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76 Radbourne et al 78 Foreman-Wernet and Dervin 80 Retrospective identification of impactful events 80 Foreman-Wernet and Dervin 81 White and Hede 82 Ben Walmsley 84 Assessing longitudinal impacts 85 Everett and Barrett 86 Summary 89 Discussion of research methodologies 91 Experienced impacts 91 Extended and cumulative Impacts SECTION TITLE 95 4 VALUING ARTS AND CULTURE FROM THE MARKETING PERSPECTIVE 98 Moris Holbrook 100 Boerner and Jobst 102 Raajpoot, Koh and Jackson 103 Calder, Issac and Malthouse 104 Summary 105 5 CREATIVE CAPACITY OF AN ORGANISATION 107 Sabine Boerner 108 Stefan Tobias 109 Daniel Urrutiaguer 111 Hannah, Langsted and Larsen 113 Australia Council for the Arts 116 Components of creative capacity 123 CODA: COMBINING MEASURES OF EXPERIENCE AND QUALITY AT THE POLICY LEVEL 128 BIBLIOGRAPHY 147 OTHER LITERATURE 151 APPENDIX TABLES 6
EXECUTIVE SUMMARY Over the past decade, there has been a lively debate over the many ways in which cultural activities add value to the lives of individuals and to society as a whole. Researchers and writers have produced a somewhat bewildering array of scientific studies, evaluations and policy papers advancing various conceptual frameworks and terminology for describing the value and impacts of arts and culture. This review, commissioned by Arts Council England, examines two related branches of this literature: 1) how individuals benefit from attending and participating in cultural programmes and activities; and 2) the creative capacities of arts and cultural organisations to bring forth impactful programmes. By and large, the focus is on Englishlanguage literature published since the turn of the millennium. The dual focus on ‘individual impacts’ and organisations’ ‘creative capacity’ has proven to be a convenient means of narrowing the scope of our review. Through these two portals, we address (and hopefully clarify) several issues that emerge when research on the immediate experience of culture intersects with larger discussions of value and impacts. To situate the detailed analysis of individual impacts and creative capacity, it is first necessary to take stock of the theoretical frameworks that have been used to conceptualise ‘value’ in regards to arts and culture, and the corresponding terminology. 7
Page 1 and 2: UNDERSTANDING the VALUE and IMPACTS
Page 3 and 4: However, we cannot ignore this ‘i
Page 5: TABLE OF CONTENTS 2 FOREWORD 4 ACKN
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 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
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the capacities to realise cultural
Page 59 and 60:
3 MEASURING INDIVIDUAL IMPACT As wa
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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
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Like Brown and Novak-Leonard and NE
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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
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with audience members, and they all
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are applied in the evaluation of te
Page 81 and 82:
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
Page 89 and 90:
Discussion of research methodologie
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analyse existing interviews from so
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Individual impacts are not fixed or
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4 VALUING ARTS AND CULTURE FROM THE
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In reviewing types of goals, motiva
Page 99 and 100:
Intrinsic • Self-oriented, active
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of audience members’ overall eval
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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
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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
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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
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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
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Williams, Tandi. 2011. Community Re
Page 149 and 150:
Hegarty, C Boyd. 2009. ‘The value
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APPENDIX TABLES Table A-1 A groupin
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Table A-3 A grouping of indicators
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Table A-5 A grouping of indicators
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