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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.
High voices are raised in Sweden with pros and cons on the CCI – but few have checked any facts or bothered to do analytical distinctions before continuing an agitated talk.
Now the Region of Västra Götaland has published a small booklet written by David Karlsson at Nätverkstan with answers and questions on CCI in a try to sort things out a bit. The intriguing title is: How long is a piece of string?
In Swedish, but an English version is perhaps on it’s way. Download here: Hur långt är ett snöre.pdf.
During some winter months Nätverkstan, together with Sture Carlsson who is former CEO of the Göteborg Symphony Orchestra, Swedish Performing Arts and more, have dug deep into the situation of Wermland Opera.
Opera is probably the most expensive art form and operas around Europe are facing the same problem: increasing costs and lowered or stagnant public funding.
In many countries in Europe the tradition is to put a high degree of public funding into opera and concert halls. Today the situation is changing and for Italian opera houses – the cradle of the art form – the situation is acute. The accumulated deficit for Italian opera houses is enormous 300 million euro.
Wermland Opera, a small opera house situated in Karlstad in Region Värmland, is no exception. Although already getting a relatively large amount of the regional cultural budget (72%), the reality is that they have had to cut in expenses (mainly staff and productions).
Wermland Opera has showed impressive artistic results in its productions. In 2011 they put up the full Wagner Ring trilogy – something even large opera houses find challenging – a production that caused ripples far outside of Värmland with Wagner fans from all over the world traveling to the city and the national press praising the effort.
The opera house has managed to show high artistic quality opera in a small format, something that perhaps can be described as a new model of working for small opera houses with relatively limited budgets in Europe.
But they also face challenges. They can’t cut more in the economy without endangering the artistic quality. At the same time, getting such a high amount of the regional cultural budget as they do, leaving crumbles for other cultural initiatives, they also have a large responsibility. They need to open up for cooperations and to a larger degree see themselves a regional cultural resource.
Read articles in Swedish Television Värmlandsnytt, Swedish radio P4 Värmland or download the following articles here: Articles_WO.pdf. Read also the article ”The End of Italian Opera: Will They Wait for the Fat Lady to Sing?” in Newsweek. Read related post here.
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!
After about one and half hours with bus from St Petersburg on the highway towards Estonia we arrive in the small town of Kaykino. Here Olga Gracheva, former fashion designer and now project manager and business consultant, and Victor Grachev, a sculptor, have decided to live and be part of working for a lively and interesting society in rural areas.
Their home is their project. From the house and garden cultural projects are created, ideas developed, and sculptures formed by artistic hands in material such as stone, wood, metal.
And they involve their neighbours, the children’s culture school, the Agriculture College, and others in Kaykino. It’s about involvement and creating possibilities, because the simple fact is that agriculture is dying and young people move to the big cities.
During a four day visit to St Petersburg, we spend a lot of time discussing what this means. We meet with the Art Academy (Stieglitz), Kuryokhin Center, and the Children’s Culture School in Kaykino as well as the Agriculture College.
The visit was initiated by NGO Creative Project Kaykino in St Petersburg and is supported by the Nordic Culture Fund and included invited guests from Not Quite, Tou Scene (Stavanger), StoneZone, and Nätverkstan. The visit ended with a seminar with invited authorities, a report will be written as the end of this exchange project. A former post you find here.
Sarah Thelwall, a UK consultant on cultural entrepreneurship, took a deep dive into small arts organizations’ difficulties to communicate the value they contribute to society – a value that is rarely counted in profit or money, but in other things.
It’s a difficulty art organizations over the world can recognize.
Put any cultural organization next to statistic measurements, economic outcome, and evaluations with a quantative focus, and culture comes short. So how do you measure intrinsic value?
Many of us within culture are already initiated, we know the value but come short in describing it. It’s like the Swedish artist Staffan Hjalmarsson once said about the lack of measurement methods for culture,: it’s five squares of sorrow. It referred to a report by the Region Västra Götaland where the consultants had evaluated the work within the region’s five focus areas. The other focus areas had facts and figures, but culture glowed all empty and became according to Hjalmarsson: Five squares of sorrow.
Riksutställningar, The Swedish Exhibition Agency, decided to pick up this dilemma of showing the value of culture and has put focus on this during 2013 in seminars and discussions.They have invited Sarah Thelwall to talk about her report and discuss with others in two larger events: Supermarket 2013 in February and now Samtidskonstdagarna in Göteborg on October 18–20.
She wrote the report on commission of Common Practice, an organization based in London and with the aim to focus on small art organizations’ situation.
Riksutställningar translated, in cooperation with Nätverkstan, some of her work into Swedish in a book that just came from the printing presses. Everything to bring light and perspectives on the continuous discussion on describing the value of art for others than those already initiated.
Read also this blogpost on the same book (in Swedish).
First gathering of the Culture Incubator after Summer breaks started today with focus on relationship building and marketing your project idea. Invited guest was freelancer David Andréas, now working as Art Director at an agency in Göteborg.
The Cultural Incubator is a project run by Nätverkstan, which is part of the larger project called Projekt Utveckling Nordost (Development North East), and aims to support people with ideas. The selected eighteen people come in with their ideas and over a six month period they get a chance to develop these to be more sustainable.
The project started in beginning of the year, and the development of each of the different ideas is really exciting. In November all projects are presenting their ideas for a larger audience of decision makers, representatives from the authorities, and other stakeholders.
Read more here.
With his interest in territory and cultural heritage, artistic director Christophe Guiho wanted to create an organization with this specific focus. Territoires Imaginaires started in July 2012, is based in Nantes (France), and around one year later the project La Nuit des Pêcheries took place.
The idea is simple and inviting. Along the Atlantic coast on the west coast of France you find small private fishing huts, pêcheries, placed on poles a bit out in the water due to the tide. The huts are private and walking a bit out on the bridge, you are met by a locked door. For the owner it’s an enjoyable asset, overlooking the ocean where you quietly roll down the fishing nets and wait for your catch. The public in general has no access and usually these huts have been inherited within the families. No new ones are aloud to be put up.
With the project, Christophe Guiho wanted to make this heritage sitting along the coastline accessible and opened up for the public. He worked together with artists to make art installations in each of six fishing huts.
More than 1500 people gathered on the opening night on the hills overlooking the huts, enjoying music event and visiting the art installations. He did this project with little money and with mainly his own drive, energy, and a successful project as payment.
Another project in Nantes over the summer is Le Voyage Nantes, run between June to September and with a much larger budget. During 2013 Nantes is The Green Capital and to celebrate this, the city has decided to each summer fill the city and its surroundings with artistic interventions.
Over forty interventions in just the city of Nantes, with artists such as Daniel Buren, La Machine, Jean Jullien, Mathias Delplanque, and Chinese artist Huang Yong Ping. A green line is put in the pavement and is easy to follow around the city and Ile-de-Nantes to find each of these grand, imaginary, humoristic, and serious interventions. It’s by no means touched up, many pieces poses relevant questions and raises reflections.
And for the city of Nantes this has become a success. Visitors are many, and children and adults can enjoy the happening such as joining the enormous elephant created by La Machine for a tour on Ile-de-Nantes.
Yet critical voices are heard. It doesn’t have to be a contradiction between a city’s will to create big events and the on-going small-scale cultural organizations’ every-day struggle to create art with little money in their pockets. Unfortunately it often is.
A wise cultural policy that both enjoy the small-scale initiatives and the large events is wanted!
It takes a bit of driving around to find Centro Andaluz de Arte Contemoráneo, (CAAC) which is a bit strange since it is an old monastery and a quite specific place. It’s situated in the centre of Seville, but still outside. As the gallerist Julio Criado put it during our visit in his gallery later the same day: It’s actually very central but often perceived as being outside of the city.
It’s on the other side of the river Guadalquivir and in the very same area that 1992 hosted the Universal Exposition of Seville (Expo ’92), an Expo of 215 hectares land and with 41 million visitors between April to October. The signs left now are – what seems for us as we drive around looking for the monastery – empty buildings and fenced areas. And behind white steel rods around the monastery and its gardens, we finally find it.
CAAC opened in 1998 in Monasterio de Santa María de las Cuevas with the aim of being a place devoted for Andalusian contemporary art. Art tradition in Seville, we are told, is that many artists are painters and within the Baroque tradition. The 80s is described as an interesting period in Seville, where the art scene (at least this is one way of understanding this period) hooked on to the era and buzz around film-maker Pedro Almodóvar and his often both provocative and controversial films on topics around sex and violence, religion and people in the margins of society. CAAC is aiming to put such an art discussion back on the agenda.
Walking around the garden, you see this ambition in the interesting, humouristic, and yet serious art interventions placed around the precincts. The Bus stop by Pedro Mora, Alicia by Cristina Lucas, and As a monument to the Artist by Curro Gonzales, are among some of them; the last one being an ironic commentary on the controversy around artists since Romanticism – and a very current such. In the temporary exhibition inside, Chilean performance artist Lotty Rosenfeld, stands out.
Luisa Espino, Coordinator of Exhibitions, tells us about the ambitious program, with temporary and permanent exhibitions, educational programs, music and art in the garden, seminars and conferences, and not least the publications 11 to 21 on the themes of the conferences and exhibitions.
Unfortunately CAAC has seen severe cuts in funding due to the Spanish economic situation that makes it difficult to keep the high ambition. The publications have, as a consequence, been closed down. For now, that is. The hopes are to be able to pick it up again. But the cuts are a bit like stepping back in time. A bit like being back on square one where it all started.
Gallerist and owner of the Gallery Alarconcridao, Julio Criado, talks about the art situation from another perspective.
Interestingly, the gallery is just one street from the famous bull arena in central Seville, Plaza de Toros de la Maestranza. Cultural heritage right next door to the new upcoming artists. Julio Criado sees an art market in change, where you have to find other ways than the traditional to find the buyers and the market. Also the artistic scene is changing, where a fairly traditional art education is not educating the most interesting artists. Instead he finds the most interesting work done by artists educated within other disciplines.
The first photo: Alicia by Cristina Lucas. The second: As a monument to the Artist by Curro Gonzales. Listen to the fanfare in the last piece here: artist fanfare. The last piece is the Bus Stop by Pedro Mora.
”We” in this blog are a group of five educators, consultants, and actor within art, entrepreneurship, art management from Germany, Austria, UK and Sweden, who formed a small think tank a few years ago to meet once a year and exchange experiences and ideas. This year a smaller group of three of us met in Seville on July 12–16. During the meetings we discuss, have workshops, exchange ideas, meet people within arts and culture, and just enjoy ourselves.
The last issue of the Economist (June 15–21st) brings up the topic of the tremendous cuts in art funding that we’ve seen in UK the last few years.
The viewpoint in the article is from Baltic Centre for Contemporary Art in Gateshead, an art centre opened in 2002 in one of the abandoned mills along the river Tyne in NorthEast England. The Baltic was a former flour mill opened in the 1950s and closed in 1981. The transformation to a significant art center was led by (Swedish) founding director Sune Nordgren and cost 50 million pounds, money coming from mainly the National Lottery Fund, Arts Council, the region, and European Union.
We’ve seen it in many places all around Europe and elsewhere; industrial ruins become art centres, galleries, art studios, incubators within arts and culture.
The Italian Professor of Cultural Economics (IULM University, Milan), Pier Luigi Sacco, calls this process by a name: Culture-led local development processes or System-Wide Cultural Districts. He uses Newcastle as one example of culture-led local development processes in is his paper Culture as an Engine of Local Development Processes: System-Wide Cultural Districts (2008).
P L Sacco argues that art and culture is an important base for local development. If the right energy and mix of cross-boarder cooperation from the cultural scene, business community, authorities, and money are there, a positive local development can take place.
But as the article in Economist notes, it’s hard to measure the payback of money spent on art and culture, and it’s difficult to justify art spending to the larger group of tax payers.
”The truth is that the economic value of art is often as hard to quantify as its social or aesthetic benefits. That makes it vulnerable to cuts in tough times”, the article argues.
UK is one of the European countries that has cut the art budget with as much as, some figures note, 40%. This means less money to artists within all artforms, closing down many of the regional offices promoting art and culture, less money to the Art Council, and so forth. Regrettable but perhaps inevitable, Economist states. Money needs to be secured from other funding resources, mainly private.
It’s a problem on many levels. The lack of methods to properly measure effects of art and culture is one. Another is funding. Experiences show that private funding might be easier to find for building icon buildings, but is not a reliable source of income for production of art.
If new large cultural icons such as Baltic Centre for Contemporary Art are to be able to bring tourists and have an effect on the overall economy, and in time pay back the investment to the local community; visual and conceptual artists, film-makers, handicraft artists, designers, musicians, poets, and others are needed to fill these large buildings with content.
Whose responsibility are their working conditions?
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.
Professor of Cultural Economics, Pier Luigi Sacco, has been widely engaged around Europe as a consultant to governments, local administrators, and cultural organisations on culture-led local development.
His perspective is the system, and he talks about the system-wide cultural districts. The role of culture has changed over the decades, he says, and today the importance lies in the fact that it is system-wide which means it permeates social and economic life in cities and regions.
The worst thing a government can do is to cut in the cultural budget, he said on a conference in Göteborg in February 2012. The longterm effects will be severe for the city, region, and state.
Pier Luigi Sacco has also been engaged in Sweden. In Region of Halland his methods have been tried, and now also in the province of Skaraborg, part of Region Västra Götaland.
Nätverkstan has translated some of his texts, done an interview, and collected all this in a publication published in the end of April. The publication is part of the project Knep and financed by European Social Fund. Keep eyes open here.
The small public authority Swedish Agency for Cultural Policy Analysis (Kulturanalys) is a new authority assigned by the government to evaluate, analyse, and present effects from the national cultural policy. The Agency was formed in 2010 to function as a separate evaluation office with no attachements to the authorities they are evaluating. Common practice, one would think, but in Sweden we haven’t had such an Agency before evaluating cultural policy.
Several interesting reports have been produced so far and hopefully municipalities and regions will use the facts and statistics produced rather than producing their own.
Interestingly, though, one area falls between chairs. Which of the two agencies has the assignment to measure cultural and creative industries?
”Industries” suggest it should be the other analysing authority connected to Ministry of Entreprise, Energy, and Communications; Swedish Agency for Growth Analysis (Tillväxtanalys).
”Cultural” suggest it should be the agency for Cultural Policy Analysis. It will require both openness and cooperation to clear out where lines are to be drawn.
Last week Nätverkstan was invited to the Swedish Agency for Cultural Policy Analysis to present the report, produced on assignment of Region Västra Götaland in 2010; Örnarna och myrstacken. Vad vet vi om kulturnäringarna? (Eagles and Ant-Hills. What do we know of cultural industries?).
Download the report here (Swedish): ornarna_110925.pdf.
The Cultural Journal Glänta is celebrating 20 years and do this with an App full of future words. Like Deppbägare, Dialogdemonstrant, Öntreprenera, and Öövermod (sorry, an English translation of these words doesn’t exist yet as hardly the words yet exist…).
A few years ago the journal invited over hundred artists, writers, researchers, philosophers, and journalists to add one piece each to the puzzle and the Future Encyclopedia was born. It started as a printed journal and has now become an App for Iphone and Ipad possible to download for free.
Nätverkstan has created the App as part of the effort of together with Cultural Journals find new, simple, and economic sound ways to publish text in print and digital format. Also download the App for the Journal Ord&Bild.
The Cultural Incubator is a project run by Nätverkstan that aims to support people with ideas. The selected eighteen people come in with their ideas and over a six month period they get a chance to develop these to be more sustainable and feasible. Coaching and knowledge building seminars is part of the process, and finally they leave with action plans that can be used as a base to form business plans or project plans and applications.
The incubator is part of a large EU-project based in the immigrant dense Northeastern parts of Göteborg, the project is also named Utveckling Nordost (Development Northeast), and has the ambition to strengthen these areas’ attraction and create jobs. One way to do this is through strengthening culture and entrepreneurship.
The Cultural Incubator started in end of February and a great way to start is to use some time at the first meeting to get to know each other beyond the classical presentation round. It’s both valuable and sets the crossbar for the rest of the project time.
Our first start-up meeting followed by a cocking-session making dinner together and the second meeting was a bustour to visit the artistic group Not Quite in Fengersfors, in the woods of Dalsland. Inspiration, learning how Not Quite started and run their organization, and not the least: time to get to know each other and build networks.
Photo: Elin Tollbom
When the Swedish Council for Cultural and Creative Industries formed in 2010 we were many that hoped this would mean a thorough and serious review of Sweden’s position and standing-points in the cultural and creative industries.
So far the regions had been the main motors in the discussion of CCI, this gave an opportunity for the state, the Department of Enterprise and Department of Culture, to form strategies and activities for CCI grasping everything from the single artist running her own one-woman-business as a platform for her artistic work to the larger businesses within areas such as music, film, and design.
Being one of the members of the Council, I wanted to see a more content-based discussion on CCI and in this include the artists and their specific situation.
At Nätverkstan we have written two reports on the this topic: Den ofrivillige företagaren (The reluctant entrepreneur, 2002) and Örnarna och myrstacken. Vad vet vi om kulturnäringarna? (Eagles and the ant-hill. What do we know of the cultural industries?, 2010), the last report on commission from Region Västra Götaland. Both these two had the ambition to put a perspective on CCI which include the whole complexity of the cultural field and which takes its standing point in the artistic production.
On February 5 the Council presented the report and a film clip from two years work. Disappointments were many, and perhaps most frankly declared by the Association of Swedish Illustrators and Graphic Designers where they simply state in an article ”No thanks to counsels from the Council!”.
Although the role of the Council was vague and was never meant to be other than a council, a discussion partner to the political structure, expectations were much higher than what came out.
Now the state shows minor interest for these questions and the main drivers of these industries in Sweden are still the regions. This means – as it looks at the moment – that the regions will act very differently around the CCI and depending on where you live in the country it can be a large public authority interest and thereby also possibilities for artists and cultural entrepreneurs, or it can be quite quiet. It will be continuously difficult to compare and evaluate incentives and policy work within CCI between the regions.
The gap that this creates leaves room for anyone to define CCI as they please and without a state policy framework the potential these industries hold will be lost. Sweden will continue to lagg behind in the European discussion in this area.
Read also Nätverkstan’s report written on commission of the Region Västra Götaland on CCI ”Örnarna och myrstacken”,(Swedish) here: ornarna_110925.
Nätverkstan is publishing translated (into Swedish) essays from two cultural economists shortly: A book with two essays by Italian Cultural Economist Pier Luigi Sacco together with an interview of his story, and a book with two essays by Cultural Researcher Giep Hagoort from Netherlands and an interview. Published in end of February.
The new year and our new cultural strategic assignment kick started with a seminar at Vara Concert Hall, focused on the topic of streamed culture, last Thursday. The Swedish government has marked digitalization as an important way for culture to reach a wider audience (read here). Vara Concert Hall celebrates their 10th anniversary this fall and together with Nätverkstan they are now in the process of implementing technology and procedures to start live streaming their events. Their aim is completely in line with the thoughts from the Swedish government – especially to reach people not able to come to the cultural events, in places such as prisons, homes for the old and hospitals.
The first action in our mutual project was to identify and invite the most prominent organizations in the field to a hearing. Our aim has always been to support the small and independent organizations and we are glad that Vara Concert Hall shares this belief. Together, we also believe that sharing knowledge and solutions strengthens the efforts made, and that this is especially true in the complex field of digitalizations where new technology is introduced almost on a daily basis. The procurement of digital services is an intricate matter and smaller organizations often make mistakes in the process – which in turn means that tax money is wrongly spent on expensive and short lived solutions.
The keynote speakers were Urban Ward from Gothenburg Symphony Orchestra, Ulrik Flood from Digital Live Arena, Peo Thyrén from STIMand Johannes Nebel from Play Kultur. In the audience were representatives from the Swedish Arts Council, Kultur i Väst, Kultursekretariatet i Västra Götaland as well as people from cinemas and smaller cultural organizations. Moderator for the hearing (and project manager for Vara Live Stream) was Leif Eriksson from Nätverkstan.
Magnus Lemark from the Swedish Arts Council remarked that this hearing is a running start for them, as they have just been handed the assignment from the Swedish Government, to help the Swedish cultural sector over the digital threshold. And Johannes Nebel agreed that this kind of meetings to share knowledge is the best way to get knowledge and tackle new complex investments. He also said that the main problem for digital material is distribution, and that Sweden lacks the kind of marketplaces that focus solely on culture. Play Kultur was started with exactly this in mind, to become the first portal for live streamed and archived material on performing arts.
We hope that Johannes last words from the hearing gives echo and they will certainly work inspiring for our own efforts: ”Västra Götaland now has the chance to be the first region in Sweden to show how coordination of digital efforts works.”
Our cooperation with Vara Concert Hall continues, and knowledge produced within the project will be made public in a conference later this fall. But we are also open to smaller hearings in the region and we especially look forward to the 20th of May, when GSO and Play Kultur are hosting a seminar in Gothenburg. Cooperation makes us stronger!
By Carl Forsberg, Head of Medialab and Technique at Nätverkstan
The second pilot course Creative Entrepreneurship – Reaping the value out of your creative work has just finished its ten weeks program. Around 25 musicians, illustrators, visual artists, sculptors, storytellers, poets and more participated to review their ideas, reflect on their lifecycle, look ahead and finish with an eighteen months plan.
During the course they have had lectures of well-known artists in different art forms telling their lifecycle and sharing their experiences, and courses such as marketing, IP Rights, pricing, and others. On examination day well-known musician Makadem told his story, telling the group that challenges don’t stop. Every level has it’s own challenges, and it never stops.
The pilot program is run by GoDown Arts Centre. Nätverkstan has been one of the partners in building content and preparing for the start of the program with funding from Swedish Institute. The cooperation started in 2009.
Have you ever heard the sound of money pooring into to your cash register? The sound is illustrated with a big ”Ka-tziing” (at least in Swedish…) when figures like Scrooge McDuck in the Donald Duck cartoons is pooring more gold coins into his already dense cashbox.
”Kablonk” documentary filmer Bengt Löfgren illustrated the sound of the few coins he could cash in after his large film projects…
Photographer: Carina Gran, www.carinagran.se.
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