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1999, 4; Holbrook 1999, 3; Raajpoot et al 2010, 54). As we have seen, researchers in many non-marketing fields consider the narrow focus on the market value of arts and cultural programmes to be untenable. Another important feature of the marketing perspective is that it is generally assumed that there is no fundamental distinction between consumers’ experiences of cultural goods and other consumption experiences. Thus, for instance, a hammer might primarily be valued for its ability to drive in nails, but that does not rule out the possibility that consumers see aesthetic or cultural values in this product. The appearance of bright pink hammers in shops in recent years shows that even the most utilitarian objects can carry symbolic value and cultural meanings (in this case reversing the gender coding of a traditional symbol of labour). Thus in the marketing perspective, the consumption of arts and culture exists in the same plane as consumption of all other goods and services. They differ by matters of degree, but not categorically. The marketing literature is therefore able to discuss goods that primarily have aesthetic value (eg, art) along with products that blend aesthetic values with utilitarian functions (eg, fashion, architecture) and a wide range of consumer goods for which aesthetic value is a lesser concern (eg, car tires, tissues) (Holbrook 1999, 20). In a useful theoretical contribution, Simona Botti argues that artistic value exists merely as ‘potential that artists design into their products and that is drawn out by means of the relationship established between the products themselves and their consumers’ (2000, 21, emphasis added). While such artistic potential may also reside in other consumer products, Botti maintains that what distinguishes art from other products is that this potential is formally acknowledged, first by cultural experts and later by the general public (21). While there is a wide-spread consensus among marketing researchers that the consumption of cultural products is not fundamentally different from that of other consumer goods (Bourgeon-Renault 2000, 10; Botti 2000, 17), there is much less agreement in the aesthetic literature about the relations between artistic experiences and the experience of everyday life (Belfiore and Bennett 2007, 228-33). Nevertheless, several constructs of consumer motivations and consumer value that have been developed in the marketing literature are closely aligned with those discussed elsewhere in this review, and much can be learned from the empirical research on the consumption of arts and culture that has been produced in the marketing field. Indeed, marketing researchers have endeavoured to define and measure indicators of specific components of cultural experiences for decades— considerably longer than these concerns have featured in cultural funding and policy debates. VALUING ARTS AND CULTURE FROM THE MARKETING PERSPECTIVE 96 UNDERSTANDING the value and impacts of cultural experiences
In reviewing types of goals, motivations and value associated with performing arts consumption, Danielle Bouder-Pailler cites several frameworks proposed by marketing and leisure studies scholars in the 1970s, 80s, and 90s (1999, 6). While these frameworks include education and intellectual stimulation in much the same way as discussed above, several authors include a ‘cultural enrichment’ category that does not clearly map onto previously cited frameworks and there is a greater emphasis on entertainment. After reviewing the existing models, Bouder- Pailler (1999, 8-9) includes the following four dimensions in her study: • Social hedonism (social belonging, but also distinction from other social groups) • Intellectual enrichment • Arousal of emotions • Entertainment Other marketing studies use similar categories. For example, Botti (2000, 17-18) summarises the benefits of art consumption as: • Functional (education, cultural enrichment) • Symbolic (social and psychological meaning) • Social (projecting identity and social status) • Emotional (emotionally compelling, stimulating and fun) In a study of movie consumption in cinemas, Aurier, Evrard and N’Goala (2004, 9) identify six components of value: • Utility value • Knowledge • Experiential stimulation • Social connection • Self-expression • Spiritual value VALUING ARTS AND CULTURE FROM THE MARKETING PERSPECTIVE 97 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
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Outline of the report This literatu
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Economic value There are several di
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happy, healthy, educated people pro
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2 FRAMING THE CONVERSATION LANGUAGE
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six in particular. Indeed, the fact
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Arjo Klamer Within the field of Cul
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culture. By increasing people’s k
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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: 4 VALUING ARTS AND CULTURE FROM THE
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
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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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