In April 2019, the Master of Business Administration in Arts, Media & Entertainment Management at the Schulich School of Business, York University, Toronto, Canada celebrated its 50th birthday. This MBA was the world's first comprehensive study program specializing in arts management and cultural policy, created at a time when this field was neither a recognised research discipline nor a specifically defined field of work. The program’s history therefore reflects the development of a whole sector.

This or a similar formulation can be found in various study and examination regulations of arts management study courses: The aim is "to enable graduates to meet current challenges in the cultural sector in a competent, creative and solution-oriented way". That is good - and yet still too little.

During the first Global Cultural Leadership Programme (GCLP) in 2016, forty young cultural leaders travelled from across the globe to meet in Valetta, Malta for one week. We - Alison Uttley (Canada), Beth Ponte (Brazil), Faye Hobson (Ireland) and Ruhi Jhunjhunwala (India) - were members of the inaugural cohort of the GCLP and the experience proved to be transformative for each of us in unexpected ways.

In order to fully exploit the potential of the Robert Bosch Cultural Managers Network (RBCM Network), a group of Master students from Heilbronn University of Applied Sciences, Germany evaluated the network and identified central aspects for its further development.

In October 2017, eleven students of the Zurich University of the Arts, study programme Cast/ Audiovisual Media travelled to Hong Kong to take over the "Zurich meets Hong Kong" city festivals social media channels and report on around 50 events as an "embedded social media team".

In this interview, Alan Salzenstein (De Paul University, Chicago) and Martin Zierold (Karlshochschule International University, Karlsruhe) talk about the relevance of teaching transformation skills to arts management students.

My course on cultural management at the National School of Drama (NSD) in New Delhi is a prime example for how it is for a Western lecturer to teach in India: On the one hand, one cannot presume many of the things that Western students would naturally know about. On the other hand, there is a wide range of cultural-managerial knowledge and skills, passed down in part through the generations under different labels, different names or simply without any special designation. At the same time, the work in a country like India is by no means any more exotic as in Europe.

The worldwide demand for qualified personnel in cultural institutions is great, yet the opportunities for advanced training are limited. For that reason, Goethe-Institut started in 2015 its international MOOC Managing the Arts. This review may give you some impressions.

Egypt has a vibrant, internationally inspired independent scene with dedicated employees. In contrast, the traditional culture is financially shabbily treated and reglemented by the state. In the light of censorship, centralization and a lack of professionalism in cultural management the cultural sector could hardly make any impact on its content. The Goethe-Institut wants to change that with specialized and adequate trainings.

Concerning the cultural management education in Finland there are two different kinds of educational lines. One of these is something you can call Arts Management Education, which, as you can guess, is concentrated on special art form and its managerial questions. The other line is Cultural Management Education on which broader view to culture and its field is on the front line. In the latter also different art forms in itself are present but not that strongly as is the case with former.

Oklahoma City University hosts probably the only graduate education, which combines dance and arts management. Dirk Heinze made an interview with the director of this course, John Bedford, not only with questions about the course itself, but also about the latest trends in the dance sector.

Though the Netherlands aren't such a large country as the UK or Germany, a lot of arts management faculties has been established. The reason therefore lays not only in the rich cultural scene that needs management professionals, but also in the high number of foreign students. Courses like in Utrecht or Rotterdam are offered partially in English, so it became much easier for foreigners to meet their decision to choose a Dutch university for their graduate studies.