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Space Pro > > Association > > Elaborer a Cultural Project
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To work out a Cultural Project |
After having clarified your various objectives,
you must as finely formulate as possible the central problems of your
project, its specific concept. Think well that it is this point
which will determine your report/ratio with the public: will be
able to transmit to him your admiration for the artistic discipline
clarified, to cause its amazement... We will direct ourselves
in this case towards the specific demonstrations rather than towards
the cultural building sites. Do not forget that a cultural
project must above all be inhabited; i.e. to be with the
measurement of enthusiasm and the engagement of the carrier of project
and its team. It calls the initiative, the responsibility,
diversity and especially a very good management. But despite
everything the possible efforts, there remains unforeseeable and
evolutionary. A cultural project, finally, it is a work, a
public, partners.
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A work |
Work can be is diffused, if it already exists, is
created. Let us note the importance of the order, that it public
or is deprived, in the evolution of art, by the means implemented
which are sometimes considerable or by the schedule of conditions
often at the height of creative or technical challenges. It is
not thus to neglect, although it is in loss of popularity nowadays.
Work is in the heart of the project but it requires what one
names of the "sharp forces" to facilitate the public meeting.
There are several types of speakers, who they are actors,
musicians, dancers, painters or photographers. If you choose to
work a high level speaker you put your side a major asset:
professionalism and all the credibility which goes with.
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A public |
It is quite obvious that work exists only if it can be
received by a public. This one is deserved, gained, fidélise
and is formed. Do not aim a too élitiste public nor even too
populist, find a happy medium which enables you not to make a your
event one evening confidential. The full room affirms an
unquestionable force, that is not any doubt! It is thus
important to decide recipients, "target", to employ an erudite
language, project during the development of this one. You must
think of the nature of the public which you wish to see concerned by
your event to set up an adequate accompaniment, a suitable publicity
campaign. You put the following questions, if that can help you:
general public or specialized public? of rural medium,
urban or périurbain? which age bracket? which
availability? which degrees of implication?
Once this public determined, you can start to set up the plan of
communication. Your project will evolve/move in a particular
cultural environment, with specific practices and reactions. You
must know if your event innovates in this context or if it has already
were produced, if it falls under a network or the continuity of a
policy or, contrary, in rupture with the current situation...
The following stage is the choice of the place.
You must hold account of external pressures and the artistic
objective, know if you wish to integrate an effect of surprise, to
destabilize your public, to beat in breach his ideas preconceived to
give a resonance particular to your project or to remain conventional.
Do not forget only the choice of a place to a strong
significance when it is not institutional but can in counterpart
generate a higher cost and a greater heaviness as regards logistics.
However nothing is worth the amazement of a public which has
just lived one exceptional moment...
It is necessary for you now to present your project at
those which will be able to propose it near the public. The
world of the media is not easy access, however the success of your
event depends for many them. It is necessary to make circulate
information as much as possible and to have a communication of most
relevant. But especially, you should not cease starting again
the journalists to which you will have forwarded your press releases
or even your press kits. Keep in mind which the supports of
communication multiplied and which to have the one of a prestigious
newspaper is not as easy as you could believe it. Thus do not
neglect the most modest supports.
The last point to be looked after compared to the public is the
reception which you will make him. By the tariffs, the
descriptive one, the behaviour of the program or even the smiling
competence of the personnel of reception, you must testify regard and
recognition to him. That can exploit the return which you will
have of your production. If the echoes are negative, believe
well that in the future your projects will not be seen of a trustful
eye. You must thus not disappoint your audience.
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Partners |
This partnership that you start must provide the
foundations of one long-term collaboration. Nothing is to you;
you must show your partners who they are not only one source of
tickets but especially of the advisers capable of relevant and adapted
opinions. You must, to build something of stable, to start the
partnership as of the phase of development of your project. That
will enable you to better integrate the partners whom you solicit but
also to better hold account of the objectives of each one. Do
not forget that you are constituting you a true network and that you
cannot put to you at back one two.
You have at your disposal various types of partnerships.
Nothing prevents you from promoting original forms, such as
twinning between a cultural institution and an educational
establishment or even a company. In all the cases, think of
informing you as a preliminary about the calendar of your potential
partners, as well as theirs priority of action, various kinds of
supports that they propose or commissions.
You should now work out a file, of which the first part can be
described as technique. It is at this time that you present the
carrier of project. Does it have the licence contractor of
spectacles? How many people assist and support the project
leader? Are they voluntary or paid? Is the project a
creation or a coproduction? How will be respected the safety
requirements?...
The part which milked at the financial side must above all
present the estimated budget as well as the plan of financing which
will indicate the various partners solicited as well as the required
amounts.
To recapitulate, you must provide in this file a letter of
presentation with a request for subsidy, the statutes of the carrier
of project (if it acts of a legal entity), the description of the
project, a budget balanced in expenditure and receipts or products and
loads thus that the parts justifying of possible granted subsidies and
to finish a bank account number.
Do not forget that since a decree of July 24, 1959, the Ministry
chargé d' affaires cultural must "make available capital works from
humanity, and initially of France, with the greatest possible number
of French; to ensure the vastest audience our inheritance and to
support the creation of the works of art and the spirit which enrich
it "thus Address you also to the DRAC for your requests for subsidies.
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