Search results

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.

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.

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.

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.

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.

This research models the interrelationship of service quality (SQ) for core and peripheral service, perceived value and satisfaction to establish a system of relationship that predicts repurchase intention (RI) in a performing arts context. Business researchers in services understand that organizations must base success on consumer retention. With increased competition and dwindling funding, the performing arts have more constraints in managing and designing customer retention programs. Knowledge of the predictors of customer judgments in re‐purchase intention is undeveloped in the performing arts sector positioning both academic and practical research as warranted. This paper aims to fill this gap.

A survey instrument customized to the performing arts was administered to a sample of 273 past and present performing arts audience members and examined using structural equation modeling.

Results indicate that customers determine their re‐purchase intention based on both core and peripheral SQ, mediated by perceived value and customer satisfaction. There was no direct or significant relationships found for SQ of core and peripheral services and perceived value to RI.

This work supports the need for strategic consideration of both peripheral service aspects and core show quality in service design and delivery in order to maximize perceived value, satisfaction and repurchase intent. Findings suggest a balanced approach to the “act” (core) and the activities required to take it to the market (peripheral) is required.

This is the first known paper presenting this system of relationships and the first to test this system of relationships in the performing arts context.

The purpose of this paper is to describe and understand dimensions of cultural activity involvement and the relationship between cultural activity involvement and behavioural loyalty.

Semi-structured in-depth interviews with 47 customers of a theatre were held.

The study shows that the concept of cultural activity involvement consists of six dimensions: attraction, centrality, self-expression, social bonding, cultural transmission and financial contribution. Three customer segments are taken into consideration according behavioural loyalty levels: incidental spectators, interested participants and the core audience. There are large differences between the three customer segments regarding cultural activity involvement.

Introspection might have decreased the reliability. As the study is a case study, problems with external validity are recognised.

Given the decline of subsidies in the arts world, it becomes more important to attract more visitors and to increase spending. Performing arts organisations might attract more visitors in case they provide additional services which enable cultural transmission. Moreover, the study shows that certain visitors are willing to contribute additional money to the arts.

Current studies about leisure involvement focus on recreation and distinguish four dimensions of involvement. This study focuses on cultural activity involvement and explores these four dimensions, but also shows there are two new dimensions. This study contributes to a further understanding of the relationship between cultural activity involvement and behavioural loyalty.

This paper aims to study the information needs and online information-seeking behaviors on mobile platforms of performing arts students at a college level.

Survey instruments were used to collect data from performing arts students at the Hong Kong Academy of Performing Arts (HKAPA), a metropolitan’s major performing arts tertiary institution. Data collected were analyzed through descriptive statistics and other statistical methods, and the music-related students were compared with the production-related students.

The result reveals that performing arts students all owned their mobile devices and often used mobile apps for non-academic purposes, but they did not often use mobile library services or read online academic contents with their mobile devices. The participants considered inadequate signal coverage, slow loading time, difficulty in reading on a mobile device and the lack of specialized mobile apps as more significant barriers affecting their usage. There are some significant differences between the music-related and production-related student groups in that music-related students watched lectures on the library websites and used electronic music scores more often than the production-related students.

This study contributes to the input for enhancements and policies to future mobile services and facilities of performing art libraries.

There have been scant studies on the mobile learning needs of performing arts students, especially in Asia.

The purpose of this research is to focus on the internationalisation process and experiences of Korean theatre companies. Factors investigated include cultural issues impinging on production values and the roles of entrepreneurial thinking and creativity. An analysis of impacting barriers on performing arts internationalisation is also carried out.

A case study approach was used to investigate the performance and internationalisation activities of five Korean theatre companies that participated in the Edinburgh Festival Fringe.

The exporting of Korean cultural products contributes markedly to the perception and understanding of Korea. Small theatre companies with a tolerance of risk‐taking, together with competencies in creativity and entrepreneurial thinking, can help to minimise the effect of unforeseen problems experienced during the internationalisation of theatre productions.

The in‐depth case study approach adopted here has resulted in the uncovering of data that would not have been unveiled through questionnaire analysis alone. The findings can, however, contribute to future large‐scale surveys of the arts industry.

The issues identified in this study are also relevant for other forms of internationalising artistic productions. The successful combination of artistic ability and the implementation of entrepreneurial competencies, together with the creative use of limited resources, serve as competitive advantages for the arts organisation.

This research promotes a cross‐disciplinary approach to arts marketing in general by encouraging the interrogation of fields such as entrepreneurship, small business marketing and internationalisation research.

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional performers practice their arts in South Korea. The analysis focuses on the transformations of performance conventions and contexts, as well as on new genres that developed in response to heritage legislation and social change during the last 200 years.

Drawing on a wide array of existing ethnographic research, the paper compares processes of transmission and transformation of three different genres: the solo singing-storytelling genre pansori, the ensemble percussion-dance genre pungmul and the various regional forms of mask dance drama subsumed under the label talnori. The paper argues that the artists, who perform these genres, while not unaffected by the expectations of their audiences, have the power to transcend traditional boundaries.

Due to early professionalization in the nineteenth century, pansori performers could adapt to the changing contexts of market-oriented modernity and survive until governmental intervention in 1962. Pre-modern pungmul and talnori was performed primarily by and for rural communities, resulting in an interruption of transmission when these contexts disappeared and partial re-invention in the wake of official preservation legislation.

The need for repeated performance in historically varying contexts makes the analysis of performing arts particular fruitful for understanding how practitioners of tradition (have to) adapt to change. A historical-comparative perspective provides concise insights into the dynamics of development that informs tradition today. The inclusion of offspring genres (changgeuk, madang-geuk, samulnori) furthermore shows the potential of heritage development beyond the official system of preservation.

This paper explores the concepts of knowledge-centric organizations in the performing arts sector to understand how specific organizational practices relate to measures of financial and operational performance.

A quantitative analysis of 368 small and mid-sized nonprofit performing arts organizations in the USA was undertaken via primary data on organizational practices and secondary data on performance metrics. Structural equation modeling was used to validate the latent construct of knowledge centricity and to test hypotheses on how knowledge centricity impacts financial and operational performance, and is influenced by firm-level demographic variables.

Results show several distinct performance metrics that are statistically associated with knowledge-centric practices of the organizations analyzed.

This article investigates the knowledge centricity of organizations, a relatively nascent theoretical concept, which is of significant relevance in today’s knowledge-driven economy. The findings can serve as a basis to further investigate strategic approaches that arts organizations can undertake to remain sustainable and operate effectively in a knowledge-driven society.

It provides critical insights into management practices and approaches that can be instituted to drive improved organizational performance.

Building on the extant literature, this article develops a conceptual framework of knowledge centricity and defines a knowledge-centric organization. It thoroughly investigates the latent construct of knowledge centricity, identifies how knowledge centricity impacts financial and operational performance of nonprofit performing arts organizations, and provides grounding for future studies.

This study aims to examine how the organizational structure of arts groups and their administrative personnel’s socio-demographic attributes affect the working conditions of and create tensions for their staff. Recent discussion about the cultural industries and labor has pursued two strands – macro-level research expounds on the organization of cultural industries and labor market; and micro-level studies focus on the work and employment of cultural practitioners. Very few of them, however, articulate the relationships between the two levels. This study contributes to the literature with a multilevel framework that examines the interplay between the structural conditions and personal factors in which labor–capital relationships evolve.

This study applies a qualitative approach to collect and analyze data. It conducted 39 in-depth interviews with arts managers and administrators from a sample of 18 performing arts organizations across four performing arts sectors in Hong Kong, namely, drama, music, dance and opera. The stratified sample covers arts organizations of different funding models – the public “nationalized” form, the mixed-economy form, and the privatized form.

This study shows that the funding and organization model of arts organizations resulted in various forms of job structure, and that the practitioners’ socio-demographic background shapes their career expectations. The job structure and career expectations together affect the labor turnover and influence organization strategies.

This study’s methodological contribution lies on its application of a multilevel framework to analyze the relationships between the macro- and the micro-level factors underpinning the working conditions of labor in the cultural industries. Besides, it contributes to the discussion about “labor precariousness” with empirical evidence from a comparative study of arts managers and administrators from organizations across four performing arts sectors.

This longitudinal research examines US symphony orchestra sector organizations to determine individual efficiencies in allocating resources (donations, governmental/private funding, etc.) for desirable outputs (concerts, educational programs, community outreach). It provides researchers and managers with a tool for identifying, assessing and mitigating organizational inefficiencies.

This study assesses relative efficiencies in performing arts organizations using Data Envelopment Analysis (DEA), a widely-used nonparametric data-intensive benchmarking technique that determines an optimal “production frontier” of best-practice organizations among their peers and assesses their abilities to turn multivariate inputs into multivariate desired outputs.

This analysis highlights efficiency differences in a wide range of orchestras in converting available resources into performance-related outputs. It provides individual arts organizations with useful results for developing practical benchmarks to achieve organizational efficiency improvement.

This study provides constructive benchmarking guidance for improving efficiencies of relatively-inefficient organizations. Future analysis can expand the scope to utilize a two-stage DEA model to provide more specific guidance to arts organizations.

This pragmatic analysis enables arts/culture institutions to assess their organizational efficiencies and identify opportunities to optimize resources in producing social outputs for their target markets.

Efficiency improvements enable performing arts organizations to provide additional artistic/social services, with fewer resources, to larger audiences.

This research demonstrates the abilities of DEA analysis to assess both a sector and its individual organizations to determine efficiencies, identify sources of inefficiencies and assess longitudinal efficiency trends.