To successfully integrate young talent into the creative industry, we must first understand the context of the organisations that have been studying this process for years. Their publications are not only collected data, but operational models ready to implement.
The European Choral Association (ECA) is a network of organisations bringing together thousands of choirs and millions of singers from across Europe. It is one of the most important institutions in the choral music sector. It has been committed to the professionalisation of cultural management staff for years.
The key document is the handbook ‘Youth Involvement in Cultural Organisations: Supporting new generations of decision-makers’. This is a guide produced by the Youth Committee which serves as an international standard for integrating young people into management structures. This handbook is important because it moves away from theory towards practice. It defines specific roles, such as the Junior Decision-Maker, and shows how to turn a volunteer into a responsible project leader.
The second organisation, which is worth mentioning, is the Silesian Association of Choirs and Orchestras. It is an organisation with deep historical roots, operating in a region where the amateur music movement forms the foundation of identity. For over a hundred years, this association has been building social capital through collective music-making. For several years now, a Youth Council has been operating alongside the Executive Board, a body which has a real influence on the direction of the entire organisation’s development. The Silesian Association of Choirs and Orchestras has published a report entitled ‘Diagnosis of the needs and superpowers of the amateur singing movement in Silesia’, authored by Krzysztof Sosna – a member of the Youth Council. This publication is fundamentally important, as it highlights for the first time the resources available to the local creative sector, whilst also exposing its weakest links.
An analysis of the above publications reveals three main threats. Without intervention such as the Empowering Youth Talents project, it could lead to a structural collapse of the creative sector in the partners’ regions:
Current leaders are often approaching retirement age, and the system has failed to establish a natural pathway for the younger generation to take over their roles. Without systematic mentoring and the handover of decision-making powers to younger people, decades of experience and contacts may be lost forever.
Both the Silesian Association of Choirs and Orchestras report and the ECA’s analyses note that schools play almost no role as incubators for the creative sector. Young people often find their way into the creative sector by chance rather than through a structured pathway. As a result, the creative industry today must seek out talent itself and teach them management skills from scratch.
Cultural and the creative sectors are based on collaboration and relationships. Contemporary digital entertainment promotes an individualised model. If the creative sector does not start communicating in the language of young people, it will lose the battle for their time.
Why is the amateur music scene the perfect example? Because the connection between tradition and the need for innovation can be seen there.
The amateur music scene shows that simply inviting young people ‘to get involved’ is not enough. The initiatives undertaken by the two organisations mentioned solutions that can be directly applied to any company in the creative sector or any institution. It is important to have the courage to gradually ‘hand over the reins’ to young people. Young talent should not merely be an assistant, but a partner managing a specific area (e.g. the band’s social media presence, fundraising or event production). Succession does not happen overnight. It is a process of gradually handing over responsibility which builds the organisation’s resilience to sudden staff changes.
As part of the Empowering Youth Talents project, it is worth asking why a young, talented person would devote their time to the creative sector rather than, for example, the commercial entertainment industry? The answer lies in a sociological concept which the report by the Silesian Association of Choirs and Orchestras cites as the foundation for the sustainability of the choral movement. This refers to the concept of the ‘third place’. The term was introduced by the American sociologist Ray Oldenburg. According to him, our lives unfold across three spheres: the first place is home, the second is work or school, and the third place is a neutral public space where people gather voluntarily to build relationships, exchange views and simply be themselves.
In an era of growing digital isolation and a mental health crisis amongst the younger generation, the creative sectors – which have the potential to become a ‘third place’ – are gaining a strategic advantage.
Currently, the greatest driving force behind the creative sector is human and relational capital. This ‘superpower’ forms the foundation of an organisation’s resilience, even in the face of financial constraints. Analysis shows that it is not infrastructure, but commitment and a willingness to spend time together that build teams’ resilience. This distinctive, almost family-like atmosphere and deep interpersonal bonds mean that young people can view the creative sector as a place that gives them a sense of security and purpose, which is key to their long-term loyalty.
Another superpower is the ability to generate fresh ideas and innovation. Young people bring a perspective to the sector that is untainted by routine or a reliance on methods that ‘have always worked’. Their presence offers an opportunity for a strategic reboot of the organisation, a refresh of its image, the digitalisation of communication, and reaching new audiences.
Passion, combined with agency, is an extremely important driving force within the sector. The ECA handbook defines passion as a prerequisite for innovation, enabling young talents to overcome adversity, such as a lack of time or financial difficulties. This ‘superpower’ finds its practical expression in the ability to self-organise. The Silesian Association of Choirs and Orchestras report provides evidence that young leaders are capable of independently managing complex processes. From fundraising, through logistics, to the implementation of ambitious artistic and social projects. It is precisely this ability to take responsibility for a collective endeavour that is the most valuable asset, one that is worth seeking to bring out, nurture and strengthen, so that young enthusiasts can become professional decision-makers in the creative sector.
The accumulated knowledge, drawn from international experience, leaves no room for doubt. The creative sector does not need further theoretical debates about young people, but rather the courage to give them a real influence on reality. Involving young people in decision-making structures is not merely a matter of image or a kind gesture on the part of experienced leaders. It is a hard-nosed strategy for survival and growth. Shifting the approach from ‘creating culture for young people’ to ‘creating culture with young people’ safeguards the organisation against a succession crisis. And most importantly. It’s time to stop talking about it. It’s time to start creating together.
Krzysztof Sosna – Miejski Ośrodek Kultury i Sztuki w Pyskowicach
Bibliography:
European Choral Association (2021). Youth Involvement in cultural organisations: Supporting new generations of decision-makers.
Sosna, K. (2025). Diagnoza potrzeb i supermocy amatorskiego ruchu śpiewaczego na Śląsku. Silesian Association of Choirs and Orchestras.