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The Omega Project The context for this project lies in the discrepancy between the skill sets required by the greater music/arts industry and the traditional education available at music/arts departments of European Conservatories and Music/Arts departments of European Universities. The traditional education of these institutions does not offer basic skill sets such as team building, business establishment, marketing, web site design and tournee/event design which are amongst the most important facets of project management. These elements are most often prerequisite to the enhancement of employability in the greater music/arts industries. The objectives of our project are therefore directly derived from this present circumstance and are the following: 1) To impart to students of set fields the basic skill sets mentioned above. 2) The transformation of this knowledge into real world applications. 3) The employment of students in small apprenticeships within the frame work of the project. 4) The placement of students in real work situation through post project termination placement in existing arts and music event (festivals, museums, small business, summer schools) internships. 5) The development of practical abilities to allow the students to become self-employed and to travel the path of entrepreneurship. Our methodology consists of the creation and implementation of a project management twelve-week course and curricula that addresses all the above mentioned skill sets. Besides this, the theoretical portion of the course, the small apprenticeships in various subjects such as poster design or web site design will supplement as the applied portion of the course. The synthesis of these two facets, the theoretical and applied, will result in the real world experience of the internship. Our Project partners are: Cork Institute of Technology (Ireland) Ionian University (Greece) Institute of Education and Youth Studies Association (Turkey) Be Artive (Greece) Conservatorio Statale di Musica “ E.F. Dall’ Abaco” (Italy) Fundaco Privada Universitat Abat Oliba Ceu (Spain)
1 INTRODUCTION Before embarking on the main body of the book – which is about “opening gates”, i.e. helping young people to find the “key” (or rather, the “keys”) to a successful career – it is necessary to clarify a few general aspects of the subject: first, what we mean by “artists’ careers”; second, the general employment context for young artists; third, the demands made on young artists entering the job market today; and fourth, the role that can be played in this complex scenario by the HEIs (the Higher Education Institutions; i.e. academies, conservatoires, university faculties). 1. “Artists”: the narrow or wide approach? When discussing arts graduates and their employment opportunities we inevitably raise the basic questions “what are arts graduates?” and “what gates (or career paths) are we talking about?” It would be nice to be able to point to neat categories, as in other situations. For example, we probably have a good idea of what constitutes a “medical student” or a “law student” and we can probably also imagine that the natural aspirations of those students are to work in “healthcare” and the “legal profession” respectively. An “arts graduate”, on the other hand, is more difficult to define. And – as we shall see below – so is the “arts industry or profession”. One possible approach is of course to narrow the field of the arts: i.e. to focus on the individual disciplines (fine arts, drama, music, etc.) and on the employment opportunities for students as “skilled performers” in a specific field (as actors, composers, dancers, designers, audio-video technicians, etc.). This approach – that adopted in most HEIs – is based on a basic formula that was applicable for most of the 20th century: that arts students had a primary objective (to work as full-time “performers” in orchestras, theatres, studios, advertising firms, etc.) and an alternative option of being “teachers”. Today, however, thanks to a series of factors – among which the decline in state funding for the arts, advances in technology, and radical developments within the arts industry itself – this simple formula no longer works. Today there are excellent reasons for widening the field. Indeed, most writers on employment issues prefer to use extremely broad categories. So they rarely refer to “drama students”, “fine arts students” or “music students”, but instead to students of the “arts and humanities” or “arts and liberal arts”. In this way they suggest that many of the employment opportunities that are open to the graduates of anthropology, history, languages, literature, philosophy or sociology are also open to those who studied specifically “artistic” disciplines such as the fine arts, music, theatre, dance or media studies. Both approaches (the narrow and the wide) are legitimate, but in the present book we shall adopt the wide interpretation, for an obvious reason. The main aim of this book is not to discuss the specialist skills that provide access to the traditional jobs (e.g. as singers, dancers, graphic designers); it is to help arts students to gain access to employment opportunities in a very wide – often unimaginably wide – variety of situations. 2. The employment context: where are the jobs? According to many writers, most of the employment opportunities open to arts graduates lie within the big area of the “cultural industries” or “creative industries” (there are subtle
Page 2 and 3: Omega: Opening More Employment Gate
Page 4 and 5: Contents The Omega Project Introduc
Page 8 and 9: 2 distinctions between the two term
Page 10 and 11: 4 for example, is a statement from
Page 12 and 13: 6 Considering Future Directions A s
Page 14 and 15: 8 Collecting Your Personal Informat
Page 16 and 17: 10 not enough. For example, let’s
Page 18 and 19: 12 The Flexible Archive "Necessity
Page 20 and 21: 14 relevance is going to dictate th
Page 22 and 23: 16 To achieve this you must study t
Page 24 and 25: 18 your suitability for the job off
Page 26 and 27: 20 4. Greeting. Dear + given title
Page 28 and 29: 22 employer or collaborator can hav
Page 30 and 31: 24 2. Etiquette Be punctual. Punctu
Page 32 and 33: 26 BIBLIOGRAPHY 1) The Business Dic
Page 34 and 35: 28 under a general heading (“soft
Page 36 and 37: 30 The new interest in soft skills
Page 38 and 39: 32 Figure 1. Dimensions of skills K
Page 40 and 41: 34 Figure 2. Do soft skills matter?
Page 42 and 43: 36 HEIs generally leads to changes
Page 44 and 45: 38 These expectations - of insecuri
Page 46 and 47: 40 how do teamwork skills translate
Page 48 and 49: 42 - Leadership is rotated; no one
Page 50 and 51: 44 The two sides of teams - the thi
Page 52 and 53: 46 Leadership Skills: Soft Skills f
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50 Styles of Leadership The aforeme
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52 in relation to arts graduates, w
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54 Figure. 4. Problem-solving proce
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56 Mindfulness involves doing these
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58 essentially cover the hard and s
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22) Güreşen, H. (2013), Erasmus m
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62 CHAPTER III. Marketing Arts Orga
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64 Boorsma (2002) is of the opinion
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66 imagination of marketers on how
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68 have a proper marketing plan. A
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70 audiences or customers (Dickman,
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72 Once the strategic market planni
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74 organization’s product, while
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76 The Marketing Mix The terms ‘m
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78 1999). The promotion plan should
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80 Although some organizations are
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82 it cannot do directly is to crea
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84 Marketing platforms Facebook, Tw
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86 Record labels and independent ar
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88 uncertainty on the part of the v
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ut also your own manager. You must
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16) Hill, L., O’Sullivan, C. and
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94 To change your present life and
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96 Handling your finance You need t
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98 Executive Summary The executive
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100 too far too fast can lead to de
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102 evolution of the market. They a
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104 A description of the legal str
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106 description. Any images, photos
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108 Financial information produced
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110 Balance Sheet The balance sheet
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112 Carmen Parra Rodríguez Design
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114 Founders, family and friends Th
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116 BIBLIOGRAPHY Textbooks: 1) Barr
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118 CHAPTER V. Project Management &
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120 The project should come out
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122 Steps of Objective Analysis Ste
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124 Information contained in the Lo
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126 Most projects fail, not because
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128 Activity schedule helps us to p
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130 2. Design of the project* 2.1.
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132 Other funds are managed directl
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134 BIBLIOGRAPHY 1) Bakay, E., Kale
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136 F Floatation 115 Formal Leaders
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138 V Values statement 97 Venture C
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