Con esta Postgraduate diploma te convertirás en una figura de Dirección y Gestión de proyectos artísticos relevante dentro del sector cultural” 

La sociedad es cada vez más consciente de la necesidad de preservar el patrimonio, de potenciar la cultura entre la población joven y de crear nuevos formatos que no solo aporten ocio y entretenimiento, sino que proporcionen conocimiento. Ante esta amplitud de posibilidades que otorgan las disciplinas artísticas nació la figura del gestor cultural, capaz de planificar, diseñar, producir y promocionar de manera efectiva todo tipo de eventos en este sector.

La multidisciplinariedad de este perfil profesional ha impulsado en los últimos años de manera destacada el trabajo artístico y cultural. Así, pocos proyectos de envergadura logran alcanzar el éxito sin la figura de un director y gestor cultural. Dada su relevancia, y la necesidad de entidades públicas y privadas de contar con este tipo de especialistas, TECH ofrece al egresado la Postgraduate diploma en Cultural Direction and Management, que podrá cursar fácilmente en tan solo 6 meses de duración y con el contenido más innovador.

Así, el alumnado que se adentre en esta titulación accederá a la información más exhaustiva y detallada sobre las industrias culturales, las principales estrategias de Markerting cultural, el empleo de las nuevas tecnologías de la comunicación y de la información para la promoción y el desarrollo cultural en las organizaciones del tercer sector.

Todo ello será posible gracias a los recursos didácticos multimedia, que podrá visualizar en cualquier momento del día desde un dispositivo electrónico (Ordenador, Tablet o móvil) con conexión a internet. De esta manera, el estudiante podrá, además profundizar en la gestión del turismo cultural, las políticas de conservación del patrimonio y los casos de éxito en la gestión del patrimonio cultural en el ámbito turístico.

El profesional se encuentra por tanto ante una excelente oportunidad de poder progresar en un sector altamente competitivo, a través de una enseñanza universitaria que se sitúa a la vanguardia académica. Sin presencialidad ni clases con horarios fijos, el alumnado dispone, además, de libertad para distribuir la carga lectiva acorde a sus necesidades. Una opción ideal para aquellas personas que deseen compatibilizar sus responsabilidades laborales y/o personales con una Postgraduate diploma de calidad.

Destaca en un sector altamente competitivo a través de una titulación universitaria 100% online y que se adapta a las necesidades de los profesionales”

Esta Postgraduate diploma en Cultural Direction and Management contiene el programa educativo más completo y actualizado del mercado. Sus características más destacadas son:

• El desarrollo de casos prácticos presentados por expertos en Gestión Cultural
• Los contenidos gráficos, esquemáticos y eminentemente prácticos con los que está concebido recogen una información técnica y práctica sobre aquellas disciplinas indispensables para el ejercicio profesional
• Los ejercicios prácticos donde realizar el proceso de autoevaluación para mejorar el aprendizaje
• Su especial hincapié en metodologías innovadoras
• Las lecciones teóricas, preguntas al experto, foros de discusión de temas controvertidos y trabajos de reflexión individual
• La disponibilidad de acceso a los contenidos desde cualquier dispositivo fijo o portátil con conexión a internet

En tan solo 6 meses obtendrás el conocimiento más avanzado sobre Marketing, promoción y producción de acciones culturales”

El programa incluye en su cuadro docente a profesionales del sector que vierten en esta capacitación la experiencia de su trabajo, además de reconocidos especialistas de sociedades de referencia y universidades de prestigio.

Su contenido multimedia, elaborado con la última tecnología educativa, permitirá al profesional un aprendizaje situado y contextual, es decir, un entorno simulado que proporcionará una capacitación inmersiva programada para entrenarse ante situaciones reales.

El diseño de este programa se centra en el Aprendizaje Basado en Problemas, mediante el cual el profesional deberá tratar de resolver las distintas situaciones de práctica profesional que se le planteen a lo largo del curso académico. Para ello, contará con la ayuda de un novedoso sistema de vídeo interactivo realizado por reconocidos expertos.

Gracias al sistema Relearning, empleado por TECH en sus titulaciones, reducirás las horas de memorización y de estudio"

Inscríbete ya y conviértete en todo un especialista en la gestión del turismo cultural"

The effectiveness of the Relearning method, based on the reiteration of content, has led TECH to apply it in all its qualifications. With this, the students will be able to move through the syllabus of this Postgraduate diploma in a much more agile way. In this way, students will learn about ICT used in cultural production and promotion, the most effective marketing strategies depending on the event to be carried out, as well as the balance that should exist in the management of cultural tourism and heritage conservation. All this, with an innovative teaching material that can be consulted 24 hours a day throughout the 600 teaching hours of this program.

A syllabus designed to offer you the most advanced knowledge on the promotion and management of the cultural market. Enroll now”

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 Writing

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

Module 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 Collections
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 Third-Sector 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

Module 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 vs. 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. Video Projection, 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. Dropbox
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 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
3.10.4. Phases of the Process

Module 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

A 100% online program that brings you closer to the latest trends in the use of new technologies and cultural promotion”