A review of the final conference

A review of the final conference

On march 25th, 2014, around 50 international guests and cultural and creative industries (CCI) experts from Brandenburg, Sweden, Denmark and Italy gathered at the premises of the ministries of the region of Brandenburg in Potsdam for the final conference of the transnational research project Creative Capital Conference (C2C).

The core mission of C2C had been to write a toolkit for the Ministry of Labour, Social Affairs, Women and Family of the region of Brandenburg, containing recommendations for the design of support programmes for the  CCI for the current funding period 2014-2020.
After almost 20 months of intensive research, numerous workshops in Brandenburg and the other European regions, a Barcamp and a Booksprint, the final conference was dedicated to the presentation of ideas for the toolkit, of four selected EU-Good practice cases from the regions, as well as to an outlook into the possible future of CCI support in Europe under the motto “Moving on – improving competence, connections and contexts”.

The afternoon started with a keynote on new perspectives on coaching for the CCI by Prof. Dr. Klaus-Dieter Müller, scientific co-director of the project. His speech was followed by presentations by two of the booksprint authors – Prof. Dr. Carsten Becker and Steinar Valade-Amland – who gave inspirational speeches on the cross-sectoral character of the creative indutries. The conference concluded with a panel discussion with the transnational project partners, which was opened up to a rather interactive discussion, because if there is one thing we have learned from our work, it is that: “If you want to make other people move, you have to move yourself!”

Read on for more detailed recounts of the presentations, which can also be downloaded here as PDF versions:

I. EU-Good Practice

Debora Voges, The creative plot, Lund (SE)

The creative plot is an incubator for creative projects and entrepreneurs in Lund which is situated right within the Ideon Science park, a hub for technology-oriented businesses. It is also a pilot project aiming at answering the question, whether the typical incubation methods also work for creative businesses.

The incubatees benefit from a very intense program comprising infrastructure and work spaces (which are shared with “non-creative” businesses), regular networking events and counseling for professionalization. Another very smart feature of the creative plot is the “backstage”, an offer for all those who do not make it into the incubator (which is limited to 5 businesses) but can this way still stay connected to the network, stay informed, exchange ideas and participate in activities. You can read more about the creative plot in our previous blog post from 2012.

Since then, however, the first pilot round has been completed and the project has been evaluated by Prof. Dr. Daniel Hjorth from the Copenhagen Business School (CBS). The evaluation can be downloaded here.

Debora Voges presented the main findings of the evaluation which have been very appropriately put into the short imperative of “Don’t sit on it!”, meaning that what we need from now on are not more incubators, but ‘excubators’, institutions or frameworks which actually allow the businesses – creative or not – to grow and fly on their own.

The characteristics of such an excubator are:

  • externally oriented processes and resources
  • business model innovation
  • less standardization, more entrepreneurship
  • creates space for innovation
  • dialogic learning culture
  • entrepreneurial team
  • responsive needs of start-ups

For more information, you can download the presentation here.

Dr. Antonio Lampis, Cultural department of the city of Bozen/Bolzano (IT)

Dr. Antonio Lampis and his exceptional marketing campaign for cultural consumption and audience development in the province of Bolzano was one of the most intriguing cases of the C2C research. Thus, we invited him to the final conference, because we think that this strategy could also be applied to creative services and might serve as inspiration for place making and the building of a profile also in Brandenburg, a field discerned as crucial within the transfer toolkit.

In order to increase people’s cultural consumption as well as to include those segments of the population which are traditionally not so interested in culture, the northern Italian province of Bolzano has applied a strategy based on continuous experimentation with non-traditional marketing. This included techniques of paritetic and direct marketing as well as an alliance with the small local shops. Furthermore, there was a strong focus on proposing culture as an alternative activity for people’s typical spare time activities, such as sports and TV. The direct marketing which was modelled after the famous “Avon” ladies knocking on people’s doors proved to be very successfull as more and more of the potential customers became “promoters of culture” themselves. Other activities of non-traditional marketing included cultural flash mobs and theater trailers in the local street markets (watch the video here).

Through the involvement of both the inhabitants of the city as well as the mayors of the surrounding villages, this strategy appealed to a sense of ownership, responsibility and identity and has contributed to a concrete change of lifestyle and different use of leisure time.

For more information, you can download the presentation here.

Pernille Skov, project manager of CAKi, Copenhagen (DK)

CAKi is the Center for applied artistic innovation and the contact point for all art students in Copenhagen in need of counseling, advice or support in whichever way when it comes to starting a project or establishing a business.

Pernille Skov is CAKi’s project manager and we met here during our first research trip to Denmark (read the blog post from 2013). We invited her to speak about her experience as many of the interviews and workshops we carried out during the project showed that an artist’s reputation “in the scene” depends primarily on original and non-commercial work. Based on this observation, it seems sad that self-marketing by artists and creative people or collaboration with business is still seen as slightly dirty. Pernille Skov shares our view that entrepreneurial skills are crucial for artists as well.

CAKi’s focus lies on interdisciplinarity, artistic innovation and entrepreneurship. Their aim is to complement the skills gathered at art schools, help the students in their artistic innovation, increase their professionalization and to expand their employment opportunities. What is important to note is CAKi’s view on artistic innovation which to them creates new societal value and does not necessarily have an economic value.

Pernille Skov gave a short intriduction into the courses CAKi offers. One of the most interesting ones is called “Business behind talent”: it is set up in 3 steps, each of which deals with specific questions:

  1. Reflection: who are you?
  2. Construction: what do you need?
  3. Professionalization: how do you do it?

and in a second step lead to

  1. Action
  2. Context
  3. Self-efficacy

For more information, you can download the presentation here.

Paolo Campagnano, founder and CEO of The ImpactHub Rovereto, Rovereto (IT)

The ImpactHub Rovereto is a network and coworking space and part of the internationally operating network of by now 60 spaces on 5 continents with 7.000 members worldwide. Rovereto, a small town of only roughly 38.000 inhabitants, located in the North of Italy in the region Trentino, is as such, the smallest municipality hosting an ImpactHub in the world.

We invited Paolo Campagnano to tell us about how such an urban concept as coworking can function in a rural and non-metropolitan area.

The ImpactHub Rovereto opened in September 2010 with only 20.000 Euro as starting capital as the first coworking space in Trentino. Today, it counts 70 active members. The team is composed of 7employees, the cooperative composed of 11members.

Paolo Campagnano highlighted the following challenges:

  • financial sustainability
  • the entrepreneurial approach and private initiative which was not widely known in the region → Trentino has not an intense entrepreneurial attitude
  • the coworking model was not known and had to be explained
  • there is a low attitude to mobility from the local population
  • the low population density

After three years, however, the hub is still open and running and has succeeded in becoming an intergral part of the town life. According to Paolo Campagnano, the main learnings have been:

  1. that it is possible to import the coworking/pre-incubation model in not metropolitan areas,
  2. although the simple coworking model is not financially sustainable in not metropolitan areas
  3. → as this type of environment offers good connections between people working in different economical sectors (private, public, school, non profit)
  4. and that it is possible and vital to create a local community strongly connected with a global community.

For more information, you can download the presentation here.

II. Keynote: “PERSPECTIVES FOR THE ROLE OF COACHING IN CREATIVE INDUSTRIES. Structures, targets and methods put to the test”

Under the motto “Improving competence”, Prof. Dr. Klaus-Dieter Müller held an inspiring keynote speech on new perspectives for coaching within the CCI.

One of his main arguments is that the personality of creative founders should be in the focus of all support initiatives and that the persistant insistance on the business plan as a prerequisite for access to support should be abandoned.

You can download the entire keynote here in English and German.

III. Inspirational speeches on CCI as cross-cutting issue, presented under the motto “Improving connections” by two of our booksprint authors:

Prof. Dr. Carsten Becker, Managing partner and research director GIB – Gesellschaft für Innovationsforschung und Beratung, Berlin

Prof. Dr. Becker presented the main insights from his booksprint chapter on “The dual role of CCI: innovator and innovation driver”.

His presentation began with an introduction into the developments in innovation research, followed by an elaboration of the CCI’s role as innovator and innovation driver and closed with a presentation of the challenges and impediments they are faced with today.

For more details, you can download the presentation (in German) here or his booksprint chapter here in English and German.

Steinar Valade-Amland, Consultant, Founder and CEO of Three Point Zero, Denmark

Under the title “Design in a value chain perspective: from anecdotal to systemic”, Steinar Valade-Amland’s chapter of the booksprint showed how design is much more than aesthetics, form and function and how it has become a method pervading every segment of society. This can be seen as either a good development, since design can help improving living conditions and making the world a better place to live in (“Design is the more attractive way of solving problems”), or as a risk, since the DNA of design might get lost on the way. In his chapter as well as in his speech, Steinar Valade-Amland depicted the challenges and opportunities of design, described the development of design since the 1950s up until now and called for a renewal and revitalization of its original virtues. He then elaborated on the major challenges this renewal is faced with, such as structural barriers, and presented opportunities not to be missed.

For more details, you can download the presentation here or his booksprint chapter here in English and German.

We proudly present… the Booksprint!

We proudly present… the Booksprint!

In the course of our research, we came across challenges which creative industries and their support systems are faced with and which can hardly be dealt with within one single project or programme. This assessment, in conjunction with the perception that these kinds of issues need a more innovative approach also from the support and research side, formed the basis for our motivation to initiate a booksprint in September 2013.

Six months later, this experimental adventure has now come to an end. Today it arrived fresh from the printing press: our collaborative publication “Creative Sprint – A collaborative view on challenges and opportunities in the creative sector”!
Many thanks again to our expert authors Carsten Becker, Emma Estborn, Giorgia Boldrini, Steinar Valade-Amland and Carsten Busch (click here for more information on their chapters), as well as Martin Schüngel for his great layout and Marie Jacobi for the illustrations!


Booksprint Stapel               Table of content

About the booksprint:

A booksprint is a collaborative writing process in a very limited period of time which culminates in a finished publication. The concept originated in the Open Source movement, as did the format Barcamp, for example.

Booksprints offer a way of harnessing collaboration and communal feedback to develop ideas and visions that a single author working alone probably would not come up with. The result of the co-creation process is, aside from a text that is typically of a high quality, an increase in shared knowledge and sense of community. The process cannot be planned in advance and this spontaneity creates space for “genuine innovation”. The result is that booksprints are more than the sum of their parts.

In its usual form, a booksprint process brings together a group of (usually five) authors together in one place for not longer than one week, during which time they work on their contributions in an iterative manner, alternating writing and giving/receiving feedback on the accomplished work.

In our case, we decided to virtualize the format and had it spread over seven weeks during which we came together twice for a kick-off and for a final meeting. In the meantime, we “met” in weekly Skype meetings.

The process has been immensely interesting and exciting and we have all learnt a great deal about new topics and about working in a group.

CREATIVE SPRINT. A COLLABORATIVE VIEW ON CHALLENGES AND OPPORTUNITIES IN THE CREATIVE SECTOR ” will be publicly released in Malmö on March 7, 2014 in the course of the Conference on Creative Industries in Sweden, hosted by Region Skåne and our project partner Tillväxtverket – the Swedish Agency for Economic and Regional Growth.

You can download it here.

After mapping, consulting and networking: what’s next in creative industries support. Insights from our Barcamp Documentation

After mapping, consulting and networking: what’s next in creative industries support. Insights from our Barcamp Documentation

The aim of our Barcamp was: on one hand to discuss the relevance of the project’s research findings with creative industries project and programme managers from Sweden, Italy and Denmark and on the other hand to provide a fertile and open ground for exchange in order to create new knowledge, to extend our focus and to initiate a small European network ourselves. In order to achieve this, we “betrayed” the Barcamp method and set a couple of topics that seemed relevant from our perspective for future creative industries support.

Here, we now provide the full documentation in digestible PDF pieces:

  1. Arts and Innovation Connect
  2. Fishing for talents
  3. Interdisciplinary Working Groups
  4. Experience-based business models
  5. Cross-sector incubation
  6. Access to smart finance
  7. Building strong networks
  8. Holistic competence development
  9. International cluster cooperation / Europe mix’n’mingle
  10. Radical innovation
  11. New finance instruments for incubators
  12. New approaches to coaching and consulting
  13. A toolkit for creative industries support

Status update: review and outlook

The last months were pretty turbulent for us and we are still working on documenting the different events for you to read about them here on our blog: After the barcamp in early September, we immediately began working on our booksprint, travelled to Copenhagen for CKO‘s and InVio‘s international day of innovation concentrating on cross innovation and contributed with a presentation on C2C’s first findings in this field. We also held the second meeting of our advisory board in Potsdam to discuss the relevance of our research findings and the findings from the barcamp and hosted a workshop for discussing the possibilities of developing a new format for cross innovation, collaboration and knowledge transfer between local companies and universities in Brandenburg.

Next Monday, we will be in Vigevano, Italy, for our third expert round table meeting. This time, the topic is: “Cross Innovation – which potentials lie at the intersection between arts, creativity and business?”. We have invited experts on the field from all involved regions and countries and will discuss the first results from Prof. Giovanni Schiuma’s study on the topic and try to identify further challenges, potentials and possible trends.

Right after this meeting, we will travel further South to Bologna, to meet with our booksprint authors Emma Estborn (Media Evolution, Sweden), Giorgia Boldrini (Business Department, Commune di Bologna, Italy), Steinar Valade-Amland (ThreePointZero, Denmark) and Carsten Busch (Institute for brand communication, Germany) for a whole day of working on finalizing the chapters of the booksprint. The Booksprint is one of the core elements of our project: it is a collaborative way of writing a book. Usually, authors are invited to contribute a chapter from their respective field of specialization to a publication until a certain deadline. With the Booksprint format, we made this process a collaborative one: the authors were not only asked to contribute with their expertise but to also engage in a weekly exchange about their chapters, identify similarities, comment on the chapters of the other authors and thus developing their texts further through this collaborative method.

The chapters of the final publication as the result of the Booksprint will focus on various dimensions of creative industries (support): Emma Estborn focuses on the importance and impact of collaboration. Steinar Valade-Amland analyses design history and puts design in an value chain perspective. Georgia Boldrini from Bologna in Italy describes her experiences how the introduction of business support instruments for cultural and creative entrepreneurs has shaped both the image of the artists as well as the relationship between cultural funding and business support. Gamification and digitization is the topic of Carsten Busch focussing on the broad application fields of games in companies and education. Carsten Becker puts creative industries in the perspective of innovation and describes their role as innovator and innovation driver. Finally, out board chairman Dirk Kiefer reconsiders the right mix of business support instruments for the creative industries.

Finally, on the 7th of November, we will be in Cottbus to contribute to the final conference of the EU project “Urban Creative Poles” with our insights on creative industries support in small and middle-sized cities with examples from Italy and Sweden.

Barcamp review: International cluster cooperation for the creative industries

This session was hosted by Søren Smed and Helle Gransgaard from the Danish innovation network on knowledge and experience economy (InVio). InVio was established in 2010 and is organised under and funded by the The Danish Agency of Sciene Technology and Innovation as one of one of 22 innovation networks in Denmark. The network consists of knowledge institutions, companies and others (approx. 1300 members)

InVio’s objectives are to create a catalogue of prioritised opportunities for international cluster cooperation in the creative industries, to strengthen innovation in

The Internationalisation Jouney. Source: TACTICS (2012): Handbook on Cluster Internationalisation

The Internationalization Jouney. Source: TACTICS (2012): Handbook on Cluster Internationalisation

experience sectors (creative sectors, tourism, events etc.), to strengthen experience based innovation in all business sectors, as well as the support of cross-sector innovation and spill over effects etc.

Their focus lies on 1) new research 2) knowledge sharing 3) matchmaking and collaboration between companies and knowledge institutions 4) internationalisation.

Based on the feasibility study on the motives and interests behind cluster cooperation which InVio is just conducting, this workshop session’s first part was all about formats and benefits for international cluster collaboration within the creative and experience economy.

Theses and major points for discussion:

  • Very nationalistic way of thinking – the best way would probably be getting rid of obstacles that stop international connections to work.
  • It would be interesting for creative capacity to match with other sectors and not to match creative industries with other creatives! because … Clusters between creatives already happen.
  • the problem is that companies don’t care about creative input when it is not profitable.
  • Challenge for small clusters: maybe it is an advantage to be part of a bigger one, speciality might evaporate. Where are the limits in this „clusterish“ way of thinking?
  • Working with individuals versus working with institutions: bottom up development. How to empower the people who bring the value?

Questions to be asked in the future: Where do we (and our clusters) go from here? Are clusters within the creative industries different from other clusters? What should the clusters be aware of? 

The benefits of international cluster cooperation

  • to the business of the international cluster cooperation: a raised profile, access to knowledge (to use in new products and services), to new markets, key infrastructure, e.g. pilot plants, living labs etc, new international partners for collaboration

  • to other organizations in the cluster: a raised profile, access to knowledge, to new markets, new and wider customer base, new international partners for collaboration

  • to the cluster organization: a raised profile, new international partners for collaboration, new international partners for staff exchange, improved ability to benchmark performance

  • delivered to the region/member state by the cluster organisation: increased competitiveness and export performance by key businesses, increased access to potential inward investors, increased level of external funding utilised by the region/member state



Further Information:
TACTICS Handbook on Cluster Internationalisation (PDF)

Barcamp review: New finance instruments for incubators

Session Host Corrado Bottoli introduces the work of the Milan Chamber of Commerce that helps to promote new businesses and support high potential growth companies. He points out the relationship between the public and private sector for new companies (like startups). Background is that in Milan 25% of new companies die after one year. Bottoli’s goal for the session is to show different ways to support startups and find new instruments with the help of the participants.

The Milan chamber of commerce gives support on three levels:

  1. Equity capital market with equity funds in terms of creating equity funds with a direct investment and setting up a co-investment with the private sector (ongoing project)
  2. Debt capital market in terms of guarantee funds for startups and grants to reduce the cost of bank loans
  3. Setting up new incubators in terms of low price for facilities and training/tutoring to reduce risk of investment 

The theses and major points for discussion of the session were:

  • With regards to equity capital market, the participants criticise the focus on only high potential startups like in the technology sector that gets enough support anyways. The creative sector, e.g. fashion design seems to be underrepresented. One Participant points out that high tech sector is not necessarily supported anyways because there are long production process, too, e.g. for computer game developers. The creative sector has the advantage of being able to form working groups that share space and capacities.
    The participants express their doubts that startups in the creative sector want to have equity money because banks wouldn’t finance their projects anyways and that debt instruments might be more suitable.

  • With regards to dept capital market, the participants note, that clients usually prefer grants while there is no proof that grants have a growth effect. The garantee system via microfinancing agencies (in Brandenburg) on the other hand doesn’t seem to have any effect. In Estonia grants sometimes work but very often it is a black whole. One suggestion for cultural support is to demand more professionalism from their clients/startups. The participants agree that grants are not the solution or at least should be designed in a better way. One suggestion is to follow the investors and how much money they want to invest.

Further points of discussion and other contributions:

  • The role of the public sector is also discussed, but the situations in the participants’ respective home countries are very different.

  • Crowdfunding as a potential alternative which also allows for early market research.

  • The idea of paying back some of the money or providing new jobs after success was brought up. The problem is to give the right incentives. If the condition is to employ new people companies would employ anybody to keep the money. It is always a distortian of the market. Another option is to pay pack if you are not successful in order keep the motivation to succeed alive. 


  • Milano Speed Mi Up: incubator run by Milan Chamber of Commerce and Bocconi University. The idea is to combine startups with young freelancers to work together by providing services (training, innovation, internationalization), working spaces, tutoring and IT services. The goals are to set up about 10 startup/year (startup hub) and support 20 professionals/year (professional hub).

  • Exist Gründerstipendium: provides a basic salary for the company members, money for the company and coaching. The project members have to reach milestones but if they are not successful they dont have to pay back anything. The advantage is they can concentrate on their project.

There is no ideal model for public support due to the differences of the countries. All three introduced models could be helpful. There seems to be an agreement that debt instruments and creating new incubators might be more suitable for the creative sector. New instruments could be crowdfunding and networking, they should be added to the three models .

Milan Chamber of Commerce:

Barcamp review: New approaches to coaching and consulting

Jörn Krug is a scientist at Filmschool Babelsberg and works as a coach at the IBF-Institute. Before, he built „Media Exist“, a platform for creatives of the region of Berlin-Brandenburg who want to set up businesses. Most of his clients think that regular coaches and consultants do not really offer suitable services. This is one of the reasons why he and his colleagues published the book „Beratung und Coaching in der Kreativwirtschaft“ (Kohlhammer Edition Kreativwirtschaft, 2011, Klaus-Dieter Müller, Wolfgang Fischer, Jörn Krug). For him, coaching is more like a mid-term/ long-term process. It gives the client the chance to work on his/her own and it can fail easily if the interests are going appart. He sees consulting more in a short-term perspective, as a knowledge transfer from an expert to someone else. On the other hand, a coach has to accept the clients’ opinions.

In this session, the host and the participants discuss the following assumptions:

Thesis 1: Each stadium needs a specific coaching method/ consulting approach.
Thesis 2: The different structure of creative industries leads to a need of different instruments.

The core question is: “What are the best methods for each entrepreneurial stage (experimental, pre-start up, start up, growth phase, etc.)?”

The results of the participants’ brainstorming on the thesis:

  • Coaching is built on trust.
  • A coach / consultant needs expertise.
  • Looking at the personalities is important in both consulting and coaching.
  • Understanding the clients’ motivation, finding out their individual talents, USPs and needs and helping them to develop strategies is important
  • It is difficult to be coach and consultant at the same time.
  • It’s all about the mix.
  • Coaching includes observing by participating
  • Every step in the process has its challenges.
  • The quality of a consultant must be to have her/ his own techniques so that people can choose.


The learnings of this session are not easy to summarize. This might be explained by the complexity of a coaching/consulting process. Every client has a different background and therefore different needs so that each process is individual and tailor-made.

  1. Regarding the question whether we need specific services for each phase of development, there might be appropriate advise according to each phase and a coach should let go if he/she is not the right coach.
  2. Instead of asking whether there was a specific structure of creative industries, it might be more about the question: How can people choose the right coach/ consultant?, Has the public body knowledge about the track record?
  3. Essential features of consulting / coaching
  • experience of the coach / consultant is important but should not dominate the process
  • awareness, empathy and dialogue are essential
  • reflect on the right mixture if you are using elements of coaching and/ or consulting
  • empowerment of the client is importan
  • a coach should be passionate about what he/she does.




HFF Potsdam:

Media Exist:

Barcamp review: Radical innovation

Barcamp review: Radical innovation

jensWith his own company JK Innovation and within the Nebula group (a joint initiative of several Danish companies working in the field of innovation), Jens Kruhøffer offers services to private firms but mostly to the public sector, for which he runs projects mainly dealing with education and interventions. The project which served as example for this workshop session – “Nordjylland på spel” – used the means of gamification to enhance young people’s participation in matters of regional development.

The game, developed by a network of consultants under the leadership of Jens Kruhøffer, focused on healthy competition and collaboration. It was not delivered as a ready-made product to the region, but as a co-creational process between the citizens and the government.

Important learnings were that it was hard to convince people that they can play with the fine line between reality and fiction and that a balance between content and process is difficult but extremely important to achieve. Ultimately, collaboration, passion and emotion were identified as immense drivers for innovation.

Before this backdrop, this session was aimed at defining what radical innovation is and where it can lead.

The participants’ ad-hoc definition of radical innovation included:

© by Marie Jacobi (

  • rule-breaking new ideas
  • challenging of the ordinary world-view
  • different point-of-view/focus
  • combining two incompatible elements
  • disruptive and unconventional
  • complete changes in standards (methods, processes, outcomes, meanings etc.) which create new markets
  • playing with odds, gambling, taking risks

Questions arose, like:

  • How can we innovate the innovation process?
  • How can we create standards and a shared language for innovation without creating barriers?
  • How can we work with companies/organizations that have a very fixed aim/goal/focus that they don’t want to change?
  • How can we create a shared understanding between innovators and companies/organizations? How can we create trust and room for risk?
  • Is an artful transformation (topic of other workshop) a radical innovation?
  • Is this case study really an example of radical innovation or is it more social innovation?
  • What would have been really radical in this example?
  • How can we replicate examples for radical innovation? Are there elemental tools, can we develop a toolkit that can be passed on? How can we design radical innovation processes?
  • What is the benifit of game-based, emotion-based, playful innovation processes for traditional organizations?
  • What are the next steps after an initial pilot phase of radical innovation? How can we achieve long-term effects?


Most discussed questions:

How can we create long-term innovation effects?

Through shared experiences, shared language, constant communication. The entire process and communication should reflect innovation, include playfulness and the creating of meaning through fun.

Is radical innovation only applicable for product or service innovation or can it also lead to change in the public sector?

Yes, challenge the given, challenge constraints, as this is were radical innovation is most needed.




At the end of the workshop, the group was asked to identify on which level radical innovation should be applied first and most importantly:

  1. personal dimension (personal skills, drive, goals)

  2. preparing the context (gathering acceptance, shared understanding between partners, definition of problem)

  3. the right process

After intense discussions the group agreed on 3. the right process, as the RIGHT process includes defining needs, problems, research, activation etc. The right process can generate the right mindsets and personal dimensions (process as a catalyst).



Nebula group:

JK Innovation:

Barcamp review: Holistic competence development

Barcamp review: Holistic competence development

For hosting this session, we could win over Gerda Hempel from Artlab in Denmark and Robert Karlsson from Kulturkraft Syd in Sweden. Both have longstanding professional experience in the field of competence development for artists and creative professionals.

ArtLab is an institution based in Copenhagen and run by the Danish Musicians Union in cooperation with the Danish Actors Association. ArtLab offers courses and coaching for professional artists and culturally experienced professionals. Artlab aims at creating jobs through education in arts and in arts & business, based on artists’ unique qualifications and methods.

The same is valid for its Swedish counterpart Kulturkraft Syd, based in Malmö, which offers empowerment and competence development to professionals and organizations that are working within the area of performing arts, music, film, television, radio and interactive media.

On the background of these realities and in accordance with C2C’s research findings, this workshop was dedicated to a discussion of the following thesis: “In order to meet the demands of professional development of entrepeneurs in the creative sector, both artistic and business competence development is needed!”

Theses and major points for discussion:

  • Artistic development is fundamentally different from business development
  • Business skills vs. Entrepreneurial skills. Not the same! „Being an entrepreneur is different from starting a company!“
  • The CCI cover a very broad field – every sub-sector requires their specific approach. How can this be addressed?
  • Not every artist/creative/individual needs to know all about business, which makes collaboration even more important. Which minimal basic knowledge is needed in order to be able to collaborate with the right people for the right issues?
  • Do artists want to have business skills? Difference between arts (as “l’art pour l’art”) and creative industries? What are the different needs?
  • If the discussion goes both ways: should business students also learn about arts and culture?
  • How can the existing tools for collaboration between both sectors be better fostered? What can the government do? What needs to be changed in „the system“ in general?




  • The balance and consideration of both sides (arts and business) is crucial

  • The mutual understanding and knowledge of both sides might be a goal to aim for, as they might share the same needs and interest, which in return would make collaboration valuable for both sides.

  • Business skills are never a waste and should be part of the arts education (and vice versa)

  • There is no use in applying corporate models to artistic fields – rather, new models, methods and tools need to be developed

  • Build structures that creatives can draw on when they need certain skills at a certain point

  • Artists should also learn from other artists, not just businesses

  • Mindset is the most important thing

  • Focus on innovation through combined competence / collaboration




Kulturkraft Syd:

UdK Career Center / Workshops:

TAFI – Training artists for innovation:

TAFI publication – “Competencies for new contexts” (2013) by Joost Heinsius and Kai Lehikoinen (editors):

Barcamp review: Building strong networks

Barcamp review: Building strong networks

Media Evolution is the Swedish media cluster, located in Malmö. As such, Media Evolution operates on at least three levels: the Media Evolution City (the meeting and event space, a coworking space and an office hotel), Media Evolution as member-based organization, the Conference (their annual conference). Media Evolution collaborates with a variety of stakeholders, ranging from their members to the region, from the media and creative industries to the construction business. Collaboration is their motto, and so the session hosted by Sten Selander, business developer at Media Evolution, focussed on the question „How to build networks that really have an impact?“

Strengths of networks are certainly that you can rely not only on one specific person but many, services and favours are exchanged in uncomplicated and unbureaucratic manners. The weaknesses however is that they might be instabile if built on only one or a few nodes and they tend to trigger many different expectations of which not all can be met.

Key features of networks:

  • trust
  • network platform (like infrastructure, set of rules)
  • value capture
  • influential power
  • image / identity
  • win-win situation
  • engagement
  • purpose



The host recommends to structure the network (even private ones) and to act more systematic within it.

In general one should always ask oneself, what are the tools, processes and situations? What has worked and why? Share it. What were good stories or results? Share it! And what were the mistakes and failures? Share it!

The session concluded that

  • Networks work but need to be maintained – that demands effort and communication. The group could not agree about the question if networks need one or a few strong leading figures or if they function by themselves, once established.
  • The value of being in a specific network has to be made clear, e.g. being the first to have a new information or the relevant news.
  • A good way of having contributors is showing them their value and their power: promote and help your networkers. Networks do not have owners but players. Things are moving very fast these days in the neworks, you need to be aware of that 

Further information

Media Evolution:

The Conference:!/

Nordic Game: