The Business of Culture : Cultural Managers in Iceland and the first waves of the Pandemic

Abstract

This study observes the impact of COVID-19 on the Icelandic cultural field from the viewpoint of cultural managers. The survey population consists of top and middle managers in Icelandic cultural organisations which ranged from sole proprietorship business organisations, small exhibition spaces and concert venues, to larger national institutions. Using the data about the effects of the “pre-vaccine” pandemic as a point of departure, we conclude that while managers of cultural organisations find that their own organisations have been affected by the pandemic, they worry most about independent cultural contractors. From the results it is evident that managers were faced with complex decisions regarding programming and operations. The toughest decisions have to do with the termination of contracts with part time staff and project-based workers. Even if only few of the organisations (16%) were forced to reduce the number of regular staff due to the pandemic, and only a third received emergency government support, a majority (93%) agreed that the pandemic affected their organisation, and most (75%) were forced to postpone or cancel activities and collaborative projects. In response to this reality, the Icelandic government has concentrated its support on aiding various independent actors in the “creative industries” in a broad sense, thus not only focusing on social issues, or the traditional arts, heritage, and public cultural organisations. The research question put forward is the following: “How did the first waves of the COVID-19 pandemic impact Icelandic cultural organisations, from the viewpoint of Icelandic cultural managers?” The aim of the research is to better understand the circumstances of those working in cultural management in Iceland, as well as how they have been affected by the COVID-19 crisis. The results also invite further discussion about the development of cultural policy emphasis in Iceland, towards a broader support for independent agents in the cultural industries in general.