La Folle Journee, Theater du Rond-Point . yes culture can be profitable!
These leaders of men invent new cultural economy. And demonstrate that the term profitability is not a dirty word when it comes to art, intelligence and curiosity.
The change in continuity. This is the paradox of a sector increasingly anchored in the business, but still dependent on public subsidies that tend to weaken. “You have to manage scarcity,” summarizes Steven Hearn, head of Scintillo, an umbrella group fifteen cultural enterprises, and “direct state funds to areas that need it most.”
This is not so much to the subsidies of the Ministry of Culture, he refers only to those territorial authorities, to which the financing of culture was gradually delegate. A world more horizontal than vertical decision, where officials and managers of establishments all have their say, but without knowing what adopt funding methods.
Reconciling mind and money
The architect and head of François Guiguet program advocates for unreleased packages and tailored to each individual case. “We must not step forward, with notebooks precise and rigorous specifications, to ensure that all stakeholders are on the same line,” he warns.
The culture in line with the economy? It is not incongruous – Jean-Michel Ribes demonstrated in the last fifteen years in Theâtre du Rond-Point in Paris. But the phenomenon is more obvious in the era of digital, and entrepreneurs have understood how the cultural 2.0 changes the rules of the game, including those of success. Rene Martin, founder of La Folle Journee de Nantes, can testify: “No, now, is immune to a triumph!”
Jean-Michel Ribes, theater manager of Roundabout
Human pen and spectacle, Jean-Michel Ribes has been innovating to remake the Theâtre du Rond-Point Mecca of culture. Francois Lafite / Wostok Press / Maxppp, SP
The manager against his or band manager turned entrepreneur.
It is primarily an author who writes for the theater. Now and tell how famous counter News, “the theater is a medium where one prefers the dead authors” and where the actors and the director attracts all light. However, Jean-Michel Ribes is as much known today for his role in the cultural world for his artistic work.
In 2001 he began his entrepreneurial career, by the will of Bertrand Delanoë. The new mayor of Paris ready, in fact, the ear to the chorus of writers who are alarmed by the bad patch of the Theâtre du Rond-Point, promised to become the backyard of fashion shows. He even takes them at their word, by challenging them to save the house and entrusting the keys to the ancient theater of Jean-Louis Barrault in Jean-Michel Ribes, who decided to take the plunge.
Balance the budget
“Running a company, I knew how, says playwright. I could talk programming, payment or intermittently, and I arrived with a strong team around me, including Valerie Bouchez, my co-director.” The job has nothing of a sinecure. There must be 64% of the annual budget from the revenue, while the average in the major theaters does not exceed 30%!
The author then turns into true entrepreneur and prepare a business plan in three acts. At the theater, Deputy First there a bookstore and organizes seminars in partnership with major media. Then he sees fully the restaurant menu to make it accessible to all budgets. “If I could create a hotel, I would have done!” says he.
No more fixed schedules of performances: the roundabout becomes a place of commercial life, open from noon to midnight, the precursor of a model first developed in the cultural world of the 2000s All spaces are called on to do the show : animations, songs . even in the bathroom!
Added to this is a great idea: programming not one, but three pieces, played twice a day, to dilute the risk of oven. “I saw this in the 1950s at Jean Mercure, which offered performances at the City Theater in the late afternoon for post office employees.”
With its air of old elf, Jean-Michel Ribes place his visionary business strategy, based on surprise: “You come, you never know what to expect.” And it’s been fifteen years since it works! As for the author, he continued to write books and sell them – a total of nearly 170,000 copies, according to its publisher Actes Sud.
Rene Martin, artistic director of the Folle Journee de Nantes
With his election to the presidency of the European Technology Institute of musical professions at Le Mans, Rene Martin knows a kind of consecration. Marc Roger / SP / La Folle Journee de Nantes
A producer not so classic that has found a profitable business model for its festival.
Passionate about music and . management companies, merchant son has followed an unusual career. Conservatory to the works of Sun Ra, Bela Bartók, through string quartets of Beethoven, adolescence is all “Oh!” and “Ah”.
This does not prevent the music lover to integrate the Nantes School of Management. In 1981, in his early thirties, he combines his two passions by mounting the International Piano Festival of La Roque-d’Antheron in the Bouches-du-Rhône. It will be a musical reference, but also economic, because he does not hesitate to shake up the traditional system of seals. Negotiator outstanding, he manages indeed to pay artists based on predictable revenue concerts.
Become bankable in the middle of the culture, Rene Martin then all the weapons in hand to achieve the obsession that haunted him for a U2 concert in 1992. “Seeing the enthusiasm of these young people, I told myself that I could draw them to the classic. ” In 1995, he thus creates La Folle Journee de Nantes and proposes a series of very moderately priced concerts.
In wise manager, Rene Martin prefers to rely on a high self-financing (60%) rather than public aid. Its calculation falls within the old logical volume: many concerts with seating from 35 francs (5 euros), should ensure the influx of the public. Bet won the event, which lasts five days now, has become an institution.
Rene Martin has managed to reinvent a business model of classical music festival, able to attract a younger audience and more popular, never taking the easy way in programming, half of which comes from the contemporary repertoire, and where electronic music all its place.
“It is I who selected the themes, the works and artists,” says the sexagenarian the feverish eyes, always attentive and on the lookout for the slightest novelty. In February, it will dance and the many ways in which it influences art music. Again, he honed the program with his team of ten people, with well defined roles and a budget of nearly 5 million.
His small company, always structured association of which he is himself employed, exported La Folle Journee in Japan – in Tokyo, each edition brings together nearly 1 million people – in Warsaw and Yekaterinburg (Russia). This represents 1,500 concerts worldwide each year. A godsend for artists who are eager to travel.
François Guiguet, architect, co-founder of Aubry & Guiguet consulting agency project management
François Guiguet helps design the places where culture can be fully expressed. Franck Ferville for Management
For each project, it creates a suitable financial arrangement.
The Cite des Sciences in Paris, the Shanghai Opera, this is it! François Guiguet however, is not a star architect, but rather a “geneticist” the art who operates upstream projects to fix the DNA. Its clients are political and community managers.
His specialty is the enhancement of urban and industrial wastelands. As in Mons, which was preparing in 2015 to become European Business School Admission of Culture. With his agency Aubry & Guiguet recommends that the Walloon city of “sew up the old story with the priorities of the moment”: to transform the old slaughterhouse into a museum, creating a digital writing center or a Google Data Center .
“We always try to imagine and tell something new,” says the consultant. Its business since the late 1980s, it was a lot of studies conducted upstream of the first drawings of the architect and arbitrage of the future supervisor.
A work called “programming” which dedicated team of eight young talents pleased to invest in projects that require each time to design novel project templates. Witness these specifications sent one day in 1999 by Jean Blaise as . poem! The artistic director of shows was about to create unique place in Nantes in the former biscuit Lu.
Steven Hearn, managing director and founder of Scintillo, comprising fifteen cultural enterprises
Steven Hearn made the connection between the public and cultural enterprises. REVELLI-BEAUMONT / SIPA
Moderator more a manager, he advocated the organization of fish.
Convinced of the potential of enterprise 2.0, Steven Hearn seeks to apply the recipes in the world of culture. Unless it be the opposite? Whatever! In multidiplôme – philosophy, art history and trade (Inseec) – the main thing is to show that the hybridization between digital culture and culture tout court is the way of the future.
With the SOS Group, a player in the social economy, Scintillo won a five-year public service delegation (DSP) for the management and programming of the Gaite Lyrique, became a center of digital culture in Paris .
To policy, it calls for better use of public subsidies. “Their duty is to create conditions for the development of culture, not to define it as such,” he loose. So support those who really need it, contemporary dance, for example, and let alone cultural entrepreneurs who are betting to balance their budgets.
electronic music fan, this dashing quadra knows whereof he speaks: Scintillo its holding company, which he founded in 2010, brings together fifteen cultural enterprises, for a total turnover of over 25 million.
The loss of the contract of the Gaite Lyrique in July, was probably a little upset, but not unmotivated provided. “I did not really competing,” rest assured that neoentrepreneur, happy to win 5,000 euros per month and admiring Matthieu Pigasse, high-flying banker and editor Inrocks. Or Henri de Castries, the former CEO of Axa, and his organization of fish. “All together in the same direction, but all independent If brutal attack, it disperses rapidly and the danger passed, it gathers again. “