Creative Industries and Growth Management

The study programme implemented by the LAC and RTU is based on three main themes – “Creative Industries”, “Business”, “Growth Management”, while in the optional part two main themes are offered – “Basics of Business” and “Art Discourse”, as well as a combination of these study courses “Art and Business”, one of which shall be studied, depending on the previous Bachelor’s degree.

PROGRAMME STUDY COURSES:

• Growth in creative industries,
• Public speaking and Contact Improvisation Laboratory,
• Development of creative industries,
• Branding and reputation management in creative industries,
• Strategies and contexts for the Conceptualization of Art,
• Social, economic and political processes in the cultural sector,
• Marketing and digital transformation,
• Lifestyle and financial management,
• Strategy and integrated talent management,
• Business modelling,
• Research design,
• Master's thesis.

CURRICULUM

Application for EU, EEE + candidate countries  

Application for other countries 

* Previous education required for admission to the study programme

Bachelor's degree or second-level professional higher education, or equivalent higher education in the following thematic fields of education: arts, humanities, social and human sciences, information and communication sciences, law, teacher education and educational sciences.

Requirements for admission to the study programme

Entrance examination "Interviews", in which, based on previously submitted letters of motivation, as well as answers to questions asked by members of the commission, Applicants' motivation for cultural management studies, knowledge of cultural theory and history, understanding and ability to formulate an opinion on current issues of cultural management and cultural policy are determined, as well as knowledge of the English language. The Applicant's interests in the subject and problems of the Master's work are ascertained, as well as the readiness to carry out a research work in the relevant subject.

Competition evaluation criteria

The entrance examination "Interviews" is assessed in a 100-point system:

• motivation to study in the sub-programme, ability to present oneself in writing (motivation letter) and orally (1-30 points);
• understanding and knowledge of the current affairs of the cultural industry, cultural management and cultural policy in Latvia (1-30 points);
• Master's thesis topic design, its relevance and adequacy to the study programme (1-20 points); knowledge of the English language (1-20 points).

STUDY INFORMATION

FINANCIAL SUPPORT

WHY STUDY IN LATVIA/ LATVIAN ACADEMY OF CULTURE

GENERAL AND PRACTICAL ADVICE

Regulations for admission to academic Master’s study programmes at the Latvian Academy of Culture in the 2024/2025 academic year

The first semester creative report by the students of “Creative Industries and Growth Management”

The first semester is over for the students of the joint master's study programme of the Latvian Academy of Culture (LAC) and Riga Technical University “Creative Industries and Growth Management”. Despite the distance learning format, students have started or are planning to start several creative activities to foster their professional development.

Artist Zane Neimane has carried out several important activities during the semester to foster the sale of her artworks. Now, at https://www.startupart.lv, there is only one piece left from Zane's collection “Blueberries with Milk” (Mellenes ar pienu). A new series of works is currently being created for an exhibition entitled “SEARCH FOR ADDRESSES [IN ĀGENSKALNS]!” (MEKLĒ ADRESES [ĀGENSKALNĀ]!) to raise awareness of the architectural values of the area.

Elīna Jākobsone, co-founder of the advertising and design service agency “Ozols Ir”, together with her team have launched a new product in the first semester of their studies - the skincare line “Habit 6”. The product line also has a website where you can buy the natural facial care products: https://www.habitsix.com/. “It was a challenge to step into the shoes of our customers - we used to develop communication for ready-made products, but now we had to do and create everything ourselves - from packaging research to fragrance testing. Our audience is women aged 20+ - daughters and mothers of daughters”, says Elīna.

Valērija Mizgare, with friends, has created the theatre platform “Insight”. It focuses on creating cutting-edge performances using new theatrical tools and solutions, as well as organising public events and parties.

Zane Matesoviča, Head of the British Council Latvia, is planning to write an article on her personal achievements within the semester in relation to time management and how the digital working environment can be combined with handwritten notes in a way that complements each other and helps to maintain creativity and time management.

Dita Miska, the manager of the “M50” store, has created an Instagram account https://www.instagram.com/vissapnicis/, where she shares her drawings and ironic texts created by fellow colleagues and friends on things that they are tired of. Alongside her Instagram account, Dita has also started a blog based on her own and others' experiences, allowing people to maintain a healthy sense of self-irony. “I Hate that I undertake things I don't really want to do. This has to stop,” Dita writes in one of her blog post.

Since October, 2021 the editing director Līga Pipare and her team has been working on the various stages of post-production of the Latvian TV series “Tunnel”, such as editing, music selection, cooperation with the composers, development of the trailer, opening credits, sound post-production, etc. Starting from December 2021 one 47-minute episode will be streamed weekly on the Latvian streaming platform Go3. In terms of experience, a large percentage of success lies in working with the right people, that is why together with her husband, Līga has created her own company “LAVKA ART”, which serves as a platform for creative people to get together and carry out various cultural and arts projects. Meanwhile, the TV and film producer Diāna Logina has created the most-watched New Year's Eve show in Latvia at the end of 2020. “The course “Growth in the Creative Industries” has been a wonderful resource for developing self-reliance, self-discipline and other inner resources. The information provided in the lectures encouraged me to search and find literature, seminars, podcasts that would help me move towards my goal,” said Diāna, sharing her thoughts.

In August 2020, the Latvian Academy of Culture launched the new international MA study programme “Creative Industries and Growth Management” and admitted its first students. The programme has been developed within the framework of the project “Development of New Study Programmes for the labour market of the cultural and creative industries sector” (No. 8.2.1.0/18/A/018).

The future of the creative industries

The future of the creative industries

In 2020, the Latvian Academy of Culture (LAC) has launched a new international MA study programme - “Creative Industries and Growth Management”. Three students - Dita Miska, Zane Matesoviča and Linda Miķelsone - share their first impressions of the programme and behind the scenes of the study process. 

What was your study and professional experience before you started these studies? 

Linda: I graduated in Multimedia Communication and now work in public administration in the field of digital transformation and IT. Currently I am trying to draw parallels between creative industries and the digital transformation issues. 

Dita: I studied to be a fashion designer; now I am in a process of change, studying at the Latvian Academy of Culture and waiting to see what else I can offer to the world.

Zane: I studied philology and pedagogy; my life has been mostly spent in education. I felt that my portfolio lacked knowledge about culture and creative industries, so I joined this programme.

Tell us about the programme and its strengths! 

Zane: This is the first joint MA programme of LAC and RTU. The idea to combine humanities with technical sciences is a breakthrough and a blessing! Bringing these two different worlds together makes the studies much more innovative. Culture and creativity are impossible without finance and business models, and vice versa.

Dita: Academic studies were one of the reasons why I chose to study here. I like the fact that two universities have combined their forces. Besides, it also provides a unique experience for both lecturers and students and broadens their horizons. 

What are the highlights of the study process so far?

Linda: Those are both the creative subjects, such as Art History, and the Basics of Cultural Studies, as well as the courses related to Business Management - understanding the stock market, gaining the basic knowledge to build something - this has definitely stayed in my mind. 

Z.: It is nice to have foreign guest lecturers - the international dimension of studies. This way you do not feel completely isolated during the distance-learning period. To work with these brilliant lecturers without leaving home was great. I am very happy for our group. There are students from the cinema, advertising, and social media industries – half of them have technical knowledge, the other half associate themselves with the world of culture. Everyone has come with their own unique experience. Peer discussion is a whole parallel university with new knowledge that we gain from each other. 

How does the study process work? 

D.: In the first semester, all courses are viewed through the perspective of personal development. The second semester is dedicated to organisation and the third - to global issues. During the fourth semester, we work on our master's thesis.

L.: In the beginning, we learnt how to organise our personal finances, then - how to attract investors to our business and how to manage the cash flow. Within the Business Modelling course I have gained invaluable knowledge about business ecosystems and business design.

Z.: The business courses was a positive challenge that has put all my previous experiences on a different footing. It is an extraordinary look at the industry from the perspective of cultural and creative industries. 

D.: I would like to highlight the structure of the programme in the form of study modules and wish this for everyone. After each subject, there is a test, and once that is done, something new comes along. This way the study process does not get boring and it helps to focus.

Z.: I like the unity of the programme as a whole. There is a maximum of two thematic courses at the same time. Growth Management is an ongoing, transversal theme - how to manage growth both personally and globally. The course is structured in such a way that we start to assess and shape growth through our own perspective, and then move it to our businesses.

How would you describe the essence of growth? What professional and personal qualities do these studies develop?

L.: A great focus is placed on being aware of and adequately assessing your competences and skills. From there, you develop an individual plan - which competences you develop, and how you assess priorities. These studies have given me the impetus to do more research on my own, and my self-learning skills are developing a lot. I realise that I am learning for myself, which is great. 

D.: I would also like to emphasise the need to set goals. The Growth Course reminds us to do this. And there is no need to fear that the goals may change. The process influences the goal and the outcome. I have become braver in decision-making and goal setting. My motto since the beginning of the year is: if there are things to do, do them now. Ideas may not be perfect, because nothing is perfect. If there is something good, it needs to be done; it must be seen.

Z.: All learning is part of growth. But if it is driven in a meaningful, structured way, through your own perspective, you immediately understand the direction in which you want to develop more. We are deliberately guided to see how to develop what is important to us. A range of relevant tools, direction and stopping points are offered that can lead to this goal. 

How do you see the future and development of the creative industries?

Z.: In the global world, the language barrier is slowly starting to disappear. We are sure that Latvia has an export-orientated culture. The aim, the power and the opportunity of this programme is to create cultural managers, who will see the potential of culture and know how to profit from it. At all levels, culture is still not fully valued because it is difficult to measure its impact. During the pandemic, we all realised how important it is for our mental health. Alongside culture as a profitable industry, we need to be aware that there must also be continuous and consistent support for it.

L.: The creative industries have a huge potential. I, myself, am inspired by the creative industries in South Korea, how the country sells its pop culture; its identity as such. And people want to travel there and buy their creative products. Many countries operate in this way, attracting tourists and selling their culture, building the creative economy. Latvia is becoming aware of this, and this study programme is a sign of it. 

A businesswoman with roots in culture. Interview with Ieva Zemīte

Ieva Zemīte is a graduate of the Latvian Academy of Culture, lecturer, and researcher at the LAC Research Centre. In 2017, together with Anna Varnase, a graduate of the Art Academy of Latvia, the Department of Glass Art, she established the glass art studio “Glass Point”, which is the first studio-workshop of its kind in Latvia. Together with Denis Ščeulovs, Director of the Institute of Business Engineering and Management at Riga Technical University, she has developed a joint international MA study programme “Creative Industries and Growth Management” * with an ambitious goal - to prepare leaders of change, who are able to manage the growth processes, think strategically, be creative, appreciate diversity and apply it.

Education: in constant motion from theory to practice. Between cultural economy and cultural business.

The Latvian Academy of Culture is a great place not only to learn, but also to start doing. While studying at the BA study programme of the Latvian Academy of Culture “Cultural Theory and Management” I was involved in the management of an event agency, and after the graduation, I started working as a project manager at Dzintari Concert Hall. Alongside work, my colleague and I were developing our own event management business, so the MA studies in “Culture Management” were very useful for me as well. But before starting my MA studies, I needed a break to understand what is going on in the world; how it works. I really enjoyed my time in MA studies, because I knew what I wanted to find out, what I needed to ask and, ultimately, why I was studying in the first place. I had the opportunity to engage in discussions with the lecturers and I had my specific questions to which I needed answers.

I would have been very happy if a programme like “Creative Industries and Growth Management” had been offered to me when I finished my BA studies. This programme is precisely targeted at young professionals, who know what they want, but for one reason or another have stalled in their own or their business’s development. The programme is designed at several levels: from the personal to the global level. The lecturers will work as mentors and help you understand at which level changes are needed. Of course, you must always start with yourself, but there may be something in the industry that works differently to what we imagined. This is why the programme will be suitable for doers and those who want to know which way to go next to continue their business development, especially when thinking about the personal aspect, which is very important in overall development.

In my MA thesis I focused on the economic impact assessment of the Dzintari Concert Hall, and I was really fascinated by the topic. For me, work opened a whole new horizon to the field of culture - I was able to contribute by talking about the value of culture and its economic impact. It was a time when it was a very topical issue to talk about. With my MA thesis, I made a big impact on the cultural sector and realised that the topic had the potential to be developed at the PhD level, as this would allow the idea to be developed more broadly and thus be of greater benefit to the industry as a whole.

The research results and knowledge gained from Ieva's MA thesis have been widely used by the media in discussions about the economic impact of culture:
https://www.delfi.lv/kultura/archive/ieva-zemite-ieguldijums-kultura-ieguldijums-valsts-ilgtermina-attistiba.d?id=33879811,
https://nra.lv/latvija/20412-eksperti-latvijas-kultura-neprot-sevi-pardot.htm

I knew I needed the business management knowledge - the economic impact of the culture I had studied so far sparked my interest in the real and practical work. Slowly, I moved from cultural economics to cultural business, which was my true calling.

While studying business administration at Turība, I felt a bit like a fish out of water among other PhD students who were “real” businessmen, such as factory managers who have been doing business for almost 25 years. I was driven by a passion to combine the cultural industries with the world of business, so I wrote my PhD thesis on cultural business, its specifics and development opportunities.

Business was always there as a parallel fragmented world that had not yet come to the centre of my professional activity. While working various paid jobs, I was always involved in the development of ideas – firstly, it was an events agency, then working with scientists and commercialising their ideas, then the business incubator of the University of Latvia. From what I have seen, the work in this industry is not coherent at all - it is fragmented and requires knowledge on more than one specific work position.

Introduction to glass art and “Glass Point”.

“Glass Point” was born out of a joint study course of the Latvian Academy of Culture and the Art Academy of Latvia - “Creative Business Laboratory”. During the course I appreciated the enthusiasm for creating a glass studio, but that was it. However, a year after finishing the course, I was approached by several artists who were still interested in the idea and wanted to develop it. It was then, when I realised that I believed in the idea and offered them to develop it together.

Now there are two of us at “Glass Point” - the artist Anna is responsible for product design and technical solutions. My job is sales, projects and fundraising. We have four areas of business - one of which is not a classic business area - the project area, such as exhibitions and masterclasses - because it is not directly profitable. In this way, it is possible to broaden horizons; it is a typical cultural business, where we seek funding for ideas that the client does not pay for. Of course, our main services are custom glass design solutions and masterclasses, workshops for legal and natural persons. Corporate events are a broad area that we are developing. It is good that this spring, when everything basically stopped on the same day, it was not our central business area.

Our core products are custom artistic solutions in glass - vases, glasses, gifts, awards, interior objects, and glass in interiors. Masterclasses and events give people the chance to get to know glass, and we also offer jewellery masterclasses and events for children. Glass is a material that most people do not have the opportunity to work with daily: cutting it, making mosaics - it's a unique experience.

Covid-19, business, and customer habits.

Everything orientated towards public service delivery, open workshops, face-to-face customer service, stopped in one day. Last year, in the same situation, we would have gone bankrupt, because at that moment there was a really strong focus on the public, with a lot of domestic and foreign clients coming in. There were many events for businesses, schools, and children.

We have now managed to develop more customised services and orders, which was also a lifeline at that moment, because it enabled us not to stop in one day. Of course, it will now be more difficult to get new customers; some of the orders are closely linked to events, which are also currently suspended or limited.

The clients we have gained over the three years of working, those who came to our masterclasses and workshops, those for whom we created glass design solutions, are a great value. There is a lot of support from this audience and interest in future cooperation opportunities. People are now longing to do something together, to participate in something, for example with their families. The emotional background that we are currently experiencing in our communication with our clients suggests that we will not move completely to a virtual environment after this time. People want an authentic experience: to touch and see the result of their work, to create something themselves. Working with glass can offer this. Working with hands and materials in a fun and educational way is something that people needed and will need. It is a break from everyday life and work; scientists, bankers and travel agency workers come here. There is a definite need for this face-to-face service, so I am very confident that this service will be back on offer when possible.

Remote business and customised art.

Quite a lot of orders for “Glass Point” come from abroad. The central channel through which we work is the buying and selling platform Etsy. If at first it seemed like Etsy did not work for custom orders, after half a year of working on the platform, we found out that it works great. Customers use this platform to order customised glass products rather than choosing from our range. And of course, we create them.

We switched to remote order taking quite some time ago, which was important when thinking about working with customers from abroad. We offer an online format for our clients to follow the design process, while at the same time the artist and the clients agree on the final result in the chat. After all, without coming to our studio, the client receives a finished product in the mail.

Mistakes, constant experimentation, and the business of feeling.

My own feeling is that we are always moving forward, as if stumbling, and it is the strategic direction and the purposeful direction that we are really lacking, despite my education. Our strategy is to experiment - let's try it and see how it works. This way of working probably comes from my previous experience and the business incubator days, when I worked on the principle - do not plan and think, do, and think afterwards. Working this way has also led to many things being tried that do not work, but at least now we know that they do not work!

Of course, the start-up was not easy either. We started with three of us - me and two artists (Anna Varnase and Baiba Dzenīte). After the first three months, there were two of us, and the situation was based on the classic story of how people's priorities change. It was a big blow at first, because it also meant ending the financial relations, which of course was difficult for a company that had just started. But the next day we received a call from a restaurant wanting to order tableware. All things get sorted out in their own way: if at one point it seems like nothing is happening or things are getting very hard, an offer comes along. Then, of course, I start to focus intensively on restaurants, thinking that is the right direction, until I get a call from, for example, a bank that needs something completely different. Sometimes you work for three months on one thing, thinking it is the right direction, but in the end, it turns out it is not, or it does not work. There are very successful and unexpected turns, but that is only because we are always on the move. Hard work always pays off, the only the question is - how.

There has been one big downfall - that was with interior design. We had already made prototypes, but then it turned out that the person we contacted had already been fired from the business and had never shown our project to the management. We had, of course, invested in developing prototypes.

Business development and the dream of a “glass house”.

Our ambition for the future is a “glass house”: this would be the central point of our business. If a person has an idea related to glass, they come directly to us - to the “glass house”. The purpose of meeting with the customer could be different: to place an order or for educational purposes - to get to know the material by participating in the workshops. We now have everything we need to meet a wide range of customer needs, and there is also a feeling that what we have can be expanded. The “Glass Centre” would play an important role in the context of the industry: it would be recognisable in the region, attracting both clients and those who are interested in this art form and type and want to try it out for themselves.

It is important to attract not only potential customers, but also the glass artists themselves. This is one of the things we are working on: we offer artists workspace and equipment rental. We initially saw this as a very important part of our business, but when we started, we realised that it was not. This direction is important in the broader context of the industry and our business idea. Getting into glass art is costly, it requires a lot of investment, and the materials and technical equipment are expensive.

For example, artist Anna already had a glass furnace - she had been seriously preparing to have her own studio since high school. The artist was very determined to get there, so the first step to starting a business had already been taken, but in spite of that - in the three years we have been in business - we have added a great deal to our technical equipment. This allows us to work with artists who want to use the specific technical equipment and do their own work, selling the result (product) - jewellery or interior objects. It is an invaluable support for an artist not to have to buy their own equipment in the start-up phase. They can start working on their product, gradually assessing what will be needed in the future.

In a way, we also see the potential to act as a business incubator - to not only help artists get started technologically, but also to connect them with potential clients and help them sell their product. We have a studio where the work of different artists is on display for the public to see, so we are able to help the client to find the right artist working in a way that interests them.

A Person in business: whom to be and how to survive?

If stating qualities the businessman must aquire, it is certainly perseverance and being in constant motion. You must be willing and able to talk to people, to be open to the world. A mind-set of growth is important - the awareness that we can learn anything. This correlates with the “Creative Industries and Growth Management” programme - you must keep developing the talents and abilities you have; keep pushing the boundaries.

Anyone can be a businessman, if they have the desire and the will. Understanding that business mechanisms work when you know that you will always have to convince someone of your product or service and that you will have to sell. This is central: knowing that sales are important in business ensures that you can do what you love. Of course, self-confidence is necessary, and there is always a debate about whether or not this quality is real. Having been in the grey area between culture and business for a long time, my self-confidence is not very great. Am I a businesswoman? Yes, I am ambitious - I want to make a difference in the situation we are in now, to develop and push things forward.

To see myself and my potential development at multiple levels - as a businesswoman, as a person and in the industry context. Whichever level of change is possible, we need to be open and willing to see it and be willing to make it. Keep your eyes open: keep up to date with what is happening in the industry, with the latest developments and innovations, and look for best practices that are happening outside our world. This is one of the reasons why I believed in the glass artist Anna - she knew a lot about the industry - about what was going on, what innovations and good practices were out there. She knew the industry on a completely different - international - level, she had been to the Czech Republic, Portugal, Scotland; she knew the best practices in the USA, she could describe the current situation and trends in each of the European countries, she knew what products were in demand, and what masterclasses were taking place. We started to implement Anna's European experience here in Latvia, adapting it to our market, and this allowed us to realise that it works here too. Many good things cannot be imagined out of the blue unless you have opened your eyes and experienced that there is another way.

Learn creativity. The design of the MA programme “Creative Industries and Growth Management”.

Creativity can be trained in the same way as all other talents. I will never be an artist, but I can already appreciate how my aesthetic perception of art has changed since working with Anna. I will never be able to look at things the way she does, but her influence has changed my perception. Comparing the variability of aesthetic perception with creativity shows that it can be trained and developed.

The MA programme “Creative Industries and Growth Management” focuses on growth at three different levels - personal, corporate, and global. In the beginning you will focus on the personal development - personal branding, public speaking, contact improvisation. These are the intangible but extremely important things in corporate communication - to be able to feel a partner in your professional work, how to read a person, how easy or difficult it is for you to talk to this person - it depends on that intangible side of your personality, on how you have managed to develop it so far. The programme will focus on the student not only as a entrepreneur, but above all - as a person. All courses are structured in a way that the student has the opportunity to look at oneself from the outside - as a person who has the opportunity to direct their own career by understanding the goals of their own development, as a manager of an organisation, as an employee who has the opportunity to create change in the workplace, as a part of society by contributing to the understanding of global social change. I think there will be a radical change in the way a student thinks and sees themselves before and after graduation.

The aim of the programme for each student will depend on their particular vision and interests. During the third semester they will look at the global level - the organisational and industry context. At this level, students will need to be able to see challenges, opportunities for change or their own solutions. It will be a big challenge - so the final task of the programme will no longer be just about each student's personal contribution or organisational development plan, but a vision of their place or role in the whole sector - what global or social changes can they as graduates of this programme, can initiate. While combining two disciplines - culture and business – you get a vision of your own, as well as your business's perspective in the industry. Thus you not only to see and intuitively feel your growth opportunities, but will also be able to justify them.

Students will be involved in the design of the studies. The programme is academic, but the studies are practical and student-orientated: the student will make many decisions on what the studies will be. At the time of enrolment, each student's interests will be monitored, as well as the practical knowledge they need; therefore, the whole growth management lecture course will be a mentoring process - moving forward with clear goals to achieve, of course assuming that the goal may change during the course. It will be important to not only set and achieve goals, but also reflect on them. Students will have the opportunity to take courses at two universities, with faculty members from both universities, to use the resources of both universities and to appreciate the strengths of each of them. In case of the Latvian Academy of Culture it is the individual work with students that is possible because of the relatively small groups of students.

When enthusiasm is more important than experience.

For young people without practical business experience, the programme will open up a field of exploration, offering knowledge and guidance to find their own ideas and direction of work. The university is a supportive and safe environment for experimentation and self-discovery, so finding your calling during the study process is a great opportunity. The design of the programme provides for such a search and, in addition, gives you the opportunity to meet students who are already working in business, who have found their field of work. The synergies that can arise are a great benefit - the interaction of one’s own experience with the experiences of others. In business in particular, motivation comes from role models – if my peers can do it, then I can do it, too. It helps a lot with self-motivation - you see real examples that work, and you can learn from them.

In business, the will to do things is definitely more important than experience. By asking for or expecting experience, we automatically focus on those who have it, excluding those who lack it. But sometimes a lack of experience is compensated by great desire and potential, which just has not yet been put into practice. Such nuggets are often very inspiring: sometimes with a lot of enthusiasm and work, someone can achieve more in six months than someone who has a lot of experience but no understanding on how to put it to use. One that is constantly moving and doing is a good example.

After applicant submits the application, foreign student’s previous education documents (diploma and diploma supplement or transcript of records) are being forwarded to the Academic Information Centre (AIC) in Republic of Latvia. AIC is the Latvian representative to the European diploma recognition networks ENIC/NARIC.

The academic recognition is necessary, if the student has a foreign qualification (diploma) and he/she wants to continue studies in Latvia. AIC evaluates the level of your qualification compared to Latvian educational system.  This procedure does not apply to diplomas issued in Lithuania and Estonia after 7 January 2019.   

The AIC statement is prepared within a month, if necessary, extending the term to 4 months. Academy makes the decision on the admission based on the statement issued by the AIC. In case the AIC does not issue a positive academic recognition of previous education documents, Academy keeps the rights to terminate the application.

More information on the Centre’s functions, education system in Latvia, education documents etc. can be found in AIC webpage.

Information will be specified

Department of Sociology and Management of Culture of Latvian Academy of Culture

Head of the Programme: assoc. prof. Ieva Zemite, ieva.zemite@lka.edu.lv

Faculty of Engineering Economics and Management of Riga Technical University

Head of the Programme: prof. Deniss Ščeulovs, Deniss.Sceulovs@rtu.lv

More information regarding admission

☎ Call – 67140174
✉ Write – uznemsana@lka.edu.lv
 

Programme accreditation link