"My career began in my hometown Buenos Aires, Argentina, working in theatre from a young age.
I’ve covered various roles, learning from many different professionals and art forms, from stage management to production. Since then, I’ve travelled and worked in multiple settings in the UK, Europe and beyond. Since completing the Master in Performing Arts Management, I’ve combined my multidisciplinary background with strategic management skills to advocate for climate action within the arts and culture".
This is Nicolás Conde speaking, a new inductee into the Academy's Hall of Fame for talent. Nicolás, who actively practices performing and visual arts, is a former student of the Master in Performing Arts Management. Today, he is an arts and culture consultant and a project manager specializing in creative climate action.
How do the performing arts intersect in Nicolás's story: a family legacy or a love that came about in other ways?
Thanks to my family and the vibrant theatre scene of Buenos Aires, I’ve always been passionate about theatre. I’ve spent time practising circus skills and physical theatre workshops as a kid, and had the privilege of attending a school that offered optional drama lessons. Initially, these activities were mostly spaces for playfulness and social interactions, but as I grew up I started feeling more passionate about pursuing opportunities to take part in performing arts.
My teachers (or mentors I’d say) were incredibly helpful, inviting me over to watch performances or even helping out with their independent productions.
I wasn’t sure what exactly I wanted to do, but I knew I wanted to be part of making shows happen. As soon as I finished school, or even slightly before that, I tried to join as many projects as I possibly could.
Ranging from building sets and loading trucks to selling tickets or even performing, I got to participate in a huge number of shows, learn innumerable skills and meet incredibly inspiring people.
Learning by doing can be challenging and it’s often loaded with mistakes and frustrations, but it has offered me the possibility to absorb performing arts from within. I truly believe that each experience has been instrumental, no matter what or where the job was, and they have all contributed towards my professional development. I’m very passionate about the creativity, skills and craft behind live arts because of these experiences; driving stories and experiences to transform the world around us.
Where and how did you find out about the Academy and its courses? Have you considered other routes, or did you immediately make the decision to join us?
Honestly, it was random (and lucky); the magic of opening and navigating a million internet browser tabs!
At the time, I was working in technical production roles covering many weekly performances on tour, seeking a moment to pause and study. I hadn’t gone through a proper academic experience until then and was craving an opportunity to equip myself with new tools alongside international peers. My development path has mostly been built on a learning-by-doing approach and, although I very much celebrate that choice, I realised that it was a great moment to dive into a dynamic educational setting to complement and strengthen my skills.
After exchanging a few emails and diving into the application process I decided: if I get in, I’ll pack everything and move to Milano! - and I’m so glad I did.
Among the subjects covered during the master's degree, which ones gave a turning point to your training and which ones do you find most useful, in practical terms, in relation to your current profession?
I couldn’t possibly choose just one! I was moved by many professors, speakers, and their work. The MPAM was a chance to absorb, understand, challenge and immerse myself in wide range of themes and frameworks. This has undoubtedly equipped me with tools and strategies that have reshaped my professional path.
I remember the History Of Music module as a very challenging one for me (as I didn’t have a musical background at all!) and yet one of the most fascinating and accelerating learning experiences I had. I can’t stress how useful the Sponsorship and Fundraising workshops have been in projects I’ve worked on, and every module is vital in strategically approaching production models. It was Francesca Campagna’s workshop where I became curious about innovative production models, having a huge impact on my graduation project and the subsequent journey into sustainability within the arts and culture. Ultimately, the modules or themes I had less experience or knowledge in, were the ones that became more instrumental or relevant in practice.
What is the biggest challenge you face in your daily professional life, and how do you solve it?
Advocating for a sustainable and regenerative cultural sector is all about change, which can sometimes be very challenging. The climate emergency and its impacts are no longer distant future problems, but very much contemporary and urgent challenges for societies worldwide; and the performing arts sector is no exception. Climate adaptation and mitigation often involve rethinking production processes, materials and energy sources, working dynamics, governance models, funding structures, and budgets. This climate journey can also lead to feelings of frustration, grief and hopelessness, for both myself and colleagues.
The best way I’ve found to navigate these challenges is through patience, empathy and care. We are all trying to do our best, and every single action (no matter how small) can be significant and impactful. I try to connect with nature as much as possible, engage in conversations and find resilience in connecting with peers who face similar challenges. I also love reading or hearing about inspiring examples and case studies of transformative creative climate action.
The exciting news is that creative climate action isn’t just about avoiding or mitigating catastrophic outcomes. We have an opportunity to address sustainability in a holistic sense; nurturing just, healthy and regenerative Performing Arts while engaging audiences in meaningful conversations.
You have moved between different countries, with a different type of relationship with the world of theatre, classical music and culture in general: what is your perception in this regard, where do you think there could be more space and opportunities for a cultural manager?
Travelling, or changing context is a great way of taking a step back and gaining different perspectives. Every place, community and culture are different, and that’s the most enriching part of it. My favourite thing is to explore, encounter and absorb the multiple experiences that each context might offer, sometimes unexpectedly. To me, places are strongly connected with the professional or personal projects I’m working on, what learning opportunities there are for me, and what skills or approaches I can contribute within each context. The opportunities would vary depending on our interests, experience, language and communication skills but also our ability to adapt.
There’s also a huge need for a broader adaptation concerning the challenges that people, nature and the arts sector are and will be facing around the world. In that sense, I find it helpful to think about the need for cultural professionals as well. That need might come from the number or characteristics of posts to fulfil, like in some major cultural hubs, or due to a lack of professionals with certain expertise within a territory or community. Sometimes it can be exciting and enriching to be part of a large and renowned organisation, while there can be an enormous opportunity in joining a smaller project where the scope for professional development might be extensive.
Ultimately, it’s useful to be open-minded about the opportunities that might arise or one might seek, but I’d always try to work on projects and places that feel meaningful and impactful to me at a given moment in time. For example, I’m currently working on a project with peers from Argentina, focusing on creative climate action. I haven’t worked in my home country in several years, and I’m excited by both the opportunity and the need to collaborate in driving positive change in that context.
Three characteristics that are essential for you to move in the world of performing arts, at a managerial level
In any performing arts job, I celebrate problem-solving, creativity, generosity, and (above all) collaboration.
Why should someone choose this course and how would you advise them to prepare for the selections
The course involves a great variety of interesting voices, including professors and guest lecturers, in a practical and collaborative setting; it’s ideal for developing management and strategic skills for a wide range of career paths. It’s also a great platform to gain a good understanding of the performing arts sector internationally, at the heart of Milan’s opera, theatre and music scene. I’d also highlight the invaluable opportunity to share a development path with international peers, building a professional community beyond the duration of the course.
Preparation for the selections would vary depending on each person’s background, but I’d say it’s helpful to think about one’s career objectives and how to make the most out of the course to unlock them. I’d also recommend looking at the modules to identify areas of particular interest or need for improvement. Strengthening your language skills would also help with the selections and the course itself. In bocca al lupo!
