Open Access Arts Festivals and Artists: Who Benefits?

Abstract

Arts festivals are of interest to researchers, but the research focus is usually on the festival's economic or social impact. This approach does not usually reflect the engagement and experience of the artists involved. There has been controversy recently around the experiences of participating artists in open access arts festivals. Open access arts festivals are significant players in the festival landscape. They enable anyone to participate in a festival, if they pay a registration fee. This research, using a case study methodology, examines an open access festival from different perspectives with a focus on the experience of the participating artists.     

Teaching Arts Management: Where Did We Lose the Core Ideas?

In light of the need to start clearing the methodological confusion in the field of arts management, this article provides a critical overview of the teaching curricula in the field. Distinction is made between programs that copy directly from business management; programs that focus on the technological process of producing an artwork (usually run by practitioners); those that interlink cultural management and cultural policy (highlighting the role of public governance as a higher principle); and programs that focus on an entrepreneurial approach to arts management, connecting it to issues of creativity and innovation. The author calls for clear goals to educate administrators and arts or cultural managers. The suggestion is made to follow what I call the Janus syndrome: looking toward managerial and economic realities but primarily focusing on the arts—the aesthetic and the social aspects of the field. A question is raised about the position of art in arts management curricula, as well as the organization of undergraduate and postgraduate studies in the field.     

Can Audience Development Promote Social Diversity in German Public Arts Institutions?

Despite generous public funding, arts institutions in Germany are primarily serving a small, educated section of the German population. This article presents findings from arts participation surveys, research from an empirical study on “Intercultural Audience Development” in public theaters and museums, and an analysis of cultural policy debates to reveal the role of audience development in overcoming the social imbalance of audiences in German cultural institutions. Research findings suggest that traditional concepts of audience development do not lead to sustainable changes in the social structure of the audience. More substantial institutional changes are necessary, supported by new cultural policies.     

Artists in an Iron Cage? Artists’ Work in Performing Arts Institutions

This article discusses artists’ work in performing arts institutions in Norway. Many scholars describe Nordic performing arts institutions as slow-moving and heavy “art factories,” where artistic creativity is almost suffocated within bureaucratic “prisons.” The general problem that we raise in the article is whether this pessimistic picture of the relation between state control, market influence, and artistic work is relevant for studying the performing arts today. The study is primarily based upon twenty-seven qualitative interviews with informants in an institutional theatre and a symphony orchestra. We conclude that the actors in the Theatre are trapped—not so much within “a bureaucratic iron cage”—but rather within “an iron cage of charismatic leadership,” while the musicians in the Orchestra enjoy the relative freedom and democratic power of a rather soft bureaucratic organization.     

Velvet Disillusionment: Czech Performing Arts and Twenty-Five Years of Transition, 1989–2014

ABSTRACT

The performing arts sector of the Czech Republic faces significant challenges twenty-five years after the Velvet Revolution, which ushered in swift and dramatic political, social, and economic change. Early policy decisions, subsequent privatization efforts, and neglect, compounded by the country's foray into the muddy waters of the free market, have left artists and administrators seeking solutions and searching for solvency. Empirical research, primarily in the form of surveys, site visits, and interviews with prominent Czech artists and administrators, significantly informs this article, which explores the state of Czech performing arts twenty-five years after the fall of Communism.     

“Do We Have LIFT-Off?” Social Media Marketing and Digital Performance at a British Arts Festival

ABSTRACT

Arts festivals have been explored through many lenses, but social media marketing and digital performance are less studied. The potential of social media networks in digital performance is exemplified by the London International Festival of Theatre (LIFT), which repositions social media technology as an enabler for audiences to co-produce digitally oriented performance. This article argues that the relationship between social media marketing and performance is more hybridized than often assumed, with performances forming a creative development loop from producer to audience through performative social media. Harnessing the creative potential of social media platforms via “digital staging” encourages audience insight into process as well as product.     

Can Twitter Add to Performance Evaluation in the Area of Performing Arts? Reflections from La Scala Opera House

ABSTRACT

Social media are continuously diffusing in performing arts organizations. Yet little is known on how social media data can contribute to the performing arts evaluation process. This article addresses this issue by investigating if and how Twitter data can add a valuable source of information to the performance evaluation process. A literature review with an empirical application on the evaluation of the performance Aida at Teatro Alla Scala provides evidence about the type of indicators that can be derived from Twitter and support a discussion about potentialities and pitfalls connected to their adoption for the evaluation of performing arts.     

Planning at the National Endowment for the Arts: A Review of the Plans and Planning Documents, 1978–1984

This article investigates revenue diversification in order to verify if it is advantageous for nonprofit creative entrepreneurs to improve their price and product marketing, fundraising, and other financing. The article also focuses on U.S. symphony orchestras that cope with Cost Disease (Baumol and Bowen 1965) thanks to the revenue diversification. Today these creative nonprofits are targeting several stakeholders and rent holders. In this article, they are clustered according to performances of their marketing, fundraising, and investing. As seen in 2008, U.S. symphony managers diversified and maximized total revenues of contributions, program service, interests, dividends, sales of assets, special fundraising events, etc. Thanks to the Ward cluster analysis (1963), two main profiles emerge: the Fundraiser and the Marketing Expert. The Marketing Expert is the most developed profile, but contributions are always exceeding program service revenues, and fundraising is more profitable than marketing.