Anders Rykkja moved to the coastal University town of Bergen, Norway in the last decade of the previous century, with hopes of enduring long periods of very damp and wet weather, studying to become a lawyer. He was prepared, knew what he wanted and how to get it. Things never go as planned. That year was an arid, sunny and mild year. Anders got a voluntary job as artist booker and concert producer at the student venue. He spent far more time reading engagement contracts and technical riders than the Norwegian Constitution. Recognising he could not survive working pro bono, he went for a professional career in the music industry, experiencing the challenges of the gig economy first hand before the term caught on as concept in the public sphere. Gradually and progressively moving into permanent employment in the CCI, he kept on studying. In 2006, he completed his MA (Master of Arts) in Music Business Management at the University of Westminster, London. His thesis was a conceptual paper on alternative ways to construe business models for artist and performers in the music industries that sought to circumvent the standard contractual regime of incumbent firms, based on assignment of rights for life of copyright. From 2012, he has worked for Inland University of Applied Sciences (Norway), and coordinated Knowledge Works - a virtual knowledge and research centre on and for the CCI. Currently Anders is doing a PhD, where he studies the evolution of crowdfunding as alternative financing model for creative and cultural project promoters and entrepreneurs in the Nordic countries.
Current research interests
Financing and funding models for creative and cultural business and projects have and still are one of my main research interests, coupled with leadership, and managerial strategies for small and medium-sized businesses in the CCI sector. I am particularly interested in four central interlinked phenomena:
- The much-discussed challenges in the rich strand of literature in cultural economics that cause difficulties relative to optimal financing models for projects and ventures such as valuation of immaterial rights as collateral, uncertainties in market and consumer reception, sunk costs, public and merit good characteristics
- The role of the “traditional keepers of the purse” (or gatekeepers) being part of a preselection and financing system for goods and services being able to choose what to market, profile and exploit from a much larger pool of smaller producers and makers
- The consumer’s reaction to being nudged and influenced by larger producers, brands and incumbents to choose their products and services – and their reaction to being directed to make positive consumption choices
- The reconfiguration of the role of producer, gatekeeper/financial backer and consumer because of digitalisation.
Which is why I believe crowdfunding, and similar disruptive practices – more as market space and place than as a digital tip jar – will be able to reconfigure and define the roles of and relations between stakeholders.