aceUVi

Recommendations

Info

• What is an effective ‘dose’ of culture Can a two-minute video clip provide as much impact as a four-hour opera or is duration an important factor • Which impact indicators are universal to all kinds of cultural experiences, and which indicators are germane to some, but not all, experiences • Are the theoretical distinctions between different impacts meaningful to the typical audience member or museum visitor • What impact indicators are ‘reasonable’ for a typical audience member to selfdiagnose as having experienced (eg, ‘Did you feel a sense of belonging’), and how can these questions be asked in a way that does not favourably bias the response • What blend of qualitative and quantitative methods is optimal for assessing impact at the organisational level At the policy level • As one’s knowledge and experience with an artform or domain increases, how does the pattern of impact change • What factors account for extended impacts How can cultural organisations prolong impact • How often must one experience culture to build up cumulative impacts • Can cumulative impacts, such as an expanded worldview, be tied to specific events Can cultural organisations ‘curate’ impacts • What is the relationship between quality and impact Can lower quality programmes yield high impacts Can high quality programmes yield lower impacts • How do the impacts of various artforms, domains and modalities of participation differ from one another • How do the experiences of various cultural events interact with each other Is the relationship always additive or can they also detract from each other The research literature begins to address several of these questions, but a great deal more inquiry and debate is needed, as well as better framing of the questions. While children and youth were not a focus of our review, the arts education literature offers much in the way of frameworks and insight into the impacts of arts programmes on children and, by extension, adults (Lord et al 2012). Why, at the age of 18, does the river of research on positive youth development outcomes dry up to a trickle of research on adult development This leads us to wonder, • What can the arts education research literature tell us about the cumulative impacts of cultural experiences for adults Executive Summary 18 UNDERSTANDING the value and impacts of cultural experiences
Valuing arts and culture from the marketing perspective There is a considerable body of literature in the field of marketing that explores the value of arts and culture from the perspective of consumers. This work has rarely been considered in wider discussions of value and impact, in part because marketing researchers have a narrow understanding of value, one that focuses exclusively on the components of economic value that are expressed in the marketplace through price and demand. While marketing researchers examine consumer value, motivations and customer satisfaction, which are related to constructs of impact and value discussed elsewhere in the literature, they do so with the objective of explaining consumer behaviour (eg, repeat purchases), rather than to contribute to a broader understanding of the value and impacts of cultural experiences (Bouder-Pailler 1999). Nonetheless, much can be learned from the theoretical concepts and empirical studies of the consumption of arts and culture that have been produced in the marketing field. One of the most influential frameworks in the marketing literature (particularly in the relation to arts and culture) is Holbrook’s consumer value framework (Holbrook 1999). Holbrook defines consumer value as ‘an interactive relativistic preference experience’. By ‘interactive’, Holbrook means that ‘value depends on the characteristics of some physical or mental object but cannot occur without the involvement of some subject [person] who appreciates these characteristics’ (6). Holbrook uses ‘relativistic’ to suggest that consumer value is personal (ie, it varies from person to person), involves comparisons between objects, and is specific to a particular context. Holbrook’s use of ‘relativistic’ thus addresses the three factors that Belfiore and Bennett describe as ‘determinants of impact’ for arts experiences Executive Summary 19 UNDERSTANDING the value and impacts of cultural experiences
Page 1 and 2: UNDERSTANDING the VALUE and IMPACTS
Page 3 and 4: However, we cannot ignore this ‘i
Page 5 and 6: TABLE OF CONTENTS 2 FOREWORD 4 ACKN
Page 7 and 8: EXECUTIVE SUMMARY Over the past dec
Page 9 and 10: dividing the overall value into con
Page 11 and 12: the necessity of limiting the scope
Page 13 and 14: espondents are conscious; 2) there
Page 15 and 16: Table 2 Stages of Individual Impact
Page 17: Figure 6 Impact pattern of a cultur
Page 21 and 22: cultural researchers are hamstrung
Page 23 and 24: organisation’s creative capacity
Page 25 and 26: The literature clearly identifies t
Page 27 and 28: 1 INTRODUCTION This literature revi
Page 29 and 30: Outline of the report This literatu
Page 31 and 32: Economic value There are several di
Page 33 and 34: happy, healthy, educated people pro
Page 35 and 36: 2 FRAMING THE CONVERSATION LANGUAGE
Page 37 and 38: six in particular. Indeed, the fact
Page 39 and 40: Arjo Klamer Within the field of Cul
Page 41 and 42: culture. By increasing people’s k
Page 43 and 44: that Holden mentions under the head
Page 45 and 46: public value’ (4). The authors de
Page 47 and 48: Figure 3 Tentative visual synthesis
Page 49 and 50: establish an interpretive frame and
Page 51 and 52: terpretive, curatorial, observation
Page 53 and 54: Knell and Taylor Due to the widespr
Page 55 and 56: of impacts with instrumental values
Page 57 and 58: the capacities to realise cultural
Page 59 and 60: 3 MEASURING INDIVIDUAL IMPACT As wa
Page 61 and 62: While one might argue that the requ
Page 63 and 64: Table 1 Comparison of components of
Page 65 and 66: In Brown and Novak-Leonard (2007),
Page 67 and 68: Novak-Leonard’s terms) stands out
Page 69 and 70:
Like Brown and Novak-Leonard and NE
Page 71 and 72:
Table A-2: A grouping of indicators
Page 73 and 74:
The same two studies also provide a
Page 75 and 76:
Summary The fact that different res
Page 77 and 78:
with audience members, and they all
Page 79 and 80:
are applied in the evaluation of te
Page 81 and 82:
White and Hede Tabitha White and An
Page 83 and 84:
(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 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 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
show all

aceUVi

Create successful ePaper yourself

Delete template?

Save as template?