Programming & its management

Programming refers to the design, selection and scheduling of activities for public consumption. By definition, this is of outmost significance to the fulfilment of cultural organisations missions and is the basis for their successful audience cultivation and development. Programming is conventionally determined by organisations' various policies, in particular their artistic, exhibitions, displays and education policies.

Using a wide variety of case studies, this module explores current programming across a range of different types of organisation and cultural activity. It covers large international festivals alongside the work of single artists; the content of an evening's entertainment and year-long series of events.

Key factors are critically examined, including concepts of artistic and curatorial integrity and engagement with contemporary and historic culture, as well as the pragmatic pressures of income generation, and issues of cultural diversity. The module examines the roles of artistic directors, curators and others who determine programme content and their interests in relation to organisations' missions and central purpose.

Indicative content

In this module you will focus on devising programmes. In doing so, you will explore:

• working with artists, artistic directors, curators and other content providers
• formation of programming policy from concept to delivery; reviewing programming, and the role of the critic
• programming strategies
• engaging with contemporary culture, cultural diversity and responses to public policy debates
• programming and audience development, evaluating and responding to audience responses, education and programming
• who decides what? - management priorities and artistic policy.

Recommended reading

• Livingston, J. and Beardsley, J. The Poetics and Politics of Hispanic Art: A New Perspective, Chapter 7, in Karp, I and Lavine, S. D. (1990) Exhibiting Cultures: The Poetics and Politics of Museum Display. London and Washington, Smithsonian
  
• Marincola, P. (2006). What Makes a Great Exhibition. USA, Philadelphia Exhibitions Initiative
  
• Marzio, P. C. Minorities and Fine-Arts Museums in the United States, Chapter 8, in Karp, I. and Lavine, S. D. (1990) Exhibiting Cultures: The Poetics and Politics of Museum Display. London and Washington, Smithsonian
  
• Morrison, R. (2004). Orchestra: The LSO, a century of triumph and turbulence. London, Faber & Faber
  
• O'Hagan, J. and Neligan, A. Innovation and Diversity in Repertoire in Grant-aided and Commercial Theatre, in Selwood, S. ed. (2001). The UK Cultural Sector, Profile and Policy Issues. pp.217-233. London, Policy Studies Institute
  
• Roberts, P. and Stafford-Clark, M. (2007). Taking stock: The Theatre of Max Stafford-Clark. London, Nick Hern Books Ltd
  
• Tusa, J. (2000). Art Matters: Reflecting on Culture, revised edition. Methuen, London
  
• Tusa, J. (2007). Engaged with the Arts: writings from the frontline. London and New York, I. B. Tauris and Co Ltd