(Word press is being a nightmare regarding spacing, I apologise if this is a bit of a mess.)

The first session delved into the idea of cooperation across the Mediterranean region and included 6 speakers from both universities and practitioners from the region. The first, but not only learning, was the translation earphones that were provided, as it was conducted in French, are really uncomfortable. (And they shorted out during the second last speaker, the artistic director of the Aix festival, who was the most engaging.)

The second is, despite this being the very first session, and the urging by organisers that we must stick to time, that no one tells people of this calibre/status to stop telling their stories (and it should be noted the panel was all male, facilitated by a woman, a fact pointed out by Dr Kate MacNeill from Melbourne University, who has earned her badge of honour already.) The supposed round table was actually six speakers presenting their own story one after the other, with almost no time for audience interaction or even interaction with each other. I have to say it’s my pet hate when we don’t manage panels effectively to achieve the dialogue component. But that is just me.

The issue of terrorism and political instability, particularly given the events in Lyon this past week, clearly hung over the proceedings, particularly when the engagement of Arab world is such a crucial area both regionally and globally. Monday night was to be a trip to the opera as part of Aix Festival. It was a Mozart opera, nearly four hours long, and as it was starting at 9:30 I had mixed feelings about attendance. The director of the Festival, however, informed us that we were to attend the final dress rehearsal, but in the light of the recent terrorist attacks, particularly in Tunisia, some of the performance needed to be rewritten as to be sensitive to the situation and the audience was no longer welcome. It was an interesting insight into the reality of artistic directorship in the modern environment.

There’s plenty of social time across the conference, and I’m very glad to have spent 2 days in the doctoral workshop as entering the melee of the conference proper without a few friends would be daunting. I’m happy to see a few Australians presents, Ruth who ran the doctoral workshop, and two of the senior figures in Melbourne University’s Cultural management program. No one from Sydney has been spotted as yet, suggesting our move south might mean I’m more connected into Australian arts management networks than I had been previously.
Lunch was held in the luxurious, but hot, grounds of Pavillion Vendome and featured pastis and local rosè. Yeah it was tough. All the Australians, or I should say Melburnians, congregated together and had a chat with the very charming head of MUCEM, the museum in Marseille we visit on Wednesday.

The afternoon kicked off the main paper tracks, at each time there are up to seven parallel sessions ranging from strategic management to consumer marketing. I’m likely to camp out predominantly in the organisational behavior and HR track as it’s my main research area, though I plan to also see some of the ‘big names’ and the people I’ve met along the way.

Paper one was an investigation into arts management and millennials, and I was surprised to find that no work had been done in this space before. This sort of generational analysis is standard in non-academic HR as it’s so crucial from a hiring and retention perspective.

Apparently this group of prospective employees, as determined by this particular study, see training and career development as being “somewhat unimportant” which is interesting from my perspective, writing on on this space. But my theory, one I shared with the speaker, is that we have conditioned people to be in control of their own career, thus do not expect organisations to provide training or career development therefore it isn’t seen as important.  I was happy to find this opinion was agreed with by others.

I was watching the presentations with two purposes, one to learn what research was out there, but the other to understand the structure and mechanics of presenting at conferences. I’ve decided to submit a paper to a conference in Adelaide in December, which would be my first foray into actual conference papers. The generally tough feedback given in the PhD symposium was not found so much in the general conference, a fact I learned was a conscious decision. And the presentation content and style was pretty general, nothing that revolutionary, but I’ve learned my lesson that this is not always welcome in academic circles.

I’m probably displaying my academic naïveté in some of the sessions as I get excited when people are researching areas that overlap mine. I probably wear my glee too obviously. Not cool. But it’s exciting to hear about communities of practice research in Estonia or how visual artists learn career skills in Birmingham.

At the end of day one we went off to see some art and culture, but I’ll cover that in my other blog.