Arts Management / Taidehallinto


Recent Submissions

  • Marsh, Neicia (2020)
    This qualitative case study examines Black, Asian, and minority ethnic (BAME) leadership through both foundational theories that surround race, class, and gender, and intersectional feminist approaches, in order to support a greater understanding of how and why these categorisations influence the experiences of BAME arts and cultural leaders. The theoretical framework is a comprehensive review of the existing literature related to the main topics of the thesis, including leadership; race, class, and gender; and cultural policy. This thesis makes use of two methodological approaches—interpretivism, and standpoint theory. The primary data consists of four semi-structured interviews with arts and cultural leaders situated in Britain and Finland. The research reveals that BAME leaders’ professional working experiences have been influenced in various manners, due to the intersections of their race, class, and gender. The experiences faced by BAME leaders included but were not limited to: barriers to entry due to structural racism; race, class and gender bias; and race-based normative organisational structures.
  • Wegelius, Anna (2020)
    The starting point of the thesis was the desire to answer musicians’ burning question “How do I get to play in Japan?”. The thesis aims to give the reader an understanding how bands, agencies and other professionals in the field of music work to build brand identities for Nordic folk music bands in Japan, and give ideas that could be generalized to help answer the question “How do I get to play in Japan?”. The thesis is an exploratory study using qualitative research method. The data was collected through ten interviews with bands that are, or have been, in a roster of an agency, Japanese agencies, and professionals related to the field. Theoretical framework is based on literature on brand identity, Kapferer’s theory of prism of brand identity in particular. The research reveals meanings of brand identity elements on the specific field of Nordic folk music in Japan. Bands’ ideas why they were selected to an agency’s roster, and the agencies’ principles on selecting artists, and reasons why they get interested in Nordic bands, propose answers to the the question ”how to get to play in Japan”.
  • Markkula, Aapo (2020)
    The aim of this study was to examine what are the drivers fostering swift repurposing of old industrial sites into cultural venues. Qualitative case study focused on three case studies: Suvilahti in Helsinki, WUK in Vienna and Studio Alta in Prague. The data consisted of 13 professional interviews representing cultural sites, entrepreneurs, event organizers, expert panel and city of Helsinki. The research questions were: What drivers enable a fluent process of repurposing an old industrial site for cultural use? What impact does an established cultural hub operating in an old industrial site have on the image of the city and on citizens’ satisfaction in a city? What is the motivation for an organization to operate in a cultural hub? Theoretical framework consisted of literature from the fields of planning theory, city planning, cultural planning, strategic planning of a cultural cluster and civic activism in city planning. From the field of cultural cluster strategic planning strategic management, leadership and co-creation were of special interest. All old industrial sites are one-of-a-kind environments and not all best practises can be directly applied to them. A key finding in the research is that all empty spaces create culture - empty space is the soil where cultural start-ups plant their seed in hope of reaching the sunshine and success. The key conclusions of the research conducted in the thesis can be categorized in three areas: drivers on fluent repurposing; cultural hub’s impact on city image and citizens; and cultural entrepreneurs’ motivation to operate in a cultural hub. The key drivers for fluent repurposing of an old industrial site include facilitation to achieve the vision for the site, cultural entrepreneurs’ working environment in the city and entrepreneurs’ financial challenge management. A cultural hub has profound impact on the image of the city as well as on citizens’ satisfaction in the city. The conclusions on the impact were: cultural entrepreneurs’ freedom to develop cultural programme has a major impact on the success; active civic participation increases the likelihood of getting happy citizens; and a cultural hub that has reached sustainable state is a key element of city’s or area’s domestic and international profile and appeal. The key benefits and reasons why cultural entrepreneurs operate in a cultural hub are: hub is a vehicle to fulfil personal aspirations with freedom to operate, support from the community in the hub and hub’s synergy that fosters growth. Author defined five core elements of future cultural entrepreneurship. The recommended areas for future research include hybrid government in city planning including civic participation and cultural hub success factor research including cultural entrepreneurship.
  • Reponen, Anna (2020)
    This thesis examines the process of creating a new popular artist brand on social media. In the past two decades the music industry has gone through major changes and new technologies have enabled artists to emancipate themselves from labels, creating new means to generate income, distribute music and build a career. Social media has become an important tool to create artist brands and independent artists can utilize it to their benefit with very little resources. However, the branding process is not explicit and seems to vary from artist to artist. This thesis explores what is the branding process on social media, what factors influence the process and how artists perceive the branding process on social media. The research was carried out as a qualitative case study, where five individual interviews were conducted with new independent popular artists who are at the beginning of their careers. An important framework for the chosen artists was that they are independent, thus not having a contract with a major label. As a result of the study, it can be said that there is no clear formula to the branding process of an independent popular music artist. However, it seems that the artists personal values are in the core of the process, as they are affecting the decision-making on social media content as well as the artist’s perception of branding. Social media content was also inspired by their music. Thus, it could be concluded that music is one of the main influences in the branding process. Another important influence was resources, such as money, time and knowledge, as independent artists do not often have the support of a label. Critically examining, five cases do not provide enough data to draw definitive conclusions of the topic. In order to gain more insight on the topic I would suggest a wider study to be conducted, where more artists could be involved. Thus, some more reliable and clearer ideas about the branding process could be formed.
  • Rinnekangas, Eleonoora (2020)
    This qualitative case study examines the challenges, that cinemas in Helsinki were facing in 2008 and 2018. More precisely, the study explores their challenges regarding film curation and programming, strategic management, and marketing and audience engagement. Through the examination of the selected years, the study aims to depict an image of the development of the cinema industry and the general issues it is dealing with, and to indicate the possible future challenges and opportunities the organizations have ahead. The study is relevant for the field of arts managers, because viewing past actions and developments critically, can be beneficial in foreseeing the challenges of the future. The philosophical foundation for the study is critical. The theoretical framework consists of the concepts of film art, strategic management and strategical film curation, marketing and audience development. Three cinemas in Helsinki are researched as cases. The primary data consists of five semi-structured interviews, and the secondary data consists of the websites of the organizations, information given by the researched parties and the annual statistics by The Finnish Film Foundation. The data is examined using the method of content analysis. The study bears the results, that the size of an organization does have an effect on the challenges the organizations are experiencing. All operators face challenges in keeping their venues relevant and interesting for the audiences. The common challenge in 2008 was the special limitation the technology set, and in 2018, one could see that the creation uniqueness is one of the key challenges: an organization must think sharpen its vision and the values it is portraying to the audience in order to stand out from other operators and make it easier for its customers to gain trust. The results of the study introduce challenges touching upon each of the mentioned areas of arts management, but also give offer fruitful starting point for more thorough study.
  • Pylkkänen, Liisa (2019)
    Tämä tutkielma tutkii teatterinjohtajuutta pienissä ja keskisuurissa ei-kunnallisissa helsinkiläisteattereissa. Tavoitteena on vastata seuraaviin kysymyksiin: 1) Miten teatterinjohtajaksi päädytään? 2) Mikä ohjaa teatterinjohtajan työtä ja päätöksentekoa? 3) Miten johtajat itse kokevat työnsä johtajina? Tutkimuksen teoreettiset lähtökohdat ovat teatterin- ja johtajuustutkimuksessa. Keskiössä ovat rakenteet ja arvot: nähdäänkö teatteri ensisijaisesti työpaikkana vai uutta luovana taidelaitoksena? Mikä kaikki vaikuttaa teatterinjohtajien työhön – niin taidelaitoksen sisällä kuin yhteiskunnallisellakin tasolla? Lisäksi perehdytään sekä yksilö, - että jaettuun johtajuuteen. Tutkimuksen aineisto koostuu viiden helsinkiläisen teatterinjohtajan haastattelusta. Mukana on sekä valtionosuutta saavia, että rahoituslain ulkopuolisia teattereita. Haastattelut on tehty narratiivisellä haastattelumetodilla. Tämän tutkimuksen mukaan: 1) teatterinjohtajaksi päädytään usein epävirallista reittiä pitkin. 2) Johtajan työtä ohjaavat lukuisat sisäset ja ulkoiset vaikuttimet, kuten kulttuuripolitiikka, rahoittajat, rakenne, brändi, yleisön odotukset, henkilökunnan sisäiset suhteet, sekä resurssit. 3) Johtajat määrittelivät työlleen kolme yleisesti tunnistettua päätehtävää: talousjohtaminen, taiteellinen johtaminen, sekä henkilöstöjohtaminen. Lisäksi suhteet yhteiskunnallisiin päätäjiin koettiin merkityksellisiksi. Tutkimustulosten mukaan teatterinjohtajien työnkuva koettiin yllättävän laajana, työ melko yksinäisenä ja taloudelliset resurssit niukkoina. Henkilöstöhallinnon taidoista löytyi myös puutteita. Rahoituslain ulkopuolisissa teattereissa taloudelliset paineet koettiin kovemmiksi ja niiden katsottiin vievän enemmän energiaa taiteelliselta puolelta kuin valtionosuutta nauttivissa teattereissa. Johtajan työ koettiin enimmäkseen hallinnolliseksi työksi, jossa oma taiteellinen työ väistyy usein taka-alalle. Tutkielman lopussa pohditaan konkreettisia parannusehdotuksia ongelmakohtiin, sekä esitellään visio täydellisistä puitteista teatterinjohtajan työlle.
  • Kirves, Marja-Liisa (2019)
    Estonia and Finland have a unique relationship sharing economic interests, Finno-Ugrian roots and cultural connections of tens of years. In this thesis I ask, how is this relationship portrayed in the cultural cooperation occurring between the nations today. My operational setting are arts organizations, and more specifically the theatre festival fields in both countries. I have conducted a mixed method desk research by gathering and analysing both qualitative and quantitative data from 15 Finnish and 13 Estonian theatre festivals. The theory section presents the concepts of Cultural Policy and Cultural Diplomacy to offer a more governmental viewpoint, and Cultural Cooperation and Strategic Management, to present the organizational aims of the theatre festival field. The first chapter presents the introduction and background to the subject. The second chapter presents the theory and the third discusses on the research methods and design. The fourth chapter presents the analysis and findings of the desk research as well as the analysis of the cultural policies of Finland and Estonia. The fifth chapter presents conclusions derived from the findings and the sixth discusses the conducted study and further research. The Estonian and Finnish theatre festival pools have similarities but are different in their international actions, funding schemes and in the booking of their programme. The Estonian festivals are highly international in their booking, and the cultural policy of Estonia as well as the offered funding schemes support international actions. The Finnish theatre festival field is more focused on domestic programming, which can also be reflected from their funding schemes. The Estonian festival pool books more, and more versatile Finnish programme compared to the Finnish festivals that do not focus on Estonian offering in general. The festival organizations between the two pools had not conducted cooperation, and other traces of a special connection between Finland and Estonia were also not found from the chosen sample. From the results, the performing arts groups have conducted the most cultural collaboration and would be an interesting target group for further research.
  • Delhom, Claire (2019)
    This qualitative research explores the evolution from sponsorship towards more collaborative partnerships in the festival context. It provides insights on the specificities of the relationship between festival organisations and their business partners. The primary data consists of seven in-depth semi-structured interviews with experts from the festival field, festival managers and business partners. The analysis focuses on the content of the interviews and identifies the main aspects of the new phenomenon. The research reveals that the nature of the relationship between a festival and its partners has evolved towards a more co-creative model characterised by a continuous interactivity, a shared purpose and the co-creation of value. The implementation of this approach requires from festival organisations to re-think their partnership strategies. This thesis offers suggestions to set the path towards successful collaborative partnerships.
  • Naukkarinen, Katri (2018)
    Tutkimus tarkastelee esitystaiteen tuottajien kokemuksia kentän työskentelyprosesseista ja niiden sisäisestä taiteellis-tuotannollisesta dialogista. Tuottajan ja taiteilijan välistä kommunikaatiota hankaloittavat alalle juurtuneet perinteet ja myytit. Työryhmien sisäiset jännitteet ovat moninaisia ja usein kytköksissä henkilökemioihin ja rahaan. Tuottajan työhön liittyy virheellisiä ennakko-odotuksia. Monille taiteilijoille tuottaja assosioituu rahaan ja tuotannollisen ymmärryksen puute lisää taiteen ja tuotannon vastakkainasettelua. Tosiasiassa taide on tuottajan suurin motivaation lähde. Raha on tuottajalle väline, jonka avulla taiteilijan työ mahdollistuu ja löytää yleisönsä. Teoreettisesti katsoen teatterityön perinteisiin kuuluva työn jakaminen taiteelliseen ja tuotannolliseen työhön on perinteistä poispyrkivän nykyesityksen työtapana ristiriitainen. Tutkimus kartoittaa millaisina tuottajan työ ja taiteilijan työ tällä hetkellä käsitetään, ja miten taiteellis-tuotannollinen dialogi voi mahdollistua osapuolten välillä. Tarkastelun kohteena ovat lisäksi taidealalla vaikuttavat myytit kaiken osaavasta tuottajasta ja taiteelleen uhrautuvasta taiteilijasta. Tutkimusongelmaa lähestytään laadullisen tutkimuksen keinoin. Esitystaiteen kentällä työskentelevien tuottajien haastatteluiden avulla tutkimuksessa pyritään avaamaan tuottajan työn ominaislaatua ja tuottajan roolia työskentelyprosessin aikaisessa taiteellistuotannollisessa dialogissa. Tuotannollisen työn ja taiteellisen työn yhteensulauttamisen sijaan tärkeämmäksi seikaksi nousee kommunikaation syventäminen ja tuottajan yksilöllisen erityisosaamisen ymmärtäminen. Esitystaiteen tekemiseen vaikuttavien valtarakennelmien avaaminen helpottaa niiden tunnistamista. Toimiva taiteellis-tuotannollinen dialogi on edellytys tuottajan työlle. Dialogin avulla tuottaja ymmärtää taiteilijan pyrkimykset ja tavoitteet, ja löytää parhaat mahdolliset ratkaisut niiden toteuttamiseksi.
  • Jagt, Kari (Taideyliopiston Sibelius-Akatemia, 2016)
    The aim of this study was to examine the phenomenon of surplus in the arts and to take into consideration the new terms of "art surplus" and "leftover art". The art world was approached with the leftover perspective: art is produced more than it is consumed. Qualitative case study focused on four art forms: visual arts, literature, music and theater. The data consisted of 12 professional interviews representing 12 cultural organizations. Research questions were: What kind of surplus does the production of the arts cause and how it could be utilized? How the terms "art surplus" and "leftover art" could be defined as a part of art world's operational environment? The theoretical framework consisted of literature from the fields of aesthetics, cultural research and art sociology. From the field of arts management especially the perspectives of cultural industry and art products as consumer goods were of special interest. Suggested terms (art surplus and leftover art) evoked cautious and negative response among the interviewees. However, the idea of utilization of left-over art was welcomed. During the research process also the terms (art surplus and leftover art) got more precise definitions. Art surplus is the art which never gets the status of an artwork and stays unproduced. Leftover art is the unfulfilled proportion of the desired reception for an art product. Interviewed art professionals described the oversupply of the arts as a natural and acknowledged fact in the art field which still would rather be prevented if possible. The emergence of leftover art situations is prevented from occurring for example with new applications which aim at getting audience and the arts to encounter more efficiently. The surplus art has been used among other things within self-publishing services. The interviewees reacted positively to the ideas of utilizing leftover art for example to get distributed for the disadvantaged people. Could a new structure be designed to become responsible for the utilization and distribution of the leftover art and how then the principle of equality can be actualized together with the compensation of the artists and the copyrights.
  • Polso, Riikka (Sibelius-Akatemia, 2011)
    Tutkielman tehtävänä on selvittää laadullisin menetelmin mitä yhteiskunnallinen yrittäjyys tarkoittaa luovilla toimialoilla, millaisia ovat yhteiskunnalliset yritykset luovilla toimialoilla ja millaisia mahdollisuuksia yhteiskunnallinen yrittäminen voi tuoda luovien toimialojen yrittäjyydelle Suomessa. Yhteiskunnallisena yrittäjyytenä pidetään yritystoimintaa, joka ratkaisee yhteiskunnallisia tai ympäristöllisiä ongelmia liiketoiminnan keinoilla. Tarkoitus on avata tarkemmin käsitteen historiaa ja nykytilaa sekä yhteiskunnallisen yrityksen ja yhteiskunnallisen yrittäjän piirteitä. Yhteiskunnallisen yrittäjyyden teemaa tarkastellaan erityisesti luovien toimialojen näkökulmasta, mikä muodostaa tämän tutkielmani toisen tärkeän viitekehyksen. Pääasiallisena tutkimusmetodina käytetään case-tutkimusta, jonka tarkoituksena on luoda syvempi ymmärrys luovien toimialojen yhteiskunnalliseen yrittämiseen. Luovien toimialojen yhteiskunnalliset case-yritykset ovat elämyksien tuottamiseen ja taiteilijamanagerointiin erikoistunut ArtShortCut Oy, Suomen ensimmäinen eko-ompelimo nimikkeen alla toimiva Remake EkoDesign Ay sekä taidegraafikko Kirsi Neuvosen taiteilijatyötä hallinnoiva Copperfield Oy. Case-yritysten tiedonkeruumenetelmänä käytetään haastattelua. Tutkimuksen perusteella on havaittavissa, että luovien toimialojen yrittäjillä on tarve ilmentää arvojaan ja taiteellista vapauttaan yritystoiminnan kautta. Siksi he ovat valinneet toimintamallikseen yhteiskunnallisen yrityksen periaatteet, jotka mahdollistavat aidosti arvoperusteisen liiketoiminnan. Toisaalta yhteiskunnallinen yrittäminen koetaan reilumpana toimintamallina, koska yhteiskunnallisen yrityksen voitonjako on rajoitettua. Yhteiskunnalliset yritykset luovilla toimialoilla toimivat niin, että luovuus, luovat ja taiteelliset menetelmät ovat työkaluja yhteiskunnallisten ongelmien tai haasteiden ratkaisuiksi tai niin, että ratkaistaan luovien alojen sisäisiä ongelmia ja haasteita. Yhteiskunnallinen yrittäjyys on väylä uuden sukupolven yrittäjille, jotka eivät samaistu niin sanottuihin perinteisiin yrittäjyysmalleihin. Tavoitteena on esitellä tutkielman myötä luoville toimialoille vaihtoehtoinen tapa harjoittaa yritystoimintaa. Tutkielmassa pohditaan myös, mitä toimenpiteitä tulisi tehdä, jotta yhteiskunnallisen yrittäjyyden käsite ja toimintamalli olisivat laajemmin tunnettuja.
  • Ylönen, Satu (Sibelius-Akatemia, 2011)
    Pro gradu -tutkielman aihe kumpusi muutoksesta, joka on tapahtunut 2000-luvulla musiikkialan ansaintalogiikassa ja digitaalisten jakelukanavien sekä internetin luomista uusista mahdollisuuksista pienille toimijoille. Marginaalisen musiikin yhtyeillä ei ole taustalla suurten levy-yhtiöiden markkinakoneistoa vaan heidän on tultava toimeen omillaan. Kuitenkin arvokkainta, mitä yhtye voi omistaa, on sen brandi ja brandi-identiteetti. Lähestyin brandin rakentamista yhtyeen keulahahmon toimien kautta. Monissa yhtyeissä niin klassisen musiikin kentällä kuin rytmimusiikin saralla on yhtyeestä pyritty rakentamaan yhtä henkilöbrandia yhtyeen keulahahmon kasvot ja persoona edellä. Mielenkiintoista on miten yhtyeen keulahahmo itse vaikuttaa brandin rakentamiseen prosessin aikana ja mikä hänen roolinsa on yhtyeen brandin rakentamisen kokonaisuudessa. Lähestyin aihetta brandi- ja brandin johtamiskirjallisuuden kautta, josta teoreettisen viitekehyksen raamiksi valikoitui Kapfererin luoma brandi-identiteettiprisma. Lisäksi teorian kautta sivuan myös vahvoja yrityksiä jotka ovat luoneet oman brandin yrityksen perustajan ja toimitusjohtajan persoonan sekä hänen julkisten toimien kautta. Valitsin tutkimuskohteeksi neljä eri musiikkigenreä edustavaa yhtyettä ja tutkimustavaksi teemahaastattelun. Haastattelin tutkielman aineistoksi yhtyeiden kaulahahmoja, jotka olivat toimineet myös yhtyeen perustajina. Haastattelumateriaalin purin laajoiksi ja aihetta monipuolisesti kuvaaviksi tarinoiksi. Analysoin tutkielmassani brandin rakentamista brandin johtamisen näkökulmasta ja pyrin löytämään vastauksia yli musiikkigenrerajojen marginaalisen musiikin kentässä. Tutkielman johtopäätöksissä keulahahmon rooli visionäärinä ja tulevaisuuden suunnittelijana korostui. Vision lisäksi keulahahmon tuli löytää oikeat ihmiset toteuttamaan tätä visiota brandin rakentamisprosessissa. Näiden lisäksi merkittävään rooliin aineiston kautta nousivat keulahahmon luoma musiikillinen sisältö ja musiikilliset taidot. Eroavaisuuksia eri musiikkigenrejen toimintakulttuureissa oli havaittavissa päätöksentekoprosessien demokraattisuudessa sekä viestintätavoissa ja niiden merkityksessä riippuen toimintakenttänä olevasta musiikkigenrestä.
  • Salaspuro, Marja (Sibelius-Akatemia, 2010)
    The shift towards knowledge society has allowed individuals to create, share, and connect with each other, increasing participation and social production models both in- and outside the dominant art worlds. In order to keep pace with this trend, arts managerial research needs to expand its focus from mono-disciplinary art institutions to the creative networks, and acknowledge the external and internal factors pressuring the 'organization' of arts organization towards openness. Participation and creativity can be enhanced when allowing diversified, flexible, and complex ways of working. Change management offers tools for implementing this development. Any type of change management requires a conceptual model, which structures and guides new thinking and renders it meaningful. Instead of top-down driven policy and economy models, this thesis approaches ongoing change as a collective dialogue of a complex social system, which aims to support freedom of the arts and the welfare of the creatives. Whereas cultural production traditionally differentiates between production of art works and (mass)distribution of art works to audiences, a third approach presented in this thesis dissolves the distinction and focuses on the creation of network models to enhance collective participation. Networks are seen as a destiny of collective agency where artists, creative actors, and audiences can operate in terms of primary choice or rejection in- or outside of the dominant forms. The research findings suggest that network structure challenges the traditional way to use authority. This happens precisely because upsetting the hierarchy decreases the power of the controller(s), while allowing collective actions to become more complex, and therefore problem-solving to be administered by people closest to the production processes. It is important to understand that decreasing top-down control does not mean that the mass of individual's contributions is not organized. Instead, there is a need for a mechanism that permits the collaboration on a base of self-government, competition, and collaboration. This requires cooperation among government, policy makers, stakeholders, educators, and sector professionals for nurturing talent and creativity in new and unexpected ways. As part of the process, it is not enough for arts management to carry responsibility of cost-efficiency and organizational stability, or focus on supporting artistic integrity inside hierarchical institutions. Instead arts management should increasingly face adaptive challenges for maintaining aesthetic experiences as shared social capital among communities and for adapting to emerging social production models. Sometimes this mission might require arts organizations to abandon the familiar and routine and develop capacity to improve the networks, encourage two-way communication, increase audience involvement, utilize social network distribution channels, and allow remix, reuse and production of unfinished cultural content.
  • Medico Piqué, Marta (Taideyliopiston Sibelius-Akatemia, 2015)
    This thesis investigates the organisational culture of the Berlin Philharmonic and its leadership structure. It highlights the symbiotic relationship of these two aspects and shows how the organisational culture and leadership are influenced by each other. The study focus on the period 2002 – 2015, which features Sir Simon Rattle as artistic director and chief conductor. Due to the focus of this research in the Berlin Philharmonic, an intrinsic case study is the chosen research method and the research approach is qualitative. The data collection method that has been used is document data from printed and audio-visual material. Content analysis is the technique used for the data analysis. The results of the analysis present the different characteristics of the organisational culture, the shared leadership system of the orchestra and the characteristics of its artistic director as a leader. The relationship between the artistic director and the musicians is key to understand the co-creation of leadership through the self-governing system. The self-governing system of the orchestra is the cornerstone of the symbiotic relationship between leadership and organisational culture because it stands for both a cultural value and a tool for leadership. This study contributes to two important theoretical discussions. On the one hand, research on self-managing teams of creative professionals and the kind of leadership they require. On the other hand, research on symphony orchestras and conductors, which is extensive in many different areas but it currently lacks investigation of self-managing orchestras.
  • Tolppanen, Eero (Taideyliopisto Sibelius-Akatemia, 2014)
    Traditional industries have had their total economic value measured accurately for a long time but industries in the cultural fields are still struggling to have precise economic indicators. This is, in part, because cultural values are often seen in juxtaposition to economic realities and reliable data about actual numbers is hard to come about. This thesis aims to tackle this situation by studying the Finnish music industry with the aim to find out its the total value. Music industry and its functioning has been widely studied and there are numerous approaches the phenomenon and its structure. This study elaborates on an analytical model that examines the industry from a cluster perspective where the narrow cluster consists of actors in three separate but interlinked sectors: the musical works, recordings and live music sector, generating the major part of their revenue from pure music products and services. The revenues form three separate streams based on their source: sales of recordings or streaming, copyright royalties and live music revenues which together, after deducting overlapping revenues, count as the total value of the narrow cluster. Applying the analytical model to the Finnish music industry for the years 2011 and 2012 the revenue streams are studied and numerical data is gathered largely from pre-existing sources such as annual reports and statistics, complimented with expert interviews when necessary. Where readily applicable data is not available, mathematical methods are used to generate an estimate of the revenue stream. Based on the study, the total value is finally determined to be 473,7 million euros and 487 million euros respectively with a growth rate of 2,1 percent and live music revenue stream forming approximately 70 percent of the total. Based on the application, the model serves as a sufficient method to determine the total value of the music industry annually due to its simplicity but as data on certain revenue streams is not available and due to the estimating nature of the mathematical methods used, the model is not completely accurate and hence cannot be considered as the definite approach but rather another tool to tackle the subject.
  • Miettinen, Merja (Sibelius-Akatemia, 2008)
    Pro gradu -tutkielmassani tutkin taidetoimintoja hyvinvoinnin ja terveyden edistämisen välineenä sosiaalista mediaa hyödyntävässä, suunnitteilla olevassa vanhusten hyvinvointikanavassa. Työni tavoitteena on pohtia kuinka taidetoiminnat voisivat olla osa suunnitteilla olevaa vanhusten hyvinvointikanavaa. Tavoitteena on myös löytää uusia näkökulmia terveyden ja hyvinvoinnin edistämisen, taidetoimintojen sekä sosiaalisen median tiiviin yhteistyön aikaansaamiin synergiaetuihin. Pro gradu -tutkielmani tutkimusaineisto on kerätty verkossa tapahtuvan teemahaastattelun avulla. Haastateltavaan ryhmään on valittu hyvinvoinnin, median ja taiteen rajapinnoilla työskennelleitä terveyden ja hyvinvoinnin edistämisen sekä kulttuuri- ja viestintäalan asiantuntijoita. Haastattelussa esille nousseiden teemojen avulla pohdin taidetoimintojen roolia suunnitteilla olevassa, sosiaalista mediaa hyödyntävässä vanhusten hyvinvointikanavassa, joka perustuu Cel'Amanzi Oy:n kehittämään tuotekonseptiin, MNCH-kanavaan (Maternal, Newborn and Child Health). Tutkimuksen tuloksena oli, että vanhusten hyvinvointikanavan taidetoiminnat voidaan jakaa yleiseen, tiedottavaan osioon, osallistavaan osioon, keskusteluryhmiin ja kyselyihin, dokumentointeihin kulttuuritarjonnasta sekä ryhmään muut toiminnat. Dokumentoinnin avulla kertaluontoinen toiminta voidaan muuttaa jatkuvaksi. Taidetoimintojen, sosiaalisen median sekä terveyden ja hyvinvoinnin edistämisen yhdistämisen synergiaetuja ovat saavutettavuus ajasta ja paikasta riippumatta, uudet kokemukset, tasavertaisuuden mahdollistaminen, syrjäytymisen ehkäisy, virtuaalinen voimaantuminen, sosiaalisen pääoman ja suvaitsevaisuuden kasvu, mahdollisuus uudenlaiseen vuorovaikutukseen, verkostoitumiseen ja elinikäiseen oppimiseen sekä fyysisten kehon ja sen rajoitteiden merkityksen väheneminen virtuaalisen toimintaympäristön vuoksi. Lisäksi virtuaalisen, koetun osallisuuden ja virtuaalisen, koetun, henkisen ja sosiaalisen toimintakyvyn määrä kasvaa. Tätä kautta pystytään vaikuttamaan myös fyysiseen toimintakykyyn. Ikäihmisten toimintakyvyn pysyessä entistä paremmalla tasolla yhteiskunta säästää ikäihmisten terveydenhuoltokustannuksissa.
  • Forsström, Milena (Taideyliopiston Sibelius-Akatemia, 2015)
    The objective of this thesis is to portray and analyze how storytelling is used by the band as a tool of building its concept and identity. This is qualitative empirical case study aiming to discover multiple uses of storytelling by music artist. Who is responsible for building the brand? Artist, the content presented or interpretation of audience? - thesis touches upon a dialogue between brand identity and brand image. How brand identity and brand image evolves as a dialogue between the artist and audience? While looking at the creative process and stories presented by the artist more questions arise therefore study explores also what is the role of audience -in this case fans of heavy metal band? Another issue raised is to explore the dialogue between an audience and the artist, how storytelling influence stylistic content of the song and does the subject unity stimulate fans involvement in creating the stories. Storytelling is a tool to create artist identity and through presented stories clearly highlight the concept and brand. Storytelling is one of the most important elements in development of human culture and communication. Nowadays it is present in almost all areas of business. Storytelling is crucial in "identity making" for a product or a brand. Study starts with theoretical framework and referring to existing research on storytelling with greater attention paid to branding and the storytelling used in historiography. Exploring the base for a good story as a part of theoretical framework lead to most recent phenomena of storytelling used in branding and identity making.
  • Rehor, Maati ([Taideyliopisto Sibelius-Akatemia], 2014)
    This thesis researches the strategy processes in Finnish third sector cultural organizations. Premises of the study are based on the fact that the third sector is becoming ever more professionalized and the changing environment in which they operate emphasizes goal-oriented activities. The study aims to shed light into how strategy processes are executed in the specific context of registered associations in the field of professional arts organizations. It also tries to examine whether or not these organizations hold specific anomalous features in their strategic processes. Knowledge gained from the study is observed through the theory of strategy as practice, which conceives strategy as action done by people. The study focuses on how strategic sparring effects strategy processes from the viewpoint of organization's management. This case study investigates six third sector cultural organizations and their strategy processes, in which sparring was utilized. All six associations took part in a project called "Yhdistysstrategia 2020" organized by Diges ry, a national association for developing the creative industries in Finland, in 2012. The research report describes and analyzes how sparring influenced these processes and the development of strategic knowledge for the managers. Interplay between the management and the consultants is also investigated. Findings of this study confirm that sparring had multiple positive impacts on the strategy processes concerned. It established structure and helped bringing the processes through. It also broadened organizations' perspectives in regards to their operational environments. Sparring was especially useful for the managing or executive directors who led these strategy processes. Division of work between the operative managers and the boards proved to be an important factor to consider when allocating the necessary time, money and resources to carry out a strategy process. Another finding was that cultural organizations in effect do not posses differentiating characteristics regarding their strategy work compared to other fields of profession, but the specific features are widely in common for all organizations operating in a form of an association.
  • Ojamo, Hanna (Sibelius-Akatemia, 2013)
    Museum leadership and funding has been in turbulence internationally in recent year. After the global economic crisis, the museum affiliates devoted to the collecting or presenting of contemporary arts, MoMA PS1 and Kiasma, have experienced hardship. The impact of the economic crisis of 2008 in the field has not, however, been accurately addressed in the theoretical strategy literature, leadership or museum studies. This is due partly because of the recent nature of the phenomenon. The effects of the crisis have arrived with a delay to the museums in Finland in 2012 in the form of austerity policy and the reducing of museum expenses, and in the U.S in 2008 the form of lost of sponsorship agreements, cut endowments and fundraising challenges. The concepts of strategic and transformational leadership as well as organizational sociological approach are applied to the study of the two prominent contemporary art museums: PS1, as part of MoMa, New York, and Museum of Contemporary Art Kiasma, as part of the Finnish National Gallery, Helsinki. The cases have been chose from two different cultural and financial environments to research the possible global impact of the crisis. For the presentation of the cases, museum directors, managing directors, curators, senior advisors, managers, development officers and other professionals from the museum field as well as from the international field of the contemporary arts were interviewed in-depth. In addition to the eleven personal interviews, the research data consists of literature, articles, documents, annual reports & budgets, statistical publications and notes taken during the research process. The findings of the study suggest that the turbulence at the contemporary museum field affected the contemporary art museum affiliates in many ways in the U.S as well as in Finland. The concequences were both direct, such as in the form of budget cuts, lost jobs and organizational changes, as well as indirect, in the form of austerity policy affecting the museum`s leadrship, forcing the museums to redefine their strategy and curatorial processes and enhance cooperation between the stakeholders and peers in the industry. It also led, in in the case of PS1, to a whole new approach of presenting contemporary living arts, challenging leadership, as well as to the phenomenon of recycling more existing collection exhibitions to cut museum expenditure in Finland.
  • Leppänen, Mikko (Taideyliopiston Sibelius-Akatemia, 2018)
    Most of the classical music festivals in Finland are led by a duo of leaders formed by an artistic director and a production director. Following the shared leadership model, leaders are responsible for their own functions, yet they act equally as the top directors of the organization. The model is widely used in arts organizations all over the world. This thesis examines, how the artistic directors of Finnish classical music festivals share the leadership role and collaborate with festival producers. There are both significant benefits and conflict causing factors involved in shared leadership. The shared leadership model has a critical impact on the strategic decision making in festival organizations, because the influence of strategic decisions has to be evaluated from both artistic and managerial point of view. The qualitative research data was collected from four in-depth semi-structured interviews with artistic directors of classical music festivals in Finland. The data was analyzed using thematic content analysis as the analysis method. The results gained from this study support the conclusion, that overall classical music festival management in Finland is satisfactory from the artistic directors' perspective. The shared leadership model works in practice as artistic directors and producers work together to achieve the best possible outcome for their festivals. The results present the important qualifications that artistic directors expect from classical music festival producers in Finland. The relevance of this thesis to festival management is for twofold: first of all, it provides a better understanding of the aspects that shape the shared leadership model in the Finnish classical music festival field and hence contribute to building more collaborative relationships between artistic directors and producers. Secondly, it asserts general factors and concepts that affect the whole festival organization and contribute to its overall success.

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