Post on 11-Jan-2016
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Vladimir SKOK, Culture.ca Gateway, Canadian Cultural Observatory / Culturescope.ca
Alfonso CASTELLANOS RIBOT, Sistema de Informacion Cultural, Portal e-Cultura
Cultural Information Systems Workshop
Port-of-Spain, Trinidad & Tobago
March 2006
• cultural portals have exploded in virtual global space• little is known about these new public venues and their:
– management practices– implications on cultural policy
• first international online survey (March 2005)– 370 identified / 80 responses – collected basic evidence and analysis
• results explored by newly created informal network of cultural portal authorities at its first international Roundtable Event (June 2005, at Expo2005, Aichi, Japan)
• 20 participating portals in Aichi, including UNESCO
Recent phenomenon
The objectives of the survey ?• Inform other portals about the Culture.mondo concept;• Gather basic management and cultural policy-based information on
the state of cultural portal development around the world;• Compare situations and discover similar challenges;• Identify trends in cultural portal development;• Highlight examples of good practice, and• Set the stage for the future development of the Culture.mondo
network.
4 themes of discussionPartnerships in portal development and management Governance Marketing and audience needs Content and its management
Before the Round table : An innovative international survey!
Culture.mondo Round table - Aichi, Japan• Who? : More than 20 cultural portals
Culture.fr (France)Cultnat.org (Egypt)ecultura.gob.mx (Mexico)Cult.bg (Bulgaria)Culturalprofiles.org.uk (United Kingdom)Portail en développement (New-Zealand)Culture.ca (Canada)Portail en développement (Morocco)24hourmuseum.org.uk (United Kingdom)Cibernetica.cl (Chile)Portal.unesco.org/digiarts (UNESCO)In development (Taïwan)Ocpa.irmo.hr (Africa)Asef.org (Singapour)Collectionsaustralia.net (Australia)Ilam.org (Costa Rica)Culturenet Sweden (Sweden)Cultuurweb.be (Belgium)
Rewarding discussions…
Round table 1 : Survey results and analysis • Analytical summary realized by Decima
research• Results available on www.culturemondo.org
51%
18%31%
National CulturalPortalSpecializedThematic PortalObservatory onCultural Policy
www.culture.ca
www.ecultura.gob.mx
www.cpanda.org
www.culturescope.ca
• national cultural portals largest group surveyed and report the highest % of public sector funding
• cultural observatories are the smallest surveyed• all three have specific and different target audiences• the greatest range in scale is with thematic portals• all groups indicated a keen interest in partnership
development• most are non-profit (27%)or government (46%)• commercial partnerships are not frequent (28%)• outreach and audience development is a significant goal
– however, marketing budgets are low. • Exists a 4th type of portal: supra-national portals
Notable similarities and differences in the 3 portal
groups
A new era of cooperation …Round table 2 : Partnerships
• Partnerships are the key to successful cultural portals
• “A new era of cooperation”: new models are emerging (EU MICHAEL, partnerships between users and creators like www.cult.bg does in Bulgaria)
• Cross-departmental partnerships, content and marketing partnerships, etc.
• Additional layers of partners have been developed out of the portals themselves as new networks emerged
Dynamic governance for dynamic portals
Round table 3 : Governance• Every situation is unique but much can be
learned from the individual experiences• Governance should evolve within a continuum
from governmental to private non-profit• Who leads : especially when it comes to
cultural policies• Partnerships and governance• Combining employees and volunteers• The important role of advisory committees
www.kultur.nu
www.cubarte.cult.cu
16%
3%
9%
27%
46%Not-for-profit
Governmental
Non-governmental
For profit
Other
No54%
Yes46%
What is the status of your portal?
Does your organization have a direct relationship to the government?
Portal status and government relationship
Please indicate the breakdown of your portal's turnover in 2004
From Public Sector55%
From Sponsors5%
Other12%
Combined sources
26%
Funding
Authenticity, reliability, currency, credibility,
completeness…Round table 4 : Content and its
management • Calendar of events (60%), content (50%), on-
line ticket sales• Centre for centralized and decentralized
information• Less then 30% of cultural portals currently
have interactive features• 100% of the national cultural portals update
their content at least once a week compare to 76% of thematic portals and even less of observatories.
Editorial strategy
Who produces the main bulk of the content – is it
central or decentral?
How can external contributors upload or add content to your
portal?
63%
39%
47%
0% 20% 40% 60% 80%
Webform
Databaseexchange
Other
Both50%
Central28%
Decentral22%
Marketing is essential but funds are scarce…
Roundtable 5 : Marketing and audience needs• In a crowded internet space, marketing is a MUST • primary audiences:
– 80% National cultural portals = general public– 76% Thematic portals = cultural experts– 100% Observatories = cultural experts
• focus more on cultural rather than tourism objectives
• audience development and outreach is a preoccupation
• % of budget dedicated to marketing is 2.5 – 7.5%
Marketing and audience needs
• Need to elaborate specific tools and particular approach
• On-line marketing through other cultural organizations is desirable
• Use public surveys results• It is mandatory to be able to measure the
success obtained
• less obvious, especially for non-profit portals
• major cultural policy themes:– participation– access– civic engagement– cultural diversity
• new EU initiative, michael-culture.org, announced April 2005
Cultural policy phenomenon