Learning On European Stages

Curtain Up!
Learning on European Stages

A Manual on Program Management. Practical Notes from the Robert Bosch Stiftungs Programs for Cultural Managers
Table of Contents
Why this manual? 2 Stage directions 4 The Robert Bosch Stiftungs programs for cultural managers 6 Part I
Stage, Text, and Actors

Repertory and theater: program objectives and program architecture 12 Main actors: fellows and organizations 14 Casting: call for entries, selection, matching, and preparation 20 Directors and prompters: program management, mentors, and colleagues
28
Rehearsal and Performance

Dening roles: in the organization, the working environment, and the (cultural) political context 36 Tools and techniques: training 46 Staging and directing: project work 50 Handing over the keys: completion of the program 52
Part II
Behind the Scenes

Building the stage: organization, personnel, and nancing 60 The network: partners, public relations, and lobbying 64 After the production: ensuring quality, achieving sustainability
Part III
68
Epilog 78 Imprint 80
Why this manual?
Prologue
Dear Readers, In partnership with other organizations, the Robert Bosch Stiftung has been implementing funding programs for cultural managers for ten years. The individuals who engage in the adventure of a one- or multiple-year stay abroad and the local cultural organizations they work collaboratively with are regarded by the foundation as important actors in European social change. These entrepreneurs in culture and democracy need laboratories in which to experiment with and implement their visions and creative ideas. Through fellowships abroad, the foundations programs give these young cultural managers the opportunity to initiate exchange projects between artists, to explore work in new institutional environments, to gain qualications through trainings in managerial responsibilities within the context of international cultural exchange, and to act as ambassadors for international understanding, roles which may very well continue for much longer than the duration of their fellowships. The creation of this manual was an opportunity to reect on and record our experiences. The result is not meant to be an instruction manual but to make our knowl edge of ten eventful years of directing two international qualication programs in the cultural eld available to others. We would like to share these experiences, to provoke questions, and to incite discussions among those who have similar interests and are involved with the development and implementation of programs also in arenas beyond the scope of our own programs. It is people who make the world go roundthat is why targeted funding of individuals outside public educational institutions is so important. Learning in an unfamiliar environment broadens perspectives, strengthens self-condence, and gives the other a chance, rather than seeing it as a threat. Extended stays abroad are im perative for intercultural competence. They also sharpen European self-awareness. No stay abroad is without unpredictability: A program focused on professional s upport and guidance oers its fellows the necessary safe space to develop their ideas, try out new things, and make their dreams into realities. Such funding programs are rehearsal stages for the future of Europe.
We hope this glimpse behind the scenes is enriching, and we look forward to a constructive and critical exchange of ideas with you! Ottilie Blz, Robert Bosch Stiftung Johanna Holst, Eastern Europe Center, University of Hohenheim Darius Polok, MitOst e.V.
Stage directions
Prologue
1 The manual is primarily intended for other foundations and funding institutions as inspiration for the development and implementation of their own programs. 2 As the funder and initiator of the foundations programs Robert Bosch Cultural Managers in Central and Eastern Europe and Cultural Managers from Central and Eastern Europe, the Robert Bosch Stiftung has provided this manual in collaboration with the institutions carrying out the programs, the Eastern Europe Center of the University of Hohenheim and MitOst e.V. in Berlin. When the term foundation is used in the text, it refers to the Robert Bosch Stiftung. 3 Over the course of three chapters, this manual describes the various aspects of the fellowship programs, from their conception to their elds of inuence, complete with participants personal impressions and examples from the programs practical applications. 4 The focus is on the program managements perspective. The fellows perspective is brought to bear when it determines the program managements actions and the structure of the program. 5 The manual is to be seen as a tool box from which all readers can take the tools useful to them. Checklists, key questions, guidelines, and key statements highlight central elements and consolidate the most important points. 6 According to the focus of each chapter, the three terms fellowship program, fundin g program for individuals, and qualication program are used, but all share the same meaning. 7 The term program management refers to all structures responsible for the management and implementation of the programsin the case of the programs for cultural managers, this includes the Robert Bosch Stiftung as funder and both implementing institutions.
8 Depending on the context, the fellowship programs target groups refer to, on the one hand, the fellows or the cultural managers, whereby the term fellows is used for general discussion, and, on the other hand, the representatives of the host organizations. 9 Host organizations are the organizations where the fellows work during their fellowships. 10 The term network refers to the immediate and the extended environments of both the fellows and the foundation or implementing institution. 11 The performing arts imagery is meant to aid and enrich the readers experience of this manual. It is used in places where it helps convey a sections content. The participants of the fellowship programs are theater managers, directors, actors, stage designers, technicians, and prompters; they use the stage, rehearsal spaces, and scenery for their work; and as part of an ensemble, they work collaboratively on scripts and the staging of them. 12 Testimonials from participants in the text have all been made anonymous in order to emphasize these statements general signicance rather than their specic contexts. 13 When referring to persons in this manual, we use the plural form of the personal pronomina. Where the singular cannot be avoided, we use the masculine form, which is meant to be read in a gender neutral way.
The Robert Bosch Stiftungs programs for cultural managers
Administration
Program/Goals
Processes
DecemberApril
Call for entries for fellows Selection of fellows April
Call for entries for host organizations Approval of funding May Research trip Matching
Application
JuneAugust
Since 2002 the Robert Bosch Stiftung has been promoting cultural exchange in e by sending selected fellows to foreign cultural institutions. The programs Europ aim to foster cooperation structures and intercultural competence of cultural roducers throughout Europe. p The cultural managers design and organize cultural and educational events. They cooperate with the local teams at their host organizations and experience the workaday world of another country. Not only do they share their specic areas of knowledge, but they also bring a network of contacts to their work and thus help to expand their host organizations international connections. Through innovative projects they oer young artists and cultural workers opportunities to present their work abroad and also convey an up-to-date view of their country of origin. Both their work on projects in their hosting cultural institutions as well as regular training sessions prepare the cultural managers for leadership positions in the area of international cultural exchange. After completing the program, the fellows work in cultural organizations throughout Europe and remain in touch with one another and with the foundation. The network also includes the fellows former host organi zations. As part of the program Cultural Managers in Central and Eastern Europe, 61 fellows from Germany have been sent to cultural organizations in Central, Eastern, and Southeastern Europe between 2002 and 2013. As part of the program Cultural Managers from Central and Eastern Europe, 108 fellows from Central, Eastern, and Southeastern European countries have come to cultural organizations within Germany between 2004 and 2013. Information about all the Robert Bosch Stiftungs programs for cultural managers can be found at www.bosch-stiftung.de/kulturmanager
October
Agreement with the host organization
Introductory seminar (I)
Agreement on objectives
:: Arrival :: Establishing roles Developing project concepts
JanuaryOctober
Seminar II :: Cultural management Seminar III :: Sponsoring :: Negotiating Interim evaluation
Fundraising
Seminar preparation and wrap-up
Network coordination
Project consultation
Moderating support
Seminar IV :: EU funding :: Cultural policy :: Brussels (excursion) Seminar V :: Career prospects :: Scheduling :: Network Final seminar :: Presentation :: Networking Alumni reunion Evaluation
Project implementation
Future planning
October
Evaluation discussion/ certicates Program managements nal report
Final review
Figure on the right hand side: the program sequence of the program Cultural Managers from Central and Eastern Europe
March
Return to the job market
Administration October Call for entries host organizations/selection Call for entries fellows Selection and approval of funding
Program/Goals
Processes Host organizations application Fellows application
January
AprilJune Cultural Managers from Central and Eastern Europe Number of participants 20042013 Duration of placement (in months) New fellows per program year 108 13 1113
Figure on the right hand side: the program sequence of the program Cultural Managers in Central and Eastern Europe
Preparatory trip
Matching
July
Introductory seminar 1st agreement on objectives Call for entries new host organizations/selection Call for entries new fellows Program managements nal report Seminar preparation and wrap-up Interim seminar I :: Arrival :: Establishing roles Developing project concepts 2nd agreement on objectives Fundraising New fellows application New host organizations application
Number of host organizations 20042013 84 Number of countries represented by the fellows Percentage of alumni who work in cultural or educational elds As of summer 2012 Cultural Managers in Central and Eastern Europe Number of participants 20022013 Duration of placement (in months) New fellows per program year Number of host organizations 20022013 Number of countries represented by the host organizations Percentage of alumni who work in cultural or educational elds As of summer 2012 61 1236 27 22 87%
First program year
August
October
:: Cultural management :: OD :: Cultural competence
January
March Network coordination Project consultation Moderating support
:: Cultural management :: Communication :: Cultural competence
Interim seminar II
Project implementation
July
Concluding and introductory seminar
Interim evaluations 1st agreement on objectives
Interim assessment
18 79%
Second program year
38
August
October
Call for entries new host organizations/selection Call for entries new fellows
:: Cultural management :: OD :: Cultural competence
Interim seminar I
Future planning
New host organizations application New fellows application
January
Report/ new application Interim seminar II
2nd agreement on objectives/planning the last steps

:: Cultural management :: Communication :: Application training
March
July
Evaluation discussion/ certicates
:: Presentation :: Networking
Final seminar
Evaluation
Final review
Return to the job market
10
Part I
11
The focal points are the framework, the program sequence and the actors. What does it mean to participate in an international qualication program? What does it mean to be delegated abroad? How do the funding objectives manifest themselves in the program? What is the structure of the program? Who are the most important performers, how are they selected, and how are all the actors brought together into a single cast?
12
Repertory and theater
13
Program objectives and program architecture The objective of a fellowship program and all other funding programs for individ uals is to promote individuals in a dened eld of activity and support them during a specic phase of their professional development. Sometimes the support is only nancial. Many fellowship programs additionally include numerous opportunitie s for further guidance and training. Dening what a fellowship program should accom plishspecically for fellows within the timeframe of their fellowships, but also on a long-term basisis the very rst step in a programs design.
As a rule, programs created by foundations and other earmarked funding structures have to take overarching goals and funding objectives into account, put them into practice, and bring them to life. The Robert Bosch Stiftungs goal of international understanding plays a central role in the programs for cultural managers: These programs should train young cultural managers to do international cultural work, create networks in the arts and cultural scenes in the participating countries, strengthen cultural relations between Germany and Eastern Europe, and stimulate European cultural exchangecontributing to a better and deeper cultural understanding. A funding programs architecture rests on the fundament of its stated objectives, which also help dene target groups, participating organizations, schedules, as well as administrative structure and its coordination. The architecture of a funding program for individuals should have a stable base, giving individuals and organizations a specic and reliable framework, while at the same time remaining exible enough to respond to changes and new challenges. Accordingly, the architecture of the programs for cultural managers rests on many pillars: :: On the stage, at the center of the action, are the fellows. :: The host organizations are the programs partners in enabling the cultural managers project work and training. They give the fellows activities an institutional platform. :: The program management is responsible for strategic planning and directing the program, for establishing a framework for the collaborative work between fellows and their host organizations, and for supporting the fellows. :: A comprehensive network of partners supports the programs implementation and public relations work. :: The artists invited by the fellows bring the project plans to life and shape artistic exchange.
In a program whose fellowships involve close collaborations with host organizations, the question of who should be addressed leads to the optimal prole of a host organization: What conditions should it meet so that taking on a fellow proves an enriching experience for both sides? Once the proles for both individ uals and organizations have been specied, the casting sequence must be determined: Which should be determined rst, the fellows or the host organizations? How can it be ensured that both sides receive an adequate informational groundwork from which to make responsible decisions regarding their long-term and close collaborative work?
The fellows should make long-term use of their fellowship experiences for their own professional careers. They should feel an enduring connection to the fellowship programs societal objectives and the founders mission, acting as multipliers of themideally throughout their entire lives.
A fellowship program oers its fellows a venue for both practice and performance. In the programs for cultural managers, the fellows work on multiple stages at once: :: Everyday work at the host organization is a stage on which fellows experience work as professional cultural managers and colleagues. :: The cultural managers projects are stages on which the fellows present their ideas related to contemporary cultural exchange. :: As a framework, the fellowship program is a stage on which exchange with the other fellows takes place. This can include shared experiences, personal development, crises, and successes.
14
Main actors
15
Managers and mediators: the fellows The rst and most important questions arise when designing a programs architecture: Whom should this include? For whom is the program intended? What kind of education, what abilities and experience should those individuals have? And what competences should they gain during their fellowships?
It is the task of international fellowship programs to promote a dialogical attitude. This should play a central role in the selection of fellows and should be promoted by targeted support throughout the program year.
Fellows participating in the programs for cultural managers are required to play many roles: They act as strategists, diplomats, agents, and actors; as experts in certain artistic elds, in regions and countries, in dialog and communication, in intercultural and international activities, in questions of cultural policy, and in networking. They are equally managers and mediators. They have to grow into these roles, and the qualication program gives them sucient space to do so. However, existing knowledge related to certain key competencies makes beginning on-site work easier: :: Specialized knowledge and cultural competence: The majority of cultural managers work at cultural organizations with clearly dened proles. Thorough knowl edge of the particular eld is very important. Ideally, the applicants have already realized projects in the elds in which they will be working, have strong networks in arts scenes, and thus have points of contact for their work as cultural managers. :: Project management experience: The realization of projects is at the core of the cultural managers work. Previous experience with implementing projects and a feel for the fundamentals of management are helpful in starting project work quickly. :: Language competence: A common language is necessary for intercultural understanding, for smooth communication, and thus for quick integration into an institution and its circles. It is desirable for fellows to have a basic command of the national language that can be built upon quickly. If a fellow does not know the language at all, he should be prepared to learn it very rapidly. Since many cultural managers work not only in bilateral contexts but also realize multilateral projects, very good command of English is also important. :: National and regional knowledge: Ideally, the applicants are already familiar with the country in which they want to work, its current political situation and recent
history, and the main features of its cultural landscape and cultural policy. If this is not the case, they should be prepared to become intensively engaged with it. This makes it easier to begin work, to network, and to assess No individual, no organization, no structure for partnerlocal needs and opportunities. ship can fulll all the stated requirements. Therefore, :: Competence in dialog: The call for entries can only expectations have been met when 70% of the ideal characteristics are present. express in a limited way the fact that it is essential for cultural managers to be able to competently negotiate tensions as they occur among actors and in international circles, while remainin g free of conict themselves. This communicative competence is required on ultiple levels: in mediation between groups, sectors, structures, working meth m ods, languages, countries, demands, and customs.
Fellows checklist :: A fellowship program focuses on individuals it supports in a specic eld over a determined period of time. :: Fellows are not fully trained experts in their fellowships elds. :: Outstanding candidates have solid previous experience, an eagerness to learn, and the willingness to try new things. Open and self-reective: the organizations The fellows need a eld of activity in which they can make use of all the opportunities that the fellowship oers them. The most important precondition for this is a suitable organization. These host organizationscultural organizations in the case of the programs for cultural managersshould be prepared to engage with the programs particular framework. They should have an explicit interest in integrating a new individual into everyday working procedures, should be curious about the new temporary team member, support the fellows ideas, and at the same time allow for the fellows freedom. It is especially important that the organization is able to precisely dene the position that the fellow will take on.
The organization should provide the fellow with an adequately equipped workplace should assign the fellow a clear role enable the fellow to realize his own ideas integrate the fellow into institutional work assign a sta member to be a xed contact person for the fellow have sta members with international experience be prepared and motivated for a joint learning process
16
17
The organization gains a motivated and interested additional team member deeper insight into another countrys cultural scene contacts and new networks more experience in international project work new points of view related to project management new visitors and new target groups The organization becomes engaged with a predetermined framework for cooperation a new conguration of sta members an individual who wants to set his own priorities intercultural challenges an open-ended process In the cooperative work, the organizations will be faced with unfamiliar situations since the presence of the fellow will initially disrupt the established workow. Intercultural dierences call for special sensitivity in communication, and the complexity of the program structure requires extensive engagement with content, objectives, and procedures. In addition, the host organizations often have to work with time restrictions and limited nancial resources. Incorporating a temporary sta member is time-consuming, and only in the course of collaborative work does it become clear whether this will benet the organization. The organization s own structural and strategic challenges cannot be solved in the framework of the fellowship program. But the host organizations also learn from the collaborative work with fellows from other countries: They broaden their horizons and gain access to new networks and partnerships. They benet indirectly from the fellows qualication process. The interruption of the organizations routine allows for both re-evaluation of its work and opportunities for reection. As fellows, the cultural managers are at the heart of the programs. However, representatives from the host organizations are closely involved in the programs overall progress. They are kept up to date with information about and news from the programs and the foundation. Ideally, contact continues after the fellowship is over or is sustained by means of another fellows placement there. When it benets both the fellows and the programs goals, the program management can also provide customized support: consulting in the eld of acquisition, study travels to the fellows home countries, or support in training local successors.
18
19
Actors: abilities and challenges
The most dicult part of making a selection is estimating the applicants potential for development. It is always a surprise and a joy to meet the fellows, who were selected only months earlier, again at the conclusion of the program. The cultural managers are considerably more mature and professional. They begin the program as novices and leave it as professionals.
A member of the selection committee
Collaborative work with a cultural manager from a foreign country is a little like a black box: At rst, neither side knows what will come of their work togeth er. The fellows initially need a lot of time to settle into their new environment and develop their ideas. So a host organization needs to be patient and have a basic condence that this particular constellation will be benecial over the mid-term. The most important conditions for fruitful collaboration: openness, transparency, and respect.
A representative of a host organization
The host organizations circles are almost as important as their institutional structure. This is where the fellows work will be noticed and where they will establish points of contact for their ideas and plans. For the programs for cultural managers, good working environments are ones with other cultural institutions that could potentially act as cooperation partners, sizeable potential audiences, and an interested public. Mid-size cities have proven to be good locations, especially those that have populations of between 80,000 and 500,000 inhabitants, have lively but receptive cultural scenes where international actors are present but not dominant, are still hungry for cross-border artistic and cultural collaborative work, have a university, and good transportation infrastructure.
The organization must be open to new ideas and situations. The only way to gauge this in advance is through direct conversations. The degree to which the involved individuals and organizations are actually open to new ideas often does not become apparent until the rst crisis occurs.
Host organizations checklist :: Fixed personnel, stable nancial and internal organizational structures are important. :: The organization should be able to dene what they expect of the fellow. :: It is important for the organization to be familiar with the programs goals and procedures. :: The organization should be prepared to invest time in supporting the fellow. :: The organization should be well established in local circles.
20
Casting
21
Before the fellow sets up his desk at the host organization, both sides go through a multi-level selection process. Central questions guiding this process include: How can the required skills and qualications of individuals and organizations be assessed? In particular, how can the applicants communicative competencies and ability to integrate themselves into a team be determined? How can their diplomatic skills be evaluated? And how can one determine whether an organization is prepared to be receptive to a fellows ideas and plans? Every selection process involves dierent phases and proceeds in dierent ways, determined by the programs architecture: Are both new fellows and new organizations selected every year? Who should be selected rst? Should individuals be selected for whom specic organizations can then be found? Or should Every phase of the selection process must include the organizations be determined rst, allowing applicants to apply for sufficient time buffers to accommodate unforeseen site-specic fellowships? situations. In the programs for cultural managers, there is a period of six months from the call for entries to the time when the fellows and the organizations are brought together. This period includes windows of time that provide a buer in case decisions take longer than expected, selected individuals or organizations decline, or the call for entries has to be put out again.
The network of the partners in a fellowship program can start to play an active role as early as the selection process. In the programs for cultural managers, collaborative work within a committee of experts comprised of various actors with dierent perspectives has proven successful. This can include: :: Representatives from the funding and implementing institutions, on both managerial and operational levels :: Representatives from the programs partner organizations :: Former cultural managers (alumni representatives) :: Representatives from other fellowship programs :: Individuals with technical expertise :: Individuals with country expertise This committee conducts the application interviews or makes selections based on written applications. In forming this group, a proper balance should be struck between continuity (repeated appointment to the selection committee) and fresh perspectives (new members). The selection process is facilitated by a xed core group of individuals who know the program and its requirements and can make good assessments and are able to discuss their decisions thoroughly. The selection committee can also be seen as an advisory council: Its members are involved with the program through the course of its year and are important actors in its networking and lobbying.
Call for entries and selection The call for entries must reach the right individuals and organizations and pique their interest in applying for the program. All possible channels should be used to this end: the networks of the funding institution and the implementing institution, the program partners mailing lists, organizations aliated with the program and multipliers of the target groups, universities, national and international industryspecic networks and, if necessary, the employment section of selected national newspapers. The international call for entries for host organizations can also be supported by local research in the respective countries or informational sessions that provide details about the program through personal conversations. Recommendations from former or current program participants or host organizations also play an important role.
In the selection process, the applicants formal qualications are reviewed thoroughly. Social competencies like capacity for dialog or openness to new ideas and situations can be more dicult to assess. Therefore, reasonable assumptions have to be made based on submitted information and resumes.
Bringing individuals and organizations together: matching Bringing an individual together with an organizationmatchingis central to the selection process. Successful matching is an important precondition for a fellowships success, for a fellow and an organization to be able to dene common objectives, to be prepared to mutually support one another in their work, and for them to want to work together. This negotiation process between fellow and organization is a special challenge. Before they even really know one another, both sides will
22
23
Matching a fellow with an organization is a special challenge. They are asked to enter into a partnership together before they even really know one another. Therefore, they have to be prepared to engage in a period of readjustment.
be asked to enter into a partnership. In order for this to happen, they have to be prepared to engage in a process of readjustment. The program management gives equal attention to the individual and the organization and serves as the link between them. It oers advice, compiles necessary information, supports the process of adjusting expectations, and leads both sides to an agreement on objectives. If the fellows choose their respective organization themselves or if the organizations choose their fellows from a pool of multiple applicants, time and a budget should be planned to accommodate travel, a process of becoming acquainted, and potentially for shading internships for those fellows already selected. If the program management ow largely assumes responsibility for the matching, then it is responsible for detailed research on and screening of the organizations. In doing so, it has to rely on experience and a strong ability to evaluate individuals and organizations, because, in this case, organizations and fellows do not get to know each other personally until after their selection.
Thinking the ensemble Group structure is also important in fellowship programs that expect group activities in which the fellows are supposed to encourage and motivate each other and to implement project ideas together. Ideally, this is woven into the selection process so that applicants are selected not only based on their individual skills and motivations, but also on the following considerations: How would theses persons work with others? What can they contribute to the group? What do they have in common with the other fellows? Are dierences among them assets or potential areas of conict? It makes sense for the core members of a group to have had similar experiences, be of similar ages, and have common interests.
24
25
Selection process
Selection and matching for Cultural Managers in Central and Eastern Europe 1 Call for entries for host organizations in selected countries and application period 2 Preliminary visits and selection of potential host organizations 3 Call for entries for fellows for the selected organizations 4 Matching in the context of interviews: :: Three to nine candidates per location are invited to personal interviews with a selection committee; interviews are in groups of three candidates per location. :: During this period, the application materials of those candidates invited to interviews are sent to the respective host organizations. :: The program management relays the selection committees recommendation to the host organization. :: The host organization communicates its agreement. :: Selected candidates are notied of their acceptance into the fellowship program. :: The program management establishes contact between the host organization and its future fellow and provides future fellows with further information about their host organizations and the program (program book). :: The fellow signs the fellowships notice of acceptance. :: The host organization conrms its acceptance of the cultural managers placement. :: The fellows visit their future locations. If the location is new to the program, the fellows are accompanied by the program management. If not, the new fellows meet their predecessors on site (the program management visits within the fellow ships rst six months). Initial on-site conversations about roles, tasks, project ideas, work situations, and expectations take place between the fellow and the organization. 5 Introductory seminar for the fellows without host organizations, a clarication with the program management of realistic goals and expectations for the fellows; collaborative work begins; four weeks after the beginning of the fellowship the host organization and the fellow complete an initial joint agreement on objectives.
Selection and matching for Cultural Managers from Central and Eastern Europe
1 Call for entries for fellows and application period 2 Call for entries for host organizations and acceptance into the pool 3 Selection of the fellows in a jury session, telephone interview, acceptance from the foundation 4 Matching through a research trip: :: The program management recommends three to ve suitable organizations per fellow. :: The fellows make contact with potential host organizations, introduce themselves, voice their interests, and plan a time to visit. :: With support from the program management, the fellows plan a research trip of up to one week, during which they visit two to four potential host organizations. :: The program management sends documents to the fellows (program book, questionnaire) to prepare for the conversations with the organizations represen tatives, helps with the planning of the trip, and sends information to the organi zations to be visited. :: At the program managements suggestion, conversations between a fellow and an organization and detailed on-site research should last one day per organization. During this time, it is important to clarify any questions regarding on-site support, tasks, project ideas, and expectations. :: After the research trip and consultation with the program management, the fellow chooses an organization. :: The organization gives its consent. :: Conrmation and a cooperation agreement are sent to the host organization. 5 Introductory seminar for fellows with an informational session for represen tatives from the organizations, development of an initial joint agreement on objectives between fellows and their host organizations; beginning of collabora tive work.
26
27
Selection process checklist :: An international fellowship program has to allow at least six months for its selection process. :: The distribution list for the call for entries should be specic to the target groups. :: An online application system reduces the total workload. :: If the fellows are allowed to choose the organizations themselves, it is useful to have a pool of potential institutions. :: If groups are to interact, group structure should be taken into consideration during the selection process. :: A selection committee comprised of external experts brings dierent perspectives into the process. Preparation for placement When the matching is complete and selected fellows and organizations have received notication of their acceptance from the funding organization, the preparatory phase begins. The fellows enter into a dialog with their organizations about the organizations programs and expectations, as well as their own expectations and ideas. They establish contact with potential partners and funders in their home countries. The host organization learns more about the program, its mission, and the future fellows. Potential concerns from all parties should be voiced and cleared, so that everyone is in the right position to begin collaborative work.
The program management provides guidance in this preparatory phase: :: A program book summarizes the most important information about the course of the program year. :: A list of terms and conditions claries the programs general conditions and denes the fellows rights and obligations. :: A preliminary trip allows a fellow to make deeper personal contact with the potential host organization, city, country, and their actors before beginning the actual work. :: A preparatory seminar takes place before the fellowship begins. Here, the new fellows get to know one another and the program management, learn more about the program, and the funding organizations philosophy, and have the chance to meet other current and former fellows. They start to get a sense of the programs character. The schedule includes a chance to adjust expectations and for all participants to network.
To prepare for the program, a fellow should become acquainted with the country, the city, the organization and the language establish contact with current and former fellows from his home country, working in the same eld, and living in the city where his fellowship will take place establish contact with the most important institutions and actors in his home countrys cultural scene, relevant for his future project work formulate his initial goals for his fellowship research opportunities for funding in his home country make plans to relocate and, with assistance from the program management, arrange for visas, residence permits, etc.
28
Directors and prompters
29
A targeted call for entries, careful selection, successfully bringing fellows together with organizations, and thorough preparation are the necessary conditions for the fellowships successful launch. Challenges and unforeseen events are always a part of going abroad and collaborative work in completely new team congurations. In order to aid fellows in this regard, the programs for cultural managers have created an extensive support network based on the following key questions: How can ecient support be clearly designed for all parties? How can disappointments and misunderstandings be avoided? What are the limits to support? Where do the cultural managers themselves start to reach their limits?
easy ways for fellows to contact it basic knowledge of cultural development and the arts scene in Europe The program management expects the fellows to provide continuous information about their work, particularly in dicult periods early indications of potential conicts in order to reduce the need for emergency measures a willingness to learn and try out new strategies notice of extended absence from the project location Providing the fellows with comprehensive support establishes security and trust, both of which are of prime importance for successful work, especially in another country. Guidance should always be seen as a way to help fellows help themselves, as impetus and encouragement for independent problem-solving.
Competent program management with comprehensive support services is the key to success of a funding program for individuals.
Program management The program management is the supporting actor, the on-call aide, and rst re sponder in case of emergencies. It supervises, mediates, networks, guides, and gives strategic encouragementboth throughout the course of the program and in alumni work. Its objectives are to support the fellows in attaining qualications, to enable their successful work in their new environments, and to detect crises early. Therefore, the program management is in constant contact with the fellows and asks them to take advantage of the continuous personal consultation and support. Regular conversations take place on the telephone or through e-mail, and, if necessary, include the host organization. During the seminars, the fellows expectations and objectives are discussed in a group or individually, the achievement of objectives is jointly evaluated, and, most importantly, individual questions and challenges are discussed, and joint solutions to problems are sought.
Both sidesfellows and the program managementhave expectations of each other in their collaborative work. The fellows expect the program management to provide information about and suggestions for work encouragement and support loyalty and solidarity an open and neutral attitude in regard to problems feedback for questions of communication
Persons of trust and mentors The collaborative work is new for all parties and thus it is important to have a xed contact person from the organization. This establishes a sense of reliability. The role of a person of trust can be formalized as a mentor: A permanent member of the organizations sta takes responsibility for supporting the fellow, for the fellows integration into the organization and participation in institutional work. This sta member also supports the realization of the fellows planned project. With the program managements assistance, collaborative work is regularly re-examined, potential challenges are discussed, and, where appropriate, readjusted.
The person of trust or mentor should be a permanent member of the organization and the team work in the same eld as the fellow express interest in the fellows work and home country ideally have experience abroad and be familiar with intercultural issues be aware of their role as a mediator between the fellow and the host organization and be active in assuming it be empathetic and diplomatic enjoy playing guiding and supportive roles and want to invest time doing so The organization also benets from a mentoring or guiding relationship: Regular exchange, discussion of the fellows role and expectations, and experience of an other way of working ideally form a mutual learning process. The persons of trust
30
31
have a chance to step out of their usual context and gain a new perspective on their own work. They further benet from the programs network and, since the fellows can directly implement what they have learned, the guides also benet from the fellows training. They gain insight into the fellows home country, have the chance to network with other institutions, and gain intercultural competence through the collaborative work. In the programs for cultural managers, the host organization selects the person of trust or mentor after the program management has communicated its requirements and expectations. It is not always the case that enough time is invested in this pro cedure, that tasks are clearly dened, or that adequate experience or talent in playing supportive roles is on hand. Sometimes the person of trust and the fellow simply o do not work well together. Therefore, an important precondition for good collab rative work is openness from both sides, a reliable framework that involves regular meetings, and jointly formulated objectives that are continually re-examined. Individuals outside the organization can also ll additional mentoring and support ing roles: Representatives from partner institutions and actors in the working context may be addressed as consultants. Individuals in key roles may be able to open doors for future career paths. Or even former fellows, as tandem partners, can act as guides for the fellows or be contacted ad hoc to answer specic questions either throughout the entire duration of the fellowship or in certain phases of it. Address books and location surveys can help fellows nd colleagues in their elds or in other states.
Collegial partnerships In addition, collaborative work within the group of fellows should be trusting and professional, so that they can provide one another with mutual supportin submitting proposals for projects, in addressing institutional challenges, in providing feedback, and reecting on work. Important experiences can be passed on through overlapping program years. The younger fellows benet in specic ways from the experience of older ones, the fellows in their second year from the enthusiasm of fellows in their rst year.
Dynamic group structures that welcome exchange have an important impact: The stronger the group identity, the more interested the fellows are in one another and in each others countries or in the countries they are visiting as cultural managers. This can result in transnational collaborative work that extends beyond bilateral
32
exchange. And this fosters knowledge of other countries and regional competence that the fellows acquire over the course of their participation in the program. The program management cannot require fellows to participate in collegial consultation or share their experiences among one another, but it can encourage them to do so. The program management can provide adequate time for informal exchange at seminars and initiate group discussion for collegial exchange.
For your own storyboard :: What are our programs objectives? :: For whom is the qualication program intended? :: What key qualications should applicants have? :: Do our target groups include organizations? :: What kind of prole should the organizations have? :: What is the programs timeframe? :: For whom is our call for entries intended? :: What is the best sequence for the calls for applications? :: How will individuals and organizations be brought together? :: What support services can we oer?
33
34
Part II
35
Focal points include the implementation of program objectives through the fellows; their placement in their locations, their activity and collaborative work with the other actors; the fostering of the fellows competencies for everyday work and beyond. Where should the cultural managers be placed on the stage? What kinds of staging prove successful? Who goes on tour? Where does the audience come from?
36
Dening roles
37
Establishing objectives/ expectations
The program is the stage for the fellows activities. The script is set by its objectives, its architecture, its sequences, and the expectations towards the fellows. The script is to be individually interpreted by each fellow and used as a fundament for staging. How successful the fellows are depends on their stated personal objectives and on how they ll their roles in their new environments. Receiving funding entails taking center stage with ones own ideas and objectives. Being part of the fellowship program entails adjusting to specic framework conditions that one can also shape actively. First, the fellows have to nd their roles in terms of the other actors eld, have to locate themselves in their new working environments. They are new to well- established structures and will be asked to clarify their objectives and plans to their partners and teammates in order to nd their niches: rst in their host organization, with respect to colleagues and superiors; then in their working environments, where they become visible through their projects and plans and reliant on partners and audiences; and nally in their extended network, in the eld of other cultural-political actors, andwith regard to their professional futureswith potential employers. In the programs for cultural man agers, networking is one of the f ellows key tasks. Here, the fellows have to work independently, be proactive, open doors, and prove themselves to be reliable project partners with engaging ideas. The program management oers support and guidance: It provides contacts to diplomatic representatives, cultural organizations, and cultural mediators and fosters awareness of the importance of working and thinking in networks. Given the international context of the programs for cultural managers, the fellows intercultural competence is an important factor in role denition and localization.
As a cultural manager from Kosovo, Id like to bring German society closer to young, contemporary Kosovan culture. [] In my opinion, art and music can cross all (cultural) borders. The program Cultural Managers from Central and Eastern Europe will open a door for my future career.
A fellow before the beginning of her fellowship
The various levels of work in the programs for cultural managers produce a communicative area of tension among the fellow, the program management, the host organization, cultural-political actors, host country, and home country. The fellows have to act sensitively and at the same time self-condently in terms of this tension. They have to learn to make constructive use of it.
Before I began my work in Germany, it was im portant for me to think about what was waiting for me, what I expected, and what I wanted to achieve. But everything turned out to be dierent. Full of surprises and new discoveries. Once on site, I read justed my goals and expectations. I had to set them out rst, so that once I arrived I could put them into perspective.
A fellow in an evaluation discussion
The most important goals that I set for myself were: to get to know a region (CEE) and its political and social discourse and to learn the Czech language; to work on an exhibition halls team, gaining demonstrable professional experience that would make it easier for me to begin work at a similar institution in Germany; to boldly and condently plan and implement projects that would reach a wide audience, and promote discussions that would be both critical and participatory.
A fellow in the nal report
38
39
Localization in the organization
Having a fellow here gave us an outside perspectiv e and broke the routine of our institutional work. While the fellow learned a lot from German perfection, we beneted from the fellows exibility and gained perspective on new and unconventional problem- solving.
Representative of a host organization
The host organization has to show interest right away. Otherwise there is a danger of the fellow feel ing disconnected early on and only considering the host organization as a platform for his own work. He might even withdraw.
Representative of a host organization
It is a precondition for equitable interactions when dealing with a diversity of working methods, opinions, and orientations and allows for potential misunderstandings to be recognized in a timely fashion. This intercultural competence is a product of the fellows relevant social, emotional, and communicative competencies, along with their knowledge of the country, its history, and its language.
Finding the perfect hat in the organization is anything but easy, since both sidesorganization and fellowhave certain ideas about the role and position and their own expectations for the collaborative work.
We have sometimes found that the fellows overestimate themselves and, at the same time, are overestimated by their organ izations. If that isnt resolved, it can lead to long-term discontent for both sides. Thats another reason why its especially important to develop a job description together as part of lo calization. And of course to continuously disclose and communicate one anothers expectations.
From an evaluation report
In the organization Localization in a new organization, and in a new working environment, is a process that inherently takes time and requires a special sensitivity. The hierarchies and forms of communication specic to the organization, as well as the organization history, for which its sta members are responsible, all have to be explored and understood. To achieve personally satisfying work, each new team member should embrace the organizational culture and seek ways of identifying with the organization.
During a temporary placement in a foreign country as part of a fellowship program, various complicating factors including cultural dierences in systems, stereotypes, and prejudices can surface. The fact that the collaborative work is temporary also means that one cannot realize everything that one wants and plans to do. Since the fellows are not regular employees of the host organization, they are not exactly part of the organizations hierarchy and therefore maintain a special status. A clear title helps the fellows to establish themselves in their new roles at the host organizations and to position themselves in the overall structure: Whether as cultural manager, project manager, project or program leader, or guest curatorit is important to set upper and lower boundaries appropriate to the programs stage and script. One complication in this is that one can also wear more than one hatone must take on dierent roles in dierent contexts and with dierent individuals. In the case of the Robert Bosch Stiftungs programs for culA fellow is neither an intern nor a business manager. tural managers, the fellows are delegated by the foundation, although A fellow should assume a function on equal terms with they are not the foundations employees. Fellows have a special status the organizations core team.
40
41
Networks
in the organization but should still be considered members of the sta. Ideally, they are deeply integrated into the organizations procedures and at the same time have enough freedom to realize their own ideas. They are seen as a countrys cultural managers, but they often aspire to develop cross-border and international projects. These various hats also provide opportunities for multifaceted work. Enthusiasm and exibility can enrich the work itself, creating new experiences for the fellow and the organization. Dealing with possible challenges can lead to mutual learning and inspiration.
In the broader working environment The organizations where the fellows work are not self-contained, but rather worksometimes more, sometimes lesswith numerous partners. The new temporary members of the team have to nd their places in these extended working environments and ask themselves: Who are the actors within my working arena? How can I ensure that they consider me a partner and a source of new ideas? How can I convey my goals well?
The cultural managers working arenas include all the actors with whom they come in contact through their work: cultural institutions and artists, local and regional actors, funders, and the media. Here, the fellows have to position themselves very specically: as partners, sources of new ideas, mediators, advisors and advisees, and applicants. The densest area of inuence is in the host organizations immediate environment, or in the city and the region where the cultural managers live and work. But the full radius of inuence extends into their home countries, when partners, funders, and participants for projects are involved and when the fellows position themselves in terms of their professional future. If localization into the organization is successful and the fellow feels certain of his role, his function, and, most importantly, the support of his colleagues, then orientation in his working arena will not be dicult. The organization will support him, introduce him to the most important actors, and will point out the particularities of local cultural life.
The cultural managers working networks include :: local cultural institutions (museums/theaters/literary organizations) :: municipal public actors (mayors/agencies) :: national and international artists and cultural workers :: local international cultural institutions :: universities and schools :: local commercial enterprises :: national public actors (ministries of culture) :: the media :: diplomatic representatives and national cultural organizations of other countries :: the Robert Bosch Stiftung and its programs :: other cultural managers and other Robert Bosch Stiftungs fellows :: other private foundations, both within the country and abroad :: the European Unions funding programs
42
43
In the (cultural) political context Fellows from foundations also act in the context of the foundations purpose. The Robert Bosch Stiftungs fellows make the foundations objective of improving inter national relations a reality. In the eld of cultural exchangeas in the programs for cultural managersthis also means addressing issues of cultural policy in both their home countries and their host countries with open-mindedness and curiosity. They should ask themselves how they can contribute to cultural interaction and understanding in the cultural-political eld.
As non-governmental funding programs, the programs for cultural managers can emphasize new directions and present unocial aspects of the national art and culture. The cultural managers have to answer for themselves: Who are the culturalpolitical actors? How is cultural policy organized in the country I am working in or the country I come from?
Realizing personal objectives The fellows set specic objectives as early in the process as their applicationsobjectives for their potential fellowship period but also for their professional and personal development. They concretize these objectives in the preparatory phase and on site, which means adjusting and adapting to certain realities: Which of my ideas can I actually realize on site? What do I want to learn in the process? What is especially important to me? How do my personal objectives correlate with my host organizations objectives and how can I fulll potential expectations? In what order should I pursue my ideas for projects?
The way the fellows utilize the extensive opportunities for attaining qualications, the on-site contacts, the programs network, and the experience of everyday work is their own responsibility. It is expected that some elements of their projects will continue after they are gone and that the fellows will steadily ll their tool boxes with new instruments to help them later in their professional lives. In this process of setting, revising, and realizing objectives, the program man agement becomes actively supportive, repeatedly asking the fellows about their current progress and whether things have gone as they imagined. In this context, tools that create clarity and give perspective are important assets. For example, the agreement on objectivesmade by the fellow, host organization, and the programdenes the framework for collaborative work and, at the same time, cements the fellows own objectives. It is set up at the beginning of collaborative work by the host organization and the fellow and continually referred to. An agreement on objectives helps dene expectations, shapes the beginning phase, and brings the fellows personal objectives into harmony with the organization. In this way, it is the precondition for collaborative work that is satisfying and bene cial for both sides. Not least of all, the agreement on objectives is a useful support in planning how the fellows will wrap up their on-site work and in the transition to further professional life.
The cultural managers act within the context of the foundations objectives and foreign cultural policy. They are not simply private citizens abroad, but rather are automatically seen in their host countries as representatives of their home countries.
It is not important that they rep resent a given (cultural) political line, but rather are invited to maintain a healthy critical distance. They are ambassadors but not necessarily representatives of the cultural policy of their country. They are allowed to and should ask themselves whether they can identify with their locations cultural-political orientation, whether they can contribute anything to the realization of the cultural-political objectives there, or whether they would prefer to work with dierent focal points.
44
45
Collaborative work: points of reference and agreements on objectives
Sustainability Institutionalization of a program; visible and recognizable programs; reprodu c ible changes; inuence on a discourse (initiation, exertion of inuence); increased demand Public activity Press, publications of, e.g., results from workshops, name recognition; number of participants and feedback from participants; addressing target groups; feedback from actors/authorities in the eld; surveys, entries in journals Networking Strong contacts, e.g., from potential partners; prioritized partners and contacts; support and/or active collaboration with sta and partners from the organizations; forging strategic alliances; knowing the partners attitudes and/or interests; transferable documentation of the contacts Project management Planning objectives realistically, time and resources/nances (e.g., budget maximums); distribution and delegation of responsibilities, monitoring guidelines; reproducibility of plans; implementation of planning tools Social competence Handling conicts, etc.; ability to integrate in a new culture; interaction with colleagues and superiors Personal satisfaction Balance between work and free time, setting boundaries; implementation of ones own ideas; knowledge of ones own factors for success, ability to share success, and receiving recognition; involvement in ones social environment, creating pillars and columns; having ones own perspective and pursuing it; having learning objectives and learning spaces Career and life planning Preparation for life after the end of the fellowship; attending trainings; personal development regarding managerial skills
Goal
Everyday communication in the Bulgarian language
Indicator
Bulgarian prociency at level B1
Procedure
Language course (private lessons), 2x2hrs/week
Date
End of the year
Host organizations comment

Lessons begin in September, but communication in Bulgarian is slowly becoming possible. OK
Program managements comment

It is important to give the language course priority, even if you have a busy daily routine. A nice personal touch in the program right from the start Achieving these last three goals by the end of the year may be ambitious or may take a little longer! They are all very useful! See above
Establishing a series of lms
The lm series begins
Finding funders, selecting lms, organization, PR, and integrating trainees Regulating/ Reviewing the current nancial position, implementing controlling mechanisms Development and sale of merchandize, training sta members for interaction with groups of visitors Financing, purchasing, and installation of computers and servers
End of the year
Strategic nancial planning
Eective sales/ prot planning, cost and performance management, etc.
End of the year
OK
Additional revenue: improved marketing of the institution, merchandizing Improved oce technology and organization
More public interest, more donations, number of newsletter subscribers Additional computers (for trainees), central server/network with online ca pacity
End of the year
Measures are already being taken.
End of the year
Hopefully!
See above
Example for a rst agreement on objectives
46
Tools and techniques
47
Eective training is a mixture of theory and practice. It can expand knowledge and impart methods, but in order for this new knowledge to be secured, it needs to be practiced in everyday work. In terms of the young professionals training in international exchange, the programs for cultural managers utilize this close relationship between theory and practice. During their fellowships, fellows should enhance their proles for their further careers. Cooperating with local colleagues at the host organizations and realizing projects on site is part of the training. Learning from ones own experiencesand mistakes plays a central role. Through the professional and intercultural challenges, and fullling the various roles required, the fellows communicative and strategic skills are strengthened: They learn to communicate with partners, in networks, and with funders. They must successfully navigate through a great number of incentives and opportunities. When faced with challenging situations, they have to come up with quick solutions. They learn long-term planning skills and how to formulate e sustainable strategies to implement their work. They begin to see how to negotiat a complex system with numerous actors and their often conicting interests and expectations. Flexibility and adaptability, sensitivity and diplomatic skills are crucial in this context. They also have to be persuasive in regard to their own ideas, demonstrate perseverance, and learn to assert themselves. And they have to be team-oriented and collegial.
One of the program managements tasks is to guide and illustrate the learning processes that accompany the on-site work. Fellows reect on personal development and professional growth, incorporating it as successful learning.
The second type of training takes place over a series of seminars that foster knowledge on various levels: In the short-term, for the work at the organizations and, in the long-term, for the fellows professional futures. Over the course of the whole fellowship, training seminars will focus on the core competencies of cultural management and international project work. In this regard, a combination of recurring themes and exible programs adjusted for the respective groups of fellows has proved useful: :: Cultural management: The fellows expand their knowledge in project and time management, in the organization of major events, in press and public relations, in marketing, and in the acquisition of third-party funding.
48
49
Training
:: Managerial competence: Where necessary, the fellows are trained in the elds of organizational development and personnel management. :: Cultural competence and specialized knowledge: The fellows become experts in their host organizations discipline and receive a solid general overview in the various cultural elds. A pool of trainers and experts supports the qualication process. They are expected to demonstrate openness in regard to the special challenges that occur in international and intercultural working environments. The seminars also attempt to take the fellows everyday needs into account. When possible, local experts are involved who serve as important sources of inspiration and can most accurately assess the need for and courses of action in the host organizations circles.
Training checklist :: In a fellowship program, the fellows daily work is an important part of attaining qualications. :: If qualication is one of the fellowship programs explicit objectives, a further training program should accompany the fellowship. :: The fellows should be able to implement directly the content of the further trainings, but it should also be applicable to their future careers. :: Recurring collaborative work with the same experts and trainers should build a sense of trust. :: At the same time, the seminar program should be open to new issues and experts. :: Collaborative work with a university is useful if the training should be certied.
A perfect seminar is implemented by compentent trainers and experts who are responsive to the participants strikes a balance between input and periods for reection is interactive and allows for work in small groups works with examples from relevant practical applications and enables practical use of the imparted knowledge oers a forum for multifaceted exchange, motivation, opinions, and discoveries creates a positive group atmosphere and a sense of cooperative learning allows enough time for individual exchange between program management and the fellows as well as for exchange among the fellows themselves oers a professional environment (premises, accommodation, catering) oers a relaxing break from everyday routines at its respective location sends fellows back to their everyday work feeling mentally rejuvenated and inspired
The further training program usually starts with conveying the groundwork of project management. In a second module, the participants knowledge is activated and experts from the eld share their e x perience. The final goal is implementing this knowl edge into the fellows own projects.
A longtime trainer
50
Staging and directing
51
The most visible result of the work and staging prepared by the fellows placed in cultural managers programs are their projects. Project workin addition to and as a constituent part of the qualication processforms the core of the fellowship. Projects should convey art forms, strengthen artistic exchange, link cultural workers, and awaken interest in the respective culture. To this end, fellows should also use their project work to experiment with dierent methods and formats. They are not fully trained project professionals or event managers, and often discover as they go along what works well and what might be more dicult to implement. The tools with which the further trainings have equipped the fellows, the host organizations experience, the program management, and ideally the advice of a mentor will also support the fellows in their work. The cultural managers implement a broad scope of projects. They range from exhibitions, concerts, performances, readings, workshops, and discussion platforms to large festivals. The objectives of the foundation and its programsdialog, understanding, and sustainabilitycan be met in a number of ways. Projects that meet these objectives especially well are those which enable participation among target groups, promote ample exchange and interaction, lead to long-term cooperation among participants, produce collaborative artistic productions, involve numerous partners, and make use of the program network. Particularly challenging to the fellows in their project work is ... ... to develop an idea in the new local context: Where to start from? ... to forge links with partners and participantsin the local scene and in the home country: Whom to contact and to involve? Where to get the artists from? ... to recognize and to bear in mind the diering planning deadlines and planning practices in the host organization and country ... the right time management with the specic challenge of the limited length of the deployment ... the fundraising, that is, the need to raise a large part of ones own funding within a relatively short period of time ... to anchor the project idea within the host organization, with the contrariety of the short deployment and the sometimes longer planning horizons of the organizations ... the press and public relations work, as, aside from the language barrier (fellows are usually not native speakers), it is challenging to become familiar with the characteristics of the local media landscape and to build up personal contacts in a eld that relies on them heavily, within a short period of time
Public relations work plays an important role in the implementation of the project idea, as well as in the fellows visibility. Fellows participating in the programs for cultural managers are expected to actively pursue media coverage for their projects behave professionally in their working environment and eectively communicate their own role in the project, as this is the best form of self-advertisement mention the program and the foundation in their communications inform the project management about the results of their public relations work and make their material available for the project managements own public relations work If active project work is expected in a fellowship program, it is advisable to provide a budget. In the programs for cultural managers, this budget can only provide a portion of the total nancing for the project; other funds must be acquired. As a component of training, the acquisition of external funding is supported by the program management. An allocation of funds for networking projects may also act as an incentive for collaborative project work among fellows, including alumni. These projects not only strengthen the network, but also promote relationships among host organizations.
Project work checklist :: A project budget helps at the projects initiation and provides the basis for the acquisition of further funding. :: The involvement of local project partners strengthens acceptance of the project. :: Advance clarication of participants demands and expectations is important in the project work. :: In fellowship programs of limited length, the scope and duration of the projects is also limited. :: Dierent attitudes to project and time management can prove particularly challenging in international fellowship programs. :: The programs project budget should be large enough, so that smaller projects can be fully implemented, and small enough, so that there is a clear incentive to acquire additional project funds from other sources.
52
Handing over the keys
53
The conclusion of the program and preparation for a return to ones home countr y is just as much a part of foreign exchange as ones placement in a new environment at the outset. As such, it should be carefully planned so that it proceeds in a satis factory way. Fellows are often deeply involved in project work until the very end, while simultaneously having to grapple with their future. They must disengage and plan new endeavors. They must record their experiences, document the results of their work and their network, and transfer their tasks to a sta member of the ization or, as the case may be, a successor. organ At the conclusion of the program, fellows are expected to ... ... complete the project work on site and settle accounts ... compose a nal reportconcerning accomplishments, particular challenges, and any potential unnished business ... take leave of important partners and, if applicable, announce their successor ... document the results of their work and their networks for colleagues in the organization or for potential successors ... reect on their personal and professional successes
Even after the fellows depart, the host organization should know where and how to contact artists and partners in the fellows countries, which programs and artistic inquiries are currently underway, and what has to be observed in collaboration with foreign partners.
Dealing with the question of ones professional future is also part of the nal portion of a fellowship. What comes next? Where would I like to work in the future, and do I have a chance in this job market? How can I use what I have learned to position myself well? Should I be self-employed and, if so, what does that mean?
Within the programs for cultural managers, the program manage ment aids in this process: In seminars, it broaches the topic of the fellowships conclusion and the fellows return. It makes recommendations (e.g., no projects in the last two months) and provides fellows with standardized instruments (transfer protocols, guidelines for evaluation discussions). It also conducts regular personal talks with fellows about their professional desires, goals, and plans. Guidance in job applications and rhetoric forms a part of the training program, as does the envisioning of possible career elds and successful occupational models. Before the
54
55
Artistic and cultural education
I see my work as a hinge between individuals, ideas, and cultures. I want to open doors for cultural exchange, because creativity develops when people can enter new conceptual spaces. It is important to shape not just content but also the conditions themselves: Through a direct exchange with cultural workers in Skopje and the surrounding region, personal relationships developed which have laid the groundwork for formulating collective goals for a growing European cultural scene and putting new ideas into action.
A fellow in the program newsletter
Project example: Scene: Moldova Eight days of contemporary theater, dance, lm, photography, and music from the Republic of Moldova in the Societaetstheater in Dresden The Republic of Moldova featured in a theater festival for the rst time in another European country. The work of mostly younger artists representative of the Republic of Moldova was selected for the festival Scene: Moldova in the Societaetsthea ter in Dresden, and dealt primarily with the countrys conicts and path in/towards Europe. To this end, the problem of sex-tracking was discussed in The Seventh Coeehouse. The piece Sugar-free by the Mobile European Trailer Theater from Chiinu also premiered at the festival. The theatrical performances were complemented by panel discussions, concerts with contemporary music, and lm screenings. The festival took place in May of 2008 and deliberately ended on Europe Day. Project example: SouthEast 24 7 Photo Marathon Ten pictures in 24 hours in seven cities In 2010, the project SouthEast 24 7 extended an invitation in seven Eastern, Central and Southeastern European cities to a photo marathon. Photographers had 24 hours to express ten terms such as dream house, utopia, or made in Romania/Bulgaria/Hungary, etc. in digital pictures taken in their cities. The best picture from each of the ten categories was printed as a postcard and published in local newspapers. The most interesting, critical, or funniest pictures from each category and city were entered into an international competition. The winning pictures from each category were presented in a nal exhibition at the European Capital of Culture Pcs 2010 in the presence of the photographers, and were printed as a postcard set. A project by Robert Bosch cultural managers in Sibiu (Romania), Banja Luka (Bosnia and Herzegovina), Osijek (Croatia), Pcs (Hungary), Pristina (Kosovo), Ruse (Bulgaria), and Skopje (Macedonia)
As a cultural studies scholar, the interface between politics and art lies at the center of my work. I was able to trace the notable importance of culture in developing Bosnia and Herzegovina: The aesthetic space is often the only one that provides for an open and unprejudiced debate in the country. To this end, I brought in international artists and provided the local scene with a stage. Through residence projects, exhibitions, and workshops, I reached a wide audience, fostered intensive exchange, and laid the base for long-term collaboration.
A fellow in her nal report
56
end of the fellowship, fellows receive training in career planning and job searching, and re-entry into their home countries job markets is supported to a limited extent by integration fellowships or returning funds. The program management provides contacts, forwards job postings, and oers itself as a reference. Alumni of the program receive a certicate from the Robert Bosch Stiftung for their participation. Furthermore, the extensive lobbying accomplished through the network will serve to position the cultural managers well in their future eld of work.
For your own storyboard :: Which roles will fellows take on in their eld of activity? :: What challenges can arise with their placement? :: How can the fellows personal goals be supported? :: Is project work expected from fellows and, if so, how are they being supported? :: What explicit qualication measures are provided? :: Which experts and trainers should be involved?
57
58
Part III
59
Behind the Scenes
The backstage area of a fellowship program reveals answers to the following: How many people are involved in the work? What is the budget to be planned for? With which partners does the program management work? On which international stages are they present? What of the production remains? When does one seek feedback from theater critics?
60
Building the stage
Behind the Scenes
61
Organizational structure Fellowship programs that fund individuals must have a well-established organizational structure and sucient personnel to support and guide the fellows. The complexity of personnel and administrative structures increases when programs work in conjunction with other institutions and are internationally oriented, or take place in multiple countries. It further increases if the program claims to be a high level qualication course and realizes this claim through an elaborate training program.
A funding program for individuals entails elaborate administration and support measures, and the fundamental question is whether one wants to coordinate this in-house, or whether program management should be transferred to a external institution carrying out the program. The Robert Bosch Stiftung has outsourced the implementation and administration of both programs for cultural managers to two implementing institutions: The program Cultural Managers from Central and Eastern Europe is operated by MitOst e.V., and the program Cultural Managers in Central and Eastern Europe by the Eastern Europe Center at the University of Hohenheim. This allows for a division of areas of responsibility and eases the burden on the funding institution. The funding institution maintains a broad vision, determines strategic focus in cooperation with the implementing institutions, formulates content and objectives, makes decisions about requirements and facilities, and is responsible for lobbying and public relations work in larger networks. It takes on overall responsibility and supports the institutions carrying out the program. The implementing institution takes care of the operational day-to-day business and contact with fellows and host organizations. The decision to outsource management is a major one and should be considered very carefully. Outsourcing allows for an administrative structure that is very exible and suits the program perfectly. It transfers personnel and nancial respon sibilities to a cooperation partner. The experience, network, and perspective of the partner may be utilized, which strengthens the positioning within the relevant eld.
By the same token, outsourcing may pose new challenges in communication and coordination and cause losses due to friction between dierent working styles and interests.
Program cooperation checklist :: The division of tasks and competencies must be clearly dened and contractually set. :: Strong trust between partners is imperative. :: A sound basis of similar topics, objectives, individuals, and institutional structures is important. :: Both sides must be prepared to invest in the partnership. :: The implementing institution must have a professional, functional administration, including accounting, a stable internal organization and nancial structures. :: The implementing institution should not be so large that program decisions take a long time. Personnel requirements The personnel selected for the implementation of the fellowship programs depends on the programs focus and objectives. The number of individuals receiving funding and organizations involved is one factor, along with the demand for support and attaining qualications, the design of the public relations work and lobbying, and networking and alumni activities. For international fellowship programs, the program management should have intercultural and foreign experience, as well as their own experience with fellowships. A familiarity with all levels of the program architecture is just as important as experience with their organization and administration. Project work is expected of fellows, so the program management should also be skilled at project management. Strategic thinking, communication skills, and networking knowledge are essential.
In the programs for cultural managers, the fellows are continuously supported and guided, a strong emphasis is placed on networking, and the implementing institutions are involved in the strategic further development of the program. All of this is decisive for personnel composition. Both implementing institutions have a program manager and a program assistance, supported by accounting andin particular during the seminar and organization heavy introductory and closing periodsstudent assistants, interns, or volunteers, as necessary. The management represents the program externally, has extensive cultural and project management experience, has an anity to art, culture, and cultural policy, and is familiar with fundraising
Managerial cooperation should always apply the rule: Keep it short and simple.
Outsourcing program management can r elieve a certain burden, but it can also demand increased eort in communication and a possible loss of control. Therefore, clear communicative structures, r egular meetings, common objectives, and absolute trust are imperative.
62
Behind the Scenes
63
and the administration of large budgets. The program assistance also has cultural, project, foreign, and administrative experience. The implementing institutions assure expertise they cannot provide themselves through cooperation There is no routine for the program management. with a permanent group of experts, trainers and moderators. Each program year presents new and unique challenges.
Personnel requirements checklist :: The demanding nature of guidance in a fellowship program is reected in appro priate sta to fellow ratios. :: For a fellowship program of 10 to 15 fellows, two xed permanent sta members should be provided, one of them in a managerial capacity and one assistant, in addition to a part-time accountant. :: Programs should remain exible in the design of their sta and be able to increase the number of sta during busy periods. :: Should the program management have to travel frequently, a program assistant who can run the oce in their absence is important. :: Program management should have decision-making authority on all operative questions. :: Ideally, program employees should already have experience with fellowship programs. :: The accountant should be present regularly several times during the week. Financing The more complex the program architecture, the more sophisticated the nancial structure. In most fellowship programs, a nancial challenge is posed by more than administration and fellowships. In the programs for cultural managers, insurance and funds for the support in career placement after the fellowships end must also be calculated as additional costs of the fellowships. Moreover, fellowships entail a number of other costs, such as travel or language acquisition. A signicant portion of funds is devoted to the training program and project funds. Expenses for program management and direction include not only administrative and personnel costs, but also expenses involved in the selection process, public relations work, and program evaluation.
For a fellowship program with 12 fellows and a duration of one year, total costs are around 500,000 euros. These costs can be distributed according to the following approximate expenses: :: 40% for fellowships, including additional expenses such as insurance, return grants, language courses, travel, etc. :: 10% for funding the fellows projects (3,0005,000 euros per person) :: 20% for a training program (seminar expenses, fees, travel costs) and the fellows travel :: 10% for program coordination (selection of fellows, the program managements travel expenses, public relations work) :: 20% for administrative costs, including personnel expenses for the program management. With the support of their host organizations and the program management, the fellows acquire third-party funding for projects. Each year, projects with an average total budget of 200,000 euros are implemented.
Financing checklist :: Fellows comprise the principal part of the budget. :: Fellowship amounts may be based on a normal rate for doctoral fellows. :: The program management encourages awareness of the fact that while fellowships oer less income and stability than permanent positions, they are complemented by an investment in attaining qualications and receiving career guidance. :: It is advisable to pay a xed stipend regardless of the fellowships location. At the same time, there should be some exibility for special costs. :: A nancial reserve should be planned for unexpected costs.
64
Within the network
Behind the Scenes
65
Partners Fellows benet from the fellowship programs anchoring within the network of the institution carrying out the program: They can make use of contacts, receive advice, and nd cooperation partners and guidance for their professional plans. At the same time, the funding institution also benets from the fellowship program: Their objectives are reinforced and made visible within their network. Partnering institutions can provide important impetus for the further design and development of fellowship programs, and prot in their turn from a collaboration in which they can draw on the expertise of the fellows and the implementing institutions.
A programs partner network should be established in advance, according to the following questions: Who are the major players and experts to be involved? How can the fellowship program best position itself and make itself known? How does the interplay of the individual players work? Relevant members of the network of the programs for cultural managers include diplomatic representatives and cultural institutions of involved countries, cultural players on a European level, networks and umbrella organizations for various artistic disciplines, foundations with a similar focus, as well as local and regional cultural organizations, associations, and forums. They should recognize the programs for cultural managers as cultural actors and the fellows as their partners. Cooperation with local and regional actors is also important for the success of the programs for cultural managers, as well as with institutions involved in the fellows direct working environment: cultural oces and other local cultural and educational institutions, as well as regional cultural administrative organizations (if any exist). They oer a platform for sustainable collaborations, which ideally remain in place after the end of the fellowship. Among local and regional actors, there is a denite awareness of the prestige of having a cultural manager in the city, and an interest in continued cooperation with the program management. The network of the programs for cultural managers also includes former fellows still currently active in international cultural exchange. The care and expansions of the
programs own network is just as important a goal as positioning itself within preexisting cultural networks, and is one of the core tasks of the program management.
Public relations and lobbying work Public relations brings attention to the program, the fellows activities, the fellows projects, and the fellows themselves; attracts an audience; and provides media exposure. Lobbying work is long-term and contributes to the program and its goals within the awareness of relevant actorspolicy makers, potential partners, employers, and important contacts within the network.
Fellows are primarily responsible for on-site, short-term public relations work, in particular traditional media outreach, which takes place mainly within a local context and within the working environment. Complementing this, the program management is responsible for the public relations work for the overall program. It invites the media to agship projects, prints brochures and informational material, and is responsible for the presence of the program on the internet. Program man agement also takes principal responsibility for lobbying work. It is guided by the question: Are the programs positioned adequately? The aim of the lobbying work for the programs for cultural managers is to secure partners and to increase the visibility of the fellows work within potential future career elds. Within this communication work, the program management plays an important liaison role. It has the right position and knowledge to contact relevant actors within the network, reach the key point people from important institutions, and represent the content and goals of the fellowship program and the fellows potential. It attends conferences and symposia and may even initiate its own events and background discussions. Additionally, decentralized and important contributions to lobbying also come from the fellows: Their work itself is convincing. The wide-reaching and positive perception of their work is the best advertisement for the program. The fellows actions, their communications, their projects, and their standing are also a calling card for the program and the institutions carrying it out.
A successful fellowship program creates new connections between the local networks of the fellows and host organi zations and the existing networks of the program management.
Lobbying is a top priority: It should be considered from the beginning and must take place within the program management.
66
Behind the Scenes
67
Checklist for public relations and lobbying work :: Communications work takes place on two levels: as publicity work for the fellows activities and as lobbying work for the overall program. :: Attention can only be called to the program through a strategic approach to public relations and media coverage. :: Online media have a particular importance in international fellowship programs: They are fast, cover vast distances, and appeal to younger audiences. :: Lobbying work is a management issue: The program management positions the program and its participants within the right contexts.
68
After the production
Behind the Scenes
69
Ensuring quality A fellowship program that focuses on current developments, seeks to address socially and (cultural-) politically relevant issues, and has high aspirations for its content and objectives, participating individuals and organizations, must constantly review and analyze itself. It is important to nd out whether the objectives the funding institution set for itself at the beginning of the fellowship program can actually be achieved and where there is a possible need for optimization and improvement.
In the programs for cultural managers, the program management takes responsibility for a regular evaluation: Individuals and organizations satisfaction with the prevailing circumstances is evaluated through recurring informal discussions, and the practical application of program design is reviewed. Seminar evaluations in the form of questionnaires and feedback sessions help to gauge the success of qualication measures and additional needs. External perspectives on and assessments of the program are sought from experts and trainers. To monitor and evaluate the relationship between the host organization and the fellow, the target agreements are useful. Personal development is assessed during one-on-one discussions between the program management and the fellows, and plays a crucial role in the evaluation discussions at the end of the program year. After completing a pilot phase, both programs also commissioned an external evaluation, which led to major adjustments in the program content. Aside from the quality of the program content, the impact of the programs may also be monitored through evaluation. Thus, in the programs for cultural managers, the question is posed: Can fellows actually shape their eld of work actively and set new trends in cultural exchange? Do they become suciently qualied through the fellowship in international cultural management to then take on key positions in cultural institutions? Is the deployment of the fellows at the host organizations of use to them in order to reach their objectives and achieve organizational development? To these questions, the cultural managers programs nd answers in the reports of the program participants and in the evaluation discussions. In addition, the career paths of the programs alumi are closely followed and documented.
It is more dicult to measure eects that cannot be formulated as objectives: the indirect eects of program networks, which develop autonomously and are not guided by the program management, or the eects that the programs for cultural managers exert on the activity of actors close to the program. In order to keep track of them, recent developments in the programs network and in the (cultural) political environment are monitored continuously.
A clear denition of program objectives, a stable institutional basis, and regular evaluations accompanying the program are prerequisites for optimizing the programs success.
Quality assurance checklist :: Ongoing evaluation will ensure that the programs objectives and architecture are consistently given constructive criticism. :: Regular personal talks with program participants are important in assessing the target groups needs and wants. :: Both quantitative and qualitative instruments should be used for evaluations. :: Agreements on objectives are important tools for quality assurance. Achieving sustainability A fellowship programs success is closely connected to its long-term eect on the people and organizations involved. In the context of a program of limited duration, indicators for lasting or sustainable eects should be determined early on and relevant data should be collected continuously. Close contact with the programs alumni and representatives of the host organizations as well as a career history survey (which is often complex) all provide good sources of such information. The sustainability of a funding program for individuals can be investigated via the following questions: :: Have contacts remained intact? Are there further collaborations even without funding? :: Can the eects of the fellows work still be felt after they have left? :: How closely connected with the foundation are the fellows, the host organizations, and the program partners over the mid- and long-term? :: Are the fellows able to work in their desired eld and has their fellowship contributed to this? :: How stable and independent is the network that has been created? :: What long-term changes in awareness have taken place? :: What long-term momentum has been established? :: Was the program able to set points of emphasis in a higher level political context, provide inspiration, initiate new discourse, or develop completely new elds of work?
70
Behind the Scenes
71
Eects
A comprehensive assessment of a fellowship programs impactthe stage, its actors, the directors, and the audienceis only possible with time and distance. Bearing in mind the objectives and architecture of the programs for cultural managers, it will be possible to speak of a lasting eect if three years after the programs nish 90% of the former fellows are active within the cultural or educational sector 50% work in international contexts 25% hold leading positions 8090% attribute an improvement in their professional proles to their program participation 75% are available for alumni-network activities the experiential knowledge individuals gained during the fellowship has been maintained fellows participation in the program is retroactively perceived as life-changing an active alumni network exists the majority of host organizations are still in touch with the foundation, the cultural managers, the artists, and cultural organizations sources of funding and partnerships cultivated by the cultural managers are still available to the host organizations networking has been established between art scenes from the participating countries the programs were able to stimulate (foreign) cultural policies of the participating countries An important benchmark for the lasting success of the program is the former fellows subsequent paths, their continued professional journey. One relevant question to ask of programs for cultural managers is whether they actually succeed in training young professionals for international exchange. There are many dierent ways to connect to international project work after the end of a fellowship. Former cultural managers work for institutions in their home countries with international exchange programs related to the fellows former host country work as cultural managers or curators at institutions involved with various art forms work for the national cultural organizations and diplomatic representatives of their home countries work independently within their own oces on international cultural projects
In countries with a functioning job market in the cultural eld, cultural managers have good chances of nding suitable positions r their fellowships. Qualications obtained in Germany are highly afte d, and, paired with the prestige of having worked abroad, they value help with applications. Return grants can be very helpful. Fellows generally nd an interesting position within a half year at most. The low income within the cultural eld is often the biggest problem.
Generally, I found it very important to see how se riously the program management and the foundation take evaluations, and how persistently they work to improve the program.
From the very beginning I was entrusted with a responsible, exciting and active position. I rose to each new challenge and was able to learn a lot on this way. It is quite certain that it would have been hard for me to nd an equally challenging occupation in Germany directly after university graduation. In the course of my diverse work, I gained self-condence and a clear judgment of my personal skills and knowledge.
72
Behind the Scenes
73
have successfully transferred to another, related sectoreducational management or the creative industry hold leading positions in foundations, public cultural aairs oces, or cultural organizations work actively as freelance cultural managers in international cultural exchange The activity of the alumni network is also a good indicator of a funding programs long-term impact. It is important to distinguish between alumni activities, which are limited to exchange and contact between former fellows, and a broader networking eort that is related to the programs objectives.
With the establishment of an alumni network and corresponding long-term maintenance of contacts, the lasting impact of a funding program for indi vid uals is secured.
Within the programs for cultural managers, alumni activities are actively encouraged. Former fellows act as multipliers and lobbyists for the programs. Alumni are involved in the Robert Bosch Stiftungs network, solicited as mentors, advisors, and experts, invited to events, and informed about interesting job oers and calls for project applications. A regular newsletter relates news from the programs for cultural managers and other foundation activ ities. The foundation provides a budget for alumni activities and oers nancial incentives for collaborative projects between former and current cultural managers. In return, former fellows are expected to organize alumni activities independently. These activities can only be brought to life by the actors themselves. They should identify with this work, consider themselves feedback providers and partners in brainstorming, gladly bring their expertise to the programs, and network independ ently among themselves. On principle, expectations should not be too high, alumni activities must be tailored to the actual needs of the former fellows, with respect to their professional status, work focus, location, and available time. Continuous contact to the former host organizations is also important for the program management. Representatives will continue to be informed about the foundations activities, considered network partners, and recommended as such. The fellows local successors will be supported if needed on an individual basis.
74
Behind the Scenes
75
Alumni activities
Network meeting in Pcs In March of 2010, alumni and current fellows from the Robert Bosch Stiftungs cultural managers programs met in Pcs, Hungary. The aim was to improve communication between fellows and alumni, exchange experiences through networking meetings and thematic group discussions, and discuss ideas and initiatives for European cultural policy. There was a joint critical discussion of the topic Cultural Capital Pcs 2010 and walking tours of the city to learn about the preparations for its European Capital of Culture program. The meeting in Pcs was the impetus for a continuation and deepening of network activities, for example in the form of smaller and more specied forums, and meetings with focus on certain regions or distinct artistic elds.
Ideally, the alumni network develops into a network of experts who consider themselves actors (in the case of the programs for cultural managers, cultural policy actors) and are actively involved in current discussions and other networks.
The expertise of the former cultural managers, and thus the potential of the alumni network, is immense. To focus this potential and make use of it, to launch network initiatives and utilize their know-how for the benet of current cultural managers and the further development of our engagement within the cultural arena, these are the tasks I see for alumni activities in the Robert Bosch Stiftung.
For your own storyboard :: Should we conduct the fellowship program ourselves or in cooperation with other organizations? :: Which responsibilities should program partners take on? :: What are the personnel requirements? :: Where should we begin with our public relations and lobbying work? :: Who are the actors in our network? :: Which tools can be used for quality assurance? :: What long-term, lasting eects are to be achieved with the program?
76
77
78
Epilog
79
This publication began with the idea of recording the experiences we had in implementing the Robert Bosch Stiftungs programs for cultural managers and making them available to our colleagues. Looking back at the last ten years, especially in regard to similar work that could take place in the future, there are points that we see as essential for the success of a funding program for individuals and which we would always take into consideration again:
Give feedback Feedback is an important part of positioning oneself in a new environment. This is often lacking in a new colleagues circle. It is all the more important for trainers and program management, among others, to provide the participants in a funding program for individuals with assessments of their performance and actions. Learn from participants The participants themselves have the best ideas for improving a program. The program managements tasks are to listen well, to be open to suggestions and criticism, and to implement suitable evaluation tests. Work with partners Many good ideas come from exchange and cannot be implemented without committed partners. When the program itself exemplies close collaborations with partners, the fellows will do the same.
Show trust and interest A safe environment is imperative for the fellows personal development and the development of new ideas. Set realistic objectives The participants in a funding program for individuals vary in their degrees of preparation for challenges and their new roles. To avoid demanding too much of them, it is important to support the fellows in clarifying their roles in their new environments and in the development of realistic objectives. Consider individuals and their environments Learning is constantly taking place in and with the working environment. From the beginning of the program, it is important to consider not only the fellows but also the host organizations (the environment) as target groups in the focus of ones own work. Allow freedom for exchange with the group Free and willing exchange within the group and undirected collaborative approaches to questions and solutions strengthen the groups self-organization. Encourage networking Cooperating in a larger ensemble makes it possible to create something that could not be imagined at the outset. Travel is educational This is also true within a program that funds individuals abroad. Visiting other places and having conversations with partners far away from where one has been placed broadens horizons and leads to a new, clear perspective on the structures of ones own organization.
:: What has your experience been?
80
Robert Bosch Stiftung The Robert Bosch Stiftung is one of the major German foundations associated with a private company. Established in 1964, it represents the philanthropic endeavors of Robert Bosch (18611942), focussing on the elds of science, health, international relations, education, society, and culture. MitOst e.V. MitOst a Berlin based non-prot and non-governmental association carrying out international projects focusing on citizenship education and cultural exchange in Europe and its neighboring regions. The association was founded in 1996 and has 1,300 members in 40 countries. International under standing and civic engagement are the basic principles for all programs of MitOst as well as for the manifold voluntary projects of its members. University of Hohenheims Eastern Europe Center The Hohenheim University center for research, teaching, advanced training and consultancy was established in 1995 to facilitate cooperation with scientic institutions in Central and Eastern European countries. As a cross-faculty institution the center consolidates the scientic competence of the University of Hohenheim in the elds of natural sciences, agricultural sciences, economics and social sciences to initiate scientic research cooperation with partners from Central and Eastern European countries and to coordinate cross-border interdisciplinary projects. Imprint Publisher Robert Bosch Stiftung GmbH Heidehofstr. 31, 70184 Stuttgart, www.bosch-stiftung.de Contact [email protected] Concept and Editing e Ottilie Blz, Anja Harms, Edith Wolf (Robert Bosch Stiftung), Johanna Holst, Lisa Maier (Eastern Europ Center of the University of Hohenheim), Dsire Frster, Darius Polok (MitOst e.V.), and Natalie Kronast Text Natalie Kronast Translation Mollie Hosmer-Dillard Design mischen, Harri Kuhn, www.mischen-berlin.de Illustration Alexandra Kardinar and Volker Schlecht, www.drushbapankow.de Printing Medialis, edition of 500 Copyright Robert Bosch Stiftung GmbH, Stuttgart All rights reserved (October 2012) We would like to thank all the fellows, representatives of the host organizations, partners, and trainers for their trusting teamwork in the cultural managers programs. We are also thankful for all those colleagues who have contributed to the creation of this publication with their ideas, comments, and testimonials.

Learning On European Stages

Uploaded by

Copyright:

Available Formats

Learning On European Stages

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Learning On European Stages

Uploaded by

Copyright:

Available Formats

Curtain Up!

Learning on European Stages

Stage, Text, and Actors

Rehearsal and Performance

Behind the Scenes

Why this manual?

The Robert Bosch Stiftungs programs for cultural managers

Call for entries for fellows Selection of fellows April

Agreement with the host organization

Introductory seminar (I)

:: Arrival :: Establishing roles Developing project concepts

Seminar II :: Cultural management Seminar III :: Sponsoring :: Negotiating Interim evaluation

Seminar preparation and wrap-up

Evaluation discussion/ certicates Program managements nal report

Return to the job market

Processes Host organizations application Fellows application

First program year

:: Cultural management :: OD :: Cultural competence

March Network coordination Project consultation Moderating support

:: Cultural management :: Communication :: Cultural competence

Concluding and introductory seminar

Interim evaluations 1st agreement on objectives

Second program year

:: Cultural management :: OD :: Cultural competence

New host organizations application New fellows application

Report/ new application Interim seminar II

2nd agreement on objectives/planning the last steps

Evaluation discussion/ certicates

Return to the job market

Stage, Text, and Actors

Repertory and theater

Stage, Text, and Actors

Stage, Text, and Actors

Stage, Text, and Actors

Stage, Text, and Actors

Actors: abilities and challenges

Stage, Text, and Actors

Stage, Text, and Actors

Stage, Text, and Actors

Stage, Text, and Actors

Directors and prompters

Stage, Text, and Actors

Stage, Text, and Actors

Rehearsal and Performance

Rehearsal and Performance

Establishing objectives/ expectations

Rehearsal and Performance

Localization in the organization

Rehearsal and Performance

Rehearsal and Performance

Rehearsal and Performance

Collaborative work: points of reference and agreements on objectives

Host organizations comment

Program managements comment

Establishing a series of lms

The lm series begins

End of the year

Strategic nancial planning

Eective sales/ prot planning, cost and performance management, etc.