Local Networks: (a guide to) Reimagining the Work of Cultural Organisations - by Raluca Iacob - European Network of Cultural Centres
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Local Networks:
(a guide to) Reimagining the Work
of Cultural Organisations
by Raluca Iacob
EUROPEAN
NETWORK OF
CULTURAL
CENTRES
Contents
FOREWORD: What we mean by 'culture' 3 V.Birth of a network 22 IX.International cooperation and
TRUST 22 local networks 50
Welcome 5 SIMILARITY OF STATUS AND POWER 24 HOW TO CONNECT LOCAL NETWORKS &
WHO ARE YOU? 5 PROXIMITY 25 INTERNATIONAL EXPERIENCE 51
WHAT IS THIS? 6 SITUATIONS OF COMMON HOPE AND ACTION 26 LOCAL NETWORKS INTERNATIONAL
COOPERATION 51
I.What is a local network? 8 VI.The Life of a network 28 INTERNATIONAL COOPERATION LOCAL
GOVERNANCE 29 NETWORKS 51
II.Why are local networks IDENTITY AND IMAGE 32
interesting? 10 DEMOCRATIC MANAGEMENT 33 X.Are local networks worth it? 52
COMMUNITY ENGAGEMENT 10 SITUATIONS WHERE PEOPLE CAN TAKE CHARGE 34
SUSTAINABILITY AND PROFESSIONAL THE FEELING OF A NETWORK 35 XI.How are local networks changing
DEVELOPMENT 12 cultural organisations? 54
SOCIAL CHANGE 13 VII.Triggers of change 37
OPPORTUNITIES AND CHALLENGES 37 Appendices 55
III.The context that matters 15 ACCOUNTABILITY 39 READING SUGGESTIONS 55
LIFE AND WORK TOGETHER 16 INSTITUTIONALISATION 41 A NOTE FROM THE AUTHOR 57
A WISH TO TRANSFORM SOCIETY 16 THANKS AND ACKNOWLEDGEMENTS 59
INSPIRATION AND FUNDS FOR TERRITORIAL VIII.The role of public authorities43
COOPERATION 16 FUNDING 43
CONSULTATION AND ADVOCACY 45
IV.Network thinking 18 NEW LOCAL NETWORKS 46
MAPS OF STAKEHOLDERS 19 PROGRAMMES AND EVENTS 48
FORMS OF SOCIAL ANARCHY 21
Local networks: (a guide to) reimagining the work of cultural organisations 2
FOREWORD:
What we mean by
�culture�
In this guide, we regard culture as a socially- well-being and existential stance. It refers
connected pursuit, a way to relate to and to audiences not as passive bystanders
engage with the world of facts and the world who consume culture, but is respectful and
of ideas, and to transform them while we understanding of their role in the creation of
also allow ourselves to be transformed. meaning, their capacity to participate and
their creative aspirations. This is not instru-
Culture, especially the arts, has the power to mental culture. This is a culture that is aware
affect us and our way of life by showing us a of its impact on people and communities.
reflection of who we are, by making bridges This is socially-connected culture.
with other ways of being, by pointing to the
directions in which we are (maybe mistak- The relation between cultural rights and a
enly) going, and to what matters most. vibrant, just and open society, capable of
upholding the fulfilment of all human rights
We see that the arts, but also the interpreta- is at the core of all cultural activities. Yet, we
tion of heritage and other creative pursuits tend to talk about culture as an autonomous
based on community and self-expression, field and to measure its ‘impact’ on other
are always related to a certain perspective ‘fields’, and on society as a whole. Even the
on life and society, which impacts people metaphor of the ‘cultural ecosystem’ sustains
by leaving an imprint on their mind frame, this mirage to some degree. This analytical
Local networks: (a guide to) reimagining the work of cultural organisations 3
separation which we try to bridge as spill- aries between ‘fields of activity’, that they
overs or statistical imprints of economic, unfortunately often fall between the cracks
social or civic value obscures the fact that of public policies and cultural management
our cultural rights are based on a conception framework scenarios. They can take the
of what it means to lead a decent and enjoy- shape of cultural centres, local networks and
able life, a dignified existence as humans in platforms, multisectorial nonprofit organisa-
a world where diversity is recognized and tions, socially oriented businesses, informal
protected. It also hides the fact that cultural groups of cultural workers and enthusiasts.
activities relate fluidly to social, economic,
civic and educational goals. Before they are In an effort to capture the value of social-
‘instrumentalized’ or measured for their ly-connected cultural activity, we are too
‘impact’ or ‘spillover’ effect, they are natu- often hesitant to define them as inter- or
rally connected to society. transsectorial. We also struggle to identify
tools to pass on knowledge from those who
Any cultural experience has social, economic, already have an impact to those who wish to
civic and educational facets. The way we intensify theirs.
usually think about culture, as a distinct sec-
tor of human activity, is not the way culture Socially-connected cultural actors are an
actually takes place, because culture ‘hap- incredible asset not only for cultural ecosys-
pens’ not only when it is produced, but as a tems, but for communities and whole terri-
continuous experience of all those involved, tories as well, and they deserve well-tailored,
from cultural workers to its audiences. specific approaches to reflect, document
and transfer their functions, their experience
Some actors take this relationship between and their work processes. I hope this guide is
culture, people and communities more one step forward in this direction.
seriously than others, and it's precisely
because they cross those imaginary bound- Raluca Iacob
Local networks: (a guide to) reimagining the work of cultural organisations 4
Welcome
WHO ARE YOU? formalise into a clear-cut piece of advice, that it is Telling an old story to an organisation
simply ignored for the sake of clarity. that has never heard it is a step forward
Learning is a life-long pursuit, but new for their learning process. Key conclusions
knowledge takes time and energy, that In a world where information is abundant and small of academic studies on local network
often we feel we no longer have. When organisations juggle multiple tasks, fast-changing development and other people’s
our questions are practical, a guide is priorities and the agendas of their communities examples will for sure not replace the
an appealing form, promising easy fixes and funders, it is hard to find money, energy and insights and practical learning that a
for the challenges we face. time for more than an occasional mapping, a concrete experience of nurturing a local
satisfaction questionnaire and an annual board or network can bring, but it might offer
Advanced practitioners understand that a how-to members’ meeting. some ideas on what worked for others
rarely tells the full story, and that in order to learn, and how, and an impulse to find out if
one needs to understand the context. They indulge Most small organisations or informal arts groups do they can also work for you.
in thicker descriptions and stories to reflect on; not have the needed capacity to do research; those
stories that can be a source of inspiration, maybe who do tend to neglect the findings when these do
even hope, and information that can bring them not confirm their wishes or their ideas. Small-scale
closer to solving their managerial dilemmas. ‘What applied research - which is the type encouraged by
worked?’ becomes ‘How did that work in a particu- toolkits - is likely to be used randomly and arbitrar-
lar situation?’ or ‘What type of situation made that ily, depending on when it is received and who is
work?’. behind it (DiMaggio and Useem, 1980). Even when
research does bring drastic changes in the man-
Principles can be learned and the steps can be agement of a network or an organisation, because
made clear, but the implementation is always of often very brief organizational memories, such Whether you are just starting to build a local net-
surprising. The role of context is crucial in learning decisions can appear discretionary when looked work, or you are already growing one, we hope you
cultural management, and often it is so difficult to back at from a distance. will feel enriched by the contents of this guide.
Local networks: (a guide to) reimagining the work of cultural organisations 5
WHAT IS THIS? – Chapter 3
We discuss the ubiquitous notion of
context. This is particularly important for – Chapter 5
any kind of learning about organisational Are you starting to wonder when we
– Chapter 1 management, and very difficult to
summarize. But, with the help of a solid
actually get to work on the local network?
The answer is now. We introduce the most
We start by the book, with a literature review, interviews, case-studies important factors conducive to a good
definition of what we mean by a and our fierce minds, we managed to pull- baseline. Think of it as a canvas to assess
’local network’. We glance at the out some key strands of relevant external your starting position.
general rhetoric on local networks, conditions that matter in the life of local
then talk about the different ways networks. We recommend you read and
reflect on them before starting a local
in which network(ing) appears in
network, or if you find yourself in a crisis.
common and specialised talks.
– Chapter 6
– Chapter 4 This part was initially called
Even more theory follows! Network governance, but then
We present the two most we decided just to focus on what
– Chapter 2 common perspectives works. So we brought together
Why are local networks interesting, you some of the wisdom out there In
might ask? Or you might not, granted that on local networks. You fact, governance is just one part
you are already reading this. But you could might not notice, but in of the story, as we would also like
wonder what others see in them, or what public discourse both you to consider work processes,
they can really deliver. Objectively, what feelings, giving people the power
makes them worthwhile? float undisturbed and to take charge, celebration of
often undistinguished, success and communication.
even though they tell very
different stories.
Local networks: (a guide to) reimagining the work of cultural organisations 6
– Chapter 8
Here we look at public – Chapter 10
authorities and their role in We ask ourselves (and you)
– Chapter 7 supporting local networks. We if local networks are worth
Change is a constant in our believe they deserve a special it - a question that we consider
personal lives, so why should place in our toolkit, not just a from time to time about our
we assume that networks stay brief mention in the ‘context’ work in general. No existential
part. From the common funding crisis here, just a quest for
the same? While we do not
& facilities bit to consultations, authenticity and relevance.
want to change because we
are bored with the way things initiation and the creation
are, we also do not preach
of situations that brew the – Chapter 11
emergence of local networks, To end this excursion, we take a
adaptation at all costs. To
we recognize the important fresh look at organisations and
analyse and reflect on some role played by the public how they are changing from the
of the causes of modulations administration. perspective of local networks.
in the life of your network is
always a good idea. Thanks and acknowledgements are in order, and we
– Chapter 9 offer them fully to people and organisations that
International cooperation and local helped us understand how local networks work.
networks may seem like an odd couple,
but they work well together. Interested to Finally, for those hungry for more, we included a list
of reading suggestions. Many of these were valuable
get fresh ideas on how they can reinforce
resources for the thinking behind this toolkit and the
each other? (Preview: no, it is not only
ideas we put forward, cited or paraphrased here.
about funding.)
Local networks: (a guide to) reimagining the work of cultural organisations 7
I.What is a local network?
A local network is a web of a set goal is a key assumption for this model. But
cooperative, horizontal, direct and just how ‘autonomous’ can the actors of a local
What are the
foundations
democratically managed relations network be? Looking at small cultural centres and
of your local between autonomous actors active cultural organisations, research has found that
network? What does on a territory. they are often themselves just a form of organised
‘local’ mean anarchy (Cohen and March, 1980) - defining prob-
for you? ‘Local� can be a neighbourhood, but it may also very lematic goals, using uncertain technologies, and
well be a region or even a small country, if the inter- having a fluid participation of staff in management
Who does your actions happen often, the people share more or less and decision-making. Within such organisations,
organisation work the same concerns and deal with a similar reality. making decisions about future projects is not a neat
regularly with? and strictly rational pursuit. No matter how strong
The cooperation can be continuous or periodical, the connection to the community is, and how pas-
informal or formalised by a contract. sionate the members of the organisation are about
their common mission, there always remains a huge
Does your organisation The relations between actors of a local network space of unpredictability.
usually behave in a
tend to be very direct, democratically-managed and
rational, strategic and
Or is it more with little to no hierarchy. This makes for the distinct New initiatives depend by and large on the available
orderly way?
like an personality of local networks compared to other opportunities, the screams of reality and the wishes
organised
types of organisational structures based on coop- of those involved. Researchers describe this idea in
anarchy?
eration, such as consortia, alliances and platforms. a whimsical fashion: this type of organisation ‘is a
collection of choices looking for problems, issues
Autonomy, understood as the capacity to act inde- and feelings looking for decision situations in which
pendently from each other and strategically towards they might be aired, solutions looking for issues to
Local networks: (a guide to) reimagining the work of cultural organisations 8
which they might be the answer, and decision-mak- following them other than for the sake of short- One of the commonly-used methods to analyse
ers looking for work’ (DiMaggio, Useem, 1980). term projects and reporting, or are unclear as to networks is to map their constituency, pointing
Their autonomy, in the broader sense, is actually their priorities. It does not mean that they are not at nodes (actors) and ties (the relations between
contradicted by their usually high level of depend- capable of reaching their goals, it just shows the then). This is fine, as long as we remember that the
ence on external situations. need for organic development or community-led map is not the territory, and that to understand
approaches in cultural management, which are not how they work, we have to look at their drive and
Enraged or enlightened by this perspective? If you born from a strictly rationalistic model of organisa- their energy generators. More importantly, a new
are not a newcomer to cultural management, you tional behaviour. vocabulary and a different approach are needed. If
might have noticed that between the strategic we continue to talk about networks in comparison
plans, the reports addressed to funders, and the This image of the cultural organization leaves to the with organisations, we will evaluate their activities
actual practice there is often a big, huge gap that is local network the task of imagining tools and meth- and their results in terms which do not fit their
bridged only by discourse. ods that do not coerce their members into fitting personality.
the neat and orderly functioning of formalised and
The assumption that cultural organizations behave hierarchical institutions. And that suits them per-
in a rational, strategic and orderly manner is just fectly, because local networks represent an extra
that, a hypothesis. Many organisations do not level of organised anarchy.
develop objectives with the purpose of actually
Local networks are evanescent creatures, which can develop visible contours and weight
or can maintain a fog-like state. Nourished by interpersonal relations, with occasional
partnerships among members, and based on reciprocity norms, information sharing and
mutual trust, they are social and informal beings at their core. Sometimes, their shape gets
even more crystallized, with clear coordination and governance structures, based on formal
rights and responsibilities and a contract. Local networks depend on good, honest and
frequent communication between actors, and a (constructed) perception of togetherness,
which often, but not always, mean that they also develop a social identity - a logo, a name, a
website, and an explicit goal that others can relate to.
Local networks: (a guide to) reimagining the work of cultural organisations 9
II.Why are local networks
interesting?
Because they’re COMMUNITY ENGAGEMENT
better at engaging
communities? The local is the space where people come together Local networks are first of all networks
easily and often, and networks are most of the time of people, and the sociability, personal
focused on how to engage and develop the commu- empowerment and human connection
Because they can help nities that share that territory. Often, the discourse are felt by those who are not directly
organisations survive
Because they about local networks is so steeped in citizen engage- involved with their work as well. To them,
and work well?
consolidate ment, mediation or audience development, that no cultural participation can provide that
democracy? other option even seems possible. extra spark of engagement, become more
grounded, feel less anxious about their
Indeed, it is in the genes of local networks to address life conditions and be more empowered
Because they support
civic and social issues that involve democratisation to address social issues.
interdisciplinary action
and new power relations between institutions
and learning?
and citizens, because their very nature relies on a
different attitude amongst actors. Interdisciplinar- Local networks can also involve people that are
ity, information sharing, pooling of different types not members of any organisation, and give them a
Because they enlarge
of competences and organisational profiles and a role. They contribute to community development
and diversify your
audience base? less--hierarchical way of working are the essence by creating webs of dialogue and trust between
Or for another
reason (there of their governance, so it is natural to extend the people and with institutions, they can empower or
are many)? approach towards people and communities. represent them when needed.
Local networks: (a guide to) reimagining the work of cultural organisations 10At the same time, many cultural managers do not A focus on the diverse needs of people is a more ‘The Donut venues experience the pressures
recognize that their audiences overlap – sharing successful approach to overlapping audiences, than of inequality and poor connectivity in contrast
the same type of groups of people who engage competition. Collaboration (including via participa- to the prosperous core and its larger and
with the cultural programme. This overlap is in fact tion in local networks) can turn infrequent attendees well-established producing organisations.
an excellent base for cooperation and collective into frequent ones and non-attendees into attend- The consortium structure of the Donut Group
action between organisations. Such activities can ees, enlarging and diversifying the audience base by offers the venues an opportunity to voice their
range from cross-promotional efforts (the sharing reaching out to other actors’ target groups. When concerns and increase their visibility in the
of mailing and subscriber lists, for example), devel- organisations share the same space, this type of city.’
opment and collaborative ventures, coordination of cooperation is much easier, even though efforts to
schedules, outreach and cross-over programmes, get everyone on the same page are still needed.
marketing via a single ticket purchase (e.g. cultural
passports) and even shared administrative tasks (Fis-
cher and Preece, 2002). Unfortunately, many organ-
isations with the same (potential) audience still look
at each other as competitors, even when they come Donut Group - a network
from different (cultural) sectors and when they are of small-scale arts Research carried out in 2018 by Leeds 2023/
actually seen as complements of the cultural offer, organisations located Leeds City Council and Leeds University
rather than substitutes or competitors. outside the city-centre showed that member organisations, in vary-
ing degrees, are well-rooted in their immedi-
The Donut Group is a network of small-scale ate communities, and that their work proves
Once you have discovered that you’re arts organisations located outside the centre ‘the potential for producing a more equal and
addressing same (potential) audiences, of Leeds (United Kingdom). It was founded in sustainable cultural provision in the city when
you already have a solid ground to 2015 to connect providers and producers of small-scale cultural organizations are taken
act together. This common work can cultural activity in these ‘outer city’ areas and into account.’
sometimes take the form of a local make them more sustainable. Members of
network. the venues support each other informally in https://cultural-policy.leeds.ac.uk/ projects/
management, marketing and programming. the-donut-project/
Local networks: (a guide to) reimagining the work of cultural organisations 11SUSTAINABILITY AND Organisations that develop local networks ‘ACN establishes an active cultural and arts
PROFESSIONAL DEVELOPMENT for pragmatic reasons need to keep their framework for the people living in the city,
staff and key collaborators mindful of the visitors, the artists and the institutions. It
Local networks are a dream of collaboration where their common dream. Sharing values and functions as a link between the main cultural
everyone is appreciated and given an equal saying fine-tuning goals are essential to the life institutions in Athens, offering support, solu-
in the common work. But, like all dreams that meet of a network. Efficiency alone does not tions and networking. ACN promotes social
reality, it needs fine-tuning and pragmatism to make have a soul. inclusion, initiates synergies and connects
it work. When seeking funding for the development smaller cultural groups, acting upon the belief
of a project, or when common advocacy is a goal, for- that collaboration is the key to the long-term
malisation of the network is needed, as a (temporary) success of any resilient community.’
alliance or consortium, or even as a new institution. Athens Culture Net –
a collaborative The network facilitates the collaboration
Discussions and negotiations require time resources network and forum between very different cultural players - the
of key people even more so in the nonprofit world, for arts leaders, artistic main cultural institutions, artistic groups
where in order to deliver on their mission, organi- groups and collectives and collectives – and it brings them in to
sations must work hard to build strong connections take part in municipal programmes and
between themselves and with their various stake- Athens Culture Net (ACN) from Greece is the major cultural events. The cultural offer in
holders (Boyle, 2003). city’s first collaborative network of cultural the city is promoted via a bi-annual Athens
organizations, a forum for arts leaders, Culture Net guide and a website. ACN also
The need to compensate for a lack of resources artistic groups and collectives to discuss helps organise artistic programming in Ath-
drives many organisations to enter or found local policies, build relationships, share resources ens neighbourhoods, and acts as a bridge
networks, which will only succeed only if they pro- and develop joint programming in neigh- between the cultural players in Athens and
vide concrete benefits to all participants. Especially bourhoods. Founded by the Municipality of the international scene via international
for those activities which are not related to artistic Athens with financial support from the Stav- events.
decisions or for infrastructure (like space or equip- ros Niarchos Foundation, it has 61 member
ment), sharing and pooling resources is a clever way organizations and 45 affiliate organisations. http://www.athensculturenet.com/en
to be economically resourceful (Bagdadli, 2003).
Local networks: (a guide to) reimagining the work of cultural organisations 12SOCIAL CHANGE Democracy needs the arts the baseline conditions for cultural local networks
(and the humanities which they as well.
Local networks have the capacity to picture a dif- anchor), for they constitute a ‘the introduction of competitiveness in the
ferent world, by embodying a more democratic, crucial element in civil society’s provision of arts and culture through the trans-
open and participative way of working and learning cultural infrastructure. For a fer of state institutions to not-for-profit status,
together. They can be seen as prototypes of the uto- free society gains its liberty and the enrichment and strengthening of national
pia of social emancipation at grassroots level, which its democratic vitality from civil culture through multiculturalism and through
requires a high level of personal commitment and society, and the arts and human- international exchange and cooperation,
a political approach that takes a critical stance both ities invest the civil society with the establishment of frameworks for domestic
towards neoliberalism in the arts and the ’access its creativity, its diversity and its creativity and excellence in the cultural indus-
to culture’ elite discourse of democracy of culture. liberating spontaneity. tries, and
Local networks as actors of social change represent (Barber, 1997) a decentralization of cultural production that
both the struggle for a better world and the critique balances equal access with local participation’
of the existing one. When cultural, social, educational, civic and other (Čopič and Tomc, 2000)
actors come together for joint impact, it means
Especially where collective action is difficult, local they have identified this common core and want
networks can knit a web of trust that can go a long to infuse democratic vitality and awareness in their
way. For that, reflection and a political conscience communities.
are essential. Looking inwards at potential conflicts
and inequalities, and outwards at the challenges Local networks need to develop specific compe-
faced by the communities they serve, networks tences and a certain type of governance, and they
need to decide to be either a voice that empowers grow well in a democratic political, economical and
communities, or a professional association of its social context. In that sense, it is useful to look at When these conditions are absent or are still frail,
actors working to promote their own cause. the conditions and changes required for the devel- the link between policy and democracy in the arts
Local networks are a form of democracy, and a opment of non-profit cultural actors in societies can be itself a focus of the work of local networks,
democratic society needs local networks. The which are transitioning from a totalitarian regime to which will take on the role to build that supportive
same applies to the cultural world. free-democratic societies. This helps to understand political and social context.
Local networks: (a guide to) reimagining the work of cultural organisations 13KOOPERATIVA – KOOPERATIVA is based on commonplace
regional platform for connections between people. The shared
culture in the Balkans belonging to the territory of ex-Yugoslavia
makes understanding easier, especially
KOOPERATIVA, a regional network of the since members face similar problems across
independent art scene, connects artists and the territory.
organisations in the Balkans. It grew from
collaborations in the 90s among actors of ‘The network emerged once we became KOOPERATIVA empowers organisations
the independent art scene and emerged as aware that we also wanted to also shape of the independent art sector who want to
a project in 2005, after the war, when there and influence the environment in which learn, and joins forces with them in advocacy
was a wave of hope, funding and expertise we operate. It was established as a new for their acknowledgement by their local
available for regional collaboration, recon- structure in 2012, and the membership public authorities. In this way, they have
ciliation funds, and an interest to focus on art was very diverse from the start, with a lot helped other national networks in the region
for social change. The network was formally of people coming from visual arts, new be born. KOOPERATIVA actually advocates
established in Croatia in 2012, because the media arts, theory and philosophy, contem- for multinational funds from the govern-
legal system there allowed for 21 founding porary dance, theatre, literature, poetry. ments of the region in order to secure sus-
member organisations from 7 countries, and We got together multiple times to discuss tainable funding for regional collaboration in
the Croatian members had relevant funding before establishing the organisation. The the field of contemporary art. The network
opportunities and the largest capacity to process took time and was always driven has one coordinator, an Assembly of the
invest in the new organisation. As of 2020, the by one of us pulling it along, someone who delegates of the association members, and
regional platform brings together national had resources funding, who could organise a Management Board which is composed of
networks from the independent art scene, as a conference and invite people from the five members elected by the Assembly for a
well as individual organisations from Bosnia region, so that we were able to advance the three year term.
and Herzegovina, Croatia, North Macedonia, discussion about the most pressing regional
Slovenia, Montenegro, Kosovo and Serbia. issues.’ http://platforma-kooperativa.org/en/home/
Local networks: (a guide to) reimagining the work of cultural organisations 14III.The context that matters
What is favourable to local
networks in the context your We call context that sometimes
organisation operates in? elusive, but strongly felt presence
that is not in our individual power to
People and organisations change from one day to the other, but
frustrated with the current which greatly impacts our decisions.
People and institutions with a good
situation in our society?
record of cooperation and solidarity?
Consider international events, such as forums for
cultural managers from all over the world. There are
many still which do not encourage participants to
Regular occasions to People and organisations who mention where they are based when they intervene
meet and learn from are hopeful and working towards in conversations - which is the place they are work-
other local networks? a better future for our society?
ing in and where they are drawing their experiences
from. But while this option can be rhetorically
meaningful, and highlights the commonalities,
we also need to remind each other that there are
Available financial meaningful differences between our realities, our
Any other factors?
support to fund the institutions and our histories, which create different
development of local
terrains for cultural practices.
networks?
When it comes to network formation, a social
What could hinder the development
environment that is conducive to networking is
of local networks in the context
essential.
your organisation operates in?
Local networks: (a guide to) reimagining the work of cultural organisations 15LIFE AND WORK TOGETHER Individual and collective empowerment is a crucial INSPIRATION AND FUNDS FOR
socio-emotional factor, and local networks tend to TERRITORIAL COOPERATION
Sharing the territory means people have lived take shape when political, economical or social con-
through similar political, economical and social ditions either take a negative turn, or are given new People and organisations who join forces to act as a
events, making them aware of particular ways in hopes for the advance of quality of life in society, local network might find their work to be easier and
which institutions work and things get done. While the development of the cultural sector, more dem- more effective if they keep an informal structure.
international work and intensified mobility develop ocratic governance processes etc. All these societal Yet, in order to obtain the funds needed for their
the competency to navigate different societal changes feed into network creation by providing a work, most of the times they do need some sort
environments, institutions take longer to transform. strong motive for its existence and a promise in its of organisation, be it a federation, an association,
Historical commonalities and differences, work capacity to endure. a social enterprise, a cooperative or the occasional
patterns, trust levels and degrees of individualism consortiums. They also need procedures that allow
and collectivism in a society are important factors accountability for finances and decision-making.
that can help or impede forming and maintaining a The risk, of course, is an ossification of the dynamic
local network. and democratic processes.
But while managing resources can be a challenge,
A WISH TO TRANSFORM most people still find this easier than working in
SOCIETY a context where there is no access to funding. In
countries, regions, cities or villages where there
There are times when societies come to a boiling are rudimentary instruments of support for cultural
point and profound changes are felt to be needed. projects and the criteria used by funders do not
There are also other times when positive transfor- consider long-term partnership formation, network
mations and renewed hopes for a better future take exchanges and the structuring of the cultural scene,
the stage. People, communities and organisations there is no wonder local networks are very slow to
navigate troubled waters, quiet seas and good winds, emerge.
and local networks feed on the enthusiasm that can
rise from ideals, or on the contrary from frustration.
Local networks: (a guide to) reimagining the work of cultural organisations 16In Europe, public funding for culture is still largely much-needed and impactful local, regional, national
available only as grants or subventions - directed and European cultural structures. Particularly for
for projects or for the programmes of institutions. the local and regional levels, the remarkable work
Even if innovation in the allocation of financial done by the Open Society Foundation, the Swiss
resources is happening, it still has a long way to Cultural Programme in the Western Balkans and the
acknowledge the different types of forms that living European Cultural Foundation in the space of ex-Yu-
culture can take. It is not easy to put in place the goslavia at the beginning of the 2000s have sup-
right administrative instruments to channel funds in ported the building of managerial capacity of
an accountable and impactful way to cultural actors independent cultural organisations, directed art
with different types of legal personalities. practices towards social change, and funded
regional cooperation. Building on their input and
Luckily, examples of inspired funding for multilateral inspiration, other local, well-connected institutions
territorial cooperation, platforms and networks for emerged, with a deep commitment to regional rele-
cultural activities exist, and have been happening vance and an aspiration to represent the voice of
for years in Europe. They helped the growth of the cultural sector.
Even if cooperation-based projects are good training for formal local networks, they rely
on different work processes and governance formats. Projects that happen in partnership
are pragmatic creatures, with a limited life-span and a contractual base, where everyone
has clear rights and obligations, while local networks, though they may appear similar,
often remain highly informal and vague in their objectives. Likewise, a context that funds
cooperation projects is not necessarily conducive to the development of local networks.
Local networks: (a guide to) reimagining the work of cultural organisations 17IV.Network thinking
Who are your personal,
Each of us has a local network of people and organi-
most reliable professional
connections? sations who are relevant to our work, and on whom
we rely. This is the most common way to understand
Who are your organisation’s stakeholders? networks - the way we refer to people who stay in
On the internal level? In your resource touch, who help each other, who find time to catch
Which organisations providers? From the community? up now and then. All this we call networking. It pro-
have you previously The cultural world? What about your vides for weak ties among people and organisations
worked well with? beneficiaries / audiences?
and could also be called our available connections.
A second way to understand a local network is as
the web of connections between an organization
Which organisations/ people and its stakeholders. The success of this type of net-
do you trust most in your Which organisations have similar work depends on the capacity of the organization to
professional life? status and power to yours?
identify and manage the relations it has with others,
with the ultimate goal of achieving its objectives,
Who would it be beneficial for having more impact and being more efficient. This
your organization to collaborate perspective is self-centred; it involves one organisa-
with inside a local network? tion looking at how others can help it reach its goals.
Which organisations work
It filters the actors based on their power and on the
in the same place/area/
territory as yours? legitimacy and urgency of the claims they make on
Which organisations share the activities of the organization. We usually refer
your way of thinking? to this type of local network as my organisation’s
network, and the awareness of its existence is an
Local networks: (a guide to) reimagining the work of cultural organisations 18important part of the work of any organisation, intentional and better relations, allowing one to MAPS OF STAKEHOLDERS
public or private. Cultural organisations and institu- understand who is central and who is peripheral,
tions benefit from reflecting on this, as it helps build who can be an ally and who needs to be treated
a work plan to reach those that can influence their with concern. On the other hand, there is also a
work. lot of richness in looking at connective structures
where every actor is as important as the others.
Yet a third definition of local networks looks at
networks as cooperation. This is no longer about
placing one organisation at the core and identifying There is a lot of little-understood
its stakeholders, nor is it about its available connec- potential in becoming aware of local
tions. This is an intentional process, in which actors networks as special creatures with a
align around a common way of thinking or a shared fluid centre, depending on the situation,
objective, and manage to accomplish together where the relation to others, the ability to
much more than they would have succeeded on communicate and to exchange resources
their own. Though this is a natural way of working and ideas is what matters most.
in the arts world, and has been developing for more
than 40 years now at European level (think of inter-
national networks and platforms), when it comes to Local network formation needs to become a process
the local level, there seems to be a gap in thinking in that moves from an awareness of your own local
these terms about networks. connections and stakeholders, to the inception or
the participation in a local network to which your
Most of the time, local networks are seen as a cultural organisation belongs.
tool for stakeholder management, placing one
organisation in the centre. There is indeed a certain
managerial value in mapping an organisation’s own
network. And the capacity to discriminate among
various stakeholders is needed to maintain more
Local networks: (a guide to) reimagining the work of cultural organisations 19Stakeholder theory, the lens through which net- Stakeholder theory models the organization as a
works are usually talked about, was developed in map consisting of a set of nodes (the stakeholders)
corporations as a pluralistic alternative to manage- and connections between the nodes (economic,
ment’s perceived role exclusively as an agent of the legal or moral claims or interests). Tschirhart (1996)
firm’s stockholders. It penetrated the cultural man- places stakeholders in six categories:
agement discourse once arts initiatives became internal (board, employees, volunteers),
more formalised, because of the grant and subven- resource providers (funders, media, suppliers),
tion management system and increased demands political environment (lobbyists, legislators),
for accountability of public spending, and institu- community (interest groups),
tionalisation. Thus, slowly but surely, the rigours of arts industry (associations, competitors, col-
New Public Management, coupled with the neat laborators) and
and tidy tools developed by the business sector, customers (advertisers, patrons).
were adopted rhetorically and finally internalised.
Mitchell, Agle and Wood (1997) identify three
attributes for ‘picking’ from the range of potential
The power of the stakeholder theory stakeholders those who are most important for a
lies in its analytical sharpness; it is a tool particular organization at a particular time:
for becoming aware of the environment suppliers, clients/consumers, regulators, contrac- power to influence the organisation,
in order to improve the relations an tors, competitors, collaborators, and any other legitimacy of relationship with the organisation,
organisation has with the most important actor who has a stake in the organization’s perfor- urgency of claim on the organisation.
actors which can influence its work. mance and/or the power to affect organizational
performance. A stakeholder’s claims or interests in Making such a selection among all the stakehol-
an organization may be economic, legal, or moral. ders of an organisation helps define a strategy of
Tschirhart’s (1996) study of the arts sector through Investigating the stakeholder-management process communication and involvement, choose who
the lens of the stakeholder theory proposes this helps us to understand the varying pressures faced to address at what time and with what urgency,
definition: ‘An organization’s stakeholders include by leaders in stewarding their organizations’ mis- define proper messages and channels of commu-
its employees, volunteers, board members, funders, sions’ (cited in Thompson, 2001). nication, tone of dialogue etc.
Local networks: (a guide to) reimagining the work of cultural organisations 20FORMS OF SOCIAL ANARCHY The free flow of exchange is essential to the life of
the network, and to understand where the power
Social anarchy offers a model of how networks form lies, one needs to look at:
and work in the cultural world. It reflects the way the connections each member shares with the
the creative force unravels in processes which have others (centrality),
little to nothing in common with the formal path- the proportion of actual connections to total
ways of organisational management. possible connections in a network (density),
and
The role of governance within a cultural organisation the extent to which an actor falls on the
is to protect and nurture the spaces of free-move- shortest path between any two other actors
ment of thinking and working that creative practi- (betweenness).
tioners need. Artistic collectives, informal artistic
groups and movements, networks of small cultural (Freeman 1977, 1979, cited in Wachhaus, 2012).
centres, and creative independent spaces, on the
other hand, are examples of structures that try to
embody in most of their forms and functions the Power in networks is a function
essence of artistic work-processes as social anarchy. of one’s connectedness to others
and one’s ability to communicate
and exchange resources with
others in the network - it is not
where you are, but who you
know that matters.
Wachhaus, 2012
Artist groups, collectives and independent cultural centres work as networks because this
is the most liberating form of human collaboration and encounter. They do so by replacing
hierarchy with flexible, self-organized connections for the exchange of information and ideas,
with rules and structures that follow the interests and resources of the actors, are versatile
and creative in their shape, and are democratically managed.
Local networks: (a guide to) reimagining the work of cultural organisations 21V.Birth of a network Diverse educational, civic, social and cultural partnerships are often difficult, and to bring them together in a local network is even more challenging. Work with a loose governance model and little to no hierarchy among people and organisations with different profiles, missions and discourses needs special conditions to function. People connect spontaneously, and most networks Many of the traits that explain the formation of difficulties. Also, for those who wish to start a form from pre-existing relations among actors. networks of people also explain the creation of new network, the importance of knowing others Their failure or success depends at the beginning on networks of organisations. seems like a truism. Still, an astonishing number the type of their members, their motives and the of complex collaborative projects or networks are history of their interactions. Trust and recognition designed without any previous experience of work- of common goals are essential, and unsurprisingly, TRUST ing together with the desired partners. both the stakeholder model and the social anarchy model recognize that smaller groups are better Organisations that have often worked in partner- It is difficult to measure trust and to assess its effect for nurturing the emergence of networks. Often ships are more likely to form new and more diverse on cooperation, yet there is a scientifically-proven this also means that networks are personal and network ties and to become dominant players in wisdom that rational understanding of goals, rights dependent on the people who ignited their fire and networks, and these past experiences prove to and responsibilities alone is never enough to make are keeping them alive. be particularly important when confronted with people want to work together and share. Local networks: (a guide to) reimagining the work of cultural organisations 22
Mugakide – a local
network grown out of
friendship
Mugakide is a local network in the Basque
country, overlapping the borders of France
and Spain, which grew from the friendship
and collaboration between a French and a
Spanish artist, and expanded to integrate
their organisations (Bitamine Faktoria and
Nekatoenea) with the aim to support artistic
creation in the region. The artists worked ’When we plan something together, we Mugakide’s work is funded with European
together as an artist collective before found- visit places together, we talk to the director subventions for the Euroregion, and from
ing Bitamine Faktoria. After one of them together, we talk to each other afterwards. each of their organisation’s subsidies, in
moved to another city, but continued to col- Because we are close and we are small, com- which they make sure to include a budget line
laborate, they realised they were working as munication is easier. We meet each month, for the activity of the network. The network
a network - creating events and exhibitions and we also have a creative community, so we in itself is not formalized, and for situations
together, helping and supporting each other. organise joint meetings with the artists whom in which a legal structure is needed, they
As they already had a common mission, they we’re working with.’ prefer to create temporary consortiums.
started to make a plan, designed a logo and The core of their common work feeds from
became more focused and strategic. The Local people are used to crossing the river the familiarity they share, their affinities and
network between Bitamine Faktoria and that separates the city of Irun from the city of the proximity of their localities, and no other
Nekatonea grew out of their friendship, their Hendaye (and France from Spain), and living legal assurances are needed for their local
collaboration, and the existing confidence with different cultures is common in the network for the time being.
between them. Communication and working region. They see themselves as “cross-bor-
together closely, in all stages of development der people”, and this familiarity was essen- https://www.bitamine.net/c/networking/
of a project, is very important to them tial for the network to emerge and to grow. mugakide
Local networks: (a guide to) reimagining the work of cultural organisations 23SIMILARITY OF STATUS Rural-Urban - a local rigid framework excludes a lot of people and
AND POWER network in progress, jeopardises a lot of opportunities.
initiated by an artist
Collaboration is more likely if the actors have simi- I work with a few like-minded people as a loose
lar status and power. Unfortunately, this is often Kay Sentance is an artist based in Oxford- group, who are willing to help. This core group
overlooked, especially by those with less resources shire (United Kingdom) who works in shares roles like communication and funding,
and impact, who are looking to establish meaningful theatre, conservation, design and architec- and each of us could take the other’s role.
partnerships with much larger organisations and do ture. Her artistic drive is to ’engage people
not understand why they are ignored or things do through familiar circumstances in unfamiliar As an initiator, I think it is easier to be on
not turn out the way they would like to. Of course, settings, encouraging them to revisit every- the outside, and not push an institutional
there are exceptions, especially when the more day situations from a different perspective’. agenda. As an organisation, you would have
powerful actor makes it its strategy to develop mul- Having worked with artists from different your organisation at heart. In Oxford, for
tiple partnerships with smaller ones. But as a rule, strands of the cultural world, she aspires to example, we have different such agendas,
one should consider this idea when deciding where develop Rural-Urban, a self-directed local which is fair enough, however being on the
to invest one’s energy, especially when the collabo- network in her area. In terms of governance, outside of this culture enables us to connect
ration means working together on a topic which is Kay finds that there is a need for structure, better with multiple, well defined Organisa-
peripheral to the mission of the large organisation, but that the network needs to stay as open as tions. The other important thing is to try to
but essential for the smaller one. possible, in order to accommodate individual not only connect the arts organisations with
profiles, but within the core team make sure one another (‘preaching to the converted’),
Difference in status and power might also mean that to have people able to cover the important but to reach a wider cross-section of the
what is a natural drive for most people in organisa- roles interchangingly. As initiator, her posi- ‘non-arts sector’ and therefore have a wider
tions – pushing their own agenda - can seriously get tioning is close to that of a facilitator and a understanding of the influence of the Arts in
in the way of developing a functional network. For ’bridge’, and not as a ’player’. other walks of life.’
some, a solution could be that the network gets ini-
tiated by someone from the outside, not affiliated ’Each organisation has a different timescale http://kaysentance.com/about.htm
to any of the members, but who knows everyone and set-up, resulting in the need for us to https://www.artwash.co.uk/about
and is trusted by all. remain very flexible towards them. A very https://www.r-u.org.uk/
Local networks: (a guide to) reimagining the work of cultural organisations 24PROXIMITY Replika Educational
Theatre Centre –
Sharing the territory, being in the vicinity, makes Cognitive proximity, the term theorists used to a cultural space that
people and organisations share potential audi- express this closeness in thinking, can be nurtured relies on implicit local
ences, most likely confront the same issues and be via habits and routine, either via community events and national networks
exposed to similar challenges. But in order to work or writing a common strategy matching values with
together and be a network, territorial proximity is action. A community of beliefs and knowledge can Replika Educational Theatre Centre from
not enough. A perception of common roots – the be grown intentionally through a coherent and Bucharest (Romania) is a cultural space run
’logic of belonging’ -, and a shared system of values persistent value-based discourse, matched with by the Replika Cultural Association, whose
and understanding of the local - a ‘logic of similarity’ a practice that is in tune with those same values aim is to advance social and educational
are essential (Torre, 2010, cited in Arnaud, Soldo reflected in the communication. themes via professional theatre and drama
and Keramidas, 2012). workshops in schools. The space came to life
when the artists, who first tried to promote
their ideas in an institutional frame, felt it
was almost impossible to produce the type
of works that they wanted to perform in a
public theatre. They found that institutions
fear to tackle delicate, sensitive issues which
deal with the life of youngsters, and that
their understanding of public cultural man-
agement leaves little room for such social
and educational goals.
’One of the aims of the space was to offer
free entrance to all the activities in the
Centre, thus improving access to culture
and education for many categories deprived
Local networks: (a guide to) reimagining the work of cultural organisations 25of those fundamental rights. The need needed resources such as space, promotion SITUATIONS OF COMMON
to develop educational activities was an and expertise. Thinking along the same lines HOPE AND ACTION
organic continuation of the values that the and having similar or identical values fuels
artists promoted: theatre is a tool for social this long-term collaboration. Furthermore, Networks are not so much known for the efficiency
emancipation, drama can create solidarity in the case of Replica, their mission revolves of their joint action, but for the impact created by
and empathy, fundamental for enriching the around the concept of education, a social the free exchange of ideas and resources among
young generations.’ ideal, with theatre seen as a tool towards members, and decision-making paths that allow for
achieving it, which has a multidisciplinary participation and openness among actors.
Even though Replika Centre develops many web of people and other organisations that
theatrical and educational projects deeply believe in the same goal. This proximity of In such structures, a single and definitive point of
connected to communities, it is still very hope, rather than of art forms, is seen as a coordination is not needed, and might even harm
difficult for them to get public funds and to useful key for more powerful and durable the network. Instead, what works is the creation of
create long-term programs. Paying the rent work as a network. situations where people and organisations can pro-
and providing reasonable fees for those pose ideas for shared plans, are empowered to carry
involved is challenging enough. This is one of https://centrulreplika.com/ out the initiative and invite others to join voluntarily.
the reasons many independent theatre NGOs
in Bucharest were born and started to work When this happens before the birth of the network,
together as an implicit informal network, it helps to build trust, hope and a potential for
sharing partnership agreements for funding action. Joint projects such as festivals or confer-
programmes and different resources from ences, if they are organised in a collaborative way,
each organisation, in order to get things can frame and fuel network formation and sustain-
done. ability. When they are the result of the involvement
of people and organisations from different sectors,
Replika is part of an implicit local and the interplay of common values and social goals will
national network, where the same people also reinforce cognitive proximity. They can even
become involved in multiple projects and spark a stronger involvement in the governance of
organisations, and help each-other obtain the territory.
Local networks: (a guide to) reimagining the work of cultural organisations 26You can also read
