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2013/2014  KAN-CCMVU3019U  Arts Management and Cultural Entrepreneurship

English Title
Arts Management and Cultural Entrepreneurship

Course information

Language English
Exam ECTS 7.5 ECTS
Type Elective
Level Full Degree Master
Duration One Semester
Course period Spring
Changes in course schedule may occur
Wednesday 15.20-17.00, week 6-20
Wednesday 15.20-17.55, week 21
Time Table Please see course schedule at e-Campus
Study board
Study Board for MSc in Economics and Business Administration
Course coordinator
  • Søren Friis Møller - MPP
Administrative contact: Karina Ravn Nielsen - electives.lpf@cbs.dk or 3815 3782
Main academic disciplines
  • Philosophy and philosophy of science
  • Innovation and entrepreneurship
  • Management
  • Experience economy and service management
  • Organization
  • Corporate and Business Strategy
Last updated on 07-04-2014
Learning objectives
To be awarded the highest mark (12), the student, with no or just a few insignificant shortcomings, must fulfill the following learning objectives
  • The student should be able to account for the theoretical positions presented in the syllabus.
  • The student should be able to discuss the various positions in arts management and cultural entrepreneurship prensented in the syllabus.
  • The student should be able to apply the various positions prensented in the syllabus to empirical cases and discuss the consequences.
  • The student should be able to present argumentation in support of an action oriented solution to an empirical problem based on the theoretical contributions presented in the syllabus.
  • the students should be able to put concepts of art and culture into a wider societal perspective.
  • The students should be able to generate solutions to empirical problems in arts management and cultural entrepreneurship.
  • The student should be able to apply tools and models introduced during the course to empirical cases.
Course prerequisites
Arts Management:
Examination form Oral exam based on written product

In order to participate in the oral exam, the written product must be handed in before the oral exam; by the set deadline. The grade is based on an overall assessment of the written product and the individual oral performance.
Individual or group exam Group exam, max. 4 students in the group
Synopsis made in group of 2-4 students or individual.
Individual oral examination based on the synopsis.
Size of written product Max. 10 pages
Synopsis max 5 pages for 1 student.
Max 10 pages for groups of 2-4 students.
Assignment type Synopsis
Written product to be submitted on specified date and time.
20 min. per student, including examiners' discussion of grade, and informing plus explaining the grade
Grading scale 7-step scale
Examiner(s) Internal examiner and second internal examiner
Exam period May/June
Make-up exam/re-exam
Same examination form as the ordinary exam
Course content and structure

Managing artists and cultural institutions has traditionally been equal to mastering in depth knowledge of the subject matter: stage directors have become theater directors, art historians have become museum directors, music conductors have become orchestra directors, and librarians have become head librarians. Arts management in this sense, has been primarily about securing artistic quality within more or less well-defined borders, oftentimes drawing on the director's personal taste as a main source of inspiration for managerial decision making. Thus, as pointed out by Hewison (2006) 'there has been no shortage of great artists having stamped their personality onto arts institutions'.

In our postmodern, globalized era, however, knowledge of artistic subject matters and references to personal taste have shown insufficient as toolkit for arts managers. A much broader competence repertory is needed in times with increasing pressure on public and private funding, ongoing challenges from social media and new technologies, multicultural demography, and what seems to be an increasing crisis of legitimacy for cultural institutions out of sync with their time and social contexts.

During the course we'll see arts management as linked to various aesthetic claims which since the Age of Enlightenment have established arts as an autonomous position beyond the social. Yet, this positions, often referred to as 'artistic freedom' protected by the arm's length principle in most the Western world, is challenged, and arts management needs to renegotiate its position.

The course offers an insight into how arts management can renegotiate this positions in order to develop a new sensibility towards the current challenges and possible means to overcome them. We look further into the complex processes of changing arts institutions, many of which date back to the Age of Enlightenment, to bring them in line with the expectations of contemporary audiences, and to provide them with renewed societal legitimacy. We explore cultural entrepreneurship by looking into the swarm of people, who enabled by social media and new available technologies, launch themselves as artists and cultural entrepreneurs in the DIY or DIE age. And we inquire into how arts and culture are used not only as a means to pursue personal interests, but also as a driver for social innovation and business.


Teaching methods
The course will consist of dialogue based lectures, group based work on cases, and inputs from arts managers and cultural entrepreneurs.
Expected literature

Tentative literature:

Bourrieau, N.2002. Relational Aesthetics. Les Presses du réel, Dijon OBS

Chong, D. 2010. Arts Management. London: Routledge.

Eco, U., 1989. The Open Work. Harvard University Press OBS

Goffman, E. 1990. The Presentation of Self in Everyday Life. Londong: Penguin Books.
Street, J., 2011, The Popular, the diverse and the excellent: political values and UK cultural policy, Cultural Policy, vol. 17(4) 380-393
Inglis, D. & Hughson, J. (eds.),2005, The Sociology of Art, Palgrave MacMillan
Tepper, S.J. & Ivey, B. (eds.), Engaging Art The next great transformation of America's cultural life, Routledge
Varbanova, L., Strategic Management in the arts, 2013

Last updated on 07-04-2014