Cultural management: strategies, development and the integration of the knowledge and regional economies

The aim is to provide the basis for a broader understanding of the managerial workloads within the cultural sector and their role in the organization of the creative industry of the 21st century.

Students will acquire basic competencies for the production or design of central components of cultural and managerial work, namely:
1. WRITING CONTENT-STRATEGIC VISIONS AND FINANCIAL PLANS
2. MARKETING, PROMOTION, RECOGNITION
3. PLANNING INVOLVEMENT IN THE EUROPEAN AGENDA AND EXPERT NETWORKS, AND LINKING PROJECTS WITH KEY INSTITUTIONS
4. PLANNING THE DIGITALIZATION OF ACTIVITIES AND CONTENT
5. FINDING STRATEGIES FOR RAISING REPUTATIONS
6. DEVELOPING A MEDIA PLAN

Armed with knowledge relating to managerial competencies, the student will apply these to the stages of production, such as the programming of events with artists and institutional bodies, and, as a manager, the planning of the budgets of events and achievements with responsibility as defined and retained by the decision-making bodies on which they will depend. Another important competency is related to the understanding of the legal charge of such roles in cultural projects, also in terms of report writing. The objective is also to bring awareness of cultural management as an expertise that can be performed as an independent entrepreneur, where tasks and responsibilities are similar to that of an agent who brings all his know-how to artists, different bodies (state, regional, or private) and ensures the success of their promotional actions by directly contributing to the notoriety of their operativity.

Fluency in English.

The aim of the course is to provide students with fundamental knowledge on cultural management in the field of interdisciplinary and transcultural practices. This presupposes an understanding of the value and creation of artistic knowledge and creative artistic skills. Cultural management includes participatory leadership, organization of work, reporting and summarizing of creative work, the understanding and integration of aesthetic and socio-economic aspects of the art world into the contemporary global challenges of cultural engineering, especially to emphasize territorial approaches and strategies of cultural mediation.

Knowledge will be gained regarding the reactivity and creativity that characterizes the cultural and artistic sector, its ability to adapt to various circumstances and crises, and above all to its being marked by some structural deficiencies that have long affected cultural institutions and practices, partially due to the lack of cultural managers operating in step with technological reversals.

Thus, it seems crucial to build an understanding of contemporary transdisciplinary practices and culture in line with the expected future developments of the European cultural institutions and organizations towards a digitized multi-layered media orientation (EETDC, 2027), as well as of a new development of marketing and research activities.

In terms of results, it is possible to anticipate that even once having passed the exam, students will develop a grounded, basic approach for anticipating solutions and responding to the local and global challenges of the creative industry and critical change, especially those facing the socio-cultural ecosystem today.

• UNCTAD 2018 Report, World Investment Report: Transnational Corporations, and the Infrastructure Challenge. E-version
• Pratt, Andy C., Paul Jeffcutt (eds.), Creativity, Innovation and the Cultural Economy (London/New York: Routledge, 2009). Catalogue
• Dobričić, Saša, Acri, Marco. A sustainable coordinated model for the regeneration of Ljubljana (Royal Institute for Strategic Studies: Morocco, 2012), pp. 115–121.
• U. Morelli, G. De Fino, Management dell'arte e della cultura. Competenze direzionali e relazioni lavorative nelle istituzioni dell'arte e della cultura (Franco Angeli Editori: Milano, 2010). Catalogue
• Amendolagine, Franco. Dobričić, Saša, The sustainability of the conservation bonds, the case of Mulino Stucky in Venice (Privatization and Cultural Heritage series, ICCROM: Rome, 2007).
• Terranova, Tiziana. Network Culture: Politics for the Information Age (London: Pluto Press, 2004). Catalogue E-version
• Bate, S., Strategies for Cultural Change (Oxford: Butterworth Heinemann, 1994). Catalogue E-version

Type (examination, oral, coursework, project): The course has five requirements: active in-class participation, individual and collective readings, class presentation (short talk of 5 mins), written creative development plan with an individual final project presentation of the chosen topic. All requirements must be completed in order to pass the course. The course deadlines will be given on the course commencement. Active in-class participation (compulsory); Individual and collective readings; Class presentation: short talk; Written strategic and budget plan (max 1000 words); Final project (plan, talk and power point paper, visuals compulsory)

Dobričić, Saša. La città e il suo sogno: la cartografia come paradigma epistemologico: dalla Parigi di Benjamin all’immaginario cartografico della Moscovia (Università Ca’ Foscari: Venezia, 20015).

Dobričić, S., Magnani C., Pedroli B., Strecker A. Common Goods from a Landscape Perspective, I Quaderni Careggi, Issue 06, Florence, 2014.

Dobričić, Saša. Note sulla topicità della deviazione (Melfi Libri: Melfi, 2012).

Dobričić, Saša, Acri, Marco. A sustainable coordinated model for the regeneration of Ljubljana (Royal Institute for Strategic Studies: Morocco, 2012), pp. 115–121.

Amendolagine, Franco, Dobričić, Saša. The sustainability of the conservation bonds, the case of Mulino Stucky in Venice (Privatization and Cultural Heritage series, ICCROM: Rome, 2007).

Amendolagine, Franco. Dobričić, Saša. »Between conservation and innovation«, in Proceedings of the 5th EC Conference on Cultural Heritage Research, May 16-18, 2002, ed. Roman Kozlowski (EC editions: Crocow, 2002), pp. 344–348.