding is used to implement the International Cultural Relations strategy, and stresses the limits of ambiguity in the international management of cultural diversity.

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0108

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0109

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0110

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0111

Journal of Cutural Management and Cultural Policy

doi 10.14361/zkmm-2021-0112