From Eight Students to Global Influence

When Did It All Begin?
“The MA CEE welcomed its first cohort of eight students in 2003,” says Christian Handke. “By the time I joined in 2007, enrolment had grown, and we were looking at numbers that felt like a profitable proposition.” Today, the programme admits around 60 to 70 students annually—a sustainable size for a one-year master’s. Its early popularity reflected a clear need to equip creative professionals—especially musicians—with the economic and organisational skills to sustain careers beyond artistic practice.

Who Shaped the Programme?
Arjo Klamer: Regarded as the world’s first full professor and chair in cultural economics, Klamer’s vision was to reform economics into a socially aware, applied social science, one that speaks to the value systems inherent in cultural production. Ruth Towse: Towse spearheaded its conceptualisation in the Netherlands. Her expertise sharpened the programme’s focus on improving decision-making in cultural organisations, particularly in areas such as copyright and policy. The ‘creative tension’ between Klamer’s theoretical reform and Towse’s pragmatic approach gave the programme its unique academic rigor.

Programme Content: How Has It Evolved?
Since its start, the MA CEE has combined cultural economics with entrepreneurship. Over time, it has evolved to address major shifts in the creative industries. For instance, digitalisation now plays a central role, with courses anticipating the impact of technologies like AI, 3D printing, and VR. “Cultural industries are at the heart of digitalsation… artists tend to pioneer and popularise new technologies” says Handke. Equally important is sustainability—both environmental and structural—which is woven throughout the curriculum, from fair income distribution to building trust in fragile ecosystems. Research from Erasmus Research Centre for Media, Communication and Culture (ERMeCC) helps keep the curriculum aligned with developments in areas like crowdfunding, heritage, fashion and urban creative economies.

Rather than prepare students for established roles and procedures, the programme emphasizes empirics, strategic foresight and innovation—embodying its core motto: teach them how to think, not just what others are doing already. Students learn to evaluate the consequences of their actions using data and critical reflection, instead of relying on assumptions or dogma.

Milestones & Impact
CEE has built a strong international reputation, consistently ranking among the global top five in Arts & Culture management—and has even claimed the number one spot at times. Its influence also extends through academic leadership: Arjo Klamer served as president of the Association for Cultural Economics International, and ESHCC is the only institution to have hosted its conference twice. Ruth Towse led the Journal of Cultural Economics as Editor-in-Chief, with Christian Handke now serving as associate editor.

Perhaps most visibly, the programme’s alumni are making their mark across the cultural sector—from the Rotterdam Film Festival and national museums to organisations like WIPO in Geneva. “Wherever I go in the Dutch cultural scene, I meet our graduates,” says Handke, reflecting the strength and reach of the CEE network in policy, entrepreneurship, and creative management.

What’s Next for CEE?
The hosting of the ACEI conference and consistently high rankings both signify sustained academic prestige and societal trust in the programme. Looking ahead, the CEE team aims to further integrate emerging technologies like AI and biotech into project-based learning, expand student-led consultancy for NGOs, and navigate institutional changes such as shrinking budgets and reduced internationalisation. Its next chapter will rely on combining technological foresight and ethical innovation—while staying true to the pioneering spirit of Towse, Klamer, and those who followed.