STR ONGER A R T S AND CULTUR A L O R GANISATIONS FOR A GR EATER SOCIAL IMPACT

BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Report written by Paul Bogen BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

CONTENTS

6 INTRODUCTION & DEFINITIONS

12 EXECUTIVE SUMMARY

18 BACKGROUND & HISTORY Published in Sweden in 2018 by Trans Europe Halles 23 QUESTIONNAIRE & SURVEY Copyright @ Paul Bogen 2018

ISBN 978-91-981793-9-2 24 ARTS / CULTURAL CENTRES PROFILING

Author: Paul Bogen 36 PERFORMING ARTS ORGANISATIONS PROFILING Editing and coordination: José Rodríguez Design: Therese Severinsen 42 REGIONAL DIFFERENCES Photo: Trans Europe Halles and Creative Lenses Photo Archive. A38 in Budapest, Hungary, Mark Somay (p.4). Kulturmejeriet in Lund, Sweden (p.10). Schlahftof in Bremen, Germany, Jörg Lochmon (p.16). Manifatture Knos in Lecce, Italy (p24). 46 AUDIENCE DEVELOPMENT Multi Arts Center Bakelit in Budapest, Hungary (p 36). Farm Cultural Park in Favara, Italy (p.42). 50 ABOUT THE AUTHOR Creative Lenses is a four-year project, running from 2015 to 2019, that seeks to make arts and cultural 3 organisations more resilient and sustainable by improving their business models and developing their long-term strategic and innovation capacities. 52 APPENDIX To find out more about Creative Lenses and its publications, visit www.creativelenses.eu 54 DEMOGRAPHICS

64 QUESTIONNAIRE RESULTS

72 STAKEHOLDER QUESTION Creative Lenses is a project co-funded by the Creative Europe Programme of the European Union.

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsi­ble for any use which may be made of the information contained therein.

CREATIVE LENSES PARTNER ORGANISATIONS BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

ALTHOUGH THE TERM ‘INDEPENDENT’ IS OFTEN USED TO MEAN INDEPENDENCE FROM GOVERNMENTAL CONTROL OR INFLUENCE, 92% OF THE CULTURAL CENTRES AND PERFORMING ARTS ORGANISATIONS RECEIVE SOME FORM OF PUBLIC FUNDING FROM EITHER STATE, REGION 5 OR LOCAL GOVERNMENT BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Specifically, this report attempts to address Trans Europe Halles and the IETM3 a number of questions: networks) and the authors’ experience and knowledge of the sector, working as INTRODUCTION • What is the ‘DNA’ of non-governmental both a director and business manager Arts/Cultural Centres’ and Performing of and consultant/trainer for over fifty Arts organisations? Arts/Cultural Centres’ and performing AND DEFINITIONS • What are their key characteristics and arts organisations across Europe over features? the past thirty years. Although extensive, • To what extent have and do Arts/ this knowledge and experience does not Cultural Centres’ and Performing Arts cover all types and sub-sectors of Arts/ organisations innovate their Business Cultural Centres’ and Performing Arts models? organisations (for example, governmental • Are there distinctive types of Arts/ run and managed Arts/Cultural Cultural Centres’ and Performing Arts Centres’ and New Circus companies), The purpose of this report as defined in Creative organisations that have similar features so this report is not attempting to be a Lenses’ detailed project description is to outline the and so, could be grouped together and comprehensive and all encompassing ‘Definition of dimensions, features and challenges given generic profiles and names related definition of all Arts/Cultural Centres’ and to their business models? Performing Arts organisations across of the business model innovation and management • Are there major differences between Europe. Rather, it focuses on specific sub- 6 7 approaches as well as of the audience development Arts/Cultural Centres’ and Performing sectors of European cultural organisations strategies distinguishing the cultural organisation’s Arts organisations in the different related to the core target subject and involved in the project’. This brief has been developed geographical regions of Europe and if audience of Creative Lenses. yes, what are these and why? and expanded to produce an overall description and • How understood, prevalent and Definitions analysis of the current profiles of Arts/Cultural Centres’ developed is audience development and Performing Arts organisations. amongst the Arts/Cultural Centres’ A number of terms are used throughout project partners? the report, which have different definitions and meanings in different countries and The report findings and conclusions with different readers. Therefore, the are based on a combination of desktop indented meaning of these terms used in research, interviews with the project the report is explained below. partners, a survey of the members of the Trans Europe Halles network1 of European Arts / Cultural / Culture Arts/Cultural Centres’ (2015)2, a 2016 Arts as a term is primarily used in questionnaire of seventy-five Arts/Cultural English speaking countries to mean the Centres’ and Performing Arts Performance, Media and Visual Arts organisations (primarily members of together with Literature. In most

1 Trans Europe Halles is a European based network of 85 cultural centres initiated by citizens and artists. http://teh.net 2 Creative Business Models: Insights into the Business models of cultural centres in Trans Europe Halles. Trans Europe Halles 2016. 3 IETM is a network of over 500 performing arts organisations and individual members working in the contemporary performing arts. www.ietm.org BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS INTRODUCTION AND DEFINITIONS

non-English speaking countries the and cultural are primarily used throughout Performing Arts, Theatre and Dance applied to the cultural sector. One meaning equivalent term used is either Cultural or the report as defined by the third usage Performing Arts are art forms in which of it that is used much more by Performing Culture. Therefore, the term Arts/Cultural as described by Raymond Williams – the artists use their voices and/or the Arts organisations than Arts/Cultural Centres’ is used to encompass both the works and practices of artistic activity. movements of their bodies. This primarily Centres’ relates to not being a state, regional English and non-English speaking most includes Theatre, Dance and Music but can or city owned and managed institution common descriptions of the centres that Arts/Cultural Centres’ also include more contemporary forms and therefore, outside of and independent are the subject of the report. For the purposes of this report and in such as Performance Art, Live Art and New from political/artistic control. This issue is Creative Lenses, Arts/Cultural Centres’ Circus. Therefore, although this report does more relevant for organisations located in As Raymond Williams said, ‘Culture is one means functioning, multi-disciplinary (see not include Music organisations, using the Southern and Eastern Europe where the of the two or three most complicated below) centres that have some form of term Performing Arts is considered more majority of cultural organisations were words in the English language. This is so physical space and location. This is most appropriate than the term Theatre and historically and are mainly still governmental partly because of its intricate historical likely to be buildings originating from an Dance in order to acknowledge the inclusion owned and managed institutions. But development, in several European industrial or commercial heritage but can of Performing Art, Live Art and New Circus although the term ‘independent’ is languages, but mainly because it has also include new buildings, farms and even organisations, some of which were included often used to mean independence from now come to be used for important boats! As the results of this report are in the research. governmental control or influence, 92% of concepts in several distinct intellectual partially based on research on members of the Arts/Cultural Centres’ and Performing disciplines and in several distinct and the Trans Europe Network, it is also worth Performing Arts Organisations Arts organisations that answered the incompatible systems of thought. We noting that its membership criteria includes: For the purposes of this report and reports questionnaire receive some form of have to recognize three broad active in Creative Lenses, Performing Arts public funding from either state, region of 8 9 categories of usage: (i) the independent a) To be an independent and not-for-profit organisations includes Theatres, Theatre local government. And in some cases these and abstract noun which describes a centre arising from a citizen’s initiative companies, Contemporary Dance organisations would not be able to exist general process of intellectual, spiritual with a legal structure. companies, Dance Houses and venues, and function without this public funding. and aesthetic development, from C18; b) To have a multidisciplinary artistic New Circus companies, Performing and There are far more governmental owned (ii) the independent noun, whether used policy encouraging interaction between Live Art companies. Most of the included and managed Arts/Cultural Centres’ across generally or specifically, which indicates a art forms, with an emphasis on organisations produce their own work but Europe than centres that have a private legal particular way of life, whether of a people, contemporary art. some are what are known as ‘Receiving structure such as an association, limited a period, a group, or humanity in general, c) To be based in user-friendly buildings Houses’, which means that they just present company, foundation, co-operative, NGO, from Herder and Klemm. But we have preferably originating from a commercial work produced and made by others. Some etc. These include the ‘Culture Houses’ also to recognize (iii) the independent or industrial heritage. have public buildings where they present that can be found in nearly all towns and and abstract noun, which describes d) To run a high-quality artistic programme their work and the work of others and cities of the former Eastern European, the works and practices of intellectual of at least regional significance with an some do not have a building, touring and ’Communists’ countries. But these state- and especially artistic activity. This awareness of contemporary culture, presenting their work to theatres, dance run centres are not the subject or focus of seems often now the most widespread ranging from local to international art. houses and venues. Creative Lenses and are excluded from its use: culture is music, literature, painting e) To be aware of the social and political research and findings. Therefore, the term and sculpture, theater and film’.4 As the aspects of cultural actions with an Equal Independent / Non-Governmental non-governmental when used in the report majority of the reports readers will be Opportunities Policy or commitment. These terms create much confusion as just means an organisation that has a non-English speaking, the terms culture ‘independent’ has multiple meanings when private rather than public legal structure and

4 Excerpt from Raymond Williams, Keywords. Rev. Ed. (New York: Oxford UP, 1983) BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS INTRODUCTION AND DEFINITIONS

the term independent, means just artistic independence in terms of artistic practice, FROM THE RESULTS OF form and content.

OUR SURVEYS, IT COULD Multi-disciplinary BE CONCLUDED THAT THE This means more than one art form/ AVERAGE OR ‘TYPICAL’ NON- discipline being part of an organisation’s activities (production and/or presentation) GOVERNMENTAL CULTURAL and relates more to Arts/Cultural Centres’ CENTRE HAS A BUILDING OF than to Performing Arts organisations, that 2,500 SQUARE METRES LOCATED are most often single disciplinary.

IN AN URBAN AREA, PRESENTS Not-for-Profit 200 PUBLIC EVENTS A YEAR This means that the organisation has a legal TO AN AUDIENCE OF 75,000 structure where no individual or individuals will financial gain as shareholders or owners AND CURATES 50% OF ITS if it makes a profit. It does not mean that the organisation cannot make a profit but that if it does, this is re-invested in 10 11 the organisation. Often, the term profit is replaced by ‘surplus’ as in some European countries it is illegal for certain legal structures of Arts/Cultural organisations to make a profit and because this term is seen as being too closely connected with the world, values and core purpose of corporate, for-profit business. However, some organisations included in this report do have for-profit legal structures and so, this term is used to describe them. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

single art form. Being multidisciplinary brings with it additional challenges as expertise and knowledge is required across a range of art forms in programming, producing and marketing. The questionnaire results show EXECUTIVE that compared to the Arts/Cultural Centres’, more of the Performing Arts organisations have a written vision or mission that is understood and shared by all staff and have a long-term strategy. This may be because SUMMARY they are nearly all working in single art form, making it easier to have clarity on their core purpose and to plan their futures?

From the results of the survey and questionnaire it could be concluded that the average or ‘typical’ non-governmental Arts/Cultural Centre has a building of 2,500 square metres located in an urban area, presents 200 mainly performing arts, public events a year covering eight art form areas to an audience of 75,000, curates 50% of their programme, earns more from renting out space than from any other income source, has 19 staff, a budget of €1.25 million, earns 80% of their total income and has a bar of café that produces as much income as they receive in public funding! But while interesting, this information does not fully explain why the centres The results of the profiling of non-governmental Arts/Cultural Centres’ choose to do what they do and the way that they do it. 12 and Performing Arts organisations provides some interesting insights 13 into their models, structures, activities, management, finances and One of the criteria for membership of TEH is that the centres should have practices. Although there are many similarities between them, there ‘arisen from a citizen’s initiative’. This, together with the requirement are also differences in a number of areas such as their missions, that they be not-for-profit is perhaps, the most important factor that has core purpose, artistic practices and financial models. There are also influenced their models, management and innovation and creates one of regional differences due to a combination of historical, economic, the main challenges to business model innovation. Having developed out geographical and culture policy reasons. of citizen’s initiatives, most TEH centres have a political dimension to their work and working practices that is known by all but rarely admitted or But this preliminary investigation into the profiling of Arts/Cultural Centres’ externally communicated. And this ‘politics’ is clearly of a left wing, liberal and Performing Arts organisations perhaps raises as many questions and social dimension. Although the members of the network come in all and issues as it provides answers. Quantitative research results can shapes and sizes, have different programmes, structures and models, it answer many of the ‘what’, ‘where’, ‘how’ and ‘who’ questions but not is perhaps their shared ‘politics’ together with a belief in the importance always the ‘why’? For example, all TEH centres have to be multidisciplinary of and power of culture that actually unites them and is the reason as a condition of membership. But why are they? Do they have a clear why the network has survived for so long? And this political dimension reason and answer to this question and what are the consequences for is considered to be one of the key factors that influence the centres’ their models, management and work? It may be the case that their initial business models and their innovation. The reason why many people make decision to be multidisciplinary was simply based on the fact that when the decision to either establish or work in not-for-profit, non-governmental they started there was little or no other production or presentation of Arts/Cultural organisations is partially because they do not believe in or alternative and/or contemporary arts in their city or town and they wanted want to be part of the for-profit, commercial, corporate world. This is as to be open to all artists and art forms. But after a number of years the much a political as a cultural decision and through their shared values, situation in their city or town could have changed and the centres may be affects not only what they do but also how they do it and why! Even using then competing with theatres, dance-houses, music venues, galleries and the term ‘business’ is anathema to many who work in the sector, so the art-house cinemas, all of which specialise in and concentrate on just a idea of having, let alone innovating a business model, belongs to a world BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS EXECUTIVE SUMMARY

and set of values that they have consciously rejected and do not wish to Most non-governmental Arts and Cultural organisations in Europe rely on be a part of. contributed income in order to exist and survive in the form of public or private funding. Because of this, many have what could be described a But this is not necessarily the view of all who work in the sector or who ‘funding dependent culture’, which relies heavily on being ‘given’ finance manage Art/Cultural Centres’ and Performing Arts organisations. Some of rather than having to earn it themselves. Organisations that receive the TEH members operate centres that could be described as commercial high levels of contributed income have less incentive and less need to and receive no public funding, while others main focus is entertaining innovate their business models as long as their funding continues. But the public, putting ‘bums on seats’, selling beer and earning income. And as can be seen from the survey results, on average Arts/Cultural Centres’ perhaps, this key issue of Arts/Cultural Centres’ and Performing Arts contributed income is only about 20% of their total income and 80% organisations having different visions, missions and values is the main of it is earned. As earned income cannot be guaranteed even a small factor that determines the challenges to developing their business models percentage reduction can have a major impact on an organisation’s and therefore, their attitude towards and ability to innovate them? finances, especially if it budgets to only break-even. With an annual earned income target of €1 million, just a 5% reduction in earned income With an organisation’s vision, mission and values, the key issue is whose is it would mean €50,000, that could determine if the organisation survives and who has the ownership of it? The questionnaire results showed that or not. With finances usually being so limited, arts/cultural organisations there is a difference of opinion between the Director’s/CEO’s and the staff usually having no or little capital or reserves and earned income being so on if there is an understood and shared vision within their organisation, uncertain, investing in new business innovations is often either financially with the Director’s/CEO’s believing that there is and the staff believing impossible or considered to be too risky. This lack of capital and financial that there is not. This supports the view that very often, an organisation’s instability may be one of the main reasons why many Arts/Cultural 14 15 vision is that of a single, individual leader who is often the founder. These organisations do not make radical or major innovations to their business leaders then recruit a team to deliver their vision that often, have no idea models, but rather make small and minor low risk and low cost changes to what it is or may not share it or the leader’s values. This is probably the their current models? main reason why organisation’s fail or at least do not achieve their goals, objectives and ambitions. Far too many Arts/Cultural Centres’ do not have The survey and questionnaire results show that there are geographic/ a clear, stated vision, mission or values that are produced by all of the key regional differences between Arts/Cultural organisations in Europe. people involved in the organisation and are understood and believed in by Many of these differences can be attributed to the public funding policies all of its team and key stakeholders. And if the organisation’s vision has of various countries and the levels and types of funding available. For been produced by and is owned just by its leader, what happens when example, in most of the former ‘Eastern Block’ countries public funding they depart? for non-governmental organisations is much lower than in Northern and Western Europe as a percentage of total culture funding and the majority If the vision, mission and values are those of just the organisation’s leader of it goes to public cultural institutions. Southern European countries then its business model and how it innovates could also be the sole do not have a tradition or long history of non-governmental cultural decision of and owned just by them? If this is the case then the skills, organisations as is the case in Northern and Western Europe, and as with experience and performance of the Director/CEO is the critical factor in the former Eastern Block countries, the majority of cultural funding goes determining the success or failure of the organisation’s business model. to public institutions. As non-governmental Arts/Cultural organisations The 2015, Creative Business Models project concluded that, “what was the have existed for longer in Northern and Western Europe than in Eastern most interesting lesson learnt from the case studies is that the experience, and Southern Europe, they have had longer to develop their existing skills, knowledge, motivation, energy and personality of an Arts or models and to test new models as well as having more stable and Cultural organisations leader(s), is perhaps, the most important factor in developed national, regional and local funding policies and systems. determining if it succeeds or fails”. Another major difference is the ability of and attitude of audiences/users to pay for events and activities. In the former ‘Eastern Block’, Culture was BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS EXECUTIVE SUMMARY

seen in a similar way to education and health, as a requirement and a right of all citizens. Therefore, many cultural events were either free or very low cost. This historical legacy, combined with low disposable incomes levels, makes it harder for Eastern organisations to earn high levels of earned income. Although organisations in the South of Europe do not THE LACK OF CAPITAL AND have the Eastern European political legacy, they do have relatively lower FINANCIAL INSTABILITY MAY income levels than in Northern and Western Europe. The consequence of these differences is that the Southern and Eastern organisations have BE ONE OF THE MAIN REASONS on average, smaller organisations and buildings, with much lower overall WHY MANY CULTURAL budgets, lower earned income in real terms and as a percentage of total ORGANISATIONS DO NOT MAKE income, fewer events, audiences and staff. But although they receive less public funding in real terms than the Northern and Western organisations, RADICAL OR MAJOR INNOVATIONS as a percentage of their total income it is higher. TO THEIR BUSINESS MODELS, BUT RATHER MAKE SMALL AND In terms of Audience Development, the questionnaire results from the Creative Lenses partners show that there are differences between MINOR LOW RISK AND LOW European countries as to its use, practice and understanding. For COST CHANGES TO THEIR example, in the UK it is well developed and practiced, whereas in Greece and Finland it is not well understood or practiced within the sector. 16 CURRENT MODELS. 17 Only one of the six partners questioned had any form of marketing or communications plan and most had not done any audience development projects, audience research or staff training in audience development.

The results and analysis of the profiling of Arts/Cultural Centres’ and Performing Arts organisations raises many challenges and issues for them in terms of business model development and innovation. It is questionable if many of them are ready, able and in a position to embark on such a process without first having a clear and shared vision, mission and values, a long-term strategy, relatively stable finances and the human, physical and financial resources required. It is also not clear if all Arts/Cultural organisations would actually want to do this for political and/or ideological reasons? This may just simply require changing the terminology and approach away from that of the ‘business’ world and replacing it with one that is understood and based on the values of the Arts/Cultural sector.

Therefore, perhaps what is first required is a form of ‘checklist’, written in a language that is Arts/Cultural sector-friendly, that clearly explains what organisations must have in place and what their overall situation should be before considering developing and/or innovating their business models? BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Denis de Rougemont. The Centre played 1983 leading to the formation of the Trans an important role in the establishment Europe Halles network (Les Halles de of the European Cultural Foundation and Schaerbeek / Brussels / Huset, Copenhagen BACKGROUND other European cultural associations and / Kulturfabrik, Koblenz / Melkweg, networks.6 Amsterdam / Pali Kao, Paris / Rote Fabrik, Zurich and Ny Scen Gothenburg). AND HISTORY The 1960’s then saw the advent of Arts The first real development of a cultural Labs as places of radical social and cultural industries policy was made by the Greater movements. The first, Drury Lane Arts London Council (GLC) from 1983 until Lab was an alternative space in London its abolition in 1986. This advocated for functioning from 1967 to 1969.7 It influenced a bottom-up, community led process. many arts/cultural spaces across Europe, It also advocated public investment in including the Melkweg in Amsterdam and the cultural sector for the purposes of the Entrepot in Paris. In 1969 there were 50 economic regeneration and included functioned Arts Labs in the UK including the promoting tourism or making an area Beckenham Arts Lab that was co-founded by attractive as a location for business and Arts/Cultural Centres’ education, health care and social services. David Bowie. Many Arts Centres’ developed commerce. Across much of Europe from But they often included spaces for arts and out of this Arts Lab movement although the 1990’s onwards, cultural industries crafts and venues for theatre and music. many were more community and/or craft policies became strategies to use culture 18 Early examples of Arts/Cultural Centres’ 19 in much of Europe can be traced back to based rather than radical, politicised arts for urban regeneration usually in the form initiatives established by labour movements After the Second World War, the rise of spaces. of ‘cultural quarters’ in post-industrial cities. in the late 19th and early 20th Centuries the welfare state across much of western, Take an abandoned and derelict industrial (up to the Second World War), which northern and southern Europe and public The 1970’s saw the start of the decline of area, let artists work and or live there at a were extensive in Europe. For example, In funding for arts/culture allowed for Arts/ many manufacturing industries in parts very low or zero governmental investment England they were part of Union facilities Cultural Centres’ to both be established of Europe, which increased from the cost, wait until it has become ‘cool’ and and also civic buildings called People’s and supported by the state. For example, 1980’s and beyond due to the growth of then allow developers to move in to build Palaces, in Scandinavia, Folkets Hus in 1946 the Bridgewater Arts Centre was globalisation and free-market economics, loft style, trendy housing, retail and office (People’s Houses) and in Spain Ateneos the first arts centre to open in the UK with the collapse of the ‘Eastern Block’ from units, leisure facilities and the mandatory or Casa del Pueblo’s. These initiatives Arts Council support.5 And in the Soviet 1989 and the rise of the Asian economies Starbucks cafe that will result in the emerged from the wider class and grass controlled Eastern block of European over the past two decades. This resulted gentrification of the area, pushing up prices, roots struggles, a result of reactions to the countries, every city, town and often village in many abandoned or empty, brownfield, that will ultimately lead to the artists and mass exploitation of working people within had a state-run and managed ‘Culture industrial, commercial and military sites and arts/cultural organisations being priced out the context of the industrial revolution. House’, many of which still exist today. buildings all over Europe. The Arts/Cultural and having to move on to a new area. These centres were not established as Arts/ Centres’ that formed in these abandoned Cultural Centres’, per se, but encompassed A European Cultural Centre was established sites and buildings can most probably be So, the real growth and development of a wide range of facilities not available to the in Geneva in 1950 by the European first dated to around the early 1980’s such the Arts/Cultural Centres’ that are the wider community, at the that time such as Movement run by the Swiss philosopher as the seven centres that met in March subject of Creative Lenses can be probably

6 The Penguin Companion to European Union (2012), Anthony Teasdale 7 http://www.internationaltimes.it/archive/index.php?year=1969&volume=IT-Volume-1&issue=66&item=IT_1969-10-10_B-IT-Volume-1_Iss- 5 http://www.theatrestrust.org.uk/resources/theatres/show/1264-arts-centre-bridgwater 66_016 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS BACKGROUND & HISTORY

be dated from the early 1990s, linked in the former Eastern Bloc countries, in The work of theatre practitioners and With the expansion of the EU, its free more to the policies of urban regeneration southern Europe and countries such as companies such as Dario Fo in Italy, Jerzy movement of people, goods and services / development, cultural industries, the Finland, which developed more state-run Grotowski in Poland, the La Mama Theatre and the commencement of the first EU collapse of the Eastern Bloc and the culture provision and policies post the in New York, Augusto Boal in Brazil, Joan Culture funding programmes9 in 1996, development of public/private partnerships. Second World War. So, if one was asked Littlewood’s workshop theatre in the UK and from the mid 1990’s it became easier for to hazard an unscientific guess at the Peter Stein in Germany influenced a new companies to tour outside of their own How many Arts/Cultural Centres’ there are number of non-governmental, private generation of theatre makers and led to the countries and this cross-border touring has in Europe today is hard to estimate, as there sector Arts/Cultural Centres’ in Europe, with formation of what is now known as small- increased and been developed over the is no reliable or comprehensive information there being around 40 European countries scale touring theatre companies and the past 20 years. The EU funding programmes available on this. For the governmental (excluding principalities and those European establishment of alternative theatre spaces. Culture 2000, Culture (2007-13) and now owned and managed public centres and countries that are mainly in Asia) it could be In the 1970’s many of these companies the current Creative Europe all assisted culture houses, the European Network of somewhere between 800 to 2,000? were experimental and alternative to the the development of European theatre Cultural Centres (ENCC)8 represents 3,000 mainstream, many were highly politicized, (and dance) touring, not just through its centres through 14 national networks in 12 others focused on and worked with their financial support but also because these countries. But many European countries Performing Arts Organisations local communities and some worked in programmes required applicants to be a either do not have national networks and/ schools and colleges in what was known as partnership from at least three EU countries, or are not members of ENCC (for example, Up to the 1960’s most theatre across theatre in education. to promote artists mobility and to present France, Sweden, Portugal, Czech Republic, Europe was produced by what are known artistic works in as many EU countries Netherlands, Slovakia, Bulgaria, Romania, as repertory theatres or companies. This A Polish theatre practitioner called Tadeuz as possible. What these EU programmes 20 21 Croatia, Slovenia, Serbia, etc.). Therefore, means that the theatre has a permanent Kantor established his Cricot 2 Theatre also resulted in was companies and artists they could well be over 6,000 centres and company of actors for a season, a year or Company in Krakow in the 1960’s, which developing European-wide networks, maybe as many as up to 10,000? longer who perform a specified repertoire eventually toured its productions worldwide contacts and collaborators. This European- or work normally in rotation or alternation. from the late 1970’s. The theatre style of wide collaboration and touring was further Estimating the number of non- This system still exists in some countries, Kantor was as much visual and physical enhanced by the increasing number of governmental, private sector and multi- particularly in Eastern Europe where state as verbal and he is considered by many European theatre, dance and performance disciplinary Arts/Cultural Centres’ in Europe institutions often have a large permanent to have been the main influence for what arts festivals over the past 20 years such is probably even more difficult as apart from company of actors and technicians and can became known as ‘Physical Theatre’, which as the Nitra Theatre Festival in Slovakia, the Trans Europe Halles (that has nearly 85 full maintain a production in their repertoire for developed across much of Europe from Malta festival in Poznan, Poland and the and associate members from 28 countries) a number of years. the 1980’s. Many companies adopted Brighton Festival in the UK. there are no other European networks or and developed different forms and styles associate bodies for such centres. But as Although political theatre was popular in of physical theatre, often touring their The origins of Contemporary Dance are there are only three members or associates the 1930’s (for example, Bertold Brecht in productions to smaller theatre spaces, usually traced back to the mid 20th Century of Trans Europe Halles from the UK but Germany and the Federal Theatre Project in alternative venues as well as the growing when the American choreographer Merce well over 100 arts centres (and probably the USA), it had a resurgence in the 1960’s number of Arts/Cultural Centres’ that were Cunningham formed his own company more) in the UK, the number could be much linked to and influenced by the civil rights, being established across Europe. in 1953. In Europe, The Nederlands Dans higher. For political and historical reasons student, political and liberation movements Theater was founded in 1959 and The there are fewer non-governmental centres in the USA and in much of Europe. London Contemporary Dance school

8 http://www.encc.eu/index.php?lg=de 9 These were called Kaleidoscope, Ariane and Raphael and ran from 1996 to 1999. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS BACKGROUND & HISTORY

in 1966. In the 1970’s in Germany, the Inspired by Dada, Futurism and Bauhaus, choreographer and performer Pina Performance Art was developed in the Bausch became the artistic director of late 20th Century by fine artists, who in a the Wuppertal Opera ballet (later becoming rejection of traditional objects and markets, QUESTIONNAIRE known as the Tanztheater Wuppertal turned to their bodies as both the site and Pina Bausch) and her unique style of the material of their artistic practice. Often dance-physical theatre influenced many combining visual with performing arts, it AND SURVEY choreographers and companies (both in is interdisciplinary, can be cscripted or dance and theatre). spontaneous, is experimental and often examines and subverts the relationship As part of the research for this report 75 respondents were the organisations CEO’s. Contemporary Dance companies tour to between the artists and the audience. It is Arts/Cultural Centres’ and Performing Arts 10 of the respondent organisations were venues, platforms and festivals across also always live. organisations from 30 European countries from Western Europe, 6 from Eastern Europe in a similar way to small-scale completed a brief online questionnaire Europe, 6 from Northern Europe and 3 from theatre companies and are also able to Live Art, influenced by Performance Art between October 2015 and February 2016 Southern Europe. apply for EU funding, although there are and by artists wanting to break down the (this is included as Appendix 1). fewer dance companies than theatre expectations, notions and conventions of As part of its Creative Business Models companies across Europe and the audience traditional theatre, developed from the The respondents included 50 Arts/ project (2015) Trans Europe Halles for dance, although growing in some start of the 21st century. The term Live Art Cultural Centres’ and 25 Performing conducted a survey of 45 of its members, countries is smaller than that for theatre. is not used to describe an art form but a Arts organisations. Of the 50 Arts/ Arts/Cultural Centres’ from 27 European 22 23 New Circus in Europe (sometimes called process and practice of experimentation. Cultural Centres’, 33 or 66% were Trans countries. This survey produced the Contemporary circus or Nouveau Cirque in Europe Halles members, 19 were from first information and insights about the France) started in the 1980’s influenced by Western Europe, 15 from Eastern Europe, programmes, activities, audience, business, the work of companies established in the 8 from Northern Europe and 8 from funding, finances, governance and 1970’s such as Circus OZ from Australia, Southern Europe. There were a total of organisational profiles of the TEH members Archaos and Cirque Plume in France and 59 respondents from the 50 Arts/Cultural with the sample of 45 representing 74% of Ra Ra Zoo in the UK. Together with Cirque Centres’ who completed the questionnaire the total current membership. du Soleil from Canada they created an with 9 centres having two respondents. The audience for New Circus companies, that majority of the respondents (75%) were the The 45 centres that took part in the survey produced shows using traditional circus centres CEO’s with the other 25% of the are considered to be representative of the skills with a narrative structure or theme. respondents being employed staff working current membership of the network in terms There are now numerous New Circus in the centres. of governance, structure, location, size, companies across Europe and over 50 activities and programmes as they included annual New Circus festivals. The European The 25 Performing Arts organisations centres with a wide range of physical and Federation of Professional Circus Schools that completed the questionnaire included economic sizes, building types, locations, (FEDEC)10 founded in 1998, lists nearly 50 16 organisations working in Theatre, 6 in programmes and structures. The results New Circus schools amongst in members, Dance, 2 in Live or Performing Art and 1 in of this survey are included as Appendix located across much of Europe. New Circus. There were 26 respondents 2. Section’s 5 and 6 of this report (below) to the questionnaire with one organisation include the key findings and an analysis of having two respondents and 85% of the the questionnaire and survey results.

10 http://www.fedec.eu/en BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

ARTS / CULTURAL CENTRES’ PROFILING

25 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Former uses of buildings includes of the key people in their organisation had • 47% present or produce outdoor slaughterhouses, milk factories, power a clear and shared understanding of why festivals stations, warehouses, tobacco factories, they existed. Although 82% of the centres’ • 40% present or produce storytelling city fortifications, film studios, tram depots, CEO’s stated that all of the key people in • 29% present or produce crafts train stations, farms, sweet/candy factories, their organisation had a clear and shared • 29% present or produce comedy/ A. Key Statistics, mills, churches and synagogues. As well understanding of why they existed, only 53% cabaret Facts and Figures as buildings, two Trans Europe Halles of the centres’ non-CEO staff agreed with • 24% present or produce circus/carnival member’s centres are boats or barges. this statement. • 22% present or produce literature 1. Legal Structures 93% of centres have private as opposed to Centres’ Buildings range from 65 to 5. Programme 24% of the centres present or produce public legal structures 73,500 square metres in size. On average, the centres present 200 public 10 or more different art form types. • 54% are Associations • 20% of centres’ buildings are arts events per year: • 22% are Limited Companies up to 1,000 square metres. • 91% of these events are 6. Activities • 18% are Foundations • 38% of centres’ buildings are Performing Arts In addition to the centres’ public arts • 2% are Co-operatives from 1,001 to 2,500 square metres. • 9% of these events are visual arts programmes they also use their buildings, • 2% are partnerships • 22% of centres’ buildings are resources, skills and knowledge to trade • 2% are registered charities from 2,501 to 7,000 square metres. All centres programmes include some in and offer a wide range of goods and • 20% of centres’ buildings are form of education or participatory services, which often play an important 82% of centres primary legal structure is over 7,001 square metres. activities such as workshops, classes, financial role in their business models. 26 27 not-for-profit, 18% are for-profit. debates and lectures. On average, the 38% of centres have two or more legal Over half of the centres’ buildings are centres programme over 200 education/ 84% of the centres either have a bar, café, structures; this is primarily in order for them publicly owned: participation events per year ranging from restaurant, shop or commercial art gallery to trade (such as running a bar or cafe), • 53% of centres’ buildings are just 5 to over 10,000. in their building: which requires a for-profit structure. owned by the local, municipal or • 78% have a bar 82% of centres have a board of Directors. regional government authority. 54% of the centres curate over 50% of their • 47% have a café 54% of centres have Board Directors • 42% of centres’ buildings are programmes with the remaining 46% being • 33% have a restaurant receiving some form of payment. privately owned by a landlord. curated by external producers, promoters • 24% have a commercial art gallery 49% of the centres have members. • 5% of centres own their own buildings. and partners. • 22% have a shop • 58% of centres pay rent for the 2. Location buildings. Between them, the centres’ produce or The catering services of centres are a 91% of centres are located in urban areas: • 42% of centres do not pay rent for their present 13 different art form types and on critical part of their income producing on • 53% are located in the centre buildings and these are nearly all average, each centre presents or produces average, 20% of their non-mission related of urban areas publicly owned with the municipal or 8 different art form types: earned income, equal to the average public • 38% are located outside of the regional authorities that own them • 93% present or produce visual arts funding income. centre of urban areas giving in-kind public funding to the • 84% present or produce music • 9% are located in rural areas centres, through not charging a rent • 82% present or produce theatre 83% of the centres rent out spaces in their for the building. • 78% present or produce film/video buildings for a range of different purposes 3. Buildings • 60% present or produce dance and activities, which also plays an important Centres’ buildings include both renovated 4. Mission and Vision • 53% present or produce club financial role in their business models: former industrial, commercial, religious and 88% of centres had a written mission or nights/party’s • 67% rent space for conferences military buildings as well as new buildings. vision statement but only 68% stated that all • 49% present or produce new media and seminars BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

• 62% rent space for arts/cultural events • On average, the centres have an 1. Audience: 2.91 • 31% of earned income is from • 62% rent space for private corporate audience of 49,000 for arts/cultural 2. Staff: 4.07 ticket sales events events, which is 66% of the average 3. Artists: 4.91 • 24% of earned income is from • 62% rent space for training/education total audience/visitors per year. 4. Local community: 5.07 catering sales activities • On average, the centres have an 5. Members: 5.45 • 6% of earned income is from • 49% rent space for artists rehearsals audience of 8,000 for education/ 6. Local/Regional Gov: 5.45 sales of services • 38% rent out studios/ateliers for participation events, which is 11% of 7. Sector partners: 6.02 artists the average total audience/visitors 8. Board: 6.02 • 3% of earned income is from • 36% rent out their media studios per year. 9. Non-sector partners: 6.73 sponsorship • 31% rent out office space to other • On average, the centres have 17,500 10. National Gov: 7.41 • 1% of earned income is from organisations or individuals visitors to their building who are not 11. Sponsors/Donors: 7.51 retail sales • 31% rent out their catering facilities audiences for arts events or taking • 3% of earned income is from • 18% have accommodation in their part in education/participation 10. Annual Budget cloakroom sales buildings that they rent out activities, which is 23% of the average The average annual budget of the centres is • 11% rent out retail space total audience/visitors per year. €1.25 million ranging from €20,000 to €11.5 Of the 78% total earned income it is million. However, nearly 50% of the centres’ estimated that 50% of this is from The income from rentals produces on 8. Staff have annual budgets under €200,000. mission related activities and 50% is average, 34% of all earned income for the The average number of employed and paid from non-mission related activities. centres, which is higher than that for either staff in the centres is 19 but this ranges 11. Funding – Contributed income 84% of centres receive some form of 28 29 public funding, for ticket sales and for from zero up to 250. The average number 90% of centres receive some form of sponsorship. catering. of free-lance staff is 7 and the average public funding: number of volunteers is 19, ranging from • 79% receive municipal funding 13. Total Income 83% of the centres provide and/or zero up to 150. • 62% receive national funding The combined contributed and earned offer paid services: • On average, 43% of centres’ staff team • 44% receive European funding income sources of the centres’ is: • 51% offer training services are employed and paid • 41% receive regional funding • Rentals: 26% • 33% offer private events catering • On average, 16% of centres’ staff are • Ticket sales: 24% inside or outside of their building free-lance and paid 67% of centres receive some form • Public Funding 20% • 31% offer production or project • On average, 41% of centres’ staff are of private funding: • Catering: 19% management services volunteers and not paid • 51% receive funding from Trusts • Sales of Services: 5% • 24% offer consultancy services or Foundations • Private Funding: 2% • 13% offer marketing/PR/ 40% of centres have 5 or less employed • 38% receive funding from private • Sponsorship: 2% communication services and paid staff. donations and/or crowdfunding • Retail sales: 1% The income from services produces on 45% of centres have 10 or more volunteers. • Cloakroom sales: 1% average, 6% of all earned income. On average, 22% of all the centres 9. Stakeholders income comes from contributed, public 14. Financial Performance 7. Audience When asked to rank their organisations key and private funding. On average the centres made an annual On average, the centres have a total of stakeholders in order of importance (with 1 profit or surplus of €13,500. However, 50% 74,500 audience/visitors a year ranging being the highest and 11 the lowest ranking 12. Earned income of the centres made an annual loss or from just 100 to over 700,000. scores possible), the centres results were 78% of the centres total income is earned: deficit ranging from €4,000 to €215,000. as follows: • 34% of earned income is from rentals The reason for these losses is often due to BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

the fact that publicly funded centres have to what is your most common response?’ This have a written plan lasting for more than a But if you asked them what are the benefits budget to break-even to comply with their question produced 18 different responses year and in the author’s experience, many of their organisation and its work for their funders rules or national not-for-profit laws. from the 59 respondents including an Urban have no plan at all. Many only produce a artists, audiences, users and funders they If a centre has an annual budget of over €1 Development Project and a Socio-cultural budget for as long as they either have public would most probably be able to give a million, just a 5% reduction in income or centre with education and counselling funding confirmed for or on a project-by- detailed, articulated and clear response. increase in costs would result in a €50,000 programmes. As one might expect the project basis. And some do not even have a deficit with a break-even budget. And a 5% most common response was Cultural budget! But even if arts/cultural centres are annual decrease in ticket sales can often Centre, which was the answer of 61% of attempting to innovate their business mean just selling 5-10 less tickets per event the respondents. In terms of describing the When the Centres’, questionnaire models (even without realising this), as or performance than budgeted. buildings, 86% of respondents said Centre, respondents were asked if they could many do not have a clear mission or vision The centres often cover these annual 10% said Venue, 2% said Space and 2% said describe the business model of their with shared values, beliefs and a core losses by a combination of late payment of Cluster. And in terms of describing what type organisation 85% of centres said that they purpose, these attempts are often short- creditors and cutting costs for the following of activity happens in the buildings or the could. Unfortunately, the questionnaire term fixes that do not last and are similar to year or years. Some may be able to borrow main art-forms, 69% said Cultural, 22% said did not then go on to ask them to actually placing small sticking plasters on a money in the form of a loan from their bank Arts, 5% said Community/Social, 3% said describe it, as when the same question large wound. but this is often only possible if they can Music, 3% said Creative, 3% said Performing was asked in interviews, nobody was able provide some form of security. and 2% said Multimedia (some respondents to do so. This is because the theory and used multiple terms). This shows that either practice of business models, business C. Generic Types and Models the respondents have a wide range of terms model innovation and value propositions is 30 31 B. Perceptions, Innovation to describe their organisations and/or they alien and unknown to the majority of those Although it is clear that non-governmental and Business Models use terms that they think would be more working in the cultural sector. It is also arts/cultural centres across Europe have understandable to those from outside of the because the term ‘business’ only represents major differences in terms of governance, Although facts and figures are an important sector? But on a Europe wide level there is the for-profit corporate world for many organisational structure, building type, element of analysing the profiles of Arts/ not a single, accepted term that all use and in the sector, which is seen as being the location and size, budgets, funding levels, cultural organisations, qualitative data and that is universally understood even from antithesis of what they are doing, why they programmes and audiences, there are also perceptions can enable a fuller and more within the sector. are doing it and what they believe in. key similarities that could enable the centres rounded understanding of who they are to be divided into key types and models. The and what makes them tick! Elements of The results of the question asking if all of the But the irony of this is that nearly all arts/ question is on what basis could and should the questionnaire produced for this report key people in the centres’ organisation had cultural organisations including arts/ this be done? For example, the criteria as well as interviews with the partners of a clear and shared understanding of why cultural centres are constantly attempting could be based on programmes/activities, Creative Lenses provided further insights it existed shows that with just over 50% of to innovate their business models because governance and structure, building types into the profiles of both the Arts/Cultural non CEO staff responding negatively, many they have to, quite often simply in order to and sizes, missions or funding levels (or a Centres’ and Performing Arts organisations. centres may not really know what their core survive. It is just that they do not know that combination of all or any of these. Stuba purpose is, what they are and therefore, this is what they have been and are doing Nikola, the current Director of Culture for When examining the value propositions of what is their value proposition? This may be and it is mainly not being done through a the city of Helsinki (formerly the CEO of the the Arts/Cultural Centres one question that further evidenced by the fact that only 68% strategic and well-planned approach or Kaapeli cultural centre, Helsinki) produced this report sought to investigate is how do of the centres had a clear, understood and methodology. Similarly, if you asked most of the following model idea for the key types of the key staff members perceive and view shared mission or vision statement. those working in Arts/Cultural Centres what Arts/Cultural Centres: their organisations? Specifically, they were was the value proposition(s) to their key asked the question, ‘when asked where you In terms of strategy and longer-term planning stakeholders and customers most would work by someone from outside the sector only 58% of the centres responded that they have no idea what you were talking about. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

In this model there are four key types The Department Store will often have one of centres: or two main art forms that they concentrate ARTS/CULTURAL on and are most known for but will CENTRE MODELS A. The Department Store complement these with additional forms The Department store is a centre that is (the average for all Trans Europe Halles A centrally run and managed by a single centres is eight). There will usually be a paid, DEPARTMENT STORE organisation. As with a retail department core staff team supplemented by free-lance CENTRALLY FUN store there are different types of goods paid staff and some volunteers. and services on offer to the public but they are all planned, financed, delivered and The department store will more often than controlled centrally. Department stores not run and manage most of its services often have a CEO/Director who is also the such as a bar and/or café, rehearsal rooms artistic director in terms of deciding the and media studios. overall artistic and cultural strategy of the centre. B. The Charity Shop The Charity Shop can often be the model Department stores curate the majority of how an arts/cultural centre is initially of their artistic activities, usually through started, sometimes through squatting, a team of programmers, curators and occupying or finding a derelict building and 32 33 producers but can also allow external just starting up activities in it with no or little producers and partners to programme finances or resources. But it can also be a D activities. The Department Store will also centre where due to either a lack of available THE BOUTIQUE usually rent out spaces in its building finances or for ideological/mission reasons, SPECIALISED either on a longer-term basis in the form there is no paid staff and all of the work is of artists’ studios, office or co-working carried out by a team of volunteers. space or on a short-term basis for artists’ rehearsals and for public and/or private The Charity Shop may have a formal events. But often, the Department store will organisational structure but often this have policies in place that determine who is informal with no official roles except can rent or hire space in their buildings and those required for legal, governance what types of events can be produced an purposes. Like its retail counterpart, presented by external programmers and artists, professionals and arts/cultural renters. This enables the centre to ensure organisations often donate some of the that all produced or presented events and services and goods sold and offered by the B C activities are compatible and in-line with Charity Shop. CHARITYSHOP SHOPINGMALL their core purpose, mission and values. For NO MONEY ASSOSIATION OF SHOPKEEPERS this reason, many centres will not allow and C. The Shopping Mall exclude certain forms and types of events The Shopping Mall is a decentralised and activities from taking place in their centre where there is no single organisation spaces. controlling all of its artistic/cultural BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

programme, work and activities. A number D. The Boutique of different organisations, groups and/or The Boutique is a centre that specialises in producers, renters and hirers determine the a particular art form or activity area and is artistic programme and activities, which can usually smaller than either the Department EVEN IF CULTURAL CENTRES often be very diverse and varied. Store or Shopping Mall. These centres, ARE ATTEMPTING TO although still multidisciplinary, usually do Sometimes the Shopping Mall has a not produce or present so many different art INNOVATE THEIR BUSINESS governance structure where there are forms/activities and certainly not as many MODELS (EVEN WITHOUT a number of key partner organisations as the average Department Store, Charity represented on a board or committee Shop or Shopping Mall. For example, a REALISING THIS), AS MANY DO (often the founding partners of the centre), Boutique may focus on New Circus as NOT HAVE A CLEAR MISSION others have a management or real estate its core art form, which will make up the company that is responsible for managing majority of its performance and education OR VISION WITH SHARED and maintaining the building but often still programmes but then also include some VALUES, THESE ATTEMPTS answerable to either a board or/and dance, theatre and/or music. a membership. ARE OFTEN SHORT-TERM Most Boutiques have a centralised FIXES THAT DO NOT LAST. Although the artistic programme and structure similar to the Department Store activities of the Shopping Mall are not with a CEO/Artistic Director controlling 34 35 centrally curated it may still control the type, a centrally curated programme, with the form and content of what is produced and main difference between these two types presented in its spaces through its mission primarily being the number of departments and core purpose. The Shopping Mall will and size/scale of the centre and its activities. rent or franchise out most if not all of its services such as bars/ cafes, restaurants, With these models there is then a question shops and rehearsal studios to be run and to be asked if all known, non-governmental managed by external organisations and Arts/Cultural Centres can be placed into one businesses. of the four types or if there are additional, different models that should be included? Due to the decentralised structure of the It may also be the case that some centres Shopping Mall, it is often the buildings are a hybrid or have the key features of resident organisations and/or partners two or more of the models? For example, that apply for and receive public funding a Charity Shop can also be a Department rather than the management/real estate Store just having fewer resources and a company responsible for the building. less rigid or formalised structure. It is hoped Where the building is publicly owned by the that the extensive academic research that municipality, region or state, there may be a is currently being conducted as part of and zero or subsided rent for it that is granted to by the two University partners of Creative the management/real estate company. Lenses will provide further insights into these questions on types and models of Arts/Cultural Centres’. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

PERFORMING ARTS ORGANISATIONS PROFILING

37 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

3. Strategy ‘when asked where you work by someone organisations in terms of their identity and In terms of strategy and longer-term from outside the sector what is your practice. ‘Contemporary’ is most probably A. Key Statistics, Facts planning 77% of the organisations most common response?’ This question included by some of the organisations when and Figures responded that they have a written plan produced 18 different answers from the 26 describing themselves to explain and make lasting for more than a year. respondents. This is not entirely surprising clear that either their work is new, a specific The primary research on Performing as the respondents included Theatre, type/genre and/or to distance themselves Arts organisations conducted for this 4. Business Model Dance, New Circus, Live and Performing from more traditional and conservative report only included the 2016 Creative When the Performing arts respondents Arts organisations. However, there were forms of the art form they work in. Lenses questionnaire, so there is less were asked if they could describe the still a wide variety of responses within data available and included in this report. business model of their organisation 73% these art form areas. For theatre, the most As has been mentioned above, 25 said that they could. common at 50% of respondents was C. Generic Types and Models Performing Arts organisations responded ‘Theatre Company’ although some included to the questionnaire and IETM has a 5. Stakeholders the terms ‘independent’ or ‘contemporary’ The Performing Arts organisations can be membership of around 500 organisations When asked to rank their organisations key before Theatre. Other responses from divided into building and not building based and individuals. Therefore, the results from stakeholders in order of importance (with 1 theatre organisations included: Producing when examining their business models. the questionnaire should be viewed with being the highest and 11 the lowest ranking independent entrepreneurship, Intercultural Building based organisations primarily these figures in mind although they may be scores possible), the results were as follows: and international exchange and Site and include theatres, venues and dance houses generally representative of the sector. 1. Artists: 2.36 social specific theatre company working in where performances are presented to 2. Audience: 3.08 rural areas. the public. They often will also include 38 39 1. Governance 3. Staff: 4.36 rehearsal space and if they are a producing 88% of Performing Arts organisations have 4. Board: 5.18 The six dance organisations described organisation may also have their own a board of directors and 50% have some 5. Sector partners: 5.24 themselves as either Dance Companies spaces for the construction of scenery and form of membership. 6. National Gov: 5.76 (again with either Independent, international props and the making of costumes. 7. Local/Regional Gov: 6.00 or Contemporary inserted before Dance in 2. Mission and Vision 8. Community: 6.40 two cases), a Platform for the support of Building based organisations can further 96% of Performing Arts organisations have 9. Members: 7.46 contemporary dance and a Dance Platform. be divided into producing theatres and a written mission or vision statement and 10. Non-sector partners: 8.67 There were then three organisations receiving houses. A receiving house does 85% stated that all of the key people in 11. Sponsors: 8.86 that used the terms Performing Arts to not produce any of its own work but their organisation had a clear and shared describe themselves and these were the receives that produced by others who may understanding of why they existed. 90% of Performing, Live Art and New Circus based either pay a rental, are paid a performance the organisations CEO’s stated that all of B. Perceptions, Innovation organisations. fee by the receiving house or more the key people in their organisation had a and Business Models commonly, have a box-office, ticket deal clear and shared understanding of why they From these responses it seems that for where each party receives a percentage of existed, but only 15% of the organisations As with the Arts/Cultural Centres’, when many of the organisations being (and being the ticket sales. A receiving house may also non-CEO staff agreed with this statement examining the value propositions of the seen) to be independent, contemporary commission or co-commission a theatre or (however, there were only two responses Performing Arts organisations one question and/or international is important for dance company to produce a specific show from non CEO staff so this results may not that this report sought to investigate is them. As mentioned earlier in the report, and premiere it in its theatre. A producing be statistically valid). how do the key staff members perceive ‘Independent’ means both artistic theatre presents its own work in its own and view their organisations? As with the independence and independent from being space but may also be partially a receiving Arts/Cultural Centres’, the Performing Arts state run and controlled, which is house and present the work of others as organisations were asked the question, clearly an important issue for the well as its own. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Non-building based organisations will Because of the relatively high cost of usually just have some form of office space producing new work and the fact that for their administration work and will tour small-scale performing arts tends to be their shows to theatres, dance houses, presented in smaller theatres and venues, venues, Arts/Cultural Centres’ and festivals it is difficult to do this without contributed and may also present their work in a range income in the form of public and/or private of other locations such as schools, colleges, funding, particularly if all those working on community centres, hospitals, prisons, and involved with the production are to be care homes, outdoor spaces, site specific paid. There are some theatres and touring locations, on the ‘street’ and in other public companies whose models work without areas. Small-scale, non-governmental the need for funding but these are often touring companies usually have a small those working on larger scales (in terms core team of only a few people (often one of venue and audience size), charge higher being the artistic director and one being ticket prices or produce more popular and the manager/producer/administrator), more accessible work. Because of the high employing all or most performers, cost of producing new work it is now more designers, artists, technicians and often common for organisations to co-produce, marketing and PR staff on a free-lance which can be done between two or more basis with temporary contracts. touring companies or between a theatre/ 40 41 dance house and a touring company. There Some touring companies may have a are also examples of a larger number of building that also includes rehearsal space receiving houses joining together to either and many earn extra income from renting co-commission or co-produce new work this out to other companies. Others may with a touring company. have a touring van or bus, which they may also rent out to earn extra income. The main THE PERFORMING ARTS forms of income for touring companies are ORGANISATIONS CAN BE performance fees, percentages of box- office ticket sales, annual or project funding, DIVIDED INTO BUILDING AND private funding from trusts / foundations NOT BUILDING BASED WHEN and individual donations and sponsorship. EXAMINING THEIR BUSINESS It is also the case that a producing, building- MODELS. BUILDING BASED based organisation may also tour its ORGANISATIONS PRIMARILY produced work, being a combination of a producing theatre, a receiving house and a INCLUDE THEATRES, VENUES touring company. AND DANCE HOUSES. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

REGIONAL DIFFERENCES

43 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS REGIONAL DIFFERENCES

• Serbia • Slovenia third, whilst eastern organisation northern centres, 26 in eastern and • Slovakia • Ukraine ranked staff second before artists just 16 in southern centres. Both the results of the questionnaire who they ranked third. • Approximately 60% of northern and the survey show that for both 4. West (ern former empires) • Local and regional government was and southern centres staff teams are Arts/Cultural Centres’ and Performing • Austria • Ireland ranked fourth by northern volunteers compared to 42% in eastern Arts organisations there are regional • Belgium • Luxembourg organisations, fifth by western and and 30% in western centres. differences in many areas. These • France • Netherlands sixth by eastern organisations but was Conversely, 53% of western centres differences are for a variety of reasons • Germany • UK ranked much lower at ninth by staff teams are employed compared including political, economic and cultural southern organisations. to 26% to 31% for the other three history, governmental culture and funding The key regional differences from the • Sector partners were ranked fourth by regions. policies and the current economic questionnaire results were: eastern organisations, fifth by • 28% of eastern Centres staff teams situation in a particular country. • 69% of southern organisations had a northern and southern organisations are free-lancers compared to 17% in mission or vision statement compared but eighth by western organisations. western centres but just 8% in How and on what criteria Arts/Cultural to 100% of northern, 94% of western • Local community was ranked fourth northern and southern centres. organisations in Europe should be divided and 92% of eastern organisations. by southern and western organisa- into geographical groupings could be done • 23% of southern and 53% of eastern tions, seventh by eastern and 3. Finance and Funding in many different ways. For the purposes organisations had a written future ninth by northern organisations. • 100% of northern and 90% of western of this report’s questionnaire results they plan of more than one year compared centres receive some form of public have been grouped and named as follows, to 80% of northern and 78% of The key regional differences from the funding compared to 78% of eastern 44 45 as this breakdown into four main groupings western organisations. Trans Europe Halles survey results were: and 70% of southern centres. is considered to be most appropriate and • 68% of eastern organisations • The annual budgets of the northern relevant to the key regional and geographic stated that all of the key people in 1. Programme and Audience and western centres are 10 times differences of Arts/Cultural Centres’ and their organisations have a clear and • The northern and western centres higher than that of the southern and Performing Arts organisations across shared understanding of why they present more events and activities eastern centres. Europe: exist compared to 87% of northern, than the southern and eastern centres • Annual contributed income for the 77% of southern and 72% of western and their buildings tend to be larger. western centres was five times 1. North (ern lights) organisations. In particular the northern and western more than for the southern and • Denmark • Norway • 62% of southern and 68% of eastern centres programme about ten times eastern centres and double that of the • Finland • Sweden organisations stated that they could more education/participatory events northern centres. describe their business model than the southern and eastern centres. • Annual earned income was twenty 2. South (ern sun) compared to 93% of northern and 91% • Consequently, the northern and times higher for the northern centres • Greece • Portugal of western organisations. western centres have larger audiences compared to the southern and eastern • Italy • Spain and users than the southern and centres. For the western centres it was In terms of the ranking of stakeholders all eastern centres, with around fives fifteen times higher than the southern 3. East (ern former socialist block) four regions ranked Audiences as their times more annual public event and eastern centres. • Bulgaria • Hungary most important stakeholders. The main audiences, participation attenders and • 89% of northern centres total income • Croatia • Latvia regional differences with the stakeholder visitors to their buildings. is earned income, compared to 75% of • Czech • Poland ranking was: western centres, 58% of eastern Republic • Romania • Northern, southern and western 2. Staff Teams centres and 52% of southern centres. • Estonia • Russia organisations ranked artists second • Western centres total staff teams followed by staff who they ranked average 78 people compared to 58 in BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

• Its about finding new audiences and enriching our product to serve our audience • Maintaining existing audiences – give them content which they’re AUDIENCE interested in, keep our current audience interested and Reaching to new audiences – lure new audiences with interesting content. • Thinking beyond marketing/selling tickets e.g. an educational DEVELOPMENT programme. • It’s about building a strong enough audience for each programming strand in order to make them viable. • Audiences that we could attract. • To define audience target groups. • Understanding the needs of the public and combining this with Interviews on audience development were conducted with representa- our own needs to make the end result profitable for both. tives of the Creative Lenses, Arts/Cultural Centres’ partners as part of the • Knowing our audiences and their wishes. research for this report. The questions each centre was asked were: • Identifying our existing and potential audiences.

1. What do you understand by the term Audience Development? One respondent also quoted Arts Council England’s definition of Audience 2. Is the term widely used in your country by the sector? Development: ‘The term audience development describes activity which is 3. Does your organisation have an annual marketing / communication undertaken specifically to meet the needs of existing and potential audiences 46 47 or PR strategy or detailed plan? and to help arts organisations to develop on-going relationships with audi- 4. Has your organisation ever done any Audience Development processes ences. It can include aspects of marketing, commissioning, programming, or projects? If yes, what? education, customer care and distribution.’ 5. Has your organisation ever done any audience research? If yes, what and when? Is the term widely used in your country by the sector? 6. Does your organisation have a membership of friends scheme The responses to this question were varied with the Italian, Greek and Finn- for audiences/users to join? ish centres, saying that is was not widely used in their countries whereas the 7. Do you have a database of your audience / users? If yes, using what Slovakian centre said that it was now a ‘hot issue’ issue in their country. The software or application? Dutch centre said that it was widely used and known in most of the sector 8. Have you ever involved your audience in deciding on and/or planning but not within popular music. The UK centre stated that the term was well your programme or activities? known but quite generic. 9. Do you have at least one member of your team who is specifically and only responsible for marketing / Communications / PR? Does your organisation have an annual marketing / communication 10. Has anyone in your team ever had any Audience Development training? or PR strategy or detailed plan? If yes, what and when? Only one of the six centres had any type of annual marketing / communi- cation or PR strategy or plan. But one other centre stated that they had an What is Audience Development? organisational 4-year plan that included marketing. Most of the centres had a good and shared understanding about what audi- ence development was. Specific responses were: Has your organisation ever done any Audience Development processes or projects? If yes, what? • Organising activities, which are connected to the needs of our existing None of the centres have as yet done any Audience Development processes and potential audiences with the aim to develop and to increase our or projects. ongoing relationships with them. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS AUDIENCE DEVELOPMENT

Has your organisation ever done any audience research? Other responses and issues that were raised during the interviews included: If yes, what and when? • Are organisations equipped to develop their audience efficiently? Two of the six centres have done some form of audience research over • Do organisations even know that they should do it? the past two years in the form of questionnaires and registering profiles of • Do some organisations only consider Audience Development to their different audiences. One of the centres does research of their existing tick (funding) boxes? audience every two years and has also done research about the composition • Public funders now pay more attention to audience numbers than to of their audience market based on the mosaic models of fourteen model the development of audiences. groups. • The whole issue of audiences is more important than it used to be in our thinking and work. Does your organisation have a membership of friends scheme for • Culture funding has become more focused on audiences and the needs audiences/users to join? of the public than about the quality of the art. None of the centres has a membership of friends scheme for audiences/users.

Do you have a database of your audience / users? If yes, using what software or application? Three of the six centres keep a database of their audience and this is done on either/or Excel and MailChimp. One has a database of 14,000 users.

48 49 Have you ever involved your audience in deciding on and/or planning your programme or activities? Two of the six centres have involved their audience in the planning of their programme or activities. In one case this is through specific programme or activity groups an example being the decision to have their bar run by students. The other centre also uses audience groups in the planning and organising of some of their activities, which are co-production events between the centre and the audience group.

Do you have at least one member of your team who is specifically and only responsible for marketing / Communications / PR? Three of the six centres have at least one member of staff specifically responsible for marketing / communications / PR. Two of these are full-time and one is part-time assisted by two trainees. One other centre plans to NONE OF THE CENTRES recruit such a position the near future. INTERVIEWED HAVE AS YET DONE ANY AUDIENCE Has anyone in your team ever had any Audience Development training? If yes, what and when? DEVELOPMENT PROCESSES Only one person from one of the six centres has done any Audience OR PROJECTS Development training and this was two years ago. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

Paul was President of Trans Europe Halles (the European network of independent cultural centres) from 1999-2007, an assessor for the European Commission Culture Programme 2007-13, has been a board member of six arts and culture organisations and is a fellow of the Royal ABOUT Society of Arts. After studying film and theatre at Reading University, UK, Paul started his professional career as an actor, comedian and DJ. Realising he could not THE AUTHOR act (and was not that funny), he quickly moved into theatre management and finance.

After managing two UK theatre companies, a Polish theatre company (that included living in Poland for a year under martial law), The Kings Head With thirty-five years experience working in the sector, Paul is an arts and Theatre, London and producing commercial shows in London’s ‘West End’ culture producer, project manager, consultant, fund-raiser and trainer, theatre, in 1989 Paul became the director of The Junction in Cambridge, developing and delivering his own projects as well as working for a wide the first purpose-built arts centre focused on youth culture in the UK. range of public and private clients across Europe. He is a co-director of Olivearte Cultural Agency (Ireland and UK). Paul opened the Junction, developed its multidisciplinary music, theatre, dance, new media and education programmes, produced three 50 51 Currently, Paul is managing Creative Lenses, a 4-year, €4 million Creative international festivals, the world’s first digital mural and built a new, €10 Europe large-scale project to research and develop new Business Models million theatre in 2005. for the arts and cultural sector, directing and delivering Escalator, a capacity building and professional development programme for the Paul lives in Qala on the island of Gozo. independent cultural sector in Slovakia, delivering audience development education programmes for Rijeka2020 and Kaunas 2022 ECOC’S, developing a long-term strategy for Kulturfabrik cultural centre in Luxembourg, financially managing a children’s theatre, large-scale Creative Europe project and acting as an advisor to another €4 million budget, large-scale Creative Europe proiect. Paul is also the financial manager for NIE Theatre Company (UK).

Paul’s past work includes developing a new culture centre in Helsinki, writing culture and creative economy strategies and policies for European municipalities, producing a festival with 250 artists on a ferry in Copenhagen, delivering a three-year culture business, capacity building programme for cultural organisations in St. Petersburg, Russia, and developing culture tourism for a residential arts centre in Italy. Paul is also a fundraiser had has obtained over €8 million in European project grants since 2010.

PHOTO: KAAPELI IN HELSINKI, FINLAND BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS

APPENDIX

52 53 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

TOTAL SAMPLE DEMOGRAPHICS

ORGANISATIONS 75

RESPONDENTS 85

>1 RESPONDENT PER ORGANISATION 10

54 55

ORGANISATION TYPES

CENTERS 67% 50

C.L. CENTRES 6

PERFORMING 25 ARTS 33%

THEATRE 21% 16

DANCE 8% 6

NEW CIRCUS 1% 1

LIVE/PERFORMING ART 3% 2 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

30 COUNTRIES REPRESENTED IN THE SAMPLE

FINLAND RUSSIA

COUNTRIES, EUROPEAN REGIONS & DATA NORWAY ESTONIA NORTH (ERN Lights): 14 SOUTH (ERN Sun): 11 SWEDEN LATVIJA 8 centres, 6 performing arts 8 centres, 3 performing arts DENMARK

• Denmark 1 Centre, 1 PA org • Greece 2 Centre, 1 PA org IRELAND • Finland 3 Centre, 1 PA org • Italy 3 Centre, 0 PA org UK 56 57 • Norway 1 Centre, 1 PA org • Portugal 2 Centre, 1 PA org NETHERLANDS POLAND • Sweden 3 Centre, 3 PA org • Spain 1 Centre, 1 PA org UKRAINE BELGIUM GERMANY JERSEY CZECH REP. SLOVAKIA

EAST (ERN ex Socialist Block): 21 WEST (ERN ex Empires): 29 AUSTRIA HUNGARY ROMANIA FRANCE 15 centres, 6 performing arts 19 centres, 10 performing arts SLOVENIA CROATIA ITALY SERBIA • Bulgaria 0 Centre, 1 PA org • Austria 1 Centre, 0 PA org BULGARIA • Croatia 1 Centre, 0 PA org • Belgium 1 Centre, 1 PA org • Czech Rep. 3 Centre, 0 PA org • France 4 Centre, 1 PA org PORTUGAL • Estonia 1 Centre, 0 PA org • Germany 3 Centre, 1 PA org • Hungary 0 Centre, 1 PA org • Jersey 0 Centre, 1 PA org SPAIN

• Latvija 1 Centre, 1 PA org • Ireland 3 Centre, 2 PA org GREECE • Poland 1 Centre, 0 PA org • Luxembourg 2 Centre, 0 PA org • Romania 1 Centre, 0 PA org • Netherlands 1 Centre, 1 PA org • Russia 1 Centre, 0 PA org • UK/England 4 Centre, 3 PA org • Serbia 1 Centre, 0 PA org • Slovakia 3 Centre, 2 PA org • Slovenia 0 Centre, 1 PA org • Ukraine 2 Centre, 0 PA org BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

50 CENTRES...... AND 25 PERFORMING ARTS ORGANISATONS WERE IN THE SURVEY

11 4 TOURING 1 TOURING 4 RECEIVING THEATRE THEATRES DANCE HOUSE 5 9 COMPANIES COMPANIES RESPONDENTS 6 TO THE QUESTIONNAIRE CREATIVE LENSES PARTNER CENTRES 1 1 2 1 DANCE TOURING TOURING DANCE PLATFORM NEW CIRCUS LIVE/PERFORMING HOUSE 58 9 COMPANY ART COMPANY 59 CENTRES WITH MORE THAN

ONE RESPONDENT 16 9 HAVE BUILDINGS 24 RECEIVE OTHERS 1 PRODUCE JUST RECEIVES INCLUDING 4 OF THE 6 C.L. FOR PUBLIC WORK IN THEIR WORK OTHERS WORK 33 PARTNER CENTRES PERFORMANCES BUILDINGS TRANS EUROPE HALLES MEMBERS = 66% 1 22 26 ORGANISATION OF THE CENTRES SIZES RESPONDENTS WITH MORE RESPONDENTS RANGE (NO -S) FROM TO THE THAN ONE WERE THE 2 QUESTIONNAIRE 100 TO 73,000 M 37 RESPONDENT CEO’S = 85% OF THE RESPONDENTS WERE THE CEO’S = 63% BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

25 PERFORMING ARTS ORGANISATIONS

HAVE16 BUILDINGS FOR RECEIVE9 OTHERS ORGANISATION1 WITH PUBLIC PERFORMANCES WORK IN THEIR BUILDINGS MORE THAN ONE RESPONDENT

60 61

24 RESPONDENTS26 TO OF 22THE RESPONDENTS PRODUCE WORK THE QUESTIONNAIRE WERE THE CEO’S = 85%

JUST 1 RECEIVES OTHER'S WORK

PHOTO: VILLAGE UNDERGROUND IN LONDON, UK BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

STATISTICS

92% OF ALL ORGANISATIONS RECEIVE SOME FORM OF SUPPORT FROM THEIR OF ALL THE LOCAL/REGIONAL GOVERNMENT: 48% 48% OF ALL THE ORGANISATIONS ORGANISATIONS _92% CULTURAL CENTRES HAVE MEMBERS:

HAVE MEMBERS: _92% OF PERFORMING _49% CULTURAL CENTRES

_49% CULTURAL ARTS ORGANISATIONS _50% PERFORMING CENTRES ARTS ORGANISATIONS _50% PERFORMING

62 ARTS ORGANISATIONS 63

77% RECEIVE SOME FORM OF SUPPORT FROM THEIR OF ALL THE 84% OF ALL THE NATIONAL GOVERNMENT: 84% ORGANISATIONS ORGANISATIONS HAVE A BOARD: _76% CULTURAL CENTRES HAVE A BOARD:

_82% CULTURAL CENTRES _88% PERFORMING ARTS _82% CULTURAL CENTRES _88% PERFORMING ARTS ORGANISATIONS _88% PERFORMING ARTS ORGANISATIONS BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

THE QUESTIONNAIRE QUESTIONS

64 65 BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

WHEN ASKED WHERE YOU WORK BY SOMEONE WHEN ASKED WHERE YOU WORK BY SOMEONE FROM ANOTHER SECTOR OR INDUSTRY WHAT FROM ANOTHER SECTOR OR INDUSTRY WHAT IS YOUR MOST COMMON RESPONSE? IS YOUR MOST COMMON RESPONSE?

Centres: ‘explaining where I work’: Performing Arts ‘where I work’

• Cultural Centre • Arts Centre • Theatre • Contemporary Dance company • Cultural Venue • Arts Venue • Independent Theatre company • Independent & Interna1onal • Cultural Space • Arts Space • Contemporary Theatre company Contemporary Dance company • Multi-Cultural Centre • Arts & Congress Centre • Theatre group • Dance Venue • Multimedia space for contemporary • Arts Centre & Creative • Young People’s Theatre • Dance Platform culture Industries incubator • Site and social specific theatre company, • Laboratory • Socio-cultural-centre & education • Arts Centre & Music Venue working in rural areas • Performing Arts company & counselling programmes • Performing Arts Centre • Receiving Theatre • Independent performing arts production • Creative Cluster • Music Centre / Venue • Receiving House company • Community • Producing independent Entrepreneurship 66 • Urban Development project 67 • Open Laboratory / Neighbourhood Centre • Intercultural and independent exchange

Centres ‘Words’ by Frequency Performing Arts ‘Words’ by Frequency

Cluster Art New Circus Social Venue Dance Creative International Music Theatre Centre Multimedia Live Contemorary Culture Arts Independent Contemporary Rural Congress Cultural Site-specific Company Performing Receiving Community / Social Performing House Incubator Platform BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

DOES YOUR ORGANISATION WOULD YOU SAY THAT ALL KEY WOULD YOU SAY THAT ALL KEY PEOPLE HAVE A WRITTEN MISSION AND/OR PEOPLE IN YOUR ORGANISATION IN YOUR ORGANISATION HAVE A CLEAR VISION STATEMENT? HAVE A CLEAR AND SHARED UNDER- AND SHARED UNDERSTANDING OF BY TYPE AND BY EUROPEAN REGIONS STANDING OF WHY YOU EXIST? WHY YOU EXIST? BY TYPE AND LOCATION CEO’S VERSUS STAFF ANSWERS BY TYPE

100% 96% 94% 92% 91% 90% 88% 87% 85% 85% 80% 77% 73% 72% 69% 68% 68 68% 69 63% 60%

33% 29%

15% ALL ALL EAST ARTS EAST WEST ARTS CEO’S CEO’S WEST STAFF SOUTH NORTH SOUTH NORTH CENTRES CENTRES CENTRES CENTRES SOUTH CL ARTS CEO’S ARTS ARTS STAFF ARTS CL CENTRESCL CL CENTRES CENTRES CL CL CENTRESCL PERFORMING PERFORMING PERFORMING PERFORMING PERFORMING PERFORMING PERFORMING CENTRES STAFF CENTRES BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

DOES YOUR ORGANISATION HAVE IF ASKED, COULD YOU DESCRIBE THE A WRITTEN FUTURE PLAN OF MORE BUSINESS MODEL OF YOUR ORGANISATION? THAN ONE YEAR? BY TYPE AND BY EUROPEAN REGIONS BY TYPE AND BY EUROPEAN REGIONS

93% 91% 85% 81% 80% 80% 77% 78% 73% 68% 70 71 64% 62% 58% 60% 52%

23% ALL ALL EAST ARTS EAST WEST ARTS WEST SOUTH NORTH SOUTH NORTH CENTRES CENTRES CL CENTRESCL CL CENTRESCL PERFORMING PERFORMING PERFORMING PERFORMING BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

STAKEHOLDER QUESTION

WHO DO YOU CONSIDER TO BE YOUR ORGANISATIONS KEY STAKEHOLDERS? PLEASE RANK IN ORDER OF IMPORTANCE

72 73

A stakeholder means any person, group or organisation that has an interest in, a concern for, can affect and/ or are affected by your organisation and who, without their support you would cease to exist. BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

STAKEHOLDERS RANKING: ALL SAMPLE STAKEHOLDERS RANKING: PERFORMING ARTS

1. AUDIENCE 1. AUDIENCE

2. ARTISTS 2. ARTISTS

3. STAFF 3. STAFF

4. LOCAL COMMUNITY 4. LOCAL COMMUNITY

5. LOCAL/REGIONAL GOVERNMENT 5. LOCAL/REGIONAL GOVERNMENT

6. BOARD 6. BOARD

7. SECTOR PARTNERS 7. SECTOR PARTNERS

8. MEMBERS 8. MEMBERS

9. NATIONAL GOVERNMENT 9. NATIONAL GOVERNMENT

10. NON-SECTOR PARTNERS 10. NON-SECTOR PARTNERS

74 11. SPONSORS / DONORS 11. SPONSORS / DONORS 75

STAKEHOLDERS RANKING: CENTRES STAKEHOLDERS RANKING: C.L.CENTRES

1. AUDIENCE 1. AUDIENCE

2. ARTISTS 2. ARTISTS

3. STAFF 3. STAFF

4. LOCAL COMMUNITY 4. LOCAL COMMUNITY

5. LOCAL/REGIONAL GOVERNMENT 5. LOCAL/REGIONAL GOVERNMENT

6. BOARD 6. BOARD

7. SECTOR PARTNERS 7. SECTOR PARTNERS

8. MEMBERS 8. MEMBERS

9. NATIONAL GOVERNMENT 9. NATIONAL GOVERNMENT

10. NON-SECTOR PARTNERS 10. NON-SECTOR PARTNERS

11. SPONSORS / DONORS 11. SPONSORS / DONORS BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

STAKEHOLDERS: STAKEHOLDERS: CENTRES & PERFORMING ARTS STAKEHOLDERS: CENTRES & PERFORMING ARTS CENTRES & PERFORMING ARTS

CENTRES CENTRES

1. AUDIENCE AUDIENCE 1. AUDIENCE

2. STAFF STAFF 2. STAFF

3. ARTISTS ARTISTS 3. ARTISTS

4. LOCAL COMMUNITY LOCAL COMMUNITY 4. LOCAL COMMUNITY

5. MEMBERS LOCAL/REGIONAL GOVERNMENT 5. MEMBERS

5. LOCAL/REGIONAL MEMBERS 5. LOCAL/REGIONAL

7. SECTOR PARTNERS SECTOR PARTNERS 7. SECTOR PARTNERS

7. BOARD BOARD 7. BOARD

9. NON-SECTORPARTNERS NON-SECTOR PARTNERS 9. NON-SECTORPARTNERS 76 77 10. NATIONAL GOVERNMENT SPONSORS / DONORS 10. NATIONAL GOVERNMENT

11. SPONSORS / DONORS NATIONAL GOVERNMENT 11. SPONSORS / DONORS

0.00 1.00 2.00 3.00 4.00 5.00 6.00 7.00 8.00 9.00 10.00 PERFORMING ARTS C.L. CENTRES

1. ARTISTS PERFORMING ARTS 1. AUDIENCE

2. AUDIENCE CENTRES 2. STAFF

3. STAFF 3. ARTISTS

4. BOARD 4. SECTOR PARTNERS

5. SECTOR PARTNERS 5. LOCAL COMMUNITY

6. NATIONAL GOVERNMENT 6. BOARD

7. LOCAL/REGIONAL 7. MEMBERS

8. LOCAL COMMUNITY 8. LOCAL/REGIONAL

9. MEMBERS 9. NON-SECTORPARTNERS

10. SPONSORS / DONORS 10. SPONSORS / DONORS

11. NON-SECTORPARTNERS 11. NATIONAL GOVERNMENT BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS APPENDIX

STAKEHOLDERS RANKING: BY REGIONS

NORTH SOUTH

1. AUDIENCE 1. AUDIENCE

2. ARISTS 2. ARTISTS

3. STAFF 3. STAFF

4. LOCAL/REGIONAL GOVERNMENT 4. LOCAL COMMUNITY

5. SECTOR PARTNERS 5. SECTOR PARTNERS

6. BOARD 6. MEMBERS

7. MEMBERS 7. BOARD

8. NAT. GOVERNMENT 8. NON-SECTOR PARTNERS

9. LOCAL COMMUNITY 9. LOCAL/REGIONAL GOVERNMENT

78 10. NON-SECTOR PARTNERS 10. SPONSORS / DONORS 79

11. SPONSORS / DONORS 11. NAT. GOVERNMENT

EAST WEST

1. AUDIENCE 1. AUDIENCE

2. STAFF 2. ARTIST

3. ARISTS 3. STAFF

4. SECTOR PARTNERS 4. LOCAL COMMUNITY

5. BOARD 5. LOCAL/REGIONAL GOVERNMENT

6. LOCAL/REGIONAL GOVERNMENT 6. BOARD

7. LOCAL COMMUNITY 7. MEMBERS

8. MEMBERS 8. SECTOR PARTNERS

9. NAT. GOVERNMENT 9. NAT. GOVERNMENT

10. NON-SECTOR PARTNERS 10. NON-SECTOR PARTNERS

11. SPONSORS / DONORS 11. SPONSORS / DONORS AUDIENCE

ARTISTS

STAFF

SECTOR PARTNERS

LOCAL COMMUNITY

LOCAL/REGIONAL GOVERNMENT

BOARD

MEMBERS

NATIONAL GOVERNMENT

BUSINESS MODELS PROFILING OF CULTURAL CENTRES & PERFORMING ARTS ORGANISATIONS NON-SECTOR PARTNERS APPENDIX

SPONSORS / DONORS STAKEHOLDERS RANKING: BY REGIONS

WEST AUDIENCE EAST SOUTH ARTISTS NORTH

STAFF

SECTOR PARTNERS

LOCAL COMMUNITY

80 81

LOCAL/REGIONAL GOVERNMENT

BOARD

MEMBERS

NATIONAL GOVERNMENT

NON-SECTOR PARTNERS

SPONSORS / DONORS

WEST EAST SOUTH NORTH STR ONGER A R T S AND CULTUR A L O R GANISATIONS FOR A GR EATER SOCIAL IMPACT

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