© 2007 Cultural and Social Entrepreneurship, Nätverkstan. All Rights Reserved.
Hey you! Read our RSS-feed!
Never before have cultural journals been in the centre of the debate in Swedish media.
After the decision of the State Cultural Committee (Kulturutskottet) to cut the budget of the cultural journals with nearly 80%, the debate has been roaring.
Everyone: Cultural critics, journalists, writers; politicians from left to right (yes, even colleagues to Chair of the Committee, Per Bill, in the Conservative party have raised furious voices); professional organizations and interest groups, are writing articles, debating and arguing.
The decision has still not been changed to save the cultural journals.
But the Culture Minister who after the new election in March 2015 decides to reintroduce or even raise the support for the journals can only win. For a very small sum of money, this minister will gain respect and will be remembered as the one who saved the public critical dialogue and debate in Sweden.
Categories: Art Artistic practice Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Democracy Digitization Distribution Economy Education Entrepreneurship Innovation Literature Regional Development
Etiketter:Artist, Artistic practice, Creativity, Cultural economy, Cultural Journal, Cultural Policy, Cultural Project, Democracy, Development, Digitization, Distribution, Economy, Employment, Entrepreneurship, Literature, New economy, Social entrepreneur
Nätverkstan visited Addis Ababa, Ethiopia, recently to in cooperation with the Swedish-Ethiopian cultural organization Selam start look at capacity-building needs for the artistic scene.
Five days filled with meetings, interviews and a seminar on Cultural Leadership, the two-year International Cultural Project Management education Kulturverkstan, and the Creative Entrepreneurship Course in Nairobi, Kenya, run by The GoDown Arts Centre.
An art piece outside the Bibliothèque Nationale in Rabat (Morocco) called ”Digital” is reflecting on the new society. Old traditions meet the new knowledge and digital society.
”It’s not one modernity”, said South African poet, writer and Professor Pitika Ntuli in an engaging and poethic speech: ”there are several parallel modernities”. ”It’s time for the African Cultural Renaissance”, he continued.
Several examples of a growing cultural scene is shown. In Nigeria the film industry (Nollywood) comes to 10% of GDP in a country with around 174 million inhabitants. In Senegal the music industry is thriving and growing. South Africa is showing important examples as well as visual arts and museums in Morocco.
The global value of Cultural and Creative Industries is said to be around 600 billion USD.
Africa’s share is less then 1%. This is the topic of the three conference days.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Policy Culture-led Development Democracy Digitization Distribution Economy Education Entrepreneurship International Regional Development Seminar
Etiketter:Artist, Artistic practice, Creative Industries, Creativity, Cultural economy, Cultural Policy, Cultural Project, Democracy, Development, Digitization, Distribution, Economy, Education, Employment, Entrepreneur, Globalization, International exchange, New economy, Social entrepreneur
They have made their home their creative space. From the house situated in the small village of Kaykino, with the forest around the corner, a big garden space for sculptures, and the outhouses with great potential for future ideas, project manager (and former fashion designer) Olga and sculptor Viktor Gracheva have created a space from which they run their artistic and cultural projects as well as exchanges and seminars.
Their home turns into an inspiring and warm space for discussions in a second, and on October 23–27 this is taking place. Their mission is to try to with art and culture turn the negative trend in the villages of Begunitsy and Kaykino, situated around 100 km outside of St Petersburg.
The villages have long struggled with a negative population trend; young people leave the countryside to move to the cities. Agriculture is declining, unemployment is high. There is a need to find new development tools to end this negative spiral.
This and lots more was discussed during the Creative Camp Kaykino where Swedish sculptor and owner of Stonezone Lukas Arons attended, as well as local municipal Commissioner and the Cultural Secretary of Munkedal Municipality in Sweden participated. Nätverkstan was also there.
Each year in beginning of Fall after everyone is back from vacation, the staff at Nätverkstan gather to discuss what we do, why we do it, if we do the right things, and future strategies to continue take an active and proactive role in the cultural scene.
Discussions are high-ended, open, critical, and with wide perspectives. We work in workshops as well as share presentations and knowledge. This year David Karlsson presented the contextual view-point from the board; Mikael Löfgren talked about his newly written report on value within arts (in Swedish: Inga undantag), written for a network of Art Exhibition Spaces named Klister and inspired by the british consultant Sarah Thelwall‘s report Size Matters; and Karin Dalborg who gave a summary on environmental scanning and the result from a staff workshop earlier this year.
It’s also about inspiration and sharing; it’s the only time when (nearly) all staff members are gathered at one spot for a lunch-to-lunch meeting outside of Göteborg.
It’s both valuable and fun; useful as well as playing around and just enjoy. This year the Kick-off, as we call it, was at Slussen, one of our favorite spots for these meetings.
Two of the participants in the latest Creative Entrepreneurship Program run by the GoDown Arts Centre in Nairobi come from Slum-Drummers, a community-based organization that wants to share musical talent to engage and encourage young people in the slum areas.
Many of the ten members of Slum-Drummers are themselves former street children and have been trained in music by an Italian artist since 2005.
They perform and work specifically with activities for street children, the drums they use are designed and produced by the group from recycled materials which are also sold for income; plastic containers, cans of air refreshener, cooking pots, broom sticks, plastic pipes and other things become drums, drum sticks, kalimbas.
The organization has been partly supported by the Italian organization Gruppo per le Relazioni Transculturali (GRT) and now they are phasing out the funding. It is part of their strategy, a representative from GRT tells us, to work away from dependency. From January 1 2015 they are supposed to be standing on their own two feet, generate their own income – an enormous challenge for the group.
Slum-Drummers have identified areas where they need more knowledge to be able to sustain themselves: finance literacy, marketing and communication, entrepreneurship, and group identity as the main training needs.
The GRT says it’s necessary to move away from dependency, and either the group make it or not.
The situation is both complex and difficult.
Firstly, the whole question of the situation for street children is multidimensional and difficult. No efforts have, I am told, been done to try to grasp the full situation: the structural level as well as the individual, the community level and the families.
Slum-Drummers and other such projects take the initiative and do make a difference. In a dance-project some years ago, run by dancer and choreographer Isaac Karanj where they encouraged street kids to join dance classes instead of hanging around the dangers of the street, some of the now grown-up former street kids are performing dancers. In the meeting with Slum-Drummers several of the members point out that the music and the group have saved their lives.
The value generated should be unquestionable. It could be counted as public value, social value, and cultural value. It is definitely a value for the individual. Or if you will, economic value: the children that get the chance to get off the street and sustain a living are a less economic burden for society.
Secondly, The Kenya government shows low, if any, interest in putting sustainable programs and incentives in place. Corruption is still a problem. Where the state doesn’t take responsibility, civil society and international organizations will.
Thirdly, project money are short-term, and the international community is tied with political decisions in their home countries who follow a sort of ”trend”-budgeting. A project can’t go on forever and GRT in this case is quite conscious and responsible about this and phasing out slowly, giving tools, support, and capacity-building.
Forthly, international organizations do struggle with the dependency-situation. At some point the dependency need to be challenged and cut. At least this is the argument.
But it can also appear cynical. Resources are not distributed equally in this world. Having resources also mean having power: power of economic resources as well as decision-making. Structures and possibilities are different.
An Italian NGO in Kenya will survive. A local organization where the international funding stops have very few other alternatives.
Categories: Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Policy Culture-led Development Economy Education Entrepreneurship International Kenya Music Performance
Etiketter:Artist, Artistic collective workshop, Artistic practice, Creative Industries, Cultural economy, Cultural Policy, Cultural Project, Development, Economy, Education, Entrepreneur, International exchange
Roads are wet as we drive out of Nairobi towards Red Hill Art Gallery in Limuru between Banana Hill and Ngecha Village. Rain is hanging in the air and we see the dark skies of thunder threatening in the distance over the green hills and farmlands.
Some years ago the most prominent art gallery, Ramoma, closed down and at the time it seemed like the exhibition possibilities for contemporary artists were becoming very few. But things are changing. The number of visual artists are growing, and there is a confidence in the art scene which is new. There is also quite a few interesting art spaces around Nairobi.
Red Hill Art Gallery is a fairly new space for exhibiting art and started around two years ago by Hellmuth and Erica Rossler-Musch, two former ”healthworkers” as they described themselves, with a great interest in art. During their twenty-five years in different countries in Africa they have collected art work from the most important artists in that region. A dream has been to start a gallery to show their collection, but also to support up-coming artists, and give a possibility to exhibit.
We get a tour among art works from artists such as Jak Katarikawe, Joel Oswago, Kivuthi Mbuno, Rosemary Karuga, Annabelle Wanjiku, and many more.
After the tour we have a cup of tea in the lush green garden, the rain has started to poor around us making a smattering sound as it hits the parasoll, and the conversation is about contemporary art in Nairobi, the scene, the possibilities, the challenges.
In the car back to town heading towards the next gallery, One Off Gallery, the discussion continues.
Art work in the photo by Richard Kimathi. More galleries are Circle Art Agency, Kuona Trust, Banana Hill Gallery, and of course The GoDown Arts Centre.
Etiketter:Artist, Artistic practice, Business idea, Creative Industries, Creativity, Cultural economy, Cultural Project, Development, Economy, Education, Entrepreneur, Entrepreneurship, International exchange, Social entrepreneur
The Slöjd Incubator, the incubator for handicraft started as a pilot project by the public authority the National Swedish Handicraft Council, has now finished it’s first round.
Hopefully the pilot project will be prolonged. Participants were very happy to have a chance to develop their ideas around their art and how to live on their art, and the process has been working well as a complement to their university studies within in art, design, and craft.
Ten participants now finished the process and on the final seminar a few of them got a chance to tell their experience for a larger invited audience. On this seminar Nätverkstan presented it’s survey and final report on the incubator.
The final semester of the two-year International Culture Project Management Training Program, Kulturverkstan, youdo an internship at an cultural och social organization, or run your own project. The internship is prepared thoroughly with planning classes and where you decide a theme or question you would like to look into during the internship.
This adds up to a public presentation in the end of the semester with invited guests, discussion partners and (or) opponents. This year’s addition of the presentations held the same high quality as last year, with interesting topics such as Cultural Heritage and Digitization; Food Trucks’ introduction to Göteborg; Art, status, and conditions; The concept
of class – is this still relevant?; Alternative forms of exhibitions; and many more (read more here).
The last thing to do is Wednseday’s graduation party and then we will meet 35 new excellent Cultural Project Managers out there!
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Democracy Digitization Distribution Economy Education Entrepreneurship Innovation Kulturverkstan Seminar
Within a week, three seminars has taken place in Göteborg and Stockholm with the ambition to bring knowledge and perspectives on cultural policy, cultural and creative industries, and the myth of the creative city.
To begin with the last.
Justin O’Connor, Professor at Monash University in Australia and the authority on cultural and creative industries, did a quick stop in Göteborg on his way to Stockholm to talk about Cultural Economy and Cultural Citizenship. Beyond the Creative City. Göteborg is one of all the European cities being promoted as the ”creative” city and the ”most creative region” in Sweden, eagerly cheered by the American economic’s Professor Richard Florida during his visit in 2006 when he identified Göteborg and Sweden to be a role-model of creativity and innovation.
Interesting since at the same time Göteborg is one of the most segregated cities in Europe, something that seemed to have slipped away from the Professor’s research.
Justin O’Connor said three things to be important:
1) Reinstall the value of art and culture and move away from ”creativity”,
2) Don’t run away from economics! Culture is part of the economy. Don’t leave it for others to handle and do not escape by saying economy is only for Neo-liberalists, and
3) The public space is for all. It’s time to reinstall Cultural Citizenship.
Cultural and Creative industries was in focus in Stockholm when Professors Justin O’Connor and Birgit Mandel, from Hildesheim University in Germany, discussed CCI – and beyond. Are we seeing the end of CCI? Or is it time for a revived understanding of the concept? Where are the artists in the discussion of CCI?
And the message was clear: Drop ”creativity”. This has only messed up the discussion. Go back to cultural economy. Discuss and define economy from the perspective of the arts and culture.
And today, lastly, a day with focus on cultural policy on the regional level of Region Västra Götaland tossing and turning on Whose Culture? Whose Plans? Whose Money? The seminar ended with politicians answering questions on what they think is the most important cultural policy question that they will bring to this year’s election. Participation, inclusive culture, culture to children and youngsters, integration was some of the answers.
The most important words, though, were said by Poetry Slam Winner Nino Mick, who summarized hen’s impressions during the day in a poetic reading that went straight into the heart.
The Göteborg event with Justin O’Connor is found here.
The invitation to the seminar in Stockholm: KN_Seminarieinbjudan_pdf.
The Cultural Policy day here.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Policy Culture-led Development Democracy Economy Education Entrepreneurship International Leadership Literature Regional Development Seminar
Two of the leading authorities on cultural industries, Justin O’Connor from Monash University (Australia) and Birgit Mandel from Hildesheim University (Germany) are visiting Stockholm and the Arts Grants Committee on Tuesday (April 29) for an open seminar on the future of CCI.
A few years ago, Konstnärsnämnden (The Swedish Arts Grants Committee) published the anthology “Artists and the Arts Industries” with a view to highlighting cultural Industries from the artists’ viewpoint.
Previously, these industries had mainly been described and elaborated by economists and cultural geograph ers, by business developers and public officials. With the help of five foreign and Swedish professors, artists and cultural critics, a deeper perspective was adopted: Did for instance the discussion on creative industries have an impact on the arts field itself – and if so, how? In what respects was the discussion relevant to the artists?
Are we witnessing the end of cultural and creative industries or are we at the beginning of some thing new? If you are in Stockholm, or happen to pass – join the discussion!
Invitation to the seminar is here: Seminarinvitation.pdf.
Categories: Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Policy Culture-led Development Digitization Economy Education Entrepreneurship Germany International Seminar
Is there a need for a joint Capacity Building program within Art and Entrepreneurship on the regional level in East Africa, driven and run by the cultural field? If so, what could a program look like?
Those have been questions discussed on the second meeting with representatives from cultural organizations as well as artists from Uganda, Kenya, Tanzania, and Rwanda. The meeting in Kampala on March 6–9, included several large questions.
What kind of competence building is needed among artists and cultural organizations? Is the perspective of livelihood a useful one? What are points of similarities in the context and cultural scene in the different countries, and what are the differences?
Three intense conference-days, with visits of cultural organizations in Kampala, ended in the conclusion that this process, discussion, and concrete ideas need to continue.
Three concrete points already happening is:
1) the GoDown Arts Centre start a term 1 course in Creative Entrepreneurship in May.
2) it might be possible to hold a facilitators’ course and training-for-trainers with regional partners sometime between May and August,
3) another meeting on the East Africa level will be held, probably in August, this time hosted by either Tanzania or Rwanda and with local artists invited.
On the meeting in Uganda artists within performing arts, writing, and visual art was participating, as well as representatives from Bayimba Cultural Foundation (Uganda), Femrite (Uganda), 32°East (Uganda), Autumn Ventures Africa (Uganda), MUDA (Tanzania), Ishyo Arts Centre (Rwanda).
The meeting is part of the project ”East Africa Capacity Building Program for Creative Entrepreneurs and Artists” funded mainly by the Swedish Institute and is a cooperation between GoDown Arts Centre (Kenya) and Nätverkstan (Sweden).
Etiketter:Artist, Artistic practice, Creative Industries, Creativity, Cultural economy, Cultural Policy, Cultural Project, Development, Economy, Education, Entrepreneurship, International exchange, Literature
What does the Norwegian author Henrik Ibsen (1828–1906) have to do with Crowdfunding?
This week when Max Valentin, founder and CEO of the Swedish crowd funding platform Crowdculture, gave a lecture at the International Culture Project Management education Kulturverkstan, this is what it looked like.
Perhaps it was due to the fact that Ibsen earned his main income from performing rights, which gave – according to Wikipedia – around 3.357 euro in yearly income in 1899.
In 1898 he had a top yearly income of 9.983 euro, of these 8.469 euro was money from the rights of his collected works.
On the other hand, this doesn’t say much about funding by crowd funding…
Kulturverkstan invites professionals within art and culture, business and corporate field, voluntary and societal organizations; project managers, artists, professors, directors, officials, and many others during the education to always have the voice of practice within the education. During the two years the education lasts, a wide range of people have been invited who also serve as a good network for the students after examination.
DIY (Do It Yourself) is almost like an invitation, a command, to not sit around and wait for things to happen. Instead: Take Action!
Meet up with colleagues, experts, friends, academia, practice, interested folks; create a space, combine your expertise, and solve a problem, found a new idea or make innovations.
DIY Days Gothenburg, taking place this week (18-26th of January), is full of creation, ideas, hot spots, talks, and exchanges. It’s an interesting combination of low thresholds, an open and inviting attitude, and a willingness to share.
The goal is set high: How do we create a sustainable city for the future?
Described under the theme ”Future Cities – Sustainable and Playful Design with focus on Water” people pitch in their ideas such as Tikitut, the community-based tourism or Halo, working on sustainable architecture, or the mix between Hackathons, game industry meet ups, world cafés, crowdfunding, and mentorships and advice.
So take action and pay a visit!
As the bus with the musicians from Wermland Opera leaves Karlstad to go to the evening concert in Karlskoga, darkness comes early and fast. Most of the trip goes through the woods of Värmland in pinch black darkness and in poring rain.
The orchestra at Wermland Opera, normally based in Karlstad, does tours like this now and then to small cities in the region to let opera and classical music reach out to the different corners of Värmland. The concert this evening is arranged by Karlskoga Konsertförening and is this year’s Epiphany Concert led by conductor Henrik Schaefer.
Karlskoga (Karls Skogar/Woods of Karl) got its name from king Karl IX who saw these woods as his royal woods and is a small city of around 27.000 inhabitants. Between 1970–2010, the municipality of Karlskoga was second on the top list of municipalities in Sweden loosing most inhabitants.
When the bus stops at Bregårdsskolan, the location for the evening concert, the musicians eat, change, rig the stage, do the sound check, and start in no time. Around 150 people have found their way to the school assembly hall, average age being sixty plus something, to listen to the tones of Richard, Josef, and Johann Jr Strauss, and composer Constanze Geiger.
Karlskoga born opera-singer Anna-Maria Krawe sings and on Oboe is Malin Klingborg. Conductor Henrik Schaefer guides the audience through the concert in a pedagogic way that inspires, and the story of how he digged deep in the library in Vienna to find a suitable piece to perform by female composer Constanze Geiger is open and inviting.
After the concert, everything is packed back in the accompanying small trucks, musicians in the bus, and within thirty minutes or so the assembly hall is empty as if nothing has happened.
Research has been done to try to prove what art and culture mean to us human beings. At University of Gothenburg you find Centre for Culture and Health, a centre focussing on research and statistics to show the positive connections between culture and health.
It’s hard to say if the audience of this concert got healthier after listening to the orchestra. Or if people are more willing to stay and live in Karlskoga thanks to events like this (another large discussion in Europe). If so, these effects are secondary. First and most, it was a wonderful moment of music.
When Judy Ogana takes the floor to welcome us all, the warmth and pride shines in her face. In the audience are friends, colleagues and partners from East Africa and abroad gathered to celebrate the 10 year anniversary of the GoDown Arts Centre in Nairobi together with her, Joy Mboya, and the rest of the staff.
The story of the Godown is impressive, and as Joy Mboya takes us through the vision, steps, ideas, persistence, you realize that this is what running a cultural organization is about: the awareness of the context and society you are part of and your role in it; the dedication for building a strong, vivid, interesting cultural scene; empowerment with capacity-building on the grass-root level; participation, sharing, and networking.
Joy Mboya lifts a few aspects that has been especially important in the GoDown success, which she describes as ”some steps of victory and some steps of challenges”:
1. Getting a space; a multidisciplinary center for the local art and cultural scene in the local community
2. The regional linkages with colleagues in East Africa
3. The strategic plan 2005-2007 as a tool which also set the aim to create a public, innovative, dynamic, and vibrant space
4. Training and development, mobility, exchange, and exposure
5. A strong community orientation
6. Being a mirror of society. The post-election violence in 2007 was a starting-point where the exhibition Kenya Burnings was important. The need for artists to look back and reflect on what’s happening in society.
7. Sustainability and capacity-building focus on artist livelihood
8. Discourse and research
9. The role of cultural spaces in urban living
10. The Creative Entrepreneurship Programme
After the celebrations and the outline of the GoDown Arts Centre’s history and important steps, the East Africa Arts Summit continued discussions with focus on how networking, sharing knowledge, and building a strong art and cultural scene on a regional level could be enhanced.
Nätverkstan and the GoDown Arts Center have been cooperating on capacity-building since 2009, support has been mainly from the Swedish Institute Creative Force programme.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Democracy Economy Education Entrepreneurship Innovation International Kenya Leadership Regional Development
Today the Scene for Literature opened, or the Literature House, as Madeleine Bergmark put it in her opening speech of the inauguration in Lagerhuset (Warehouse).
The road to a new literary scene in Göteborg has been bumpy and particularly around where it should be located. Should a new house be built or is it a better idea to let it rest among already existing initiatives? And if so, with which existing scene? Glances were sent to Norway, where an ambitious new House for Literature in Oslo was opened in 2007.
In 2011 Ingrid Elam, a well-known literature critic in Sweden, got the assignment from the Administration of Culture in the City of Göteborg to investigate the possibilities of establishing a House for Literature in Göteborg.
The reason was that the conditions for literature are changing in a rapid pace and establishing a scene for literature seemed like a proper cultural policy action (also on state level this was done in 2012, a public investigation called Läsandets kultur, Culture of Reading).
Ingrid Elam came to four different suggestions, where two of them was weighing pros and cons of building a new house or building on already existing initiatives with focus on the independent and small-scale literary scene.
Lagerhuset (Warehouse), an old warehouse in central Göteborg right by the canal, for many felt like the natural location for a scene for literature. The building is already part of a vivid small-scale and independent cultural and literary scene housing several cultural journals and small publishing houses; a larger membership-based production space for journals; the Poetry Festival; education; and in the ground floor the scene for young creators, Frilagret. It’s a house that since 1999 host small cultural organizations with focus on cultural journals and literature.
It was also one of Ingrid Elam’s four suggestions, although not the main proposal. The Cultural Committee decided to place the House for Literature in an already existing structure: Lagerhuset. The House is organizationally under the City Library, they got two trial years and 1 million SEK (approximately 116000 euro) per year. Then the idea is that the independent scene in Göteborg takes over.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Economy Education Entrepreneurship Innovation Kulturverkstan Literature Medialab Music
In Nairobi, Kenya, meeting with the people from the GoDown Art Centre and now developing step two of the educational programme ”Reaping the value out of your artistic creativity”.
GoDown Art Centre and Nätverkstan have cooperated since 2009 on workshops and developing ideas of how to build a capacity-building programme for artists and cultural entrepreneurs in East Africa. Professional artists from different art forms, university professors, directors, managers, and others from the cultural scene have been involved in building the content of the programme so that it will fill the needs found by the sector in the context of East Africa.
In the developing process Sian Prime at Goldsmiths University has been involved, also Kenya Polytechnic University in Nairobi, British Council, and Swedish Institute.
The result has been tested in two pilot programmes of 10 weeks that were run in 2012, each with around
30 emerging and professional artists in each group. And now we are gathering again to continue the journey of developing step 2 of the programme.
And I can’t help but think of the article in the new issue of the Art journal Paletten in Sweden about a week before leaving for Kenya. The article is arguing that all talk of entrepreneurship within the art is a sign of instrumentalization and the economization of the art, a result of this are courses on art and entrepreneurship at the university.
It’s necessary to always argue for the role of art and culture in society, and rightly being critical to some processes and initiatives. But to wipe away all efforts on trying to find useful ways to tackle artist’s reality as freelancers and how to deal with their livelihood as neo-liberalism is a little far-fetched. It can only be said by someone who doesn’t have to worry about money.
The reality in Kenya (and Sweden) is that you have to try to find ways to balance your artistic practice with income so bills can be paid and food put on the table. Some do this by trying to live on their art, some do this by finding bread jobs and pursuing the artistic practice and career on their free time. Solutions are many.
It’s not about becoming just like any other business, instead it’s the opposite. It’s about putting efforts into finding ways forward that works within the artistic field and for your artistic practice.
Reading the evaluations from the two pilots, participants seem to agree.
The last semester at Kulturverkstan, the two-year International Culture Project Management Programme, the students do an internship at an institution, organization or project which they have identified as interesting from a learning perspective.
During their internship, they also identify a question or focus area which they research. The topics range from the sustainable society, citizen dialogue, equality and gender in cultural life, the relation between an intense working situation and the every day life, work and motive, and much more.
Coming back to Kulturverkstan, they write a final report as well as have an open presentation to discuss their topics with invited guests and audience. The discussions are rich both in depth and learning aspects and it’s a time of the year that has become a must if you’re interested in keeping up-to-date in important discussions in the cultural scene.
Read more here and if you happen to be in Göteborg – slip into one of the seminars!
”Throw out the management books and read novels instead!”
Kerstin Brunnberg has a long list of references. She is now Chair of Swedish Art Council, and has a long career behind her as journalist and head of several of the large newspapers, as well as radio and TV.
She is invited to the education Kulturverkstan to talk about art, culture, the role of art in society, and leadership.
Being a leader of cultural institutions and organisations means to work with people, and the best place for learning of people is in novels. Read a lot, is a message.
Reading also helps writing. It’s necessary for any project manager to be able to describe its work in plans and project applications. Proposals written with passion, personal tone and genuin interest do have a larger chance to come through than buzzwords with no content. Might sound evident, but it’s easy to fall into the buzzword trap.
Flexibility, complexity, hard work, and to always stand up for the freedom of expression are leading words for this soft-strong lady.
For any project manager within art and culture, this should be on your bed-side to read: The law of freedom of the press.
Follow Nätverkstan at Vine, where you find a clip from the lecture.
Animation Artist Artistic collective workshop Artistic practice Bangalore Burning Platforms Business idea Creative Industries Creativity crisis Cultural economy Cultural Journal Cultural Policy Cultural Project Democracy Development Digitization Distribution Economy Education Employment Encatc Entrepreneur Entrepreneurship EU Finance Flexibility Georgia Globalization Innovation International exchange Literature New economy pedagogical Policy for Global Development Renewal Research Resources San Francisco Self-employment Silicon Valley Social entrepreneur Transformation USA Västra Götaland