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Like Foreman-Wernet and Dervin (2011), White and Hede find that their informants
cite a wide range of experiences with popular culture along with their
impressions of the fine arts (28). Moreover, participants describe interacting with
art in a wide variety of spaces (eg, in the street, at home, in commercial venues, in
church) and in several different modes. The modes of participation mentioned by
the informants correspond with those identified by Brown (2004).
White and Hede conclude that the impact of art is a complex phenomenon that
depends on ‘each individual’s experience and perspective’ (32). Their research
approach shares many of the same strengths and weaknesses of SMM.
Ben Walmsley
Ben Walmsley considers White and Hede’s interpretation
to be a great step forward. In particular,
he commends that they identify ‘enablers’ and
depict the impacts as part of an integrated whole
rather than separating social and personal benefits
into discrete clusters (77). This stands in contrast to
Ben Walmsley, 2013, ‘“A big part of my life”: a
qualitative study of the impact of theatre’, in
Arts Marketing: An International Journal 3:1,
73-87.
two-dimensional ‘benefits models’ which he critiques for reducing ‘the complex
realm of value to tangible benefits and outputs, [thereby failing] to fully represent
theatre experiences as situational and relational’ (78). Echoing the calls of other
proponents of qualitative research, he advocates for an approach that assesses
‘impact on its own terms and in the audience’s own vernacular’ (78).
Walmsley’s 2013 paper focuses on theatre and explores the impact that it has on
audiences, ‘both immediately and over time’ (74). He is principally concerned
with the audience’s perspective and capturing ‘the personal and intrinsic aspects
of impact as articulated by theatre-goers themselves’ (74). To do this, he conducts
a series of 34 semi-structured interviews with patrons of two theatre companies,
one in Melbourne, Australia and the other in Leeds, UK. In addition, he interviews
a total of eight staff members at the two theatre companies. Rather than
soliciting responses to a particular production, Walmsley follows White and Hede
Measuring Individual Impact: Qualitative Research 82
UNDERSTANDING the value and impacts of cultural experiences