文文海六 WEN Hailiu 圖易小琦YI Xiaoqi

從南岸藝術(shù)中心可直眺泰晤士河Direct access of the Thames River from the South Bank Arts Center

為拓展中國文聯(lián)系統(tǒng)藝術(shù)創(chuàng)意人才的思維，提升創(chuàng)新能力，加深對英國文化藝術(shù)創(chuàng)意產(chǎn)業(yè)經(jīng)驗的了解，提高中國文聯(lián)對外文化傳播的影響力及中華優(yōu)秀文化走出去的成功率，由中國文聯(lián)國際聯(lián)絡(luò)部和中國文聯(lián)文藝研修院共同主辦的中國文聯(lián)赴英藝術(shù)創(chuàng)意人才高級研修班于近日在英國舉辦。英國在文化創(chuàng)意產(chǎn)業(yè)發(fā)展方面的國際化視野、卓越的追求與執(zhí)行力、對節(jié)慶的開發(fā)利用和提升產(chǎn)業(yè)效益的思路方法，都對中國的同行業(yè)者啟迪頗深。

政府、基金會、公司：產(chǎn)業(yè)構(gòu)成元素

英國非營利性文化創(chuàng)意產(chǎn)業(yè)機構(gòu)的經(jīng)費來源主要靠政府資助、基金會、公司贊助以及機構(gòu)的自我商業(yè)營銷等多種渠道。政府依靠藝術(shù)理事會來給各個文化創(chuàng)意機構(gòu)提供資金支持；機構(gòu)在經(jīng)費不足的情況下，可以尋求公司的贊助和基金會的捐贈。但基金會的捐助在英國飽受爭議，其主要原因是不論個人基金還是公司基金都帶有很強的指向性和目的性，都想通過捐贈和資助來提高個體或公司的聲譽、名望，從而影響了藝術(shù)的專業(yè)性和獨立性。

英國政府為了鼓勵公司贊助非營利性的文化創(chuàng)意機構(gòu)，提供了企業(yè)贊助公益稅收減免政策，這彌補了政府對公共事業(yè)的經(jīng)費投入不足，保證了文化創(chuàng)意產(chǎn)業(yè)的經(jīng)費來源。但這個政策也帶來了一些弊端：企業(yè)的贊助使得越來越多的商界人士進入了文化創(chuàng)意產(chǎn)業(yè)，而文化創(chuàng)意產(chǎn)業(yè)更需要的是懂藝術(shù)的人。有些藝術(shù)機構(gòu)的董事會甚至?xí)霈F(xiàn)企業(yè)家占比超過50%的情況，所以這樣的政策其優(yōu)勢和劣勢顯而易見。

對文化創(chuàng)意產(chǎn)業(yè)接受贊助的抗議和批評言論在英國并不少見，以“解放泰特”這個由藝術(shù)家組成的環(huán)?？棺h組織抗議英國BP石油公司贊助泰特美術(shù)館為例，大部分抗議者覺得文化創(chuàng)意機構(gòu)要對贊助商進行道德上的選擇，不能讓有問題的公司通過贊助來獲取公眾的認(rèn)可。

英國政府主要通過文化政策的制定對文化創(chuàng)意產(chǎn)業(yè)進行干預(yù)，例如對電影受眾按年齡進行分級，對文化創(chuàng)意產(chǎn)業(yè)實行稅收減免等激勵政策等。另外，在引進國外文化創(chuàng)意團隊時，還會在稅收減免政策的基礎(chǔ)上提出符合英國文化發(fā)展的要求，如制作地要在英國本土、參與人員要招聘英國人等。盡管這類限定會導(dǎo)致部分團隊望而卻步，但這的確是英國政府通過政策來控制文化創(chuàng)意產(chǎn)業(yè)和推廣英國文化的有效途徑。

當(dāng)然，執(zhí)政黨的更迭會使英國政府在文化政策上出現(xiàn)很多變動。政府出資贊助，是為了吸引更多的私人贊助和企業(yè)贊助，因為文化創(chuàng)意產(chǎn)業(yè)要展現(xiàn)出自己的價值才能夠獲得來自政府的資助，但是政府和文化創(chuàng)意機構(gòu)的看法是不同的，因而政府如何衡量文化創(chuàng)意價值就尤為重要。政府下設(shè)的藝術(shù)理事會為藝術(shù)機構(gòu)提供資金，他們主要是通過觀眾數(shù)量、從業(yè)人數(shù)、投入和產(chǎn)出來衡量機構(gòu)價值。但藝術(shù)機構(gòu)衡量自身價值的標(biāo)準(zhǔn)和政府不同，主要從美學(xué)藝術(shù)的角度來衡量，但是藝術(shù)機構(gòu)為了獲得資助就要提高政府認(rèn)可度，就會忽視文化價值標(biāo)準(zhǔn)，但文化的價值是內(nèi)在的、藝術(shù)的，這是區(qū)分它和其他行業(yè)的核心。

學(xué)員參觀蘇格蘭國家劇院道具倉庫Participants visit the Props Warehouse of Scottish National Theatre

慈善與非營利：文創(chuàng)組織

英國文化創(chuàng)意組織有數(shù)百家，它們都是帶有慈善性質(zhì)的非營利機構(gòu)，英國的文化創(chuàng)意產(chǎn)業(yè)發(fā)展主要由這些機構(gòu)推動完成。

英國電影協(xié)會（BFI）成立于1933年，管理英國電影國家檔案，組織電影節(jié)和電影教育培訓(xùn)，負(fù)責(zé)英國的電影制作和發(fā)行。BFI與其他機構(gòu)一樣面臨政府經(jīng)費的縮減。此前BFI的主要收入是門票，現(xiàn)在他們開始利用自己的實體資產(chǎn)、員工的技能創(chuàng)意和自身品牌創(chuàng)造收入。BFI在對現(xiàn)有員工進行培養(yǎng)提升的同時，開始雇傭有商業(yè)背景的員工。此外，BFI還開發(fā)了在線電影觀看平臺，并出版專業(yè)雜志和書籍等。

英國音樂家協(xié)會（ISM）成立于1882年，它是具有慈善性質(zhì)的職業(yè)協(xié)會組織，并成立了信托基金會。ISM目前擁有個人會員8500名，分學(xué)生會員、畢業(yè)生會員和正式會員三種類型。ISM致力于會員的發(fā)展規(guī)劃與扶持，通過贈刊、電郵、網(wǎng)站、社交媒體與會員保持密切聯(lián)系，其法律援助對會員最具吸引力。會員入會后，就多了一種歸屬感和安全感。同時ISM還擁有170個企業(yè)會員，BBC和南岸藝術(shù)中心是其中的典型代表。

英國皇家文學(xué)學(xué)會（RSL）成立于1820年，學(xué)會的宗旨是促進英國的文學(xué)發(fā)展，讓越來越多的人從事文學(xué)創(chuàng)作。學(xué)會共有523名院士，皆為作家。皇家文學(xué)學(xué)會的主席、理事會理事都是由院士選舉產(chǎn)生。英國皇家文學(xué)學(xué)會在法律上屬于注冊慈善機構(gòu)，其任何工作都必須符合政府的監(jiān)管要求，但他們不接受任何政府撥款，只面向社會籌款。這些錢主要用于創(chuàng)作交流和著作出版，給作家發(fā)放獎金，舉辦公共活動和年會等。學(xué)會不是皇家讀寫協(xié)會，也不是皇家作家協(xié)會，其核心目的是讓公眾更多地認(rèn)識到文學(xué)的價值。

英國演藝人員獨立工會（EQUITY）成立于1930年，目前擁有4.3萬會員。這是一家為來自電影、電視、音樂、舞蹈、戲劇等文化藝術(shù)界的演員提供服務(wù)的工會組織。他們的管理和服務(wù)范圍包括：為演藝人員爭取盡可能多的政策支持，做到最大限度的保護，包括法律援助、協(xié)議合同維權(quán)、薪酬交涉，及退休后的養(yǎng)老金問題等。如果演藝人員和工會之間產(chǎn)生分歧，工會內(nèi)部還設(shè)有投訴部門，協(xié)調(diào)解決合理訴求，若得不到滿意結(jié)果，他們還可以向國家的仲裁法庭申請仲裁。

理念、人才、政策、專業(yè)：成功之道

30年或50年前，英國的世界地位不言而喻，很多方面影響了世界，而早期的工業(yè)革命給英國帶來了超一流的發(fā)展；而今，他山之石，可以攻玉，通過英國創(chuàng)意產(chǎn)業(yè)的成功之道，中國同行也可以在實踐中找到真理，在溝通中得以進步。

在理念方面，英國文創(chuàng)產(chǎn)業(yè)提出了“隨著人類壽命的增長，人們可以更好地享受藝術(shù)，未來的科技也會支持文化藝術(shù)”的發(fā)展理念。一些非營利機構(gòu)也通過購買音樂、電影、攝影等藝術(shù)作品的方式，取得經(jīng)濟收益，收獲發(fā)展動力。同時，英國未來將有更多崗位來自文化創(chuàng)意行業(yè)，一些非營利的文化創(chuàng)意機構(gòu)，他們在創(chuàng)新環(huán)境方面尋求可持續(xù)發(fā)展，加之政府使得文化創(chuàng)意的價值每年不斷增長，尤其是在商業(yè)人才的培訓(xùn)方面。英國政府在2004年就提出要支持文化創(chuàng)意人才，并拿出錢來支持文化創(chuàng)意項目，邀請文化創(chuàng)意工作者到其他國家學(xué)習(xí)。

在政策方面，政府為企業(yè)、大學(xué)和繼續(xù)教育等機構(gòu)提供政策支持，如為音樂家協(xié)會、皇家文學(xué)院、電影協(xié)會等非營利性機構(gòu)提供了相關(guān)的優(yōu)惠政策。創(chuàng)意產(chǎn)業(yè)聯(lián)盟作為有代表性的集創(chuàng)意產(chǎn)業(yè)、文化教育和藝術(shù)為一體的全國性機構(gòu)，是一個完全獨立的非營利性行業(yè)組織，擁有1000多個行業(yè)成員單位。該聯(lián)合會與各級政府保持緊密合作，為政府在創(chuàng)意產(chǎn)業(yè)領(lǐng)域提供政策建議，也通過舉辦各類活動增加了創(chuàng)意產(chǎn)業(yè)機構(gòu)之間的溝通與交流。相應(yīng)的，很多非營利文化創(chuàng)意機構(gòu)的人才都有相關(guān)學(xué)位，但文化創(chuàng)意產(chǎn)業(yè)的變化比大學(xué)課程的改變要快得多，技術(shù)發(fā)展也給英國提出很多挑戰(zhàn)。很多機構(gòu)開始開設(shè)文化創(chuàng)意產(chǎn)業(yè)課程，學(xué)科涵蓋了方方面面的文化創(chuàng)新創(chuàng)意。英國一些非營利文化創(chuàng)意機構(gòu)，在文化創(chuàng)意方面世界領(lǐng)先。如廣告、建筑、博物館、攝影視覺藝術(shù)等文化創(chuàng)意行業(yè)每年創(chuàng)利達840億英磅，是英國增長最快的行業(yè)。據(jù)統(tǒng)計，在英國有9%的人在文化創(chuàng)意領(lǐng)域工作，全球的文化創(chuàng)意服務(wù)貿(mào)易額每年都呈上升趨勢，并成為其軟實力，英國政府也愿意為提升軟實力加大對人才的投資。

英國音樂家協(xié)會（ISM）宣傳海報ISM Poster

案例1：南岸藝術(shù)中心

位于倫敦泰晤士河南岸的倫敦南岸藝術(shù)中心是英國最大的藝術(shù)中心，每年舉辦超過5000場活動，吸引近900萬名藝術(shù)家參與，其節(jié)日項目涵蓋戲劇、舞蹈、音樂和文學(xué)等多個門類。南岸藝術(shù)中心主要包含三座建筑：南岸的古典音樂中心——皇家節(jié)日音樂廳、南岸的現(xiàn)代音樂中心——伊麗莎白女王音樂廳，及常年舉行各種表演、展覽的海沃德美術(shù)館。1951年，倫敦泰晤士河南岸被重新定義，這里成為了藝術(shù)和文化的聚集地，南岸藝術(shù)中心特指當(dāng)年政府劃出的一片面積21畝的區(qū)域，主要為了促進“二戰(zhàn)”之后人們對于藝術(shù)的興趣。

作為歐洲最大的藝術(shù)中心，其創(chuàng)建的宗旨就是讓人們走出戰(zhàn)爭的陰影，幫助人們重新振奮精神，接受教育，開始美好生活。南岸堅信藝術(shù)有力量改變生命，堅信藝術(shù)應(yīng)該讓所有人共享，希望通過努力給民眾的精神生活帶來改變。

南岸是英國資金最為充裕的機構(gòu)之一，經(jīng)費中40%來自政府撥款，其余部分來自門票收入等。南岸還積極與商店、餐館、贊助商等合作，建立良好的商業(yè)伙伴關(guān)系，也接受個人捐贈，借助信托和基金會的方式實現(xiàn)多種經(jīng)營。這種靈活多樣的經(jīng)營方式為南岸贏得了充裕資金，保障了南岸文化創(chuàng)意活動的開展，保障了南岸的良性運行。

南岸的員工有專職員工和兼職員工，有時也招募志愿者。這種用人方式可以有效地節(jié)約成本，同時還保證了實施者的參與熱情。他們會思考自己的競爭者是誰，絕不自滿，積極探索，以創(chuàng)新和創(chuàng)意提高自己的品質(zhì)和辨識度，不斷更新自己，淘汰老舊，使得活動能夠常辦常新。

南岸中心女王音樂廳內(nèi)正在進行排練On going rehearsal at the Queen Elizabeth Hall in South Bank Arts Center

案例2：愛丁堡藝術(shù)節(jié)

愛丁堡節(jié)慶項目聞名全球，它有12個重要且知名的節(jié)日，主要包括愛丁堡國際科技節(jié)、音樂節(jié)、電影節(jié)、圖書節(jié)、戲劇節(jié)、兒童狂想節(jié)、藝穗節(jié)等，這些給地域面積不大、資源也并不豐富的愛丁堡帶來了新的生長點，也帶來了經(jīng)濟的綠色、生態(tài)、可持續(xù)發(fā)展。藝術(shù)節(jié)是愛丁堡文化軟實力的重要載體，是愛丁堡與他國建立外交關(guān)系的國家戰(zhàn)略。藝術(shù)節(jié)在提高經(jīng)濟收入的同時，還通過文化的力量，吸引精英人才來愛丁堡居住，推動文化創(chuàng)意產(chǎn)業(yè)的發(fā)展，塑造了愛丁堡快樂友善、充滿活力、富有文化的愛丁堡品牌形象。

愛丁堡藝術(shù)節(jié)的成功，源于對人性和世界的發(fā)展趨勢進行理性思考。全球的最大趨勢是都市化，人們將期待從某個國家的某個城市前往另一個國家的某個城市，既有自然景觀，又有人文精神的國家和城市將成為他們的選擇。隨著手機的普遍應(yīng)用，人們更加渴望到現(xiàn)場看演出，渴望聚集到一起，這是人類的本性。一方面是數(shù)字化的發(fā)展，一方面回歸人類本性，節(jié)日活動就是一個不錯的選擇。

成功同時來自充分的市場調(diào)研。藝術(shù)節(jié)的一切規(guī)劃都來自于市場調(diào)研和具體的數(shù)據(jù)分析，認(rèn)真思考?xì)v史的、現(xiàn)有的資源，品牌的特色、消費者的需求、活動愿景等，注重品牌的辨識度，使12個品牌項目各有特色，同時又交相輝映，共同發(fā)展；其中一大亮點是消費者可以參與活動策劃。比如兒童狂歡節(jié)，邀請兒童直接參與策劃，切實保證了活動的參與度。同時，內(nèi)部員工和外部人力相結(jié)合，根據(jù)活動的脈動性特征，和相關(guān)機構(gòu)進行合作，招募兼職員工和志愿者，可以借力發(fā)展。這種用人方式可以有效地節(jié)約成本，同時還保證了實施者的參與熱情。

蘇格蘭國家博物館一景Scene of National Museum of Scotland

In order to expand the thinking of creative talents of China Federation of Literary and Art Circles (CFLAC) and its group members, enhance innovative abilities, deepen the understanding of British cultural and creative industries, improve the CFLAC’s influence on international cultural communication and the success rate of outstanding Chinese culture’s Goingout, a senior seminar of CFLAC’s creative talents of arts in Britain jointly hosted by the organization’s International Cooperation Department and its Academy of Literature and Art has been held in the United Kingdom. Britain's vision of internationalization in the development of cultural and creative industries, its pursuit of excellence and executive power, its ideas and methods of developing and utilizing festivals and enhancing industrial benefits all cast enlightenment on its Chinese peers.

Government, Foundations, Corporations: Elements of Industry

The funding sources for nonprofit cultural and creative industries in the United Kingdom mainly rely on government funding,foundations, corporate sponsorships and institutional selfmarketing amongst others. Meanwhile, the government relies on art councils to fund all cultural and creative institutions; agencies can look for corporate sponsorships and foundation donations in the face of under-funding. However, the foundation's donations are quite controversial in the UK, the main reason of which is that both individual funds and corporate funds are highly directional and purposeful. They all want to raise the reputation and fame of individuals and companies through donations and grants with purpose of affecting the professionalism and independence of art.In order to encourage companies to sponsor nonprofit cultural and creative institutions, the British government has provided corporate sponsorship of public welfare tax relief policies, making up for the lack of government funding for public utilities and guaranteeing the funding sources for the cultural and creative industries. However, this policy has also brought some drawbacks:the corporate sponsorship has enabled more and more business people to enter the cultural and creative industries, while the industries need more people who understand the arts. The board of some arts organizations may even have more than 50% of the directors from business field in the board, so their advantages and disadvantages are undoubtedly obvious.

將以上兩項改進成果投入生產(chǎn)后，通過反復(fù)的現(xiàn)場試驗，均達到了預(yù)期效果，各個易磨損部件的使用時間明顯變長。其中盤根的使用時間由原來的30d變?yōu)?0d；柱塞的使用時間由原來的70d變?yōu)?30d；銅壓套的使用時間由原來的70d變?yōu)?30d。

Protests and criticisms of sponsored cultural and creative industries are not uncommon in the United Kingdom. Taking the Liberation of Tate, an environmental protest group composed of artists to protest the BPT's sponsorship of the Tate's Art Museum for example, most of the protesters think that the cultural creative agencies have to make moral choices about sponsors and should not allow problematic companies to get public recognition via sponsorship.

倫敦的街頭涂鴉Graffiti in London

The British government mainly intervenes in the cultural and creative industries through the formulation of cultural policies,including grading the film audiences by age and implementing tax incentives such as tax credits for cultural and creative industries.In addition, it would, on the basis of tax relief policies, propose requirement in line with the development of British culture in the introduction of foreign cultural and creative teams, such as the production site should be in the United Kingdom, British citizens should be recruited in participation and so on. Although such a restriction can be prohibitive for some teams, it is indeed an effective way for the British government to control its cultural and creative industries and promote the British culture through its policies.

Of course, the change of the ruling party will cause the British government to make many alterations in its cultural policies.Government-sponsored funding is intended to attract more private and corporate sponsorships, because cultural and creative industries have to show their own value to receive funding from the government. However, the views of the government and cultural and creative institutions are most different. Therefore,how the government measures the value of cultural and creation is particularly important. The art council, set up by the government, provides funding for arts organizations, who measures institutional value primarily through the number of audiences, employees, inputs and outputs. However, the standard of art institutions to measure their own value is different from that of the government, which is mainly from the perspective of aesthetics. However, in order to obtain subsidies, art institutions must increase their recognition of the government and ignore the standard of cultural values. However, the value of culture is intrinsic and artistic. This is the core that distinguishes it from other industries.

Charity and Nonprof i t: Cultural and Creative Organizations

There are hundreds of cultural and creative organizations in the UK, all of which are charitable nonprofit institutions, which mainly drive the development of British cultural and creative industries.Founded in 1933, the British Film Institute (BFI) manages national archives of British cinema, organizes film festival and film education and training and is responsible for the production and distribution of British films. Like many other agencies, BFI faces the same issue as government’s reducing spending. Prior to that,BFI's main income is tickets, and now they began to use their own physical assets, employees’ creative skills and own brands to generate revenue. BFI began hiring employees with business background while nurturing existing staff. In addition, BFI has developed an online movie viewing platform and publishes professional magazines and books.

Founded in 1882, the Incorporated Society of Musicians (ISM) is a philanthropic professional association and has formed the Trust Foundation. ISM currently has 8,500 individual members, divided into three types as student members, graduates members and the formal membership. ISM, committed to the development planning and support of its members, maintains close contact with its members through subscriptions, emails, websites and social media, and its legal aid is most attractive to its members.After joining the membership, members have more of a sense of belonging and security. Meanwhile, ISM also has 170 corporate members, the BBC and South Bank Arts Center are the most typical representatives.

英國電影協(xié)會（BFI）IMAX影院外的大屏廣告Large-screen Advertisement of IMAX Cinema of BFI

Founded in 1820, the Royal Society of Literature (RSL) aims to promote the development of British literature and make more and more people engaged in literary creation. The total of 523 academicians of the society is writers. Its chairman and Council members are elected by the academicians of the RSL.The RSL, which is legally a registered charity, must comply with government regulatory requirements for any of its work.However, they do not accept any government funding, but fundraising only from the community. The money is mainly used for creative exchange and publication of works, bonuses for writers,public events and annual meetings and etc. The RSL is not a royal reading and writing association, nor the royal writers association.Its core purpose is to make the public more aware of the value of literature.

EQUITY, founded in 1930, currently has 43,000 members. This is a union organization that serves actors and actresses from the cultural arts circles, such as film, television, music, dance, theater and the like. Their management and services include: enforcing as many policy support as possible for entertainers to maximize their protection, such as legal aid, contractual rights protection,payment negotiation, retirement pension and so on. If there is any disagreement between the entertainers and the trade union, there is a complaints department within the trade union to coordinate and settle the reasonable demands. If there is no satisfactory result, they may apply to the national arbitration court.

Some thirty or fifty years ago, the international position of the United Kingdom was self-evident and affected many aspects of the world. The early industrial revolution brought superb development to the country. Today, by other's faults, wise men correct their own. Through the success of the industry, their Chinese counterparts can also find the truth in practice to acquire improvement through communication.

In terms of philosophy, the cultural and creative industries in the United Kingdom put forward the development concept that"People can enjoy arts better as their life expectancy grows,and technologies for the future will support cultural and artistic development." Some non-profit organizations have also made economic gains and rejuvenated their development momentum by purchasing works of art, such as music, movies and photography etc. In the meantime, the UK will have more positions coming from cultural and creative industries, and non-profit cultural and creative institutions seek sustainable development in the innovative environment. In addition, the government keeps increasing the value of cultural creativity every year, especially in the training of business professionals’ aspect. In 2004, the British government proposed to support cultural and creative talents,and put out money to support projects in this regard, inviting cultural and creative workers to study in other countries around the world.

In terms of policy, the government provides policy support to businesses, universities and continuing education institutions,such as relevant preferential policies for ISM, the Royal College of Arts, Film Association and other non-profit organizations. As a representative nationwide agency integrating creative industries,cultural education and arts, the Creative Industries Alliance is a completely independent non-profit trade organization with more than 1,000 corporate members in the industry. The organization maintains close cooperation with all levels of government and provides policy advice to the government regarding the creative industries. It also increases the communication and exchanges between creative industries and institutions through various activities. Accordingly, many non-profit cultural and creative organizations have talents with relevant academic degrees,but the changes of cultural and creative industries are much faster than those in the university curriculum, technological development has also generated many challenges for the UK.Many institutions began to open courses regarding the cultural and creative industries, with disciplines covering all aspects of cultural innovation and creativity. Some non-profit British cultural and creative institutions maintain the leading role globally in this regard. The cultural and creative industries, such as advertising,architecture, museums and photographic visual arts create a net profit of 84 billion pounds a year, making them the fastestgrowing industry in the UK.

Case 1: Southbank Centre

London's Southbank Centre, on the south bank of the River Thames, is the UK's largest arts center, hosting more than 5,000 events each year and attracting nearly 9 million artists, with programs featuring theater, dance, music and literature and etc. The organization is comprised of three main buildings: the classical music center on the south shore, the Royal Festival Hall,the modern music center Queen Elizabeth Hall, and the Hayward Gallery showcasing year-round performances and exhibitions. In 1951, London's south bank of the Thames was redefined as an art and cultural gathering place. The Southbank Centre specifically refers to a 21-acre area designated by the government during the year to promote people's interest in the arts after World War II.

As Europe's largest art center, its purpose is committed to creating a vision of driving people out of the shadow of war and helping them get re-inspired, receive education and start a better life. The Southbank is firmly convinced that art has the power to change lives and that art should be shared by all, hoping that it will bring about changes in people's spiritual life through its endeavors.

Southbank is one of the most well-funded institutions in the UK,with 40% from the government, and the rest from ticket sales.Southbank is also actively establishing cooperation with shops,restaurants, sponsors and others, creating a sound business partnership. It also accepts individual donations, achieving diversification through the use of trusts and foundations. This flexible and diversified mode of operation has won sufficient funds for the Southbank, guaranteeing the development of cultural activities and ensuring the benign operation.

The organization has both full-time and part-time employees,and volunteers are recruited from time to time. This method of employment can effectively save costs, but also ensure the enthusiasm of the participants in implementation. They will think about who their competitors are. They will not be complacent, and explore actively, improving their quality and recognition through innovation and creativity, constantly updating themselves,eliminating obsolescence and maintaining events ever-innovative.

Case 2: Edinburgh Art Festival

The Edinburgh Art Festival is best known around the world for its 12 important and well-known festivals, including Edinburgh International Festival of Science and Technology, Music Festival,Film Festival, Books Festival, Theater Festival, Children's Fantasy Festival, Fringe Festival etc. These give Edinburgh, a city with not large area and relatively sterile in resources, a new point of growth, the green economy, ecological and sustainable development. The festival is an important carrier of Edinburgh's cultural soft power and a national strategy for establishing diplomatic relations with other countries. While increasing economic income, the festival also attracts elites to come and settle in Edinburgh and promote the development of the cultural and creative industries through power of culture, shaping its friendly,vibrant and cultural brand image.

學(xué)員在倫敦南岸藝術(shù)中心體驗互動項目Participants experience interactive projects at the South Bank Arts Center in London

The success of the Edinburgh Art Festival stems from rational thinking about the trends in human nature and the world. The largest trend in the world is urbanization. People will look forward to traveling from one city of a country to another of some other country. Countries and cities with both natural scenery and humanistic spirit will be their choices. With the general application of mobile phones, people are more eager to go to watch live performances, gathering together, this is human nature. On the one hand, it witnesses digital development; on the other, return to human nature.And a festival activity is quite a good choice.

Success comes from comprehensive market research. All the planning of the festival comes from market research and specific data analysis, seriously considering the historical and present resources available, brand characteristics, needs of the consumers, the vision of the activities etc., paying much attention to the brand recognition and making the 12 brand projects with its own unique characteristics while at the same time adding value to each other for common development. One of the major highlights is that consumers can participate in the planning of events. Taking the children's carnival for example, children are invited to participate directly in the planning, effectively ensuring the participation of the event. In the meantime, with the combination of internal staff and external manpower and the cooperation with relevant agencies based on the fluctuating nature of the activity, it can recruit part-time staff and volunteers and lend strength to development. This method of employment can effectively save costs, which maintaining the enthusiasm of the participants in implementation.