Predmet 4: Menadžment i preduzetništvo u kulturnim i kreativnim industrijama. Nastavni plan profesionalcima u oblasti poslovnih studija i ekonomije (B&E) (C3-AH-PRO-SRB)

This course is developed within the project “Fostering Entrepreneurship and Innovation in Cultural and Creative Industries through Interdisciplinary Education (FENICE) with the support of the Erasmus+ Programme of the European Union.

It is designed for professionals with background in arts and humanities (A&H) who want to pursue self-employment or manage creative teams within their careers. In broader terms, the course would be useful for any artist and artist-to-be as it will provide a targeted insight in the entrepreneurial and management practices that define the modern creative and cultural business. The overall aim is to build up the skills that are needed for career success and creative impact as well as for launching projects that fall in the scope of experience economy. 

The course is interdisciplinary and presents the theory and practice of entrepreneurship and management combining guided and experiential learning activities.

CCIs are content, knowledge and technology-driven and as such, they are, by definition, а subject to interdisciplinary research and education. CCIs combine the creation (often by artists or designers), production (often by companies) and distribution (often by multinationals) of goods and services that are cultural in their nature and usually protected by intellectual property rights (IPR).

Developing the entrepreneurial and managerial skills of the artists will provide the CCIs with innovative and self-sustainable professionals that can lead and contribute to the viable and sustainable functioning of the creative economy.

This course is intended to provide a targeted insight into the operation of CCI enterprises and to explore major practical issues facing creative and cultural professionals and entrepreneurs. It builds on the interdisciplinary approach that is pertinent to CCIs to showcase how creativity and culture can be sustainably commercialized and bring to life viable and innovative enterprises.

In this sense, the goals of the course are

• To improve the entrepreneurial and managerial skills and competencies that are relevant to the CCIs.
• To build trainees’ capacity in forming and working in cultural and creative teams, solidly anchored in economic realities and up-to-date cultural context.
• To familiarize trainees with the main important aspects of self-employment in CCIs such as personal promotion in the on-line environment, organising artistic events and artistic research.
• To promote the social change, accountability and innovation based on creativity.
• To convince A&H professionals of the overall importance of teamwork under the coordination of professionals/specialists in business and economics (B&E) who are also trained in CCI activities and projects.

Considering teaching-learning strategies/methodologies, the main approach in this course is experiential learning. Accordingly, this course makes use of different teaching, learning and assessment methods, in line with the needs of the students and the learning objectives. Teaching methodologies were designed to boost autonomous work while respecting students’ diversity and needs, allowing flexible learning paths.

This course aims at fostering an active learning environment, proven effective in developing higher-order cognitive skills. By being involved in an active and participatory learning process, enhanced by the integration of digital technologies, students intervene directly in the construction of knowledge, questioning and co-creating it. As opposed to conventional approaches, generally passive and unidirectional, the students become the centre of the learning process and the trainer/teacher assumes the role of mediator.

Upon the completion of the course, the students should be able to

• Interpret the key characteristics of the economy of the cultural and creative industries, the important challenges the industries face, such as technological, legal and economic – and the policies adopted to meet those challenges.
• Create business models for creative business ventures, including strategic planning for entrepreneurship initiatives, innovative methods for generating funds, stakeholder management and development of partnerships, governance structures of creative enterprises, etc.
• Identify new opportunities within social and business problems and develop business solutions, while at the same time, securing revenue sources that achieving financial sustainability.
• Work in interdisciplinary CCI teams.
• Design artistic events (exhibitions, workshops, promotions, etc.) and online promotion campaigns.

In addition, the course encourages the implementation of the European Entrepreneurship Competence Framework (EntreComp)[1]. Competencies are presented by area and with reference to whether they are improved (when they are effectively developed within the scope of the contents foreseen for the course) and/or assessed (when subject to evaluation), and with regards to the two content units proposed within this course – Unit 1: Understanding Entrepreneurship in the CCIs and Unit 2: Entrepreneurial Practice – Modelling a CCI Enterprise – which are further detailed in section IV of this syllabus.

[1] http://europa.eu/!kR69Tb

The contents of the course refer to the following main considerations and rationales in the CCIs:

• Mutual understanding and comprehension between artistic creativity and economics/management, toward feasibility and economic viability of CCI product/project is indispensable. Professionals with both types of profiles need to be aware of the necessity to develop and employ skills for team work and cooperation;
• The development of the creative process is different from its transfer to third parties, therefore each participant in the course is required to acquire a business discipline (to see if it can be implemented in the form of diagrams specific to each artistic discipline);
• The key feature of the creative economy is the transformation of artistic value in economic value; as such all the characteristics that give value to an artistic product will have to be monetized as economic values (thus generating business): uniqueness, non-standardization as impossibility of reproduction, technological process, recognition, copyrights, etc., that is, understanding the artistic product in relation to the market is essential.
• Creativity should be the main tool and competence to work within the CCIs. Usually perceived as a natural ability, individual creativity used in teamwork is able to accelerate the evolutionary pace of ideas within a team when used in project-based team work. During CCI projects, any type of creativity could be the difference of added value and capacity in a competitive market – thinking outside the box, avoiding clichés, permanent adaptation to contemporary realities - regardless of their nature - cultural, economic, technological.
• Within a CCI project team, all members are/should be creative, although only the ones with artistic background (A & H) are creators, from the point of view of professional skills in artistic transposition technology. The creators are motivated by the contemporary cultural and creative context, by the media exposure of the projects’ end product and obviously by the economic benefits of the CCI activities. Feasibility, economic viability and potential success of the CCI team product can be secured or positively evaluated only through the economic and management expertise provided by the members of the team with economic background. The cultural context should definitely be evaluated constantly together within the team, by both artists and CCI economics/management experts. There is also necessary to have a certain level of comprehension within the CCI team – the access to other one subjectivity /artistic creativity versus economic feasibility – and balance must always be reached for the lasting development of the project.
• Eastern, mainstream stakeholders usually state cultural policies tainted by latency, protochronism and reactionary traditionalism. There are some exceptions however: cultural institutions which are financed through competition CCI projects, private stakeholders with contemporary visions over CCI, young galleries, cultural/artistic hubs, independent galleries, private enterprises as cultural stakeholders/non-government organizations, local authorities interested in new cultural visions for their cities/regions. Stakeholders in cultural policies are either mainstream (state driven, institutionally or financed) or alternative (independent/young galleries, private architecture/design offices, independent cultural festivals, media, galleries, cinema, design, multimedia, etc.).
• The Test of Reality – even before the pandemic, it was obvious that financing CCI is more and more connected with some major subjects – is in improving quality of life, especially within urban environment, ecology, recycling, involvement to generate solutions for social problems, preserving and restoration of cultural heritage. Art for the sake of art is no longer an option for public funding. Media exposure is essential for any CCI activity/projects, such as social platforms, the World Wide Web, online publications, etc.
• Involvement in social activities of education – such as creative workshops, youth creative education. Even in a technological environment, an economic option for added value is creativity, originality, artistic creation inserted within production process and end product.
• The capacity of contemporary CCIs to monetize their activities depends on B&E strategies.
• Both A&H and B&E members of the CCI teams should maintain a high level of interest in digital technologies for 3D and 2D transposition when considering the production of artefacts. In addition, when sellable CCI services, working ideas and applications are involved, digital support is essential – Internet, social platforms, dedicated and interactive sites, etc.
• The overall importance of images (photographic material and videoclips) posted on social media and Internet to disseminate and validate the concepts, working ideas or the entire projects is essential for stat-ups. The B&E professionals need training and expertise in digital PR and communication strategies to support the A&H creators in promoting their creative activities, models, work in progress on concepts and transposition of artefacts. The imagistic quality of the CCI documented material could make the difference during the dissemination on the Internet and social platforms and enhance the public validation process.

The contents of the course are divided in two major thematic Units, with specific learning objectives and learning outcomes.

Unit 1: Understanding Entrepreneurship in the CCIs

(Concepts and Policy Overview)

Specific learning objective:

- To enable trainees to comprehend the liaison of CCIs with the other sectors of the economy, their innovation and social innovation potential while focusing on the relevant innovative, participatory and interdisciplinary working approaches in the CCIs.

Specific Expected learning outcomes:

In addition to the generic course goals, Unit 1 will allow trainees to:

• Analyse the CCIs and their position in society and economy
• Differentiate and select the CCI project types
• Recognize ethics and intellectual property issues related to the work and the products of the CCIs
• Analyse the main aspects of the entrepreneurship and business modelling in CCIs
• Distinguish the roles in CCI teams and communication channels

Unit 2: Entrepreneurial Practice – Modelling a CCI Enterprise

Specific learning objective:

- To enhance the trainees’ understanding of the entrepreneurial process from idea generation to concept development and creation of a venture in CCIs while focusing on cooperation, co-creation and interdisciplinarity.

Specific Expected learning outcomes:

In addition to the generic course goals, Unit 2 will enable the trainees to:

• Generate and/or identify a business idea in the CCIs
• Distinguish relationships among various components of business and its environment
• Manage the material, non-material and digital resources needed to turn ideas into action
• Promote CCIs’ activities, products and projects through free (costs and use) communication channels;
• Collaborate to develop business ideas for the CCIs, in particular with artists and cultural professionals.

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