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This article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.

The study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.

The analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.

Concentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.

The aim of the article is to develop a framework for assessment for contemporary commercial music (CCM) in a music department that is still organised in a traditional way. Assessment of CCM in tertiary institutions and external graded music exams were described and analysed, followed by the presentation of an assessment framework.

This research design is a content analysis. Data was collected through purposive sampling of primary sources of CCM syllabi. These syllabi are used descriptively and analytically for comparison.

The major findings from the content analysis are presented as an assessment framework for CCM. The assessment framework has implications for teaching and learning vocal CCM at both undergraduate and postgraduate in higher education.

The study focused on the development of assessment criteria for CCM, in a music department where no degree specialisation for CCM exists, and CCM is manifested in the principal instrument only. The framework for assessment may be useful to practitioners and academics who are attempting to introduce CCM in classically oriented music departments and where external constraints prohibit the introduction of a degree specialising in CCM.

This article presents an authentic assessment framework for CCM, that considers its style and performance practices.

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 study is to examine post-crisis (COVID) futures for major city destinations that are dependent on live entertainment and tourism. Destinations that live from entertainment and tourism must consider the implications of the pandemic and plan strategies for their future.

Based on the Manoa School of Future Studies, four scenarios were identified following a review of current literature. These scenarios (alternate futures) were then discussed in two videoconference focus groups by tourism marketing and entertainment expert professionals from five major North American entertainment cities.

Typical tourism responses to crises and disasters do not appear to apply to the current pandemic and entertainment-dependent destinations (EDDs) are not prepared to thrive in any of the potential outcomes.

This is the first study addressing the future of EDDs in a COVID world. This study cannot predict the future, but this study can make some forecasts. It is important for scholars and professionals to work together toward identifying what can be.

Predicting effects of artificial intelligence on service occupations can be supported by a long historical perspective. Historical databases and archaeology help reconstructing the service sector in ancient societies. Here, the purpose of this paper is to analyse occupational specialization within services in cities of ancient Greece and the Roman Empire, as well as how the service sector is reflected in architectural remains, to identify differences and similarities with today’s Europe.

Occupational titles are traced in epigraphical and literary sources, sorted according to ISCO-08. Secondary sources are used for the architectural evidence of service activities, as well as for the role of contests and entertainment in antiquity.

Compared to current European service employment, professionals were fewer in classical Athens and imperial Rome, which had a greater proportion of specialized salespersons. There were few office buildings and no civic hospitals, but heavy investment in facilities for entertainment and well-being. Quality assessments for goods were little developed; contests for cultural and sports activities assessed entertainment service quality.

This study covers two periods in classical antiquity and is restricted to Mediterranean cultures, although findings may help understanding the service sector in poor countries with informal employment.

While particular services provided in ancient cities have been studied, there has been no broad comparative overview of their service occupations. Services in earlier societies with primitive information and communication technologies can provide clues for current developments.

The purpose of this systematic review is to highlight some of the business model changes restaurants, bars and beverage producers undertook to modify their operations in order to not only stay in business but also to better serve their employees and communities during the COVID-19 crisis.

An analysis was conducted on 200 industry articles and categorized into three major themes: expansion of take-out/delivery, innovative practices, and community outreach/corporate support, each are further subdivided into additional themes. The systematic review is further supported by personal interviews with industry professionals.

This research finds that there were many different approaches used in adjusting business models in response to the dining restrictions put in place due to COVID-19. From these approaches, themes were developed which resulted in uncovering some suggestions such as developing contingency plans, being flexible and creative, eliminating menu items, investing in a communication platform and getting involved with local government. In addition, some practices operators should be mindful of such as selling gift cards and starting a crowdfund.

This research provides a systematic analysis of business model changes that occurred due to COVID-19 dining restrictions. Researchers can use this information as a guide for further analysis on a specific theme introduced herein.

This research offers several practical implications which will assist the industry should another similar event occur in the future. The systematic analysis describes and documents some suggestions as well as practices to be mindful of in preparing contingency plans for the future.

This research documents an unprecedented time for the hospitality industry by examining how restaurant, bar and beverage producers around the country responded to COVID-19 restrictions. Distilling the multitude of information into succinct themes that highlight the business model changes that occurred will aid future research as well as operators.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

In this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.

The paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.

Tensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.

The study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

This study aims to explore the engagement between accounting and music in the social and relational construction of accountability. The authors conceive this construction as a dynamic and recursive interplay between the giving of different accounts and the responses that these accounts provoke. The authors investigate the emotional dimension of this interplay, as it is also triggered by music, feeding back into how accountability is constructed and evolves over time.

This study relies upon a historical analysis of archival and secondary sources about the main music concert organized in 1913 by the founder of “Accademia Chigiana”, one of the leading music academies in Italy. The concert celebrated the first centenary of the birth of Giuseppe Verdi, a worldwide famous Italian music composer, and icon of Italian national sentiment.

This study shows that music and accounting were profoundly intertwined in the social and relational construction of accountability for the 1913 concert. Accountability evolved through different accounts, also linked to music, and the complex emotional reactions these accounts provoked in the audiences, citizens, media and institutions, leading to always further responses and accounts in the ongoing construction of accountability.

This study extends prior literature on the chameleonic nature of accountability, as well as on its relational and emotional dimensions. The study shows that accountability is relationally constructed and evolves over time through the giving of accounts and the emotional reaction they provoke from others, feeding into further responses and accounts of the accountable subject. The authors show how the chameleonic nature of accountability permeates not only the accounts and the relations of accountability but also the subjects giving and demanding the accounts: these subjects change as chameleons through their interactions and emotions, feeding into the dynamic construction of accountability. The authors also show how arts, like music, can participate in the chameleonic nature of accountability and of its subjects, precisely by engaging with their emotional reactions and responses.