Ra’al Ki Victorieux

I share a concept of cultural production that is the result of both theory and experience in cultural management. I have worked with stage, literary, and visual arts presentations, as with the organization of conference cycles, editions of web pages, and books, educational, musical, or experimental audio projects. I have been dedicated to cultural promotion since 1990. When approaching cultural management, it is useful to have a methodology that allows greater clarity in the planning, development, and conclusion of various projects. Regardless of the artistic genre, the methodology facilitates the achievement of goals and objectives. For example: that the artistic product or service is distributed and managed to be consumed by a specific audience, that the investment cycle is closed with that of profits, whether economic or in terms of the success of specialized critics, media, or professional recognition. From the point of view of a manager, artistic creation is not in itself a finished process, since the works that are kept under lock and key, in the closet or under the bed, or on the shelves of utopia and dreams not specified, they cannot close their cycle; insertion into the fabric and social psychology, including distribution and consumption. An efficient Cultural Production, therefore, involves two areas: Artistic Creation and Cultural Management or Promotion.

The artistic creation can be of an individual or collective authorship. The documents resulting from the creation (objects, books, images, videos, etc.), will end up being part of funds or specialized collections. Both institutions and individuals like to collect signs of aesthetic history, fragments of cultural heritage. Thus we find that various groups are dedicated to the acquisition and conservation of photographs, specialized texts, biography, hemerography, gathered with a certain objective, either around a protagonist, a theme, gender, or event. Some professionals specialize in how to best organize, classify, value, insure, and preserve such assets. The creator is not always thinking in the long term, and in most cases, he does not know the final whereabouts of the objects and processes of his authorship. Their motivations are usually linked to an expressive need, to the manifestation of a certain ideology, personal or social identity. How to define the force that drives creators? Both the students of creativity, marketing, and art theory carry out essays to try to conceptualize: what is that? The idea, the need to reflect and share, to transcend through art. The truth is that the sum of the creations that occur in a nation, over time, configure the culture and heritage of that territory, which not only defines a shared identity among fellow nationals but also allows for a unique and unique aesthetic. special to present in an international context.

Cultural management or promotion is usually developed by a work team, which attends four large areas of work:

1. Programming and development of audiences. It implies from conceptualizing the plan, seeing that it is executed, probably through production boards and strategies of each area, which allow to supervise and guide the implementation of the plan. This area raises the need to identify a specific audience, and create bridges between the offer of the cultural product or service created and the cultural needs of said audience or market niche, which the more specifically we manage to define, the better. This is our first crossover of identities. From these crosses, the D.A. (Development of audiences), generates tactics, and strategies to generate relationships of mutual appreciation through shared values ​​and identities between the creator (s) and the public (s).
2. Management. This area deals with human, material, and financial resources. It is important to have a timely statement of what is available as well as the needs. It is also vital to advocate for a legal and accounting order, taking into account tax and intellectual property. From surveys and statistics, we know that almost 70% of creators do not register any of their works, and among the remaining 30%, copyright registration is carried out sporadically, erratically. A tiny percentage of creators belong to their author societies, and these still find themselves with a certain legal lag in the face of new technologies and inter and multidisciplinary artistic genres. This situation is aggravated when professional schools lack subjects in intellectual property, which explains why many creatives view with suspicion the signing of agreements that imply authorial, financial, or fiscal regulations. Achieving benefits and legal, fiscal, and financial order is one of the challenges facing this area, and it must be handled with tact and diplomacy to achieve the collaboration of those involved.
3. Management. The task of the manager is to obtain the necessary resources: material, human and financial. Among its strategies are: the volunteer program, sponsorship, donations, fundraising events, special events, scholarships, sales, memberships, collaboration agreements, etc. It is important to have a plan of how much you expect to earn, that this covers the investment and allows the project to be as far as possible from the red numbers, and with the highest possible number of benefits.
4. Distribution. To carry out various activities in order to reach the indicated audiences. This includes: creating an image of the project, advertising design, marketing strategy, presence in the media -written press, radio, television-, management of social networks. The visual image of the project is an identity proposal that must be congruent with the needs and desires of the audiences in order to achieve success.
5. Documentation. Adequate attention to these four management areas will allow us to insert creation into an efficient circle of distribution and consumption. Such activity generates the «management file», or production file, that is, the reports with the processes and results of each area, classified according to the organization chart -staff responsibilities-, schedule -calendar and deadlines-, and evaluation -the level of proactivity, ability to resolve conflicts, degree of success. The director and his team must review the said file and synthesize the most important, in order to generate a public memory (if the project is to be published), and a public or private document (according to the interests and policies of the organization), which facilitates evaluation and learning from experience.

Thank you. Love, grace and transcendence blessings

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Ra’al Ki Victorieux