Interview with Hege Knarvik Sande, CEO of Performing Arts Hub Norway (PAHN)

Hege Knarvik Sande, CEO of Performing Arts Hub Norway (PAHN), discusses cultural policy in Norway, the impact of global turbulence on the arts, and why dialogue, and diversity, matter more than ever.

Hege Knarvik Sande is CEO of PAHN – Performing Arts Hub Norway, a national competence centre promoting Norwegian performing arts both nationally and internationally. She holds an MA in Theatre Science and a BA in Political Science from the University of Oslo. With extensive experience in organisational development and cultural policy advocacy, Sande has worked as a leader in the Norwegian cultural sector for the past decade.

How would you describe the atmosphere of the festival and the city of Sibiu during the festival?

Hege Knarvik Sande: I think it’s a great festival. It’s so diverse. I really admire how you engage the audience so much. I was pleasantly surprised by that, and it’s very good to be here.

Why should a cultural manager consider attending SIPAM here in Sibiu?

Hege Knarvik Sande: Well, for us in the North, we often go to markets in North America or Asia. But here, I felt I met new people from Eastern Europe, and I don’t feel there’s another platform like this elsewhere. So, if you want to connect with another part of Europe, I think you should definitely come here.

Norway is known for its strong public support of the arts. What are the key factors that keep this ecosystem so resilient, especially given the global turbulence politically, socially, and economically?

Hege Knarvik Sande: Norway is also quite a young nation, and it became very clear after the Second World War that art and culture should be considered a public good. We’ve created a strong cultural policy around supporting the arts. In Norway, funding for culture is almost entirely public, though of course, we’re also working to increase private support.

A clear cultural policy is very important, it’s written into every political document. We even have an Act of Culture. Across all political parties, there’s a mutual understanding that culture is part of the welfare of Norwegian citizens. It’s not just soft power; it’s considered as fundamental as health or education. When Norway was rebuilding after WWII, we decided that just as health and education are public goods, so too is culture. And that principle still holds today.

However, you mentioned that changes are occurring. What shifts are you seeing in Norway’s cultural landscape?

Hege Knarvik Sande: Of course, we’re feeling the changes in policy and in public attitudes. There’s been some cultural “wars,” so to speak, with people beginning to doubt the value of the arts or not seeing it as clearly as before. And in times of economic strain, there’s more discussion about how we spend our tax money.

We’re beginning to have these debates in Norway as well. There’s fear that we might see cuts like those happening in some European countries, where funding for culture is being drastically reduced. But I still believe Norway’s strong cultural policy will protect us from that.

How did the cultural sector in Norway change after the pandemic? Did you see new audiences engaging because of online experiences who then wanted to attend live events?

Hege Knarvik Sande: Actually, in Norway, the pandemic had quite a negative effect on audience attendance. Institutions struggled to bring audiences back to the theatres. The online versions didn’t really function as a substitute, it was more of a temporary solution.

Because we’re a small country with relatively few venues, it’s crucial for our artists to be present on the international market. After the pandemic shut everything down, we struggled for some years to get artists back out into the world. But fortunately, we’re very much back to where we were before the pandemic.

Was this impact felt across all cultural sectors in Norway or mainly in live performing arts?

Hege Knarvik Sande: It was a general situation for all live cultural institutions - indoors, particularly. Maybe not so much for literature; in fact, book sales actually did quite well during the pandemic. But live events definitely lost audiences. Unlike here in Sibiu, we don’t have as much experience with digital performances in Norway. It’s not part of our cultural habits to watch theatre online.

Where do you feel Norway is ahead in terms of cultural strategy compared to other European countries?

Hege Knarvik Sande: That’s a hard question. I’m very proud of Norway’s cultural policy and how politicians support it. I’d say that Norway is known for being very organised in this field. Our international work is particularly well structured because it’s financed both by the Ministry of Culture and the Ministry of Foreign Affairs.

Several organisations work together under the umbrella of “Norwegian Arts Abroad,” each covering different disciplines. We have systems in place to support our artists, and we collaborate with our embassies worldwide. That level of organisation definitely gives us an advantage.

Have there been budget cuts recently in Norway’s cultural funding?

Hege Knarvik Sande: No, we haven’t had any official cuts. However, we’ve experienced rising costs in all areas, expenses have gone up dramatically, but cultural funding hasn’t increased at the same pace. So, in that sense, it’s a kind of cut because the money doesn’t stretch as far as it used to.

From your perspective, what makes cross-border cultural collaborations successful?

Hege Knarvik Sande: I think true collaboration happens when it’s mutual. We have good support systems for promoting our artists internationally, but I believe we should also invest more in bringing artists into Norway. Bilateral collaborations are incredibly important, especially in today’s world.

Culture provides a unique way of meeting people, exchanging knowledge, and building empathy. I strongly believe that even when we disagree or come from different backgrounds, we need to keep talking to each other. Otherwise, we’ll never truly understand one another.

In terms of cultural leadership, how would you define it, considering it involves soft power, politics, finance, and the need for inclusivity?

Hege Knarvik Sande: You can’t just write a simple definition of it, it’s many perspectives combined. A cultural leader must both advocate for diversity and speak up on behalf of the arts sector.

In Norway, I spend a lot of time talking about the value of art, educating politicians on what performing arts mean and why they’re important. A cultural leader should engage with politicians as equals, rather than seeing them as superior or disconnected. It’s about mutual respect and helping policymakers understand why the arts matter.

Ultimately, a cultural leader’s most important role is to advocate for the sector and ensure the value of art is recognised and protected.

What educational paths exist in Norway for young people who want a career in cultural diplomacy or arts management?

Hege Knarvik Sande: We actually have several programs. For instance, the University of South-Eastern Norway offers both bachelor’s and master’s degrees in cultural leadership. Students there learn about the economic aspects, cultural policy, and audience development, it covers every part of the job.

It’s interesting because these programs started back in the 70s or 80s. Many cultural leaders in municipalities across Norway studied there. But there are also people like me who entered the arts world through different paths. I studied theatre, and only later found myself working as a manager. So, there’s no single route—you can find your way from different backgrounds, especially if you’re driven by passion.

What advice would you give someone at the start of their career who wants to work in cultural management rather than as an artist?

Hege Knarvik Sande: For me, it was never my plan to become a leader. I didn’t aim for that, it just happened because I have a strong passion for the arts. I believe that passion is essential.

My best advice is: find what you’re passionate about and discover what you’re good at. Of course, you also need to learn how to manage things practically. But passion gives you the drive to talk about the value of art, to shape the future of the arts, and to lead with vision. That’s what makes someone a good cultural leader.

Looking ahead, how do you see the cultural landscape evolving over the next five or ten years, especially given current geopolitical challenges?

Hege Knarvik Sande: It’s very hard to predict. I hope, of course, that current conflicts will end as soon as possible. But these issues also affect my work. For example, Norway shares a border with Russia, which makes politicians rethink budget priorities, potentially shifting resources toward defense.

In the U.S., we’re also seeing new fees imposed on foreign films, partly for economic protectionism and partly due to political views about foreign cultural influence. Suddenly, art becomes highly political.

That’s why I keep telling politicians in Norway that we must continue promoting our artists internationally. It’s soft power, but it’s also about sharing new ideas and values that people need and deserve.

Do you see Norwegian theatre becoming more political or reflecting current world events?

Hege Knarvik Sande: Yes, Norwegian performing arts, especially the independent sector, are very political. Our artists have strong support systems that allow them complete artistic freedom. In Norway, there’s a foundational principle of artistic independence, ensuring that politicians can’t dictate what artists can or cannot express. It’s a very political scene, and we believe Norwegian art has significant value on the international stage.

What keeps you hopeful about the future of live performances?

Hege Knarvik Sande: I believe live performance will always have a future because it’s through performing arts that we truly understand ourselves as human beings. Theatre has been part of human culture forever—it’s fundamental to who we are. I’m confident that in Norway, we’ll continue supporting live arts. I’ll definitely keep advocating for their value.

Have you started integrating artificial intelligence in Norwegian performances?

Hege Knarvik Sande: Yes, several artists have begun experimenting with AI. But for now, it’s more about using AI as an artistic theme rather than integrating it as a practical tool.

However, there’s growing concern among actors, voice actors, musicians, and playwrights about AI potentially replicating their work without proper rights or compensation. All the professional unions are monitoring this very closely. So, yes, it’s definitely a concern in Norway as well.

From your experience, what could be improved in Sibiu to better support underrepresented voices like minorities?

Hege Knarvik Sande: I think it’s crucial to give those voices visibility in programming. This could be a great area for collaboration because both Norway and Romania have minority communities. Highlighting these groups through cultural events and giving them space on stage is, in my view, the best way forward.

Lastly, the theme of this year’s festival is “Thank You.” Who is one person in your life to whom you’d most like to say thank you?

Hege Knarvik Sande: That’s a beautiful question. I’d like to thank my children. I have two boys, and I’m very grateful for them.