With this 100% online Professional master’s degree you will become a successful cultural manager” 

Culture has always been able to adapt to complex economic situations, bring about artistic transformations and even drive genuine social change. These processes bring together a new generational outlook with the experience of knowing this field. Thus, the figure of the cultural manager in this scenario is essential, since he or she is highly qualified in human resources, financing, new technologies and, of course, culture. For this reason, TECH offers students the most advanced knowledge on heritage conservation, event design and planning, as well as the most effective marketing strategies used today. All, this through through a 100% online educational modality, with multimedia content that can be accessed 24 hours a day from any electronic device with an internet connection.  

In recent decades, culture has been able to adapt to the irruption of new technologies. In this way, strictly digital events coexist with hybrid events and those that still maintain the face-to-face events. Continuing to maintain the connection between different artistic manifestations, digitization and new generations is a real challenge for a field accustomed to creativity, innovation and transformation. 

In this scenario, the role of the cultural manager maintains great relevance given its ability not only to be able to successfully develop any event, but also to be able to combine conservation and cultural traditions with disruptive projects. A balance that requires highly qualified profiles with knowledge that goes beyond culture. This is why TECH has designed this Professional master’s degree in Cultural Management, which offers students the essential learning to be able to properly and professionally manage any action in this field.  

A program where, throughout 12 months, the graduates will delve into the key concepts on the management of museums, galleries and exhibitions, heritage conservation and cultural documentation. In addition, during the course of this program they will delve into the management of different events, the great opportunity offered by tourism, as well as the current technologies used in marketing strategies. To this end, you will have access to multimedia didactic material based on video, summaries, videos in detail, specialized readings or case studies prepared by a teaching team specialized in cultural management.  

The professional is, therefore, before an excellent opportunity to acquire a university level education through a 100% online format and which can be accessed easily, whenever and wherever you wish. All that is required is a computer, cell phone or tablet with internet connection to view the syllabus hosted on the Virtual Campus.  

With this 100% online MBA you will become a successful cultural manager”

This Professional master’s degree inCultural Management contains the most complete and up-to-date program on the market. The most important features include:

• Development of case studies presented by experts in Cultural Management
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

The multimedia resource library is available 24 hours a day. Access it easily from your computer with an Internet connection" 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to prepare for real situations. 

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the course. For this purpose, the students will be assisted by an innovative interactive video system created by renowned and experienced experts. 

Delve into the different sources of public and private financing for museum management"

Access a university degree that will open doors in the field of Cultural Management. Enroll now"

The syllabus of this Professional master’s degree has been designed with the main objective of providing professionals with the most advanced, exhaustive and up-to-date knowledge on Cultural Management For this purpose, it has technological material in which the latest technology applied to university teaching has been used. Thanks to it, you will access in a much more dynamic and visual way to a content, in which you will delve into heritage conservation, planning, design, production and communication of a cultural event, as well as the different possibilities existing in tourist spaces. The Relearning system, used by TECH in all its degrees, will also reduce the long hours of study and memorization so frequent in other methodologies. 

With the Relearning system you will avoid long hours of study and you will advance in a more natural way through the content of this university education” 

Module 1. Cultural Heritage Conservation

1.1. Historic and Artistic Heritage Conservation and Restoration Theory

1.1.1. How is Heritage Preserved?
1.1.2. Who is Responsible for its Maintenance?
1.1.3. Steps to Follow for its Maintenance
1.1.4. Evolution Over Time
1.1.5. Current Criteria

1.2. Museum Curator

1.2.1. Description of a Museum Curator
1.2.2. Steps to Follow to Become a Museum Curator
1.2.3. Deontology 
1.2.4. Functions

1.3. Methodology for the Diagnosis of the State of Conservation of Cultural Assets

1.3.1. What are Assets of Cultural Interest?
1.3.2. Cultural Properties or Assets of Cultural Interest
1.3.3. Guide of Conservation of the Assets of Cultural Interest
1.3.4. Alteration and Agents of Deterioration

1.4. Methods of Analysis and Study of Materials and Techniques

1.4.1. Definitions of the Method and Technique
1.4.2. Scientific Analysis
1.4.3. Techniques to Study the Historic-Artistic Heritage
1.4.4. Cleaning and Consolidation of Assets of Cultural Interest

1.5. Criteria for Intervention in Restoration and Conservation I

1.5.1. Definition of Criteria
1.5.2. Emergency Interventions
1.5.3. Plans to Protect Fine Arts Collections
1.5.4. Plans to Protect Ethnographies

1.6. Criteria for Intervention in Restoration and Conservation II

1.6.1. Plans to Protect Archaeological Remains
1.6.2. Plans to Protect Scientific Collections
1.6.3. Plans to Protect Other Intangible Cultural Heritage Elements
1.6.4. Importance of Restoration

1.7. Problems for Conservation of Assets of Cultural Interest

1.7.1. What does Conservation Involve?
1.7.2. Conservation Problems
1.7.3. Criteria to Carry out a Cultural Heritage Restoration
1.7.4. Rehabilitation of Assets of Cultural Interest

1.8. Preventive Conservation of the Cultural Heritage

1.8.1. Concept

1.8.1.1. What is Preventive Conservation?

1.8.2. Methods
1.8.3. Techniques
1.8.4. Who is Responsible for the Conservation?

1.9. Study of the Context of Cultural Property and Heritage Collections I

1.9.1. What is the Valuation of Cultural Assets?
1.9.2. Materials Used in the Conservation of Tangible Assets and Heritage Collections
1.9.3. Storage
1.9.4. Exhibition

1.10. Study of the Context of Cultural Assets and Heritage Collections II

1.10.1. What is Involved and Who is in Charge of Packaging?
1.10.2. Packaging of Cultural Property and Heritage Collections and Heritage Collections
1.10.3. Transport of Cultural Property and Heritage Collections
1.10.4. Handling of Cultural Property and Heritage Collections

Module 2. Management of Museums, Art Galleries and Exhibitions

2.1. Museums and Art Galleries

2.1.1. The Evolution of the Concept of Museum
2.1.2. History of Museums
2.1.3. Content-Based Typology
2.1.4. Contents

2.2. Organization of Museums

2.2.1. What is the Function of an Museum?
2.2.2. The Core of the Museum: the Collections
2.2.3. The Invisible Museum: The Storerooms
2.2.4. The DOMUS Software: Integrated System Documentation and Museum Management System

2.3. Dissemination and Communication of the Museum

2.3.1. Exhibition Planning
2.3.2. Forms and Types of Exhibitions
2.3.3. Dissemination and Communication Areas
2.3.4. Museums and Cultural Tourism
2.3.5. Corporate Image

2.4. Management of Museums

2.4.1. Department of Management and Administration
2.4.2. Sources of Financing, Public and Private
2.4.3. Associations of Friends of Museums
2.4.4. The Store

2.5. Role of the Museum in the Information Society

2.5.1. Differences between Museology and Museography
2.5.2. Role of the Museum in Today’s Society
2.5.3. Information and Communication Technologies at the Service of the Museum
2.5.4. Applications for Mobile Devices

2.6. The Art Market and the Collectors

2.6.1. What is the Art Market?
2.6.2. The Art Trade

2.6.2.1. Circuits
2.6.2.2. Markets
2.6.2.3. Internationalization

2.6.3. The Most Important Art Fairs in the World

2.6.3.1. Structure
2.6.3.2. Organization

2.6.4. Trends in International Collecting

2.7. Art Galleries

2.7.1. How to Plan an Art Gallery?
2.7.2. Functions and Constitution of Art Galleries
2.7.3. Towards a New Typology of Galleries
2.7.4. How Galleries are Managed?

2.7.4.1. Artists
2.7.4.2. Marketing
2.7.4.3. Markets

2.7.5. Difference among Museums, Exhibition Halls and Art Galleries

2.8. Artists and their Exhibitions

2.8.1. Recognition of the Artist
2.8.2. The Artist and Their Work
2.8.3. Copyright and Intellectual Property
2.8.4. Awards and Opportunities

2.8.4.1. Contests
2.8.4.2. Scholarships
2.8.4.3. Awards

2.8.5. Specialized Journals

2.8.5.1. Art Critic
2.8.5.2. Cultural Journalism

2.9. The Motives of Culture

2.9.1. What Culture Represents
2.9.2.What Culture Offers
2.9.3. What Culture Needs
2.9.4. Promote Culture

2.10. Basis for Didactic Museography in Art Museums

2.10.1. Art Exhibitions and Museums: The Differential Fact
2.10.2. Some Evidence and Opinions on All This: From Boadella to Gombrich
2.10.3. Art as a Convention Set
2.10.4. Art Inscribed in Very Specific Cultural Traditions
2.10.5. The Art in the Museums and in the Spaces of Heritage Presentation
2.10.6. Art and Didactics
2.10.7. The Interactivity as Didactic Resource in the Art Museums

Module 3. Cultural Documentation: Cataloging and Research

3.1. Documentation of a Museum

3.1.1. What Is the Documentation of a Museum?
3.1.2. What is the Purpose of an Museum?
3.1.3. Museums as a Collection Center of Documentation
3.1.4. Documentation Related to Museum Objects

3.2.  Information Management and its Practical Application

3.2.1. Description of the Information Management
3.2.2. Information Management Origins and Development

3.2.2.1. 20th Century
3.2.2.2. Present

3.2.3. Tools for Management Information
3.2.4. Who Can be in Charge of the Information Management?

3.3. Documentary System I

3.3.1. Archive Documentary Content

3.3.1.1. Archive in Document Management
3.3.1.2. Importance of the Documentary Archives

3.3.2. Duties of the Personnel in Charge of the Documentary Archive
3.3.3. Documentary Instruments

3.3.3.1. Records
3.3.3.2. Inventory
3.3.3.3. Catalog

3.4. Documentary System II

3.4.1. Documentation

3.4.1.1. Graph
3.4.1.2. Technique
3.4.1.3. Restoration

3.4.2. Documentary Movements and Funds
3.4.3. Administrative Documentation and Filing

3.5. Documentary Standardization

3.5.1. Terminological Control Tools

3.5.1.1. Hierarchical Lists
3.5.1.2. Dictionaries
3.5.1.3. Thesauri

3.5.2. Quality Standards
3.5.3. ICT Applications

3.6. Museum Investigation

3.6.1. Theoretical Framework
3.6.2. Documentation vs. Research
3.6.3. Information Management Processes

3.7. Dissemination Platforms of Collections and Projects

3.7.1.  Transmission of Knowledge
3.7.2.  Social Networks
3.7.3.  Media

3.8. Education in the Context of Heritage and Museums

3.8.1. Didactics of Museums
3.8.2. Role of the Museums and Galleries in Education
3.8.3. Theoretical Framework of Learning

3.8.3.1. Formal
3.8.3.2. Non-formal
3.8.3.3. Informal

3.9. Mediation and Participatory Experiences

3.9.1. Education for Equality and Integrity
3.9.2. Proposals of Awareness and Respect for the Environment
3.9.3. Sociomuseology

3.10. Divisions of Education and Cultural Action

3.10.1. History
3.10.2. Structure
3.10.3. Functions

Module 4. Cultural Management of Music and Dance

4.1. Conceptualizations and Sources

4.1.1. Relationships in Cultural Management

4.1.1.1. Economy
4.1.1.2. Sociology
4.1.1.3. Art

4.1.2. The Scarcity of Reliable Databases and Surveys
4.1.3. Sources

4.1.3.1. Websites
4.1.3.2. Critique
4.1.3.3. Press (All Types)

4.2. Music and Dance

4.2.1. Arts

4.2.1.1. In Time
4.2.1.2. In Space

4.2.3. Human Resources to Develop Music and Dance
4.2.4. Record and Video
4.2.5. Summary of Genres at Global Level

4.3. Sources of Financing

4.3.1. Historic Sketches
4.3.2. Grants for the Arts of the Classical Canon in the Last 70 Years
4.3.3. Reflections on the Models
4.3.4. Non-Classical Canon Music and Dance

4.4. Types of Organization Organization and Human Resources

4.4.1. Questions of Principle

4.4.1.1. Producer Entities
4.4.1.2. Programming Entities
4.4.1.3. Mixed Entities

4.4.2. Symphony Orchestras

4.4.2.1. Figure of the Manager
4.4.2.2. Figure of the Musical Director

4.4.3. Chamber Orchestras
4.4.4. Opera Companies
4.4.5. Ballet Companies
4.4.6. Auditoriums
4.4.7. Festivals
4.4.8. Most Important Musical Bands Worldwide

4.5. The Infrastructures

4.5.1. Typology

4.5.1.1. Theaters
4.5.1.2. Museums
4.5.1.3. Stages
4.5.1.4. Coliseums
4.5.1.5. Others

4.5.2. Sizes and Capacity
4.5.3. Location and Transportation

4.6. The Audience

4.6.1. What Type of Audience is Found in Music and Dance?
4.6.2. Relationship Between Offer and Public
4.6.3. The Consumption Type Variable
4.6.4. Age Variable
4.6.5. The Educational-Cultural Variable
4.6.6. The Socioeconomic Variable

4.7. Prices and Their Main Problems

4.7.1. Organization of the Offer

4.7.1.1. Cycles
4.7.1.2. Seasons
4.7.1.3. Subscriptions
4.7.1.4. Programs
4.7.1.5. Functions

4.7.2. Public and Private Spheres in Relation to Prices
4.7.3. From Madonna to Gregorian Chant

4.8. The Choice of Repertoires of Saturated Niches vs. Abandoned Niches

4.8.1. Problems
4.8.2. The Artist before Their Art
4.8.3. Is there an Excess of Formats and Repertoires?
4.8.4. Do the Agents of Opinion Have a Negative Influence?
4.8.5. The Profile of Programmers
4.8.6. The Personal Taste and Musical Culture of the Programmers
4.8.7. Are there Solutions?

4.9. Necessary Elements

4.9.1. Music and Dance Management
4.9.2. Politicians
4.9.3. Concert Agencies and Agents
4.9.4. Music Critique
4.9.5. Radio and Television
4.9.6. Record and Video Labels

4.10. The Management of Musical Heritage and Copyright

4.10.1. Written Materials and Copyright

4.10.1.1. Musical
4.10.1.2. Choreographic
4.10.1.3. Copyrights

4.10.2. Historical Repertoires

4.10.2.1. Problems of Editions
4.10.2.2. Facilities for Self-Publishing

4.10.3. Classic Repertoires

4.10.3.1. Problems with Costs
4.10.3.2. Problems with Low Collections

4.10.4. Premiere Repertoires in Popular Urban and Jazz Canons
4.10.5. Music Archives of Unpublished Repertoire, Manuscript or Written
4.10.6. The Phonotheques
4.10.7. The Peculiar Case of Dances

Module 5. Cultural Tourism Management

5.1. Introduction to Cultural Heritage

5.1.1. Cultural Tourism
5.1.2. Cultural Heritage
5.1.3. Cultural Tourism Resources

5.2. Sustainability as a Reference in Tourism and Cultural Heritage

5.2.1. Concept of Urban Sustainability
5.2.2. Tourist Sustainability
5.2.3. cultural Sustainability

5.3. Hosting Capacity and its Application in Tourist Destinations

5.3.1. Conceptualization
5.3.2. Dimensions of Tourism Carrying Capacity
5.3.3. Case Studies
5.3.4. Approaches and Proposals for the Study of Tourist Carrying Capacity

5.4. Tourist Use of the Area

5.4.1. Flows of Visitors and Heritage Tourist Areas
5.4.2. General Patterns of Tourist Mobility and Use of the Area
5.4.3. Tourism and Heritage Sites: Effects and Problems Derived from Tourism Flows

5.5. The Challenges of Space Management

5.5.1. Strategies for Diversification of the Tourist Use of the Area
5.5.2. Tourism Demand Management Measures
5.5.3. The Enhancement of the Heritage and Accessibility Control
5.5.4. Visitor Management in Heritage Sites with Complex Visiting Models. Case Studies

5.6. Cultural Tourism Product

5.6.1. Urban and Cultural Tourism
5.6.2. Culture and Tourism
5.6.3. Transformations in the Cultural Travel Market

5.7. Heritage Preservation Policies

5.7.1. Conservation vs. Exploitation of Assets
5.7.2. International Regulations
5.7.3. Conservation Policies

5.8. Management of Cultural Resources in Tourist Areas

5.8.1. Promotion and Management of Urban Tourism
5.8.2. Heritage Tourism Management
5.8.3. Public and Private Management

5.9. Employability in Cultural Tourism

5.9.1. Characteristics of Employability in Cultural Tourism
5.9.2. Study and Profiles in Cultural Tourism
5.9.3. The Tourist Guide and the Interpretation of the Patrimony

5.10. Case Studies of Successful Cases in the Management of Cultural Heritage in the Tourism Field

5.10.1. Strategies for Cultural and Tourism Development of the Local Heritage
5.10.2. The Associative Management of a Public Project
5.10.3. Visitor Analysis as a Cultural Management Tool
5.10.4. Local Policies of Tourist Dynamization and Great Cultural Attractions
5.10.5. Local Tourism Planning and Management in a World Heritage City

Module 6. Marketing in Cultural Market

6.1. Culture Outside the Industry

6.1.1. The Art Market

6.1.1.1. Environment of the Cultural and Creative Industry: The Place of Cultural Organizations in Society
6.1.1.2. The Global Economic Impact of the Cultural and Creative Industry

6.1.2. Cultural Heritage and the Performing Arts

6.1.2.1. Cultural Heritage and the Performing Arts in Society
6.1.2.2. Cultural Heritage and the Performing Arts in the Media

6.2. Cultural Industries

6.2.1. The Concept of Cultural Industry

6.2.1.1. The Publishing Industry
6.2.1.2. The Musical Industry
6.2.1.3. The Film Industry

6.3. Journalism and Art

6.3.1. New and Old Forms of Communication

6.3.1.1. Beginnings and Evolution of Art in the Media
6.3.1.2. New Forms of Communication and Writing

6.4. Culture in the Digital World

6.4.1. Culture in the Digital World
6.4.2. The Omnipresence of the Visual. Controversies of the Digital Age
6.4.3. The Transmission of Information through Video Games
6.4.4. Collaborative Art

6.5. The Media Structure

6.5.1. The Audiovisual and Press Sector

6.5.1.1. The Impact of Large Media Groups on Culture
6.5.1.2. Live Platforms, a Challenge for Conventional Media

6.5.2. The Cultural Journalism Sector

6.5.2.1. The Cultural Market in a Global World. Towards Homogenization or Diversification?

6.6. Introduction to Marketing

6.6.1. The 4 Ps

6.6.1.1. Basic Aspects of Marketing
6.6.1.2. Marketing Mix
6.6.1.3. The Necessity (or Not) of Marketing in the Cultural Market

6.6.2. Marketing and Consumerism

6.6.2.1. The Culture Consumption
6.6.2.2. Quality as a Cross-Cutting Factor in Information Products

6.7. Marketing and Value: Art for Art's Sake, Art in Ideological Programs, and Art as a Market Product

6.7.1. Art for Art's Sake

6.7.1.1. The Art of the Masses The Homogeneity of Art and Its Value
6.7.1.2. Is Art Created for the Media or Does the Media Transmit Art?

6.7.2. Art within Ideological Programs

6.7.2.1. Art, Politics and Activism
6.7.2.2. Basic Symbolism in Art

6.7.3. Art as a Market Product

6.7.3.1. Art in Advertising
6.7.3.2. Cultural Management for a Successful Development of the Work

6.8. Marketing of the Main Cultural Industries

6.8.1. Current Trends in the Main Cultural Industries

6.8.1.1. The Needs of Consumers as Represented in Companies
6.8.1.2. Successful Cultural Products in the Media

6.9. Research as a Central Marketing Tool

6.9.1. Collection of Market and Consumer Data

6.9.1.1. Differentiation in Relation to Competitors
6.9.1.2. Other Investigative Strategies

6.10. The Future of Cultural Marketing

6.10.1. The Future of Cultural Marketing

6.10.1.1. Cultural Marketing Tendencies
6.10.1.2. The Cultural Products with the Greatest Power in the Market

Module 7. Production and Direction in Cultural Management

7.1. Tools for the management of cultural organizations I

7.1.1. Cultural Management
7.1.2. Classification of Cultural Products
7.1.3. Cultural Management Objectives

7.2. Tools for the Management of Cultural Organizations II

7.2.1.  Cultural Organizations
7.2.2.  Typology
7.2.3.  UNESCO

7.3.  Collecting and Patronage

7.3.1. The Art of Collections
7.3.2. Developer of the Taste for Collecting throughout History
7.3.3. Types of Collections

7.4. The Role of the Foundations

7.4.1. What do They Consist of?
7.4.2. Associations and Foundations

7.4.2.1. Differences
7.4.2.2. Similarities

7.4.3. Examples of Cultural Foundations Worldwide

7.5. Cultural Development in Third-Sector Organizations

7.5.1. What are Third-Sector Organizations?
7.5.2. Role of Third-Sector Organizations in Society
7.5.3. Networks

7.6. Public Institutions and Organizations

7.6.1. Model of Organization of Cultural Policy in Europe
7.6.2. Main public Institutions in Europe
7.6.3. Cultural Action of the European International Organizations

7.7. Cultural Heritage

7.7.1. Culture as a Country Brand
7.7.2. Cultural Policies

7.7.2.1. Institutions
7.7.2.2. Figures

7.7.3. Culture as Heritage of the Humanity

7.8. Cultural Heritage Dissemination

7.8.1. What is Cultural Heritage?
7.8.2. Public Management
7.8.3. Private Management
7.8.4. Coordinated Management

7.9. Project Creation and Management

7.9.1. What is Creation and Project Management?
7.9.2. Productions

7.9.2.1. Relations
7.9.2.2. Private
7.9.2.3. Co-productions
7.9.2.4. Others

7.9.3. Cultural Management Planning

7.10. Art, Company and Society

7.10.1. The Third-Sector as Social Opportunity
7.10.2. Social Commitment of Companies through the Different Art Types

7.10.2.1. Investments
7.10.2.2. Profitability
7.10.2.3. Promotion
7.10.2.4. Profit

7.10.3. Art as Inclusion and Transformation of the Society
7.10.4. The Theater as Social Opportunity
7.10.5. Festivals that Involve Citizenship

Module 8. Technology and Design for Cultural Promotion

8.1. The Importance of Image in Businesses

8.1.1. MTV

8.1.1.1. The Emergence of MTV
8.1.1.2. Videoclip

8.1.2. From MTV to YouTube
8.1.3. Old Marketing vs. Digital Era

8.2. Content Creation

8.2.1. Core of Dramatic Conviction

8.2.1.1. Objective of the Staging
8.2.1.2. Aesthetic-Stylistic Strategy
8.2.1.3. The Passage from Theater to the Rest of the Arts

8.2.2. Consumer Target Worldwide
8.2.3. Content Creation

8.2.3.1. Flyer
8.2.3.2. Teaser
8.2.3.3. Social Networks

8.2.4. Dissemination Media

8.3. Graphic Designer and Community Manager

8.3.1. Meeting Phases
8.3.2. Why is it Necessary to Have a Graphic Designer?
8.3.3. The Role of the Community Manager

8.4. Inclusion of Creators in Conventional Sample Media

8.4.1. ICT Applications

8.4.1.1. Personal Sphere
8.4.1.2. Professional Sphere

8.4.2. Addition of DJ and VJ

 8.4.2.1. Use of DJ and VJ in Shows
 8.4.2.2. Use of DJ and VJ in Theater
 8.4.2.3. Use of DJ and VJ in Dance
 8.4.2.4. Use of DJ and VJ in Events
 8.4.2.5. Use of DJ and VJ in Sporting Events

8.4.3. Real-Time Illustrators

 8.4.3.1. Arena
 8.4.3.2. Drawing
 8.4.3.3. Transparency
 8.4.3.4. Visual Storytelling

8.5. ICT for Stage and Creation I

8.5.1. Video Projection, Videowall, Videosplitting

8.5.1.1. Differences
8.5.1.2. Evolution
8.5.1.3. From Incandescence to Laser Phosphors

8.5.2. The Use of Software in Shows

8.5.2.1. From Incandescence to Laser Phosphors
8.5.2.2. Why are They Used?
8.5.2.3. How do they Help Creativity and Exhibition?

8.5.3. Technical and Artistic Personnel

8.5.3.1. Roles
8.5.3.2. Management

8.6. ICT for Stage and Creation II

8.6.1. Interactive Technologies

8.6.1.1. Why are They Used?
8.6.1.2. Advantages
8.6.1.3. Disadvantages

8.6.2. AR
8.6.3. VR
8.6.4. 360º

8.7. ICT for the Stage and Creation

8.7.1. Ways of Sharing Information

8.7.1.1. Drop Box
8.7.1.2. Drive
8.7.1.3. iCloud
8.7.1.4. WeTransfer

8.7.2. Social Networks and Outreach
8.7.3. Use of ICTs in Live Shows

8.8. Sample Supports

8.8.1. Conventional Supports

8.8.1.1. What Are They?
8.8.1.2. Which Ones are Known?
8.8.1.3. Small Format
8.8.1.4. Large Format

8.8.2. Unconventional Supports

8.8.2.1. What Are They?
8.8.2.2. Which Ones Are They?
8.8.2.3. Where and How can They be Used?

8.8.3. Examples

8.9. Corporate Events

8.9.1. Corporate Events

 8.9.1.1. What Are They?
 8.9.1.2. What are We Looking for?

8.9.2. The 5W+1H Concrete Review Applied to the to the Corporate
8.9.3. Most Commonly Used Supports

8.10. Audiovisual Production

8.10.1. Audiovisual Resources

8.10.1.1. Museum Resources
8.10.1.2. Scene Resources
8.10.1.3. Event Resources

8.10.2. Types of Plans
8.10.3. Emergence of Projects
8.10.4. Phases of the Process

Module 9. Design of Cultural Events

9.1. Project Management

9.1.1. Gathering Information, Project Start-Up: What Should We Do?
9.1.2. Study of Possible Locations
9.1.3. Pros and Cons of the Chosen Options

9.2. Research Techniques. Design Thinking

9.2.1. Stakeholder Maps
9.2.2. Focus Group
9.2.3. Bench Marking

9.3.  Experiential Design Thinking

9.3.1.  Cognitive Immersion
9.3.2.  Covert Observation
9.3.3.  World Café

9.4. Defining Target Audience

9.4.1. Who Is the Event Aimed at?
9.4.2. Why Are We Doing the Event?
9.4.3. What Is the Purpose of the Event?

9.5. Trends

9.5.1. New Trends in Staging
9.5.2. Digital Contributions
9.5.3. Immersive and Experiential Events

9.6. Personalization and Design Space

9.6.1. Adaptation of the Space to the Brand
9.6.2. Branding
9.6.3. Brand Manual

9.7. Experience Marketing

9.7.1. Living the Experience
9.7.2. Immersive Event
9.7.3. Fostering Memory

9.8. Signage

9.8.1. Signage Techniques
9.8.2. The Attendant's Vision
9.8.3. Coherence of the Story. Event with Signage

9.9. The Event Venues

9.9.1. Studies of Possible Venues. The 5 Why's
9.9.2. Choice of the Venue According to the Event
9.9.3. Selection Criteria

9.10. Proposed Staging. Types of Scenarios

9.10.1. New Staging Proposals
9.10.2. Prioritization of Proximity to the Speaker
9.10.3. Scenarios Related to Interaction

Module 10.Planning of Cultural Events

10.1. Program Timing and Organization

10.1.1. Time Available for the Organization of the Event
10.1.2. Duration of the Event
10.1.3. Event Activities

10.2. Space Organization

10.2.1. Number of Expected Attendees
10.2.2. Number of Simultaneous Rooms
10.2.3. Room Formats

10.3. Speakers and Guests

10.3.1. Choice of Speakers
10.3.2. Contact and Confirmation of Speakers
10.3.3. Management of Speakers' Attendance

10.4. Protocol

10.4.1. Range of Invited Guests
10.4.2. Disposition of the Presidency
10.4.3. Parliamentary Organization

10.5. Security/Safety

10.5.1. Access Control: the Security Perspective
10.5.2. Coordination with Security Forces
10.5.3. Internal Control of Spaces

10.6. Emergencies

10.6.1. Evacuation Plan
10.6.2. Study of the Needs in Case of Emergency
10.6.3. Creation of Medical Assistance Point

10.7. Capabilities

10.7.1. Assessment of Capacity
10.7.2. Distribution of Attendees at the Venue
10.7.3. Maximum Capacities and Decisions to Be Made

10.8. Accessible

10.8.1. Study of the Number of Accesses
10.8.2. Capacity of Each of the Accesses
10.8.3. Timing Calculation for Entry and Exit for Each Access

10.9. Transport

10.9.1. Assessment of Transportation Possibilities
10.9.2. Transportation Accessibility
10.9.3. Personal or Public Transportation Pros and Cons

10.10. Locations

10.10.1. How Many Locations Does the Event Have?
10.10.2. Where Are They Located?
10.10.3. Ease of Access to Venues

Module 11. Leadership, Ethics and Social Responsibility in Companies 

11.1. Globalization and Governance

11.1.1. Governance and Corporate Governance
11.1.2. The Fundamentals of Corporate Governance in Companies
11.1.3. The Role of the Board of Directors in the Corporate Governance Framework

11.2. Leadership

11.2.1. Leadership. A Conceptual Approach
11.2.2. Leadership in Companies
11.2.3. The Importance of Leaders in Business Management

11.3. Cross-Cultural Management

11.3.1. Concept of Cross-Cultural Management
11.3.2. Contributions to the Knowledge of National Cultures
11.3.3. Diversity Management

11.4. Management and Leadership Development

11.4.1. Concept of Management Development
11.4.2. Concept of Leadership
11.4.3. Leadership Theories
11.4.4. Leadership Styles
11.4.5. Intelligence in Leadership
11.4.6. The Challenges of Today's Leader

11.5. Business Ethics

11.5.1. Ethics and Morality
11.5.2. Business Ethics
11.5.3. Leadership and Ethics in Companies

11.6. Sustainability

11.6.1. Sustainability and Sustainable Development
11.6.2. The 2030 Agenda
11.6.3. Sustainable Companies

11.7. Corporate Social Responsibility

11.7.1. International Dimensions of Corporate Social Responsibility
11.7.2. Implementing Corporate Social Responsibility
11.7.3. The Impact and Measurement of Corporate Social Responsibility

11.8. Responsible Management Systems and Tools

11.8.1. CSR: Corporate Social Responsibility
11.8.2. Essential Aspects for Implementing a Responsible Management Strategy
11.8.3. Steps for the Implementation of a Corporate Social Responsibility Management System
11.8.4. Tools and Standards of CSR

11.9. Multinationals and Human Rights

11.9.1. Globalization, Multinational Corporations and Human Rights
11.9.2. Multinational Corporations and International Law
11.9.3. Legal Instruments for Multinationals in the Field of Human Rights

11.10. Legal Environment and Corporate Governance

11.10.1. International Rules on Importation and Exportation
11.10.2. Intellectual and Industrial Property
11.10.3. International Labor Law

Module 12. People and Talent Management

12.1. Strategic People Management

12.1.1. Strategic Human Resources Management
12.1.2. Strategic People Management

12.2. Human Resources Management by Competencies

12.2.1. Analysis of the Potential
12.2.2. Remuneration Policy
12.2.3. Career/Succession Planning

12.3. Performance Evaluation and Performance Management

12.3.1. Performance Management
12.3.2. Performance Management: Objectives and Process

12.4. Innovation in Talent and People Management

12.4.1. Strategic Talent Management Models
12.4.2. Talent Identification, Training and Development
12.4.3. Loyalty and Retention
12.4.4. Proactivity and Innovation

12.5. Motivation

12.5.1. The Nature of Motivation
12.5.2. Expectations Theory
12.5.3. Needs Theory
12.5.4. Motivation and Financial Compensation

12.6. Developing High Performance Teams

12.6.1. High-Performance Teams: Self-Managing Teams
12.6.2. Methodologies for Managing High Performance Self-Managed Teams

12.7. Change Management

12.7.1. Change Management
12.7.2. Types of Change Management Processes
12.7.3. Stages or Phases in Change Management

12.8. Negotiation and Conflict Management

12.8.1. Negotiation
12.8.2. Conflict Management
12.8.3. Crisis Management

12.9. Executive Communication

12.9.1. Internal and External Communication in the Business Environment
12.9.2. Communication Departments
12.9.3. The Head of Communication of the Company. The Profile of the Dircom

12.10. Productivity, Attraction, Retention and Activation of Talent

12.10.1. Productivity
12.10.2. Talent Attraction and Retention Levers

Module 13. Economic and Financial Management

13.1. Economic Environment

13.1.1. Macroeconomic Environment and the National Financial System
13.1.2. Financial Institutions
13.1.3. Financial Markets
13.1.4. Financial Assets
13.1.5. Other Financial Sector Entities

13.2. Executive Accounting

13.2.1. Basic Concepts
13.2.2. The Company's Assets
13.2.3. The Company's Liabilities
13.2.4. The Company's Net Worth
13.2.5. The Income Statement

13.3. Information Systems and Business Intelligence

13.3.1. Fundamentals and Classification
13.3.2. Cost Allocation Phases and Methods
13.3.3. Choice of Cost Center and Impact

13.4. Budget and Management Control

13.4.1. The Budgetary Model
13.4.2. The Capital Budget
13.4.3. The Operating Budget
13.4.5. The Cash Budget
13.4.6. Budget Monitoring

13.5. Financial Management

13.5.1. The Company's Financial Decisions
13.5.2. The Financial Department
13.5.3. Cash Surpluses
13.5.4. Risks Associated with Financial Management
13.5.5. Risk Management of the Financial Management

13.6. Financial Planning

13.6.1. Definition of Financial Planning
13.6.2. Actions to Be Taken in Financial Planning
13.6.3. Creation and Establishment of the Business Strategy
13.6.4. The Cash Flow Chart
13.6.5. The Working Capital Chart

13.7. Corporate Financial Strategy

13.7.1. Corporate Strategy and Sources of Financing
13.7.2. Corporate Financing Financial Products

13.8. Strategic Financing

13.8.1. Self-financing
13.8.2. Increase in Shareholder's Equity
13.8.3. Hybrid Resources
13.8.4. Financing through Intermediaries

13.9. Financial Analysis and Planning

13.9.1. Analysis of the Balance Sheet
13.9.2. Analysis of the Income Statement
13.9.3. Profitability Analysis

13.10. Analyzing and Solving Cases/Problems

13.10.1. Financial Information on Industria de Diseño y Textil, S.A. (INDITEX)

Module 14. Commercial Management and Strategic Marketing

14.1. Commercial Management

14.1.1. Conceptual Framework of Commercial Management
14.1.2. Commercial Strategy and Planning
14.1.3. The Role of Sales Managers

14.2. Marketing

14.2.1. The Concept of Marketing
14.2.2. The Basic Elements of Marketing
14.2.3. Marketing Activities in Companies

14.3. Strategic Marketing Management

14.3.1. The Concept of Strategic Marketing
14.3.2. Concept of Strategic Marketing Planning
14.3.3. Stages in the Process of Strategic Marketing Planning

14.4. Digital Marketing and e-Commerce

14.4.1. Objectives of Digital Marketing and e-Commerce
14.4.2. Digital Marketing and the Media It Uses
14.4.3. E-Commerce. General Context
14.4.4. Categories of e-Commerce
14.4.5. Advantages and Disadvantages of e-Commerce Compared to Traditional Commerce

14.5. Digital Marketing to Reinforce a Brand

14.5.1. Online Strategies to Improve Brand Reputation
14.5.2. Branded Content and Storytelling

14.6. Digital Marketing to Attract and Retain Customers

14.6.1. Loyalty and Engagement Strategies Using the Internet
14.6.2. Visitor Relationship Management
14.6.3. Hypersegmentation

14.7. Digital Campaign Management

14.7.1. What Is a Digital Advertising Campaign?
14.7.2. Steps to Launch an Online Marketing Campaign
14.7.3. Mistakes in Digital Advertising Campaigns

14.8. Sales Strategy

14.8.1. Sales Strategy
14.8.2. Sales Methods

14.9. Corporate Communication

14.9.1. Concept
14.9. 2 The Importance of Communication in the Organization
14.9.3. Type of Communication in the Organization
14.9.4. Functions of Communication in the Organization
14.9.5. Elements of Communication
14.9.6. Problems of Communication
14.9.7. Communication Scenarios

14.10. Digital Communication and Reputation

14.10.1. Online Reputation
14.10.2. How to Measure Digital Reputation?
14.10.3. Online Reputation Tools
14.10.4. Online Reputation Report
14.10.5. Online Branding

Module 15. Executive Management

15.1. General Management

15.1.1. The Concept of General Management
15.1.2. The Role of the CEO
15.1.3. The CEO and their Responsibilities
15.1.4. Transforming the Work of Management

15.2. Manager Functions: Organizational Culture and Approaches

15.2.1. Manager Functions: Organizational Culture and Approaches

15.3. Operations Management

15.3.1. The Importance of Management
15.3.2. Value Chain
15.3.3. Quality Management

15.4. Public Speaking and Spokesperson Education

15.4.1. Interpersonal Communication
15.4.2. Communication Skills and Influence
15.4.3. Communication Barriers

15.5. Personal and Organizational Communication Tools

15.5.1. Interpersonal Communication
15.5.2. Interpersonal Communication Tools
15.5.3. Communication in the Organization
15.5.4. Tools in the Organization

15.6. Communication in Crisis Situations

15.6.1. Crisis
15.6.2. Phases of the Crisis
15.6.3. Messages: Contents and Moments

15.7. Preparation of a Crisis Plan

15.7.1. Analysis of Possible Problems
15.7.2. Planning
15.7.3. Adequacy of Personnel

15.8. Emotional Intelligence

15.8.1. Emotional Intelligence and Communication
15.8.2. Assertiveness, Empathy, and Active Listening
15.8.3. Self- Esteem and Emotional Communication

15.9. Personal Branding

15.9.1. Strategies for Personal Brand Development
15.9.2. Personal Branding Laws
15.9.3. Tools for Creating Personal Brands

15.10. Leadership and Team Management

15.10.1. Leadership and Leadership Styles
15.10.2. Leadership Skills and Challenges
15.10.3. Managing Change Processes
15.10.4. Managing Multicultural Teams

A program designed to introduce you to the latest interactive technology currently used in cultural events”