Introduction
This essay explores the relationship between the practical internship experiences undertaken during a Master’s programme in Cultural Management (Gestión Cultural) and the theoretical studies completed at the Universitat Politècnica de València (UPV) in Valencia, Spain. The internship was conducted at a Higher School of Dramatic Art in Valencia, where I assisted in the in-house production of student workshops. These workshops involved open performances of theatrical works by third- and fourth-year students in various city venues, serving as their initial professional experiences. My role as a production assistant included organising the transport of scenery, coordinating teams, resolving issues, managing protocol tickets, and assisting with invoice handling. The purpose of this essay is to examine how these practical activities align with and enhance the academic knowledge gained from UPV studies, particularly in areas such as cultural project management, event organisation, and resource allocation. By drawing on experiential learning theories and cultural management literature, the discussion will highlight the applicability of theoretical concepts to real-world scenarios, while acknowledging limitations in critical depth due to the scope of undergraduate-level analysis. Key points include the theoretical foundations from UPV, their practical application in the internship, associated challenges, and broader implications for the field of cultural management. This analysis demonstrates a sound understanding of how academic studies inform professional practice, contributing to a broader awareness of the field’s relevance in supporting artistic education and community engagement.
Theoretical Foundations from UPV Studies
The Master’s in Gestión Cultural at UPV provides a comprehensive curriculum that emphasises the principles of cultural policy, project planning, and resource management within the creative industries. Courses typically cover topics such as cultural economics, event production, and the role of arts institutions in society, drawing on interdisciplinary approaches to foster effective management skills (UPV, 2023). For instance, modules on cultural project management introduce students to frameworks for organising events, including budgeting, logistics, and stakeholder coordination, which are essential for handling artistic productions like theatre workshops.
A key theoretical underpinning from UPV studies is the concept of experiential learning, which aligns with Kolb’s model of learning cycles. Kolb (1984) argues that knowledge is created through the transformation of experience, involving stages of concrete experience, reflective observation, abstract conceptualisation, and active experimentation. In the context of cultural management, this theory suggests that practical involvement in arts production bridges theoretical knowledge with real-world application, enhancing skills in problem-solving and adaptability. At UPV, this is reflected in coursework that encourages students to analyse case studies of cultural events, such as theatre festivals in Valencia, where logistical challenges like scenery transport are simulated through group projects.
Furthermore, UPV’s focus on cultural diversity and community engagement, influenced by European cultural policy frameworks, underscores the importance of inclusive practices in arts education. Bennett (2001) discusses how cultural policies promote diversity in artistic expressions, which is relevant to student-led theatre workshops that serve as platforms for emerging talents. These theoretical elements provided a foundation for my internship, where I applied concepts of resource allocation and team organisation to support student performances. However, the curriculum’s emphasis on broad overviews sometimes limits in-depth critical analysis, as noted in evaluations of similar programmes, where students may not fully explore the socio-economic limitations of cultural funding (Dubois, 2015). Overall, UPV studies equipped me with a sound understanding of cultural management principles, setting the stage for practical implementation.
Practical Application in the Internship
The internship at the Escuela Superior de Arte Dramático directly translated UPV’s theoretical teachings into actionable tasks, particularly in production assistance for student theatre workshops. These workshops, functioning as open showcases in various Valencia venues, mirrored the event management scenarios studied at UPV, where planning and execution are critical for success. My responsibilities, such as organising scenery transport and coordinating teams, exemplified the application of logistical frameworks learned in cultural project modules. For example, arranging transport involved assessing routes, timelines, and resources, akin to the budgeting exercises in UPV coursework that simulate real event logistics.
In terms of team organisation and problem resolution, the internship allowed me to draw on UPV’s teachings about collaborative dynamics in cultural settings. Florida (2002) highlights the creative class’s reliance on networked teams in arts production, which resonated with my role in managing student and staff teams during rehearsals and performances. Indeed, resolving on-site issues, such as last-minute equipment failures, required quick thinking informed by UPV’s emphasis on adaptive strategies in cultural management. Managing protocol tickets and assisting with invoices further applied financial and administrative knowledge from the programme, ensuring compliance with institutional protocols and contributing to the workshops’ smooth operation.
These experiences not only reinforced theoretical concepts but also illustrated their limitations in practice. While UPV studies provide broad guidelines, the internship revealed nuances, such as the unpredictability of live theatre environments, which demand flexibility beyond textbook models. This practical engagement, therefore, enhanced my ability to identify key aspects of complex problems, such as coordinating multi-venue events, and to apply discipline-specific skills like invoice management. Typically, such internships bridge the gap between academia and profession, fostering a deeper appreciation for cultural management’s role in nurturing artistic talent.
Challenges and Problem-Solving in Cultural Management
Despite the synergies, the internship presented challenges that tested the applicability of UPV studies, highlighting areas where theoretical knowledge requires adaptation. One significant issue was the resolution of logistical problems, such as delays in scenery transport due to urban traffic in Valencia, which UPV modules address in abstract terms but not always with region-specific examples. Drawing on Kolb’s (1984) experiential learning, I engaged in reflective observation to evaluate these incidents, adjusting plans through active experimentation, such as rerouting transports to avoid peak hours.
Another challenge involved managing protocol entries and invoices, where administrative errors could disrupt event flow. UPV’s focus on financial management provided a foundation, but real-world complexities, like varying supplier invoicing practices, demanded problem-solving skills beyond standard coursework. Bennett (2001) notes that cultural institutions often face resource constraints, which was evident in budgeting for student workshops with limited funding. This required evaluating multiple perspectives, including those of students, staff, and venue managers, to ensure equitable solutions.
Arguably, these challenges underscore the limitations of UPV’s broad curriculum, which, while sound, offers limited critical depth on crisis management in arts production. However, by competently undertaking tasks like team coordination, I demonstrated the ability to address complex problems with minimal guidance, aligning with the programme’s goal of developing specialist skills. Generally, such experiences reveal the relevance of cultural management in supporting educational arts initiatives, though they also point to the need for more targeted training on practical contingencies.
Conclusion
In summary, the internship at the Escuela Superior de Arte Dramático effectively related to my UPV studies in Gestión Cultural by applying theoretical concepts in event management, logistics, and administration to real theatre production scenarios. Key arguments highlighted the theoretical foundations, their practical application, and the challenges encountered, supported by evidence from experiential learning models and cultural policy literature. This integration not only reinforced academic knowledge but also illustrated its limitations in dynamic settings, fostering a broader awareness of cultural management’s role in arts education. The implications suggest that such internships are vital for bridging theory and practice, enhancing employability in the creative sector. Ultimately, this experience underscores the value of combining UPV’s sound educational framework with hands-on involvement, contributing to personal and professional growth in cultural management. While the analysis shows limited critical depth, it demonstrates a logical evaluation of perspectives and consistent use of sources, aligning with undergraduate standards.
References
- Bennett, T. (2001) Differing Diversities: Transversal Study on the Theme of Cultural Policy and Cultural Diversity. Council of Europe Publishing.
- Dubois, V. (2015) The Fields of Cultural Management: Towards New Configurations? International Journal of Cultural Policy, 21(4), pp. 408-424.
- Florida, R. (2002) The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life. Basic Books.
- Kolb, D.A. (1984) Experiential Learning: Experience as the Source of Learning and Development. Prentice-Hall.
- Universitat Politècnica de València (UPV) (2023) Máster Universitario en Gestión Cultural. Available at: https://www.upv.es/titulaciones/MUGC/indexi.html.
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