Untitled - Narodowe Centrum Kultury

tytuł artykułu 29
concerns and risks
Federalisation has its downsides too. Care should be taken to avoid
them. By joining a network or a federation, an organisation risks losing
its independence. There have been known cases of excessive bureaucracy,
which led to the obscuring of the founding mission. Many
valuable potential participants shy away from joining in fear of subordination
and losing their identity. Their fear is accompanied by the
awareness of stiff competition and the necessity to vie for funds for
cultural projects. Representatives of non-federated organisations
may spread the rumour that a newly formed network has unclear or
even dishonest intentions.
formal or informal
Should an informal network of cultural actors formalise its activities
Should its members establish a union, organisation or association
Yes, this is advisable. As a formal body it is easier to engage in public
debate because it officially represents network members, has more
credibility with public institutions and other organisations as a negotiation
partner, offers its members a stronger sense of participation. It
does not have to be established as a legal entity. All it takes is to sign
a multilateral agreement.
It is key to set up a secretariat, run in turn by network members
(e.g. taking six-month shifts) or by one organisation. In the latter
case, the other members of the network must rely on the good will
of the governing bodies or organiser. The multilateral agreement may
also require participants to co-finance an independent office.
how to create a network of cultural actors
First of all, it is impossible to create a network by a top-down decision.
Resolutions and official recommendations are not enough. Networks
are created by people and it is people who guarantee their permanence.
When forming a new network, it is important to keep in mind
the following tenets: freedom of participation, tolerance of diversity,
independence of all members, openness to new members, members’
motivation to work, the simplest possible organisational structure,
and representation of network participants only.
it is leaders, not institutions or organisations, who participate in
networks.
Directors of cultural institutions, whose jobs aren’t safe, are not
that eager to federalise. This is the reason why networks are born in
pain and do not always retain their original shape. But if they survive
the difficult early days, a new, lasting shape will emerge from regular
meetings and work. Network members will see how much can be
gained from collaboration. As a part of a network, they will become an
important side in negotiations, have more funding opportunities and
form new partnerships.
Is there a recipe for a successful regional cultural network Yes.
It requires the good will of all participants, pursuit of a common goal
rather than individual self-interest, dialogue between partners and
avoidance of current politics. All this ensures permanence.
marek sztark
is a cultural manager, local development facilitator, advisor, trainer and lecturer.
He has worked with Kana Theatre since 1979. He is a member and founder of many
associations, and president of the Szczecin-Expo Society for Support of the Development
of Western Pomerania. He headed the Castle Opera in Szczecin, Szczecin
2016, was cultural advisor to the mayor of Szczecin and won a grant from the Polish
Minister of Culture and National Heritage. Marek runs projects in various fields:
development and integration of social and professional communities, social economics,
preservation of cultural heritage, local development facilitation, and cultural
management.
summary
Cultural institutions rarely join geographical networks. They form
industry federations. Why They seem to lack a sense of independence,
feel totally dependent on their organiser. Non-institutional
cultural entities: NGOs, cultural businesses and artistic collectives
unite more willingly and more effectively. In practice, however,