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Figure 4 Five Clusters of Benefits CUMULATIVE BEFORE/AFTER DURING 55 55 5 Personal Economic & Development Social Benefits Tolerance Self-Actualization Civic Pride Improved Social Skills Social Capital Creative Competency Creative Workforce Ability to Think Critically Economic Impact Character Development Harm Avoidance Emotional Maturity Community Engagement, Health & Wellness Human Stewardship Interaction Expanded Capacity for Empathy Larger Social Network More Satisfying Relationships 5Value Clusters Imprint of the Family Cohesion Communal Arts Experience Teamwork Skills Meaning Community Engagement, Health and Wellness Social Bonding Aesthetic Growth Intellectual Stimulation Spiritual Value Emotional Resonance Captivation or “Flow” Stewardship Sustain Cultural Heritage Political Dialogue Create Shared Memory, Communal Meaning Transfer Values and Ideals Social Contact, Value System for Arts Experience Sense of Belonging INDIVIDUAL INTERPERSONAL COMMUNITY Copyright © WolfBrown (Brown 2006, 20) Along the time scale, Brown distinguishes between benefits that are reaped in the very moment at which the art is experienced, benefits that accrue in close temporal proximity of the experience, and those that accumulate over time through multiple encounters with the arts. The notion that benefits can be generated before the actual experience of art may be counterintuitive, and it leads to the awkward portrayal of time simultaneously flowing forwards and backwards along the timeline in the visualisation; however, it reflects a growing consensus in the field of arts marketing that art is not experienced in an isolated moment, but rather in a sequence of interactions (or ‘touchpoints’) from the moment of first learning about the artwork, through the decision to attend and the purchasing of a ticket, to the experience itself (Complete Communications 2012, 15; Brown and Ratzkin 2011, 13-21). The preceding events and experience shape expectations, Framing the Conversation 48 UNDERSTANDING the value and impacts of cultural experiences
establish an interpretive frame and may therefore influence the benefits that are reaped once the work is finally experienced (Walmsley 2013, 81). One of the primary advantages of Brown’s use of time along the vertical axis is that it sidesteps the terms ‘intrinsic’ and ‘instrumental’, which have become controversial and are seen by some as being of limited use (eg, RAND 2004, 70; Coles 2008; Knell and Taylor 2011, 8). Time, by contrast, is an easily interpretable variable that clearly plays a role (though as of yet, a poorly understood one) in the accumulation of benefits from cultural experiences. Brown adopts the term ‘benefits’ from the RAND study, but uses it more or less interchangeably with the term ‘value’, though he acknowledges that they both have somewhat different connotations. He writes, ‘Compared to “value” the word “benefit” feels more transactional and less abstract or subjective’ (2006, 25 note 1). Though the distinction is apparently affective rather than substantive, he maintains, ‘The sum of the many possible benefits resulting from an arts experience is its value’ (2006, 25 note 1). Within the diagram, Brown groups benefits (a total of 30 of them) into five clusters (Brown 2006, 20). The economic and social benefits in the top right corner refer to broad based public policy outcomes such as economic impacts and improved graduation rates, but also intangible benefits such as national pride. Under communal meaning, Brown categorises benefits that arise from collective participation in cultural events, such as the sense of communal meaning that is created through the collective celebration of cultural rituals. The benefits in the top left corner of the chart contribute to the individual’s long-term personal development. Examples include better health and improved cognitive abilities. Whereas the value clusters discussed so far largely group together benefits that were already captured in the RAND framework, Brown locates a new set of benefits in the centre of his diagram under the heading ‘human interaction’ (Brown 2006, 19). Here, Brown departs from the economic dichotomy (included in all of the frameworks discussed so far) between private and public goods. From an economic perspective, utility is gained either by an individual (in which case it is considered a private good) or by society at large (in which case it is a public good). Some goods provide utility to individual consumers and the public at large simultaneously, in which case they are considered ‘mixed goods’ (Throsby 2001, 23) or ‘private benefits with public spillover’ (RAND 2004, xv). However, Brown identifies a set of benefits that are neither limited to individual consumers nor available to the public at large. Instead they accrue for small groups such as Framing the Conversation 49 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 and 18: Figure 6 Impact pattern of a cultur
Page 19 and 20: Valuing arts and culture from the m
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: Figure 3 Tentative visual synthesis
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
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