In most cases, catering is an essential financial resource. Indeed incomes from diffusion and practice activities are not enough to reach sustainability. The cultural centre average commission for both diffusion and formation activities about 30% of the ticket price can’t cover the operating costs of independent cultural centres. So they include catering services because of their high level of profitability. In keeping with this statement, organization of parties is bankable.

>> See more in the manager’s interview of Matienzo en Buenos Aires, Argentina and A Seis Manos in Bogota

 

      One important source of income for cultural centres is non-recurring rentals and concessions. In spite of their admitted profitability, these revenues streams can be seen ignored by cultural centres which see them as a negative influence on agenda and programming line up.  However, some cultural centres efficiently integrate these revenue streams, focusing on art-related rentals:  short films, presentation of a thesis etc.

>> See more in the interview of the managers of La Redada in Bogota, Colombia and Casa Ida in Lima, Peru

           

        Programming events creates funding opportunities that regular programming is not able to generate. The notion of events is precise: devoted to a theme or not, mono or pluridiscipline, it focuses on ephemeral and exceptional line ups with specific communication efforts. Thus, public and private funders can be interested in partnering with cultural centres for specific events or festivals that enhance their visibility, give them positive image and nourish their corporate social responsibility.

>> See more in the interview of the managers of Casa Ida in Lima, Peru.

 

     Some cultural centres are tempted to diversify their activities to boost their financial resources. Indeed, diversification can be very profitable and fund non-profitable artistic activities. The fundamental question is the legitimacy of this diversification. When the extra activity is connected to the cultural activity, it can generate new income, even sometimes enhance brand value, without compromising the artistic and cultural mission of the centre. For instance, 2ème Lieu met a music school supplying companies with team-building services connected to music practice. In Bolivia, an art gallery has integrated a branch dedicated to providing design services to large cultural institutions and creative companies. By-products commercialization is more delicate if the cultural centre does not enjoy a strong brand image and cannot justify the consistency between the extra activity and the global cultural project. In all cases, the diversification process involves organizational issues to be considered when reviewing the pros and cons of such new activity.

>> See more in the interview of the managers of Jazz Jaus in Lima, Peru, Kiosko Galeria in Santa Cruz, Bolivia and in prospects chapter of Proyecto Casa B in Bogota, Colombia.

 

       The networking process generates virtuous costs mutualisation: exchange of equipment, mutualisation of areas, skill- sharing, etc. For this reason, the independent cultural centres that use networking are stronger. Networking is efficient in many ways: reducing costs, maximizing communication, but also producing more ambitious programming, sharing experiences, giving more visibility of the sector to the population, the media and potential funders, lobbying to public institutions.

>> See more in the interview of the managers of Casa Ida in Lima, Peru and A Seis Manos in Bogota, Colombia.

 

       Some independent cultural centres find original ways to reduce operating costs. This is not about volunteers support (that every cultural centre we met wants to minimize), as in most cases it is inevitable. One way to reduce operating costs is inspired by the sharing economy. The audience itself is invited to collaborate by providing food to the centre in exchange of entrance tickets. For the audience, the cultural centre takes part differently in daily life, suggesting sharing as a new model of society.

>> See more in the interview of the manager of Corporación Cultural Nuestra Gente in Medellin, Colombia