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In line with the reappraisal of the welfare state concept started in the 1980s and culminated in the recent economic crisis, governments have reduced the public funding available to cultural institutions. Thus, cultural institutions have progressively adopted more market-oriented practices, rethinking their relationship with the world of business in order to get additional economic resources. This chapter addresses corporate support to the arts and culture in the case of Italy, a country where government has traditionally played a central role in supporting culture. Drawing on the extant literature on sponsorships and corporate philanthropy, we propose a cluster analysis carried out on 160 investments in artistic or cultural activities made by 95 mid-sized Italian companies between 2008 and 2015. Results provide an up-to-date empirical evidence of corporate giving patterns in Italy and suggest an original typology of business investments in the arts and culture. Our study, focusing on the case of a Latin country and on a sample of mid-sized companies, extends the empirical settings usually investigated. Moreover, different from previous studies, we elucidate the influence that the characteristics of supporting organizations have on business investments in the arts and culture.

The main purpose of this conceptual paper is drawing up a framework to assess the company responsibility regarding culture and fine arts. Since a rich cultural life requires variety and commitment to innovative and bold forms of cultural activity, the model should measure the corporate commitment to fostering axiological pluralism in the cultural sphere. A subordinate purpose is testing that model using primary data on the biggest Spanish listed companies. First, we define the corporate cultural responsibility (CCR) as a specific field of the corporate social responsibility. Second, we defend that corporate citizenship involves accepting some risks to be in line with the public expectations on arts and culture. Third, it is proposed an assessment model that takes into account the kind of cultural activities promoted by the firms, from conventional and uncommitted to innovative and provoking. The model makes possible to rank the companies according to the quality of their CCR and take into account the influence of size and sector. The model reveals whether firms support conventional versus challenging cultural activities. This should be taken into consideration both by CSR managers and policy makers. In spite of the mounting economic significance of symbols and creativity, there is still little literature that specifically addresses the role of firms regarding arts and culture as another facet of their responsibility as corporate citizens.

This study explores the relationship between brand image and brand equity in the context of sports sponsorship. Keller's (1993, 2003) customer-based brand equity models are the conceptual inspiration for the research, with Faircloth, Capella, and Alford's (2001) conceptual model – adapted from the work of Aaker (1991) and Keller (1993) – the primary conceptual model. The study focuses on the sponsorship relationship between the New Zealand All Blacks and their major sponsor and co-branding partner, adidas. The sporting context for the study was the 2003 Rugby World Cup held in Australia. Data were collected from two independent samples of 200 respondents, utilizing simple random sampling procedures. A bivariate correlation analysis was undertaken to test whether there was any correlation between changes in adidas' brand image and adidas' brand equity as a result of the All Blacks' performance in the 2003 Rugby World Cup. Results support the view that Keller (1993, 2003) proposes that brand image is antecedent to the brand equity construct. Results are also consistent with the findings of Faircloth et al. (2001) that brand image directly impacts brand equity.

In today’s hypercompetitive, digital-first, knowledge-based economy, organizational creativity has never been more important as a potential source of competitive advantage. The foundation stone for every innovation is an idea and all ideas are born of creativity. The innovation process thus starts with creativity and the new ideas it yields are ideally based on insights that will lead ultimately to novel outcomes (such as new products, services, experiences or business models) and thereby to a sustainable competitive advantage. In established businesses, until relatively recently, creativity was called on only for specific, often high-profile occasions, for ‘hackathons’ or for major ‘innovation jams’, but today it is an essential, everyday necessity of routine work. However, attaining the right level of creativity from within is a challenge for many organizations and so they need to establish an appropriate and effective way to import it into their teams, projects and, ultimately, culture. The arts are a pure, unadulterated form of creativity. Mindsets, processes and practices from the arts can give organizational creativity a significant boost and can potentially offset the creative deficit in an organization. Here, the illustrative cases and practices that demonstrate how the arts can have a positive impact on business are examined.

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

This volume outlines a new framework for analysis of democratic participation and economic growth. The new framework joins two past traditions. Their background histories are clearly separate. Democratic participation ideas come mostly from Alexis de Tocqueville, while innovation/bohemian ideas driving the economy are largely inspired by Joseph Schumpeter and Jane Jacobs. New developments building on these core ideas are detailed in the first two sections of this volume. But these chapters in turn show that more detailed work within each tradition leads to an integration of the two: participation joins innovation. This is the main theme in the book’s third section, the buzz around arts and culture organizations, and how and why they are critical drivers for the new democratic politics and cutting edge economies. Buzz enters as a new resource, with new rules of the game. It does not dominate; it parallels other activities which continue.

Public entrepreneurship is increasingly being propounded as a key means of ‘doing more with less’ during the tough times associated with successive rounds of neoliberal restructuring and austerity. The primary aim of this chapter is to provide a critical-exploratory review of sponsorship – a disruptive interjection or particular form of public entrepreneurship.

Public entrepreneurship provides a useful theoretical frame for exploring some emergent ways of delivering public services in a post-Credit Crunch global operating environment. Empirical insights are derived from a single local authority in the United Kingdom.

There is a widespread concern that straitened economic conditions can engender the prevalence of short-term financial considerations at the expense of other objectives. Sponsorship, as a discrete form of public entrepreneurship in some circumstances has the potential to achieve multiple objectives, enriching public value. However, this is contingent of specific contextual factors.

By identifying some risks associated with disruptive interjections intended to open new paths for the sponsorship of public services as well as indicating some opportunities for risk reduction, it is hoped that our analysis may benefit public authorities when they are exploring or evaluating sponsorship ‘opportunities’.

Examining sponsorship through a public entrepreneurship conceptual frame has received limited research attention. Whether sponsorship is a ‘winning solution’ is contingent on the particular form of sponsorship as well as the specific time and place.

This chapter discusses emerging issues in event management with a focus on small-scale events. The author reflects on managerial approaches to stakeholder involvement and engagement, and underlines the complexity of strategy formulation for destination development planning. This contribution also provides advanced conceptual instruments for event marketing as guiding principles that permeate destination-marketing strategies. In addition, the author investigates the role and nature of sponsorship linked to enhancing the value of small-scale events and highlights fundamental issues in developing a marketing management model for place marketing and the key drivers of event management strategies involving sponsors and event participants.

Studies of the social construction of markets have not determined which social environments, which we refer to as proximate social space, are most likely to trigger social construction processes. We find that U.S. nonprofit fiscal sponsors respond to greater potential for category emergence when proximate social space is defined by geography but not by market segment. Further, in addition to responding to potential claimants based on geographic peers, organizations also respond to actual claimants based on peers in the market segment. The pattern suggests that geographic social proximity triggers initial label claiming, which in turn triggers responses from market segment peers.