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Retrospective identification of impactful events While all of the empirical studies discussed so far have sought to shed light on the audience’s experience of specific cultural events, some qualitative studies have inquired about the role that the arts and culture play in people’s lives more generally, allowing the respondents to determine which cultural goods and events they want to discuss. For instance, while Foreman-Wernet and Dervin’s 2013 study uses SMM interviews to ask informants about their experience watching an online video of a piano concerto, the same researchers have also used this methodology to assess the contributions of cultural experiences within the larger flow of life. Foreman-Wernet and Dervin In Foreman-Wernet and Dervin (2011), the researchers present four case studies in which they ‘Cultural experience in context: Sense-making L Foreman-Wernet and B Dervin, 2011, ask college students to ‘select cultural products or the arts’, in The Journal of Arts Management, experiences from the past or present that had significant meaning in their lives’ and then guide the Law, and Society 41:1. 1-37. students through extensive self-interviews using SMM. While this would not be an efficient way for arts organisations to measure the impact of their work—there is no guarantee that respondents would discuss any of the organisation’s work during the interview— this approach can shed light on the types of cultural experiences that leave lasting impressions on people and what makes them so significant for the people who experience them. The experiences on which the informants in this study chose to report extend far beyond what would generally be considered ‘the arts’. They discussed the impacts that horror movies, action figures, TV sitcoms, stand up comedians and feminine hygiene commercials had on their lives along with the impacts of ballet, novels and musicals. Foreman-Wernet and Dervin use the eight categories of impact listed above to evaluate the participants’ responses and find that there is generally a common thread flowing the discussions of each of the subject’s experiences. For each respondent there is a personal identity struggle to which they keep returning in their descriptions of the most significant cultural experiences of their lives (2011, 35). Measuring Individual Impact: Post-Event Surveying 80 UNDERSTANDING the value and impacts of cultural experiences
White and Hede Tabitha White and Anne-Marie Hede’s approach T R White and A-M Hede, 2008, ‘Using narrative resembles that of Foreman-Wernet and Dervin in inquiry to explore the impact of art on individuals’, in The Journal of Arts Management, Law, many ways, with the difference that they use alternative means of collecting data from their informants. Drawing on the ‘narrative inquiry’ approach and Society 38:1, 19-36. to qualitative research, White and Hede asked eight individuals to reflect on ‘how they define art, how they experience art, and what impacts resulted for them’ and record their thoughts in daily diary entries over the course of two weeks (26). The respondents were also asked to submit twelve photographs to help convey their experiences. Two to four weeks later, the researchers conducted in-depth interviews with each participant to gather additional information about the diaries and photographs and then combine the information gathered by those various means into composite, ‘researcher-refined’ narrative texts (26). In the subsequent analysis, the researchers identified the following preliminary impacts, which are in turn associated with several subdimensions (27, 29-30): • Innovation (exploring ideas, learning new things, new art forms) • Vision (enriching, meaning making, imagination) • Connection (artist and viewer, social bonds) • Perception (self, empathy, world) • Sensation (beauty, emotion, visual spectacle) • Well-being (respite, catharsis, restoration) • Transmission (communicating concepts, documenting life, ideology) The authors visualise the preliminary impacts in a circumplex diagram that positions them around the outside of a core labelled ‘impact of art’ (figure 3 on p. 27 of the original, also reprinted in Walmsley 2013) 3 . Moving outwards in the diagram, the authors list the subdimensions of the preliminary impacts, followed by three ‘enablers’ that are located in the outermost ring. The enablers—opportunity, resonance and experience—are ‘factors that facilitate the occurrence of impact’ (27). Conceptually, patrons presumably gain access to the arts through the enablers, then experience the subdimensions and the preliminary impacts of the work, which ultimately combine to form the unified impact at the centre of the diagram. 3 We were unable to secure permission to reprint the diagram here. Measuring Individual Impact: Qualitative Research 81 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
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: are applied in the evaluation of te
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
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Margaret Bolton and Clare Cooper. 2
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Chappell, Michael, and John Knell.
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Falk, John H and Lynn D Dierking. 2
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Johanson, Kaya. 2013. ‘Listening
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Marsh, Kevin, and Evelina Bertranou
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New Economics Foundation. 2008. Cap
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Reason, Matthew. 2004. ‘Theatre a
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Throsby, David. 2010. The Economics
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Williams, Tandi. 2011. Community Re
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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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