Arts Management

Many studies have examined the impact of the arts on educational outcomes, physical and mental health outcomes, local economies, and community well-being. Yet considerably less attention has been given to the impact that participation in the arts has on civil society. This study seeks to remedy this gap in the literature by examining the effect that audience-based arts participation and direct arts participation have on three measures of civil society. We rely on data from the General Social Survey, which offers information on the arts participation behavior as well as person contributions to civil society of a random sample of adults living in the U.S. (n=2,765). Multivariate analysis is used to estimate the effects of audience-based arts participation, as well as direct participation in the arts on three dimensions of civil society: civic engagement, social tolerance, and other-regarding behavior. We find strong evidence that the arts enhance civil society; individuals who have bo...

During the international conference Classical:Next in Vienna Classical Music was pronounced dead. She passed away at 7:04 AM on Saturday 17 May 2014. At 11:00 AM Brendan Jan Walsh delivered a eulogy, followed by a proclamation of the next generation of music professionals.

Policy makers have often touted the value of culture and creativity in producing desirable social and economic outcomes (Campbell, 2018). From the 1970s onward, cultural policy shifted from the needs of artists to the consumer (Reinelt, 2014). Public subsidy should serve the political and economic betterment of the public as a whole, rather than a narrow section of society. Increasingly, social benefit was measured in terms of the economic contribution of the arts and, particularly under New Labour, this also meant ensuring equality of access as a means of maximising art's capacity to contribute to the 'regeneration' of deprived communities. On the surface, this seemed a worthy attempt to unpick those notions of taste that served to entrench the social power of the bourgeoise (Bourdieu, 1996). No longer was access to culture to be based on social status and freedom from economic necessity; no longer would notions of high culture be used to entrench the power of elite groups. In order to combat such a situation, hierarchies of taste were replaced with supposedly impersonal metrics (economic impact, the generation of employment, the broadening of participation) that could easily be quantified and compared. This solution sidestepped aesthetic questions in favour of a regime of targets that rendered cultural production both predictable and comparable (Hewison, 2014). In order to be funded, projects would have to meet the targets set by funders and, once complete, practitioners would be expected to provide evidence of their various social impacts. However, as we explore in our project, the expansion of this model of cultural policy into the field of peace building has produced several areas of tension between funders and artists, tensions that obscure and inhibit the unique contribution of art to reconciliation.

Cultural production is, on the whole, a supplier led process. Creating work is cherished as practice that is exempt from the full discipline of the demand side. Cultural policy and related interventions are, as a con- sequence, about closing the loop of artist, audience, people and place. However, policy is failing to keep up with the scale and pace of econom- ic, social and cultural change. Many people no longer see the established main-stream arts as a significant part of their lives. Can we keep focus on the creative process, or do we go where the market takes us?

There remains little academic consensus on a definition of rural marketing, and as a concept, rural marketing has therefore struggled to establish its own vocabulary and ideas. Modi (2009) argues that rural marketing should be defined in terms of the impact it has on the developmental of rural people.

This paper builds on this developmental concept of rural marketing by exploring the touring theatre sector and illustrating how theatre spaces and audiences differ fundamentally in urban and rural communities.

The paper reviews the literature on rural touring theatre and applies it to rural marketing. It also analyses the results of audience questionnaires and a series of audience interviews carried out with rural theatre-goers in the Scottish Highlands and Islands. The paper illustrates how the definition of rural marketing can be further developed by analysing audience reactions to rural theatre and reviewing case studies of best practice for marketing touring theatre productions. This primary and secondary research reveals the tangible benefits of authentic rural marketing and confirms Modi’s (2009) contention that successful rural marketing should have a positive impact on rural people.

The paper concludes that touring arts organizations and rural marketers working in other sectors should adjust their marketing strategies and activities to communicate more authentically and effectively with rural audiences. Finally, it uses the insights gained from touring theatre to propose a new definition of rural marketing.

Keywords: rural marketing; rural touring; arts marketing; theatre; audiences.

invites you to submit abstracts for an online colloquium on 'South African Music Abroad Since 1994: Meanings in Cultural Diplomacy, Exchange and Collaboration'. The colloquium will be hosted virtually (online) on 8-9 July 2022. The colloquium aims to document, discuss, and locate the cultural, diplomatic, economic, capacity building, skills development, and other political or public policy-related dimensions of the presence(s) of South African music, whether temporary or prolonged, in different countries from 1994.

Building a sustainable career in the creative industries is a challenging proposition. Creative workers face high levels of employment insecurity and limited career development opportunity. Those working in the sector must build discipline-oriented career self-management skills, while also finding ways to cope with the psychologically demanding nature of precarious work. Two competencies that contribute to creative career success are self-efficacy and career optimism, both of which support resilience and persistence in the face of career obstacles. This study used narrative data from 28 interviews across six creative disciplines to examine how creative workers who work within communities of practice build self-efficacy and career optimism. The findings suggested that, by participating in communities of practice, creative practitioners not only build professional skills that align with their discipline but also gain psychosocial support that promotes resilience. There is an opportunity, therefore, to enhance understanding of communities of practice with creative career development offerings.

這是第二度為臺北市政府文化局寫文化領導力關鍵字︒在去年出版的《文化 領導力 40 關鍵字》的基礎上，我再添加 40 個新關鍵字，並附上交叉索引， 讓讀者可以更方便使用︒ 如同我在前一本關鍵字提到，文化領導力不只對劇院總監︑美術館館長︑文 化中心主任︑電影節總監︑舞團團長︑劇團導演︑策展人︑藝廊經理︑基金 會執行長︑文化局處主管︑非營利機構理事長︑樂團團長等這些職務的主管 很重要︒文化領導力也可以來自一場運動︑組織︑雜誌︑品牌︑工作室︑唱 片行︑酒吧︑書店︑專欄甚至是個人臉書︒ 文化領導力不是透過金錢︑權力或法律來實施它的影響力，文化領導力是透 過價值與創造力的展現，來影響文化與藝術的發展，吸引追隨者文化領導力 往往牽涉到人際關係與資源的運用，這不是知識，缺乏標準答案，而是一種 智慧，因為要面對的，是矛盾與衝突︒ 臺北市政府文化局從 2016 年開始，連續三年舉辦文化領導力論壇，這已經 是文化領導力的展現，而今年與承辦單位群眾自造的合作，更將討論層面拓 展到設計界︒如何解決複雜的城市問題，最終關鍵還是在人，而願景︑經驗 與溝通，會帶領我們度過各種必須經歷難關︒非常感謝臺北市政府文化局給 我這個機會，讓我透過書寫的過程，對文化領導力的多樣性，有更多理解︒

Nell‟arco dell‟ultimo decennio abbiamo assistito ad una continuo mutamento del format delle fiere d‟arte che si sono trasformate in un vero e proprio punto di riferimento, proprio come manifestazioni culturali quali la Biennale di Venezia e Documenta di Kassel.
La fiera è diventata camaleontica, non solo spazio per la compravendita ma anche momento di approfondimento culturale, scambio e dibattito. La fiera, come gli altri grandi eventi artistici, registra il cambiamento legato ai mercati, alle funzioni del collezionismo, all‟aumento qualitativo e quantitativo del pubblico, alle nuove tecnologie e linguaggi e alla trasformata geografia dell‟arte. Questa breve indagine è stata pensata come un questionario, uno strumento capace di registrare informazioni in modo standardizzato, proponendo quindi ai direttori di tre fiere italiane, quali Artissima, Art Verona e Arte Fiera, le stesse cinque domande declinate di volta in volta in relazione al contesto specifico della manifestazione. I quesiti sono stati pensati come strumenti necessari per contestualizzare il panorama italiano e quello internazionale, le risposte possono essere considerate come degli elementi utili al fine di comprendere i “principi di selezione” delle fiere, come una galleria viene inclusa ed esclusa, per capire il rapporto complesso con le case d‟asta, così come il ruolo del curatore, sempre più in evidenza, all‟interno della manifestazione. I quesiti sono stati pensati come strumenti necessari per contestualizzare il panorama italiano e quello internazionale, le risposte possono essere considerate come degli elementi utili al fine di comprendere i “principi di selezione” delle fiere, come una galleria viene inclusa ed esclusa, per capire il rapporto complesso con le case d‟asta, così come il ruolo del curatore, sempre più in evidenza, all‟interno della manifestazione.

Artistic practices are subjected to numerous situational factors that simultaneously hinder and/or enable future artistic activity: public funding is positioned in this research as one such situational factor. This article explores the immediate impacts public funding has on the artistically creative processes of the funded art project using three case studies of Australian-based visual artists Kelly Doley, Agatha Gothe-Snape and Nigel Helyer. Each of these artists has recently received new work grants from the Australia Council for the Arts. Notions relating to definitions of creativity are explored. We conclude that while public funding can impact on the creative process of the funded projects, the (in)ability to access funding does not necessarily impact on the motivations to continuing practicing art.

Purpose – The purpose of this paper is to investigate the management challenges related to the transition from the application phase to the delivery phase of the project of being a European Capital of Culture (ECoC). Design/methodology/approach – Case study based on qualitative research interviews with the management team, combined with existing research on ECoC and documents on the Aarhus 2017 project. Findings – The first main finding is that the challenges are caused by the way in which the transition from applicant to designated ECoC includes a change in management, shifting from a project to a programme structure and change in organisation. The second main finding is that stakeholder management in relation to politicians and cultural agents is challenged by a high level of ownership and expectation. Research limitations/implications – The study focuses on just one case and one phase of the project. Practical implications – Consequences for the way ECoC are managed and the programme organised could be drawn from this. Originality/value – The originality of the work is in that it studies this very critical phase in the project's life-cycle in great detail, and focuses specifically on the management of ECoC.

Co-leadership has been a dominant form of management within sections of the arts industry for many years. Consisting of the artistic director and the general manager the leadership partnerships within arts organisations, at first glance, might appear classically gendered: an heroic artistic leader and a facilitating general manager. In this research we identify the existence of these demarcations. However, we also find that the incumbents make no such association of gender specificity. We attribute this outcome to the characteristics of the performing arts industry more broadly and the people that are attracted to working in such an environment.

I have the impression that many of the elements that are supposed to provide access to music actually impoverish our relationship with it.Michel Foucault, “Contemporary Music and the Public”As a theory discourse, audience development offers suggestions about changes to arts organizations, such as the orchestra concert. At the same time, these proposals are rather ambiguous about the underlying aesthetical ideals.

How do artists engage policy? How do policymakers frame and legislate the arts? What are the best tactics and strategies for arts advocacy? The course examines relationships among public policy, advocacy, and the arts. We begin exploring and defining the value of the arts, and how those concepts of value (such as instrumental and intrinsic) are deployed to advocate for arts, cultural policy, and arts funding. The course continues with queries into local, state, national and international arts policy and advocacy agencies including Seattle’s Office of Arts and Culture, King County’s 4Culture and the National Endowment for the Arts, as well as non-governmental arts advocacy organizations including USDAC, Americans for the Arts, and Grantmakers in the Arts. Other topics of study include: creative economy, cultural equity, public art, legislative theatre, story circles, arts education policy, and creative placemaking.

Guest speakers from the Office of Arts & Culture, 4Culture, and other governmental agencies will visit the course, and students will have the opportunity to visit Olympia, WA and meet with state legislators for the 2019 Arts & Heritage Day. Course and in-class assignments include a presentation on the course material, an op-ed or letter to a policymaker, and analysis of public art. These assignments and in-class activities prepare students for the final project: choice of an arts policy proposal, a cultural policy analysis, or an advocacy campaign for the arts.

Consumer behaviour in the field of art museums appears to be influenced both by the identity of the public and the art museum and by the context. It is a matter not of changing museum content, but of bringing its identity closer to that of the public in order to promote access to art. The authors first present the theoretical and conceptual framework for their research and then suggest a qualitative methodological approach to addressing the issues described in the results.

This module explores both the theory and practice of sustainability through arts management within the context of cities. Incorporating an interdisciplinary focus across arts management and sustainable urban development, we will examine the changing cultural policy, its programmes and practises in UK, with a critical gaze to issues of North-South divide, Urban-Rural divide, gender and non-human aspects. Students will develop an understanding of the future challenge of environmental sustainability for arts managers and the contributing impact of arts and arts organisations in it. Weeks

Art galleries, which exist as a cottageindustry, like many small businesses face a very challenging and changingcompetitive environment that demands attention to strategy formation andexecution. Many galleries, though, operate as though they were immune fromtechnology and consolidation. Their traditional business model is underpressure from globalization and the Internet. Data on 132 private art galleries in Colorado were collected by mail survey.In addition to gallery and owner characteristics, data for three sets ofvariables were collected: (1) economic and technological forces affectinggallery success, (2) changes in performance, and (3) adaptive strategic levelresponses to performance change. Findings indicate gallery business is very complicated, with a mix ofdriving forces. Gallery owners and managers are relatively unconcerned aboutkey external economic and technological pressures affecting their businesses.Their perceptions are not related to changes in performance. Owners i...

Among the many unforeseen consequences of the Covid-19 pandemic has been the emergence of arts festival programmes online. As the year has progressed there is evidence of the ushering in of a new era of festival making that will see festival programmes incorporating a blend of digital and live experiences. For festival organisations this has meant a significant shift in operational focus. Using a mixed-methods ethnographic research methodology incorporating participant observation and semi-structured interviews, this paper provides an immediate, empirically evidenced, qualitative perspective on the sectors response to the unprecedented events of 2020. Utilising a theoretical framework that understands festival making as a socially engaged creative act, the research interrogates the consequences of this turn for festival organisations and the knock-on implication for policy makers and funding organisations?

All across the globe, there has been increasing recognition of the transformative power of creative placemaking to revive the economic and cultural life of cities. Singapore is no exception. Since 2008, the Singapore government has been engaged in a concerted effort to placemake Singapore into a culturally-vibrant cityscape with “heart and soul”. However, despite its increasing global popularity, what constitutes creative placemaking and its processes remain vague and tenuous. Notably, scant critical attention has also been paid on how Singapore has tried to adopt this global buzzword, and its impact on the localised dynamics of urban spaces and arts practices.

Drawing on personal reflections from my pedagogical and research experiences, this article will illuminate the current challenges obstructing creative placemaking from being truly embraced and embedded within the urban life of Singapore.  Importantly, this article will highlight creative placemaking as an important turn in Singapore’s urban planning and policy, and advocate for the importance of higher education teaching as a critical means to enable this turn.

Purpose – The purpose of this paper is to explore the impact that theatre can have on its audiences, both immediately and over time.

Design/methodology/approach – The article evaluates the existing literature on impact and critically reviews a number of benefits models. Through a textual analysis of 42 semi-structured depth interviews, the paper deconstructs the concept of impact and rearticulates it in audiences’ terms.
Findings – Impact emerges as a personal construct articulated by audiences in terms of emotion,
captivation, engagement, enrichment, escapism, wellbeing, world view and addiction. Impact is
ultimately described as a relative concept, dependent on audience typology and perceived by
audiences in holistic terms, incorporating both intrinsic value and instrumental benefits. While
catharsis is confirmed as a key enabler of impact, flow emerges as both an enabler and a benefit
in itself.

Research limitations/implications – As this is a qualitative study with a sample of 42, the results are not representative of theatre audiences in general. Future research might test the findings of this study in a larger, quantitative survey, which might also test the relationships between the emerging variables.

Practical implications – There are significant implications here for theatre-makers and venues. From a marketing perspective, more sophisticated segmentation of audience databases could uncover ‘value ambassadors’ to spread positive word of mouth about the impact theatre has on their lives. Venues and touring companies could also consider how to prepare audiences for impact more
effectively and how to minimise distraction and facilitate audience interaction with artists and theatre-makers. Obvious solutions here are mood enhancing atmospherics and well trained front-of-house staff.

Originality/value – The originality of this study lies in its audience-focussed approach. Impact has
tended to be constructed from the perspective of producers, marketers and academics, whereas this
study invites audiences to describe it in their own, authentic vernacular. These authentic insights are of value to academics, producers, policy advisors, funders and marketers working in the arts, because they help shed light on why people attend the arts and the benefits they derive from them.

Keywords: Arts, Impact, Theatre, Audiences, Arts benefits, Arts marketing

The main aim of this chapter is to reconsider the impact of the overwhelming construction of “municipal cultural facilities”to the ecosystem of Japan’s arts and culture after the 1980s. The policy heavily inclined towards construction happened in the aftermath of rapid economic growth, sided with an effort to bolster the autonomy of local governments. Based on the idea that culture will vitalize the local community and bring sophistication, municipalities built well equipped, carefully designed, luxurious public cultural centers throughout the country, only to find them in need of specialized, long-term management, not to mention the economic burden. Arts management and cultural policy research had developed rapidly under such circumstances, to fill the gap between the high quality cultural halls and its inefficient use.
Despite the fact that a lack of a comprehensive cultural policy resulted in the redundancy of cultural facilities, this chapter will argue that they did not only shape the arts management studies in Japan to be in today’s form, but also triggered the discussion of the accountability of cultural policy amidst the dichotomy of “foreign” (western) and “original” (Japanese) culture; contributed to the creation of distinctive community programs; as well as aided in shaping the national cultural policy by invigorating the discussion of the role of the arts in the society.

El Manual para Emprendedores Culturales presenta de manera sencilla algunos principios básicos de gestión estratégica requeridos para manejar con éxito proyectos pertenecientes a las industrias creativas. Esta publicación fue creada en el marco del proyecto ¨Crea y Emprende¨ del Ministerio de la Producción del Perú en alianza con el Ministerio de Cultura. Presenta cerca de veinte proyectos culturales y está dirigido a artistas, emprendedores culturales, consultores, educadores e investigadores que deseen empezar su propio proyecto o aprender sobre estrategias de desarrollo de audiencias, marketing, comunicaciones, producción, presupuesto y recursos de financiamiento para proyectos artísticos y culturales.

This practical handbook aims to present in a very easy way the basic  principles of strategic management needed to run a successful project in the creative industries. This publication was created within the project "Crea y Emprende" of the Ministry of Production of Peru in alliance with the Ministry of Culture of this country. It presents the experiences of nearly twenty cultural projects and it is addressed to artists, cultural entrepreneurs, consultants, educators and researchers willing to start their own project or getting to learn about audience development strategies, marketing, communications, production, budgeting and funding resources for arts projects.

Marcel Duchamp, a leading artist of the Dada and Surrealist movements of the twentieth century first spoke about the involvement of the viewer in the creative process. He pointed out that the spectator’s interpretation plays an integral role in the completion of the art itself. Later on performance artists put into practice Duchamp’s belief by including the audience’s participation in the creative process. Today it seems that artists as well as art institutions take into consideration that audiences have changed in the way they interact with art. This turn coincides with the emergence of social media and the technological advance in general. Although, there is doubt to what extend or how social media platforms for instance have contributed to the emancipation of the audience, art attenders appear to prefer participatory- based art. In regards to the performing arts, quantity measurement has proven fruitful in aiding strategic marketing however, audience engagement paints a clear picture as to how theatre, for instance creates cultural value. Audience engagement strives to build a strong knowledge on the experience of the spectator. When it comes to measuring quality in the performing arts, focusing on improving the channels between the artist, the audience and the art institution is crucial.

Zwei Produktphänomene sind für Museumsshops sehr spezifisch: die limitierten Auflagen und die Reproduktionen. Sie greifen die Vermischung von Ware und Exponat, von Konsum und Kunst auf. Der Kunde kann sich mit den Shop-Produkten, die stellvertretend für die Kunstobjekte des Museums stehen, sein eigenes „Musée imaginaire“ zusammenstellen. Er wird zum Sammler und Kurator, insbesondere wenn die Produkte künstlich limitiert werden („Limited Editions“), so dass sie zu wertvollen Objekten werden und somit der der Kunst inhärenten Exklusivität des Museums sehr nahe kommen.  Der Verkauf von Reproduktionen als Grafiken oder auch als Gebrauchsgegenstände erfreut sich großer Beliebtheit.  Reproduktionen sind preisgünstige, serienmäßig produzierte Nachbildungen von berühmten Kunstwerken, die den Faktor Wiedererkennbarkeit in sich tragen.  Aus dieser „Ware Kunst“ ist eine neue Klasse von Objekten entstanden: Repliken, Gadgets (Aufmerksamkeit erregendes, anormales Ding), Gimmicks (witziges Gerät, dessen Funktion Aufmerksamkeit und Aufsehen erzeugt), Modelle, Designobjekte, Souvenirs, Miniaturen und Adaptionen.

Essay commissioned by Live Art Development Agency for inclusion in the volume 'Learning in Public: Transeuropean Collaborations in Socially Engaged Arts', one of the outputs for the EU-funded Collaborative Arts partnership Programme (http://www.cappnetwork.com), published in 2018.

Should the structure of the performing arts industry and the behavior of its actors and subsidizing agents be understood as helpful or detrimental to the success of the industry as a whole? Within an autonomous field, success is defined as the ability to obtain audiences, positive peer and expert qualification, and revenues. A qualitative field study of 11 actors in the Flemish performing arts industry reveals a number of forces related to internal, external, and potential competition. These actors, however, add a “positive-sum” aspect to the character of the competition. Structural drivers of success are product differentiation and brand identity, cooperation and alliances (explicit and tacit), and government policy. In contrast, governments tend to take an ambivalent attitude towards competition. Competition thus takes on a “zero-sum” character, due to the neglect of periodic and structural overcapacity, high stakes and exit barriers for local governments, as well as the threat of upward integration for venues and festivals. Governments also tend to undervalue their role in the
devaluation of symbolic and cultural capital.

Performance is derived from the Latin pro formula. It designates an “action” that has a “shape” and a “being”. Therefore, we can define performance art as an action, composed of gestures and, with a defined intellectual and/or aesthetic objective. It is accepted that “body”, “time” and “space” are its essential materials (Goldberg, 2011:7). Right from its beginning, it borrowed elements from theatre, painting, sculpture, technology, popular art, etc. The artist Dick Higgins (1966) saw it as an “inter-media practice”. However, it’s difficult to define performance art with precision. It constantly redefines its artistic language. Performance can be executed once or re-enacted, be based on a scenario or improvised... It is appears as an answer to the hypothesis of an eternal artwork, and it announces the growing interest for the intellectual artistic process. Performance reminds us that art has no existence without the artist’s existence.

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to the mission of our colleges and universities?