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The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement.

The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing.

The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences.

The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept.

In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion.

The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

Money laundering and grand business corruption continue to plague the global economy, accounting for 2%-5% of the global gross domestic product. Illicit funds, produced through grand corruption, are laundered using complex layering schemes that cloak them in legitimacy by concealing their origins. Lamentably, weak anti-money laundering (AML) frameworks promote economic instability, unjust commercial advantages and organized crimes. This study aims to highlight the need for comprehensive anti-corruption and AML frameworks by critiquing the exploitable gaps in the global AML regime created by heterogeneous state-level AML regimes to date.

This study welcomes the United Nations Convention against Corruption (UNCAC) and the financial action task force (FATF) recommendations but underscores the limitations of their effectiveness by investigating state-level enforcement mechanisms to determine these instruments’ true impact or lack thereof. The mutual evaluation reports (MERs) and state-level AML regimes in the UK, the USA and Canada are analyzed to illustrate the distinct implementation of international soft law in domestic legislation.

This study finds that UNCAC and the FATF recommendations are pivotal steps towards the establishment of a global AML regime for international business, albeit, one that remains imperfect because of the inconsistency of state-level AML frameworks. Consequently, international cooperation is needed to navigate and improve the discrepancies in varied AML legislation.

The author provides an in-depth and balanced analysis of current state-level AML developments and relies upon the recent 2016-2018 MERs to indicate the successes and flaws of various AML legislation. Therefore, this critique may guide stakeholders to construct robust AML frameworks and contributes to academic research in AML.

The purpose of this chapter is to examine early childhood arts education as a mechanism for achieving Dewey’s goals of active, integrated learning. The approach is to examine Settlement Music School’s Kaleidoscope Preschool Arts Enrichment Program as a model, reviewing the pedagogical approach and research on program outcomes. Findings are that music, dance, and visual arts can be used to teach skills in language, literacy, science, mathematics, and social/cultural learning. Program outcomes indicate particular benefits for children from racial/ethnic minority groups as well as those with developmental delays. Comparison research documents an overall advantage of Kaleidoscope’s arts-integrated pedagogy for vocabulary growth and emotional functioning. The research is limited in that between-child comparisons have lacked random assignment. Yet within-child experiments and between-child quasi-experiments suggest that arts-integrated education offers advantages for the “whole child.” Practical implications include that early childhood professionals may use the arts to facilitate multimodal learning and emotion regulation, as well as bridge the gap that often separates home from school for children from racial and ethnic minority backgrounds. A social implication is that, although the arts are often viewed as supplemental, they can provide mechanisms for the development of skills in core early learning domains. Additionally, arts integration may offer solutions to the challenges faced by learners from diverse backgrounds and with diverse needs. This chapter makes an original and valuable contribution by reviewing both pedagogy and research from Kaleidoscope, providing a compelling model of how Dewey’s goals of active, integrated learning may be realized.

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 begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.

The paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.

The first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.

The investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.

The research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.

The paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.

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 aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.

The qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.

A proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.

This study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.

The originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.