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Heide, Frederick J, Natalie Porter, and Paul K Saito. 2012. ‘Do you hear the people sing Musical theatre and attitude change’. Psychology of Aesthetics, Creativity, and the Arts 6:3. 224-230. http://psycnet.apa.org/journals/aca/6/3/224/ Heilbrun, James, and Charles M Gray. 2001. The Economics of Art and Culture. 2 nd Edition. Cambridge University Press. Hewison, Robert. 2012. ‘The benefits of the valuing culture debate, 2003-2011’. Cultural Trends 21:3. 209-210. Hewison, Robert. 2006. Not a sideshow: Leadership and cultural value – A Matrix for Change. Demos. http://www.demos.co.uk/files/Sideshow%20-%20web.pdf Holbrook, Morris B. 2005. ‘The Role of Ordinary Evaluations in the Market for Popular Culture: Do Consumers Have “Good Taste”’ Marketing Letters 16:2. 75-86. http://www.jstor.org/discover/10.2307/40216685 Holbrook, Morris B. ed. 1999. Consumer Value: A framework for analysis and research. London and New York: Routledge. Holden, John. 2006. Cultural Value and the crisis of legitimacy: Why culture needs a democratic mandate. Demos. http://www.demos.co.uk/files/Culturalvalueweb.pdf Holden, John. 2004. Capturing Cultural Value: How culture has become a tool of government policy. Demos. http://www.demos.co.uk/files/CapturingCulturalValue.pdf Holden, John, and Jordi Baltà. 2012. The Public Value of Culture: A Literature Review. European Expert Network on Culture (EENC). http://www.eenc.info/news/the-public-value-of-culture-literature-review/ Hoogen, Q. van den. 2010. Performing arts and the City: Dutch municipal cultural policy in the brave new world of evidence-based policy. Dissertation. Rijksuniversiteit Groningen. http://dissertations.ub.rug.nl/faculties/arts/2010/q.l.van.den.hoogen/ Hutter, Michael, and David Throsby, eds. 2008. Beyond Price: Value in Culture, Economics, and the Arts. Cambridge University Press. Bibliography 136 UNDERSTANDING the value and impacts of cultural experiences
Johanson, Kaya. 2013. ‘Listening to the Audience: Methods for a New Era of Audience Research’. In The Audience Experience: A critical analysis of audiences in the performing arts, edited by Jennifer Radbourne, Hilary Glow, and Katya Johanson. Bristol, UK and Chicago, USA: Intellect. Karttunen, Sari. 2012. ‘Cultural policy indicators: reflections on the role of official statisticians in the politics of data collection’. Cultural Trends 21:2. 133-147. Keaney, Emily. 2006. Public Value and the Arts: Literature Review. Arts Council England http://www.artscouncil.org.uk/media/uploads/documents/publications/phpnzcVVG.pdf Keeble, D. 2008. ‘Concepts in value chain analysis and their utility in understanding cultural industries’. In Compendium of Research Papers from the International Forum on the Creative Economy, edited by Conference Board of Canada. Ottawa: Conference Board of Canada.161-170. http://www.sfu.ca/bcreative/files/resources/CreativeEconomyCompendium.pdf Klamer, Arjo. 2003. ‘Value of culture’. In A Handbook of Cultural Economics, edited by Ruth Towse. Cheltenham, UK and Northhampton, USA: Edward Elgar Publishing. Klamer, Arjo. 2004. ‘Social, cultural and economic values of cultural goods’. In Cultural and Public Action, edited by Vijayendra Rao and Michael Walton. Stanford University Press. http://www.klamer.nl/index.php/subjects/art-culture/179-social-cultural-and-economic-values-ofcultural-goods-formerly-titled-cultural-goods-are-good-for-more-than-their-economic-value-culturaleconomics-japanese-association-for-cultural-economics-3-3-17-38-march-2003-cultural-and-publicaction-v-rao-and-m-wal Klamer, Arjo. 2002. ‘Accounting for social and cultural values’. De Economist 150:4. 453-473. http://www.klamer.nl/docs/accounting_for_social_economist.pdf Klamer, Arjo, ed. 1996. The Value of Culture: on the relationship between economics and art. Amsterdam University Press. Knell, John, and Matthew Taylor. 2011. Arts Funding, Austerity and the Big Society. Royal Society of Arts (RSA). http://www.artscouncil.org.uk/media/uploads/pdf/RSA-Pamphlets-Arts_Funding_Austerity_ BigSociety.pdf Knell, John. Who’s art is it anyway 2006. Commissioned by Arts Council England. http://john-knell.com/resources/Whose%20art%20is%20it%20anyway%20-%20John%20Knell.pdf Bibliography 137 UNDERSTANDING the value and impacts of cultural experiences
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UNDERSTANDING the VALUE and IMPACTS
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However, we cannot ignore this ‘i
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TABLE OF CONTENTS 2 FOREWORD 4 ACKN
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EXECUTIVE SUMMARY Over the past dec
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dividing the overall value into con
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the necessity of limiting the scope
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espondents are conscious; 2) there
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Table 2 Stages of Individual Impact
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Figure 6 Impact pattern of a cultur
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Valuing arts and culture from the m
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cultural researchers are hamstrung
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organisation’s creative capacity
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The literature clearly identifies t
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1 INTRODUCTION This literature revi
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Outline of the report This literatu
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Economic value There are several di
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happy, healthy, educated people pro
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2 FRAMING THE CONVERSATION LANGUAGE
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six in particular. Indeed, the fact
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Arjo Klamer Within the field of Cul
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culture. By increasing people’s k
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that Holden mentions under the head
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public value’ (4). The authors de
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Figure 3 Tentative visual synthesis
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establish an interpretive frame and
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terpretive, curatorial, observation
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Knell and Taylor Due to the widespr
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of impacts with instrumental values
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the capacities to realise cultural
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3 MEASURING INDIVIDUAL IMPACT As wa
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While one might argue that the requ
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Table 1 Comparison of components of
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In Brown and Novak-Leonard (2007),
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Novak-Leonard’s terms) stands out
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Like Brown and Novak-Leonard and NE
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Table A-2: A grouping of indicators
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The same two studies also provide a
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Summary The fact that different res
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with audience members, and they all
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are applied in the evaluation of te
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White and Hede Tabitha White and An
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(2008) and Foreman-Wernet and Dervi
Page 85 and 86: Everett and Barrett Michelle Everet
Page 87 and 88: ‘sensation’, while Walmsley use
Page 89 and 90: Discussion of research methodologie
Page 91 and 92: analyse existing interviews from so
Page 93 and 94: Individual impacts are not fixed or
Page 95 and 96: 4 VALUING ARTS AND CULTURE FROM THE
Page 97 and 98: In reviewing types of goals, motiva
Page 99 and 100: Intrinsic • Self-oriented, active
Page 101 and 102: of audience members’ overall eval
Page 103 and 104: this factor leads the researchers t
Page 105 and 106: 5 CREATIVE CAPACITY OF AN ORGANISAT
Page 107 and 108: Sabine Boerner Sabine Boerner (2004
Page 109 and 110: Daniel Urrutiaguer Daniel Urrutiagu
Page 111 and 112: Hannah, Langsted and Larsen 1 Boern
Page 113 and 114: In entrusting the evaluation to exp
Page 115 and 116: of the major performing arts organi
Page 117 and 118: Clarity of intent and commitment to
Page 119 and 120: tional structure in determining art
Page 121 and 122: Supportive Networks (conditional el
Page 123 and 124: CODA: COMBINING MEASURES OF EXPERIE
Page 125 and 126: dimensions in the shaded boxes have
Page 127 and 128: The 2012 DCA report assures readers
Page 129 and 130: Bailey, Jackie 2009a. Defining arti
Page 131 and 132: Margaret Bolton and Clare Cooper. 2
Page 133 and 134: Chappell, Michael, and John Knell.
Page 135: Falk, John H and Lynn D Dierking. 2
Page 139 and 140: Marsh, Kevin, and Evelina Bertranou
Page 141 and 142: New Economics Foundation. 2008. Cap
Page 143 and 144: Reason, Matthew. 2004. ‘Theatre a
Page 145 and 146: Throsby, David. 2010. The Economics
Page 147 and 148: Williams, Tandi. 2011. Community Re
Page 149 and 150: Hegarty, C Boyd. 2009. ‘The value
Page 151 and 152: APPENDIX TABLES Table A-1 A groupin
Page 153 and 154: Table A-3 A grouping of indicators
Page 155 and 156: Table A-5 A grouping of indicators
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