Tomas Järvinen is CEO and Principal of Folkhälsan Education, Finland. He holds a PhD in Arts Management (Sibelius Academy, University of the Arts, Helsinki).

'A welcome improvement to our limited country-specific information about cultural centers and provides researchers and practitioners with a useful international benchmark.' Wendi Hassan, The Journal of Arts Management, Law, and Society'Drawing from the author's interdisciplinary background in the arts and the business worlds, this much-needed book emphasises key aspects including leadership, management, funding, and strategic planning. Featuring practical know-how based on the unique and effective leadership strategies used by cultural managers, this is a great resource for researchers and leaders involved with arts and cultural management.' Armen Shaomian, University of South Carolina and President of the Music & Entertainment Industry Educators Association, USA."Cultural centers with their palette of artistic and socio-cultural activities are highly important cultural platforms that enable people to both practice and participate in culture. However, there has been very little research in cultural centers. Fortunately this has begun to change." Birgit Eriksson, Professor of Cultural Theory and Analysis, Aarhus University, Denmark

• 1 Introduction to Cultural Centers1.1 What is a Cultural Center?1.2 The Jungle of Organizational Types1.3 Cultural Centers Through an Economic Lens1.4 Decentralized Organizations1.5 Conceptual Framework1.6 Overview of the Study1.7 Summary and Conclusions2 Research on Cultural Center Management2.1 Earlier Studies on Cultural Centers2.2 Summary and Conclusions3 Cultural Center Business Models3.1 What exactly is a Business Model?3.2 Positioning Cultural Centers in the Landscape of Business Models3.3 Business Model Innovation among Private Cultural Centers3.5 Summary and Conclusions4 The Business of Art or the Art of Business?4.1 Business and Arts4.2 Business of Art: Dealing with the Profitability Aspect4.3 Art of Business: A Pioneer Mindset4.4 Summary and Conclusions5 Institutional Pressures and Cultural Center Management5.1 A Glimpse into Institutional Theory5.2 Why is Institutional Isomorphism Still Relevant?5.3 How do the Institutional Pressures Work?5.4 Institutional Change5.5 Managing a Cultural Center through the Minefield of Institutional Pressures5.6 Institutional Pressures According to Center Type 5.7 Summary and Conclusions6 Resource Dependence and Strategic Cultural Center Management6.1 Basics of Resource Dependence Theory6.2 Interdependency, Strategic Options and Power6.3 The Role of the Environment6.4 Strategies to Overcome Dependence6.5 An Overview of Environmental Interdependencies in Cultural Centers6.6 Resource Dependence: The need for diversified funding6.7 Environmental interdependencies6.8 Summary and Conclusions7 Mission Focus and Resource Strategy Management in Cultural Centers7.1 Mission focus or mission drift?7.2 A Cultural Center viewpoint on Mission Drift7.3 Resource strategy management7.4 A Quantitative Analysis of Mission Drift in Private Cultural Centers7.5 Summary and Conclusions8 Quality and Profitable Cultural Centers8.1 What is Quality and Quality Management?8.2 Profitability8.3 Measurement of both Quality and Profitability in Arts Organizations8.4 Mixing Quality and Profitability: A Need for Diversified Funding8.5 Summary and Conclusions9 Conclusions9.1 Contributions of this book9.2 Limitations9.3 Concluding words

Tomas Järvinen is CEO and Principal of Folkhälsan Education, Finland. He holds a PhD in Arts Management (Sibelius Academy, University of the Arts, Helsinki).

'A welcome improvement to our limited country-specific information about cultural centers and provides researchers and practitioners with a useful international benchmark.' Wendi Hassan, The Journal of Arts Management, Law, and Society'Drawing from the author's interdisciplinary background in the arts and the business worlds, this much-needed book emphasises key aspects including leadership, management, funding, and strategic planning. Featuring practical know-how based on the unique and effective leadership strategies used by cultural managers, this is a great resource for researchers and leaders involved with arts and cultural management.' Armen Shaomian, University of South Carolina and President of the Music & Entertainment Industry Educators Association, USA."Cultural centers with their palette of artistic and socio-cultural activities are highly important cultural platforms that enable people to both practice and participate in culture. However, there has been very little research in cultural centers. Fortunately this has begun to change." Birgit Eriksson, Professor of Cultural Theory and Analysis, Aarhus University, Denmark

• 1 Introduction to Cultural Centers1.1 What is a Cultural Center?1.2 The Jungle of Organizational Types1.3 Cultural Centers Through an Economic Lens1.4 Decentralized Organizations1.5 Conceptual Framework1.6 Overview of the Study1.7 Summary and Conclusions2 Research on Cultural Center Management2.1 Earlier Studies on Cultural Centers2.2 Summary and Conclusions3 Cultural Center Business Models3.1 What exactly is a Business Model?3.2 Positioning Cultural Centers in the Landscape of Business Models3.3 Business Model Innovation among Private Cultural Centers3.5 Summary and Conclusions4 The Business of Art or the Art of Business?4.1 Business and Arts4.2 Business of Art: Dealing with the Profitability Aspect4.3 Art of Business: A Pioneer Mindset4.4 Summary and Conclusions5 Institutional Pressures and Cultural Center Management5.1 A Glimpse into Institutional Theory5.2 Why is Institutional Isomorphism Still Relevant?5.3 How do the Institutional Pressures Work?5.4 Institutional Change5.5 Managing a Cultural Center through the Minefield of Institutional Pressures5.6 Institutional Pressures According to Center Type 5.7 Summary and Conclusions6 Resource Dependence and Strategic Cultural Center Management6.1 Basics of Resource Dependence Theory6.2 Interdependency, Strategic Options and Power6.3 The Role of the Environment6.4 Strategies to Overcome Dependence6.5 An Overview of Environmental Interdependencies in Cultural Centers6.6 Resource Dependence: The need for diversified funding6.7 Environmental interdependencies6.8 Summary and Conclusions7 Mission Focus and Resource Strategy Management in Cultural Centers7.1 Mission focus or mission drift?7.2 A Cultural Center viewpoint on Mission Drift7.3 Resource strategy management7.4 A Quantitative Analysis of Mission Drift in Private Cultural Centers7.5 Summary and Conclusions8 Quality and Profitable Cultural Centers8.1 What is Quality and Quality Management?8.2 Profitability8.3 Measurement of both Quality and Profitability in Arts Organizations8.4 Mixing Quality and Profitability: A Need for Diversified Funding8.5 Summary and Conclusions9 Conclusions9.1 Contributions of this book9.2 Limitations9.3 Concluding words

Tomas Järvinen is CEO and Principal of Folkhälsan Education, Finland. He holds a PhD in Arts Management (Sibelius Academy, University of the Arts, Helsinki).

'A welcome improvement to our limited country-specific information about cultural centers and provides researchers and practitioners with a useful international benchmark.' Wendi Hassan, The Journal of Arts Management, Law, and Society'Drawing from the author's interdisciplinary background in the arts and the business worlds, this much-needed book emphasises key aspects including leadership, management, funding, and strategic planning. Featuring practical know-how based on the unique and effective leadership strategies used by cultural managers, this is a great resource for researchers and leaders involved with arts and cultural management.' Armen Shaomian, University of South Carolina and President of the Music & Entertainment Industry Educators Association, USA."Cultural centers with their palette of artistic and socio-cultural activities are highly important cultural platforms that enable people to both practice and participate in culture. However, there has been very little research in cultural centers. Fortunately this has begun to change." Birgit Eriksson, Professor of Cultural Theory and Analysis, Aarhus University, Denmark

• 1 Introduction to Cultural Centers1.1 What is a Cultural Center?1.2 The Jungle of Organizational Types1.3 Cultural Centers Through an Economic Lens1.4 Decentralized Organizations1.5 Conceptual Framework1.6 Overview of the Study1.7 Summary and Conclusions2 Research on Cultural Center Management2.1 Earlier Studies on Cultural Centers2.2 Summary and Conclusions3 Cultural Center Business Models3.1 What exactly is a Business Model?3.2 Positioning Cultural Centers in the Landscape of Business Models3.3 Business Model Innovation among Private Cultural Centers3.5 Summary and Conclusions4 The Business of Art or the Art of Business?4.1 Business and Arts4.2 Business of Art: Dealing with the Profitability Aspect4.3 Art of Business: A Pioneer Mindset4.4 Summary and Conclusions5 Institutional Pressures and Cultural Center Management5.1 A Glimpse into Institutional Theory5.2 Why is Institutional Isomorphism Still Relevant?5.3 How do the Institutional Pressures Work?5.4 Institutional Change5.5 Managing a Cultural Center through the Minefield of Institutional Pressures5.6 Institutional Pressures According to Center Type 5.7 Summary and Conclusions6 Resource Dependence and Strategic Cultural Center Management6.1 Basics of Resource Dependence Theory6.2 Interdependency, Strategic Options and Power6.3 The Role of the Environment6.4 Strategies to Overcome Dependence6.5 An Overview of Environmental Interdependencies in Cultural Centers6.6 Resource Dependence: The need for diversified funding6.7 Environmental interdependencies6.8 Summary and Conclusions7 Mission Focus and Resource Strategy Management in Cultural Centers7.1 Mission focus or mission drift?7.2 A Cultural Center viewpoint on Mission Drift7.3 Resource strategy management7.4 A Quantitative Analysis of Mission Drift in Private Cultural Centers7.5 Summary and Conclusions8 Quality and Profitable Cultural Centers8.1 What is Quality and Quality Management?8.2 Profitability8.3 Measurement of both Quality and Profitability in Arts Organizations8.4 Mixing Quality and Profitability: A Need for Diversified Funding8.5 Summary and Conclusions9 Conclusions9.1 Contributions of this book9.2 Limitations9.3 Concluding words