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strategic management
Strategic Management In The Arts 1st Edition Lidia Varbanova - Solutions
=+• Are the two Caravansarai founders effective entrepreneurs and/or managers? Are they innovators?Why? Why not?
=+• Elaborate the strengths and weaknesses of Caravansarai’s current venue and management performance.
=+• Discuss the success factors for efficient strategic management of an artist-run space.
=+• Recognize the importance of building a strong network of partners, stakeholders and audiences for the successful running of an arts organisation.
=+• Understand different types of resources and the capacity limitations involved in the daily management of an artist-run space.
=+• Analyse the strengths and weaknesses of managing a small arts organisation that has its own space.
=+• Discuss entrepreneurial aspects in the strategic management of an artist-run organisation.
=+• Do you plan any technical and technological innovations and, if yes, in which areas? How would you cover the cost for these innovations?
=+• What are the alternative ways to expand the utilization of a limited facility, including through the use of new technologies?
=+• What is your maximum capacity, and what is the level of its utilization? How would this change in the future considering your strategic objectives?
=+• Do you need to consider any specific industry-related standards, safety regulations and qualitycontrol characteristics for specific equipment (for example for lighting or sound equipment)?
=+• How do you plan to use the spaces for all your activities in the long term (changes, reconstruction, purchases, etc.)?
=+• Do you plan any changes in your current suppliers of materials and equipment? If yes, what are they?
=+• What would be the main equipment and materials needed in the long term, considering the strategic objectives and programmes?
=+• How would you describe your current production and technological process, and how could it change in the next three to four years?
=+• How would you furnish and decorate the interior of the gallery? For a small gallery, the interior should be simple, elegant and minimal. You need to carefully consider in advance the possible ambience that could be created2.
=+• How will you deal with security issues? Artworks are expensive and need insurance policies.Security is an important area to consider when opening a gallery and organizing exhibitions.
=+• How could you maintain the required temperature and air humidity? Preservation of arts objects requires maintenance and certain air conditions.
=+• What lighting is available? Organizing the exhibition space depends much on the natural and artificial lighting.
=+• What is the size of the space you need? You may need to consider both an exhibition space and spaces for storage and office. Remember that an exhibition space includes the walls, the floor and the ceiling (in case of sculptures and installations) and excludes windows.
=+• Where will you locate the gallery? The choice of the place (region, city and neighbourhood) depends on important factors such as the mission and aims of the future gallery, available budget for investment, type and size of art objects to be exhibited or sold, and potential clients. It is
=+• Who are the owners, and how might they use the property (sale, rent, privatize, etc.)?
=+• How are issues related to humidity and security of the space sorted out?
=+• Is the building user-friendly and accessible, and how could it be improved to fit the customer’s perspective?
=+• Will the building bring additional costs for repairs, improvements or construction of additional rooms?
=+• Do the buildings (or the premises) contain enough space to accommodate the planned needs, for all the planned processes?
=+• What would be the additional costs to bring the audiences to this place?
=+• What are the pluses and minuses of the location?
=+6. Elaborate the technological and production section of a strategic plan.
=+5. Describe why innovation and research and development (R&D) are primary factors for success in an arts organisation.
=+4. Understand what production capacity means.
=+3. Elaborate an organisational plan for effective use of material resources, equipment and information resources in an arts organisation.
=+2. Analyse and plan a technological and production process in an arts organisation.
=+1. Elaborate the differences and similarities between the terms technology, production and operations and their relevance to arts organisations.
=+• Discuss the pros and cons of using online technologies in strategic management and the internal operations of a nonprofit organisation.
=+• Elaborate a completed framework for a HRM strategy and main tools, considering the programme areas and the main strategic goals.
=+Discuss the type of organisational structure, its main strengths and its possible weaknesses.
=+• Elaborate a comprehensive organisational chart for Framework’s programmes which could also handle the future strategic objectives.
=+ What should the organisation do to decrease these risks?
=+• Framework moves quickly and constantly innovates, which might create risks for instability in the strategic planning and plan implementation.
=+• Is Framework an intrapreneurial organisation? Why? Why not? Justify your answer.
=+• Analyse the ingredients of job satisfaction and motivation at work.
=+• Understand the importance of investing in the ongoing motivation, research and development of human resources in an organisation.
=+• Discuss practical connections between arts, creativity, volunteering and development of the third sector.
=+• Explore diverse innovative online tools and techniques in the strategic management process in a nonprofit organisation.
=+• Understand the importance and challenges of applying online technologies in the strategic management process.
=+• Suggest ways of using online technologies in Intercult’s internal management and operations.
=+• Connect the human resource strategy with the financial/fundraising strategy which helps Intercult to develop concepts, partnerships and projects that are less dependent on ongoing project funding.
=+• Draw Intercult’s current and future organisational chart, showing also relations with external partners and stakeholders and considering the new programme areas and strategic goals.
=+• Elaborate an efficient HRM strategy for Intercult that helps the organisation to keep a competent core team on an ongoing basis while at the same time expanding its network of collaborators and partners across Europe.
=+• Understand the role of personnel’s motivation and satisfaction at work.
=+• Recognize the importance of motivation and development in the HRM strategy of a small organisation with a wide international coverage and a proven methodology of working at an international level.
=+• Discuss the challenges and opportunities in creating strategic cross-border alliances and creative teams while maintaining ongoing innovation in creative programming.
=+• Analyse a successful practical example connecting cross-border cooperation with art, research, development, lobbying and partnership.
=+• Understand the importance of the networking and collaboration strategies in the arts.
=+• Suggest ways to secure the necessary financial resources to implement your HRM plan. Connect it with the financial and fundraising section of the plan.
=+• Synchronize the HRM section with other sections of the strategic plan.
=+• Calculate the cost implications of personnel changes and implementation of planned HRM strategies.
=+• Calculate the cost-effectiveness of professional development for the current staff members. Find ways to improve their skills and competences, where possible.
=+• Develop concrete strategies for personnel motivation, education and development.
=+• Evaluate to what extent your organisation is a learning organisation.
=+• Plan carefully the recruitment and selection process for full-time, part-time and volunteer staff.
=+• Analyse all internal regulations and working conditions. Think of effective ways to change them(where needed ).
=+• Elaborate a strategy for structural changes needed to reach a desired structure.
=+• Evaluate your organisational structure and identify gaps and overlaps, if any.
=+• Evaluate the current capacity of your personnel.
=+• What qualifications are needed to perform the job?
=+• How should the job be performed?
=+• Where is the job going to be carried out?
=+• When is the job going to be completed?
=+• When does the job start and when is it going to be completed?
=+• Why is the job needed?
=+• What do you need to initiate changes?
=+• What are the external and internal driving and restraining forces related to the working conditions?
=+• What is the desired organisational structure in terms of the chosen strategy?
=+• What kind of supporting documents regulate internal workflow and working conditions (procedures, rules, regulations)? Are they efficient?
=+• Are there clear job descriptions for each position within the organisation?
=+• Who does what, why, where and how (in the key positions)?
=+• What are the main problematic areas in your current organisational structure (for example internal workflow, decision-making, coordination, division of work and areas of responsibility)?
=+7. Elaborate the human resource management section of a strategic plan.
=+6. Elaborate the process of matching the right people to the right jobs.
=+5. Understand the importance of the staff’s motivation, education and development in the strategic management process.
=+4. Understand how an existing organisational structure and internal regulations can be analysed and improved.
=+3. Describe different types of organisational structures in arts organisations.
=+2. Analyse and evaluate the personnel’s potential and give arguments why this is important in the overall strategic management process.
=+1. Understand the key elements of the human resource management system in an arts organisation.
=+• Elaborate ways to gradually transform the BPO into an intrapreneurial arts organisation, emphasizing the diverse options for self-generated income from core and additional services.
=+• Suggest elements of marketing-related innovations in the orchestra’s activities (both online and offline).
=+• Analyse the strengths, risks and limitations in the orchestra’s current marketing operations and long-term objectives.
=+• Analyse the four Ps of BPO’s marketing mix. Illustrate your answer with examples from the case.
=+• Elaborate the main driving and restraining forces for the BPO’s operations. Elaborate an analysis of the BPO’s stakeholders.
=+• Study an example of a fundraising strategy through establishment of a foundation for accumulating funds from diverse sources and discuss connections between marketing and fundraising.
=+• Recognize the four Ps of the marketing mix in a real case scenario.
=+• Analyse the practical implementation of market development strategy and focus strategy.
=+• Discuss the practical connections between artistic programming and marketing.
=+• Understand the importance of management competence and efforts in changing and reshaping the public image and audience development of a music organisation.
=+• Analyse Exodos’s communication strategy and tools. Extract the priorities and limitations in the communication strategy, considering the organisation’s capacity and operations.
=+• Elaborate a matrix connecting the target groups, their potential motivations to attend the festival and the concrete communication and promotional tools for reaching each one of these targeted segments.
=+• Elaborate a marketing research plan for the Exodos festival, suggesting concrete qualitative and quantitative methods of research, considering the festival’s specificities and the target groups.
=+• Identify what kind of general strategy as well as functional marketing strategy the Exodos festival implements. Connect your answer with the main objectives of the festival.
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