Gestire cultura
Coordinamento: Mercedes Giovinazzo
Il tema del management culturale al centro di riflessioni sulle modalità organizzative, le strategie d’azione e i meccanismi economici che animano un settore fluido e complesso.
Commercial Districts and Corporate Planning: an international review
The literature review aims at representing the different applications of the concept of the Trade District by comparing similar experiences on an international level (North-America, Western Europe, South Africa, Japan). The framework of the Trade District, globally, is acknowledged in different ways. Thus, this framework is not directly adopted in all the case histories analyzed by this paper. This is acknowledged in Table 1 where the describer is “commercial and economic development model”. Today, the reflections about the District intend the territory of the District as a sort of protected area. In this perspective, the District becomes a circumscribed area in which transactions are linked through proximity. Considering that the distributive value is influenced by characteristics acting in a context of variable geometry, e. a. proximity and contiguity, it is necessary to re-thing the District in its whole. In such a perspective, indeed, the District represents a planning tool able at interpreting the quality of territorial dynamics (cities and societies) also in relation to the digital component.
“γνῶθι σαυτόν” Technology as tools for inclusive museums: Liquid museum experience
The accessibility is one of the most important stuff for museums and often is replaced with “inclusion” because involves in holistic way all museum life in general. Thanks to digital accessibility the museums join the visitor’s technologies behaviours and improve the knowledge sharing on site and on the web with usable and responsive website and digital library. “Museo archeologico nazionale di Cagliari” liquid museum experience has its foundations in the awareness that the accessibility, in all forms, is a part of global museum strategy.
Museum’s self-financing capacity: axes of development to increase Italy’s 1.737 billion euros worth cultural heritage self-generated income.
In Italy, performance measures linked to museums’ self-financing capacity have been systematically disregarded, as cultural heritage has been traditionally considered as a sector incapable of being a State’s profit generating asset. This article aims at outlining innovative revenue streams that museums could develop in order to increase their self-generated income. France’s public cultural institutions’ management is analyzed and considered as an example proving it is possible to have the cultural heritage sector financing its own growth.
R&D in creative industries: some lessons from the book publishing sector
Introduction Creative industries (CIs) deserve an ever increasing interest in recent years. Opportunities of economic wealth, growth and jobs creation at local level are identified as key factors (Henry, de Bruin, 2011; Piergiovanni et al., 2012) and recent research has been developed specifically on the strategic and economic dimensions of CIs and their business models (Throsby 2001; Howkins 2001; Benghozi, Paris 2007; Lyubareva et al. 2013). Several papers highlight the innovative dimension of CIs. Yet the papers dealing with such issue are all thinking about innovation as a means to develop new creative contents. One very important issue is surprisingly neglected: this is the characteristic and the management of R&D in CIs, especially in the cultural sector. Even the few studies that aim at investigating the potential of R&D to support the CIs do not provide any analysis of the processes and/or technologies adopted. The general absence of investigations on R&D activities in the CIs is due to a biased vision of the real relevance of these assets for creative companies. In other words, the main reason for poor investments in R&D is usually linked to the specific size, skills and capitalization of creative companies. Actually, disruptive technological innovations come from outside and creative firms are not really able to control their evolution. Creative firms conceive the new product development as the development of innovative content and never as technological R&D activities. Consequently, the main disruptive innovations in the CIs have always taken place outside these industries: this was the case for sound movie, for instance, invented by General Electric in the early XXth, for the innovative devices in music (K7, Walkman or CD), created in the 70s and 80s by Philips or Sony, and more recently, for the MP3 and Appstore in music. Within this context, our research perspective aims at understanding where R&D actually takes place in CIs, how the articulation is made with content and development projects, which economic actors are taking charge of it, where they are located in the value chain, how they are articulated with content producers.
Price-fixing models for art fairs: reflections on sustainability.
The contribution highlights the main insights of my M.Sc thesis’ research conducted in 2019. It focuses on the widely debated art market issue of the ever more unsustainable costs for the small-medium sized galleries to attend art fairs. Even though their centrality for the galleries’ growth and market affirmation, something has started to change. In fact, the involved actors have denounced an art fairs’ scenario whose participation costs increased at the point for which it became almost impossible to obtain valuable economic results. The situation is exacerbated by the existing booths’ purchasing system. According to this and to the standard art fair’s format with different sections where the galleries are included, the actors in the same section spend the same amount per square meters/feet not considering their effective heterogeneity. Then, they are forced to sustain costs not proportionated to their real economic capacities. Despite the adoption of some progressive measures, the art fairs still seem unable to develop a system reflecting the participants’ diversity. Thus, the research aims to dwell on the art fair business model with a focus on the booths’ purchasing system, hypothesizing the introduction of a pure progressive mechanism for which each one would pay according to what it has. The study has been conducted relying on a review of existing literature about the business model and its application in the Creative and Cultural Sector (CCS). Then, it has been done interviews to 3 selected art fairs’ directors, aimed at reconstructing the art fair business model, and to 4 contemporary art gallerists, evaluating the proposal and discussing the art fairs’ functioning. The directors’ interviews have been done submitting the questions via mail, while the gallerists have been met personally. The study hopes to lay the foundations for more structured contributions in this field and to stimulate the debate on the way to do business in the art fairs’ environment.
Museums and Storytelling: From the last trends to the future
In 2010, Kelly found that museums’ adult visitors were deeply aware of their learning preferences and that they wanted experience both educational and entertaining. On a more general scale, LaPlaca Cohen “Culture Track Report 2014” reveals how the meaning itself of what a cultural experience is like, expanded to activities more related to nature and entertainment. According to this report, audience values a TED talk or a visit to a Botanic Garden just as culturally engaging as going to the museum or attending a theater performance. The public is more demanding and wants to satisfy more than one need at the same time, pursuing activities that are educational, entertaining, interactive and customizable. This expanded notion of culture is on top of the priorities of professionals, as it challenges them to find continuously newer and more unique attractions, able to deal with a much wider range of competitors to the public attention. In order to address the increased uncertainty, museums reshaped their programs to include more and more extra-ordinary events, such as family days, curators’ talks, nocturnal exhibitions, and so on. On the one hand, special events are successfully flourishing and tend to be more participated, to have a wider impact on social media and to be more easily sponsored than ordinary programs. On the other hand, it seems that museums would be struggling at actually improving the ordinary visitors’ experience, which is a much more radical transformation affecting deeply each department, from the Curatorial to the Visitors’ Services and it is often extremely costly. In this gap among special programming and ordinary visit, the organization Museum Hack has found a fertile environment for its growth.
Taxation and the Art Market
The Italian art market grows poorly and, in any case, more slowly than the world market. One of the reasons for this stagnation is undoubtedly the presence of an anachronistic tax legislation that seems to respond to mere revenue logics. By contrast, an equal and forward-looking tax system of the art market could be instrumental in making a significant contribution to circulating works of art and offering new growth opportunities. Tax policies may be an effective instrument to support the cultural activities of individuals or entities by means of incentives and a favorable tax regime. If the main purpose of a tax system is to earn revenues, this does not prevent the governments from lawfully pursuing objectives not having a strictly fiscal character but rather a social or an economic nature at the same time. The tax regime of the art market gives origin to different issues in accordance with the diversified nature of acts and situations (purchases, supplies or possession of the works of art) taken into consideration by the legislator as well as with the legal form of the interested parties (natural or legal persons, VAT taxpayers or not, and so on). The main issues concern VAT, inheritance tax and income taxation.
Museum Archaeological Collection Storage: reassessing needs and priorities
A museum does not survive if it does not preserve its works. The tools and places essential for preserving the works are the storages (Mottola Molfino 1991). Unfortunately, despite the ever-increasing attention paid to museums, the storage plays a marginal role: an invisible (or almost invisible) resource for the community, whose potential is often little explored and/or valued. In Italy, the awareness of the importance of museum collection storage is a relatively recent achievement that has experienced a considerable delay compared to other countries (Fossà 2005). Recognising the storage – in the same way as the exhibition spaces – a dynamic and multifaceted role linked not only to conservation, but also to research and development (Rémy 1999; Della Monica et al. 2004; Beaujard-Vallet 2011), today constitutes a fundamental challenge for museums, if they want to preserve their role as centres of knowledge at the service of the community. This challenge becomes even more difficult and problematic for storages of archaeological material, which undergo a continuous and exponential increase (Marini Calvani 2004; Shepherd and Benes 2007; Papadopoulos 2015). What is the situation of archaeological museum storage? What problems do they face? In 2014-2015, a statistical survey was conducted by the writer during her doctoral research project at the University of Ferrara, in collaboration with the Ministry of Cultural Heritage and Activities and with the National Association of Local and Institutional Museums (Muttillo 2015, 2016, 2017). The purpose of the survey was to create an updated and comprehensive mapping of the archaeological museum heritage not exhibited, collecting information on the management of goods in storage, mainly on: a) inventory and cataloguing; b) preservation: safety and control of risk parameters; c) structure and organization of storage; d) professional figures involved in the study, care and management of the collections; e) valuation of storage, in terms of accessibility, visibility and use. Archaeological museums[1], both state and not state[2], have been investigated through a specially designed questionnaire, also available online [3]. The survey has allowed to identify critical elements and priority areas of intervention.
The Ministry Organization after the introduction of the recent reform
The law number 5 of 29 January 1975 instituted the Ministero per I Beni e le Attività Culturali e Ambientali[2]. Its original tasks were related to the conservation and valorization of artistic heritage and natural beauties. In 1998, the denomination of the Ministry has been changed in Ministero per I Beni e le Attività Cultural[3]i. In 2013, its denomination changed again in Ministero dei beni e delle attività culturali e del Turismo[4] and once again, in 2018, with D.L.[5] 12 July 2018 entered into force on 13 July 2018, the Ministry came back to its previous denomination, with the transfer of the touristic competence to the Ministero delle politiche agricole, alimentari, forestali[6] This intervention is just one of the latest provisions with which, since 2004 (year of the entry into force of the Codice dei Beni Culturali), the legislator started a significative re-organization of the Ministry. Such intervention deals with both the need to adapt the Ministry to the overall provisions adopted in Italy in terms of spending review, and also with the widespread need of redesign the functional and structural organization of the Ministry in order to solve its main disfunctions and deficiencies. The MIBACT, indeed, was characterized by a substantial structural disorganization, an insufficient organigramme and the overlapping of hierarchical lines between the central and peripherical administration. These weaknesses hindered the development of proper investment and resource allocation policies, preventing an efficient management of cultural heritage. The Reform has been thus realized in order to solve the cruxes that were indicated as the main causes of a substantial inadequacy of the Ministry in interpreting and acting coherently with the Article n. 9 of the Italian Constitution referring to the safeguarding and the development of cultural heritage and of the landscape. Therefore, the reform introduced a series of legal instruments that succeeded in sparking several debates in these last 4 years, as also demonstrated by the number of legal provisions adopted in order to update and correct the Reform contents.
Art Market in Western Balkan
Western Balkan as the art market space presents an abstract construction in the cultural policy discourses of Serbia, Bosnia and Herzegovina, Albania, Montenegro, Macedonia and Croatia, approaching this concept in a relativistic way and changing the relationship between arts and economy depending on the socio-historical context. Thus, during the 1990s in the countries of the region prevailed cultural policies fostering the idea of national identity and based on the instruments mainly focused on local artists and their position on the national art scene. Beginning of the 21st century brought a shift: opening of national cultures to the world of art trends and building cultural policy between the need to support universal art projects and those shaping an environment of national cultural existence. Balance between the hidden nationalism and openness, primarily towards the European Union marked the first decade of this century. The Western Balkan’s art market has not experienced major transformations, remaining marginalized in the public policies’ discource. The period from the late 1980s and early 1990s was characterized by a significant share of state firms, co-financing the most important events in visual arts, and creating large state-owned collections of exceptional artistic and historical value too (JAT, Invest Bank, Jugobanka, Beobanka, Dunav Insurance Company, INA, etc.). Art market was encouraged with purchases made by the state, and significant demand was created by representatives of the higher middle class who have followed exhibition policies of major galleries in Yugoslavia and had a decent knowledge about the art tendencies.
Ecclesiastical Museums: an important opportunity for cultural networks and territories
In the wide framework of cultural resources present on a territory, there are still instruments and assets that, for multiple reasons, do not enter in traditional mixed offer of a city or a region. Ecclesiastical cultural heritage is often part of the structures that public administrators let slip. For Italy, it seems like paradoxically. While an important part of the art history and of cultural heritage is related to the history of Church, and while there are almost no cultural itineraries that do not include an ecclesiastical reference, the so-called “ecclesiastical museums” are still a marginal part of the policies realized to improve cultural, social and economic growth of our territories. In this article, we will discuss both the theoretical implication and the concrete opportunities that the empowerment of the ecclesiastical museums could generate for Italian territories, in terms of touristic, cultural and spiritual offer. As occur for “secular” ones, the ecclesiastical museum expresses a set of differentiated values that we need to take into account: the economic and social values are, therefore, specific consequences of the intrinsic cultural and historical values represented by the artworks that the museums store and protect. Furthermore, ecclesiastical museums present an aspect that every kind of consideration needs to take into account: the relevance of the spiritual and religious values and the role of the artworks as an important tessera in the wider mosaic of the evangelization function. The article will therefore discuss three main aspects of the Italian ecclesiastical museums: first chapter, “From religious to spiritual” will briefly deal with the theoretical dimension of the role and the relevance of ecclesiastical collections and their inclusion in a broader cultural dimension. The second chapter “Ecclesiastical Museums and services” will analyze services and main characteristics shown by ecclesiastical museums in Italy. Third section will finally introduce the potentiality of the introduction of ecclesiastical museums in different networks, considering the recent growth of cultural and spiritual products or services.
Taxation, a driver for the Art Market
The Italian art market grows poorly and, in any case, more slowly than the world market. One of the reasons for this stagnation is undoubtedly the presence of an anachronistic tax legislation that seems to respond to mere revenue logics. By contrast, an equal and forward-looking tax system of the art market could be instrumental in making a significant contribution to circulating works of art and offering new growth opportunities. Tax policies may be an effective instrument to support the cultural activities of individuals or entities by means of incentives and a favourable tax regime. If the main purpose of a tax system is to earn revenues, this does not prevent the governments from lawfully pursuing objectives not having a strictly fiscal character but rather a social or an economic nature at the same time. The tax regime of the art market gives origin to different issues in accordance with the diversified nature of acts and situations (purchases, supplies or possession of the works of art) taken into consideration by the legislator as well as with the legal form of the interested parties (natural or legal persons, VAT taxpayers or not, and so on). The main issues concern VAT, inheritance tax and income taxation.
Quantifying Dance in a Capitalist Society
The ongoing debate on the social value of art and culture has been with us for some decades now. In the United States, this debate has taken place mostly within the art world itself, and in related political and administrative circles. In the mainstream, writes economist Marilyn Warring, any economic movement has always been towards the “market.” That is, there continues to be the assumption that the only way in which work can be visible or valuable, is if you treat is as if it were a market commodity, or a market service you attribute value to. This underlying need to pass goods through the GDP makes the intangible performance art even more challenging to quantify. What is striking about the current debate is how the underlying assumption, that the added value of public expenditures on art and culture, is negative. For many, government support for the arts and culture is not considered a valuable investment for either economic or cultural development; rather, it is perceived as a leak in the economy. Any empirical evidence of a positive spin-off for culture or the economy is simply neglected. Perhaps one of the reasons why this assumption has remained unchallenged, is in fact rooted in attitudes within the art world itself: proponents of creative and artistic endeavors are reluctant to embrace the argument fully, since the dominant discourse is still based on an antagonistic relationship between culture and economy. Therefore there is an urgent need to open up the debate, in order to better understand the contemporary dynamics within the arts, the creative industries, and cultural policy. As arts funding is at risk of shrinking from federal granting agencies, the question of arts valuation extends to two very differing camps regarding metrics: quantify so that value can be assigned and worth can be determined, this is a viable way of assessing funding opportunities. This approach believes in the quest for an infallible metric system, and while we might not be there yet, the holy grail does exist. And the latter, intrinsic value is both indefinable and ultimately damning.
The role of Catholic and Religious Cultural Heritage in an ambiguous era.
Today, we live in an ambiguous era. This is true under almost all the perspective we want to assume, but it is particularly true when we analyze the relationship with the religious and spiritual aspects. On the one hand we live in a laic world, characterized for a technological and web-based development. On the other hand, religious wars are increasing, and the terroristic attacks are more and more frequent. In this context, Religious Cultural Heritage is called to play not only a religious role (representing the values of a specific faith) but it is called to play a cultural activity (representing cultural relevance of the spiritual sphere of the humankind). It is crucial, in this difficult and fragile equilibrium, for Religious Cultural Institutions, to adopt management criteria in order to run this peculiar institutions with efficiency and efficacy. The article will provide an overview of the main fields in which a more economic (but not necessarily monetary) approach is needed, with a specific focus on catholic cultural institutions.
Museums’ visitors in Italy
In a country where cultural participation generates alarming negative numbers (in 2015, 68.3% of the Italian population has never entered a museum [1] ), it becomes crucial to understand the new public and study suitable strategies for a cultural proposal able to better reflect their interests. Indeed, although this percentage is on the rise compared to the trend of recent years, there is a kind of cultural impoverishment, which concerns not only the museum, but also publishing, theater, music and dance. The 88.3% of the total population of our country in 2015 has never attended a classical music concert, 78.8% have never seen a play, 51.9% have never read a newspaper, 56.5% has never opened a single book [2]. It has often been attempted to reduce analysis of public museum culture to a series of data, more or less accurate, more or less exemplary, rather than to a basic theory that you intend to demonstrate and posit as a significant idea and a related cultural marketing strategy. It will be to demonstrate, id est, with the data, the validity of an idea, sometimes deforming the correct reading and interpretation. What is sometimes forgotten is the exact opposite: the need to gather facts on a phenomenon under investigation, and then let the data talk, so that a sense can be drawn from their links and their possible interrelationships. In his “L’analyse des données”, Jean- Paul Benzecri, founder of a scientific discipline related to data analysis, wrote: «The model must follow the data, not vice versa [3] ». It is then the daunting task for the researcher to find a connection, if any, between numbers which may be sometimes discordant or present apparently low affinity.
The territory and the small museums: The Case of Piemonte
In the overview of the museum offer, are the “small museums” a separate category? What are the characteristics of a “small museum” and what are the specific necessities? What are the weaknesses and the strengths? The example of Piemonte shows the extreme prosperity of the “small museums” heritage and also their tight relationship with the territory, but it highlights some points still unresolved. The paper enlightens some scenarios on which it is necessary to intervene with specific actions, underlining the profiles on which it is important to reflect.
Arts Management Industries and Value Creation
The increasing importance of the management in the Art Industries has focused the attention on the fundamental role of economic skills, but in order to manage a cultural organization a manager has to pay attention to other non-economic abilities. Everyday newspapers and media talk about the renewed interest in culture and tell about new possibilities to make up a business in the cultural sector, but they rarely explore the qualities that are required to be a good and trained cultural manager. Arts Industries, that are a part of the larger sector of CCIs (for more details about CCIs [1]), are a field in which management’s soft skills and attitudes as entrepreneurial, leadership and intuition are as important as managerial issues. This article describes the role of Arts Industries and the role of managers in the creation of value. The importance of cultural management is recent achievement, but in a brief period, this profession has reached a high consideration in the CCI sector [2]. In the first paragraph, the article describes the role of Arts Industries and the role of Cultural managers in the process of value creation, focusing on the double goals that Cultural managers should aim at: the quality of the cultural proposal and the need to create economic sustainability for the organization they’re working for. Paragraph two introduces the kind of values that Arts Industries are able to produce. These are both economic and social, because culture can influence not only business, but also communities and territories. Last paragraph of the article concerns some examples of Art Industries and CCIs that have been able to create profits and jobs or social inclusion and social development.
Trust against fear. The Role of Culture and the Future of Europe
In a fragile political and economic framework, the attention to the role that culture can play in creating the bass for the future of Europe is growing rapidly. This paper investigates the impacts that culture create in several aspects of our lives: from the social cohesion to the economic development, from the mechanisms through which culture shapes our cities to the awareness of the sense of our lives resulting from knowledge. Finally, in this paper we would like to point out the links that relate culture, economic development and intangible assets such as feeling of identity and trust. The paper compare the evidence emerging from a recent paper commissioned by the European Economic and Social Committee with the insights provided by several literature reviews and the results of specific projects dealing with culture and social dynamics. In the first chapter, we present the study, comparing several ways to look at the phenomena involved in the process of trust building; in chapter 2 we will underline the relevance of intangible assets such as social cohesion, in Chapter 3 we will analyze, more in detail the necessity of a sustainable economic growth. Our conclusions will show how cultural interventions within the city territory can foster social inclusion, cohesion, and trust.
Sharing Economy: All of Us in Wonderland
Obviously, innovation is seen as very fashionable these days. With no surprise, we can search for “top innovators under 30”, “top start-ups to watch” and “top-gadgets” that can improve the way we live. These characterize the private sector well as the risk-friendly, creative, and flexible incubator, where the tendency for “ready-to-play” wealthy investors and ambitious entrepreneurs to gravitate to Silicon Valley dreamland has become the driving force for the birth of innovative solutions. Since Professor Clayton Christensen began using the term “disruptive innovations”, which refers to the selling of cheaper products that can eventually disrupt an existing market, it seems that everyone is now “disrupting” and that every day is seen as an instance of innovation. Similar to Professor Christensen, the German sociologist and philosopher Jürgen Habermas pointed out that our complex societies are clearly susceptible to interferences and accidents and that these offer ideal opportunities for a creating prompt disruption of normal activities. It seems to be natural, then, that while millions of innovative applications based on principles of sharing have proven to be of high economic value the Sharing Economy platforms predict to generate revenues of 335 billion by 2025, shaking the future of many traditional economic sectors. For example, UBER, the Sharing Economy prodigy child for transportation network, possessing no cars and without officially employing has already managed to disrupt taxi industry in over three hundred cities worldwide, bringing about lawsuits and causing employee protests. Though, in this emerging scenario of disruptive innovations and the Sharing Economy, it is obvious that the effectiveness of the public sector is diminishing, leaving important services uncovered and without innovation hopelessly leaving the sector of society impaired. As described in the latest innovation report on European Public Sector Innovation, the public sector is stereotyped as an “outdated infrastructure that lags behind the needs of modern citizens and today’s businesses”.
The Governance of Metropolitan Areas in Italy: a Plan to Enhance Competitiveness
This paper aims to underline the need for a “metropolitan governance” in Italy with particular emphasis on the central area of Veneto region. Following on from a recent work by the authors Corò e Dalla Torre (2015) the “metropolitan issue” is analysed on two different levels: the first level of analysis examines the area’s need for metropolitan governance to increase competitiveness with benefits for workers, companies and citizens. The second level of analysis outlines topics which should be taken into consideration by an agenda for metropolitan governance. 1. Introduction: the difficulties of enacting a metropolitan reform The metropolitan issue is not a new concept in Italy. It has been hotly debated since the 1960s; indeed, the government has proposed laws but all have been systematically neglected. Yet, it is not an insignificant matter: the metropolitan issue is a phenomenon perceived both at academic and administrative level, and above all it is experienced first-hand by workers, entrepreneurs, students and consumers. It is witnessed on a daily basis within an area defined by the network of relationships which go beyond municipalities and regional boundaries. If the existence of a metropolitan area is a real phenomenon, the implementation of its organisation – at least in Italy – is not rational. The need for metropolitan governance has arisen from the awareness of an increasing inefficiency as a result of the misalignment between the expansion of physical and socio-economic structures on one hand with the expansion of political and institutional structures on the other. This disharmony increases the cost of living for citizens and companies by snatching precious resources allocated to investments and expenditures. Despite this endless debate, there has always been a conspicuous lack of any actual attempt to implement metropolitan governance. Among the causes of this absence of attempts is the lack of political willingness to change the Italian institutional structure, which involves not only the metropolitan cities but also the wider phenomenon of fragmentation affecting the municipalities in these regions.
Made in Italy museums. Some reflections on company heritage networking and communication
Corporate museums arise today as a powerful identity medium for companies and brands representing Made in Italy worldwide. At the beginning of the new millennium, such cultural centers, preserving and communicating the Italian economic history, are extending their presence in most of the country and market sectors. They define a very fragmentary universe (indeed, a still largely underground “dorsal” of Made in Italy culture), but also an investment which could support the cultivation of innovative quality relationships among companies, territory, and society. From this scenario, the paper aims to offer a synthetic overview of the phenomenon concerning company museums and its contemporary evolution within the Italian context, where it appears to be unique for both dimensions and its qualitative features if compared with the international scenario. Indeed, this means also to reflect about the special affinity which seems to exist between museum format and the essence of Made in Italy culture, rising nowadays internationally as a strategic communication discourse.
Measuring Cultures
Introduction The topic of the importance of being able to measure the impact (or better yet, the plural impacts) that cultural heritages and activities have on many different areas is one of the most discussed issues in Contemporary Economic literature. There are many reasons explaining such an interest: first of all it is […]
Impact of European-funded programme on London creative micro businesses economic performance and confidence
This paper provides an insight on the profiles of 400 creative businesses in London and the impact that a tailored, ERDF-funded business support programme had on their business performance and their confidence. It aims to provide a reflexion on the barriers to growth faced by these businesses in the Craft, Design, Photography and Visual Arts sectors. Finally, it will share the impact achieved by the programme after 18 months of delivery, assessing whether the need for the support and the value for money remain as proposed originally. The findings will be of interest to professionals and students in the creative industries sector, as well as to those interested in the impact of European Funded programmes in this sector.
The impact of globalization on cultural policy: insights and emerging trends from the International Conference on Cultural Policy Research 2014
This article discusses some thought-provoking papers, presented at the ICCPR2014, on the relationship between cultural policy and globalization. On the one hand, it looks at how globalization has an impact on national cultural policies with reference in particular to tax incentives for private donations and mobility schemes for artists. On the other hands, it tackles the role of cultural policy in international development, questioning the motives and methodologies applied. Finally, it opens up a space for reflection on the role of cultural policy in countries involved in the Arab Spring and which are now in the middle of establishing new sovereign nations and need to define also the role of culture in society.
Price management. Working on the supply could be our chance
It is not easy to establish the admission price to museums and monuments. Different cultures suggest singular methods at this matter. Although the global scenario tends to allocate to goods a specific price which is directly commensurate to its value, both dimensional and qualitative, this concept is inapplicable in the economy of culture. This subject takes care of assets of immeasurable value, which represent a heritage of humanity. However, people do not think that this patrimony could in some way generate a profit. Cultural institutions stand as the richest and poorest at the same time. In fact is clearly evident the deep gap they have between the value of their heritage and their disposal money. The majority of the countries charges visitors with a fixed entrance fee, but the price of the ticket is just a lump sum.
The Panagbenga: Ethico-Political Issues, Contestations, and Recommendations on the Cultural Sustainability of a Festival
The Panagbenga cultural festival of the popular tourist destination of Baguio City, Philippines, turns 20 in February 2015. Researching the sustainability of a 4-weeks festival held annually since 1995 is of academic and practical interest. Lessons can be learned for cultural policy and for more pro-active participation and collaboration between different stakeholders. Jumping off from issues and contestations on the cultural sustainability of Panagbenga, this descriptive-normative study argues for an ethics and politics of sustainable festivals, with focus on the difficult concept of sustaining culture. The study explores how cultural festivals become virtual and actual spaces for reflection, contestations, and consensual agreements on cultural tradition. “Cultural sustainability” or how cultures are dynamically engaged is distinguished from “cultures of sustainability”, or how cultures (mostly traditional) promote sustainable forms of living with the environment. The latter concept has been more discussed in the literature than the former concept.
The notion of accountability and its usage in the cultural sector
All human, personal, economic and political relations are based on the notion of trust. Nevertheless, which are the subjects actually reliable or, in other words, truly accountable? It is necessary to make such a concept measurable, particularly in the economic sector because of the investment or acquisition choices related to that field of activity. The introduction of an evaluation process results to be even more difficult in the Italian cultural realm, where unselected public funds and culture budget cuts increase the uncertainty of the present.
The importance of being evaluated. Guidelines and tools to plan a worthy evaluation of cultural projects
Talking about culture production, we need to shift The importance of being Earnest in The importance of being evaluated. The longing of evaluation it is in fact, by now, intrinsic to any cultural project: sponsors, stakeholders, project managers are all aware of that; however, while the crucial relevance of evaluating is no more called into question, there are still many doubts concerning how an evaluation should be planned and fulfilled. The aim of this article is to give some simple, but practical and solid, guidelines to conceive a worthy analysis of cultural projects, of any kind.
Children and cultural policies in Europe
Today, children are a main target for many cultural institutions. There is no museum that does not devote space and activities for children and, more recently, also concert halls, orchestras and opera houses have opened their doors to the young public and to families.The paper intends to explore how cultural policies are dealing with young citizens and attempts to trace an overview of cultural policies and tools in Europe targeting children.
Forum D’Avignon 2013: Polyphonic Voice From Avignon
The Forum d’Avignon is a think-tank dedicated to culture and creative industries which organizes an international annual meeting on culture, economics and media in Avignon, France since 2008. More than 450 participants of different sectors arrive from 40 nations. Guaranteeing a great diversity of opinions, this sixth edition focused on “culture” and “power” and 10 roundtables on the topic were held at Palais des Papas and University of Avignon on November 21 – 23, 2013. This article introduces the general outline, uniqueness and the way of discussion on cultural policy and management at the assembly.
Is theatre efficiency affected by the legal form type? A case study of German public theatres
The paper aims at exploring the economic efficiency of the performing arts organisations. A parametric stochastic frontier approach is presented as a way of measuring the performance of cultural institutions. In particular, this paper examines how the efficiency of publicly funded performing arts firms, operating under different organisational structures, is affected by two types of shocks. First, we consider what happens to efficiency when there is a funding shock and second, we consider the effect on efficiency of an increase in competition. The identification of these effects was made possible by the natural experiment of the reunification of East and West Germany in 1990. The results suggest that theatres organised under public law are more efficient than theatres organised under private law. However, when exposed to the exogenous demand shock after reunification, the theatres organised under private law react positively to this competition shock as measured by their efficiency scores confirming that they better react to the changing market conditions than theatres organised as public legal forms.
R&D in creative industries: some lessons from the book publishing sector
Notwithstanding the recent increasing interest in creative industries (CIs), very few studies are dealing with a new and emerging topic like technological innovation. In CIs, innovation is in general considered from a single viewpoint: a means to develop new creative contents. One very important issue is surprisingly neglected: this is the technological innovations and, therefore, the characteristic and the management of R&D in the CIs. The present paper aims at understanding where R&D takes place in the book publishing sector, which economic actors are taking charge of it, where they are located in the value chain, how they are articulated with content producers.
Cultural responsibility. Small steps to restore anthropology in economic behaviour. Interviews and best practices
Cultural responsibility (CR) links the terms “culture” and “responsibility”. This connection calls for a respectful attitude towards different cultural expressions and intercultural dialogue, in a society characterized by globalization and the spread of knowledge-based economy and cultural and creative industries. CR is linked to Corporate Social Responsibility as cultural development of the individual and communities has to be the primary goal of any economic behaviour. This attitude stimulates the building of an inclusive social context where cultural democracy, equal opportunities to access culture, participation and representation occur for all the individuals.
Password Trento 2012, per una nuova cultura della partecipazione
La città di Trento per un anno intero, il 2012, si è interrogata e confrontata per impostare, discutere e condividere una radicale revisione del suo Piano di politica culturale, aggiornando il precedente del 2003 e dotandosi di un nuovo orizzonte di senso che arriva al 2020. Un obiettivo ambizioso reso possibile grazie a un’articolata operazione di ascolto e dialogo che ha tracciato, in un’ottica di pianificazione partecipata, le linee di un cambiamento tanto auspicato quanto necessario. Un percorso partecipativo in dodici appuntamenti, ognuno dedicato a un tema specifico, ha fatto di questi incontri importanti momenti di confronto, di interazione ma soprattutto di ascolto.
La cultura per una crescita intelligente, sostenibile e solidale. Verso un uso strategico dei Fondi Strutturali 2014-2020 per la cultura
La cultura è al centro della sfera economica e politica del progetto europeo. Da un lato, la cultura produce ricchezza; dall’altro è anche fonte di creatività e innovazione, che favorisce il dialogo e la coesione sociale, nonché la trasmissione di valori di interesse comune. Oggi più che mai, la rinascita dell’Europa passa dalla cultura. È senz’altro necessario ridare nuovo slancio all’economia, ma lo sviluppo senza coesione sociale rischia di essere fallimentare nel lungo periodo. Solo la cultura può aiutare i cittadini europei a riguadagnare fiducia nell’UE e a ricostruire un senso di appartenenza fondato su valori comuni.
The Cranach syndrome. Calls for private donations for museums’ art acquisitions: new perspectives for the French Public Cultural Institutions funding?
Micro-sponsorship might become a way to develop seminal actions of culture and in particular require people to define through their financial support what makes their culture today, in other words, what should become a clear statement of their own heritage. The development of actions of the kind in many fields (not only museums but cinema or theatre) proves the relevant nature of such strategies that go way beyond financial issues. Yet, several questions must be raised that may regard in particular their chance to become efficient on a larger scale for institutions that don’t have the prestige or the strong implementation in the audiences’ minds.
Future Trends in Cultural Diplomacy
The aim of this paper is to show how Cultural Diplomacy can take shape in the future, in a much wider extent than what we see today. Using the case study of the Deutsche Bank, this paper will refer to a broadening use of Corporate Social Responsibility in order to include cultural promotion in societies. Corporate Cultural Diplomacy-actions have to be considered as preventive and long-term investments will provide a win-win outcome for both societies as well as businesses. This paper will state the concrete benefits for enterprises to engage in Corporate Cultural Diplomacy, using Deutsche Bank as a concrete example of how Corporate Social Responsibility might develop and take shape in the future to come.
Cultura bene comune? Una riflessione retrospettiva
Che cosa vuol dire “bene comune” per i cittadini che nella cultura trovano ed elaborano la propria identità? E quali princìpi, regole e strumenti possono riuscire a proteggerne, consolidarne e diffondere il valore?
Un ecosistema per la cultura
La cultura è la risorsa che più d’ogni altra traccia il palinsesto specifico di un territorio, definendolo come reticolo di costruzione relazionale e di prossimità; essa è costituita e integrata dai processi quotidiani del fare: di avverbi più che di sostantivi, di approcci più che di contenuti.
Nuove infrastrutture per la produzione culturale
The Hub è un progetto mondiale basato sul concetto di coworking. Lo dice la parola stessa: si lavora insieme, si trae spunto gli uni dagli altri, in un continuo rilancio di competenze, collaborazioni, idee, necessariamente innovative e socialmente responsabili.
Un distretto musicale
Il presente articolo sintetizza i risultati di una ricerca desk, condotta all’interno dell’Università IULM, sulla localizzazione spaziale in Italia delle imprese appartenenti alla filiera produttiva dell’industria musicale.
Valori e prassi del turismo culturale
Il turismo culturale continua il suo percorso di espansione con una sempre maggiore diversificazione della domanda; la concorrenza aumenta e anche l’offerta si specializza facendo emergere nuovi sub-mercati.
Come scegliere un manager culturale
La nomina di Jeffery Deitch a direttore del MOCA nel giugno 2010 ha motivazioni ben precise e strettamente connesse con la città di Los Angeles e uno dei suoi personaggi più importanti: il businessman Eli Broad.
Quello che le muse non dicono
Nel 2009 quattro appassionati di musei, Giuliano Gaia e Stefania Boiano di Invisiblestudio insieme a Francesco Simone e Marco Sors, decidono di lanciare un sito web dedicato ai musei più curiosi d’Italia.
Eatalians do it better
Cos’è il Made in Italy che ci invidiano all’estero? Non ci si interroga soltanto sul letteralmente “fatto” in Italia, ma più visceralmente su quel valore aggiunto che sembra nascere dalla nostra penisola.
La forza lavoro creativa in Europa: un’esplorazione di tendenze territoriali e relazioni con la crescita
Sull’onda della popolarità dei lavori di Richard Florida (2002, 2005), Sharon Zukin (1995) e Anne Markusen (2006), si è andato sviluppando un discorso che ha fatto breccia a livello politico, per cui il settore creativo è considerato un asset fondamentale per il rilancio della competitività territoriale e un motore dell’inovazione tanto economica quanto sociale in senso lato. Tuttavia, se i numeri testimoniano l’importanza quantitativa del settore, pochi sono invece gli studi volti a comprendere le condizioni che ne consentono la crescita o una reale comprensione dei meccanismi di trasmissione che collegano le dinamiche del settore creativo con l’andamento delle economie regionali nel loro complesso. Il presente articolo vuole essere un contributo al necessario dibattito sulle dinamiche regionali del lavoro creativo e la relazione di questo con lo sviluppo economico.
Is cultural diversity good or bad for the arts and creative economies?
Within the span of two months, September and October 2012, four arts policy-related events problematized the connections between diversity, democracy, and cultural policy. Cultural diversity has often been a convenient target for those who see it as subverting universal values in a democracy or in the arts. This is because the more culturally diverse a society is the more difficult it is to assign specific cultural (aesthetic) value to a work of art. In a climate of limited public funding, the absence of clearly defined cultural value is a problem on both sides of the North Atlantic. The challenge facing arts policy-makers is to come up with innovative ways to “make the case” for cultural value in order to turn policy discussions away from a “values for money” debate toward “money for values.”
Monitoraggio e controllo della gestione dei siti UNESCO. Il piano di gestione come opportunità mancata?
Questo articolo presenta un quadro dell’attuale situazione nazionale dei sistemi di gestione dei siti UNESCO dichiarati “patrimonio mondiale dell’umanità”. L’Italia, il paese più rappresentato nella lista, si trova al momento ad affrontare una difficile crisi economica, che coinvolge anche i sistemi di gestione del proprio patrimonio culturale. Si ritiene che sia necessario far fronte alle difficoltà attuali con lo sviluppo di maggiore cultura manageriale e l’utilizzo più consapevole degli strumenti propri delle discipline economico-aziendali. Questi elementi vanno riscoperti in particolare per la realizzazione e l’attuazione di strumenti volti al monitoraggio e al controllo dei risultati ottenuti; fra questi strumenti emerge in particolare il piano di gestione dei siti UNESCO, che nella sua prima fase di applicazione non sembra aver ancora sviluppato tutto il suo possibile potenziale.
Filiera dell’industria musicale e nuovi modelli di business in Italia
Il settore della musica è sempre stato identificato con il più ristretto mercato discografico, seppure molte altre attività economiche ne facciano pienamente parte, in quanto senza la musica non esisterebbero o non avrebbero lo stesso valore. Attraverso un modello che ne ricostruisce l’intera filiera produttiva, questo studio presenta un’analisi empirica dell’industria musicale italiana da un punto di vista più ampio rispetto alle analisi tradizionali. Produttori di strumenti musicali, scuole di musica, autori, compositori, case discografiche, editori, distributori, società di raccolta dei diritti, organizzatori di concerti, discoteche, produttori di elettronica di consumo audio, sono alcuni dei suoi attori più importanti. Ad ognuno corrisponde un comparto di cui è stato calcolato il valore economico negli anni 2008 e 2009 in Italia. Il risultato finale è la quantificazione del valore economico complessivo dell’intera filiera italiana, l’analisi dei trend in atto nel mercato e dei modelli di business emergenti delle case discografiche.
Measuring the economic impact of CCIs policies
The proposed benchmarking raster is a tool aimed at assessing the creative potential of cities and regions and selecting the best policy measures to support the sector. It should be used by local and regional actors to show decision-makers the importance and value of CCIs for local economic development and support the design of evidence-based policies. Its ultimate purpose would be to help cities and regions to establish “smart specialisation strategies” focused on CCIs’ growth potential and access the new generation of EU regional funds.
Il crowdfunding: tra autoproduzione e social commerce, storia dello strumento che potrebbe cambiare le regole del fare impresa
Crowdfunding, una parola che ne contiene molte altre: crescita, idee, racconto, confronto, progetti, cultura, rete, innovazione, socialità, finanziamento. Analizzare la genesi del fenomeno serve a comprendere come si sia trasformato, nell’arco di soli due anni, nella promessa più concreta di supporto e crescita per progetti creativi di tutti i tipi. E come, grazie anche alla legislazione del governo americano, possa ora diventare uno strumento di innovazione economica e sociale per superare la crisi.
Pubblico e privato nella gestione museale: Italia e Francia a confronto
Il panorama culturale europeo negli ultimi anni si è trovato ad affrontare una serie di problematiche di carattere economico-finanziario che, per quanto riguarda in particolare l’ambito museale, ha visto i paesi reagire tramite la ricerca di soluzioni differenti ma identiche nella comune tendenza a individuare forme di gestione che consentano una maggiore autonomia dall’apparato pubblico, tanto nella gestione organizzativa che finanziaria. Le leggi del mercato e del marketing, pervadendo anche il settore culturale, hanno imposto un ampio ricorso a strumenti di diritto privato e a forme giuridiche flessibili. Proprio da qui nasce la comune istanza di modernizzazione dei musei, fondata sulla ricerca di strumenti di gestione ibridi, capaci di contemperare gli interessi dei diversi attori che gravitano intorno al settore culturale.
La ricerca di autenticità nel processo di visita museale
In un periodo in cui la crisi economica e lo spaesamento della politica non sono in grado di assicurare alla popolazione gli standard di vita a cui è stata abituata e in cui è pressante la necessità di ridisegnare modelli di sistema, diventa importante concentrarsi su ciò che costituisce valore. In ambito museale, e applicato all’idea di Cultura, il concetto di valore si presta a molte interpretazioni: valore etico e sociale, valore educativo, estetico o “ricreativo”; non ultimo valore economico: i cespiti e gli asset tangibili e intangibili del Museo, la creazione di un mercato della domanda e dell’offerta di Cultura che generi introiti diretti e indotti. È in questo contesto che riprende forza e importanza il concetto di autenticità che si associa strettamente a quello di valore e che, anch’esso, nel contesto museale si può declinare in varie e differenti accezioni.
Le potenzialità della valutazione nel rapporto impresa-cultura: riflessioni sullo stato dell’arte in Italia
La contrazione subita dai finanziamenti per la cultura in Italia ha sollevato, tra il 2008 e il 2011, un interessante dibattito sul rapporto impresa-cultura mettendo in rilievo l’urgenza di porre mano ai problemi che da tempo lo contraddistinguono. Una delle misure proposte consiste nel promuovere il ricorso alla valutazione ovvero ad una analisi che permetta di cogliere la rete di valore tessuta dall’intrecciarsi del rapporto tra questi due attori. Il contributo propone una riflessione sul ruolo della valutazione accostando la “voce” della letteratura e quella delle imprese italiane allo scopo di mettere in luce le sue potenzialità con particolare riferimento all’attuale contesto nazionale.
Il contributo della cultura per la crescita dell’occupazione
In questo articolo si vuole mettere in luce il possibile contributo dell’occupazione culturale alle strategie di crescita del nostro paese. Attraverso le statistiche culturali dell’Eurostat vengono messi a confronto i paesi europei, al fine di evidenziare l’anomalia della situazione italiana: un patrimonio culturale vasto, un’alta propensione allo studio a livello universitario delle materie culturali, ma un basso livello di occupazione culturale. Le stime condotte a partire da questi dati mostrano come il mancato incontro tra domanda ed offerta di lavoro nel settore culturale costi all’Italia molti posti di lavoro.
Bronx Council on the Arts (BCA). La rinascita del Bronx passa dalla cultura
Il contributo racconta e illustra, tramite l’esperienza diretta di uno stage effettuato dall’autore, l’organizzazione del Bronx Council on the Arts (BCA). La struttura, operativa nel territorio del Bronx, si occupa direttamente o indirettamente della stragrande maggioranza delle attività culturali operanti nel Borough. Nel corso della sua storia il BCA è riuscito a trasformarsi e a diventare punto di riferimento per l’intero distretto, anche grazie all’opera costante del suo storico e carismatico direttore esecutivo, Bill Aguado. I risultati che l’organizzazione ha ottenuto nel tempo vengono considerati straordinari; questi sono il frutto di una politica fortemente indirizzata a ridare dignità ad un territorio e un tessuto sociale martoriati negli anni ‘60 e ’70 del secolo appena trascorso.
Patrimonio Mondiale UNESCO: la tensione tra valore universale e interessi nazionali
La Lista del Patrimonio Mondiale UNESCO rappresenta oggi il più efficace strumento internazionale di conservazione e tutela di un bene pubblico globale che include alcuni tra i più importanti tesori culturali e naturali esistenti al mondo. Tuttavia, dopo quasi 40 anni di attività, e più di 900 siti protetti, è necessario domandarsi se e come il sistema UNESCO sia stato in grado di definire e preservare questo patrimonio. Il presente contributo sintetizza alcune recenti ricerche economiche che mettono in luce come esista una tensione tra l’aspirazione al valore universale ed eccezionale della Lista del Patrimonio Mondiale, e i fattori e interessi nazionali che ne influenzano la sua composizione e la rappresentatività delle culture mondiali.
Il friend raising: programmi di membership e sostenibilità finanziaria. Il caso Uovo performing arts festival
L’evoluzione del quadro istituzionale, economico e socio-culturale costringe le organizzazioni di spettacolo ad individuare nuovi modelli di sviluppo in grado di rispondere ai criteri di sostenibilità economico-finanziaria. Ma quali sono gli strumenti a disposizione delle piccole imprese culturali italiane? Con quali margini di crescita? Il presente contributo si propone l’analisi dei meccanismi che favoriscono il sostegno da parte degli individui, evidenziando le potenzialità legate allo sviluppo dei sistemi di membership, e cerca di individuare gli strumenti che possano qualificare la partecipazione dei donatori alle attività dell’istituzione al fine di creare relazioni stabili con i sostenitori.
L’applicazione del diritto di seguito in Italia: dati e teorie a confronto
Il diritto di seguito (DDS) è un corrispettivo dovuto agli autori di arte visiva in proporzione al prezzo di rivendita di una loro opera d’arte. Le norme europee in materia di DDS sono contenute nella direttiva 2001/84/CE; quest’ultima definisce il diritto di seguito come un diritto inalienabile e fissa le percentuali da applicarsi al prezzo di vendita dell’opera per la determinazione del quantum da riconoscere all’autore. Per quanto possano essere molti i profili giuridici che meriterebbero di essere discussi, a partire proprio dalla non negoziabilità del diritto, fino alla fissazione della sua quantificazione economica, in questo lavoro, analizzeremo principalmente gli aspetti economici, teorici ed empirici, della gestione del DDS in Italia.
Why the EU and China should further engage in business cooperation and trade in the field of cultural and creative industries
Under the edge of the EU-China Intercultural Year in 2012, the EU and China have committed to increase business cooperation and trade in the field of cultural and creative industries (CCIs). The objective of this paper is to illustrate the economic and political reasons justifying EU-China cultural exchanges, which are still at the initial stage. Chinese CCIs contribute to 2.45% of the national GDP, European ones to 2.6%. Supporting cultural and creative SMEs is a policy priority on both sides. In the end, the paper recommends that EU technical assistance programmes contribute to fostering cultural trade.
L’impresa di parlare d’impresa culturale
Nonostante sia il settore più inquieto e dinamico dell’economia italiana, la cultura fatica a rivendicare il proprio ruolo di preminenza nella nostra società. Fortunatamente tra l’obsolescenza di vecchi paradigmi, la rigidità del rapporto con l’amministrazione pubblica e un dialogo troppo intermittente con i pubblici potenziali, fioriscono pratiche innovative e in controtendenza, che devono solo trovare il coraggio di darsi una forma, dirsi impresa, e cominciare a porsi al centro di un auspicabile nuovo corso del Belpaese.
Quell’azzurro che tutti aspettiamo: le Fondazioni culturali del “quasi non profit”
Nel terzo settore italiano si registra un particolare miscuglio di pubblico e privato, che caratterizza molti Enti che intervengono in ambiti tipici del non profit, testimonianza, questa, della storia di un settore che si presenta strettamente correlato al processo di riforma dello Stato sociale e di trasformazione della Pubblica Amministrazione. In molti, negli ultimi tempi, hanno evidenziato come il generale slittamento istituzionale delle attività di policy verso Regioni ed Enti locali – sommato alle varie forme di coinvolgimento della comunità e, quindi, alla nuova organizzazione degli attori – rappresenti una risposta adattiva della Pubblica Amministrazione (centrale e locale), di fronte alla restrizione delle risorse economiche disponibili e all’esigenza di meglio articolare la produzione e l’offerta di beni pubblici.
Dal reset al franchising: ultime tendenze nel campo della creazione museale
Rinnovarsi o morire, un clichè che non è mai stato così attuale nel campo del management culturale come in questo momento. Per la prima volta il mondo delle arti dal vivo e delle arti visive, spinto dal crollo dei mercati, dai conseguenti e drastici tagli di bilancio della sponsorizzazione privata, e in più dalla disgregazione dei finanziamenti pubblici alla cultura, ha iniziato a pensare a se stesso in termini di evoluzione e di radicale riorganizzazione per poter sopravvivere. Un fenomeno particolarmente evidente nel caso della profonda trasformazione subita dai musei tradizionali e degli spazi dedicati alla cultura contemporanea che hanno sperimentato una profonda ristrutturazione concettuale.
Dalla parte di Jean Vilar: il Festival di Avignone e il mito fondativo del “teatro popolare”
L’evoluzione di una tradizione teatrale che poggia le basi nelle idee della rivoluzione francese; la genesi avventurosa di una poetica innovativa diventata “mito fondativo” e espressione di una politica culturale; il manifestarsi di una tradizione teatrale e il radicarsi di una poetica nella cultura organizzativa di una istituzione: le vicende del Festival di Avignone sono tutto questo, collegate indissolubilmente al nome del fondatore, Jean Vilar, e inestricabilmente connesse con una espressione, “teatro popolare”, che costituisce il senso di una esperienza collettiva solo parzialmente compiuta ma con pochi precedenti nella storia dei processi di produzione culturale moderni.
Il Sistema Ambientale e Culturale “Parco delle Dune Costiere – Riserva di Torre Guaceto”: i punti di forza di un territorio ricco di storia e natura nel cuore del Mediterraneo
La Regione Puglia ha avviato la costituzione dei Sistemi Ambientali e Culturali (SAC). Il SAC “Dune Costiere – Torre Guaceto” mette insieme elementi storico-culturali, naturali e paesaggistici che si aggregano attorno alla Via Traiana. Il territorio è caratterizzato dagli ulivi monumentali, plurisecolari e dalla presenza di due aree protette. Il progetto di valorizzazione e gestione integrata del SAC punta a completare i processi già intrapresi (incluso il completamento di una rete ciclabile, facente parte della rete nazionale Bicitalia), ad una fruizione unitaria, qualificata e sostenibile su scala sovracomunale.
Globalizzazione e mercato dell’arte contemporanea
Il mercato dell’arte contemporanea è un sistema complesso formato da attori ed entità comunicanti che oggi, in un contesto in cui la concorrenza ha inevitabili ripercussioni, si trovano a dover operare in maniera coordinata cercando di interpretare al meglio le leggi della globalizzazione. Quest’ultima, infatti, inevitabilmente influenza sia la domanda che l’offerta. Il fenomeno della globalizzazione viene dunque esaminato attraverso le diverse tipologie strutturali appartenenti al mercato dell’arte contemporanea, considerando tali tipologie quali elementi di un unico sistema integrato.
Il sistema delle Fondazioni Lirico-sinfoniche in Italia
L’articolo presenta una sintesi dei risultati di una ricerca realizzata dall’Osservatorio Economico della Sardegna. La ricerca scaturisce dall’esigenza di approfondire la conoscenza delle Fondazioni liriche – con particolare riferimento al Teatro Lirico di Cagliari – che, nell’ambito dello spettacolo dal vivo, occupano una posizione del tutto particolare, non assimilabile a quella delle altre strutture che operano nel settore. L’approfondimento prende in esame l’evoluzione del contesto normativo, giuridico e organizzativo e confronta tra loro le Fondazioni attraverso l’analisi di alcuni indicatori e parametri di bilancio in grado di rappresentare il loro stato di salute economico-finanziaria.
Ruoli e funzioni degli eventi culturali in Italia
L’evento è un elemento valorizzatore del territorio, in grado di determinare, con il proprio attuarsi, modificazioni più o meno sostanziali e di natura profondamente differente sui territori in cui si realizza. Partendo dall’individuazione degli elementi costututivi degli eventi, è possibile giungere alla formulazione di un’ipotesi di classificazione degli stessi che, basata sulla centralità di target, format e funzioni, individua: una tipologizzazione degli eventi; i format; le funzioni e le sottofunzioni che assolvono; le tipologie dei target; e le correlazioni che esistono fra format, target e funzioni. L’evento è un elemento valorizzatore del territorio, in grado di determinare, con il proprio attuarsi, modificazioni più o meno sostanziali e di natura profondamente differente (culturali, politico-istituzionali, urbanistiche, economiche, infrastrutturali, di immagine) sui territori in cui si realizza.
Il forum mondiale Unesco sulla cultura e sulle industrie culturali. UNESCO World Forum on Culture and the Cultural Industries
Lo scorso settembre Monza ha ospitato il primo Forum mondiale Unesco sulla cultura e sulle industrie culturali. In questo articolo si presentano le principali motivazioni che hanno portato al Forum Unesco, approfondendo le ragioni dell’avvicinamento tra economia e cultura e presentando alcuni dati sulle industrie culturali. In un’economia sempre più basata sulla conoscenza, la cultura costituisce una risorsa collettiva che contribuisce ad alimentare la creatività, a stimolare l’innovazione e ad accrescere la qualità del capitale umano. In questa prospettiva la cultura può diventare il volano della crescita economica, contribuendo all’incremento della competitività delle economie moderne.
Indagine sulle imprese che investono in cultura: risultati ed analisi dei comportamenti aziendali
In seguito all’andamento altalenante della spesa pubblica in cultura nel corso degli ultimi quindici anni, le riflessioni di studiosi e addetti ai lavori si sono con il tempo spostate verso l’analisi di forme di finanziamento alternative a quella pubblica. A questo proposito, nel corso degli anni novanta si sono registrate la vertiginosa crescita delle sponsorizzazioni in ambito culturale e l’importante contributo fornito dalle fondazioni di origini bancarie a sostegno dell’arte e della cultura.
Gli eventi culturali come incubatori culturali. Il caso di MI AMI Musica Importante a Milano
Gli eventi culturali sono espressione della società postmoderna e sanno creare valore attraverso dinamiche relazionali e di condivisione di apprendimento ed esperienza. In tal senso sono incubatori culturali perché si giovano dei luoghi d’interazione, delle comunità-tribù e delle piattaforme conversazionali del Web, potendo contare sull’efficacia delle nuove tecniche di marketing e comunicazione on ed off line. L’analisi empirica del Festival MI AMI, derivante da una ricerca condotta da Claudia Spadoni, evidenzia tali aspetti, riconducendo gli eventi alla loro sintesi di conoscenze e consapevolezze.
Il valore economico della cultura in Europa
In questo articolo si fornisce un quadro d’insieme dell’industria culturale. Attraverso fonti statistiche, studi e ricerche di livello nazionale ed internazionale, viene evidenziato il rilevante contributo della cultura alle economie moderne: sia in termini di valore aggiunto e fatturato, sia per quanto riguarda l’occupazione i dati rivelano che la cultura è un business. Cultura ed economia, due mondi troppo a lungo considerati distanti, mostrano oggi virtuose relazioni che possono risultare fondamentali per la crescita dei sistemi economici locali, in una prospettiva in cui il ruolo ricoperto da creatività ed innovazione continui ad aumentare.
Alienazione e cessione nel Codice dei Beni Culturali
L’Italia può vantare una vera e propria tradizione di legislazione dei beni culturali: già prima dell’unificazione, la giurisprudenza dei diversi stati preunitari dimostrò particolare attenzione a quelle che oggi potremmo definire politiche culturali. Talvolta una illuminata concezione della res publica, più volte il fascino della figura del potente mecenate, favorirono una consapevole indivisibilità del binomio patrimonio-territorio.
La valutazione delle performance aziendali quale fattore di successo per le Fondazioni liriche
Nel presente articolo si propone una sintesi dei risultati di una ricerca svolta sulle Fondazioni liriche italiane allo scopo di definire un modello di analisi delle performance che, sull’evidenza dei principali “sintomi” delle condizioni gestionali di equilibrio economico, finanziario e patrimoniale, possa rivelarsi uno strumento utile alla governance per l’individuazione di efficaci linee strategiche…
L’impresa incontra arte e cultura
La città di Montreal si afferma da qualche anno sulla scena internazionale come una metropoli culturale. In questo contesto, durante il mese di novembre 2007, la Camera di Commercio di Montreal e Culture Montreal hanno organizzato un incontro cittadino volto a definire il piano d’azione delle politiche culturali municipali fino al 2017.
L’evoluzione del sostegno pubblico alle imprese cinematografiche. Il modello francese diventa realtà?
Mai come in questi ultimi anni il richiamo al cosiddetto “modello francese” è stato così presente all’interno del dibattito sulle possibilità di rinnovamento e di rafforzamento del settore dello spettacolo inteso nelle sue due anime principali, quella cinematografica e quella delle rappresentazioni dal vivo. Ebbene, in questa fase cruciale di ripartenza della politica, di bilanci di attività svolte e di eredità consegnate ai nostri nuovi decision makers, va registrata l’introduzione, a partire da quest’anno, di nuove e più evolute forme di sostegno indiretto, e in particolare di agevolazione fiscale alle imprese cinematografiche nazionali, che – di fatto – per la prima volta avvicinano il nostro Paese al tanto decantato modello di sostegno francese.
I festival tra impatto sul territorio e luogo di espressione per l’immaginario collettivo
Festivals between territorial impact and place of expression for the collective imagination
The practice of experiencing aesthetic contents far from specific places, usually in open or unusual spaces, which are not directly designed for art, like squares or streets. This is the main characteristic of festivals. Celebrations, events full of social relations, which attract an increase nomadic audience that is ready to face even longer journeys just to feel part of an event that opens the door to imaginations.
The article explores the Festival as a specific cultural medium analysing both the economic impacts that Festivals produce on territories and their cultural-related outcomes. In the first paragraph, the author proposes an overview on the Festival Medium and its relationship with the territory while, in paragraph 2, a major attention is paid to the audiences of the festivals. Successively, the article review European Best Practices (paragraph 3) and the risks that an abuse of the festival-form could produce (paragraph 4). In paragraph 5, the author reflects upon the Festival as a cultural space.
L’esperienza estetica lontana dai luoghi deputati, in spazi generalmente aperti oppure insoliti, non direttamente pensati per l’arte; la cultura nelle piazze, nelle strade, questa la caratteristica principale dei festival. Feste, eventi intrisi di socialità, che attirano un pubblico sempre più nomade e disposto ad affrontare anche lunghi tragitti pur di sentirsi parte di un evento che spalanca le porte all’immaginazione.
Creatività e gestione nelle imprese culturali
Creativity and management approach within cultural enterprises
How can we read the cultural world in the light of managerial disciplines? How does knowledge economy and intangible assets dovetail with the cultural industries sector? The article proposes an overlook on the world of cultural organizations and on the way in which they produce benefits in creativity, complexity and responsibility.
In the first paragraph, the article shows the defining framework of Cultural Enterprises while in the second and in the third paragraphs the author analyses the most common leadership approaches for the organizations involved in creative production and the subsequent information processes within the organization and the reputational outcomes. Finally, the article reflects on the management role and its impact on the identity of the cultural organization.
Come leggere il mondo culturale alla luce delle discipline manageriali? In che modo knowledge economy e intangibile trovano espressione nel settore delle cultural industries? Uno sguardo sul mondo delle organizzazioni culturali e sul modo in cui producono valore aggiunto tra creatività, complessità e responsabilità
