Conference Agenda

RN02_03a: Arts Management
Wednesday, 21/Aug/2019:
4:00pm - 5:30pm

Session Chair: Constance DeVereaux, University of Connecticut
Location: GM.306
Manchester Metropolitan University Building: Geoffrey Manton, Third Floor 4 Rosamond Street West Off Oxford Road


Cultural Management As Instrument Of Regeneration In Rural Areas: An Example From The Southern Periphery Of Europe.

Olga Kolokytha

University of Vienna, Austria

The long-term goal to regenerate a rural area combined with a lack of systematic institutional support of culture and the need of the citizens to experience cultural activities, has led to the Giortes Rokkas (Rokkas festivities) initiative in Crete in 2013. The Festival is organized by approximately 40 citizens of two small villages in the inland of the western part of Crete in Greece and its vision is “The restoration of a viable framework for inland communities through the practices of cultural management” ( The initiative has developed into a cultural institution attracting national audiences and has so far reached around 20.000 people through its various activities.

The Festival involves the citizens throughout the culture-management and making process, developing relationships between inhabitants and strengthening the sense of community. Local inhabitants are active in the cultural production as well as the cultural management process, organizing events which they might have never attended themselves as an audience, but acknowledging the importance and power of them as tools to reshape community relations and raise awareness of the area and the region.

This paper is based on empirical research and policy analysis using Giortes Rokkas as a case study; it looks into the conditions that shape the cultural life of rural areas in the border of Europe in the 21st century and investigates the role of cultural management as a tool to 1. restore and develop regional and community frameworks; 2. create a sense of belonging and social inclusion in small communities.

Rethinking the Relationship of Management and Arts Management

Hua Fang

Shanghai Conservatory of Music, China, People's Republic of

Arts Management usually be think as a subdiscipline of Management, this view has aroused different discussions about the relationship of these two fields. Some scholars and practitioners use the management tools into arts management teaching and practice. Meanwhile, some others believed there have obviously different features comparing the activities of arts management with activities of general management. Following the changes of network world has brought, management activities have to do some changes together, so it can response to the new environment. These changes happened in different management aspects. Some scholars of management believed these changes have led to thorough innovation in management field. Changes which happened in management field also bring an opportunity to arts management field, it will let the scholars and practitioners rethinking the relationship of two fields. Through analyzing some literatures and some interviews in this paper, I wish to present the relationship of two disciplines, and meanwhile comparing common and different features in them. The following four questions are the main points of discussions.

1. What kinds of relationship between management discipline and arts management discipline?

2. What kinds of same and different features are affecting these two field? (Cross-disciplinary influence, the problems happened in education, methods of research)

3. What kinds of new trends in management?

4. What kinds of challenge that arts management field should think?

Social Boundaries and Exclusion in the Arts

Hans Abbing

Erasmus University of Rotterdam, Netherlands, The

Symbolic boundaries in the arts become less important. But the social boundaries, which (potential) consumers and artists from various social groups face, remain important. This applies strongest to the established arts. In my presentation I discuss several mechanisms of exclusion in the established as well as popular arts and explain why they differ.

An example is that of a combination of subsidies and vested interests, which largely explains why the formal and informal barriers, which keep larger social groups and younger people from participating in classical/serious music concerts, are still high. Subsidies plus vested interests also slow down innovation and the application of new techniques which could have led to new attractive music music and lower barriers.

Another example: Being artists is primarily a self-declared state, but recognition makes a difference. In the established arts with the help of public support the barriers which artists face to become recognized are differently “organized” than in the popular arts. I will show that in the first, more than in the latter this reduces, the chances of less well-educated and non-white artists to become a recognized artist with voice; that is somebody who artistically expresses him/herself and expresses the problems and needs of the own social group, and is heard.

I will discuss more mechanisms of social exclusion. (The presentation is based on parts of my forthcoming book The social economy of art; are the arts becoming less exclusive?)