Universitat Internacional de Catalunya

Cultural Project (TFM)

Cultural Project (TFM)
12
6053
1
Annual
TF
Main language of instruction: Spanish

Other languages of instruction: English

If the student is enrolled for the English track then classes for that subject will be taught in the same language.

Teaching staff


Mrs. MARTINEZ RIBAS, Ines - imartinezr@uic.es

The project tutors will respond to all related questions and doubts in the development and presentation of the final projects.

Introduction

The course -aimed at preparing the final project for the Master’s Degree in Arts and Cultural Management- is based on applying the knowledge gained throughout the course and translating this knowledge into a specific project. The aim of the Final Master’s Degree Project is to demonstrate the acquisition of concepts, mastery of planning tools, terminology management, the ability to work on a project and the ability to present it in writing and to an audience.

In terms of content, the project should have a clear cultural base (arts, heritage, folklore, emerging sectors, etc.) but may include other areas which are included in the cultural policy discourse today. The project can address the creation or remodelling of services, programmes or cultural facilities, both for cultural dissemination and to promote creation, training, public awareness, etc. It may manifest itself in a season of activities, a festival, art exhibition, public projects, heritage project, cultural tourism product, cultural cooperation network and/or development initiative using cultural content through ICT, etc. The project may arise both from a business, association or public cultural service management perspective.

The Cultural Projects are undertaken in small (freely chosen) groups that should stimulate internal debate, understanding of each other’s context, adaptation to different work rhythms, negotiations and refining of proposals (and often commitments) in order to draft a solid document and present the results. Throughout the course, each group will have the conceptual and methodological support of an expert in the field of cultural management who will track the progress of the groups. Finally, each group will present the project to the group and tutors (as well as invited guests) who may request the group to broaden, deepen or resolve any particular aspect of the proposal.

The capacity of students to work as part of a team is important. However, students will be assessed both as a group and individually according to their input into the project. Therefore, the final stage requires students to present a personal log book, recording their involvement in and critically reflecting on the development of the project.

Pre-course requirements

Those required by the Master.

Objectives

  • Understand the conceptual framework and methodology of a cultural project.
  • Provide concepts and methodological tools for the development of the final Cultural Project of the MASTER
  • Respond to doubts and questions raised during the development of the Cultural Project.

Competences/Learning outcomes of the degree programme

  • CB10 - Students should have the learning skills necessary to continue studying in a largely self-directed or autonomous manner.
  • CB9 - Students should be able to communicate their conclusions and the knowledge and arguments supporting these conclusions to specialised and non-specialised audiences in a clear and unambiguous manner.
  • CE10 - To define, design and programme an innovative and sustainable cultural project that responds to the needs and interests of society and contributes to social enrichment and development.
  • CG1 - To analyse and interpret social and cultural environments to identify needs, opportunities, weaknesses and strengths.
  • CG2 - To lead, coordinate and form part of interdisciplinary work teams.
  • CG4 - To know how to communicate, encourage and mediate between the various agents involved in a cultural project, programme or service.
  • CG5 - To act responsibly and produce high-quality, rigorous and efficient work that benefits society.
  • CT1 - To design, direct, produce and assess cultural projects, programmes, strategies, policies or actions that involve a number of different numerous professional profiles, agents and institutions.

Learning outcomes of the subject

At the end of the course, the student 

  • Learns and describes processes to design, plan and develop a broad cultural project as well as understands current tendencies.
  • Designs a cultural project, taking into account different proceedures and phases in the planning process. 

Syllabus

I. CONTEXTUAL BASIS OF THE PROJECT – ANALYSIS

1. AIMS
2. GEOGRAPHICAL DYNAMICS
3. SECTORIAL DYNAMICS
4. FRAMING WITHIN THE CONTEXT OF OTHER POLICIES
5. ORIGIN – BACKGROUND
6. INTERNAL ANALYSIS OF THE ORGANISING INSTITUTION

DIAGNOSIS OF THE STARTING POINT

II. DEFINITION OF THE PROJECT – CONCEPTUALISATION

7. TARGET AUDIENCE
8. CONTENTS
9. OBJECTIVES AND EVALUATION FORECAST
10. STRATEGIC LINES
11. ACTIONS
12. MANAGEMENT MODEL

III. PROJECT PRODUCTION

13. PRODUCTION PLANNING
14. ORGANISATION AND HUMAN RESOURCES STRUCTURE
15. COMMUNICATION
16. INFRASTRUCTURES AND TECHNICAL REQUIREMENTS
17. LEGAL ASPECTS
18. ECONOMIC AND FINANCIAL MANAGEMENT
19. OTHER FACTORS
20. EVALUATION PROCESS

- Teaching and learning activities

The project is carried out in teams. First, each group is asked to define its initial cultural project proposal. It is advisable to focus on a geographically-defined territory, a particular cultural sector, agent, etc. to which the group has easy access for the basic information needed to contextualise their proposal. The initial idea of the project is presented by the different groups to the tutors. The tutors deliberate and accept or reject the proposed project. In the case of rejection, groups will have to modify the proposal and present it again. Once all the proposals have been accepted, each group is assigned a tutor and the preparing and monitoring work begins.

A minimum of 5 tutorials will be requested from each group with their assigned tutor. Also, 3 general methodological sessions will be given to all students, to provide insight into the different phases of the cultural project and clarify general aspects.

Once the project is completed the students present it in writing and do a presentation where tutors can ask questions to assess each project.

Throughout the entire process, each student should keep a logbook in which the following are collected:

- Functions, duties or contributions made.
- Doubts or problems that have arisen.
- Solutions adopted.
- Observations.
- General self-assessment of the process.

These notes are made personally -not as a team- and reflect the thoughts and assessments of each student with regard to dealing with the methodological process of cultural planning. The individual final project notebook is handed in two days after the public defence of projects (to allow time for final observations and rating).

The final evaluation of the course is individual. 70% corresponds to the group presentation of the project and 30% to the assessment of the individual notebook.

Teaching and learning activities

In person



The project is carried out in teams. First, each group is asked to define its initial cultural project proposal. It is advisable to focus on a geographically-defined territory, a particular cultural sector, agent, etc. to which the group has easy access for the basic information needed to contextualise their proposal. The initial idea of the project is presented by the different groups to the tutors. The tutors deliberate and accept or reject the proposed project. In the case of rejection, groups will have to modify the proposal and present it again. Once all the proposals have been accepted, each group is assigned a tutor and the preparing and monitoring work begins.
A minimum of 5 tutorials will be requested from each group with their assigned tutor. Also, 3 general methodological sessions will be given to all students, to provide insight into the different phases of the cultural project and clarify general aspects.
Once the project is completed the students present it in writing and do a presentation where tutors can ask questions to assess each project.

Throughout the entire process, each student should keep a logbook in which the following are collected:

- Functions, duties or contributions made.
- Doubts or problems that have arisen.
- Solutions adopted.
- Observations.
- General self-assessment of the process.

These notes are made personally -not as a team- and reflect the thoughts and assessments of each student with regard to dealing with the methodological process of cultural planning. The individual final project notebook is handed in two days after the public defence of projects (to allow time for final observations and rating).

Evaluation systems and criteria

In person



The evaluation of the final project is individual. 
70% corresponds to the evaluation of the group project presentation and 30% to the grade of the individual logbook.

Bibliography and resources

  • ALONSO J. y M. CASTELLANO  (coord.) (2008) La gestión del patrimonio cultural. Apuntes y casos en el contexto rural andaluz. Granada: Asociación para el desarrollo rural de Andalucía (ARA).
  • AUDEOUD, Olivier (2002) Study on the mobility and free movement of people and products in the cultural sector (Study No DG EAC/08/00), http://europa.eu.int/comm/culture/eac/sources_info/pdf-word/mobility_en.pdf
  • BAGULEY, P. (1999) Project Management. London: Hodder & Stoughton.
  • BARONA,  F. (1999) Gestión cultural, una actitud de vida. Proyectos y gerencia, Cali: Cámara de Comercio de Cali y Fundación ATMA.
  • BONET, L., CASTAÑER, X. y FONT, J. (ed.) (2001) Gestión de proyectos culturales: análisis de casos. Barcelona: Ed. Ariel.
  • DODD, D, M. Lyklemaand K. Dittrich van Weringh (2006) A cultural component as an integral part of the EU’s foreign policy? Amsterdam: Boekmanstudies
  • DODD, D and A. van Hemel (Eds.)(1999) Planning cultural tourism in Europe :  a presentation of theories and case studies. Amsterdam: Boekman Foundation / Ministry of Education, Culture and Science.
  • LANDRY,Charles(2000) The Creative City: a toolkit for urban innovators. Earthscan Publications Ltd. ISBN: 1853836133 
  • MARTINELL, A. (2001) Diseño y elaboración de proyectos de cooperación cultural. Organización de Estados Iberoamericanos.
  • MAZILU, M. (2010), Key Elements of a Model for Sustainable Tourism, International journal of energy and environment, Issue 2, Volume 4, Romania.
  • McMASTER, Brain (2008) Supporting excellence in the arts.  
    http://webarchive.nationalarchives.gov.uk/+/http://www.culture.gov.uk/Reference_library/Publications/archive_2008/mcmaster_supporting_excellence_arts.htm
  • MINGUS, N. (2002), Project Management, CWL Publishing Entreprises. Indianápolis.
    RICHARDS, Greg and Robert Palmer (2010) Eventful Cities: Cultural management and urban revitalisation. A Butterworth-Heinemann: London 
  • ROSELLÓ, D. y COLOMBO, A. (2008), Gestión cultural, estudios de caso. Barcelona: Ed. Ariel.
  • ROSELLÓ, David. (2004) Diseño y evaluación de proyectos culturales. Barcelona: Editorial Ariel, Barcelona, 2004 – 4ª edición actualizada en 2007. 5ª edición, 2008.
  • STAINES, Judith (2003) Network solutions for cultural cooperation in Europe
  • SUTEU, C. (2006) Another brick in the wall: a critical review of cultural management education in Europe. Amsterdam: Boekmanstudies.
  • VARBANOVA, Lidia (2012), Strategic management in the Arts
  • WORLD TOURISM ORGANIZATION (2011), Tourism Towards 2030. Global Overview, UNWTO, Madrid: http://www.wtoelibrary.org/content/w45127/fulltext.pdf

Teaching and learning material


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