This Executive Master's Degree will provide you with the knowledge you need to advance as cultural manager and revolutionize the industry” 

Why Study at TECH?

TECH is the world's largest 100% online business school. It is an elite business school, with a model based on the highest academic standards. A world-class centre for intensive managerial skills training.   

TECH is a university at the forefront of technology, and puts all its resources at the student's disposal to help them achieve entrepreneurial success"

At TECH Global University

Innovation

The university offers an online learning model that combines the latest educational technology with the most rigorous teaching methods. A unique method with the highest international recognition that will provide students with the keys to develop in a rapidly-evolving world, where innovation must be every entrepreneur’s focus.

"Microsoft Europe Success Story", for integrating the innovative, interactive multi-video system.  

The Highest Standards

Admissions criteria at TECH are not economic. Students don't need to make a large investment to study at this university. However, in order to obtain a qualification from TECH, the student's intelligence and ability will be tested to their limits. The institution's academic standards are exceptionally high...  

95% of TECH students successfully complete their studies.

Networking

Professionals from countries all over the world attend TECH, allowing students to establish a large network of contacts that may prove useful to them in the future.  

100,000+ executives trained each year, 200+ different nationalities.

Empowerment

Students will grow hand in hand with the best companies and highly regarded and influential professionals. TECH has developed strategic partnerships and a valuable network of contacts with major economic players in 7 continents.  

500+ collaborative agreements with leading companies.

Talent

This program is a unique initiative to allow students to showcase their talent in the business world. An opportunity that will allow them to voice their concerns and share their business vision. 

After completing this program, TECH helps students show the world their talent. 

Multicultural Context

While studying at TECH, students will enjoy a unique experience. Study in a multicultural context. In a program with a global vision, through which students can learn about the operating methods in different parts of the world, and gather the latest information that best adapts to their business idea. 

TECH students represent more than 200 different nationalities.   

Learn with the best

In the classroom, TECH teaching staff discuss how they have achieved success in their companies, working in a real, lively, and dynamic context. Teachers who are fully committed to offering a quality specialization that will allow students to advance in their career and stand out in the business world. 

Teachers representing 20 different nationalities. 

TECH strives for excellence and, to this end, boasts a series of characteristics that make this university unique:   

Analysis

TECH explores the student’s critical side, their ability to question things, their problem-solving skills, as well as their interpersonal skills.  

Academic Excellence

TECH offers students the best online learning methodology. The university combines the Relearning method (a postgraduate learning methodology with the highest international rating) with the Case Study. A complex balance between tradition and state-of-the-art, within the context of the most demanding academic itinerary.  

TECH is the world’s largest online university. It currently boasts a portfolio of more than 10,000 university postgraduate programs. And in today's new economy, volume + technology = a ground-breaking price. This way, TECH ensures that studying is not as expensive for students as it would be at another university.  

At TECH, you will have access to the most rigorous and up-to-date case studies in the academic community”

This academic training has been planned to offer in just 6 months, the knowledge that every professional needs to progress in the field of Cultural Direction and Management. For this, you will have at your disposal pedagogical tools, in which TECH has used the latest technology and which can be accessed 24 hours a day from a computer, tablet or cell phone with Internet connection. This flexibility is especially designed for those who need to combine a university qualification with their professional responsibilities.  

This is a flexible program: no classroom attendance, no classes with fixed schedules. Enroll now”  

Syllabus

This Postgraduate Diploma in Cultural Direction and Management from TECH Global University is an advanced program that prepares the professionals to successfully face the new challenges that the sector is facing.

For this reason, the content of this university program will allow you to effectively develop managerial skills that will help you make decisions in a sector that is constantly changing and attracting new audiences.

Thus, during the 600 teaching hours of this university course, the specialists will have at their disposal multimedia resources (video summaries, videos in detail), diagrams, complementary readings and case studies that will lead them to delve in a much more dynamic way into the latest information on the promotion of the cultural sector and the production of events.

In addition, students who enter this online program will delve over 6 months into the current marketing trends of the main cultural industries, ICT, the cultural tourism product or the strategies used for the preservation of heritage.

A study plan prepared by specialists in the sector, which will lead the professionals to expand their managerial skills, enhance their skills and acquire an update of their knowledge in the field of Cultural Direction and Management.

This Postgraduate diploma takes place over 6 months and is divided into 4 modules:

Module 1. Marketing in Cultural Market 
Module 2. Production and Direction in Cultural Management
Module 3. Technology and Design for Cultural Promotion
Module 4. Cultural Tourism Management

Where, When and How is it Taught?

TECH offers the possibility of developing this Postgraduate diploma in Cultural Direction and Management completely online. Throughout the 6 months of the educational program, you will be able to access all the contents of this program at any time, allowing you to self-manage your study time.

Module 1. Marketing in Cultural Market

1.1. Culture outside the Industry

1.1.1. The Art Market

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

1.1.2. Cultural Heritage and the Performing Arts

1.1.2.1. Cultural Heritage and the Performing Arts in Society
1.1.2.2. Cultural Heritage and the Performing Arts in the Media

1.2. Cultural Industries

1.2.1. The Concept of Cultural Industry

1.2.1.1. The Publishing Industry
1.2.1.2. The Musical Industry
1.2.1.3. The Film Industry

1.3. Journalism and Art

1.3.1. New and Old Forms of Communication

1.3.1.1. Beginnings and Evolution of Art in the Media
1.3.1.2. New Forms of Communication and WritingModule 1. Marketing in Cultural Market

1.4. Culture in the Digital World

1.4.1. Culture in the Digital World
1.4.2. The Omnipresence of the Visual. Controversies of the Digital Age
1.4.3. The Transmission of Information through Video Games
1.4.4. Collaborative Art

1.5. The Media Structure

1.5.1. The Audiovisual and Press Sector

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

1.5.2. The Cultural Journalism Sector

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

1.6. Introduction to Marketing

1.6.1. The 4 Ps

1.6.1.1. Basic Aspects of Marketing
1.6.1.2. Marketing Mix
1.6.1.3. The Necessity (or not) of Marketing in the Cultural Market

1.6.2. Marketing and Consumerism

1.6.2.1. The Culture Consumption
1.6.2.2. Quality as a Cross-Cutting Factor in Information Products

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

1.7.1. Art for Art's Sake

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

1.7.2. Art within Ideological Programs

1.7.2.1. Art, Politics and Activism
1.7.2.2. Basic Symbolism in Art

1.7.3. Art as a Market Product

1.7.3.1. Art in Advertising
1.7.3.2. Cultural Management for a Successful Development of the Work

1.8. Marketing of the Main Cultural Industries

1.8.1. Current Trends in the Main Cultural Industries

1.8.1.1. The Needs of Consumers as Represented in Companies
1.8.1.2. Successful Cultural Products in the Media

1.9. Research as a Central Marketing Tool

1.9.1. Collection of Market and Consumer Data

1.9.1.1. Differentiation in Relation to Competitors
1.9.1.2. Other Investigative Strategies

1.10. The Future of Cultural Marketing

1.10.1. The Future of Cultural Marketing

1.10.1.1. Cultural Marketing Tendencies
1.10.1.2. The Cultural Products with the Greatest Power in the Market

Módulo 2. Production and Direction in Cultural Management

2.1. Tools for the management of cultural organizations I

2.1.1. Cultural Management
2.1.2. Classification of Cultural Products
2.1.3. Cultural Management Objectives

2.2. Tools for the Management of Cultural Organizations II

2.2.1. Cultural Organizations
2.2.2. Typology
2.2.3. UNESCO

2.3. Collecting and Patronage

2.3.1. The Art of Cpllections
2.3.2. Developer of the Taste for Collecting throughout History.
2.3.3. Types of Collections

2.4. The Role of the Foundations

2.4.1. What do They Consist of?
2.4.2. Associations and Foundations

2.4.2.1. Differences
2.4.2.2. Similarities

2.4.3. Examples of Cultural Foundations Worldwide

2.5. Cultural Development in ThirdSector Organizations

2.5.1. What are Third-Sector Organizations?
2.5.2. Role of Third-Sector Organizations in Society.
2.5.3. Networks

2.6. Public Institutions and Organizations

2.6.1. Model of Organization of Cultural Policy in Europe
2.6.2. Main public Institutions in Europe
2.6.3. Cultural Action of the European International Organizations

2.7. Cultural Heritage

2.7.1. Culture as a Country Brand
2.7.2. Cultural Policies

2.7.2.1. Institutions
2.7.2.2. Figures

2.7.3. Culture as Heritage of the Humanity

2.8. Cultural Heritage Dissemination

2.8.1. What is Cultural Heritage?
2.8.2. Public Management
2.8.3. Private Management
2.8.4. Coordinated Management

2.9. Project Creation and Management

2.9.1. What is Creation and Project Management?
2.9.2. Breeding

2.9.2.1. Public
2.9.2.2. Private
2.9.2.3. Coproductions
2.9.2.4. Others

2.9.3. Cultural Management Planning

2.10. Art, Company and Society

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

2.10.2.1. Investments
2.10.2.2. Profitability
2.10.2.3. Promotion
2.10.2.4. Profit

2.10.3. Art as Inclusion and Transformation of the Society
2.10.4. The Theater as Social Opportunity
2.10.5. Festivals that Involve Citizenship

Módulo 3. Technology and Design for Cultural Promotion  

3.1. The Importance of Image in Businesses

3.1.1. MTV

3.1.1.1. The Emergence of MTV
3.1.1.2. Videoclip

3.1.2. From MTV to YouTube
3.1.3. Old Marketing versus Digital Era

3.2. Content Creation

3.2.1. Core of Dramatic Conviction

3.2.1.1. Objective of the Staging
3.2.1.2. Aesthetic-Stylistic Strategy
3.2.1.3. The Passage from Theater to the Rest of the Arts

3.2.2. Consumer Target Worldwide
3.2.3. Content Creation

3.2.3.1. Flyer
3.2.3.2. Teaser
3.2.3.3. Social media

3.2.4. Dissemination Media

3.3. Graphic Designer and Community Manager

3.3.1. Meeting Phases
3.3.2. Why is it Necessary to Have a Graphic Designer?
3.3.3. The Role of the Community Manager

3.4. Inclusion of Creators in Conventional Sample Media

3.4.1. ICT Applications

3.4.1.1. Personal Sphere
3.4.1.2. Professional Spehre

3.4.2. Addition of DJ and VJ

3.4.2.1. Use of DJ and VJ in Shows
3.4.2.2. Use of DJ and VJ in Theater
3.4.2.3. Use of DJ and VJ in Dance
3.4.2.4. Use of DJ and VJ in Events
3.4.2.5. Use of DJ and VJ in Sporting Events

3.4.3. Real-Time Illustrators

3.4.3.1. Arena
3.4.3.2. Drawing
3.4.3.3. Transparency
3.4.3.4. Visual Storytelling

3.5. ICT for Stage and Creation I

3.5.1. Videoprojection, Videowall, Videosplitting

3.5.1.1. Differences
3.5.1.2. Evolution
3.5.1.3. From Incandescence to Laser Phosphors

3.5.2. The Use of Software in Shows

3.5.2.1. From Incandescence to Laser Phosphors
3.5.2.2. Why are They Used?
3.5.2.3. How do they Help Creativity and Exhibition?

3.5.3. Technical and Artistic Personnel

3.5.3.1. Roles
3.5.3.2. Management

3.6. ICT for Stage and Creation II

3.6.1. Interactive Technologies

3.6.1.1. Why are They Used?
3.6.1.2. Advantages
3.6.1.3. Disadvantages

3.6.2. AR
3.6.3. VR
3.6.4. 360º

3.7. ICT for the Stage and Creation

3.7.1. Ways of Sharing Information

3.7.1.1. Drop Box
3.7.1.2. Drive
3.7.1.3. iCloud
3.7.1.4. WeTransfer

3.7.2. Social Networks and Outreach
3.7.3. Use of ICTs in Live Shows

3.8. Sample Supports

3.8.1. Conventional Supports

3.8.1.1. What are they?
3.8.1.2. Which Ones are Known?
3.8.1.3. Small Format
3.8.1.4. Large Format

3.8.2. Unconventional Supports

3.8.2.1. What are they?
3.8.2.2. What are they?
3.8.2.3. Where and How can They be Used?

3.8.3. Examples:

3.9. Corporate Events

3.9.1. Corporate Events

3.9.1.1. What are they?
3.9.1.2. What are We Looking for?

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

3.10. Audiovisual Production

3.10.1. Audiovisual Resources

3.10.1.1. Museum Resources
3.10.1.2. Scene Resources
3.10.1.3. Event Resources

3.10.2. Types of Plans
3.10.3. Emergence of Projects

Módulo 4. Cultural Tourism Management

4.1. Introduction to Cultural Heritage

4.1.1. Cultural Tourism
4.1.2. Cultural Heritage
4.1.3. Cultural Tourism Resources

4.2. Sustainability as a Reference in Tourism and Cultural Heritage

4.2.1. Concept of Urban Sustainability
4.2.2. Tourist Sustainability
4.2.3. Cultural Sustainabiility

4.3. Hosting Capacity and its Application in Tourist Destinations

4.3.1. Conceptualization
4.3.2. Dimensions of Tourism Carrying Capacity
4.3.3. Case Studies
4.3.4. Approaches and Proposals for the Study of Tourist Carrying Capacity

4.4. Tourist Use of the Area

4.4.1. Flows of Visitors and Heritage Tourist Areas
4.4.2. General Patterns of Tourist Mobility and Use of the Area
4.4.3. Tourism and Heritage Sites: Effects and Problems Derived from Tourism Flows

4.5. The Challenges of Space Management

4.5.1. Strategies for Diversification of the Tourist Use of the Area.
4.5.2. Tourism Demand Management Measures
4.5.3. The Enhancement of the Heritage and Accessibility Control
4.5.4. Visitor Management in Heritage Sites with Complex Visiting Models. Case Studies

4.6. Cultural Tourism Product

4.6.1. Urban and Cultural Tourism
4.6.2. Culture and Tourism
4.6.3. Transformations in the Cultural Travel Market

4.7. Heritage Preservation Policies

4.7.1. Conservation vs. Exploitation of Assets
4.7.2. International Regulations
4.7.3. Conservation Policies

4.8. Management of Cultural Resources in Tourist Areas

4.8.1. Promotion and Management of Urban Tourism
4.8.2. Heritage Tourism Management
4.8.3. Public and Private Management

4.9. Employability in Cultural Tourism

4.9.1. Characteristics of Employability in Cultural Tourism
4.9.2. Study and Profiles in Cultural Tourism
4.9.3. The Tourist Guide and the Interpretation of the Patrimony

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

4.10.1. Strategies for Cultural and Tourism Development of the Local Heritage
4.10.2. The Associative Management of a Public Project
4.10.3. Visitor Analysis as a Cultural Management Tool
4.10.4. Local Policies of Tourist Dynamization and Great Cultural Attractions
4.10.5. Local Tourism Planning and Management in a World Heritage City

Take the step to get up to date on the latest developments in Cultural Direction and Management "