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R kthrosby


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R kthrosby

  1. 1. Looking ahead: challenges to the arts, culture, management and policy in the next 20 years David Throsby Professor of Economics Macquarie University, Sydney, Australia Keynote presentation at closing session of the 11th AIMAC Conference organised by the University of Antwerp in collaboration with the Antwerp Management School, 4-6 July 2011
  2. 2. Outline <ul><li>Context </li></ul><ul><li>Stakeholders </li></ul><ul><ul><li>Artists </li></ul></ul><ul><ul><li>Cultural managers </li></ul></ul><ul><ul><li>Policy-makers </li></ul></ul><ul><li>Conclusions: the role of research </li></ul>
  3. 3. Context for the cultural and creative sector is provided by the growth of the global economy <ul><li>driven by new information and communication technologies </li></ul><ul><li>facilitated by neoliberal economic ideology which holds that: </li></ul><ul><ul><li>free markets allocate resources most efficiently </li></ul></ul><ul><ul><li>power should be transferred from public to private interests </li></ul></ul>
  4. 4. Is there an irreducible minimum size for the nation-state? <ul><li>the state as the locus for collective action on </li></ul><ul><ul><li>provision of public goods </li></ul></ul><ul><ul><li>redistribution / equity </li></ul></ul><ul><li>the state as rallying point for cultural identity </li></ul><ul><ul><li>identity is still tied to cultural traditions (eg. language) that are inadequately represented by private institutions </li></ul></ul>
  5. 5. The changing nature of arts practice <ul><li>artists as SMEs, not employees </li></ul><ul><li>portfolio career patterns </li></ul><ul><li>diversification of revenue sources </li></ul><ul><li>deployment of creative skills in other industries </li></ul><ul><li>implication for arts education and training </li></ul>
  6. 6. Cultural managers <ul><li>there is a narrowing gap between for-profit and not-for-profit management </li></ul><ul><li>new technologies driving search for new business models </li></ul><ul><ul><li>convergence </li></ul></ul><ul><ul><li>changing patterns of consumption </li></ul></ul><ul><ul><li>rise of social media </li></ul></ul><ul><ul><li>Illustrations </li></ul></ul><ul><ul><ul><li>museums and galleries </li></ul></ul></ul><ul><ul><ul><li>performing arts </li></ul></ul></ul><ul><ul><ul><li>publishing </li></ul></ul></ul><ul><ul><ul><li>media </li></ul></ul></ul>
  7. 7. <ul><li>financial sustainability </li></ul><ul><li>sustainability of the cultural mission </li></ul>The bottom line for cultural organisations <ul><li>This can be represented as finding a balance between generation of </li></ul><ul><li>economic value </li></ul><ul><li>cultural value </li></ul>
  8. 8. <ul><li>realistic assessment needed of the creative sector’s contribution to growth, employment, etc. </li></ul><ul><li>balancing traditional artistic and cultural role with new instrumentalism </li></ul><ul><li>need for a valid conceptual framework for cultural industries </li></ul>Policy-makers: coming to terms with the creative economy
  9. 9. The concentric circles model of the cultural industries Related industries Wider cultural industries Other core creative industries Core creative arts Core creative arts Literature Music Performing arts Visual arts Other core cultural industries Film Museums, galleries, libraries Photography Wider cultural industries Heritage services Publishing and print media Television and radio Sound recording Video and computer games Related industries Advertising Architecture Design Fashion
  10. 10. Re-thinking cultural policy <ul><li>comprehend the economic benefits (market and non-market) of the arts and culture; </li></ul><ul><li>recognise the fundamental importance of cultural value as a component of the public value created by the cultural sector; </li></ul><ul><li>foster a positive climate for private sector engagement with the arts; </li></ul><ul><li>promote cultural policy as a core government function involving a wide range of ministries including culture, heritage, education, social welfare, trade, urban and regional development, etc. </li></ul>An effective cultural policy will
  11. 11. Further reading David Throsby, The Economics of Cultural Policy , Cambridge University Press 2010
  12. 12. Conclusion: the role of researchers and the need for multiple voices <ul><li>in the academic world </li></ul><ul><li>in NGOs </li></ul><ul><li>in private consulting </li></ul><ul><li>in government </li></ul>