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Article
Publication date: 26 November 2019

Anthony G. Ricotta, Susan K. Fan and Rocky J. Dwyer

The purpose of this paper is to explore what motivation strategies live-entertainment artistic directors (ADs) use to increase consistency in their employees’ performances.

Abstract

Purpose

The purpose of this paper is to explore what motivation strategies live-entertainment artistic directors (ADs) use to increase consistency in their employees’ performances.

Design/methodology/approach

The purpose of this qualitative case study was to explore the research question: what motivation strategies do live-entertainment ADs use to improve consistency in employee performance? Semistructured face-to-face interviews with artistic and senior ADs of a large international live-entertainment company’s US division participated in the study. In addition to the interviews, a further analysis of archival records of artists’ evaluations, and written company documents regarding performance evaluation to understand the ADs’ strategies were completed. Finally, self-reported interview data compared to AD evaluations of artists from randomly selected prior years verified the ADs practices.

Findings

The finding indicated ADs use multiple techniques geared at improving employee well-being and technical competence, thereby creating an environment conducive to the employees self-determining their consistent behavior in performance.

Practical implications

These findings may offer managers across multiple industries a variety of strategies and techniques to use to improve consistency for their workers.

Originality/value

This study is the one of few that studies manager influence on the motivation of those employees whose job is to entertain others regardless of the employee’s emotional state. From these findings, ADs may determine how to implement workplace safety improvements, expanding employee well-being, which in turn can improve performance consistency.

Article
Publication date: 14 February 2024

Rafael Barreiros Porto, Carla Peixoto Borges and Paulo Gasperin Dubois

Human brands in the music industry use self-presentation tactics on social media to manage audience impressions. This practice has led to many posts asking followers to adopt…

Abstract

Purpose

Human brands in the music industry use self-presentation tactics on social media to manage audience impressions. This practice has led to many posts asking followers to adopt behaviors favoring the human brand. However, its effectiveness in leveraging relevant performance metrics for musicians outside social media, such as popularity in specialized media, music sales and number of contracted concerts, needs further exploration. This study aims to reveal the effect of impression management tactics conveyed on social media on the market performance of musicians’ human brands.

Design/methodology/approach

Secondary data research classifies 5,940 social media posts from 11 music artists into self-presentation tactics (self-promotion, exemplification, supplication and ingratiation). It shows their predictions on three market performance metrics in an annual balanced panel study.

Findings

Impression management tactics via posts on social media are mostly self-promotion, improving the musicians’ market performance by increasing the number of contracted concerts. Conversely, ingratiation generated the most positive effect on the musician’s popularity but reduced music sales. Besides lowering the musicians’ popularity, exemplification also reduced the number of contracted concerts, while the supplication had no significant effect.

Originality/value

To the best of the authors’ knowledge, the research is the first to use social media postings of musicians’ official human brand profiles based on self-presentation typologies as a complete impression management tool. Furthermore, it is the first to test the effects of these posts on market performance metrics (i.e. outside of social media) in a longitudinal study.

Details

Journal of Product & Brand Management, vol. ahead-of-print no. ahead-of-print
Type: Research Article
ISSN: 1061-0421

Keywords

Book part
Publication date: 30 May 2017

John Baldwin, Phillip Chidester and Laura Robinson

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the…

Abstract

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

Article
Publication date: 1 March 2002

Joanne M. Zangara

The US feminist art movement of the 1970s is examined through selected works written by artists, critics, and historians during the 1990s. Books, exhibition catalogues…

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Abstract

The US feminist art movement of the 1970s is examined through selected works written by artists, critics, and historians during the 1990s. Books, exhibition catalogues, dissertations, and articles place the movement within the broader contexts of art history and criticism, women’s history, and cultural studies. The art includes painting, drawing, collage, mixed‐media, graphics, installations, video, and performance. An increasing historical perspective allows scholars to examine the movement’s institutions and unresolved issues surrounding class, race, and sexual preference. Background is provided by an introductory essay, which summarizes the movement’s facets of protest, pedagogy, networks and professional associations, and art making while noting examples of publications and institutions that form part of the record of the movement. This article will be useful to librarians and scholars in art, women’s studies, history, sociology, and cultural studies.

Details

Reference Services Review, vol. 30 no. 1
Type: Research Article
ISSN: 0090-7324

Keywords

Article
Publication date: 27 April 2010

Ann Medaille

The aim of this study is to explore the information needs and behaviors of practicing theatre artists. Psychological research into creativity provides a framework for…

4152

Abstract

Purpose

The aim of this study is to explore the information needs and behaviors of practicing theatre artists. Psychological research into creativity provides a framework for understanding both theatre artists' information‐seeking behavior and the role of information seeking and gathering in the creative process.

Design/methodology/approach

The exploratory study presents findings from an online questionnaire of 73 practicing theatre artists and qualitative data gathered from eight interviews with theatre professionals.

Findings

The study reveals that theatre artists seek information for six primary purposes: understanding a work's historical, cultural, and critical background; finding sources of inspiration; learning about contemporary or historical theatre productions, artists, and events; learning technical or process information; finding performance materials; and furthering career goals. Theatre artists view the information search process as being essential to their creative activities, and their first‐hand accounts of their artistic experiences illuminate the critical role that information seeking and gathering play in the creative process.

Research limitations/implications

Some theatre professions, such as lighting or sound design, were represented in the questionnaire but were not represented in the interviews.

Practical implications

The study has practical implications for the delivery of library and internet theatre art collections and information services.

Originality/value

Few studies have examined the information‐seeking behavior of practicing theatre artists. The paper demonstrates that studies of artists can be used to understand the role of information seeking and gathering in the creative processes of people working in various subject domains.

Details

Journal of Documentation, vol. 66 no. 3
Type: Research Article
ISSN: 0022-0418

Keywords

Article
Publication date: 25 April 2023

John DeLeon and Lee Warren Brown

This study applies traditional strategic management concepts to firms operating in digital environments. Specifically, this study examines the role of social media (SM) in the…

Abstract

Purpose

This study applies traditional strategic management concepts to firms operating in digital environments. Specifically, this study examines the role of social media (SM) in the financial performance of entrepreneurial firms and how perceived uniqueness and human capital impact this relationship.

Design/methodology/approach

This study analyzes a sample of 797 independent music artists using ordinary least squares regression.

Findings

This study finds that SM presence is positively related to SM success and, in turn, that SM success is positively related to financial success. Further, this study finds that perceived uniqueness negatively moderates the SM presence to SM success relationship and that human capital positively moderates the SM success to financial success relationship.

Originality/value

Firms competing in digital environments should limit their perceived uniqueness and increase their human capital in order to maximize the positive benefits of a SM presence.

Details

Journal of Strategy and Management, vol. 16 no. 3
Type: Research Article
ISSN: 1755-425X

Keywords

Article
Publication date: 2 May 2017

George Rossolatos

The purpose of this paper is to scrutinize how Miley Cyrus’ brand values are projected through the multimodal semiotic structure of the live performance of the song Do my thang

Abstract

Purpose

The purpose of this paper is to scrutinize how Miley Cyrus’ brand values are projected through the multimodal semiotic structure of the live performance of the song Do my thang (from the Bangerz album (2013)).

Design/methodology/approach

Sociosemiotic conceptual framework in conjunction with an interpretive videographic method of analysis, facilitated by the multimodal qualitative discourse analytic software ATLAS.ti.

Findings

Four major territories were identified as regards the spectacle’s latent axiology, namely, freeplay, polymorphous sexuality, neo-burlesque, and hyperdifferentiation.

Practical implications

Attending to structural couplings between signs and modes in the context of bespoke artists’ brand languages constitutes a priority for managing an artist as brand, and, concomitantly, for safeguarding relevance for a fandom. A multimodal reading grid is offered to this end.

Originality/value

From a branding point of view, this study constitutes the first one that theorizes the live show spectacle as the manifest discourse whereupon brand image and brand values are edified, with an emphasis on the dance mode, over and above the verbal/visual modes that dominate the advertising/branding literatures.

Details

Arts and the Market, vol. 7 no. 1
Type: Research Article
ISSN: 2056-4945

Keywords

Article
Publication date: 1 July 2006

Matthias Seifert and Allegre L. Hadida

This article seeks to provide a theoretical framework for facilitating talent management decisions in the music industry.

5005

Abstract

Purpose

This article seeks to provide a theoretical framework for facilitating talent management decisions in the music industry.

Design/methodology/approach

Strategic decision‐making theory and the resource‐based view of strategy are used to identify the talent‐selection process as a core capability in the entertainment industry. Their original combination leads to the introduction of a framework aimed at facilitating the selection and development of core competencies and capabilities in music companies, and thus at increasing their likelihood of creating and sustaining a competitive advantage based on their artist selection processes.

Findings

The integration of both theories in the music sector leads to the need for the organisation's ability to “improvise” and develop “skilled decision makers”. The industry is identified as an atypical high velocity environment, in which incremental approaches may not be sufficient to adopt by managers, because artist investments usually represent long‐term commitments for the firm. Three different existing types of talent valuation techniques are identified, which can be facilitated by complementing resource‐based and decision‐making perspectives.

Research limitations/implications

The paper does not discuss differences in the types of music organisations such as publishers, record companies, labels etc. Moreover, it focuses on popular music in general only. Empirical testing of the proposed findings is needed to further validate the capability framework.

Practical implications

The framework provides a managerial guideline for implementing decision models in the music industry and increasing the success rate of artist selection.

Originality/value

The paper uses the specific context of the music industry to introduce a methodology of how organisational decision processes may eventually lead to a sustainable competitive advantage. It provides a starting point for linking resource‐based and strategic decision‐making theory, since it indicates how decision models should be developed from a core capability perspective.

Details

Management Decision, vol. 44 no. 6
Type: Research Article
ISSN: 0025-1747

Keywords

Article
Publication date: 3 February 2023

Telma João Santos

The case study is inspired in Interpretative Phenomenological Analysis (IPA) to make sense of a Relational Model within Artistic Creation (RMAC) developed by the author a long…

Abstract

Purpose

The case study is inspired in Interpretative Phenomenological Analysis (IPA) to make sense of a Relational Model within Artistic Creation (RMAC) developed by the author a long time in their artistic and research practices.

Design/methodology/approach

An Interpretative Phenomenological Analysis (IPA) is considered within a case study where the author is simultaneously researcher and participant, using old unsolicited diaries for more than a decade as raw material.

Findings

RMAC was previously presented as a tool for creating (maker) as well as a tool for research (researcher) in specific solo performance art projects, being the first time that it is approached through an Interpretative Phenomenological Analysis, bringing new insights into artistic practice and research within their intersections.

Originality/value

This paper brings them the use of IPA in a case study with a researcher-participant to make sense of how RMAC, a model already presented formally and developed for many years, appeared and changed the author's professional and personal life. Also, it is given a new study using diaries as material within IPA.

Details

Qualitative Research Journal, vol. 23 no. 3
Type: Research Article
ISSN: 1443-9883

Keywords

Article
Publication date: 28 October 2013

Katarzyna Kosmala and Roman Sebastyanski

The main objective of this paper is to analyse the roles of the artists’ collective in the creation of socially shared knowledge, concerning Gdansk Shipyard's heritage protection…

Abstract

Purpose

The main objective of this paper is to analyse the roles of the artists’ collective in the creation of socially shared knowledge, concerning Gdansk Shipyard's heritage protection during the urban regeneration process over last ten years, since 2002.

Design/methodology/approach

The empirical section of the paper is based on a single case study concerning the artists collective’ ability to build a complex network of social relations, to research cultural heritage of the Gdansk Shipyard, to translate this knowledge into symbolic languages through art-based work and to transmit knowledge to the wider public with an aim to engage in an open dialogic public communication.

Findings

The case study draws on insights from participant observation carried out on the premises of the Gdansk Shipyard between years 2000 and 2008 and interviews with individual artists from the collective, conducted between years 2004 and 2006. Data was also drawn from archival research. The exposure in public media was also examined over last ten years, including Internet websites as well as newspapers and magazines’ content.

Research limitations/implications

The case study research indicates that methods and techniques applied by the artists’ collective in researching the shipyard's historical heritage and communicating their findings to the wider public have been more effective than the official planning methods of expert-led post-industrial urban regeneration. Over the last ten years, the artists have succeeded to transform the negative perceptions about the values of the shipyard's cultural heritage and engaged local citizens in the preservation of the historical identities of the place. In 2012, the Mayor of Gdansk has invited representatives of the artists’ collective to the newly established Young City Stakeholders’ Board in order to utilize their knowledge of the shipyard's cultural heritage and their capacity to mediate between various groups involved in urban regeneration planning process as well as to communicate with the wider public.

Practical implications

Despite persistent views in literature that equate public engagement in the planning process of urban regeneration with a kind of “modern utopia”, we argue that participatory process is not only possible in practice but also can be highly effective and democratically ethical.

Details

Journal of Cultural Heritage Management and Sustainable Development, vol. 3 no. 2
Type: Research Article
ISSN: 2044-1266

Keywords

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