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Article
Publication date: 2 May 2017

Nicola Jayne Williams-Burnett and Heather Skinner

The purpose of this paper is to present a critically reflective account of the process of conducting an impact evaluation of a dance-theatre company’s staged productions and…

Abstract

Purpose

The purpose of this paper is to present a critically reflective account of the process of conducting an impact evaluation of a dance-theatre company’s staged productions and workshops.

Design/methodology/approach

There are two main approaches: the introspective critical reflection on the process of performing an impact evaluation; and the drawing/colouring methods used to perform it.

Findings

It is more difficult to provide impact evaluations of the soft rather than hard outcomes of publicly funded performance arts. The engagement of third-party evaluators may help overcome the challenge that many “accepted” approaches are outwith the skill or financial resources of smaller non-profit organisations.

Research limitations/implications

Although based on a single case, the authors believe that the evidence how the use of innovative methodologies may be more appropriate to performing arts impact evaluations, even those less familiar to management researchers.

Practical implications

This paper offers insights into various methods of impact evaluation that may be of use to smaller non-profit arts organisations who may be constrained by limited skills and financial resources.

Originality/value

This paper provides an original contribution to understanding innovative methodologies to perform arts impact evaluations, particularly those assessing soft outcomes, and a contribution in recognising the role of academic researchers in performing such evaluations.

Details

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

Keywords

Article
Publication date: 4 June 2018

Daniela Mueser and Peter Vlachos

The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach…

3601

Abstract

Purpose

The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST.

Design/methodology/approach

A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST.

Findings

The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes.

Research limitations/implications

As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study.

Practical implications

The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation.

Social implications

The findings reveal implications for the evolving future of hybrid and mixed event experiences.

Originality/value

The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

Details

International Journal of Event and Festival Management, vol. 9 no. 2
Type: Research Article
ISSN: 1758-2954

Keywords

Abstract

Details

Arts and Academia
Type: Book
ISBN: 978-1-83867-730-5

Article
Publication date: 28 March 2024

Jianan Ma and Fangxuan (Sam) Li

Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better…

Abstract

Purpose

Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better understand what can encourage reservations in proenvironmental hotels, this study aims to investigate the connection between the performing arts watching experience and the preference for such a hotel.

Design/methodology/approach

Five scenario-based experiments were conducted. A total of 1,024 participants for the five studies were recruited with the help of Credamo, a commonly used Chinese data collection platform.

Findings

The results indicated that viewing performing arts could increase tourists’ preferences for proenvironmental hotels. This phenomenon occurred due to the fact that performing arts watching experience can induce a psychological state of self-transcendence in individuals, which, in turn, can raise their levels of altruism, and ultimately lead to proenvironmental hotel choices. This effect will not occur, however, when people watch performing arts with either an extrinsic motivation or in an analytical state.

Practical implications

The findings of this study provide hotel managers with a novel approach to market the proenvironmental attributes of their hotels and to promote tourists’ proenvironmental behaviors.

Originality/value

This study proposes performing arts viewing experiences as a novel way to encourage proenvironmental hotel choice. To the best of the authors’ knowledge, this is the first study to explore the impact of the performing arts watching experience on tourist behavior.

Details

International Journal of Contemporary Hospitality Management, vol. ahead-of-print no. ahead-of-print
Type: Research Article
ISSN: 0959-6119

Keywords

Article
Publication date: 3 May 2016

Eric John Kolhede and J. Tomas Gomez-Arias

The purpose of this paper is to examine market segments within the broader category of occasional patrons of the performing arts. While similarities between these segments exist…

Abstract

Purpose

The purpose of this paper is to examine market segments within the broader category of occasional patrons of the performing arts. While similarities between these segments exist, important distinctions are also apparent.

Design/methodology/approach

The authors surveyed 347 performing arts patrons using a structured questionnaire. Their responses along 28 proposed motivational variables were subjected to factor analysis to reduce their dimensionality and collinearity. Cluster analysis was then applied to respondents’ factor scores to group subjects into homogenous segments for subsequent comparison along variables, including demographic and marketing mix elements.

Findings

The authors find six key motivating factors influencing the attendance of performing arts events: personal; promotional; product; distribution; economic; and social motivators. The authors also find that infrequent consumers can be further subsegmented into disinclined and fringe consumers with different levels of performance attendance and dissimilarities in responding to motivators.

Research limitations/implications

The survey was conducted in a single county within the San Francisco Bay Area, limiting the generalizability of results.

Practical implications

Fringe consumers are more responsive to the personal benefits (e.g. cultural enrichment) derived from the core product offerings of a performance such as programming and quality of the performers. The disinclined segment is more influenced by economic, social, and distribution related elements associated with a performing arts event such as pricing, the accessibility (or convenience) of the venue, and the opportunity to socialize accompanying attendance.

Social implications

The practice of relationship marketing by small local performing arts organizations (PAOs) has been emphasized and often advocated by researches in the most recent literature. In order to ensure the viability of PAOs beyond the short-term, further examination of audience development is imperative. This paper indeed places more attention on audience development with a particular focus on expanding audiences among subsegments of infrequent performing arts consumers.

Originality/value

The central purpose of this research is to arrive at comprehensive profiles of subsegments within a group of infrequent arts patrons, along with viable differentiated marketing program and positioning approaches that would appeal to each of these consumer categories. Consequently, the authors address a significant gap in the performing arts marketing literature as few recent studies appear to have been structured to allow for the possibility of producing adequate subsegmentation information within a group of occasional performing arts patrons. Secondarily, this study also answers a call for future research to examine the internet as a channel of promotion for arts consumers.

Details

Arts and the Market, vol. 6 no. 1
Type: Research Article
ISSN: 2056-4945

Keywords

Article
Publication date: 14 February 2022

Aleksandra Webb and James Layton

The COVID-19 pandemic has accelerated the need to embrace digital ways of producing work and reaching audiences in the hard-hit sectors such as performing arts. In the context of…

Abstract

Purpose

The COVID-19 pandemic has accelerated the need to embrace digital ways of producing work and reaching audiences in the hard-hit sectors such as performing arts. In the context of post-pandemic recovery, this paper explores the notion of digital performance and proposes a framework for categorisation of digital skills currently associated with the digital making and sharing of performance work. It also aims to review the current digital skills offering in the performing arts training at Scottish universities and suggests strategies to drive accelerated digital skills development in performance education.

Design/methodology/approach

Literature on digitalisations, digital skills and digital performance have been reviewed to provide the context and inform the proposed Digital Skills for Performance Framework. Subsequently, a pilot desk-based study selected 15 Scottish Higher Education Institutions in the area of performance and analysed their publicly available programme documentation for the presence of digital skills.

Findings

While all of the programme specifications mentioned the use of “digital portfolios” and “digital performance”, there was little specific detail concerning “baseline” (transferable) and “specific” (technical) digital skills such as competency in the use of specific technologies. More notably, there was a complete absence of content relating to digital aesthetic identity.

Originality/value

Upskilling future performance makers in digital competencies seems particularly important at present. This paper offers a useful categorisation of the digital skills in performing arts context, which higher education programmes can use to update their curricula, prepare the work-ready graduates and explore technological opportunities for the sector's long-term post-pandemic recovery.

Details

Arts and the Market, vol. 13 no. 1
Type: Research Article
ISSN: 2056-4945

Keywords

Book part
Publication date: 12 July 2016

Linne Marie Lauesen

The purpose of this chapter is to map out the role of arts and the transfer values of the case of intensified music education as a governance tool for cultural sustainability. It…

Abstract

The purpose of this chapter is to map out the role of arts and the transfer values of the case of intensified music education as a governance tool for cultural sustainability. It takes the form of a literature review, which reveals that the role of arts in terms of governance of cultural sustainability includes the arts as issues of cultural heritage; symbolic translations of cultural values; transferring learning about emotions and life-quality, cooperation and linguistic-logical skills and potential transmitters of socio-economic enhancement of individuals performing it. The negative outcome is that the arts are predominated by the elite and wealthy, and that the potential of the role of the arts in the public education curriculum has not been utilised nor preferred in many countries as a result of low government expenditure. Other projects may exist in non-academic public media that may confirm or reject the findings. The chapter suggests academia and practitioners study, impact and initiate better ways of including the arts in the governance of cultural sustainability through public education. The inclusion of the arts in public education can improve the livelihood of children in all socio-economic areas. It connects two different literatures – that of cultural sustainability and that of traditional art studies in education, and raises questions about current governance practices underestimating the value of including cultural sustainability in governance and the role of the arts herein.

Details

Accountability and Social Responsibility: International Perspectives
Type: Book
ISBN: 978-1-78635-384-9

Keywords

Article
Publication date: 6 April 2021

Claudia Maria Cacovean, Alessandro M. Peluso and Ioan Plăiaș

The aim of the study is to explore the chain of relationships between service attributes, consumers' perceived benefits, fulfilment of personal goals, satisfaction judgements and…

Abstract

Purpose

The aim of the study is to explore the chain of relationships between service attributes, consumers' perceived benefits, fulfilment of personal goals, satisfaction judgements and future intentions.

Design/methodology/approach

This research proposes and implements a model of consumer satisfaction in the performing arts. The model is based on means-end chain theory and incorporates consumer involvement as a moderator. The paper is a quantitative study using a questionnaire administered in Romanian theatres, the country chosen because of its post-communist profile.

Findings

A partial least squares structural equation modelling analysis revealed that both core and peripheral attributes' evaluations were positively related to perceived benefits, which in turn were positively related to goal fulfilment. Acting as a mediator, goal fulfilment predicts satisfaction, which positively influences a series of intentions regarding supportive behaviours such as recommendation, donation, subscribing and repurchasing. Consumer involvement partially moderates the relationships within the proposed model.

Research limitations/implications

The limitations of this research offer opportunities for future studies. First, as this study was conducted in Romania, the obtained results are not easily generalisable to other geographical or cultural contexts. Second, future studies could extend the proposed model to include other constructs that may be connected to satisfaction in performing arts. They could also apply the model (or an extended alternative) to adjacent fields such as opera, or live jazz, in order to explore whether the patterns of results which emerged here hold in other situations.

Practical implications

From a practical perspective, the research has implications for performing arts managers by offering actions to improve cultural consumption. First, the results support the idea that satisfaction is a key construct to investigate, even in the field of performing arts, as it can predict future positive intentions. Thus, arts managers should strive to maximise consumer satisfaction. From a marketing perspective, consumer satisfaction could be increased by improving core and peripheral service attributes, but especially the latter. The research provides means for audience segmentation in terms of consumer goals, benefits, and involvement. Arts managers should devote special attention to increasing consumer involvement in services provided.

Social implications

The research provides a different view on the performing arts evaluation considering the theatregoers' perceptions. This type of evaluation is useful to understand the specificities of the audiences and to respond to their needs accordingly, contributing from a social point of view to audience development and making arts accessible to a wide range of people in a variety of ways: physically, geographically, socially and psychologically.

Originality/value

This research explores a new model of customer satisfaction in performing arts in a post-communist country, such as Romania, and the findings have implications at both theoretical and practical level. From a theoretical perspective, it contributes to a better understanding of the cognitive and emotional processes underlying the formation of satisfaction judgements in performing arts. The obtained findings are particularly useful for expanding current knowledge of how consumers think and behave with respect to performing arts. From a practical perspective, the findings have implications for arts managers deciding how to develop marketing strategies aimed at increasing satisfaction, and the consequential supportive behaviours towards performing arts.

Abstract

Details

Creative Ageing and the Arts of Care: Reframing Active Ageing
Type: Book
ISBN: 978-1-83867-435-9

Book part
Publication date: 15 December 2015

Christine Sinapi and Edwin Juno-Delgado

European performing arts companies, intrinsically fragile, have been severely hit by the economic crisis. Within the global search for new economic models in the sector, a growing…

Abstract

European performing arts companies, intrinsically fragile, have been severely hit by the economic crisis. Within the global search for new economic models in the sector, a growing number of initiatives have been taken in the form of establishing collective and participatory firms. Their forms vary from simple interorganization resource pooling to proper registration of a cooperative. Our research aims to understand the motivations of project initiators for collectively organizing their business. We test the influence of instrumental versus ideologically driven motives as well as the influence of the socio-economic context on the decisions of performing arts entrepreneurs (artists, producers, or directors) to establish participatory firms. We relate these results to the success or failure of collective firms and to the degree of cooperation. We use a qualitative method based on semi-directive interviews conducted in 21 performing arts collective organizations, over two years and in six European countries. Interviews were integrally transcripted and processed using qualitative data analysis software (QSR NVivo 10) in order to realize axial coding. We found that while the context, instrumental logic, and ideologically driven motives influence the decision to establish collective organizations in performing arts, it is the ideological dimensions that are predominant and constitute a necessary condition for the success of a participatory organization. We observe that the more collective organizations are ideologically motivated, the more they are likely to be successful in the long run (success being assimilated to economic sustainability). We also find that the greater the importance of the ideological motive, the more integrated the cooperation. Eventually, these results provide significant information regarding the form of collective firms in performing arts. We observe the emergence of new forms of cooperatives that comprise cooperatives of production and projects or companies, establishing participatory and democratic governance, and pooling resources and financial risk while preserving the artistic freedom of artists. We view these emerging types of cooperatives as a promising avenue both for the sector itself and for the development of the cooperative movement beyond its traditional sectors. The findings suggest that public incentives, as they are currently set up, may miss their objective of promoting shared practices in the arts or even be counterproductive; thus, it would be to their advantage to be modified in light of the above results. We also defend the interest of trans-border cooperative organizations inspired by the cooperatives of production and their governance models and organizations. Despite a number of studies highlighting cooperation in the cultural sector, research on cooperatives in this sector remains embryonic. This paper contributes to this literature. We argue that applied research in this sector can be of contributive value to the literature on cooperatives and participatory firms.

Details

Advances in the Economic Analysis of Participatory & Labor-Managed Firms
Type: Book
ISBN: 978-1-78560-379-2

Keywords

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