Sustainability

How to make a living as an artist? How to survive as an arts organisation?

As we continue struggle out of the crisis, we must give ourselves a chance; not for survival, but for success.  

To start with, let's reassess our professional strategies and business models. How do we use our potential and our resources? How do we contribute to the sustainability of the environment we work and live in? What does sustainability in the arts mean and how to achieve it? And what role can the arts play in that wider issue: helping to save the planet, the environment we live and work in?

Sandra COUMANS
Sandra Coumans talks about how cultural organisations from Eastern Europe and the Balkans learn from each other on an international level.
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Culture, consuming culture, also leaves a carbon footprint. Laura Panda is well aware of this. For a decade she has been working on calculating that footprint and finding ways to reduce it.
© Jens Bjerregaard
Elenq
This research seeks to develop greater understanding of the impacts of globalization, digitalization, and (im)migration on the work of arts managers and arts management researchers. Different from studies that focus specifically on those who work exclusively in international contexts, this paper aims to present current research based on an international empirical study of arts managers who do not necessarily cross borders for their work and who would in most cases not even consider their work international as such.
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This first edition of the Cultural and Creative Cities Monitor shows how well 168 selected cities in 30 European countries perform on a range of measures describing the ‘Cultural Vibrancy’, the ‘Creative Economy’ and the ‘Enabling Environment’ of a city, using both quantitative and qualitative data.
Christy ROMER
Published by European network IETM, the report uses online resources and real-world examples to guide arts organisations through the sorts of questions and outcomes they should focus on to achieve their assessment objectives.
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Metrics-based approaches to understanding the value of culture imply homogeneity of artistic purpose, invite political manipulation and demand time, money and attention from cultural organisations without proven benefit.
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The mapping of the Cultural and Creative industry in Greece has been a top priority for the Ministry of Culture and Sports during 2006. The lack of a suitable tool, which would support strategy and decision-making aimed at planning support actions for the professionals of the Contemporary Culture and Creative Economy, has led to the need of recording their growth dimension, in accordance with international practices.
Elenq
Hard-working artisan, solitary genius, credentialed professional—the image of the artist has changed radically over the centuries. What if the latest model to emerge means the end of art as we have known it?
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How may a legal framework be achieved for the fair status of the artist? What would be the spectrum of such a law? Who should be involved in the drafting of cultural policies? What models exist elsewhere and how do they relate to a reality on the field? This session at IETM Bucharest gave some insights into existing models and their relationship to very diverse realities in different parts of the world.
fbittencourt
Given the litany of distractions vying for people's attention nowadays, arts organizations need to do a better job at engaging everyone, "diverse communities" or otherwise. The engagement challenge spans demographics, and that's because the very definition of the arts experience is changing.

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