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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.

Arts and cultural activities have been illustrated to be beneficial for mental health service users. The purpose of this paper is to explore the benefits of museum visits and engage in arts activities for mental health service users.

Semi-structured interviews were conducted with 17 mental health service users in Denmark. A thematic approach was used to analyse the data and theoretical lens of sociological theories of institutional logics was employed to explore the findings.

These benefits are perceived to include empowerment and meaning in life, which are two of the core principles of recovery; arts engagement can, therefore, be a useful tool in recovery. The findings also show that the experience of visiting a museum was not always positive and depended upon the interaction with the museum educators.

The service users identified arts engagement as creating meaning in life and empowerment, which are two element in the conceptual framework, CHIME (an acronym for: Connectedness, Hope and optimism, Identity, Meaning in life and Empowerment), that describes the human process of recovery. The findings also highlighted that if museums want to engage positively with people with mental health problems and contribute to their recovery then the training of staff and the improvement of institutional approaches to support working with vulnerable people are essential.

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.

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.

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.

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.

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.

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.

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.

This paper aims to posit servicescape from a multi-dimensional formative approach beyond mere conceptualizations limited to its physical dimensions. An analysis is carried out to predict loyalty behaviours in a cultural service.

Partial least square was conducted for testing a third-order aggregate formative construct of servicescape on a sample of 867 opera goers. In addition, the authors carried out a predictive performance assessment of our model.

The proposed research model was largely supported by the evidence. Results show that the physical (exterior and interior) and social dimensions (employees’ and attendees’ characteristics and interactions) must be considered together in the artscape, servicescape named in the performing arts services, conceptualization and measurement. An appropriate servicescape can be of vital importance in the perception and subsequent consumer evaluation of the service in terms of loyalty.

Further research is required to extend the analysis of the holistic servicescape.

Cultural managers are provided in terms of highlighting the importance of managing the artscape in all its dimensions “not only physical but also social – showing its relevance as an antecedent of opera goers” loyalty.

Besides the cultural product itself, designing appropriate artscapes can enhance the experience and post-use behaviour of performing arts attendees.

The authors make a relevant contribution in the configuration of high-order formative constructs, showing that marketing literature should appraise servicescape from a comprehensive perspective to predict post-consumption behaviour.

In an arts organisation context, this paper aims to further the understanding of service relationships by developing a framework explaining how sponsored arts organisations could better manage their relationships with sponsors to facilitate mutual benefit and relationship persistence.

Grounded theory methodology was applied to sponsorship of arts organisations through interviews with the managers of arts organisations worldwide who had been involved in seeking and managing sponsorship relationships.

Reciprocity was found to be the key factor in successful sponsorship relationships, but emotional reference to reputation was also important. Together they link uncertainty in the complex sponsorship environment with an arts organisation’s artistic ambitions.

This study extends the understanding of service relationships by shedding light on the sponsorship relationship from the sponsored organisation’s point of view and in particular highlighting the role of reciprocity in managing the relationship with their sponsor.

Understanding the moderating roles of reciprocity and reputation in sponsorship relationships helps to explain key facets of such relationships which can partially negate sponsor benefits and threaten a sponsorship’s continuation.

The arts and health agenda has experienced considerable expansion in the UK in recent years, against a backdrop of increasing social inequality and rising incidence of mental health problems. This paper explores the role of community arts in combating social and mental health inequalities as exemplified by one particular project, Art in Mind, in Nottingham, which is funded by England's New Deal for Communities programme and is designed to promote mental health. In describing Art in Mind's conceptualisation and implementation, attention is given to the importance of developing community networks that are designed to build social capital for participating groups and individuals, in order to combat health and social inequalities.

The purpose of this paper is to describe the benefits of a social prescribing service for older people with sensory impairments experiencing social isolation. The paper draws on the findings from a 12-week programme run by Sense, a voluntary sector organisation, and illustrates how integrated services, combining arts-based participation and voluntary sector support, can create positive health and wellbeing outcomes for older people.

The research took a mixed-methodological approach, conducting and analysing data from interviews and dynamic observation proformas with facilitators and quantitative psychological wellbeing scores with participants throughout the course of the programme. Observations and case study data were also collected to complement and contextualise the data sets.

The research found that participatory arts programmes can help combat social isolation amongst older people with sensory impairments and can offer an important alliance for social care providers who are required to reach more people under increasing pecuniary pressures. The research also highlights other benefits for health and wellbeing in the group including increased self-confidence, new friendships, increased mental wellbeing and reduced social isolation.

The research was based on a sample size of 12 people with sensory impairments and therefore may lack generalisability. However, similar outcomes for people engaging in participatory arts through social prescription are documented elsewhere in the literature.

The paper includes implications for existing health and social care services and argues that delivering more integrated services that combine health and social care pathways with arts provision have the potential to create social and medical health benefits without being care/support resource heavy.

This paper fulfils a need to understand and develop services that are beneficial to older people who become sensory impaired in later life. This cohort is growing and, at present, there are very few services for this community at high risk of social isolation.

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.

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.

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.

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

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.

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.

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.

The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.

Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field.

It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive.

The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation.

The paper provides new knowledge of the variety of levels of relations in the value co-creation.

The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.

Why should businesses invest in the arts? Why ‘sing for your supper’ when you can earn much more by coding? In an era when artificial intelligence (AI) is forecast to eliminate millions of jobs, many educators and policy-makers advocate scientific, technology, engineering and mathematics (STEM) education as the solution to future unemployment. They envision a workforce of diligent coders who automate everything, including their own jobs. While useful for finding tech jobs today, this myopic approach ignores the coming ‘Cambrian explosion’ of content and services that are being catalysed by exponential technologies. In Silicon Valley, virtual reality (VR) and augmented reality are already being applied to surgery, warehousing, retailing, architecture, construction, cars, therapy and concerts. Top VR managers and developers come from the social sciences and humanities, which provide the analytical and social skills for understanding customers and identifying new use cases and business models. STEM alone cannot answer the complex ethical and policy issues facing businesses: companies need employees with ‘soft skills’ who can integrate STEM with the arts (STEAM). In Silicon Valley today, the most challenging jobs are going to people who can offer practical answers to bottom-line questions about the value of social, cultural and artistic soft skills. What is the value of the arts for business growth? What can businesses learn from the creative industries? How can return on investment in the arts be measured? How will STEAM and exponential technologies enable new business models? How can STEAM education prepare people for the AI era?