Yet, while there is indeed evidence of accessibility and inclusivity initiatives in the live music industry (Bossey, 2020), the supposed benefits of concerts and music festivals as open, inclusive, egalitarian, and positive are undermined by reports of sexual assault and the need for safe space policies within those same sites (Arnold, 2018;Hill et al., 2019). Moving to live music regulation practices, Jacopo Costa's article examines Espace Django, a French concert venue that benefits, like many French institutions, from state funding. [...]Arno van der Hoeven et al. analyse the methodologies used for measuring the value of live music and discuss the strengths and weaknesses of these.
然而，尽管确实有证据表明现场音乐行业存在无障碍和包容性举措（Bossey，2020），但关于性侵的报道以及在这些场所内制定安全空间政策的必要性，破坏了音乐会和音乐节所谓的开放、包容、平等和积极的好处（Arnold，2018；Hill等人，2019）。谈到现场音乐监管实践，Jacobo Costa的文章考察了Espace Django，这是一个法国音乐会场地，与许多法国机构一样，从国家资助中受益。[…]Arno van der Hoeven等人分析了用于衡量现场音乐价值的方法，并讨论了这些方法的优势和劣势。
{"title":"Guest editorial","authors":"Chris Anderton, Sergio Pisfil","doi":"10.1108/aam-06-2021-055","DOIUrl":"https://doi.org/10.1108/aam-06-2021-055","url":null,"abstract":"Yet, while there is indeed evidence of accessibility and inclusivity initiatives in the live music industry (Bossey, 2020), the supposed benefits of concerts and music festivals as open, inclusive, egalitarian, and positive are undermined by reports of sexual assault and the need for safe space policies within those same sites (Arnold, 2018;Hill et al., 2019). Moving to live music regulation practices, Jacopo Costa's article examines Espace Django, a French concert venue that benefits, like many French institutions, from state funding. [...]Arno van der Hoeven et al. analyse the methodologies used for measuring the value of live music and discuss the strengths and weaknesses of these.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43876428","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 : 2021-08-16DOI: 10.1108/aam-01-2021-0001
S. Hadley
PurposeThe purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.Design/methodology/approachInterview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.FindingsWhen artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.Originality/valueA consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.
{"title":"Artists as cultural intermediaries? Remediating practices of production and consumption","authors":"S. Hadley","doi":"10.1108/aam-01-2021-0001","DOIUrl":"https://doi.org/10.1108/aam-01-2021-0001","url":null,"abstract":"PurposeThe purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.Design/methodology/approachInterview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.FindingsWhen artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.Originality/valueA consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41505000","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 : 2021-08-16DOI: 10.1108/aam-09-2020-0038
Robin Ryan, Jasmine M. Williams, Alison Simpson
PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.
{"title":"From the ground up: growing an Australian Aboriginal cultural festival into a live musical community","authors":"Robin Ryan, Jasmine M. Williams, Alison Simpson","doi":"10.1108/aam-09-2020-0038","DOIUrl":"https://doi.org/10.1108/aam-09-2020-0038","url":null,"abstract":"PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259255","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 : 2021-08-13DOI: 10.1108/aam-02-2021-0003
A. Sanders, Barbara J. Phillips, David E. Williams
PurposeThe relationship between musicians and the music industry has often been depicted as a dichotomy between creativity and commerce with musicians conflicted between their roles as artists and their roles as marketers of sound. Recently, marketing researchers have problematized this dichotomy and suggested musicians perceive these roles as inevitable and indivisible. However, the processes of how musicians market their sound to the industry gatekeepers remain unclear. This study seeks to find the key industry gatekeepers for musicians and how musicians sell their personal sound to them.Design/methodology/approachUsing an interpretative phenomenological approach, ten interviews with professional musicians across different music genres provided insight into the strategies musicians use to market their sound to industry gatekeepers.FindingsIn total, three key gatekeepers and the five strategies that musicians use to sell their sound are identified. The gatekeepers are record labels, other musicians and consumers. Musicians sell their sound to these gatekeepers through the externally directed strategies of using social media to build relationships, defining their personal sound through genre and creating a unique sound, and through the internally directed strategies of keeping motivated through sound evolution and counting on luck.Research limitations/implicationsThe findings are limited by the small number of musicians interviewed and the heterogeneous representation of music genres.Originality/valueThe study contributes to theoretical understandings of how musicians as cultural producers market their sound in a commercial industry.
{"title":"Sound sellers: musicians' strategies for marketing to industry gatekeepers","authors":"A. Sanders, Barbara J. Phillips, David E. Williams","doi":"10.1108/aam-02-2021-0003","DOIUrl":"https://doi.org/10.1108/aam-02-2021-0003","url":null,"abstract":"PurposeThe relationship between musicians and the music industry has often been depicted as a dichotomy between creativity and commerce with musicians conflicted between their roles as artists and their roles as marketers of sound. Recently, marketing researchers have problematized this dichotomy and suggested musicians perceive these roles as inevitable and indivisible. However, the processes of how musicians market their sound to the industry gatekeepers remain unclear. This study seeks to find the key industry gatekeepers for musicians and how musicians sell their personal sound to them.Design/methodology/approachUsing an interpretative phenomenological approach, ten interviews with professional musicians across different music genres provided insight into the strategies musicians use to market their sound to industry gatekeepers.FindingsIn total, three key gatekeepers and the five strategies that musicians use to sell their sound are identified. The gatekeepers are record labels, other musicians and consumers. Musicians sell their sound to these gatekeepers through the externally directed strategies of using social media to build relationships, defining their personal sound through genre and creating a unique sound, and through the internally directed strategies of keeping motivated through sound evolution and counting on luck.Research limitations/implicationsThe findings are limited by the small number of musicians interviewed and the heterogeneous representation of music genres.Originality/valueThe study contributes to theoretical understandings of how musicians as cultural producers market their sound in a commercial industry.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42857310","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 : 2021-08-03DOI: 10.1108/aam-12-2020-0054
Georgios Patsiaouras
PurposeEmploying the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.Design/methodology/approachSecondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.FindingsFirst, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.Originality/valueFocusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.
{"title":"The inter-generational arts branding of the Star Wars saga: may the myth be with you!","authors":"Georgios Patsiaouras","doi":"10.1108/aam-12-2020-0054","DOIUrl":"https://doi.org/10.1108/aam-12-2020-0054","url":null,"abstract":"PurposeEmploying the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.Design/methodology/approachSecondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.FindingsFirst, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.Originality/valueFocusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49158009","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 : 2021-07-02DOI: 10.1108/aam-10-2020-0046
Marisol Alonso-Vazquez, C. Ballico
PurposeThe coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.Design/methodology/approachThis study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.FindingsSocial support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.Originality/valueThis paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.
{"title":"Eco-friendly practices and pro-environmental behaviours: the Australian folk and world music festival perspective","authors":"Marisol Alonso-Vazquez, C. Ballico","doi":"10.1108/aam-10-2020-0046","DOIUrl":"https://doi.org/10.1108/aam-10-2020-0046","url":null,"abstract":"PurposeThe coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.Design/methodology/approachThis study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.FindingsSocial support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.Originality/valueThis paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572976","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 : 2021-06-28DOI: 10.1108/aam-09-2020-0040
B. Flath, Maryam Momen Pour Tafreshi
PurposeThe purpose of this article is to illuminate the relations of work-related practices of local managers of live music events in Ostwestfalen-Lippe (OWL) and barriers and needs of vulnerable customers (VC) in order to explore possibilities to increase cultural participation of VC.Design/methodology/approachThis article explores work-related practices of managers of live music events in OWL and asks if and to what extent these practices have an influence on the cultural participation of “vulnerable customers” (VC). It combines the findings of two studies: a) an explorative investigation on the work-related self-conceptions of managers of live music events in OWL (Study 1), and b) a sub-project on cultural participation of VC, which is part of the research project “kulturPreis. Increasing cultural participation through innovative and economically sustainable pricing concepts”, funded by the German Federal Ministry of Education and Research (Study 2).FindingsIt can be stated that there is an imbalance of knowledge: while VC tend to have a clear understanding of which barriers are the responsibility of managers of live music events, managers tend to lack knowledge regarding the needs of VC, and regarding the interrelationships between financial and social barriers facing them. Whether this knowledge and understanding can be developed in the future depends on the possibilities of exchanges between managers of live music events, cultural institutions, welfare organisations, political institutions and not least VC.Originality/valueBased on these studies, this article combines different approaches by linking work-related practices of managers of live music events with cultural participation of VC.
{"title":"Work-related practices of local managers of live music events in Ostwestfalen-Lippe (OWL) and their impact on cultural participation","authors":"B. Flath, Maryam Momen Pour Tafreshi","doi":"10.1108/aam-09-2020-0040","DOIUrl":"https://doi.org/10.1108/aam-09-2020-0040","url":null,"abstract":"PurposeThe purpose of this article is to illuminate the relations of work-related practices of local managers of live music events in Ostwestfalen-Lippe (OWL) and barriers and needs of vulnerable customers (VC) in order to explore possibilities to increase cultural participation of VC.Design/methodology/approachThis article explores work-related practices of managers of live music events in OWL and asks if and to what extent these practices have an influence on the cultural participation of “vulnerable customers” (VC). It combines the findings of two studies: a) an explorative investigation on the work-related self-conceptions of managers of live music events in OWL (Study 1), and b) a sub-project on cultural participation of VC, which is part of the research project “kulturPreis. Increasing cultural participation through innovative and economically sustainable pricing concepts”, funded by the German Federal Ministry of Education and Research (Study 2).FindingsIt can be stated that there is an imbalance of knowledge: while VC tend to have a clear understanding of which barriers are the responsibility of managers of live music events, managers tend to lack knowledge regarding the needs of VC, and regarding the interrelationships between financial and social barriers facing them. Whether this knowledge and understanding can be developed in the future depends on the possibilities of exchanges between managers of live music events, cultural institutions, welfare organisations, political institutions and not least VC.Originality/valueBased on these studies, this article combines different approaches by linking work-related practices of managers of live music events with cultural participation of VC.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42664919","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 : 2021-05-20DOI: 10.1108/AAM-12-2020-0053
J. Södergren, Niklas Vallström
PurposeThe twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.Design/methodology/approachThrough visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.FindingsBrands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.Practical implicationsIn more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.Originality/valueIn contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.
{"title":"Seeing the invisible: brand authenticity and the cultural production of queer imagination","authors":"J. Södergren, Niklas Vallström","doi":"10.1108/AAM-12-2020-0053","DOIUrl":"https://doi.org/10.1108/AAM-12-2020-0053","url":null,"abstract":"PurposeThe twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.Design/methodology/approachThrough visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.FindingsBrands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.Practical implicationsIn more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.Originality/valueIn contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":"ahead-of-print 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41699393","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 : 2021-02-26DOI: 10.1108/AAM-09-2020-0041
Arno van der Hoeven, Adam Behr, C. Hamilton, M. Mulder, Patrycja Rozbicka
PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.
{"title":"1-2-3-4! Measuring the values of live music: methods, models and motivations","authors":"Arno van der Hoeven, Adam Behr, C. Hamilton, M. Mulder, Patrycja Rozbicka","doi":"10.1108/AAM-09-2020-0041","DOIUrl":"https://doi.org/10.1108/AAM-09-2020-0041","url":null,"abstract":"PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44835506","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 : 2021-01-02DOI: 10.1108/AAM-01-2020-0001
Saara Moisio
PurposeThis article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.Design/methodology/approachThe study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.FindingsThe analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.Originality/valueConcentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.
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