What are networks? Why they are created and what functions do they fulfil? These questions are answered by Dr Małgorzata Sternal from the Music Academy in Cracow and Magdalena Kopczyńska-Zych from the National Cultural Centre.

What are culture networks and what functions do they fulfil?

Małgorzata Sternal:  People often describe networks in the same way as the authors of the report on the cross-culture cooperation in Europe published by two important European organizations: Interarts and IETM – Informal European Theatre Meeting, who defined them as “basic infrastructure for the transfer of information, for communication and the development of partner cooperation between individuals and organizations that work in the culture sector”. Such definition renders the character of organizations such as networks. Formally, they are usually associations which bring together organizations (and occasionally individuals) interested in some specific field of artistic or, more broadly – cultural - activity.

Networks usually define their tasks as “facilitating cooperation” or “offering a platform for debate”, but some of them in their declarations of mission describe their role as “leading” (Europa Cantat), “stimulating” (ENCATC, Trans Europe Halles, EUnetArt) or “promoting development” (ELIA). Very often such cooperation brings about innovation – and in this respect networks are the subjects of changes that result in the introduction of new forms and range of cooperation, as well as new communication standards, etc.

Magdalena Kopczyńska-Zych:  The European Commission offers funding towards two kinds of networks: “Advocacy networks” and “Structured dialogue platforms”. The first group consists of organizations that represent and express opinions of a certain environment and lobby European institutions for this environment. This is the case of ENCATC which brings together and represents organizations that educate culture managers in Europe and in the world. The second group are networks that bring together representatives of various cultural environments, join in current European debates, represent the opinions of culture circles on the EU forum (e.g. EFAH – European Forum for the Arts and Heritage). What’s important, in order to get the EU grant they have to consist of at least 15 Member States.

What benefits does the network membership provide?

MS Networks fulfil different functions, but from the point of view of their member organizations the most important seems the possibility to improve and develop - for both the organizations and individuals. In other words – through work in a network I can get information necessary for my organization or establish interesting partnerships, but also gain many new skills.

MKZ Owing to paying a yearly membership fee, the institution can get the latest information on, for example, current EU cultural activities, participate in workshops, seminars and conferences organized by a given network. Members of European networks are offered discounts at international conferences organized by the third parties.
The members of ENCATC (http://www.encatc.org) can develop their contacts and broaden their knowledge within the following working groups:  „Creative Entrepreneurship and Education in Cultural Life”, „Interpretation/Mediation applied to heritage site”, „Analysis of methodologies used by Cultural Observatories and Statistical Centres”, „Audiences policies in Europe” and „Europe non Europe”. What’s important, ENCATC members can join more than one working group and attend meetings organized especially for this group to discuss issues of their interest. Each working group is stimulated by its leader elected by the members.

What benefits do network members get? Does a network assist in raising funds towards activities, support the realisation of projects?

MS Very often the involvement in network activities means solely the promotion of the culture organization or the support for the professional development of its leader. It’s worth pointing out, however, that a network can support the development process of the organization. Changes in its structure, the improvement of the team management, introduction of new forms of promotion, and finally – defining new tasks, targeting the offer at a wider audience, as well as restructuring the relations with local environment as a result of an international partnership – all that is sometimes the consequence of the involvement in network activities, of learning from partners and colleagues from other organizations.

More practically, a network is a sort of “natural environment” to find partners for one’s own projects or to join projects that already exist. Also, the whole network, as a European organization, can be invited to a project, which raises its prestige significantly. Network membership creates more opportunity to participate in international training courses, workshops or seminars.

MKZ It’s worth stressing that a network can be the leader of a project submitted and  implemented by a few network members. In that case the proposal submitted to the Commission becomes more credible, and the network guarantees European dimension of the project. Additionally, the network members can benefit from the project results, regardless of their direct involvement in the project. Such example in ENCATC network is SECEB project „A new challenging European Project: Sharing Experiences on Cultural Education: realizing the Bologna Process” implemented in 2005-2006 by the University of Barcelona, University of Grenoble, University of Bratislava, University of Potsdam and Jyväskylä University. In 2007 the research results were disseminated among 125 members in 38 countries of Europe, North America and not only.

For individuals, the cooperation within a network means the possibility to establish and develop international contacts, the access to novelties and solutions currently discussed in other countries, the possibility to introduce changes, to extend their activity by following the examples and inspirations of others.
What requirements should be met in order to join the network such as European Network of Cultural Administration and Training Centres?
MS, MKZ Each network formulates its own procedures, in the case of ENCATC the basic “qualification” of an organization that wishes to join the network as a “full member” is providing education or training programmes in culture management for at least three years prior to the membership. The members don’t have to meet this requirement, but the activity of their organization has to have something to do with culture management. Membership fees vary depending on the kind of membership.

What impact does the international cooperation in a network have on the cultural development of regions and their inhabitants?

MS What makes networks particularly important for the development of the culture sector in Europe is the fact that as the organizations of the third sector they become a unique link between the governments and the local structures,  international institutions (such as European Council or the EU institutions) and the base of the culture sector – individual culture organizations or individual artists.

MKZ  Culture networks, by offering the transfer of information and by encouraging the professionalization of their members, contribute to the development of regions and their inhabitants only indirectly. Other mechanisms co-funded by the EU should be mentioned here, such as the community programme Europe for Citizens or European initiatives INTERREG which are aimed directly at trans-regional stimulation of cultural cooperation or the realization of twinning projects (e.g. by partner cities). 

Do culture differences between network members encourage or discourage cooperation?

MS Cultural differences (whatever we understand by this very broad notion) somehow “force” us to go off the beaten tracks, to modify the ways we work and communicate with others or to question our way of thinking. In this respect they can always be treated as a factor that broadens our horizons, thus encouraging the development of cooperation. In practice, however, each cooperation results from the interaction with an individual person. Even if we speak about the cooperation of organizations, each of those organizations is represented by people and if they like each other, the cooperation stands a chance to be fruitful. Then “cultural differences” recede into the background, so to speak.

MKZ Certainly the differences in how people think and act are visible. Actually, the cooperation within networks can be treated as a preparatory period or perhaps the stage when we get familiar with cultural differences and conditions so that later, during the realization of joint initiatives, we can adjust beforehand the rhythm of the cooperation to the expectations and capabilities of our partners. In that way the experience gained in the network becomes the capital essential for the efficient realization of international projects.  
    
The cooperation with what European countries is considered the most successful by Polish culture institutions and why?

MS I wouldn’t like to point out countries with which the cooperation goes particularly smoothly. As I said before, the cooperation of networks assumes individual involvement of organizations and people, whatever country they come from. I should add, however, that in some respects it is easier to cooperate with the countries of Central and Eastern Europe, owing to the similar experience, the type of administration, the structure of education systems, etc.

MKZ I also wouldn’t like to categorize countries and try to find what they possibly have in common.

In the network ENCATC there are institutions that offer courses in enterprise in culture. What is ‘enterprise’ and how is it taught?

MKZ Paradoxically, I will start my answer by saying that enterprise cannot be taught – either in culture, or in any economic field. However, the students, trainees, etc. can be furnished with the knowledge of the current culture processes in Poland or Europe, they can be shown what impact those processes have on culture institutions, the tools to improve the efficiency of the professional environment, such as the ability to negotiate contracts, to develop and manage projects, to develop marketing plans, tools and PR strategies, and the knowledge of the basics of finance and law. Students can translate all that into their own enterprise in culture.   

Another benefit from the ENCATC network membership worth pointing out is the possibility to exchange experience. The systems of educating culture managers in Holland, Great Britain, France or Germany differ, as does the status of the providers. The priority issues for art schools that educate artists – culture managers are different than those for technical universities or universities. The wide diversity and the possibility of free discussions, the clash of opinions about the best education programmes and methods certainly contribute to the more conscious development of training programmes and university curricula. For example, the National Culture Centre, owing to its membership in ENCATC (since 2004) has developed an attractive training offer within the programme on “Polish Regions in the European Cultural Space” (www.regiony.nck.pl). The experience gained during the cooperation in the network contributed to the development of the Postgraduate Courses in Culture Marketing, provided in cooperation with Warsaw University as an element of the NCC programme “Course For Culture” (http://psmk.ism.uw.edu.pl/)  

Can people who deal with culture in Poland learn to be resourceful from their colleagues in Western Europe? Or maybe resourcefulness is the domain of Poles?

MKZ We can certainly benefit much in the field of culture managers education from the experience of our partners in Western Europe. Our strong point is the chance to create new projects that combine Western experience, the national context and contemporary challenges which more and more often appear in the culture field. European partners say sometimes that Poles are taking Europe by storm. They see our determination, creativity and openness to changes – in the positive meaning – so who knows? Maybe this is going to be our contribution to the immaterial values common for all the citizens of Europe?

Dr Małgorzata Sternal – a graduate of the Jagiellonian University and  Mastere Specialise European,  Ecole Superieure de Commerce Bourgogne (Dijon). A doctorate gained from the Faculty of Social Communication, JU for the dissertation on the education of culture managers.

Lecturer at the Department of Music and Education Research at the Music Academy in Krakow. Fellowship for research on cultural policy awarded by the programme International Policy Fellowship (2003/04); in 2001-2007 member of the board of the European Network of Cultural Administration Training Centres. The Head of postgraduate courses “Culture Management in Europe” at Krakow Music Academy. In 2007 – Senior Adviser in the programme European Cultural Foundation (Amsterdam).

Magdalena Kopczyńska-Zych – culture manager, art historian (Jagiellonian University), completed postgraduate courses on European Integration (Warsaw University) and on Master of Business Administration - University of Bradford School of Management (diploma with honourable mention). Specialist in management – strategic management, positioning of cultural offer and diversification of culture funding sources. Instructor and lecturer. Cooperates with universities, in Warsaw and Krakow which provide courses on culture management. Tutor of Postgraduate Courses on Culture Marketing (on behalf of National Cultural Centre). Editor of a magazine and coordinator of programme: Polish regions in European cultural space. Coordinator of the programme Course for Culture. Coordinator of the celebrations of the European Year of Intercultural Dialogue in Poland (2008). Since 2007 member of the board of ENCATC (European Network of Cultural Administration Training Centres). Head of Culture Development Department of National Cultural Centre.