The aim of the study was to reflect upon the use of digital audio-visual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by drawing on insight from a series of expert interviews. Issues investigated included digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. An effective combination of interesting audio–visual content, precise brand aspirations in terms of identity and vision, are what will lead a foundation to the audience it desires.
{"title":"Guest editorial: The online and offline impacts of Covid-19 on arts and cultural marketing","authors":"I. Fillis, K. Lehman, R. Rentschler, Boram Lee","doi":"10.1108/aam-02-2023-062","DOIUrl":"https://doi.org/10.1108/aam-02-2023-062","url":null,"abstract":"The aim of the study was to reflect upon the use of digital audio-visual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by drawing on insight from a series of expert interviews. Issues investigated included digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. An effective combination of interesting audio–visual content, precise brand aspirations in terms of identity and vision, are what will lead a foundation to the audience it desires.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44002512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-23DOI: 10.1108/aam-06-2022-0029
Tekena Gasper Mark
PurposeArts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.Design/methodology/approachThis study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.FindingsThe text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.Research limitations/implicationsOne of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.Practical implicationsThis study documents an innovative approach to reaching theatre audience via social media in Nigeria.Social implicationsThis research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.Originality/valueThe study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts proje
在冠状病毒大流行期间，戏剧从业者一直在寻找吸引观众的方法，并保持他们对戏剧表演的兴趣和赞助。这导致了通过社交媒体与观众进行数字互动。本研究报告使用Segun Adefila制作的Tosin Jobi-Tume的Corona Palava来研究尼日利亚剧院的数字观众参与度，该剧院于2020年8月4日在尼日利亚拉各斯巴里加的皇冠艺术中心演出，并于2020年12月22日和2021年12月21日在Facebook上发布。设计/方法/方法本研究基于Radbourne et al.(2009)提出的“艺术观众体验指数”理论。它采用网络学作为它的方法论。这需要观察和分析用户的评论、沟通风格、参与频率和停留时间，同时在研究人员的Facebook时间轴“Tekena Gasper Mark”和Facebook群组“Bolt Drivers in Port Harcourt”上观看Corona Palava的生产。总的来说，53条评论(39条来自研究人员的Facebook朋友，14条来自Facebook小组“波特哈科特”的成员)被抽样和分析，以提供观众如何体验科罗娜帕拉瓦生产的见解。Facebook视频附带的文字为观众提供了有关表演的信息，帮助他们为即将发生的事情做好准备，减少了他们在观看过程中感到不安的可能性，增加了他们在未来寻找类似表演的可能性。他们对演出很满意;没有功能风险，没有经济风险，没有心理和社会风险。虽然他们可能在不同的时间观看，但Facebook为他们提供了一个空间，让他们作为一个群体参与表演，并在表演后的评论中分享他们的想法。研究的局限性/意义这项研究的局限性之一是无法确定有多少受访者是司机。此外，研究人员认为，视频的长度可能会阻碍人们参与研究。为了增加收视率并提供更好的研究结果，未来的研究和艺术活动可以考虑更短的片段(约3-5分钟)和更广泛的地点(交通运输企业)，在那里有更多活跃的社交媒体存在的司机可以参与研究。实际意义本研究记录了在尼日利亚通过社交媒体接触戏剧观众的创新方法。社会影响本研究表明，在后covid -19时代，尼日利亚戏剧和艺术从业者正在通过利用社交媒体接触观众，重塑他们的戏剧制作方法。独创性/价值研究显示，由于冠状病毒大流行，尼日利亚戏剧艺术家一直在寻找通过社交媒体吸引观众并保持他们对艺术项目的兴趣和赞助的方法。
{"title":"Digital audience engagement in Nigeria: a shift from live to online audience experience in Tosin Jobi-Tume’s Corona Palava","authors":"Tekena Gasper Mark","doi":"10.1108/aam-06-2022-0029","DOIUrl":"https://doi.org/10.1108/aam-06-2022-0029","url":null,"abstract":"PurposeArts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.Design/methodology/approachThis study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.FindingsThe text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.Research limitations/implicationsOne of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.Practical implicationsThis study documents an innovative approach to reaching theatre audience via social media in Nigeria.Social implicationsThis research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.Originality/valueThe study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts proje","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46633648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-17DOI: 10.1108/aam-07-2022-0034
Linda Ryan Bengtsson, Jessica Edlom
PurposeThis article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.Design/methodology/approachThe study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.FindingsThe study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.Originality/valueBy proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.
{"title":"Commodifying participation through choreographed engagement: the Taylor Swift case","authors":"Linda Ryan Bengtsson, Jessica Edlom","doi":"10.1108/aam-07-2022-0034","DOIUrl":"https://doi.org/10.1108/aam-07-2022-0034","url":null,"abstract":"PurposeThis article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.Design/methodology/approachThe study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.FindingsThe study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.Originality/valueBy proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43667395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-28DOI: 10.1108/aam-09-2021-0053
N. Gryllakis, María Matsiola
PurposeThe aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.Design/methodology/approachThe qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.FindingsA proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.Research limitations/implicationsThis study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.Originality/valueThe originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.
{"title":"Digital audiovisual content in marketing and distributing cultural products during the COVID-19 pandemic in Greece","authors":"N. Gryllakis, María Matsiola","doi":"10.1108/aam-09-2021-0053","DOIUrl":"https://doi.org/10.1108/aam-09-2021-0053","url":null,"abstract":"PurposeThe aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.Design/methodology/approachThe qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.FindingsA proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.Research limitations/implicationsThis study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.Originality/valueThe originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"62011848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-25DOI: 10.1108/aam-08-2021-0039
Iddrisu Mohammed, Alexander Preko, Leeford Edem Kojo Ameyibor, Mawuli Feglo, G. C. Agbemabiese
PurposeThis study aimed at investigating negative past experience (NPE), symbolic incongruity and ideological incompatibility on celebrity brand hate (CBH) within the arts marketing sector.Design/methodology/approachAnchored on the self-congruity theory (SCT), the study is based on two studies with 618 hip-life music (HLM) listeners in Ghana (Study 1 = 340 face-to-face participants; study 2 = 278 online participants), who responded to 20 celebrities they hate. The study validates Hegner et al.'s (2017) product brand hate (BH) model in the arts sector utilizing the structural equal modeling in testing the research hypotheses.FindingsThe study found that negative past experience, symbolic incongruity, and ideological incompatibility significantly influences CBH. Furthermore, CBH significantly influences celebrity brand avoidance (CBA) and negative word-of-mouth (NWoM), brand retaliation, private complaint and brand switching. Nevertheless, CBH had no significant influence on CBA in the second study. In all, BH had the strongest effects on NWoM for products in Hegner et al. (2017) model, whereas in our model BH strongly impacts on brand retaliation for celebrities (i.e. people).Practical implicationsThe study provided evidence to marketing scholars, celebrity image managers and brand professionals, on critical factors to consider in building and sustaining celebrity brands as viable currencies for economic leveraging within the arts industry.Originality/valueThough BH has received academic recognition, little is known about the concept of CBH and its outcomes in the arts marketing literature.
{"title":"An investigation of celebrity brand hate influence in the arts marketing sector of Ghana","authors":"Iddrisu Mohammed, Alexander Preko, Leeford Edem Kojo Ameyibor, Mawuli Feglo, G. C. Agbemabiese","doi":"10.1108/aam-08-2021-0039","DOIUrl":"https://doi.org/10.1108/aam-08-2021-0039","url":null,"abstract":"PurposeThis study aimed at investigating negative past experience (NPE), symbolic incongruity and ideological incompatibility on celebrity brand hate (CBH) within the arts marketing sector.Design/methodology/approachAnchored on the self-congruity theory (SCT), the study is based on two studies with 618 hip-life music (HLM) listeners in Ghana (Study 1 = 340 face-to-face participants; study 2 = 278 online participants), who responded to 20 celebrities they hate. The study validates Hegner et al.'s (2017) product brand hate (BH) model in the arts sector utilizing the structural equal modeling in testing the research hypotheses.FindingsThe study found that negative past experience, symbolic incongruity, and ideological incompatibility significantly influences CBH. Furthermore, CBH significantly influences celebrity brand avoidance (CBA) and negative word-of-mouth (NWoM), brand retaliation, private complaint and brand switching. Nevertheless, CBH had no significant influence on CBA in the second study. In all, BH had the strongest effects on NWoM for products in Hegner et al. (2017) model, whereas in our model BH strongly impacts on brand retaliation for celebrities (i.e. people).Practical implicationsThe study provided evidence to marketing scholars, celebrity image managers and brand professionals, on critical factors to consider in building and sustaining celebrity brands as viable currencies for economic leveraging within the arts industry.Originality/valueThough BH has received academic recognition, little is known about the concept of CBH and its outcomes in the arts marketing literature.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43427915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-18DOI: 10.1108/aam-09-2022-0049
I. Fillis, K. Lehman, R. Rentschler, Boram Lee
PurposeThis paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.Design/methodology/approachThe study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.FindingsThis study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.Originality/valueThe originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.
{"title":"Arts marketing during COVID-19: a critical review and theoretical integration","authors":"I. Fillis, K. Lehman, R. Rentschler, Boram Lee","doi":"10.1108/aam-09-2022-0049","DOIUrl":"https://doi.org/10.1108/aam-09-2022-0049","url":null,"abstract":"PurposeThis paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.Design/methodology/approachThe study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.FindingsThis study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.Originality/valueThe originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48466176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-07DOI: 10.1108/aam-07-2021-0029
Theresa A. Kirchner, L. Golden, P. Brockett
PurposeThis 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.Design/methodology/approachThis 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.FindingsThis 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.Research limitations/implicationsThis 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.Practical implicationsThis 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.Social implicationsEfficiency improvements enable performing arts organizations to provide additional artistic/social services, with fewer resources, to larger audiences.Originality/valueThis 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.
{"title":"Improving arts management/marketing efficiency: optimizing utilization of scarce resources to produce artistic outputs","authors":"Theresa A. Kirchner, L. Golden, P. Brockett","doi":"10.1108/aam-07-2021-0029","DOIUrl":"https://doi.org/10.1108/aam-07-2021-0029","url":null,"abstract":"PurposeThis 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.Design/methodology/approachThis 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.FindingsThis 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.Research limitations/implicationsThis 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.Practical implicationsThis 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.Social implicationsEfficiency improvements enable performing arts organizations to provide additional artistic/social services, with fewer resources, to larger audiences.Originality/valueThis 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.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42220554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-06DOI: 10.1108/aam-10-2021-0056
I. Fillis, K. Lehman
PurposeThe authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an interrogation of Northern Ireland murals. In this paper, the authors elaborate on the links between arts marketing thought and the notion of hero and draw conclusions around what the authors see as a fruitful area for arts marketing theory.Design/methodology/approachThe authors have adopted a narrative approach, incorporating biographical method, visual analysis and ethnography in interpreting cultural murals. The authors assess representative examples in Northern Ireland using a thematic framework.FindingsThe murals the authors assessed have evolved from having a specific community focus to increasing numbers which now represent a “shared”, and therefore more modern version of the hero.Research limitations/implicationsThe authors identify an emerging, aesthetically balanced portrayal of cultural murals, with a different set of heroic priorities compared to the past, which should encourage further related research elsewhere.Practical implicationsNorthern Ireland murals are no longer the preserve of specific communities and are now also shared spaces which appeal to both the local population and cultural tourists.Originality/valueAlthough analysis and evaluation of political murals has been carried out in other disciplines, the authors add to the limited insight from an arts marketing perspective.
{"title":"Cultural murals and the evolving nature of the hero concept: an arts marketing context","authors":"I. Fillis, K. Lehman","doi":"10.1108/aam-10-2021-0056","DOIUrl":"https://doi.org/10.1108/aam-10-2021-0056","url":null,"abstract":"PurposeThe authors provide an understanding of how the hero identity is culturally constructed and evolving. The authors focus on heroism within an arts marketing framework through an interrogation of Northern Ireland murals. In this paper, the authors elaborate on the links between arts marketing thought and the notion of hero and draw conclusions around what the authors see as a fruitful area for arts marketing theory.Design/methodology/approachThe authors have adopted a narrative approach, incorporating biographical method, visual analysis and ethnography in interpreting cultural murals. The authors assess representative examples in Northern Ireland using a thematic framework.FindingsThe murals the authors assessed have evolved from having a specific community focus to increasing numbers which now represent a “shared”, and therefore more modern version of the hero.Research limitations/implicationsThe authors identify an emerging, aesthetically balanced portrayal of cultural murals, with a different set of heroic priorities compared to the past, which should encourage further related research elsewhere.Practical implicationsNorthern Ireland murals are no longer the preserve of specific communities and are now also shared spaces which appeal to both the local population and cultural tourists.Originality/valueAlthough analysis and evaluation of political murals has been carried out in other disciplines, the authors add to the limited insight from an arts marketing perspective.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43157826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1108/aam-04-2022-0015
C. Castle, Karen Burland, A. Greasley
PurposeThe current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and considers how accessibility might be improved for these individuals.Design/methodology/approachThe article reports on findings from a mixed-methods project utilising a structured interview study (N = 20) and an online survey (N = 94). Interview data were analysed using Interpretative Phenomenological Analysis, providing in-depth insight into participants’ experiences before and during events. Quantitative survey data were analysed descriptively and statistically, and Thematic Analysis of open-ended responses was carried out.FindingsAttendance at live events varied amongst participants, and so too did the factors impacting on their attendance. Challenges were identified in relation to several key areas: accessing information and tickets, experiences with staff, navigation and orientation, and the use and availability of disabled facilities and specialist services.Originality/valueThis article is the first to offer in-depth exploration of music event accessibility for individuals with VI. It builds on existing research which has considered the experiences of deaf and disabled attendees but has not yet offered adequate representation of individuals with VI. The article offers practical recommendations for venues and organisers seeking to ensure accessible events for all and contributes to the wider discourse surrounding inclusivity at music, arts and cultural events.
{"title":"Attending live music events with a visual impairment: experiences, accessibility and recommendations for the future","authors":"C. Castle, Karen Burland, A. Greasley","doi":"10.1108/aam-04-2022-0015","DOIUrl":"https://doi.org/10.1108/aam-04-2022-0015","url":null,"abstract":"PurposeThe current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and considers how accessibility might be improved for these individuals.Design/methodology/approachThe article reports on findings from a mixed-methods project utilising a structured interview study (N = 20) and an online survey (N = 94). Interview data were analysed using Interpretative Phenomenological Analysis, providing in-depth insight into participants’ experiences before and during events. Quantitative survey data were analysed descriptively and statistically, and Thematic Analysis of open-ended responses was carried out.FindingsAttendance at live events varied amongst participants, and so too did the factors impacting on their attendance. Challenges were identified in relation to several key areas: accessing information and tickets, experiences with staff, navigation and orientation, and the use and availability of disabled facilities and specialist services.Originality/valueThis article is the first to offer in-depth exploration of music event accessibility for individuals with VI. It builds on existing research which has considered the experiences of deaf and disabled attendees but has not yet offered adequate representation of individuals with VI. The article offers practical recommendations for venues and organisers seeking to ensure accessible events for all and contributes to the wider discourse surrounding inclusivity at music, arts and cultural events.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44981335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-01DOI: 10.1108/aam-04-2021-0010
E. Genc, Mehmet Okan
PurposeThis study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.Design/methodology/approachTo unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.FindingsThe authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.Practical implicationsThe findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.Originality/valueThis study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization.
{"title":"Artists’ production sensibilities within the dynamics of an emerging art market","authors":"E. Genc, Mehmet Okan","doi":"10.1108/aam-04-2021-0010","DOIUrl":"https://doi.org/10.1108/aam-04-2021-0010","url":null,"abstract":"PurposeThis study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.Design/methodology/approachTo unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.FindingsThe authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.Practical implicationsThe findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.Originality/valueThis study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42053098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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