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Radbourne, Jennifer, Hilary Glow, and Katya Johanson. 2013. ‘Knowing and Measuring the Audience Experience’. 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. 1-13. Radbourne, Jennifer, Hilary Glow, and Katya Johanson, eds. 2013. The Audience Experience: A critical analysis of audiences in the performing arts. Bristol, UK and Chicago, USA: Intellect. Radbourne, Jennifer, Hilary Glow, and Katya Johanson. 2010. ‘Measuring the intrinsic benefits of arts attendance’. Cultural Trends 19:4. 307-324. [cited in text as Radbourne et al 2010b] http://www.tandfonline.com/doi/abs/10.1080/09548963.2010.515005 Radbourne, Jennifer, Hilary Glow, and Katya Johanson. 2010. ‘Hidden Stories: Listening to the Audience at the Live Performance’. Double Dialogues 13. http://www.doubledialogues.com/issue_thirteen/Radbourne.html Radbourne, Jennifer, Katya Johanson, and Hilary Glow. 2010a. ‘Empowering Audiences to Measure Quality’. Participations 7:2. 360-379. [cited in text as Radbourne et al 2010a] http://www.participations.org/Volume%207/Issue%202/PDF/radbourne.pdf Radbourne, Jennifer, Katya Johanson, Hilary Glow, and Tabitha White. 2009. ‘The Audience Experience: Measuring Quality in the Performing Arts’. International Journal of Arts Management 11:3. 16-29. http://www.gestiondesarts.com/en/the-audience-experience-measuring-quality-in-the-performingarts/#.UwWGc41DFXM Ranshuysen, Letty, and Anna Elffers. 2008. ‘Zó meet je de waarde van podiumkunsten’ (That’s how you measure the value of arts). Boekman 77. 28-31. http://www.lettyranshuysen.nl/pdf/2008_boekman.pdf Ratiu, Dan-Eugen. 2009. ‘Cultural Policy and Values: Intrinsic versus Instrumental The Case of Romania’. The Journal of Arts Management, Law and Society 39:1. 24-44. http://www.tandfonline.com/doi/abs/10.3200/JAML.39.1.24-44 Reason, Mathew. 2013. ‘The Longer Experience: Theatre for Young Audiences and Enhancing Engagement’. 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. 95-111. Bibliography 142 UNDERSTANDING the value and impacts of cultural experiences
Reason, Matthew. 2004. ‘Theatre audiences and perceptions of “liveness” in performance’. Participations 1:2. http://www.participations.org/volume%201/issue%202/1_02_reason_article.htm Reeves, Michelle. 2002. Measuring the economic and social impact of the arts: a review. Arts Council England. Rius, Juaquim. 2010. Els Contractes programa dels equipaments culturals. Governança, eficiència i retorn social del sistema públic d’equipaments culturals de Catalunya. Barcelona: Departament de Cultura i Mitjans de Comunicació de la Generalitat de Catalunya. http://www20.gencat.cat/docs/CulturaDepartament/SGEC/Documents/Arxiu/Contractes%20 programa%20dels%20equipaments%20culturals.pdf Robinson, Mark. 2010. Making Adaptive Resilience Real, Arts Council England. http://www.artscouncil.org.uk/media/uploads/making_adaptive_resilience_real.pdf Rosenberger, Jessica, et al. 2012. Measuring the Intrinsic Impact of Visual Art. Heinz College, Carnegie Mellon University/Carnegie Museum of Art http://www.scribd.com/doc/95691039/Measuring-the-Intrinsic-Impact-of-Visual-Art Rumbold, Kate. 2008. ‘The Arts Council England’s “Arts Debate”’. Cultural Trends 17:3. 189-195. Scott, Carol A, ed. 2013. Museums and public value: Creating Sustainable Futures. London: Ashgate. Scott, Carol A. 2010. ‘Searching for the “public” in Public Value: arts and cultural heritage in Australia.’ Cultural Trends 19:4. 273-289. Scott, Carol A. 2009. ‘Exploring the evidence base for museum value’. Museum Management and Curatorship 24:3. 95-212. http://www.tandfonline.com/doi/abs/10.1080/09647770903072823 Scott, Carol A. 2006. ‘Museums: impact and value.’ Cultural Trends 15:57. 45-75. http://www.tandfonline.com/doi/abs/10.1080/09548960600615947 Selwood, Sara. 2010. Making a difference: the Cultural Impact of Museums. National Museum Directors’ Conference (NMDC). http://www.nationalmuseums.org.uk/media/documents/publications/cultural_impact_final.pdf Bibliography 143 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
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Everett and Barrett Michelle Everet
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‘sensation’, while Walmsley use
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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 and 136: Falk, John H and Lynn D Dierking. 2
Page 137 and 138: Johanson, Kaya. 2013. ‘Listening
Page 139 and 140: Marsh, Kevin, and Evelina Bertranou
Page 141: New Economics Foundation. 2008. Cap
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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