Local Networks: (a guide to) Reimagining the Work of Cultural Organisations

by Raluca Iacob

EUROPEAN NETWORK OF CULTURAL CENTRES Contents FOREWORD: What we mean by 'culture' 3 V.Birth of a network 22 IX.International cooperation and TRUST 22 local networks 50 Welcome 5 SIMILARITY OF STATUS AND POWER 24 HOW TO CONNECT LOCAL NETWORKS & WHO ARE YOU? 5 PROXIMITY 25 INTERNATIONAL EXPERIENCE 51 WHAT IS THIS? 6 SITUATIONS OF COMMON HOPE AND ACTION 26 LOCAL NETWORKS INTERNATIONAL COOPERATION 51 I.What is a local network? 8 VI.The Life of a network 28 INTERNATIONAL COOPERATION LOCAL GOVERNANCE 29 NETWORKS 51 II.Why are local networks IDENTITY AND IMAGE 32 interesting? 10 DEMOCRATIC MANAGEMENT 33 X.Are local networks worth it? 52 COMMUNITY ENGAGEMENT 10 SITUATIONS WHERE PEOPLE CAN TAKE CHARGE 34 SUSTAINABILITY AND PROFESSIONAL THE FEELING OF A NETWORK 35 XI.How are local networks changing DEVELOPMENT 12 cultural organisations? 54 SOCIAL CHANGE 13 VII.Triggers of change 37 OPPORTUNITIES AND CHALLENGES 37 Appendices 55 III.The context that matters 15 ACCOUNTABILITY 39 READING SUGGESTIONS 55 LIFE AND WORK TOGETHER 16 INSTITUTIONALISATION 41 A NOTE FROM THE AUTHOR 57 A WISH TO TRANSFORM SOCIETY 16 THANKS AND ACKNOWLEDGEMENTS 59 INSPIRATION AND FUNDS FOR TERRITORIAL VIII.The role of public authorities 43 COOPERATION 16 FUNDING 43 CONSULTATION AND ADVOCACY 45 IV.Network thinking 18 NEW LOCAL NETWORKS 46 MAPS OF STAKEHOLDERS 19 PROGRAMMES AND EVENTS 48 FORMS OF SOCIAL ANARCHY 21

Local networks: (a guide to) reimagining the work of cultural organisations 2 FOREWORD: What we mean by �culture�

In this guide, we regard culture as a socially- well-being and existential stance. It refers connected pursuit, a way to relate to and to audiences not as passive bystanders engage with the world of facts and the world who consume culture, but is respectful and of ideas, and to transform them while we understanding of their role in the creation of also allow ourselves to be transformed. meaning, their capacity to participate and their creative aspirations. This is not instru- Culture, especially the arts, has the power to mental culture. This is a culture that is aware affect us and our way of life by showing us a of its impact on people and communities. reflection of who we are, by making bridges This is socially-connected culture. with other ways of being, by pointing to the directions in which we are (maybe -mistak The relation between cultural rights and a enly) going, and to what matters most. vibrant, just and open society, capable of upholding the fulfilment of all human rights We see that the arts, but also the interpreta- is at the core of all cultural activities. Yet, we tion of heritage and other creative pursuits tend to talk about culture as an autonomous based on community and self-expression, field and to measure its ‘impact’ on other are always related to a certain perspective ‘fields’, and on society as a whole. Even the on life and society, which impacts people metaphor of the ‘cultural ecosystem’ sustains by leaving an imprint on their mind frame, this mirage to some degree. This analytical

Local networks: (a guide to) reimagining the work of cultural organisations 3 separation which we try to bridge as spill- aries between ‘fields of activity’, that they overs or statistical imprints of economic, unfortunately often fall between the cracks social or civic value obscures the fact that of public policies and cultural management our cultural rights are based on a conception framework scenarios. They can take the of what it means to lead a decent and enjoy- shape of cultural centres, local networks and able life, a dignified existence as humans in platforms, multisectorial nonprofit organisa- a world where diversity is recognized and tions, socially oriented businesses, informal protected. It also hides the fact that cultural groups of cultural workers and enthusiasts. activities relate fluidly to social, economic, civic and educational goals. Before they are In an effort to capture the value of social- ‘instrumentalized’ or measured for their ly-connected cultural activity, we are too ‘impact’ or ‘spillover’ effect, they are natu- often hesitant to define them as inter- or rally connected to society. transsectorial. We also struggle to identify tools to pass on knowledge from those who Any cultural experience has social, economic, already have an impact to those who wish to civic and educational facets. The way we intensify theirs. usually think about culture, as a distinct sec- tor of human activity, is not the way culture Socially-connected cultural actors are an actually takes place, because culture ‘hap- incredible asset not only for cultural ecosys- pens’ not only when it is produced, but as a tems, but for communities and whole terri- continuous experience of all those involved, tories as well, and they deserve well-tailored, from cultural workers to its audiences. specific approaches to reflect, document and transfer their functions, their experience Some actors take this relationship between and their work processes. I hope this guide is culture, people and communities more one step forward in this direction. seriously than others, and it's precisely because they cross those imaginary bound- Raluca Iacob

Local networks: (a guide to) reimagining the work of cultural organisations 4 Welcome WHO ARE YOU? formalise into a clear-cut piece of advice, that it is Telling an old story to an organisation simply ignored for the sake of clarity. that has never heard it is a step forward Learning is a life-long pursuit, but new for their learning process. Key conclusions knowledge takes time and energy, that In a world where information is abundant and small of academic studies on local network often we feel we no longer have. When organisations juggle multiple tasks, fast-changing development and other people’s our questions are practical, a guide is priorities and the agendas of their communities examples will for sure not replace the an appealing form, promising easy fixes and funders, it is hard to find money, energy and insights and practical learning that a for the challenges we face. time for more than an occasional mapping, a concrete experience of nurturing a local satisfaction questionnaire and an annual board or network can bring, but it might offer Advanced practitioners understand that a how-to members’ meeting. some ideas on what worked for others rarely tells the full story, and that in order to learn, and how, and an impulse to find out if one needs to understand the context. They indulge Most small organisations or informal arts groups do they can also work for you. in thicker descriptions and stories to reflect on; not have the needed capacity to do research; those stories that can be a source of inspiration, maybe who do tend to neglect the findings when these do even hope, and information that can bring them not confirm their wishes or their ideas. Small-scale closer to solving their managerial dilemmas. ‘What applied research - which is the type encouraged by worked?’ becomes ‘How did that work in a particu- toolkits - is likely to be used randomly and arbitrar- lar situation?’ or ‘What type of situation made that ily, depending on when it is received and who is work?’. behind it (DiMaggio and Useem, 1980). Even when research does bring drastic changes in the man- Principles can be learned and the steps can be agement of a network or an organisation, because made clear, but the implementation is always of often very brief organizational memories, such Whether you are just starting to build a local net- surprising. The role of context is crucial in learning decisions can appear discretionary when looked work, or you are already growing one, we hope you cultural management, and often it is so difficult to back at from a distance. will feel enriched by the contents of this guide.

Local networks: (a guide to) reimagining the work of cultural organisations 5 WHAT IS THIS? – Chapter 3 We discuss the ubiquitous notion of context. This is particularly important for – Chapter 5 any kind of learning about organisational Are you starting to wonder when we management, and very difficult to actually get to work on the local network? – Chapter 1 summarize. But, with the help of a solid We start by the book, with a The answer is now. We introduce the most literature review, interviews, case-studies important factors conducive to a good definition of what we mean by a and our fierce minds, we managed to pull- baseline. Think of it as a canvas to assess ’local network’. We glance at the out some key strands of relevant external your starting position. general rhetoric on local networks, conditions that matter in the life of local then talk about the different ways networks. We recommend you read and in which network(ing) appears in reflect on them before starting a local network, or if you find yourself in a crisis. common and specialised talks. – Chapter 6 – Chapter 4 This part was initially called Even more theory follows! Network governance, but then We present the two most we decided just to focus on what – Chapter 2 common perspectives works. So we brought together Why are local networks interesting, you some of the wisdom out there In might ask? Or you might not, granted that on local networks. You fact, governance is just one part you are already reading this. But you could might not notice, but in of the story, as we would also like wonder what others see in them, or what public discourse both you to consider work processes, they can really deliver. Objectively, what feelings, giving people the power makes them worthwhile? float undisturbed and to take charge, celebration of often undistinguished, success and communication. even though they tell very different stories.

Local networks: (a guide to) reimagining the work of cultural organisations 6 – Chapter 8 Here we look at public – Chapter 10 authorities and their role in We ask ourselves (and you) – Chapter 7 supporting local networks. We if local networks are worth Change is a constant in our believe they deserve a special it - a question that we consider personal lives, so why should place in our toolkit, not just a from time to time about our we assume that networks stay brief mention in the ‘context’ work in general. No existential crisis here, just a quest for the same? While we do not part. From the common funding authenticity and relevance. want to change because we & facilities bit to consultations, are bored with the way things initiation and the creation of situations that brew the are, we also do not preach – Chapter 11 emergence of local networks, To end this excursion, we take a adaptation at all costs. To we recognize the important fresh look at organisations and analyse and reflect on some role played by the public how they are changing from the of the causes of modulations administration. perspective of local networks. in the life of your network is always a good idea. Thanks and acknowledgements are in order, and we – Chapter 9 offer them fully to people and organisations that International cooperation and local helped us understand how local networks work. networks may seem like an odd couple, but they work well together. Interested to Finally, for those hungry for more, we included a list get fresh ideas on how they can reinforce of reading suggestions. Many of these were valuable each other? (Preview: no, it is not only resources for the thinking behind this toolkit and the about funding.) ideas we put forward, cited or paraphrased here.

Local networks: (a guide to) reimagining the work of cultural organisations 7 I.What is a local network?

A local network is a web of a set goal is a key assumption for this model. But cooperative, horizontal, direct and just how ‘autonomous’ can the actors of a local What are the network be? Looking at small cultural centres and foundations democratically managed relations of your local between autonomous actors active cultural organisations, research has found that network? What does on a territory. they are often themselves just a form of organised ‘local’ mean anarchy (Cohen and March, 1980) - defining prob- for you? ‘Local� can be a neighbourhood, but it may also very lematic goals, using uncertain technologies, and well be a region or even a small country, if the inter- having a fluid participation of staff in management Who does your actions happen often, the people share more or less and decision-making. Within such organisations, organisation work the same concerns and deal with a similar reality. making decisions about future projects is not a neat regularly with? and strictly rational pursuit. No matter how strong The cooperation can be continuous or periodical, the connection to the community is, and how pas- informal or formalised by a contract. sionate the members of the organisation are about their common mission, there always remains a huge Does your organisation The relations between actors of a local network space of unpredictability. usually behave in a rational, strategic and tend to be very direct, democratically-managed and Or is it more orderly way? with little to no hierarchy. This makes for the distinct New initiatives depend by and large on the available like an personality of local networks compared to other opportunities, the screams of reality and the wishes organised types of organisational structures based on coop- of those involved. Researchers describe this idea in anarchy? eration, such as consortia, alliances and platforms. a whimsical fashion: this type of organisation ‘is a collection of choices looking for problems, issues Autonomy, understood as the capacity to act inde- and feelings looking for decision situations in which pendently from each other and strategically towards they might be aired, solutions looking for issues to

Local networks: (a guide to) reimagining the work of cultural organisations 8 which they might be the answer, and decision-mak- following them other than for the sake of short- One of the commonly-used methods to analyse ers looking for work’ (DiMaggio, Useem, 1980). term projects and reporting, or are unclear as to networks is to map their constituency, pointing Their autonomy, in the broader sense, is actually their priorities. It does not mean that they are not at nodes (actors) and ties (the relations between contradicted by their usually high level of depend- capable of reaching their goals, it just shows the then). This is fine, as long as we remember that the ence on external situations. need for organic development or community-led map is not the territory, and that to understand approaches in cultural management, which are not how they work, we have to look at their drive and Enraged or enlightened by this perspective? If you born from a strictly rationalistic model of organisa- their energy generators. More importantly, a new are not a newcomer to cultural management, you tional behaviour. vocabulary and a different approach are needed. If might have noticed that between the strategic we continue to talk about networks in comparison plans, the reports addressed to funders, and the This image of the cultural organization leaves to the with organisations, we will evaluate their activities actual practice there is often a big, huge gap that is local network the task of imagining tools and meth- and their results in terms which do not fit their bridged only by discourse. ods that do not coerce their members into fitting personality. the neat and orderly functioning of formalised and The assumption that cultural organizations behave hierarchical institutions. And that suits them- per in a rational, strategic and orderly manner is just fectly, because local networks represent an extra that, a hypothesis. Many organisations do not level of organised anarchy. develop objectives with the purpose of actually

Local networks are evanescent creatures, which can develop visible contours and weight or can maintain a fog-like state. Nourished by interpersonal relations, with occasional partnerships among members, and based on reciprocity norms, information sharing and mutual trust, they are social and informal beings at their core. Sometimes, their shape gets even more crystallized, with clear coordination and governance structures, based on formal rights and responsibilities and a contract. Local networks depend on good, honest and frequent communication between actors, and a (constructed) perception of togetherness, which often, but not always, mean that they also develop a social identity - a logo, a name, a website, and an explicit goal that others can relate to.

Local networks: (a guide to) reimagining the work of cultural organisations 9 II.Why are local networks interesting?

Because they’re COMMUNITY ENGAGEMENT better at engaging communities? The local is the space where people come together Local networks are first of all networks easily and often, and networks are most of the time of people, and the sociability, personal focused on how to engage and develop the commu- empowerment and human connection Because they can help nities that share that territory. Often, the discourse are felt by those who are not directly organisations survive about local networks is so steeped in citizen engage- involved with their work as well. To them, and work well? Because they consolidate ment, mediation or audience development, that no cultural participation can provide that democracy? other option even seems possible. extra spark of engagement, become more grounded, feel less anxious about their Indeed, it is in the genes of local networks to address life conditions and be more empowered Because they support civic and social issues that involve democratisation to address social issues. interdisciplinary action and learning? and new power relations between institutions and citizens, because their very nature relies on a different attitude amongst actors. Interdisciplinar- Local networks can also involve people that are ity, information sharing, pooling of different types not members of any organisation, and give them a Because they enlarge of competences and organisational profiles and a role. They contribute to community development and diversify your less--hierarchical way of working are the essence by creating webs of dialogue and trust between audience base? Or for another reason (there of their governance, so it is natural to extend the people and with institutions, they can empower or are many)? approach towards people and communities. represent them when needed.

Local networks: (a guide to) reimagining the work of cultural organisations 10 At the same time, many cultural managers do not A focus on the diverse needs of people is a more ‘The Donut venues experience the pressures recognize that their audiences overlap – sharing successful approach to overlapping audiences, than of inequality and poor connectivity in contrast the same type of groups of people who engage competition. Collaboration (including via participa- to the prosperous core and its larger and with the cultural programme. This overlap is in fact tion in local networks) can turn infrequent attendees well-established producing organisations. an excellent base for cooperation and collective into frequent ones and non-attendees into attend- The consortium structure of the Donut Group action between organisations. Such activities can ees, enlarging and diversifying the audience base by offers the venues an opportunity to voice their range from cross-promotional efforts (the sharing reaching out to other actors’ target groups. When concerns and increase their visibility in the of mailing and subscriber lists, for example), devel- organisations share the same space, this type of city.’ opment and collaborative ventures, coordination of cooperation is much easier, even though efforts to schedules, outreach and cross-over programmes, get everyone on the same page are still needed. marketing via a single ticket purchase (e.g. cultural passports) and even shared administrative tasks (Fis- cher and Preece, 2002). Unfortunately, many organ- isations with the same (potential) audience still look at each other as competitors, even when they come Donut Group - a network from different (cultural) sectors and when they are of small-scale arts Research carried out in 2018 by Leeds 2023/ actually seen as complements of the cultural offer, organisations located Leeds City Council and Leeds University rather than substitutes or competitors. outside the city-centre showed that member organisations, in vary- ing degrees, are well-rooted in their immedi- The Donut Group is a network of small-scale ate communities, and that their work proves Once you have discovered that you’re arts organisations located outside the centre ‘the potential for producing a more equal and addressing same (potential) audiences, of Leeds (United Kingdom). It was founded in sustainable cultural provision in the city when you already have a solid ground to 2015 to connect providers and producers of small-scale cultural organizations are taken act together. This common work can cultural activity in these ‘outer city’ areas and into account.’ sometimes take the form of a local make them more sustainable. Members of network. the venues support each other informally in https://cultural-policy.leeds.ac.uk/ projects/ management, marketing and programming. the-donut-project/

Local networks: (a guide to) reimagining the work of cultural organisations 11 SUSTAINABILITY AND Organisations that develop local networks ‘ACN establishes an active cultural and arts PROFESSIONAL DEVELOPMENT for pragmatic reasons need to keep their framework for the people living in the city, staff and key collaborators mindful of the visitors, the artists and the institutions. It Local networks are a dream of collaboration where their common dream. Sharing values and functions as a link between the main cultural everyone is appreciated and given an equal saying fine-tuning goals are essential to the life institutions in Athens, offering support, solu- in the common work. But, like all dreams that meet of a network. Efficiency alone does not tions and networking. ACN promotes social reality, it needs fine-tuning and pragmatism to make have a soul. inclusion, initiates synergies and connects it work. When seeking funding for the development smaller cultural groups, acting upon the belief of a project, or when common advocacy is a goal, for- that collaboration is the key to the long-term malisation of the network is needed, as a (temporary) success of any resilient community.’ alliance or consortium, or even as a new institution. Athens Culture Net – a collaborative The network facilitates the collaboration Discussions and negotiations require time resources network and forum between very different cultural players - the of key people even more so in the nonprofit world, for arts leaders, artistic main cultural institutions, artistic groups where in order to deliver on their mission, organi- groups and collectives and collectives – and it brings them in to sations must work hard to build strong connections take part in municipal programmes and between themselves and with their various stake- Athens Culture Net (ACN) from Greece is the major cultural events. The cultural offer in holders (Boyle, 2003). city’s first collaborative network of cultural the city is promoted via a bi-annual Athens organizations, a forum for arts leaders, Culture Net guide and a website. ACN also The need to compensate for a lack of resources artistic groups and collectives to discuss helps organise artistic programming in Ath- drives many organisations to enter or found local policies, build relationships, share resources ens neighbourhoods, and acts as a bridge networks, which will only succeed only if they pro- and develop joint programming in neigh- between the cultural players in Athens and vide concrete benefits to all participants. Especially bourhoods. Founded by the Municipality of the international scene via international for those activities which are not related to artistic Athens with financial support from the Stav- events. decisions or for infrastructure (like space or equip- ros Niarchos Foundation, it has 61 member ment), sharing and pooling resources is a clever way organizations and 45 affiliate organisations. http://www.athensculturenet.com/en to be economically resourceful (Bagdadli, 2003).

Local networks: (a guide to) reimagining the work of cultural organisations 12 SOCIAL CHANGE Democracy needs the arts the baseline conditions for cultural local networks (and the humanities which they as well. Local networks have the capacity to picture a dif- anchor), for they constitute a ‘the introduction of competitiveness in the ferent world, by embodying a more democratic, crucial element in civil society’s provision of arts and culture through the trans- open and participative way of working and learning cultural infrastructure. For a fer of state institutions to not-for-profit status, together. They can be seen as prototypes of the uto- free society gains its liberty and the enrichment and strengthening of national pia of social emancipation at grassroots level, which its democratic vitality from civil culture through multiculturalism and through requires a high level of personal commitment and society, and the arts and human- international exchange and cooperation, a political approach that takes a critical stance both ities invest the civil society with the establishment of frameworks for domestic towards neoliberalism in the arts and the ’access its creativity, its diversity and its creativity and excellence in the cultural indus- to culture’ elite discourse of democracy of culture. liberating spontaneity. tries, and Local networks as actors of social change represent (Barber, 1997) a decentralization of cultural production that both the struggle for a better world and the critique balances equal access with local participation’ of the existing one. When cultural, social, educational, civic and other (Čopič and Tomc, 2000) actors come together for joint impact, it means Especially where collective action is difficult, local they have identified this common core and want networks can knit a web of trust that can go a long to infuse democratic vitality and awareness in their way. For that, reflection and a political conscience communities. are essential. Looking inwards at potential conflicts and inequalities, and outwards at the challenges Local networks need to develop specific compe- faced by the communities they serve, networks tences and a certain type of governance, and they need to decide to be either a voice that empowers grow well in a democratic political, economical and communities, or a professional association of its social context. In that sense, it is useful to look at When these conditions are absent or are still frail, actors working to promote their own cause. the conditions and changes required for the devel- the link between policy and democracy in the arts Local networks are a form of democracy, and a opment of non-profit cultural actors in societies can be itself a focus of the work of local networks, democratic society needs local networks. The which are transitioning from a totalitarian regime to which will take on the role to build that supportive same applies to the cultural world. free-democratic societies. This helps to understand political and social context.

Local networks: (a guide to) reimagining the work of cultural organisations 13 KOOPERATIVA – KOOPERATIVA is based on commonplace regional platform for connections between people. The shared culture in the Balkans belonging to the territory of ex-Yugoslavia makes understanding easier, especially KOOPERATIVA, a regional network of the since members face similar problems across independent art scene, connects artists and the territory. organisations in the Balkans. It grew from collaborations in the 90s among actors of ‘The network emerged once we became KOOPERATIVA empowers organisations the independent art scene and emerged as aware that we also wanted to also shape of the independent art sector who want to a project in 2005, after the war, when there and influence the environment in which learn, and joins forces with them in advocacy was a wave of hope, funding and expertise we operate. It was established as a new for their acknowledgement by their local available for regional collaboration, recon- structure in 2012, and the membership public authorities. In this way, they have ciliation funds, and an interest to focus on art was very diverse from the start, with a lot helped other national networks in the region for social change. The network was formally of people coming from visual arts, new be born. KOOPERATIVA actually advocates established in Croatia in 2012, because the media arts, theory and philosophy, contem- for multinational funds from the govern- legal system there allowed for 21 founding porary dance, theatre, literature, poetry. ments of the region in order to secure sus- member organisations from 7 countries, and We got together multiple times to discuss tainable funding for regional collaboration in the Croatian members had relevant funding before establishing the organisation. The the field of contemporary art. The network opportunities and the largest capacity to process took time and was always driven has one coordinator, an Assembly of the invest in the new organisation. As of 2020, the by one of us pulling it along, someone who delegates of the association members, and regional platform brings together national had resources funding, who could organise a Management Board which is composed of networks from the independent art scene, as a conference and invite people from the five members elected by the Assembly for a well as individual organisations from Bosnia region, so that we were able to advance the three year term. and Herzegovina, Croatia, North Macedonia, discussion about the most pressing regional Slovenia, Montenegro, Kosovo and Serbia. issues.’ http://platforma-kooperativa.org/en/home/

Local networks: (a guide to) reimagining the work of cultural organisations 14 III.The context that matters What is favourable to local networks in the context your We call context that sometimes organisation operates in? elusive, but strongly felt presence that is not in our individual power to People and organisations change from one day to the other, but frustrated with the current People and institutions with a good which greatly impacts our decisions. situation in our society? record of cooperation and solidarity? Consider international events, such as forums for cultural managers from all over the world. There are many still which do not encourage participants to Regular occasions to People and organisations who mention where they are based when they intervene meet and learn from are hopeful and working towards in conversations - which is the place they are work- other local networks? a better future for our society? ing in and where they are drawing their experiences from. But while this option can be rhetorically meaningful, and highlights the commonalities, we also need to remind each other that there are Available financial Any other factors? meaningful differences between our realities, our support to fund the institutions and our histories, which create different development of local terrains for cultural practices. networks?

When it comes to network formation, a social What could hinder the development environment that is conducive to networking is of local networks in the context your organisation operates in? essential.

Local networks: (a guide to) reimagining the work of cultural organisations 15 LIFE AND WORK TOGETHER Individual and collective empowerment is a crucial INSPIRATION AND FUNDS FOR socio-emotional factor, and local networks tend to TERRITORIAL COOPERATION Sharing the territory means people have lived take shape when political, economical or social con- through similar political, economical and social ditions either take a negative turn, or are given new People and organisations who join forces to act as a events, making them aware of particular ways in hopes for the advance of quality of life in society, local network might find their work to be easier and which institutions work and things get done. While the development of the cultural sector, more dem- more effective if they keep an informal structure. international work and intensified mobility develop ocratic governance processes etc. All these societal Yet, in order to obtain the funds needed for their the competency to navigate different societal changes feed into network creation by providing a work, most of the times they do need some sort environments, institutions take longer to transform. strong motive for its existence and a promise in its of organisation, be it a federation, an association, Historical commonalities and differences, work capacity to endure. a social enterprise, a cooperative or the occasional patterns, trust levels and degrees of individualism consortiums. They also need procedures that allow and collectivism in a society are important factors accountability for finances and decision-making. that can help or impede forming and maintaining a The risk, of course, is an ossification of the dynamic local network. and democratic processes.

But while managing resources can be a challenge, A WISH TO TRANSFORM most people still find this easier than working in SOCIETY a context where there is no access to funding. In countries, regions, cities or villages where there There are times when societies come to a boiling are rudimentary instruments of support for cultural point and profound changes are felt to be needed. projects and the criteria used by funders do not There are also other times when positive transfor- consider long-term partnership formation, network mations and renewed hopes for a better future take exchanges and the structuring of the cultural scene, the stage. People, communities and organisations there is no wonder local networks are very slow to navigate troubled waters, quiet seas and good winds, emerge. and local networks feed on the enthusiasm that can rise from ideals, or on the contrary from frustration.

Local networks: (a guide to) reimagining the work of cultural organisations 16 In Europe, public funding for culture is still largely much-needed and impactful local, regional, national available only as grants or subventions - directed and European cultural structures. Particularly for for projects or for the programmes of institutions. the local and regional levels, the remarkable work Even if innovation in the allocation of financial done by the Open Society Foundation, the Swiss resources is happening, it still has a long way to Cultural Programme in the Western Balkans and the acknowledge the different types of forms that living European Cultural Foundation in the space of ex-Yu- culture can take. It is not easy to put in place the goslavia at the beginning of the 2000s have sup- right administrative instruments to channel funds in ported the building of managerial capacity of an accountable and impactful way to cultural actors independent cultural organisations, directed art with different types of legal personalities. practices towards social change, and funded regional cooperation. Building on their input and Luckily, examples of inspired funding for multilateral inspiration, other local, well-connected institutions territorial cooperation, platforms and networks for emerged, with a deep commitment to regional rele- cultural activities exist, and have been happening vance and an aspiration to represent the voice of for years in Europe. They helped the growth of the cultural sector.

Even if cooperation-based projects are good training for formal local networks, they rely on different work processes and governance formats. Projects that happen in partnership are pragmatic creatures, with a limited life-span and a contractual base, where everyone has clear rights and obligations, while local networks, though they may appear similar, often remain highly informal and vague in their objectives. Likewise, a context that funds cooperation projects is not necessarily conducive to the development of local networks.

Local networks: (a guide to) reimagining the work of cultural organisations 17 IV.Network thinking Who are your personal, most reliable professional Each of us has a local network of people and organi- connections? sations who are relevant to our work, and on whom we rely. This is the most common way to understand Who are your organisation’s stakeholders? networks - the way we refer to people who stay in On the internal level? In your resource touch, who help each other, who find time to catch Which organisations providers? From the community? up now and then. All this we call networking. It pro- have you previously The cultural world? What about your vides for weak ties among people and organisations beneficiaries / audiences? worked well with? and could also be called our available connections.

A second way to understand a local network is as the web of connections between an organization Which organisations/ people and its stakeholders. The success of this type of net- do you trust most in your Which organisations have similar work depends on the capacity of the organization to professional life? status and power to yours? identify and manage the relations it has with others, with the ultimate goal of achieving its objectives, Who would it be beneficial for having more impact and being more efficient. This your organization to collaborate perspective is self-centred; it involves one organisa- with inside a local network? tion looking at how others can help it reach its goals. Which organisations work in the same place/area/ It filters the actors based on their power and on the territory as yours? legitimacy and urgency of the claims they make on Which organisations share the activities of the organization. We usually refer your way of thinking? to this type of local network as my organisation’s network, and the awareness of its existence is an

Local networks: (a guide to) reimagining the work of cultural organisations 18 important part of the work of any organisation, intentional and better relations, allowing one to MAPS OF STAKEHOLDERS public or private. Cultural organisations and institu- understand who is central and who is peripheral, tions benefit from reflecting on this, as it helps build who can be an ally and who needs to be treated a work plan to reach those that can influence their with concern. On the other hand, there is also a work. lot of richness in looking at connective structures where every actor is as important as the others. Yet a third definition of local networks looks at networks as cooperation. This is no longer about placing one organisation at the core and identifying There is a lot of little-understood its stakeholders, nor is it about its available connec- potential in becoming aware of local tions. This is an intentional process, in which actors networks as special creatures with a align around a common way of thinking or a shared fluid centre, depending on the situation, objective, and manage to accomplish together where the relation to others, the ability to much more than they would have succeeded on communicate and to exchange resources their own. Though this is a natural way of working and ideas is what matters most. in the arts world, and has been developing for more than 40 years now at European level (think of inter- national networks and platforms), when it comes to Local network formation needs to become a process the local level, there seems to be a gap in thinking in that moves from an awareness of your own local these terms about networks. connections and stakeholders, to the inception or the participation in a local network to which your Most of the time, local networks are seen as a cultural organisation belongs. tool for stakeholder management, placing one organisation in the centre. There is indeed a certain managerial value in mapping an organisation’s own network. And the capacity to discriminate among various stakeholders is needed to maintain more

Local networks: (a guide to) reimagining the work of cultural organisations 19 Stakeholder theory, the lens through which net- Stakeholder theory models the organization as a works are usually talked about, was developed in map consisting of a set of nodes (the stakeholders) corporations as a pluralistic alternative to manage- and connections between the nodes (economic, ment’s perceived role exclusively as an agent of the legal or moral claims or interests). Tschirhart (1996) firm’s stockholders. It penetrated the cultural man- places stakeholders in six categories: agement discourse once arts initiatives became internal (board, employees, volunteers), more formalised, because of the grant and subven- resource providers (funders, media, suppliers), tion management system and increased demands political environment (lobbyists, legislators), for accountability of public spending, and institu- community (interest groups), tionalisation. Thus, slowly but surely, the rigours of arts industry (associations, competitors, col- New Public Management, coupled with the neat laborators) and and tidy tools developed by the business sector, customers (advertisers, patrons). were adopted rhetorically and finally internalised. Mitchell, Agle and Wood (1997) identify three attributes for ‘picking’ from the range of potential The power of the stakeholder theory stakeholders those who are most important for a lies in its analytical sharpness; it is a tool particular organization at a particular time: for becoming aware of the environment suppliers, clients/consumers, regulators, contrac- power to influence the organisation, in order to improve the relations an tors, competitors, collaborators, and any other legitimacy of relationship with the organisation, organisation has with the most important actor who has a stake in the organization’s perfor- urgency of claim on the organisation. actors which can influence its work. mance and/or the power to affect organizational performance. A stakeholder’s claims or interests in Making such a selection among all the stakehol- an organization may be economic, legal, or moral. ders of an organisation helps define a strategy of Tschirhart’s (1996) study of the arts sector through Investigating the stakeholder-management process communication and involvement, choose who the lens of the stakeholder theory proposes this helps us to understand the varying pressures faced to address at what time and with what urgency, definition: ‘An organization’s stakeholders include by leaders in stewarding their organizations’ mis- define proper messages and channels of commu- its employees, volunteers, board members, funders, sions’ (cited in Thompson, 2001). nication, tone of dialogue etc.

Local networks: (a guide to) reimagining the work of cultural organisations 20 FORMS OF SOCIAL ANARCHY The free flow of exchange is essential to the life of the network, and to understand where the power Social anarchy offers a model of how networks form lies, one needs to look at: and work in the cultural world. It reflects the way the connections each member shares with the the creative force unravels in processes which have others (centrality), little to nothing in common with the formal path- the proportion of actual connections to total ways of organisational management. possible connections in a network (density), and The role of governance within a cultural organisation the extent to which an actor falls on the is to protect and nurture the spaces of free-move- shortest path between any two other actors ment of thinking and working that creative practi- (betweenness). tioners need. Artistic collectives, informal artistic groups and movements, networks of small cultural (Freeman 1977, 1979, cited in Wachhaus, 2012). centres, and creative independent spaces, on the other hand, are examples of structures that try to embody in most of their forms and functions the Power in networks is a function essence of artistic work-processes as social anarchy. of one’s connectedness to others and one’s ability to communicate and exchange resources with others in the network - it is not where you are, but who you know that matters. Wachhaus, 2012 Artist groups, collectives and independent cultural centres work as networks because this is the most liberating form of human collaboration and encounter. They do so by replacing hierarchy with flexible, self-organized connections for the exchange of information and ideas, with rules and structures that follow the interests and resources of the actors, are versatile and creative in their shape, and are democratically managed.

Local networks: (a guide to) reimagining the work of cultural organisations 21 V.Birth of a network

Diverse educational, civic, social and cultural partnerships are often difficult, and to bring them together in a local network is even more challenging. Work with a loose governance model and little to no hierarchy among people and organisations with different profiles, missions and discourses needs special conditions to function.

People connect spontaneously, and most networks Many of the traits that explain the formation of difficulties. Also, for those who wish to start a form from pre-existing relations among actors. networks of people also explain the creation of new network, the importance of knowing others Their failure or success depends at the beginning on networks of organisations. seems like a truism. Still, an astonishing number the type of their members, their motives and the of complex collaborative projects or networks are history of their interactions. Trust and recognition designed without any previous experience of work- of common goals are essential, and unsurprisingly, TRUST ing together with the desired partners. both the stakeholder model and the social anarchy model recognize that smaller groups are better Organisations that have often worked in partner- It is difficult to measure trust and to assess its effect for nurturing the emergence of networks. Often ships are more likely to form new and more diverse on cooperation, yet there is a scientifically-proven this also means that networks are personal and network ties and to become dominant players in wisdom that rational understanding of goals, rights dependent on the people who ignited their fire and networks, and these past experiences prove to and responsibilities alone is never enough to make are keeping them alive. be particularly important when confronted with people want to work together and share.

Local networks: (a guide to) reimagining the work of cultural organisations 22 Mugakide – a local network grown out of friendship

Mugakide is a local network in the Basque country, overlapping the borders of France and Spain, which grew from the friendship and collaboration between a French and a Spanish artist, and expanded to integrate their organisations (Bitamine Faktoria and Nekatoenea) with the aim to support artistic creation in the region. The artists worked ’When we plan something together, we Mugakide’s work is funded with European together as an artist collective before found- visit places together, we talk to the director subventions for the Euroregion, and from ing Bitamine Faktoria. After one of them together, we talk to each other afterwards. each of their organisation’s subsidies, in moved to another city, but continued to col- Because we are close and we are small, com- which they make sure to include a budget line laborate, they realised they were working as munication is easier. We meet each month, for the activity of the network. The network a network - creating events and exhibitions and we also have a creative community, so we in itself is not formalized, and for situations together, helping and supporting each other. organise joint meetings with the artists whom in which a legal structure is needed, they As they already had a common mission, they we’re working with.’ prefer to create temporary consortiums. started to make a plan, designed a logo and The core of their common work feeds from became more focused and strategic. The Local people are used to crossing the river the familiarity they share, their affinities and network between Bitamine Faktoria and that separates the city of Irun from the city of the proximity of their localities, and no other Nekatonea grew out of their friendship, their Hendaye (and France from Spain), and living legal assurances are needed for their local collaboration, and the existing confidence with different cultures is common in the network for the time being. between them. Communication and working region. They see themselves as “cross-bor- together closely, in all stages of development der people”, and this familiarity was essen- https://www.bitamine.net/c/networking/ of a project, is very important to them tial for the network to emerge and to grow. mugakide

Local networks: (a guide to) reimagining the work of cultural organisations 23 SIMILARITY OF STATUS Rural-Urban - a local rigid framework excludes a lot of people and AND POWER network in progress, jeopardises a lot of opportunities. initiated by an artist Collaboration is more likely if the actors have simi- I work with a few like-minded people as a loose lar status and power. Unfortunately, this is often Kay Sentance is an artist based in Oxford- group, who are willing to help. This core group overlooked, especially by those with less resources shire (United Kingdom) who works in shares roles like communication and funding, and impact, who are looking to establish meaningful theatre, conservation, design and architec- and each of us could take the other’s role. partnerships with much larger organisations and do ture. Her artistic drive is to ’engage people not understand why they are ignored or things do through familiar circumstances in unfamiliar As an initiator, I think it is easier to be on not turn out the way they would like to. Of course, settings, encouraging them to revisit every- the outside, and not push an institutional there are exceptions, especially when the more day situations from a different perspective’. agenda. As an organisation, you would have powerful actor makes it its strategy to develop mul- Having worked with artists from different your organisation at heart. In Oxford, for tiple partnerships with smaller ones. But as a rule, strands of the cultural world, she aspires to example, we have different such agendas, one should consider this idea when deciding where develop Rural-Urban, a self-directed local which is fair enough, however being on the to invest one’s energy, especially when the collabo- network in her area. In terms of governance, outside of this culture enables us to connect ration means working together on a topic which is Kay finds that there is a need for structure, better with multiple, well defined Organisa- peripheral to the mission of the large organisation, but that the network needs to stay as open as tions. The other important thing is to try to but essential for the smaller one. possible, in order to accommodate individual not only connect the arts organisations with profiles, but within the core team make sure one another (‘preaching to the converted’), Difference in status and power might also mean that to have people able to cover the important but to reach a wider cross-section of the what is a natural drive for most people in organisa- roles interchangingly. As initiator, her posi- ‘non-arts sector’ and therefore have a wider tions – pushing their own agenda - can seriously get tioning is close to that of a facilitator and a understanding of the influence of the Arts in in the way of developing a functional network. For ’bridge’, and not as a ’player’. other walks of life.’ some, a solution could be that the network gets ini- tiated by someone from the outside, not affiliated ’Each organisation has a different timescale http://kaysentance.com/about.htm to any of the members, but who knows everyone and set-up, resulting in the need for us to https://www.artwash.co.uk/about and is trusted by all. remain very flexible towards them. A very https://www.r-u.org.uk/

Local networks: (a guide to) reimagining the work of cultural organisations 24 PROXIMITY Replika Educational Theatre Centre – Sharing the territory, being in the vicinity, makes Cognitive proximity, the term theorists used to a cultural space that people and organisations share potential audi- express this closeness in thinking, can be nurtured relies on implicit local ences, most likely confront the same issues and be via habits and routine, either via community events and national networks exposed to similar challenges. But in order to work or writing a common strategy matching values with together and be a network, territorial proximity is action. A community of beliefs and knowledge can Replika Educational Theatre Centre from not enough. A perception of common roots – the be grown intentionally through a coherent and Bucharest (Romania) is a cultural space run ’logic of belonging’ -, and a shared system of values persistent value-based discourse, matched with by the Replika Cultural Association, whose and understanding of the local - a ‘logic of similarity’ a practice that is in tune with those same values aim is to advance social and educational are essential (Torre, 2010, cited in Arnaud, Soldo reflected in the communication. themes via professional theatre and drama and Keramidas, 2012). workshops in schools. The space came to life when the artists, who first tried to promote their ideas in an institutional frame, felt it was almost impossible to produce the type of works that they wanted to perform in a public theatre. They found that institutions fear to tackle delicate, sensitive issues which deal with the life of youngsters, and that their understanding of public cultural man- agement leaves little room for such social and educational goals.

’One of the aims of the space was to offer free entrance to all the activities in the Centre, thus improving access to culture and education for many categories deprived

Local networks: (a guide to) reimagining the work of cultural organisations 25 of those fundamental rights. The need needed resources such as space, promotion SITUATIONS OF COMMON to develop educational activities was an and expertise. Thinking along the same lines HOPE AND ACTION organic continuation of the values that the and having similar or identical values fuels artists promoted: theatre is a tool for social this long-term collaboration. Furthermore, Networks are not so much known for the efficiency emancipation, drama can create solidarity in the case of Replica, their mission revolves of their joint action, but for the impact created by and empathy, fundamental for enriching the around the concept of education, a social the free exchange of ideas and resources among young generations.’ ideal, with theatre seen as a tool towards members, and decision-making paths that allow for achieving it, which has a multidisciplinary participation and openness among actors. Even though Replika Centre develops many web of people and other organisations that theatrical and educational projects deeply believe in the same goal. This proximity of In such structures, a single and definitive point of connected to communities, it is still very hope, rather than of art forms, is seen as a coordination is not needed, and might even harm difficult for them to get public funds and to useful key for more powerful and durable the network. Instead, what works is the creation of create long-term programs. Paying the rent work as a network. situations where people and organisations can pro- and providing reasonable fees for those pose ideas for shared plans, are empowered to carry involved is challenging enough. This is one of https://centrulreplika.com/ out the initiative and invite others to join voluntarily. the reasons many independent theatre NGOs in Bucharest were born and started to work When this happens before the birth of the network, together as an implicit informal network, it helps to build trust, hope and a potential for sharing partnership agreements for funding action. Joint projects such as festivals or - confer programmes and different resources from ences, if they are organised in a collaborative way, each organisation, in order to get things can frame and fuel network formation and sustain- done. ability. When they are the result of the involvement of people and organisations from different sectors, Replika is part of an implicit local and the interplay of common values and social goals will national network, where the same people also reinforce cognitive proximity. They can even become involved in multiple projects and spark a stronger involvement in the governance of organisations, and help each-other obtain the territory.

Local networks: (a guide to) reimagining the work of cultural organisations 26 Termokiss – a Cultural experimentation and other people’s sugges- informality, Termokiss has shown political centre that puts tions, instead of trying to impose some kind clout by successfully lobbying national pub- empowerment of community ideology. For us, just having an lic administration to change its rules about and representation open space with an open agenda was a start the use of empty spaces, allowing them at the core that gathered people from different back- to be taken over by other social or cultural grounds, different regions, and different projects. In 2016, a group of young people came upon interests.’ an unfinished, abandoned concrete heating http://termokiss.space/ factory in a south-western neighbourhood Over the years, they have managed to keep https://kosovotwopointzero.com/en/ of Prishtina, in Kosovo, and decided to turn a fluid profile, in a constant state of defini- termokiss-philosophy-just-warming-up/ it into a community centre. They wanted tion, based on the needs and ideas of their both the programme and the organizing community. They talk about ‘embracing the processes to be managed by the community present’, which means embracing the cur- at large, and the space to be available for any rent (quite difficult) conditions in which they activity as long as it was non-profit. The key find themselves, and growing in the direction to this was (long) weekly meetings open to their community decides to grow. both members and non-members, where everyone had equal power to propose and Interestingly, in this network model, the decide. Board as a governance structure becomes meaningless - just a technical tool for legal ’We had to be established as an NGO, in order matters. Termokiss even considers that dis- to have proper papers and to get the support empowering its own NGO structure actually of the municipality. But that is really only encourages people to get more involved. a technical umbrella, because we decided that Termokiss would use weekly meetings Keys to this approach are mutual respect as our main organisation channel. We really and time spent on personal communication wanted to leave it as open as possible for without any technical jargon. Despite its

Local networks: (a guide to) reimagining the work of cultural organisations 27 VI.The Life of a network

What is the structure What is your coordination What communication of your General team helpful at? channels exist among Assembly meetings? your members? How do the members of your local network group together? What are the What is the On what points does your What themes/roles/clusters core values of coordination team need to vision of your What is the main create sub-groups inside the your network? improve its role? local network? role of your Board? network?

What is the What kind of reciprocity norms What signs do you look mission of your does the network have? What is the most for to know that you are local network? on the right track in your rewarding type of What is your response to a work as a local network? communication for What is the most efficient potentially damaging action your local network? type of communication for by one of your members? How does your your local network? network highlight How does Which members often come up the specific merits with new ideas for the network your network of your members? How could you to develop? Are they willing to What specific people celebrate encourage more coordinate this development? could help improve success? members to come your local network? Who are the connectors up with new ideas/ in your network? projects for the Which members often show up network? What could motivate them Who are the to join ideas proposed by others? to join the network? Who are the facilitators? bridgers?

Local networks: (a guide to) reimagining the work of cultural organisations 28 GOVERNANCE tation of the work plan, reporting to the General The Coordination Office – even if local networks Assembly. It can also work as a support structure for are free creatures, they require facilitation, nourish- Governance is all about direction and coordina- the organisation, gathering people or organisations ment and a design of the patterns of communica- tion; it speaks about the relations that are shaped which can help it grow, providing different types of tion among actors and non-actors. A small team of between actors to make the structure function resources and creating positive links to other actors. people that structures, gives impulses and pushes towards a certain goal. A board, a general assembly In the case of local networks, the decision-making the work of the network is needed. This coordina- and an administrative core are usually found in and control layer of the Board can be a burden for tion body is not in charge of running and overseeing most NGOs, but how do they work in the case of the free-flow of information and horizontal type the work processes of the local network, as in the a local network? With a flatter hierarchy and a free of decision-making that is essential to its function- case of an organisation. Its main role should be to: flow of information among actors, local networks ing. Nevertheless, it remains an essential tool for steer the discussions towards common need to put in place processes that stay true to their accountability and can be a motivating arena to points of interest; personality. gather expertise and links with third parties. maintain an understanding of the purpose of the local network as a distinct entity from its The General Assembly (GA) – described as the actors; reunion of all members of an organisation, the GA facilitate the exchange of different points of of a local network is more active than in a typical view; organisation. The life of the network depends on its keep communication lines open among capacity to facilitate communication and collabora- members; tion among all actors, so regular GA meetings are implement the initiatives that require very important in the case of an institutionalised formal accountability, for example network, especially if members find it hard to have (co)management of grant applications, regular meetings otherwise. More informal, social production and communication activities, ones overlap the GA’s role with the constant reunion finance management. of all members and a good structure of meetings, consultations, deliberations. One of the main possible challenges of any coordi- The Board – in Europe it usually has a strategic, nation office is to be clear on what projects and ini- decision-making role and it oversees the implemen- tiatives belong to the network, and what represents

Local networks: (a guide to) reimagining the work of cultural organisations 29 the work of its actors, on their own or working in get in touch with someone else from another sub- deal with both problems and opportunities (Brass, collaboration. This relation between common network or cluster. Galaskiewicz, Greve, and Tsai, 2004). They build and own initiatives results from the way the local common vision and trust between actors, make network relates to the activities of its members. The aimed result of this type of organisation is to them feel appreciated for their contribution and When this is clear, and the network deals only help the flow of resources (good vibes, information, assure them of the support they can receive in with specific tasks and activities that its members money, ideas, requests) among clusters, so that times of need. They should also include from the have delegated to it – like advocacy, or the running everyone feels the benefits of participation and a start a common decision on how to respond to a of a shared building – the challenge is quite easy. connection to others. The design of communication potential damaging action of a member. But when the network decides to address themes, channels, working groups and decision-making functions and objectives of common interest, which tools to support this result are essential tasks of Simple communication – the free exchange of overlap with the activities of members, more delib- the Coordination Office, together with the Board resources and the easy flow of information are eration is needed. (if there is one) and can also be mentioned in the essential. Direct and short paths of communication Statutes of the network. are needed. The basic is a list of emails and phone One solution is to make networks act as an imple- numbers made available among members of the mentation platform for the ideas of the members, Reciprocity norms – one of the biggest challenges is network, but the most powerful ‘tool’ is showing and to co-manage the projects with them. Another to keep the members engaged, while allowing them a will to be approached by other actors, and to way is to make a clear cut between the initiatives of to decide on the time and the resources they wish remove unnecessary bureaucratic or administrative members and the work of the network. to contribute with. Free-riding – expecting benefits obstacles that hinder the dialogue. This means that without contributing - can result in frustration. The commitment to the network needs to be present Clusters – in the case of networks with many mem- same goes for declarative enthusiasm, followed by at all levels of the organisation, including its lead- ber-actors which find it difficult to meet regularly, a lack of interest or participation. The problems ership. Good-old regular meetings that allow easy, exchange information regularly and reach decisions become more serious when one of the actors acts frank and direct communication are still the best easily, an organisation based on sub-networks in a way which is contrary to the network values or tools out there. or clusters works best. The goal of this structural brings a prejudice to the whole structure. design is to have short paths and relatively few ties among those in the same cluster or subnetwork, While there is no definitive solution, setting up and to make sure that everyone finds it is easy to joint goals and reciprocity norms can help actors

Local networks: (a guide to) reimagining the work of cultural organisations 30 Rete delle Case del izations, and working as a network helps One of their challenges is to draw a clear Quartiere - a local build partner consortiums for national-level line between the activities of the network network of funding opportunities. As most of the houses and those of its members. For some types of neighbourhood houses are hosted in buildings that belong to the activities, usually the more technical ones, city, they have a common agreement with like ‘communication, fundraising, applying Rete delle Case del Quartiere from Turin (Italy) the city administration, and they participate to European projects, the network has a is a local network of community ‘houses’ with in local policy making. Whenever the city role to play, but for other kinds of projects different statuses and administration - some has a project that needs citizen engagement, that require neighbourhood outreach, it is are run by foundation, some by associations, they consult and engage the network to not always clear. Sometimes we change others by cooperatives, but all share a core reach them. It may sometimes be difficult for our mind according to the opportunities - if idea of how to work with people. very similar organisations to come together there is a call for proposals in which just as a network, because they risk seeing each one organisation can participate, then each Over the years, as they responded to similar other as potential competitors. Community member may apply separately, so to have needs in their communities, the neighbour- houses/centres, though they have much the are more chances. In the case of fundraising hood houses realised that they had similar same mission and do comparable activities, activities, we often discuss whether to chan- founders, beneficiaries and stakeholders, keep their uniqueness because they serve nel the funds only to members, who then pay so they began to work together in order to be geographic areas that do not overlap. the network for the fundraising tasks, or if it’s more effective in serving each of their com- better for the network to also raise funds for munities. They share logistics and provide ’The Houses host cultural, artistic and its own specific work.’ each-other with specific skilled expertise, social activities; courses, workshops, family so when the local group of citizens or small services. They can be very different in their http://www.retecasedelquartiere.org/ organisations they work with come up with structure, but they rely on the same princi- https://encc.eu/resources/database/vitto- ideas in their area, each house can ‘borrow’ ples: they are based on the active participa- rio-bianco-rete-delle-case-del-quartiere- intelligence from the others. tion of local organisations and neighbours best-way-build-european-identity who propose activities each year, and they Some funding opportunities are also better are open to everybody regardless of age, addressed with larger consortiums of organ- culture or geographical origin etc.’

Local networks: (a guide to) reimagining the work of cultural organisations 31 IDENTITY AND IMAGE Rojc Alliance – They coordinate the space that can be used a network of both by members and non-members, man- Identity is important because it provides guidance organisations that age a community café, where anyone can for decision-making. shares a space organise educational activities, broadcast on the community radio, organise concerts. ‘In order to make successful Rojc Alliance from Pula (Croatia) is a local While the administrative part of managing strategic choices, a not-for-profit network of 22 organisations out of a total of the common space is dealt with by Rojc, the organization must first understand 108 who work together in the largest build- cultural programme is the responsibility of what it is and what it does.’ ing of the city dedicated to civic activities. It the individual organisations. They work in (Young, 2001, cited in Boyle, 2003) was established in 2011 to set up rules for the the frame of a public-civic partnership with cultural groups that were using the available the municipality, as a new type of adminis- Strategy is not what people write down, but what spaces, in order to build a better centre for trative governance of buildings that host the they collectively think and understand (Wells, 1998). all. In Rojc there are various organisations activity of cultural actors in Croatia. The state of indeterminacy of local networks means from different fields - sports, culture, disa- that a set-in-stone mission, vision and 3-5 years bility service providers, sport fans, scouts, Rojc Alliance engages with its members goals are not so important for its work, when looked etc. -, and the challenge is to gather them, in a predictable and strategic way, with a at from the inside. The process of negotiation and represent their interests, and help them participative planning process and annual recurrent discussion on values, intentions, needs connect and network . meetings to discuss tactics and implementa- and coming to a joint conclusion is actually the key tion. They are involved in advancing causes ingredient for a shared outlook and agreement on ‘The most important challenges we face in of mutual interest, like advocacy towards what is to be done next. Nevertheless, for outsid- our work are keeping the mission clear for policy-makers. ers, identity, image and a publicly known strategy everyone, having a good picture of where we matter, because they represent a promise made to stand in relation to that mission, and commu- https://rojcnet.pula.org/ others. Functioning as a value-reference, these help nicating face-to-face with our members as www.radio.rojc.eu stakeholders give their opinion and contribute to often as possible.’ the work of the network.

Local networks: (a guide to) reimagining the work of cultural organisations 32 DEMOCRATIC MANAGEMENT They all have in common the need to show empathy, so, we build and serve community education a mind wide open to a multitude of perspectives, processes from bottom-up, while they bring To manage a group on egalitarian principles demands interest in meeting others, good knowledge of the new ideas, people and projects, let’s say a set of competences that facilitate non-hierarchical network’s actors and of the values it is built on, a life- possibilities, through networking, into these organisation and interaction, as well as a culture of long learning approach and good facilitation skills. areas. There are formats like theatre work- support and care. In a world of increased formalisa- shops, educational guided tours, discussion tion of work in culture, where grant and subvention forums with filmmakers, discussion with management has resulted in culture organisations IKULT – an umbrella EU-politicians, interreligious dialogues, being pushed to behave like a bureaucracy, it is not network for local and webinars about the changes and challenges easy to find training programmes or situations that national actors and in volunteer work, etc.’ shape such skills. Knowledge of how to work within communities a network cannot be assumed for people that have IKULT and their projects function as an coordinated multilateral, cooperation projects. IKULT from Austria develops intercultural umbrella networking association for local projects and concepts based on participative and national actors and communities, Certain roles within the network need to be cov- networking at the intersection of education, pooling their competences and bringing the ered, but most importantly, a certain organisational culture and art. Their work relies on strong member-actors together. culture needs to prevail in the network. networks and co-creation between munici- palities; operators from the sectors of adult Their governance structure involves two Specific roles are: education, educational guidance and tour- core people who are in charge of coordina- Connectors - critical in connecting the network to ism; cultural centres; media, cultural and tion, an advisory board, and a large number other actors social institutions; and volunteers, refugees, of collaborators and networking partners. Facilitators - critical in decision-making situation, artists and musicians. Interculturality and including conflict-resolution digitalization are their main topics. The integration of new ideas and projects in Bridgers - critical in maintaining / increasing integra- educational institutions, and the develop- tion among members ‘We co-create individual community projects ment of cooperation projects are their main with local people. We provide a fine network work strategies. structure with a lot of experts and possibili- ties they can connect with if needed. In doing https://ikult.network/

Local networks: (a guide to) reimagining the work of cultural organisations 33 ‘The work is led by a project manager appointed by the Culture Committee of Gothenburg and supported by a steering group with solid representation of differ- ent artistic professions and theatres. This steering group offers a vivid and creative SITUATIONS WHERE PEOPLE network of different partners. It connects CAN TAKE CHARGE institutions and independent theatre groups in collaboration, and offers a context where Being part of a local network is a value in itself; representatives from cultural and educa- non-hierarchical common work and dialogue create Barnteaterakademin – a tional sectors as well as city districts and a web of trust and solidarity, which are markers of creative network for the administration meet. These representatives well-being in a society. growth of new drama can be changed over time, so people may for young audiences rotate, but the structure remains and is a key Local networks need a rich investment of time to the sustainability of the network.’ and energy from its member-actors, and require Barnteaterakademin (The Children’s Thea- a type of management which is not coercive, nor tre Academy) is a non-profit project based Shared responsibility in the steering group too formalised, in order for information to flow and in Gothenburg (Sweden), which supports means the members are engaged, and coop- for people to feel appreciated and included, and new drama for young audiences. It connects eration and networking within the network develop a sense of belonging. different actors from the field of children’s give both smaller and larger institutions the culture and offers a space for reflection and opportunity to develop their competence and This type of management should aim to create research. Mainly funded by the Culture Com- repertoire. Also, being part of the network situations where people are invited to step forward, mittee of Gothenburg, Barnteaterakademin means they are reaching a wider audience propose new projects and ideas to the others and is politically initiated and has a lean organ- through their artistic activities. facilitate this common work, with care to prevent isation, well-rooted in the local and regional both burnout and free-riding. theatre fields. http://www.barnteaterakademin.se/

Local networks: (a guide to) reimagining the work of cultural organisations 34 THE FEELING OF A NETWORK The fuel of the local network is the JADRO - an association feeling of membership in a community of of the independent By now you might have figured out that a local net- beliefs and knowledge. It can be grown cultural scene work is not just another type of organisation, but a through habits and routine, but mostly special creature, which many people would actually by encouraging work processes based on The Association of Artists Cultural Centre find difficult to work with in the beginning. The -per trust, reciprocity and a common vision. Media Artes grew from the companionship vasive discourse of hierarchy, division of work and of two young theatre professionals who felt formalisation of work processes has so permeated that the cultural life in Ohrid, their hometown the cultural world that even smaller cultural centres Celebration of success – who would think this would in North Macedonia, lacked a certain type sometimes talk about management is the same way need mentioning, but yes, often in the frenzy of of artistic practice that could really engage that a big business corporation would, and with daily tasks we forget to celebrate the effort and the young people and be more democratic and similar standards of efficiency and efficacy . When impact of our work, to organise moments to come respectful in the way cultural practitioners they fail or struggle to accommodate it, they blame together with joy and gratefulness for what we have worked with each-other. themselves for not being proficient enough or not done and the results we have achieved as a collec- being sufficiently supported to develop properly. tive. In local networks where actors do not meet Through the Art for Social Change pro- The approach is rarely questioned. often, personal connection can sometimes dry out. gramme of the European Cultural Foundation Such celebrations can keep a good vibe and energy they got in touch with other like-minded peo- A new way of working, required by a local network, flowing within the network. Sharing success is even ple, including Iskra Geshoska, a theoretician needs specific governance structures, certain roles more important, as it provides everyone a chance and cultural manager living and working to be covered and special management compe- to feel they have contributed and are recognised for in Skopje. For many years her cultural NGO tences. that. Kontrapunkt nurtured the connections and collaboration between independent cultural operators (including Media Artes) in differ- ent parts of the country. She helped create bridges between culture professionals from the ex-Yugoslav space.

Local networks: (a guide to) reimagining the work of cultural organisations 35 With the inspiration and support from peers and colleagues from the Croatian independ- ent cultural scene, JADRO was formed in 2012 as a national association, with already an experience of working bilaterally for a decade.

‘The network grew because of a feeling of needing to move beyond the border of our own country and be in touch with people from the ex-Yugoslav space, with whom we knew we shared roots, identity and a broader cultural space.’

Croatian colleagues from Pogon offered mentorship and inspiration for advocacy towards the recognition of independent culture as a provider of public culture in Mac- edonia, which led to the creation of a new model of institution: Social Cultural Space CENTRE - JADRO. JADRO is a space for the activities of the network and it works based on a co-governance model of mixed-owner- ship of public - civic partnerships. https://www.jadroasocijacija.org.mk

Local networks: (a guide to) reimagining the work of cultural organisations 36 VII.Triggers of change OPPORTUNITIES AND How does it deal with new How does it address challenges? CHALLENGES opportunities? Not every shift outside or inside of our organisations can be weathered through. A collapse of available When your network looks funding opportunities, a change of priorities decided for funding, what is it by public authorities or other stakeholders of the careful not to do? actors, a community crisis that is not in the power What are the main triggers of the network to address, personal changes in the of change in your network? lives of key people, new patterns of communication which take time to adjust to, all these can have What do the initiatives tremendous consequences on an organisation, and of your local network focus on? also on a network.

New opportunities can keep members from being How do the actions of your network active in the network and distract their attention overlap with those of its members? Does your network have from its work. This can be an effect of getting new Never? Sometimes? Often? Does a legal personality? Or your network act as a platform for its information and resources, but it can also be the not? Do you consider this members’ ideas? result of a too rapid expansion of the network. important either way? The tension between the hope of acquiring new means and the fear of losing control over one’s own resources may help to explain network growth, shrinking and change. This is sometimes the case

Local networks: (a guide to) reimagining the work of cultural organisations 37 when organizations find themselves in a local net- Cluj Cultural Centre – ‘Among the most remarkable initiatives of the work together with others whom they perceive as a collaborative Centre is the Cultural Voucher - an instru- competitors, or when external funding or partner- city platform for ment for increasing access to culture for ing conditions change dramatically. culture and urban groups with low cultural participation – and development Culture Next - Candidate Cities Network, a A good example of this is the European Capitals of platform of 15 former ECoC candidate cities Culture programme. The city that wishes to win the The Cluj Cultural Centre in Cluj-Napoca that are committed to culture-led urban title must put together a convincing programme, (Romania) mediates collaborations development.’ which relies, among others, on the commitment between different sectors and mobilises of local cultural actors. If the title is won, the city culture for social transformation and urban The projects developed within a participa- becomes a magnet for tourists and investment, development. They develop a programme tory framework during the ECoC candidacy and attracts the attention of big cultural players, that addresses strategic urban themes such are currently being implemented by a team who start to dominate the art scene. Among small as well-being, the future of work, social of 21 people and a wider local network of organisations, some will step forward and gain more inclusion, urban regeneration, and social professionals, organisations, companies resources and status. The local networks in which and structural innovation. The initiative and institutions from the sectors of culture, they are embedded must also deal with this change actually implements the entire programme research, education and urban development. in discourse, power relations, interests and funding. developed for the city’s candidacy for the Each project’s programming is done by a European Capital of Culture 2021 title - it is board of local experts and member organi- probably the only city to do so after engaging sations. Regular meetings and consultations The ECoC programme, with its preference in the ECoC bidding process without being like Concentric, Urban Dialogues and the for large events and for the cultural awarded with the title. It has 95 members: the Partial Assembly create the context for local industries, is very challenging for the Cluj-Napoca Municipality, the Cluj County actors to connect, exchange experiences independent art scene and authentic local Council and cultural institutions and organ- and define priorities and joint action. networks. They face a difficult choice isations, all the universities in Cluj-Napoca, between conforming and compromising, as well as many business clubs and clusters, https://cccluj.ro/ accepting or refusing the extra resources and civil society organisations. and attention, adapting or taking a critical stand.

Local networks: (a guide to) reimagining the work of cultural organisations 38 ACCOUNTABILITY Conflict and misunderstandings can Kulturanova - an greatly impact networks, as they are first organisation Public funding and support are essential for educa- and foremost the result of affinities and functioning as a local tion, production, promotion, touring, mediation and personal connections among people, not network training in the arts. Subventions, grants and tenders organisations. Free-riding – taking come with specific requirements of accountability, advantage of the networks’ benefits Kulturanova from Novisad (Serbia) func- a need for responsible spending and a quantifiable without pooling in resources and interest tions as a local network, and the core moti- public impact. Local networks that wish to get such in its work -, taking the lead or taking sole vation of people joining the organisation resources must conform to the legal and financial credit for common work, are just three of is strengthening the sustainability of their requirements of the available system. This puts the most common issues that can own work. The organisation grew out of the pressure on the actors and changes the relations generate tension and affect the work of a friendship of artists who knew each other between them: the need for personal and organi- network. As the structure formalizes and since university, when they wanted to work sational representation and responsibility can be the actor organisations become stronger, together to build a cultural offer different to seen as either a burden of maturity or as a choice to these questions become less important, the one existing in their city at the time. It enter another state of activity. Actors may also find yet due to the very nature of the network, developed organically and almost uninten- themselves in competition with the local network they will never become irrelevant. tionally, and took the shape of a network which they belong to. One of the typical challenges because of the way the funds were granted: faced by networks is to draw a line between the by artistic discipline. Kulturanova took causes and the projects it runs, and those claimed these artistic disciplines and organised by its members. itself around them. That meant that the organisation tried to work in six different Finally, if they wish to engage in advocacy, local artistic fields, was interdisciplinary from networks need to find a common voice, and to the beginning and had a strong ratio of col- delegate the task. This implies having a governance laborators, some of which continue to work structure and processes that the actors trust to with the organisation today. rightfully represent them.

Local networks: (a guide to) reimagining the work of cultural organisations 39 The foundation of Kulturanova was rooted We wanted to make something, to make a ex-Yugoslavia, and through those networks in the desire for change which fuelled young difference. we were able to meet people with whom people living in the countries of former later we developed collaborations in the Yugoslavia after the war in the 90s. We were proud to gather 200 young people region. Socially, at that time we were actually at our first assembly. It was a time of hope. quite a poor country, just starting to come out ‘We started when we were students just Disappointment came a bit later. of a recession, so basically you could make a out of high school. We wanted to change relatively decent living, compared to other something, find new approaches to culture Geopolitically the Balkans as a region was jobs, by doing something that you liked.’ in terms of content, that would somehow interesting for the funders because of the contextualize the reality that we were experi- reconciliation process. First of all, you had Kulturanova has relatively few formal mem- encing . It was just after the war, and we were the funds, and secondly you had the people bers, but many collaborators, who are invited the generation that was fed up with fighting willing to collaborate. That happened not to propose projects that can be implemented and the hatred that existed and still exists. only in Serbia but also in the other countries of in collaboration with the core team of the organisation. The institution perceives itself as fragile, and the people often leave quickly, as they continue their studies or pro- jects elsewhere, but the glue that binds them together is their desire to make a change in society. For members and collaborators, it offers opportunities to travel and work with different cultures, a taste of interculturalism which they feel is needed in a society where it is perceived as scarce.

http://www.kulturanova.org/

Local networks: (a guide to) reimagining the work of cultural organisations 40 INSTITUTIONALISATION As the network starts to function as a formal institu- tion, the relations between actors begin to depend Moving from an informal to a bureaucratic network not only on the active people, but also on others will most likely change the power relations and with decision-making power in their organisations. ossify the structure. In order to keep the spirit of Yet, local networks are firstly networks of people, the network alive and the flow of good energy and not organisations. Trust and affinities shared by resources smooth, actors need to trust each other some cannot be always easily transferred to others and to see the new organisation as a tool that working in the same organisation. helps them achieve their common dream, not as an objective in itself. Institutionalisation is also a political act; it repre- sents its actors and it is a reference for others. An activist local network that aims not only to be a syn- Bureaucracy brings structure and dicate of its professional actors, but also to affirm discipline, but too much order kills the and respond to the social cause of the citizens on its creative vibe. Move things slowly from territory, needs to become a platform that makes informal to formal networks, and if the them visible. motivation lies mainly in the resources you hope to obtain, consider temporary An open door for newcomers and a not-too for- consortiums and partnerships instead. mal core management team is a practical way to make networks stay accessible and to refresh their life-energy.

Local networks: (a guide to) reimagining the work of cultural organisations 41 ARTfactories/Autre(s) ARTfactories developed an intervention in the field stronger, on the local level. And pARTs – a national the city in 2012-2013, exploring the place that is something that worked for Marseille, platform for trans-local of experimentation of citizen engagement because through it we built a discussion the actions in the creation of ’new territories for the art’ local dynamics of organizations.’ in the context of the European Capital of ARTfactories/Autre(s)pARTs is a French Culture programme. Their experience is that http://autresparts.org/en/ national network grown around the con- a high density of artistic initiatives makes http://www.artfactories.net/index.php cept of the trans-local - they connect local the process of growing a local network take level initiatives and seen themselves as ’a longer: common platform for thinking, research and action, transmission and solidarity for the ’There is a need to build a common organiza- development of art centres that organize tion, to build a common feeling of recognition, their practices and experiments around the and the first reaction of this kind of actors and relationship between arts, territories and places is to distinguish themselves one from populations. the other, not to recognize in the other. The idea that they are unique and no one is like Their work in Marseille (France), which them is very common in this kind of action. is one the places from which the national What did function in Marseille in the sense network grew from, speaks of the city’s of building and awareness of the existence independent scene as ‘a little world in itself, of a local network, of a local reality, is the with a strong local network, where the cul- emergence of a process of structuring of ture of the people is rooted in this very old coordination on the national level of interme- idea of democracy. Everyone is concerned diary. By opening this community on national about the rule of the city; everyone feels they level we increased awareness of a lot of local have the right and responsibility for the city. actors of what was going on at the local level. So, this sometimes means that there is a lot The idea of this national-level community of conflict as well’. was to empower the local dynamic of making

Local networks: (a guide to) reimagining the work of cultural organisations 42 VIII.The role of public authorities

The intent to work together is natural, and should platforms and other types of associations over not need an explanation. On the other hand, certain individual actors also support the structuring of the What kinds of support do traits of the local environment can hinder or even cultural sector and the formation of networks. your public authorities offer undermine the emergence of local networks and to local networks? collaboration. Public authorities have a decisive role in nurturing the emergence of webs of trust, learning, exchange and cooperation in fragmented and competitive Where competition is the core principle cultural communities, where organizations do not Do public authorities in your area support around which resources are accessed have compelling motives to get together. local networks via funds? Facilities? and distributed, and these resources are Consultations? Do they specifically set out scarce throughout the territory, local to establish local networks? What other networks are slow to emerge, especially FUNDING kinds of support do they offer? among organisations that perceive each other as similar and, thus, in (potential) Municipalities, regional and national authorities competition. can develop funding schemes which are friendly to networks. This can be done in many ways:

What other actors in The evaluation criteria of grant proposals can play by funding local networks (through grants, your area support or such a role. When cooperation and genuine part- subventions or tenders), could support local nerships are not taken into account in the decision by funding individual organisations whose networks? to fund a project or a programme, or to evaluate the work includes taking part in the local network, work of a cultural institution, local networks have a by funding concrete projects and programmes hard life. Public consultations that favour networks, developed by the local network.

Local networks: (a guide to) reimagining the work of cultural organisations 43 Local networks can only live if the web of TanzNetzDresden - a with the content. It is diverse and pluralistic, trust is strong and the flow of resources self-governed and but still gives the administration one main circulates through their veins and reaches non-hierarchical intermediary to speak with when it comes to all the actors. They also need governance network of artists strategic strengthening and support of the structures that fit their personality, and independent dance scene.’ designing them is often a trial and error TanzNetzDresden (Germany) is a creative process, which takes time and energy. communication network that acts as a plat- Currently 31 artists are members of Tan- Often, these governance structures get form for dancers, choreographers, actors, zNetz and 80 artists are connected to it. copied from other networks or from the dance pedagogues and educators, costume They address different topics through work of other types of organisations, and stage designers, and artists in many specific working groups such as ‘festivals’, which hinders the network’s development other branches in the field of contemporary ‘new formats’, ‘cultural policies’, ‘training’, and may even create conflict among dance. It is not affiliated with a particular ‘documentation’, ‘spaces’, etc. A non profit actors. space or theatre, but dedicated to freelance organization takes care of funding admin for creators. The network represents their the network, while a salaried project coor- interests and channels them to the public dinator offers advice and technical support If public authorities care for the networks active on administration and the general public. about funding, cultural policy and communi- their territory, they need to invest in governance cation to members. Funding for the network processes that make them work. Much of the work ’For the city administration, the network comes from the Foundation for Culture of the done by local networks is about coordination, serves as an innovative tool to support the State of Saxony, from the City of Dresden and facilitation and communication. These activities, freelance dance scene in the city: not organ- the civil foundation of Dresden. which are often ignored by funders, are core for ized in any usual way, not a foundation, not a the emergence, sustainability and development of society, but a purely informal structure with http://www.tanznetzdresden.de/ the network even more than they are for regular a small management entity through a non- organisations. profit organization, which does not interfere

Local networks: (a guide to) reimagining the work of cultural organisations 44 CONSULTATION AND Consultation processes nurture mutual Belfast Visual and ADVOCACY understanding and exchange among Festivals Forums – participants, as well as an awareness helping the sectors stay In places where public authorities make it a habit to of their common values and interests. connected consider the opinions of the cultural sector in deci- Public authorities and local actors need sions about policy priorities, strategies and funding, to take into account that the skills Belfast City Council (Northern Ireland, local networks will be encouraged to emerge. needed to be a powerful and competent United Kingdom) created the Belfast Festi- voice of the sector, or to create specific vals Forum in 2009 as the city’s many festi- alliances geared at advocacy towards vals wanted to collaborate, but also because public authorities, are easier to develop in their diaries were clashing and they had networks than in singular organisations. common marketing and training needs. The administration later decided to back up the creation of a Belfast Visual Arts Forum (in Advocacy competencies, including the knowledge 2016) as well, as the sector required addi- resources about the cultural life of a territory or tional support, including to individual artists the situation of a segment of the cultural world, are and studios. costly and scarce. By pooling together resources and acting as a network, actors can be much more ’The forums help the sectors stay connected, efficient and impactful in making their voices heard. including with the city administration, which creates a good network of mutual knowledge and support. Also, joined-up approaches can save time and money, and the resources help the sectors to articulate their value to the public, to funders, and to statutory bodies.’

Both Forums meet regularly throughout the year and have their own budget provided

Local networks: (a guide to) reimagining the work of cultural organisations 45 by the city council. Key outcomes of their Council is to define a process through which NEW LOCAL NETWORKS work include: over 80 billboard sites per these Forums work as voluntary collec- year to help festivals promote themselves; tives formally established as independent Certain cultural ecosystems are so fragmented, that large flagpole banners across the city at organisations running on limited financial they need an impulse for a structuring effect to take welcome points; sector-specific training resources. place, and to create the conditions for a local net- and best practice visits; annual events and work to emerge. For public authorities, encouraging conferences with regional and national http://www.belfastcity.gov.uk/tourism-ven- the emergence of such an organisational creature is reach; purchase of resources that can be ues/culture/festivals.aspx both a policy and a political act. shared across organisations; development http://www.belfastcity.gov.uk/tourism-ven- of ‘Late Night Art’ product – packaging and ues/culture/belfast-visual-arts-forum.aspx Formulating values and a goal for such a local net- branding; a popular City Art Map and event http://jagocommunications.com/case_ work is needed, but the actual selection of actors is website, and a gallery media tour that gen- study/belfastvisualarts/ best done not by public servants, but by the com- erated over £4.1 million of media coverage. munity itself. They should be given the chance for self-management, so that the work is not designed Over the years the city council has learned as an administrative tool of public authorities. that it needs to ensure that the steering groups of the networks are empowered to Governance structures, such as the composition of make decisions and take the lead with pro- the board and the instruments for decision-making jects, so that the development comes from and accountability are important. In a highly com- grass roots, rather than be seen as a city petitive and conflict-driven sector, ensuring balance administration function. in the composition of the board or the steering committee through the supervision of public They also found that it’s important for forums authorities could work best, while in a cooperative to include those organisations that have a environment, actors could be entrusted to do this well-defined role in the cultural life of the themselves. city. From a sustainability point of view, one of the main challenges of the Belfast City

Local networks: (a guide to) reimagining the work of cultural organisations 46 Chemnitz – impulses urban development, environment and urban networks became even closer and developed towards cooperative design. cooperative formats based on participation. formats based on participation At the same time, the City of Chemnitz is ’The network that has emerged is not fixed; applying to be the European Capital of instead, the exchanges take place on differ- The city administration of Chemnitz (Ger- Culture in 2025. A Programme Council and ent levels within the framework of different many) has been bringing together cultural a Friends Association Chemnitz2025 have formats, for example the ’Jour-Fixe for Cul- and creative organisations, and developing been formed. The application process also tural Education’ (coordinated by the Cultural local networks of cultural and creative acted as a catalyst for the cultural landscape Office of the City of Chemnitz) and, since spaces and actors since two decades already. in Chemnitz. Yet another factor that has October 2018, the monthly ‘Jour-Fixe Kultur’ A cultural strategy started to be developed ignited the development of local networks (organised through the Friends Association in 2016, with a focus on the involvement of are the incidents that took place in Chemnitz Chemnitz2025) as an exemplary forum for cultural actors and stakeholders in the city’s in 2018. Chemnitz is the third largest city in exchange around selected cultural topics cultural urban development, and a clear the East of Germany, but was still relatively and the cultural and educational policies of structure and framework for such partici- unknown despite having a lot to offer. How- the city. The event format provides a plat- pation. The community was strengthened ever, the city hit the headlines in August 2018 form for representatives from the cultural through meetings, thematic focus groups when a far-right protest turned into a witch sector, politics, city administration, the local and workshops. hunt targeting refugees welcomed by the economy and residents to discuss the bid, city. International newspapers and media current issues and future prospects.’ The strategy was adopted by the municipal were suddenly able to place Chemnitz on council in 2019 and now artists, cultural the map, but the coverage did not show a full www.chemnitz.de/Kulturstrategie organisations, politicians and partners story of what Chemnitz was. ‘There are more https://chemnitz2025.de/en/friends-of- from the economy are working together of us’ was the message of a rock concert that chemnitz2025/ to implement the goals. Local networks rallied thousands of people and showed how are also closely connected with the city Chemnitz is giving space to culture, creativ- administration when it comes to topics like ity and pilot initiatives. As a result, the local

Local networks: (a guide to) reimagining the work of cultural organisations 47 PROGRAMMES AND EVENTS A programme that aims to have such a structuring Matchbox – artists, effect needs to be aware of the need to nurture the places and local people Sometimes, local networks can be a by-product of creation of webs of trusts and common experiences coming together other initiatives by public authorities. For example, not only among local actors, but also regionally, a cultural programme that brings together regional among the localities involved in the programme. Matchbox is a project of the Cultural Office interests and resources and matches them with Organizing regular events where experiences and of the Rhine-Neckar metropolitan region in skilled artists, who then dive into the community results can be shared, such as forums or confer- Germany, which matches artists from the for inspiration and co-creation, can build links which ences, will give local actors a floor to show mean- fields of theatre, dance, performance, visual are highly conducive to the emergence of local ingful results, be inspired and come up with ideas art, music and literature to towns and audi- networks. for new initiatives. While this is not yet a local-re- ences throughout the region. It targets local gional network, it makes for an excellent base for audiences and focuses on specific places, collaboration, exchange and learning. while matching them to artists of interna- tional renown, whose work radiates beyond regional and national borders.

’The starting point of each Matchbox project is a talk with the municipalities and meet- ings with new artists or collaborators from previous editions. This research phase is followed by discussions between the local authorities and the artists, to see if they can work together well (and match’). Once both sides’ involvement is confirmed, workshops with inhabitants and local cultural players are set up to identify local themes for the artists to work on. The role of the local authority is to facilitate this participatory process. After all, this unique art and culture

Local networks: (a guide to) reimagining the work of cultural organisations 48 programme is about offering citizens the Its task is to promote further economic, social chance to not only witness but experience and ecological development through close and participate in the artistic process. The cooperation with regional stakeholders, individual projects become social events, and to raise its profile. The Cultural Office creating exceptional and collective spaces, of the Rhine-Neckar metropolitan region and Matchbox is a format that invites, or even also encourages networking among cultural requires participation. This is art concerned players in the region via different platforms it with the real lives of people, taking on their coordinates, such as the Denkfest – a regular working world, turning them into subjects or gathering on different topics and challenges even protagonists.’ concerning the cultural sector, where artists and institution representatives, research- Metropolregion Rhein-Neckar GmbH is ers and politicians are invited to share and based in Mannheim (Germany) and was develop their projects and ideas together. founded in 2006 by the association Zukunft Other platforms, like the network of the Metropolregion Rhein-Neckar, Verband museums, festivals and castles – coordi- Region Rhein-Neckar and the Chambers of nated by the Cultural office –, ensure their Commerce & Industry for Rhine-Neckar, visibility by publishing a journal covering Palatinate and Darmstadt. It is a regional their activities and cooperation. organisation which exists outside the tradi- tional administrative hierarchy and occupies https://www.matchbox-rhein-neckar.de/ a position between the region’s city, district english/ and state authorities. https://en.m-r-n.com/

Local networks: (a guide to) reimagining the work of cultural organisations 49 IX.International cooperation and local networks

What international examples Who in other countries Whose situations are you help you work better inside shares your network’s When joining projects expert about on your your local network? interests? Who do you with international territory? What concerns wish knew more about organisations who want can you be a relevant your local network? to work on your territory, advocate for? what themes make you an especially important partner? Who inspires your work What in your practice What concerns do you in the local network? is interesting to others, raise awareness about internationally? among people in your territory? Whose voices or situations could your local network represent on the What local concerns have you At what international international level? managed to raise awareness about events could you amongst international operators? present the work of If you were to organise your network? an event to introduce international experiences to members of your network, What international projects that you joined what would the topics be? influenced your work in your local network?

Local networks: (a guide to) reimagining the work of cultural organisations 50 HOW TO CONNECT LOCAL NETWORKS INTERNATIONAL LOCAL NETWORKS & INTERNATIONAL COOPERATION INTERNATIONAL EXPERIENCE COOPERATION LOCAL NETWORKS

Be curious and document international expe- Provide expertise on the territory Provide expertise on topics relevant to the riences Represent the voice of a certain cultural context community Get in contact with professionals from other in the international dialogue Represent an outside view on the issues of the countries who share the same interests – Invite Protect the interests of local actors and citizens community them to join your initiative in the face of globalisation Promote ideas, people and works from other Let yourself be inspired by their example, but Promote ideas, people and works from the local networks to the existing territory adapt it to your needs territory to the international realm Offer new experiences for the community Think about how your practice can be presented Host cultural practitioners, artistic works from Create an awareness of the relevance of global to inspire others, internationally other parts, and create new experiences with concerns to the local network Promote your experience and results interna- them for the community Sustainability tionally Amplify the voice of your community and raise Contribute to capacity-building of different NGOs Create situations in which actors of your local their problems and issues to a level where more and individuals through experience sharing network can benefit from international coop- impact can be made eration (for example, by inviting international Improve financial sustainability performances that you worked on to be pre- Contribute to capacity-building of different NGOs sented in your locality and inviting the members and individuals through experience sharing. of your local network to a dedicated meeting with the international actors, or selecting some of the members to take part in international events that you are co-producing) Develop new projects with international part- ners, which can influence the local network

Local networks: (a guide to) reimagining the work of cultural organisations 51 X.Are local networks worth it?

What are the things members are The big question is whether to Together, these create a frame that can help avoid most delighted to get out of the come to a network with a very clear unproductive partnering efforts. participation in their local network? objective, or rather with a looser defined benefit in mind. In choosing Rather than doing a formal evaluation of whether one perspective over the other, it networks meet the objectives they set, it can be Finding out about would be wise to understand that useful to, look at their different types of impact on different work practices that they might adopt? measuring performances assumes their members (Brass, Galaskiewicz, Greve, and that organizations are rational, Tsai, 2004): goal-seeking and future-oriented (Gilhespy, 2001), which often is not Imitation. Network ties are good wires of Getting new information in fact the case, especially when salient and trusted information, that is likely to that is important to their work, and being able to dealing with local networks. affect behaviour, and even mimetic adoption discuss it with peers? of practices; In deciding whether it is worth it to be part of a Innovation. Organisations that stay in touch network or to initiate one, it’s essential to look at gain from knowledge spillovers , especially if Pooling and the relations between the actors – their profile, the actors do not perceive each other as being exchanging their motives and their common history. These in competition; resources that make them more Or something are good indicators of how much they are open Organisation survival and performance. else? sustainable and and able to work collaboratively, to transform Pooling and exchanging resources for shared impactful? themselves in order to accommodate an extra layer impact and better individual results is a way to of decision-making when it comes to their work. deal with the fragile condition of many cultural organisations.

Local networks: (a guide to) reimagining the work of cultural organisations 52 A pile of literature on project and organisational evaluation exists. For the cultural world, though, much of it is not relevant. It can make local net- works seem inefficient and disorderly and may instruct them to adopt a reference system which is in fact alien to their way of working. Alternative ways of evaluation - methods and tools – are avail- able, though. One of them is to create occasions that encourage ‘personal sense-making and regular attempts to stand back and consider how principles and practice were coming together as projects unfolded’ (Kay, 2000).

Local networks: (a guide to) reimagining the work of cultural organisations 53 XI.How are local networks changing cultural organisations?

For artists and communities, orga- When division of labour is not entirely possible, the Such structures are most often built by the people nisations act as a set-up that frames border between an organisation and its environ- responsible for management-related processes, creative processes, is able to respond ment tends to be rather frail. In such contexts, local not by those with the cultural-creative roles in the to the legal and financial constraints networks may actually develop because people find actors’ organisations and communities. Never- of society and to function in a market it difficult to specialise. By working as a local net- theless, this split can make little sense in cases of economy. Cultural managers and pro- work, they can exchange skills and roles and avoid small cultural organizations where artists or cultural ducers have the task to create a space the burn-out and amateurism that emerges from educators also need to act as managers, yet the of freedom for artistic processes to multi-tasking. challenge there is even heavier: how to balance happen unhindered by administrative the perspective of the manager with that of the formalisation. creative practitioner? Some advanced and diverse Informal local networks are best defined local networks manage to bridge artistic practice Many small organisations do not have the needed not as a form of cooperation among with civic, social or educational practices to deliver resources to attract enough professionals to handle organisations, but as meta-organisations, intersectional initiatives, but most of them just communication, management, financial adminis- covering a diversity of functions and create a multidimensional programme which is a tration, production and planning. Multitasking is a profiles which are in dialogue - a constant puzzle of their profiles. reality in the world of small cultural centres, as it is process of negotiation and exchange of in many youth, educational, civic and social organ- resources - and which support each other isations. in order to survive.

Local networks: (a guide to) reimagining the work of cultural organisations 54 Appendices READING SUGGESTIONS Arnaud, Charlène; Soldo, Edina; Keramidas, Olivier, Boyle, Stephen, ‘Achieving Community Ownership: The ‘Renewal of Territorial Governance Through Cultural Case of a Regional Symphony Orchestra’, International Events: Case Study of the Picasso-Aix2009 Cultural Journal of Arts Management, Vol. 6, No. 1, 2003, HEC - Season’, International Journal of Arts Management, Vol. Montréal - Chair of Arts Management, pp. 9-18 15, No. 1, HEC - Montréal - Chair of Arts Management, Brass, Daniel J.; Galaskiewicz, Joseph; Greve, Henrich 2012, pp. 4-17 R.; Tsai, Wenpin, ‘Taking Stock of Networks and Organ- Bagdadli, Silvia, ‘Museum and Theatre Networks in Italy: izations: A Multilevel Perspective’, The Academy of Determinants and Typology’, International Journal of Management Journal, Vol. 47, No., Academy of Man- Arts Management, Vol. 6, No. 1, HEC - Montréal - Chair agement, 2004, pp. 795-817 of Arts Management, 2003, pp. 19-29 Cappetta, Rossella; Manzoni, Beatrice; Salvemini, Sever- Barber, B.R., Serving Democracy by Serving the Arts and ino, ‘Value Drivers for Cultural Events: Empirical Evidence the Humanities. Washington: President’s Committee on From Italy’, International Journal of Arts Management, the Arts and the Humanities, 1997 Vol. 12, No. 2, HEC - Montréal - Chair of Arts Management, 2010, pp. 4-16 Beirne, Martin; Knight, Stephanie, ‘The Art of Reflective Management: Dramatic Insights from Scottish Commu- Čopič, Vesna; Tomc, Gregor, ‘Threat or Opportunity? nity Theatre’, International Journal of Arts Management, Slovenian Cultural Policy in Transition.’ Journal of Arts DiMaggio, Paul; Useem, Michael, ‘Small-Scale Policy Vol. 6, No. 2, HEC - Montréal - Chair of Arts Management, Management, Law and Society, Vol. 30, nr. 1, 2000, pp. Research in the Arts’, Policy Analysis, Vol. 6, No. 2, Uni- 2004, pp. 33-43 42-52 versity of California Press, 1980, pp. 187-209

Bendixen, Peter, ‘Skills and Roles: Concepts of Modern Dewey, Patricia; Rich, J. Dennis, ‘Developing Arts Fischer, Timothy C.G.; Preece, Stephen B., ‘Evaluating Arts Management’, International Journal of Arts Man- Management Skills in Transitional Democracies’, Inter- Performing Arts Audience Overlap’, International Jour- agement, Vol. 2, No. 3, 2000, pp. 4-13 national Journal of Arts Management, Vol. 5, No. 2, HEC nal of Arts Management, Vol. 4, No. 3, HEC - Montréal - Montréal - Chair of Arts Management, 2003, pp. 15-28 - Chair of Arts Management, 2002, pp. 20-32

Local networks: (a guide to) reimagining the work of cultural organisations 55 Freeman, Linton, ‘A Set of Measures of Centrality Based on Newman, Tony; Curtis, Katherine; Stephens, Jo, ‘Do com- Wachhaus, T. Aaron, ‘Anarchy as a Model for Network Betweenness’, Sociometry, vol. 40, No.1, 1977, pp. 35-41 munity-based arts projects result in social gains? A review Governance’, Public Administration Review, Vol. 72, No. of the literature’, Community Development Journal, Vol. 1, Wiley on behalf of the American Society for Public Freeman, Linton, ‘Centrality in Social Networks: Concep- 38, No. 4, Oxford University Press, 2003, pp. 310-322 Administration, 2012, pp. 33-42 tual clarification’, Social networks, vol.1, No. 3, 1979, pp. 215-239 Lord Puttnam; Frye, Michael, ‘Partnerships as drivers for Weinstein, Larry, ‘The Design, Implementation and change’, RSA Journal, Vol. 146, No. 5487, Royal Society Management of Social Alliances for Arts- and Cul- Gilhespy, Ian, ‘The Evaluation of Social Objectives in for the Encouragement of Arts, Manufactures and Com- ture-Oriented Organizations’, International Journal of International Journal of Arts Cultural Organizations’ , merce, 1998, pp. 108-113 Arts Management, Vol. 12, No. 3, HEC - Montréal - Chair Management , Vol. 4, No. 1, HEC - Montréal - Chair of Arts of Arts Management, 2010, pp. 31-42 Management, 2001, pp. 48-57 Seitanidi, Maria May; Koufopoulos, Dimitrios N.; Palmer, Paul, ‘Partnership Formation for Change: Indicators for Wells, Stuart, Choosing the Future: The Power of Strategic Hobday, John, ‘Reality Check: Time for a Period of Transformative Potential in Cross-Sector Social Partner- Thinking, Boston: Butterworth- Heinemann, 1998 International Journal of Arts ‘Creative Consolidation’, ships’, Journal of Business Ethics, Vol. 94, Supplement 1: Management Young, Dennis, ‘Organizational Identity in Nonprofit , Vol. 5, No. 1, HEC - Montréal - Chair of Arts CROSS-SECTOR SOCIAL INTERACTIONS, Springer, 2010, Organizations: Strategic and Structural Implications’, Management, 2002, pp. 4-11 pp. 139-161 Nonprofit Management and Leadership, Vol. 12, Issue2, Kay, Alan, ‘Art and community development: the role Steikamp, Anna, ‘Network Governance’, encatcScholar, 2001, pp. 139-157 Community the arts have in regenerating communities’, European network on Cultural Management and Cultural Development Journal , Vol. 35, No. 4, Special Issue: Com- Policy education, Issue 9, 2018, see http://blogs.encatc. munity Development: Globalization from Below, Oxford org/encatcscholar/?p=2088 University Press, 2000, pp. 414-424 Torre, Andre, ‘Jalons pour une analyse dynamique des Mitchell, Ronald K.; Agle, Bradley R; Wood, Donna J., Proximités’, Revue d’Economie Régionale et Urbaine, Vol. ‘Toward a Theory of Stakeholder Identification and 3, 2010, pp. 409-437 Salience: Defining the Principle of Who and What Really Counts’, Academy of Management Review, Vol. 22, n° 4, Tschirhart, Mary, Artful Leadership, Bloomington: Indiana 1997, pp. 853-886 University Press, 1996

Morrow, Guy, ‘Creative Process as Strategic Alliance’,Inter - Thompson, George, ‘The Community Role and Manage- national Journal of Arts Management, Vol. 11, No. 1, HEC ment of a Not-For-Profit Music Centre’, International - Montréal - Chair of Arts Management, 2008, pp. 4-15 Journal of Arts Management, Vol. 4, No. 1, HEC - Mon- tréal - Chair of Arts Management, 2001, pp. 12-25

Local networks: (a guide to) reimagining the work of cultural organisations 56 A NOTE FROM THE AUTHOR a structural maladjustment. There are some important needs of the cultural ecosystem My personal work with cultural organisa- that the legal and funding regime is unable to tions, public and private, as well as with address. Artists and cultural producers have national and local level public authorities, been led to think that public culture can be has often put me in the position to reflect made to resist the transition from a welfare on the nature of cultural institutions and the model of state intervention to a more neolib- value of networking. eral one. But while this is true in respect to some areas, it is false when we refer to most. MetruCub, the NGO I co-founded seven The vitality of niche artistic forms, neglected years ago, has had a miserable time getting audiences and cultural interventions with through the situation of having to work only social and civic goals, cultural participation with grant funding, scarce service contracts in remote and underserved areas, puts them and few donations. Founded with the mission among the most vulnerable. to make a difference towards a more demo- cratic and proficient cultural management Local networks emerge as a potential solu- and policy development in terms of interdis- tion, by pooling resources and considering ciplinary policies and practices integrating oneself as part of a bigger picture. But such culture in education and social work, and a common work does not come easy for many. recognition of independent culture as public It requires a different approach to cooper- culture, it proved after a few years very diffi- ation and a set of personal skills that are cult to maintain. rarely taught in schools or universities. Local networks can also be a trap. By normalising Research and advocacy work helped me precarity and extensive dependability, they understand that what could seem to be an make people and organisations work harder individual flaw is often more a consequence of on sharing, debating and negotiating, while

Local networks: (a guide to) reimagining the work of cultural organisations 57 taking time away from other important work, such as ensuring the quality of cultural interventions.

In the end, local networks are difficult to develop and keep alive, and will not grow in all soils. The most austere cultural fields cannot grow networks. Seeds must be planted and nourished first. My work on this guide aimed to be more of an eye-opener than a tool to preach the mantra of local networks. It is my hope that it will spark more reflection and debate on how we work in culture. Do send Raluca Iacob is a cultural manager, cultural policy expert and independent researcher, me your examples, ideas and suggestions if president of MetruCub – resources for culture Association. Based in Bucharest (Romania), you want to contribute to this conversation. she coordinated, among others, the Support Culture in Education Programme, the process to design the cultural strategy of the city of Timișoara for 2014-2024, commissioned by Timișoara Municipality. As councillor to the minister of culture in 2016, she designed the national strategy for culture and heritage. Other relevant collaborations included: The Centre for Consultancy for European Cultural Programmes, the Romanian Ministry of Culture, the Administration of the National Cultural Fund, SAR – the Romanian Academic Society, the Gabriela Tudor Foundation, the Asia-Europe Foundation – Singapore, the National Network of Romanian Museums, the Romanian Federation of Community Foundations, the European Network of Cultural Centres, Da’DeCe Association. Presently she is interested in practices and policies of culture in education, in alternative models of cultural governance and in cultural networks.

ralucapop.m3culture.ro

Local networks: (a guide to) reimagining the work of cultural organisations 58 THANKS AND ACKNOWLEDGEMENTS

We show our appreciation for the time and effort put We also acknowledge the contribution of EUROCI- in developing or supporting local cultural networks, TIES, the network of major European cities. In April and finding the moments to share their most impor- 2019 they organised in Chemnitz (Germany) a Cul- tant findings with us to (in order of appearance in ture Forum on the theme of ’Cities developing and the text): Fivos Sakalis and Erifili Maroniti (Athens supporting networks of local cultural organisations’. Culture Net), Christine O’Toole (Belfast City Coun- The contribution of the cities’ representatives to the cil), Katrin Franz (Stadt Chemnitz), Rarita Zbranca event proved inspiring and led to the inclusion of (Cluj Cultural Centre), Stephan Hoffmann and Heike a special chapter in the guide and the inclusion of Zadow (TanzNetzDresde, Kultopia gemeinnützige most of their stories in the publication. GmbH), Cluny Macpherson (Leeds City Council), Yasmin Gebhard (Matchbox, Metropolregion Rhein- A special thanks goes to Piet Forger, whose knowl- Neckar GmbH), Kerste Broberg (Göteborgs Stad), edgeable and supportive comments made the guide Jules Desgoutte (ARTfactories/Autre(s)pARTs), go in the right direction in its initial steps. Katrin Reiter and Andrea Folie (IKULT.network), Jasmina Bilalovik (JADRO Association of the Inde- Lucie Perineau, ENCC Communications and Publi- pendent Cultural Scene), Helga Massetani Piemonte cations manager, proved to be the best colleague (Bitamine Faktoria), Kay Sentance (Rural-Urban one could have when dealing with such a complex self-directed network), Milica Pekic (KOOPERATIVA topic that needs to be transformed into ideas suited - regional network of the independent art scene), to the form of a guide. Her input went beyond the Milan Vracar (Kulturanova), Mihaela Michailov and communication part, and provoked serious reflec- Katia Pascariu (Replika Cultural Association), Vitto- tions and rethinking of the approach. rio Bianco (Rete delle Case del Quartiere), Vedran Stanić (Rojc Alliance), Edonis Hashani, Gent Thaci, Pajtim Krasniqi and Njomza Dragusha (Termokiss).

Local networks: (a guide to) reimagining the work of cultural organisations 59 Local Networks: (a guide to) Reimagining the Work of Cultural Organisations by Raluca Iacob March 2021

Coordination & editing: Lucie Perineau & Sara Turra This publication should be mentioned as follows: Local Proofreading: Ryan Brinkey Networks: (a guide to) Reimagining the Work of Cultural European Network of Cultural Centres Graphic design: Marine Domec & Lucie Perineau Organisations, ENCC, Brussels, March 2021. Galerie Ravenstein, 28 - 1000, Brussels, Belgium Illustration: Marine Domec (except p.58 Lucie Perineau) https://encc.eu/resources/database/local-net- [email protected] works-guide-reimagining-work-cultural-centres encc.eu

This publication is distributed free of This publication is a result of the research project The ENCC unites cultural centres across Europe for charge and follows the Creative From Hubs to Nodes, carried out in the framework of capacity building, interconnection & advocacy. Commons agreement Attribution-NonCommercial-NoD- the ENCC Next Generation project (2018-2021). erivatives (CC BY-NC-ND). You are free to reuse and The documentation for the case studies was carried share this publication or parts of it as long as you out in 2019 and reflects the reality of the cultural mention the original source. centres at that time.