Fora do Eixo: creating alternative models in the cultural sector (Notas de Ensino) (original) (raw)
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Fora do Eixo: creating alternative models in the cultural sector
Revista Brasileira de Casos de Ensino em Administração, 2017
The case explores the emergence and strategies put in place by a network of cultural collectives to connect people and develop their objectives as well as explore the possibilities of devising better business models. It describes the emergence and evolution of a new way to promote the cultural industry.
Fora do Eixo: criando modelos alternativos no setor cultural
Revista Brasileira de Casos de Ensino em Administração, 2017
The case explores the emergence and strategies put in place by a network of cultural collectives to connect people and develop their objectives as well as explore the possibilities of devising better business models. It describes the emergence and evolution of a new way to promote the cultural industry.
Social innovation in the cultural sector: the case of PJE/Prodigium (Notas de Ensino)
Revista Brasileira de Casos de Ensino em Administração, 2021
This case examines the main challenges faced by Productions Jeun'Est (PJE) and Prodigium, a social enterprise operating in the cultural sector. The profits generated by Prodigium's activities in the entertainment field are invested in the PJE training program, which aims to increase the social inclusion of vulnerable youths by training them to be technicians in the cultural market. By studying this case, students are expected to understand the elements of a social business model, analyze the role of the different elements forming a social innovation, and evaluate the challenges of planning its transfer to another context.
Cadernos de Geografia, 2023
The article proposes a reflection on artistic-cultural entrepreneurship, focusing on the management of artistic and relational heritage in entrepreneurship efforts related to music. This reflection is based on case studies of two musical ventures: Bar Semente, located in Rio de Janeiro's Lapa district, and Tejo Bar, from Lisbon's Alfama. Both are on the periphery of the mainstream cultural industry and rooted in territories with a rich cultural, historical and touristic heritage. Due to their organic relationship with their surroundings, both venues have themselves become heritage assets and tourist attractions, but this process has also turned them into "targets" for predatory tourist practices that tend to create "commodified" versions of the informal and spontaneous interactions that made them famous. The paper focuses on the ways in which the entrepreneurs were able to manage the artistic and relational heritage of each place, analyzing their practices through the lens of the Effectuation approach and identifying patterns that may be useful not only for the analysis of similar cases, but also to the development of a broader conceptual understanding of how artistic endeavors can change the image and the identity of territories that already have a strongly established cultural heritage.
This report describes, discusses and assesses the process leading to the creation of the Agora Project, a business initiative, that I conceived as an MA candidate in January 2017 within the framework of the MA in Culture Studies in the Faculty of Human Sciences at the Universidade Católica Portuguesa. The Agora Project (available on www.agoraconcept.org) is an online platform that aims to be a multicultural community of female artists and art lovers, through which non-mainstream artists from diverse parts of the world exhibit, discuss and sell their work. Having been inspired by the work of thinkers and artists who have believed in the potentialities of culture as an expedient to solve conflicts and to empower people facing prejudices or threats, in this report I explore some of their key ideas to explain how they contributed to the project’s design. The report also comprises a chapter devoted to the relevance of multiculturalism to the arts and its impact on women who have fought for freedom and equality (with a special focus on Simone de Beauvoir’s ideas); four chapters on female artists from diverse cultural backgrounds (Louise Bourgeois, Frida Kahlo, Georgia O’Keeffe, and Reinata Sadimba), who, through their work, have asserted their beliefs and independence despite social constraints; and a business plan in which I explain the variables I took into account to implement the project, assess its sustainability, and its future prospects in the realm of creative industries.
New business models for Cultural and Creative Institutions
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Total integration of social media and internet into daily life of the young people is the most distinct demographic characteristics of the Generation Z (born between 1995 and 2015). For Cultural and Creative Industries and Institutions in order to engage with this audience efficiently, their business models have to consider social media and more participative approach. The paper addresses the challenges and opportunities that face cultural institutions by analysing and assessing the business models related to new internet solutions. The paper provides a fresh review of the business models in which the author examines the new business model concepts through CCII subject-matter lenses. Discussed case-studies show generally successful result in activating Generation Z audience participation in cultural activities. While trying to understand limitations of the cultural institutions position and motivation towards social media and generally mobile internet, the paper raises critical impl...
Revista Direitos Culturais
The present paper aims to draw an outline contrasting the concepts of economy of culture and creative economy, examining the theoretical debate on the current importance of the economic value of cultural goods to guide the Brazilian Cultural Public Administration and the national plan of cultural policies. Therefore, it is necessary that the Government sets guidelines for their actions through qualitative and quantitative analyses of the creative industries, without which it would continue at the stage of timely, uncoordinated and unmonitored operation. With no data, it remains impossible to assess the effectiveness of any incentives and stimuli to the creative economy and its inclusion. That includes tariff plans, programs, and funding; as it also inefficient to justify its relevance within today's cultural Brazilian Public Administration. These are the justifications for the existence of an Information System and unified indicators, which encourage municipalities, along with t...
Global Alliance members, designed to help them effectively promote cultural industries. Those engaged in cultural industries, above all in running or planning for the growth of micro and SMEs, have an urgent need for information, both on the practical aspects of their enterprise and on the broader outlook for the industry within which they are working. This need has not hitherto been well met, either because it involves independent global analysis or conversely attention to the specific concerns of micro and SMEs. Global Alliance tools will address this problem both with 'how to' guides that outline how to run SMEs successfully (writing business plans, dealing with intellectual property concerns, setting up collecting societies) and broader pieces of effective analysis on world and region wide trends in cultural industries. Other tools will provide perspectives for public policy makers that might not otherwise have been taken into account (a paper for instance comparing public policy measures in Europe and their market effect). The first in this series of tools is a set of analyses on current trends in the music industry. A main paper analysing the state of the global market for music is complemented by a set of regional studies on Latin America, South East Asia and Africa, so that local operators have a bigger picture and policy makers can formulate growth strategies that make sense both locally and internationally.
The business model prism: managing and innovating business models of arts and cultural organisations
Journal of Open Innovation: Technology, Market, and Complexity
Purpose: This paper introduces and analyses the Business Model Prism (BMP) for the arts and cultural organizations as multidimensional framework to map the "as is" structure and the logic of their business model as well as to drive the design of innovation initiatives, i.e. the "as should be" business model. The framework can be used both for descriptive and normative purposes and comprises seven facets organized and represented with a tri-dimensional prism which defines the key business components of arts and cultural organisations. Design/methodology/approach: The research design and methodology are based on a literature review on the themes of business models and business models innovation with a focus on the characteristics and features of the arts and cultural organisations. This paper has a conceptual nature and it is based on a literature review. This includes also a desk research investigation of some key examples of arts and cultural organisations that have adopted innovations to transform the way how they work and deliver value to audience. The development of the novel framework builds the foundation for applying operatively and testing it in arts and cultural organisations and supports them in mapping and transforming effectively their business model. Originality/value: Traditionally great attention the studies on business model innovation have been focused on businesses and public organisations, while rather limited attention has been paid to the investigation of how arts and cultural organisations can develop and manage their business models. Most of the attempts in this direction are aimed at contextualising, in the cultural sector, frameworks that have been devised for the business sector. Although acknowledging the relevance of these contributions, they present weaknesses related to the capacity to take into account the specific characteristics and features of the arts and cultural organisations. The originality and the value of this paper resides, then, in the attempt to fill this gap, providing a new and industry-specific framework able to effectively support the management and the innovation of the business models in the arts and cultural sector.
The Theory of the Cultural Industries: A “Milieu” for Building Dynamic Knowledge
Canadian Journal of Communication, 2014
Over the past 40 years, important work has been done on cultural industries through the close collaboration of researchers in Québec and France, to the point that it has become a question of the theory of cultural industries. In this article, I first examine the institutional contexts that have supported the development of research on this theme within French and Québécoise research groups. I then focus on discussions around the very nature of "the cultural industry" as a research object, as well as its unique characteristics. Thirdly, I address another issue of debate among the protagonists of this text, the concept of a "social logic" (or "model"). Finally, I conclude with a few open-ended questions with the goal of deepening research in this domain. KEYWORDS Cultural industry; Cultural industries theory; Social logic; Social model RÉSUMÉ Depuis une quarantaine d'années, d'importants travaux ont été effectués sur les industries culturelles en collaboration étroite par des chercheurs francophones à la fois au Québec et en France tant et si bien qu'il est dorénavant question de théorie des industries culturelles. Dans le cadre de ce texte, nous allons tout d'abord revenir brièvement sur les contextes institutionnels qui ont favorisé le développement de travaux sur ce thème au sein des équipes de recherche française et québécoise. Par la suite, nous mettrons l'accent sur les discussions consacrées à la nature même de l'objet de recherche « l'industrie culturelle », ainsi qu'à ses caractéristiques, voire ses spécificités. Après quoi, nous aborderons un autre enjeu de débat parmi les protagonistes, à savoir celui qui porte sur le concept de « logique sociale » (ou de « modèle »). Enfin, nous conclurons sur quelques questions restées en suspens en vue d'approfondir les recherches dans le domaine.