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Volume 17, Issue 2

2016 Next

Publication date: 31.03.2016

Licence: None

Editorial team

Editor-in-Chief Ewa Kocój

Deputy Editor-in-Chief Joanna Szulborska-Łukaszewicz

Secretary Alicja Kędziora

Issue Editors Ewa Kocój, Alicja Kędziora

Issue content

Bożena Gierat-Bieroń

Culture Management, Volume 17, Issue 2, 2016, pp. 91 - 105

https://doi.org/10.4467/20843976ZK.16.007.4481
The article refers to the development of cultural policies in Poland after the collapse of Communism in 1989. The text offers a critical approach to the succeeding ministerial concepts of cultural changes planned for the transition period. The author explores various documents and the governmental papers published by the Polish Ministry of Culture as well as some national programmes, actions and declarations. The article presents a broad overview of the nature of changes in Polish culture since 1989 until 2014. It was a specially troublesome time. The Polish artists, activists and operators moved from a centrally organised political and cultural system to a decentralised liberal 
democratic country, in which the freedom of expression was guaranteed and a new management system was introduced and adopted. 
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Joanna Szulborska-Łukaszewicz

Culture Management, Volume 17, Issue 2, 2016, pp. 107 - 124

https://doi.org/10.4467/20843976ZK.16.008.4482
Setting aside the fact that the lack of a policy is also some kind of policy, while analyzing the events of the last 25 years in cultural policy, from the perspective of the year 2014, can we really say that there is no cultural policy in Poland? The author describes and analyzes the changes in culture management and cultural policy in Poland from the last quarter of a century. The responsibility for cultural policy rests not only with the central authorities, the Ministry of Culture, but also with local governments, which more and more frequently include citizens in the decision-making process. The citizens themselves are becoming more and more aware of their rights. Apart from cultural institutions, non-governmental organizations more and more often become the contractors of public tasks. They co-create and enrich the cultural offer of cities and regions significantly. Not only the number of non-governmental organizations but also their creativity and the professional level of their actions are increasing. Cultural activity is more and more often undertaken by private economic operators (not only art galleries, but also artistic agencies and impresarios). They cannot count on subsidies from local governments any more, but they can become contractors of services at their request under the Public Procurement Law, which, thanks to the last amendment (raising the threshold for public procurement to more than 30,000 EUR), will become a bit easier from the procedural 
point of view. The role of public cultural institutions is changing. Many of them have redefined their mission and have been successively building new relations with the audience, taking into consideration the changing needs of the consumers and new economic conditions. Despite the underdeveloped sponsorship in Poland, many of them use the conceptions of CSR and CCR, while others diversify their offer, in terms of both the merits and the price, often introducing a commercial offer as a complementary one. The new infrastructure in Poland, in case of many cultural institutions, contributed to a substantial change and improvement of their conditions. After many years of a total investment stagnation in this sphere, together with Poland’s accession to EU, the Polish state and local governments started to undertake tasks in this area more bravely. New infrastructure naturally generates the need for innovation. Cultural institutions more willingly and effectively make use of the new media today (communication with the audience, mailing, FB, promotion, marketing, crowdfunding, crowdsourcing). They more often see the importance of spending money on marketing activities, which they used to economize on in case of a shortfall of funds for substantive activities. 
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Marcin Kleinowski

Culture Management, Volume 17, Issue 2, 2016, pp. 125 - 146

https://doi.org/10.4467/20843976ZK.16.009.4483

The structural and cohesion funds play a very significant role in financing investments in the cultural sector in Poland. The eligibility of expenditure under the European Structural and Investment Funds is determined on the basis of national legislation, with the exception of cases in which specific provisions were laid down in the EU Regulations or under them. This means that the detailed requirements and rules for incurring costs, documenting them, as well as settling them are practically determined on the level of the EU Member States. Therefore, the national regulations largely determine the degree of difficulty in correctly settling the costs of a project, which in turn affects the absorption capacity of EU funds. Most frequent errors in spending the EU money concern the eligibility of expenditures. To attract a structural fund support, expenditure by projects must be eligible in terms of the Operational Programme, the relevant EC Regulations and the national eligibility rules. Based on the author’s practical experience and the content analysis of formal documents as regards the European cohesion policy, this paper presents problems of determining the eligibility of expenditure in the case of cultural projects. Irregularities in the disbursement of funds may lead to the imposition of financial corrections onto beneficiaries, or to deeming the whole or part of the expenditure as non-eligible. The author suggests how to avoid irregularities as regards personnel costs and public procurement rules on the national and European Union level in projects co-funded  by the European Regional Development Fund and the Cohesion Fund.

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Paulina Wenderlich

Culture Management, Volume 17, Issue 2, 2016, pp. 147 - 157

https://doi.org/10.4467/20843976ZK.16.010.4484
The purpose of this paper is to demonstrate the role of theatre education in creating a coherent and well-thought repertoire policy of an institution. In this context, questions arise about the role of culture in education and in shaping social attitudes as well as critical thinking skills. The author analyzed the research problem on the basis of selected educational activities (aimed at different audiences) carried out at the Polish Theatre in Bydgoszcz. The use of theatrical and quasi-theatrical forms in education/pedagogy implies not only the development of sensitivity to art, but above all, breaking down communication barriers and gaining new experience and knowledge.
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Dorota Sieroń

Culture Management, Volume 17, Issue 2, 2016, pp. 159 - 165

https://doi.org/10.4467/20843976ZK.16.011.4485
The author refers to the experience of the “Borderland of Arts, Cultures and Nations” Centre in Sej­ny, active on the Polish-Lithuanian border, and illustrates how the animation of culture can deal with the “difficult memory” present in Central and Eastern Europe, as well as how this kind of involvement can support people in developing their identity. In this sense, the animator becomes a humanist: comprehensively educated and conscious of the intellectual and personal development of both him/herself and others. Having in mind the uniqueness of such an undertaking, it is also important to notice that the original formula of such a centre – developed according to its leaders’ personal ideas – may become a genuine brand of Polish culture.
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Magdalena Różycka

Culture Management, Volume 17, Issue 2, 2016, pp. 167 - 184

https://doi.org/10.4467/20843976ZK.16.012.4486

Nowadays, consumers needs force media to behave so they can survive in a competitive market. Publishers functioning on the daily press market take actions related to the diversification of its media investing in the Internet. With such solutions not only includes electronic edNowadays, the needs of the consumer force the media to behave in a way that will enable them to survive on the competitive market. Publishers functioning on the daily press market take actions aimed at the diversification of their medium, investing in the Internet. Such actions include creating not only an online edition of the newspaper, but also multimedia portals, new services and the use of the network dialogism considering its current and future potential. It is impossible not to notice the increasingly powerful connection between the printed press and Internet projects. It is caused by economic aspects, as publishers rarely count on revenues solely from the sale of information and advertising. Intense competition forces them to change the characteristics of their products and expand ways to reach both readers and advertisers. One example of the above phenomenon isDziennik Zachodni – the winner of the Grand Press Digital award granted by Press editors for its innovative approach to the use of modern technologies in journalistic work.

 

ition newspapers, but also multimedia portals, new services, use the network dialogism considering its current – and future potential. It is impossible not to notice the increasingly powerful connection between the written press issued and Internet projects. It is caused by economic aspects, as publishers rarely count on revenues solely from the sale of information and advertising. Intense competition forces them to change the characteristics of our products and expanding ways to reach both readers and advertisers. Exemplification of the above considerations is the “Dziennik Zachodni.” – Winner of the Grand Press Digital granted by the editors of “Press” for its innovative approach in the use of modern technologies in journalistic work.

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