13. Tagung des Forums Kultur und Ökonomie

Seit 2001 lädt das Forum Kultur und Ökonomie (FKÖ) die öffentlichen und privaten Kulturfinanzierenden ein, das Wissen über die Wechselwirkungen zwischen der wirtschaftlichen und politischen Dimension in der Kulturförderung zu vertiefen. Rund 130 Teilnehmende aus der gesamten Schweiz sowie Referierende aus Deutschland, den Niederlanden und Frankreich trafen sich dieses Jahr, um die künftige Rolle der Kunst und damit jener der Kulturfinanzierer im öffentlichen Raum zu diskutieren. Hintergrund der Diskussion sind vielfältige Herausforderungen, die sich aus Spannungen zwischen lokaler Planung und Partizipation sowie Forderungen unterschiedlichster öffentlicher, wirtschaftlicher und zivilgesellschaftlicher Instanzen ergeben

Ergebnisse der Befragung Fundraising an Museen in der Schweiz

Der Bericht ist die Auswertung einer Befragung von 244 Museen in der Schweiz zu deren Fundraisingsituation: Generell ist der Fundraisingertrag seit 2003 bis 2009 nur leicht gestiegen. Rund vierzig Prozent der befragten Museen betreiben aktiv Fundraising. Sowohl die Höhe der Fundraisingeinnahmen und des Fundraisingeinsatzes, wie auch die Effizienz von Fundraising, sind im Vergleich zu anderen gemeinnützigen Organisationen noch gering. Die Fundraising Praxis ist sehr heterogen ausgeprägt. Zwar gibt es einige wenige grössere Museen mit professionellen Strukturen. Mehrheitlich ist jedoch vor allem die Geschäftsleitung für Fundraising zuständig. Die wichtigsten Spender sind der Lotteriefonds, die Mitglieder des Fördervereins und die Vergabestiftungen. Insgesamt gesehen ist der Professionalisierungsgrad im Fundraising Management jedoch als gering anzusehen. Der Einsatz von Fundraisinginstrumenten ist den Museumsspezifika zwar angepasst; klassische Fundraising Instrumente werden jedoch wenig angewendet. Die Museen sind geteilter Meinung darüber, ob Fundraising zu den normalen Aufgaben eines Museums gehört. Sie sind sich aber einig, dass die Subventionen durch Bund, Kantone oder Gemeinden erhalten bleiben müssen. Für professionelles Fundraising fehlten in der Regel die Ressourcen, doch in den kommenden Jahren werde die Bedeutung des Fundraising zunehmen, so lautet die generelle Einschätzung der befragten Museen

Arts and culture in transformation:A critical analysis of the national plans for the European Recovery and Resilience Facility

The understanding of resilience, and how the ability to respond or adjust to new situations can be implemented and evaluated, gained prominence in public policy. This study examines how European Union (EU) member states plan to support cultural and creative sectors (CCSs) within the Recovery and Resilience Facility (RRF) of the NextGenerationEU Program and how they plan the CCSs to contribute to the grand challenges of our time. Using mixed methods, it is found that the understanding of how structural deficiencies in CCSs can be addressed is not systematic and not all countries invest to make the cultural infrastructure more future-proof. Neither the budgets nor the mode of resilience (absorption, adaptation, and transformation) exposed in the plans consistently correlates with how countries intend to address key impact pillars. Countries with larger CCSs are more prone to transformation. The theoretical contribution lies in the elaboration of the concept of “ex ante resilience.

Theatre Quality Frame : das Qualitätsmanagement-System für Theater und Veranstaltungshäuser

Das Zentrum für Kulturmanagement der Zürcher Hochschule für Angewandte Wissenschaften (ZHAW) und die TQU GROUP Winterthur entwickelte mit dem Theater Winterthur als Pilotorganisation ein ganzheitliches Prozess- und Performancemodell für Veranstaltungshäuser, Gastspieltheater und produzierende Theaterhäuser (Theatre Quality Frame). Das Theatre Quality Frame ist ein wirkungsorientiertes Qualitätsmanagementsystem für Theater und Veranstaltungshäuser, welches mit der ISO 9001 kompatibel ist. Das generalisierte und daher für alle Theater und Veranstaltungshäuser anwendbare Modell enthält zwei miteinander verknüpfte Elemente: eine Prozesslandkarte, die vor allem die drei Kernprozesse Produktion, Veranstaltungsmanagement sowie Programmentwicklung und -vermittlung darstellt, und einen Performance-Monitor als Messinstrument der Organisationsziele. Das Theatre Quality Frame ist kompatibel mit den internationalen Qualitätsmanagementstandards nach ISO 9001. Bei der Entwicklung wurden besonders die künstlerisch-kreativen Produkte und Prozesse und die Anforderungen unterschiedlicher Stakeholder berücksichtigt. Das Forschungs- und Entwicklungsprojekt wurde von der Kommission für Technologie und Innovation (KTI) unterstützt

Methods of NLP in arts management

The boost of digital archives and libraries in art, literature, and music; the shift of cultural marketing and cultural criticism to social media and online platforms; and the emergence of new digital art and cultural products lead to an enormous increase in digital data, creating challenges as well as opportunities for arts management practitioners and researchers. For arts practitioners, NLP can be used to improve marketing and communication for target group analysis, event evaluation, (social) media analysis, pricing, social media optimization, advertisement targeting, or search engine optimization. In the field of archives, collections, and libraries, NLP can contribute to the improvement of indexing, consistency, and quality of databases as well as the development of suitable search algorithms. In the distribution of cultural products, online platforms can be improved and the markets analyzed

Theatre quality frame : ein wirkungsorientiertes Qualitätsmanagement-System für Kulturinstitutionen

The evaluation of temporary cultural projects and programs has progressed in recent years and a lot of practical and scientific experience has been gained. More difficult is the question of how persistent cultural institutions can demonstrate the quality and impact of their work in the long run. To meet the need of public and private donors to evaluate the efficient and effective use of their fun-ding, in the public and non-profit-sector, organisations such as universities, hospitals, charities and some cultural organizations are already establishing comprehensive quality management systems and meet the demands of quality labels and international standards. It is likely that cultural organisations such as theatres will soon increasingly need to address this issue. Modern theatre management aims to increase efficiency and effectivity. As the diverse literature to theater management demonstrates (e. g. Hausmann 2005; Henning 2001; Nowicki 2000), topics like strategic management, controlling, marketing, auditing and governance are becoming more and more relevant to theatre organizations. Within this context, theatre processes as cost drivers of production, event and marketing operations, are brought to the fore. Carefully planned and standardized processes decrease personnel costs significantly and, not least, they increase employee motivation, as they ensure liability and safety. To focus only on efficiency oriented processes, falls short here. First, in theatres, creative processes take place that contradict the efficiency principle (Auvinen 2001; Boerner and Gebert 2005; Davis 2000). More open, creative processes have many interfaces with more standardized, always repeating processes. These interfaces must be actively developed. Second, theatre management is valued no only by the efficient use of ressources, but by the social and artistic impact theatres generate (Baecker 2013). Thus good theatre management has effects at different levels and meets different, even conflicting, organizational goals. In international theatre research, there is a growing discussion on quality, processes, and performance in theatres, by taking into account the specific characteristics of theatre organizations such as the handling of creativity, multiple stakeholders and public interests (Voss and Voss 2000; Agid and Tarondeau 2007; Auvinen 2001; Boerner 2008; Preece 2005; Vakianis 2006). But so far, no integrated, holistic, management system has been developed meeting the specific requirements of theatres. This is the aim of the underlying research project, where the leading research questions are as follows: - Can an effective quality management system be implemented in a theatre? What would be its key success factors? What are the long-term impact factors of a theatre? - Can the performance of a theatre be increased through systematic process management? - Can the application of a theatre-specific quality management system comply with international quality standards? Since 2011, the development of a comprehensive theatre quality management system for the Theatre Winterthur started, which functioned as a pilot project. Project partners were among the Theatre Winterthur, the Center for Arts Management and the consultancy TQU GROUP Winterthur. The project was co-funded by the Swiss Commission for Technology and Innovation (KTI). The Theatre Quality Frame combines the three core processes of production, event management, and program development and communication. In order to control the achievement of organization and process targets, a Theatre Quality Monitor was designed consisting of six dimensions of quality: Artistic Performance, Financial Performance, Development and Innovation, Sustainability, Process Performance, and Stakeholder Performance. The Theatre Quality Frame is compatible with the international quality management standards according to DIN EN ISO 9001. In summer 2013, the Theate Quality Frame of the Theatre Winterthur was certified in accordance with DIN EN ISO 9001 standards (Betzler and Kabitz 2014).Results of the pilot study show that, first, the specific theatre organization is suitable for a functioning quality management system, second, that efficiency and effectivity could be raised, and third, that the Theatre Quality Frame complies with international quality standards. Further studies could analyze the mid-term effects of the Theatre Quality Frame regarding the future development of the Theatre Winterthur. Further, the robustness of the model could be validated by implementing it to other theatre organizations