MOOC Managing the Arts

 Foto: Loredana LaRocca

The Massive Open Online Course “MOOC Managing the Arts” is a free-of-charge, 3-months cultural management online course, in which more than 24,000 participants from 175 countries took part in 2015 and 2016.

Video Lectures

Using video teaching materials on cultural management themes such as audience development, digitalization and project management, participants in international learning groups worked out marketing strategies for four cultural institutions in Bangkok, Berlin, Budapest and Lagos. The groups were individually mentored by academic teaching staff. The participants supported one another through peer learning and thus increased their learning success.

Upon successful completion of the MOOC Managing the Arts of the Goethe-Institut and the Leuphana University Lüneburg, participants obtained a certificate (5 ECT credits).

Forty percent of the mentored participants completed the course – a much higher figure than usual in MOOCs.

Through the group “MOOC Managing the Arts Alumni” at the alumni portal “Deutschland”, alumni of the course can stay in touch with one another.

MOOC Managing the Arts:
Cultural Organizations in Transition 2016

Course Moderator

Chris Dercon is an art historian, a documentary filmmaker and cultural producer. He was director of Tate Modern in London until 2016 and is designated as director of the Volksbühne Berlin from 2017 on. Previously, he was director of Haus der Kunst in Munich, the Boijmans Van Beuningen Museum in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as program director of the Institute of Contemporary Art P.S.1, a branch of the Museum of Modern Art (MoMA), in New York. His current interest lies particularly in reflecting about the future of the museum.
 

Academic Director

Prof. Dr. Nishant Shah, professor at the ICAM – Institute of Culture and Aesthetics of Digital Media, Lüneburg, and founder and director of research for the Bangalore-based Centre for Internet and Society, India
 
Bhavani Esapathi, published writer & public speaker on cultural innovation and digital technology, has worked with organizations such as The British Council, The V&A and various other cultural spaces
 

Speakers

Annett Baumast (Ph.D.), founder and CEO of baumast. kultur & nachhaltigkeit, Lenzburg, Switzerland

Prof. Gesa Birnkraut, founder and managing partner at the consulting company BIRNKRAUT|PARTNER and chair for Strategic Management at the Osnabruck University of Applied Science, Germany
 
Hilary Carty, visiting professor at Kufstein University of Applied Sciences in Austria and consultant at Co-Creatives Consulting Ltd, UK
 
Adalet R. Garmiany, chief executive & founder of ArtRole, develops international cultural exchanges with the Middle East. Culture manager, curator, artist and writer
 
Natasha Ginwala, independent curator, researcher and writer, curatorial advisor for documenta 14, Athens and Kassel, curator of Contour Biennale 8, Mechelen

Patrick S. Föhl (Ph.D.), founder of the network for cultural consulting (“Netzwerk für Kulturberatung”) in 2004 and academic director of the Ulm Danube School for Arts Management, Germany

Péter Inkei, deputy to the Minister for Culture of Hungary between 1996 and 1998, director of the Budapest Observatory: Regional Observatory on Financing Culture in East-Central Europe, Hungary

Sacha Kagan (Ph.D.), founding coordinator at Cultura21 International and research associate at the Institute of Sociology and Cultural Organization of Leuphana University, Lüneburg, Germany

Prof. Volker Kirchberg, professor for Cultural Distribution and Cultural Organization in Applied Cultural Sciences of Leuphana University of Lüneburg, Germany

Prof. Arjo Klamer, professor of Economics of Art and Culture and chair in the field of cultural economics at Erasmus University Rotterdam, The Netherlands

Prof. Birgit Mandel, professor and manager at the Department of Cultural Policy in the area of Cultural Management and Communication at the University of Hildesheim, Germany

Yemisi Mokuolu, independent producer and creative industries developer, Naija Street Stories film training and production program, Nigeria
 
Prof. Oliver Scheytt, professor for cultural policy and cultural infrastructure at the Institute for Culture and Media Management, part of the Academy for Music and Theatre in Hamburg, Germany

Gabriëlle Schleijpen, director of the Dutch Art Institute (DAI) and head and curator-in-chief at the Studium Generale Rietveld Academie in Amsterdam, The Netherlands

Ong Keng Sen, festival director of the Singapore International Festival of Arts since 2014, Prince Claus Foundation Jury, Amsterdam, was awarded the Fukuoka Asian Arts and Culture Prize 2010
 
Carsten Siebert, Barenboim-Said Academy, expertise in developing cultural programs and establishing cultural organizations
 
Percy Yip Tong, artistic director and owner of CYPER PRODUKTION, founded in 1986, trainer in cultural management for Goethe-Institut in Africa
 

Interview partners at the participating cultural institutions (selection)

Jude Anogwih, curator at the Centre for Contemporary Art in Lagos, Nigeria

György Szabó, managing director of the Trafó House of Contemporary Arts in Budapest, Hungary

Luckana Kunavichayanont, director of the Bangkok Art & Culture Centre (BACC) in Bangkok, Thailand

Bisi Silva, director of the Centre for Contemporary Art in Lagos, Nigeria

Pichaya Suphavanij, director of exhibitions at the Bangkok Art & Culture Centre (BACC) in Bangkok, Thailand

Annemie Vanackere, managing director of the HAU Hebbel am Ufer in Berlin, Germany
1. Placing arts and cultural organizations in context
Global changes have impacts on local conditions for cultural work. What transformations do cultural organizations today face – and how could they use these challenges? Right at the beginning of the course, participants will discuss this internationally relevant question.
 
2. Markets, marketing and the changing notions of art and culture practices
Cultural institutions must increasingly position themselves in the light of market-based expectations. Can this work when art venues at the same time are supposed to be places for experiment, freedom and criticism? How these demands can be met while also addressing the transformation of social and cultural systems is the subject of this learning phase.
 
3. Marketing cultural projects and managing artistic processes
To guide artistic processes and simultaneously make creativity possible is the central challenge of cultural management. The focus of this phase of the course falls on the key qualification of communication and on strategies that can bring about successful cultural management.
 
4. Leveraging social capital for organizational growth
To remain competitive amidst the growing number of leisure activities, cultural managers must address culturally interested target groups. What strategies are helpful in order to gain a future audience? And who, apart from the audience, are other important stakeholders in cultural institutions and how can they be integrated into our work?
 
5. Co-creating and shaping digital brands
The brand development of an institution should take place through participation and dialogue; it should tell stories and speak to emotions. This brings with it risks as well as opportunities. Here the participants will reflect on how cultural participation is possible while at the same time exercising control over the trademark of a cultural institution.
 
6. Crafting sustainable artistic practices and programs
How can cultural institutions respond to current technical and social challenges? How can artistic activity be made sustainable? In the concluding phase of the course, participants develop strategies for real cultural institutions.

MOOC Managing the Arts:
Marketing for Cultural Organizations 2015

Course Moderator

Chris Dercon is an art historian, a documentary filmmaker and cultural producer. In April 2011, he was appointed director of Tate Modern in London. Previously, he was director of Haus der Kunst in Munich, the Boijmans Van Beuningen Museum in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as program director of the Institute of Contemporary Art P.S.1, a branch of the Museum of Modern Art (MoMA), in New York. His current interest lies particularly in reflecting about the future of the museum.

Academic Director

Prof. Dr. Nishant Shah, professor at the ICAM – Institute of Culture and Aesthetics of Digital Media, Lüneburg and founder and director of research for the Bangalore-based Centre for Internet and Society, India

MOOC Facilitator

Felix C. Seyfarth, assistant at the Institute for Systemic Management and Public Governance (IMP-HSG), Switzerland, and research coordinator at the Leuphana Digital School, Lüneburg, Germany

Speakers

Prof. Hans Abbing, artist, economist, sociologist and author of the forthcoming book The Art Period, The Netherlands

Annett Baumast (Ph.D.), founder and CEO of baumast. kultur & nachhaltigkeit, Lenzburg, Switzerland

Prof. Carsten Baumgarth, founder of the consulting firm Baumgarth & Baumgarth Brandconsulting and program director of the Executive MBA program of Business Integration, University of Würzburg, Germany

Prof. Gesa Birnkraut, founder and managing partner at the consulting company BIRNKRAUT|PARTNER and chair for Strategic Management at the Osnabruck University of Applied Science, Germany

Patrick S. Föhl (Ph.D.), founder of the network for cultural consulting (“Netzwerk für Kulturberatung”) in 2004 and academic director of the Ulm Danube School for Arts Management, Germany

Leonie Hodkevitch (M. Phil.), lecturer for cultural management and intercultural communication at the University of Vienna and other institutions and, as of 2015, New York University, USA

Péter Inkei, deputy to the Minister for Culture of Hungary between 1996 and 1998, director of the Budapest Observatory: Regional Observatory on Financing Culture in East-Central Europe, Hungary

Sacha Kagan (Ph.D.), founding coordinator at Cultura21 International and research associate at the Institute of Sociology and Cultural Organization of Leuphana University, Lüneburg, Germany

Prof. Volker Kirchberg, professor for Cultural Distribution and Cultural Organization in Applied Cultural Sciences of Leuphana University of Lüneburg, Germany

Prof. Arjo Klamer, professor of Economics of Art and Culture and chair in the field of cultural economics at Erasmus University Rotterdam, The Netherlands

Prof. Armin Klein, professor for cultural studies and cultural management at the Institute of Cultural Management in Ludwigsburg, and founder of Ulm Danube School of Arts Management, Germany

Prof. Birgit Mandel, professor and manager at the Department of Cultural Policy in the area of Cultural Management and Communication at the University of Hildesheim, Germany

Prof. Oliver Scheytt, professor for cultural policy and cultural infrastructure at the Institute for Culture and Media Management, part of the Academy for Music and Theatre in Hamburg, Germany

Gabriëlle Schleijpen, director of the Dutch Art Institute (DAI) and head and curator-in-chief at the Studium Generale Rietveld Academie in Amsterdam, The Netherlands

Interview partners at the participating cultural institutions (selection)

Jude Anogwih, curator at the Centre for Contemporary Art in Lagos, Nigeria

György Szabó, managing director of the Trafó House of Contemporary Arts in Budapest, Hungary

Luckana Kunavichayanont, director of the Bangkok Art & Culture Centre (BACC) in Bangkok, Thailand

Bisi Silva, director of the Centre for Contemporary Art in Lagos, Nigeria

Pichaya Suphavanij, director of exhibitions at the Bangkok Art & Culture Centre (BACC) in Bangkok, Thailand

Annemie Vanackere, managing director of the HAU Hebbel am Ufer in Berlin, Germany
1. The cultural economy
This learning phase illuminates the markets and marketing for cultural organizations. It introduces students to the basic terminology and approaches of cultural management.

2. Mapping the terrain
Participants will reflect on the position of cultural institutions in their socio-cultural context. They will examine material and immaterial resources to ask what role sponsors, competitors, critics, target groups and cultural policy-makers play.

3. Enabling creativity
Facilitating and efficiently steering artistic processes requires an adequate understanding of success criteria and incentive structures. The focus of this course phase lies in communication strategies that ensure successful curating and effective marketing.

4. Building audience relationships
Cultural managers must address culturally interested target groups in competition with a growing number of recreational activities. What strategies are helpful for winning over a future audience? What factors are crucial for the long-term growth of an arts organization?

5. Co-creating and shaping digital brands
Digitalization affects all spheres of life today and involves both opportunities and risks for cultural organizations. The brand development of an institution has to be communicated in a participatory and conversational manner; it should tell stories and appeal to the emotions. In this phase, the participants will reflect on strategies and processes of digital marketing.

6. Curating strategies
How can artistic practices be enabled sustainably? What approaches from marketing and project management offer benefits to the development of an actual institution? Course participants will face this challenge in the final phase on the basis of actual scenarios and concrete proposed solutions.