Cultural and artistic sectors in our surroundings

Name four cultural or artistic sectors and give a real-life example from your local area (town, city, or province) for each one: a band, a theatre, a design studio, a publishing house, a festival, a video game team...

Explain what a cultural industry is (artistic activities that are also a business) and name three examples from your surroundings. For one of them, state who pays, what they pay for and what jobs it directly generates.

Name four professions involved in producing a school short film (besides the actors) and explain in one sentence what each one contributes. Why is it said that culture generates employment 'along a chain'?

Who can support a youth cultural project? Make a list of five possible stakeholders (local council, associations, school, shops, crowdfunding platforms...) and explain in one sentence what each one can provide: money, venue, publicity, materials, or contacts.

The figure shows the support network for the charity concert organised by the school band, but one of the stakeholders is covered with a question mark.

1. a) Think about which stakeholder is missing from the network (someone who can record, broadcast, or amplify the concert) and justify your proposal.
2. b) Explain what each stakeholder in the network provides and what they can receive in return.

Your class wants to organize a community photography exhibition on the neighborhood's historical memory with an initial budget of 0\ \text{€}$. The project requires four essential elements: an exhibition space prepared for two weeks, professional printing of 25 rigid display boards (market cost: 400\ \text{€}$), catering for the opening event (estimated at 150\ \text{€}$), and publicity among the neighbors.

1. a) Design a network of alliances with four local stakeholders (for example, community center, local businesses, neighborhood association, and PTA/AMPA): specify what in-kind resource (not money) you would request from each, what real-value non-monetary return you would offer them so that the partnership is a positive-sum game (win-win), and justify which stakeholder must confirm first so that the others agree to participate.
2. b) A local fast-food franchise offers to fully finance the 400\\ \\text{€}$ for printing in exchange for placing their large logo on the front of each display board and handing out commercial flyers at the opening event. Evaluate the ethical and economic dilemma posed by this offer compared to seeking micro-donations from neighbors, and defend your final decision with reasoned arguments.

Distinguish between a ticket (you pay to attend), the box office (the total takings) and sponsorship (a company pays to appear). Apply it to the school concert: $80$ tickets at $3\ \text{€}$ and a stationer's contributing $50\ \text{€}$ in exchange for appearing on the poster. Calculate the total revenue.

The school drama club wants to perform a play, charging an admission fee of $3\ \text{€}$ to finance the costumes. They expect $120$ audience members across two performances. The expenses are: play rights ($80\ \text{€}$), costumes and props ($150\ \text{€}$), and posters ($20\ \text{€}$).

1. a) Calculate the expected revenue, the expenses, and the financial result of the project.
2. b) If only $60$ audience members came, what would happen? Propose two ways to cover that risk before starting.

The school drama club is budgeting its performance: $90$ tickets at $4\ \text{€}$. Expenses: play rights $60\ \text{€}$, costumes and props $110\ \text{€}$, make-up $30\ \text{€}$, printed programmes $20\ \text{€}$.

1. a) Calculate revenue, expenses and the final result. If the profit is split between buying new spotlights and the end-of-year trip, propose a split and justify it.
2. b) Calculate how many tickets they must sell to cover costs and explain what you would do if, one week before, you had only sold $30$.

Explain what patronage is and how it differs from buying a ticket. Give one simple historical example (a painter with a patron) and one current one (a platform where anyone supports a comic with $10\ \text{€}$).

A local youth publishing house is funding its first comic through crowdfunding: it is asking for $2.000\ \text{€}$ and each backer contributes as much as they wish.

1. a) If the average contribution is $25\ \text{€}$, how many backers does it need? What if the contributions were $50\ \text{€}$?
2. b) Explain what backers usually receive in return and how crowdfunding differs from a loan.

Your amateur theatre group wants to premiere a play and needs 900\ \text{€}$ net to pay for the venue rental and the set design. You decide to fund it through a crowdfunding campaign (rewards-based crowdfunding) on a digital platform that charges a 6\ \%$ fee on total funds raised, plus a 2\ \%$ bank gateway fee and an estimated 12\ \%$ for tax withholding and administrative expenses (total deductions: 20\ \%$ of the money raised).

1. a) You design two reward tiers:

• Basic Tier (10\ \text{€}$): Digital thank you and admission to the dress rehearsal (unit management cost: 1\ \text{€}$).

• Supporter Tier (30\ \text{€}$): Numbered seat ticket to the premiere and a signed printed booklet (unit production cost: 9\ \text{€}$).

Calculate the net margin in euros left to the group for each contribution received in each tier after deducting the 20\ \%$ in fees/taxes and the direct cost of the reward.

1. b) If it is expected that 60\\ \\%$ of the contributions will be for the Basic Tier and 40\ \%$ for the Supporter Tier, calculate the minimum total fundraising target you must set on the platform to ensure you are left with 900\\ \\text{€}$ clear. Explain what would happen to the project and the funds raised if the "all-or-nothing" rule applies and you only reach 85\ \%$ of that target.