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The purpose of this paper is to investigate the nature of organizational commitment among employees of Palestinian arts-and-culture organizations and to examine the combined effect and role of organizational and job characteristics in shaping employees’ commitment.

An on-site employee survey was conducted in 20 distinct local not-for-profit arts-and-culture organizations, where the respondent sampling frame constituted of 190 individuals with a response rate of 48 per cent. Confirmatory factor analysis was used in this study to confirm the original scale structure for study constructs and evaluate their distinctiveness in the Palestinian context.

Results from structural equation modeling analysis revealed a reasonable rather than a good fit of the model to the data. The current study recognized organizational and job characteristics as critical determinants of employees’ commitment, particularly its affective component; which was also found to be the most accurate description of organizational commitment in arts-and-culture organizations.

Consistent with the social exchange theory, an emphasis should be placed on employees’ perception of organizational and job characteristics. This study advocates for combining organizational characteristics with job characteristics in light of their significant association with commitment in the context of motivational theories.

This study empirically demonstrates the positive effects of organizational and job characteristics on employees’ evaluation of their organization. Managers of arts-and-culture organizations should maintain a proper alignment of organizational values with those of the employees and create a working environment that meets employees’ psychological and career needs.

This study makes a valuable contribution to the existing body of research and adds to a very limited number of studies investigating organizational commitment in arts-and-culture organizations, validating the structure of commitment and its antecedents in a non-Western context and showing the multi-dimensionality of the concept.

This paper aims to answer the following research questions: Does the Canadian Arts Summit's membership (i.e. Canada’s largest cultural institutions) reflect Canada's diversity? What is the state of diversity among leadership roles within Canada's largest cultural institutions when viewed through a geographical, gender and racial diversity, and intersectional lens?

Employing a geographic, gender, racial diversity and intersectional lens, the authors investigated the largest and most influential arts and cultural organizations in Canada (n = 125) to examine their leadership diversity. The authors found that there is a disconnect between the diversity of Canada and the leadership representation among the largest arts organizations. The authors rationalize the management implications of a lack of diversity leading Canada's cultural sector.

The leadership of major arts organizations in Canada does not reflect the diversity of Canada's population. For example, among 125 Canadian Arts Summit organizations, only 5.7% of CEOs are racialized compared to 94.3% who are White. The findings show similar results for lack of diversity in the Artistic Director and Chair of the Board roles.

There is limited research using this methodology to investigate leadership diversity, especially in the arts and culture sector. This research can create a benchmark for the sector to improve the status quo. The value of this research aims to encourage policy actors and arts leaders to address diversity and inclusion within their organizations and the communities they aim to serve. This research provides the foundation for future studies exploring leadership diversity and representation in the Canadian arts sector.

The purpose of this paper is to discuss the role of ALM organizations within a Nordic model of the public sphere.

This is a conceptual paper discussing the role of archives, libraries and museums in light of a societal model of the Nordic public sphere. Throughout the discussions, the author draw on empirical and theoretical research from sociology, political science, media studies, cultural policy studies, archival science, museology, and library and information science to help advance our understanding of these organizations in a wider societal context.

The paper shows that ALM organizations play an important role for the infrastructure of a civil public sphere. Seen as a cluster, these organizations are providers of information that can be employed in deliberative activities in mediated public spheres, as well as training arenas for citizens to use prior to entering such spheres. Furthermore, ALM organizations are themselves public spheres, as they can serve specific communities and help create and maintain identities, and solidarities, all of which are important parts of a civil public sphere.

Future research should investigate whether these roles are an important part of ALM organizations contribution to public spheres in other regions of the world.

Through introducing a theoretical model developed within sociology and connecting it to ongoing research in archival science, museology, and library and information science, the author connects the societal role of archives, libraries, and museums to broader discussions within the social sciences.

In today’s business landscape, arts and cultural organisations are challenged to search for excellence of their business model management to create and deliver value in a more sustainable way. This study develops exploratory focus groups aimed to capture insights into the practical challenges, wants and needs that arts and cultural organisations across Europe address and face in managing and developing their business models.

The focus groups method has been applied. The methodology included seven focus groups involving arts and cultural organisations operating in different European countries.

The overall feeling emerging from focus groups is that there is an increasing pressure to prove the value of culture, e.g. economic, social and civic, progressively more in quantitative figures. Arts and cultural organisations are greatly concerned about their financial health, and their ability to continue creating and presenting great arts and cultural events. At the same time, there is an acceptance that gaining financial resilience and sustainability can no longer be put off. Organisations are conscious that it is crucial to rethink their way of operating and to improve their value creation mechanisms to get sustainability. Nevertheless, the challenges to face and issues of change to get a more effective business model management are numerous and various.

The study sheds more light on “business dimensions” perceived by arts and cultural organisations across Europe, as particularly crucial for their survival and requiring proper management attention. In doing this, it offers fresh and valuable knowledge about aspects, factors and dimensions to take into account in the managing business model.

The purpose of this paper is to provide an overall picture of the five articles included in this issue highlighting their contributions and revealing the importance of academic research for arts and culture management as a nascent topic in the Latin American context.

This paper elaborates a critical description of the main aspects of the papers included. The contributions are grouped together around central topics pertaining to arts and culture management such as: audience creation and environment; museums, competition and efficiency; and management skills and entrepreneurship.

The contributions of the articles are as diverse as the topics included in them. Some highlight the importance of the context in audience creation processes, others reveal the determinants of the institutional variables in the efficiency of artistic organisations, and a final one, reveals the deconstruction of an artistic genre and its contribution to the comprehension of organisations’ innovation processes. However, the most important contribution, within the Latin American context, consists basically in a process of dissemination and knowledge of the research developed in different international contexts and which may apply to the analysis of arts and culture management in the region.

As noted in the body of this paper, the topic of cultural management is novel and has acquired notable importance in developed economies in which the arts and culture sector has strategic value. Latin America reveals an institutional revolution which situates the cultural sector in a predominant position where its contribution to the creation of social and economic value turns it into a key field in Latin American societies. Arts and culture constitute a factor of value creation which requires carefully planned and pertinent management processes. This publication, through its five contributions, all European, is a valuable tool of dissemination for knowledge and management in Latin America, where academic research into the sector is, as yet, incipient.

El propósito del presente texto consiste en proporcionar una visión de conjunto de la Gestión del arte y la cultura, a través de cuatro artículos, señalando sus aportes y mostrando la importancia de la investigación académica, proceso naciente en el contexto Latinoamericano. Sus aportes son diversos, algunos muestran la importancia del contexto en los procesos de creación de públicos, otros la importancia del concepto de competencia en la gestión de los museos, y un último, la deconstrucción de un género artístico y su aporte a la comprensión de los procesos de innovación en las organizaciones.

El texto presenta una descripción crítica de los aspectos más importantes de los artículos incluidos. Las contribuciones incluidas se agrupan alrededor de temas centrales relacionados con la gestión del arte y la cultura como son: Creación de audiencias y entorno; Museos, competencia y eficiencia; y habilidades administrativas y emprendimiento.

Sin embargo, la contribución más importante, dentro del contexto latinoamericano, consiste básicamente en un proceso de difusión y conocimiento de los procesos de investigación que se desarrollan en diferentes contextos internacionales y que pueden tener vigencia en el análisis de los procesos de gestión artística y cultura, propios de la región. Como se señala en el cuerpo del artículo, el tema de la gestión cultural es novedoso y ha adquirido una notable importancia en los países de economías desarrolladas donde el sector del arte y la cultura cumple un valor estratégico.

En América Latina se observa una evolución institucional que está situando al sector cultural en un lugar preponderante, donde su contribución a la creación de valor social y económico, lo convierte en un dominio clave en las sociedades latinoamericanas. El arte y la cultura es un factor de creación de valor que requiere procesos de gestión cuidadosos y pertinentes. La presente publicación a través de sus cinco contribuciones, todas Europeas, constituye una valiosa herramienta de difusión para el conocimiento y gestión en América Latina, donde el desarrollo de la investigación académica del sector es aún incipiente.

The purpose of this research is to investigate the practice of business investment in arts and culture, and provide a better understanding of this phenomenon from a competitive strategy perspective.

Our understanding of the way in which companies build relations with the arts and cultural world is very limited. Many studies have looked at the marketing implications but have not really expanded on the larger impact of these activities on overall company strategy and results. The competitive advantage/competitive strategy framework provides a new perspective on the issue and highlights how the different ways in which businesses collaborate and build relations with the arts can be understood as an integral part of the company's activities. In order to illustrate how arts and culture can impact on companies' competitive advantage we present a series of case studies from Italy.

The case studies presented provide a useful set of tools for other companies, involved in supporting the arts or considering similar activities, to benchmark their activities and the nature of their involvement against some successful international case studies.

The paper is an original attempt to situate a common business practice such as business support of the arts in a larger understanding of our socio‐economic context. Such practices are usually dismissed as simple philanthropy, although they can have a strong connection with the competitive strategy of a company and be a source of competitive advantage, particularly in a new economic era where aesthetic, creative and symbolic values attached to goods and services are becoming increasingly important.

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.

Hybrid organising faces a fundamental challenge in managing multiple and conflicting logics. Prior studies have evidenced the performative role of accounting within such a context largely in support of neoliberal hegemony and economic logic. Mindful of such conflict and the support towards economic logic, drawing on universal accountings, this study provides insights from counter accounting and its potential to serve pluralism and the emancipation of marginalised constituencies.

The research examined The Great Exhibition of the North (GEOTN), England's largest event in 2018, which utilised themes of art, design and innovation to support a regeneration and economic growth agenda. This was led by NewcastleGateshead Initiative (NGI) a hybrid organisation combining logics for economic and social legacies, whose accounts are contrasted to counter accounts from a social movement; The Other Great Exhibition of the North, “OtherGEN”. The study involved 30 in-depth semi-structured interviews, detailed observation and documentation review providing account and counter account of the event.

The findings reveal that GEOTN promoted an agenda offering a duality of economic and social logics through the arts and culture delivering a lasting economic and social legacy. This employed traditional accountings and associated performance targets and measurement through a formal evaluation framework. Emergent tensions were apparent evidencing a more dominant economic logic. The purported use of culture was portrayed as artwashing by a counter account narrative enmeshed in a backdrop of austerity. This wider accounting highlights the need for reflection on logic plurality and enables challenge to the performative role of traditional accounting in hybrid organising.

Universal accountings, such as counter accounting, can be advanced to unpack “faked” logics duality in hybrid organising. This reveals the emancipatory potential of accountings and the need for dialogic reflection. Hybrid organising requires careful consideration of accounting as a universal praxis to support social and economic pluralism and democratic ideals.

The DataArts dataset, although it covers mostly arts organizations, has emerged as an alternative source of data for nonprofit research. Most existing studies use the IRS 990 data, which is considered a reliable source for research. We evaluate the reliability of the DataArts dataset by comparing the consistency of the values reported to the DataArts Cultural Data Profile (CDP) and to the 990 forms. We: 1) examine correlations between the same measures in each dataset, 2) assess the cumulative distribution of differences between the two datasets and 3) compare the results of the same empirical model conducted with the DataArts dataset and 990 data, respectively. We conclude that the DataArts dataset is an adequate and reliable source of financial and performance information, but researchers should be aware of a few limitations.