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The research question addressed is whether an event portfolio analysis rooted in financial portfolio theory can yield meaningful insights to complement two approaches to event portfolios. The first approach is extrinsic and rooted in economic impact analysis where events need to demonstrate a financial return on investment. In the second approach events are valued ally, with every event having inherent value and the entire portfolio being valued for its synergistic effects and contribution to social and cultural goals. The paper aims to discuss these issues.

Data from visitors to four events in the Sunshine Coast region of Australia are analyzed to illustrate key points, including the notion of “efficient frontier.”

Conceptual development includes an examination of extrinsic and intrinsic perspectives on portfolios, ways to define and measure value, returns, risk, and portfolio management strategies. In the conclusions a number of research questions are raised, and it is argued that the two approaches to value event portfolios can be combined.

Only four events were studied, in one Australian local authority. The sample of residents who responded to a questionnaire was biased in terms of age, education and gender.

Authorities funding events and developing event portfolios for multiple reasons can benefit from more rigorous analysis of the value created.

This analysis and conceptual development advances the discourse on portfolio theory applied to event management and event tourism.

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

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.

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.

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.

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.

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.

The purpose of this paper is to discuss integrated working between the arts and those in care settings. Identifying that the field is very broad, with diverse evidence and experience within it, the paper argues that there is a need to find ways in which to be clearer about the purpose of specific arts and care integrated projects. The paper draws on a case study project to develop some insights and a framework to help address this challenge.

The paper is a conceptual discussion and development drawing upon insights from relevant literature and a case study analysis of an integration project between a hospice service, an art gallery and an artist.

The integrated working case study project between the hospice, art gallery and artist highlights some points about a lack of conceptual frameworks to help locate the purpose of diverse arts and care projects. There is scope for much confusion about the nature and purpose of such integration projects without a clear framework for articulating the aims of individual integration endeavours and their place in relation to other arts and care work. This paper develops a framework and a clear understanding about the different kinds and goals of integrated working between arts and care settings to help with future practical and research projects.

The paper reports a case study which highlights key themes from which generalisation to other services will require interpretation for particular contexts.

The ideas present a helpful approach to articulating the goals of individual projects and to better understand the place of projects in relation to other arts and care initiatives.

There is much scope for better integrated working between arts and care settings to achieve better outcomes for users of care services, and the ideas presented here should help to better organise and evaluate such developments.

This is the first paper to set out the framework presented to help with better integrated working between arts and care settings.

The aim of the study is to explore the chain of relationships between service attributes, consumers' perceived benefits, fulfilment of personal goals, satisfaction judgements and future intentions.

This research proposes and implements a model of consumer satisfaction in the performing arts. The model is based on means-end chain theory and incorporates consumer involvement as a moderator. The paper is a quantitative study using a questionnaire administered in Romanian theatres, the country chosen because of its post-communist profile.

A partial least squares structural equation modelling analysis revealed that both core and peripheral attributes' evaluations were positively related to perceived benefits, which in turn were positively related to goal fulfilment. Acting as a mediator, goal fulfilment predicts satisfaction, which positively influences a series of intentions regarding supportive behaviours such as recommendation, donation, subscribing and repurchasing. Consumer involvement partially moderates the relationships within the proposed model.

The limitations of this research offer opportunities for future studies. First, as this study was conducted in Romania, the obtained results are not easily generalisable to other geographical or cultural contexts. Second, future studies could extend the proposed model to include other constructs that may be connected to satisfaction in performing arts. They could also apply the model (or an extended alternative) to adjacent fields such as opera, or live jazz, in order to explore whether the patterns of results which emerged here hold in other situations.

From a practical perspective, the research has implications for performing arts managers by offering actions to improve cultural consumption. First, the results support the idea that satisfaction is a key construct to investigate, even in the field of performing arts, as it can predict future positive intentions. Thus, arts managers should strive to maximise consumer satisfaction. From a marketing perspective, consumer satisfaction could be increased by improving core and peripheral service attributes, but especially the latter. The research provides means for audience segmentation in terms of consumer goals, benefits, and involvement. Arts managers should devote special attention to increasing consumer involvement in services provided.

The research provides a different view on the performing arts evaluation considering the theatregoers' perceptions. This type of evaluation is useful to understand the specificities of the audiences and to respond to their needs accordingly, contributing from a social point of view to audience development and making arts accessible to a wide range of people in a variety of ways: physically, geographically, socially and psychologically.

This research explores a new model of customer satisfaction in performing arts in a post-communist country, such as Romania, and the findings have implications at both theoretical and practical level. From a theoretical perspective, it contributes to a better understanding of the cognitive and emotional processes underlying the formation of satisfaction judgements in performing arts. The obtained findings are particularly useful for expanding current knowledge of how consumers think and behave with respect to performing arts. From a practical perspective, the findings have implications for arts managers deciding how to develop marketing strategies aimed at increasing satisfaction, and the consequential supportive behaviours towards performing arts.

The purpose of this paper is to present the findings from research that explores the business value of a performance arts-based initiative in supporting change management through devising. Devising is a process that encompasses improvisation to generate social interaction within a community of practice.

A novel approach is reported on: a case study that includes interviews with key members of partner organizations, representing a business, a performance producer and a commissioning agency, participant observation of a member of the performance production film and the devising process.

Findings presented highlight phases of the devising process and the engagement with the creative practices employed. Findings highlight that benefits emerge through the reflexive nature of activities during the processes of creating the performance, as well as reflection on the final performance piece.

Case study research is necessarily a qualitative design that is not generalizable to a broader population. Findings do, however, highlight potentially useful practices that may be further developed for future research.

Performance arts has pushed previously untested boundaries in employee engagement within the business, resulting in deep understanding between managers and employees on how value may be co-created and redeployed across the business.

The paper extends the application of improvisation by situating it within the creative practice of devising. This enables performance to be critically examined as an arts-based initiative within business contexts.

The purpose of this paper is two‐fold: first, to provide a description and theoretical rationale for a methodological innovation used to explore relationships visitors form with a single museum over time; and second, to examine and critique the research outcomes in light of this approach.

To probe individual relationships with a museum, in this narrative inquiry, a unique method of data generation was developed – a “guided tour” of the museum. The guided tour, led by participants, provided a context and purpose for rich conversations between researcher and participant and deepened the relational quality of the research.

The quality of the researcher‐participant relationship played a critical role in shaping understandings, gained through the research process, about the phenomenon under investigation and self.

Findings from the study document that novel insights emerge when opportunities to strengthen the researcher‐participant relationship are built into the research design.

This paper illustrates the value of employing strategies that deepen the relational quality in narrative research.

Operatic events are an important sector of the performing arts industry and are currently facing the challenges of decreasing demand and price-based competition from other sectors of the performing arts industry. It is posited that adding value and ensuring satisfaction may enhance consumer loyalty, and therefore, the likelihood of sales and continued subscriptions may be increased. The purpose of this paper is to examine bundling as a marketing management technique for opera companies and hypothesises that offering attractive “package deals” that bundle various benefits with the seat ticket may increase participation and loyalty.

A discrete choice experiment with opera patrons is used to evaluate the application of bundling to improve increased demand and loyalty.

It is concluded that offering bundles creates a greater likelihood of customer satisfaction and favourable behavioural intentions, which may lead to increased loyalty. Participants expressed strong support for value-added elements. Such package deals included a variety of elements: opportunity for a visit backstage to meet the cast, informative introductions to operas and facilitated parking options. Consumers’ level of overall willingness to purchase a bundle was altered based on the attributes that made up that bundle. The findings of this research confirm that the theory of bundling can be applied to arts marketing and provides support for the development of bundling strategies to enhance opera attendance.

It is recognised that the research needs to be tested in different countries in order to know the extent to which the findings of this study can be generalised. Additionally, future research could use other statistical methods such as regression and structural equation modelling to holistically model behaviour. Finally, as well as testing customer-stated intentions, the model also needs to be tested with actual patronage behaviour following the development and application of bundling strategies. Future research could also consider how bundling and other aspects relating to opera attendance could be used as part of the branding strategy associated with opera attendance; in particular how to develop, increase and maintain loyalty and therefore brand resonance in opera attendees.

The findings have useful implications for event organisers and policymakers and suggest bundling strategies that could be utilised. It is has been found that loyalty can be enhanced by adding value and ensuring satisfaction, and therefore, increase the likelihood of sales and repeat purchase.

Opera represents a significant cultural heritage and is a valuable component of the performing arts, both historically and currently. Opera is a form of art whose survival is threatened by an increasingly diminished audience whose average age is steadily increasing. This decrease in audience attendance has led to radical changes in the management and marketing of opera houses, where theaters have moved increasingly towards a business-oriented model where improved branding and bundling strategies can be utilised.

This makes a theoretical contribution by advancing performing arts research and furthering the notion that bundling can increase the likelihood of opera attendance, satisfaction, ongoing loyalty, and also addresses a managerial need of an arts marketing organisation.

This paper aims to present a literature review of the health workforce, hospital and clinic systems, infrastructure, primary care, regulatory climate, the pharmaceutical industry and community health behavior of the Kenyan health-care system with the purpose of providing a thorough background on the health-care environment in Kenya.

A systematic literature review was conducted using Pub Med, searching for “Kenya” in the title of articles published from January 1, 2015 to February 24, 2016; this provided a broad overview of the type of research being conducted in Kenya. Other data provided by governmental agencies and non-governmental agencies was also reviewed to describe the current state of population health in Kenya.

An initial review of 615 Pubmed articles included 455 relevant articles. A complete review of these studies was conducted, resulting in a final sample of 389 articles. These articles were categorized into three main subject areas with 14 secondary subject areas (Figure 1).

The narrow scope of the search parameters set for the systematic review was a necessary limitation to focus on the most relevant literature. The findings of this study provide a thorough background on health care in Kenya to researchers and practitioners.

This compilation of data specific to Kenya provides a detailed summary of both the country’s health-care services and health status, focusing on potential means of realizing increased quality and length of life.

It is well established that partnerships between universities and community organizations can serve to enhance student learning and employability (Anderson et al., 2011; Arantes do Amaral and Matsusaki, 2017; Jones and Sherr, 2014; Voss et al., 2015). Within this context, the purpose of this paper is to explore how one such partnership has resulted in the successful implementation of three pedagogical methodologies, which individually and collectively promote student-centered learning and employability skills through an experiential learning framework.

Using this methodological case study approach where the pedagogies of internships, service-learning opportunities, and project-based learning are critically evaluated, the research reveals only positive benefits for students, faculty, and the community organization(s). These benefits center on improved employability skills, the development of social skills and societal contribution for students.

Participating students also noted the development of their confidence and the importance of feedback from both peers and assigned staff. Members of faculty considered the opportunity for students to put theory into practice, enhanced employability skills and the collective nature of the methodologies as the main benefits with The center echoing the sentiments of other stakeholders. The center considered the workplace preparedness, the development of soft skills and confidence and the collective nature of the methodologies as the main benefits of the partnership.

The insight provided by the research contributes to existing literature through examining the relationship between an academic institution and its community, providing a practical framework and guidelines for the implementation of student-centered pedagogical methods.