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This article investigates the leadership style of Jacinda Ardern, Prime Minister of Aotearoa New Zealand. It uses the model of Social Change Leadership (SCL) to evaluate her approach to leadership as well as some notable successes and failures of her premiership.

The article adopts a grounded theory approach in which five increasingly refined research iterations were conducted to detect and articulate patterns of significance (Strauss and Corbin, 1997). Ultimately, the team selected 19 leadership examples to be cross referenced with the SCL model.

The article finds that in terms of leadership style Ardern corresponds closely to the SCL framework. The 19 examples show clusters of behavior that clearly denote a SCL constellation in terms of her approach. It also finds, however, that in terms of performance goals there is a less clear picture with less coherence to the framework. These findings in turn point to an interesting potential tension in the SCL model that has hitherto not been acknowledged.

The article is the first of its kind to apply SCL to a major global political leader. It is the first structured, academic assessment of Ardern's leadership. It adds a theoretical contribution to ongoing discussions on the efficacy and utility of the SCL framework.

This article looks at the role of leadership development in the ethical leadership of English local government. Since the development of the ethical framework with the Local Government Act 2000 leadership has been seen to be increasingly important, although comparatively little consideration has been given to what this actually means in practice. This article seeks to investigate the situation in a number of ways. It will discuss the distinction between ‘ethics leadership’ and ‘ethical leadership’ and argue that the two are connected: leadership is both an external role and an internalised process. We will then argue that the ethics framework has created a new community of practice in which leadership is exercised by a relatively large group of stakeholders. In so doing, we will identify both members of the broader ethical community and also members of the internal ethical community: ie. those stakeholders within any given local authority. Different aspects of leadership and leadership development (LD) will then be investigated in relation to ethics as a community of practice and a model is presented that illustrates the modes of ethical leadership development.

The purpose of this article is to investigate ways in which improvisation can be used to enhance and advance market orientation.

The article draws upon existing market orientation literature and musical theory to extend the authors' previous work of the need for improvisation in strategic market planning (SMP) into a wider area of market orientation.

The article evinces a conceptual matrix to illustrate four basic levels of market oriented improvisation: one‐size fits all; improvisation through alternatives; single level improvisation (SLI); and multi‐level improvisation (MLI).

The article will demonstrate the core competences of a jazz band: musical knowledge; role definition; quasi‐autonomous leadership; open communication; and self‐reflexivity. It will discuss how these competences are directly transferable to market oriented organisations.

The article provides a new definition of market orientation, which posits improvisation as a central element.

The purpose of this paper is to introduce the inaugural edition of Arts Marketing: An International Journal and highlight its vision for arts marketing and establish its research agenda.

Relevant articles are discussed through the prism of current academic thinking and the latest policy developments affecting the arts.

It is found that arts marketing promotes significant academic debate, and practical insights are offered into the ways in which the arts (broadly understood) can grow in a commercial world.

Creative solutions are needed not only to offset, but to enable arts marketing itself to grow as a discipline: marketers need to embrace the arts equally as much as artists need to embrace the market.

The “creative insights” section will bring practitioner expertise into the field of the arts from a variety of different perspectives.

The arts, in their varying forms impact on all of society in some shape or form. This journal aims to help raise the profile of the arts, which will in turn, benefit society as a whole.

This introduction establishes a broad arts marketing research agenda for the future.

The purpose of this paper is to draw together the previous academic and industry research on non‐attendance of cultural attractions, followed by qualitative in‐depth interviews to identify commonalities or gaps in the previous research on barriers, constraints and inhibitors, as well as to propose linkages between these.

A multi‐method approach is used – where barriers, constraints and inhibitors are identified by means of thematic content analysis of the literature. A set of probing questions is developed based on these themes and is then examined in in‐depth interviews with individuals that had not visited cultural attractions in the past two years, in an attempt to triangulate data, as well as to identify connections between barriers.

From the literature, eight interconnected barriers to visitation are identified: physical access; personal access; cost; time and timing; product; personal interest and peer group; socialisation and understanding; and information. The in‐depth interviews generally support these, although it is also identified that there are complex interrelationships between the issues.

This paper addresses the neglected question of why people do not attend cultural attractions by triangulating thematic findings from the content analysis of diverse literature with in‐depth interview responses from one non‐visitor segment. This results in an interconnected model of barriers that can be used to assist managers to develop strategies addressing low visitation rates within targeted segments.

The purpose of this paper is to examine the characteristics and usefulness of opinion leaders and market mavens in relation to theatre guides as a way for theatres to develop new audiences.

Surveys and a small number of in‐depth interviews are conducted within a sample of 1,200 theatre patrons. A univariate analysis of variance analysis determines degrees of correspondence between levels of opinion leadership or mavenism and reported influential behaviour.

Opinion leaders are much more useful in the process of audience development than mavens given their propensity to engage in positive reinforcement behaviours particularly in their roles as theatre guides.

While the level of mavenism is related to provision of general market information, it is not related to diffusion of performance‐specific information. Also, the portrayal of opinion leaders as living in a “closed world” unlikely to be an effective cultural influence on non‐attendees, is not supported. A further limitation is that it could not gauge the effectiveness of the self‐reported influential behaviour of non‐attendees. Further research should measure the effectiveness of opinion leaders based on how many of the non‐attendees they influenced came to the theatre.

Theatres should identify opinion leaders and encourage their natural “guide” behaviour with targeted incentives and information as a method of building new audiences and developing new relationships.

This paper will help theatres to use their resources more effectively to increase audience attendance. Further, the identification and establishment of theatre guides based on the characteristics of opinion leaders is within the capability of all arts organizations.

The purpose of this paper is to explore the implications of a greater marketing orientation among arts organisations and its impact on funding through sponsorship.

Utilising a qualitative methodology, the study employs case studies for the purpose of formulating tentative and emergent knowledge.

The case study observations reveal the adoption of a marketing orientation across the sample and most significantly for the purposes of securing and consolidating sponsorship relationships. But contrary to popular academic theory this is managed without significant threat to artistic integrity or adaptation of theatrical productions.

Data were derived from a purposive but limited sample. The advantages of a qualitative method in producing rich data is well established, however a longitudinal study would facilitate the understanding of the temporal shifts in arts sponsorships and counter the limits of the cross‐sectional nature of the study.

The study reveals a managerial capacity for arts organisations to attract sponsorship through customer orientation without the need to compromise its artistic and social goals.

A central concern to the increasing significance of business and private funding for the survival of arts organisations is the impact this has on the producers ability to remain faithful to the artistic integrity of their productions. This longstanding academic debate now has predominance in arts marketing management and the issues addressed in this paper serve to address this shift in emphasis.

The purpose of this paper is to show that since its election in 1997, the Labour Government in the United Kingdom has pursued a policy agenda which in some senses represents a continuation of the New Right agenda it inherited. Central to this agenda has been the emphasis placed on choice in public services.

Within the context of the New Right agenda this paper explores the concept and suggested merits of choice in public service provision. It does so by focusing on the experiences in England, particularly in relation to health and education.

By reference to the empirical evidence, the paper evaluates the conceptual arguments in favour of choice and finds that the current emphasis is consistent with the news of the New Right.

The paper questions the merits of choice in public service provision and, in doing so, suggests that the apparent political consensus in favour of choice can not be justified.

The purpose of this paper is to consider whether art experiences can inform service‐dominant logic (SDL) discourse through an exploration of the co‐production and co‐creation processes of art experiences.

Empirical knowledge gained about art experiences is analysed to identify emergent themes about co‐production and co‐creation. Four modes of qualitative data collection are employed: research participant diaries, photo elicitation, in depth interviews and focus groups.

Key findings are there are three stakeholders involved in the co‐creation of art experiences, which all have critical and different roles; co‐creation and co‐production are both temporally based and evolving and there are points where they interact and intersect; and high levels of engagement in co‐production enhance individuals' contribution to the co‐creation of positive value and make their participation in future co‐production opportunities more likely.

The paper is exploratory and not a general population study. The methodology and sample of participants employed do not allow for the generalisation of the findings to the broader population.

Organisations may benefit from devising strategies to encourage greater dialogue and connection between all stakeholders involved in co‐production and co‐creation. The higher the level of individuals' co‐production of art experiences the greater likelihood of positive value being co‐created. Furthermore, the greater the possibility of individuals engaging in other co‐production experiences in the future. While individuals are attracted to co‐production possibilities, there are factors that are external to an experience that can act as either barriers to or facilitators of co‐production, and that consequently impact on co‐creation.

There is little extant research that explores the applicability of art experiences to SDL. This paper is significant in that it employs empirical research methods to develop knowledge on the topic. Furthermore, this paper is innovative in that it seeks to see whether the art experiences can inform generic marketing models, rather than whether generic marketing models can inform arts marketing.