gBDkI

Recommendations

Info

What are the barriers, if any, that prevent you from attending to cultural events? -It costs too much - The programme or event does not appeal to me - It is too difficult to go there (e.g. traffic, difficult parking, inconvenient are of town) - It is difficult to find the time to attend - I cannot find anyone to go with, my friends or family are not interested - I’d rather spend my leisure time in other way - The hours are inconvenient - People who are ignorant of performance etiquette - I don’t like getting dress up and feel I have to - Safety concerns - I find it hard to connect with art performances - It is unwelcoming to children - The organization is not welcoming - I have not enjoyed my prior experiences - I cannot find childcare - Cultural events make me feel uncomfortable - Other - None USA (Greater Philadelphia) 2007 Map 9b. Reasons for non-participation - Would you go more often to the movies if: (YES / NO / NOT SURE) Tickets/admissions were cheaper? / Locations were closer to home or to work? / You had more information? - Would you go more often to live performances if: Tickets/admissions were cheaper? / Locations were closer to home or to work? / You had more information? - Would you go more often to art shows or museums if: Tickets/admissions were cheaper? / Locations were closer to home or to work? / You had more information? - Did any of the following prevent you from going to arts activities? Not having enough time / Not having someone to go with / Physical or health problems - Would you listen to music more if… Tapes and CDs were cheaper? / You had more time? / You had more information on what is available? - Would you do more creative work if… You had more money to spend on supplies or lessons? / You had a better or more convenient space? / You had more information about different kinds of creative work? - Would you read books more often if… They were cheaper to buy? / There were more libraries closer to your home or work? / Library hours were more convenient for you? USA 2005 - 45 - Top 3 reasons for lower attendance: 1. I have less time. I have other commitments. 2. Due to economic recession, I have less time to attend arts events and activities 3. Due to economic recession, I do not feel like attending arts events and activities as much as before Singapore 2009 Reasons for not attending: 1. Difficult to find time 2. Not interested in the arts 3. Do not know much about the arts 4. Arts events are more expensive than other social / leisure activities 5. Not much publicity Singapore 2002 What is the main reason why you did not attend any of these events? - Not interested; do not like these events - Too expansive - I do not like crowds - Did not hear of any such events - Current circumstances /lifestyle prohibit me from attending such events Malta 2012 What are the reasons why you don’t read a book / go to the theatre / go to an art exhibition / go to the cinema / go to a concert / go to a dance performance? 1. I’m not used to do this kind of things 2. I don’t like it 3. The offer is very poor in the city I live 4. It is too expensive 5. I can’t afford it 6. I’ll rather do something else 7. There’s no information about the offer 8. Don’t know / Don’t answer Brazil 2010
2.2.8 Cross-country comparison Cross-country comparison of cultural statistics is one main focus of a great deal of literature on the subject and the object of many efforts of international institutions in recent years. According to Schuster (2007), the rise of trans-national governmental organizations that consider cultural policy (or cultural development or cultural action) as their fields of action has boosted the issue of cross-country comparison of participation studies, since comparative research and information-sharing are the basis for collaborative, cross-national projects (although responsibilities for cultural policies often reside at national government level). The literature on cultural participation includes a fairly extended list of studies concerning trans-national comparison. Years of discussion and analysis of the issue have led international institutions, including UNESCO (UNESCO-UIS, 2009) and Eurostat (2000), to develop statistical frameworks intended to be used in differing national contexts, aiming for international comparability of survey results. These organizations acknowledge that international comparison is extremely difficult when surveys are carried out independently and not designed at their outset to envisage or facilitate comparison. In his extensive analysis of cross-country comparison of cultural participation studies, Schuster (2007) affirmed that the efforts so far undertaken by national and international authors did not satisfy the theoretical rules which could mitigate the problem of international comparison. On the other hand, comparing international cultural statistics could be more a question of analysis and interpretation than a technical one (Bernard, 2002). Shifting from the statistical perspective to the point of view of cultural policies, Laaksonen (2010) suggests that “At this point, it might not even be too important to be able to carry out international comparisons but to know more about the impact of domestic cultural policies and the needs of the users of cultural services. Evaluating the effectiveness of cultural policies for the target group may prove to be more successful in the long run than comparing different cultural realities”. As explained in Chapter 5, comparison is important as it measures cultural participation in quantitative terms. Nevertheless, we must be aware that an effective comparison can only concern itself with some major aspects (e.g. rates of attendance at certain cultural events/venues). Equally important is to understand as much as possible about the phenomenon in its holistic dimension, taking into account the context (geographical, political, social and cultural) in which it happens and the meanings it embodies. The UIS (2009) in the 2009 UNESCO FCS emphasises that its tool aims to characterise national cultures, bringing out their differences rather than reducing them to a common template. It suggests applying common international statistical standards (ISIC, ISCO, ICATUS, etc.) to identify and highlight some commonalities which countries may or may not see as part of their culture (e.g. Sports, Gambling, Video Games) as well as shared conceptions (e.g. Arts, Performance). 2.2.9 The state of the art: current cultural participation surveys, themes and directions Chapter 2 includes a wide range of topics in cultural participation surveys, discussing the issues that they present and mapping the questions that they use. It remains to summarise the current state of questionnaire development. The following paragraphs will summarise elements of the survey questions. The summary will be broadly limited to those surveys for which questionnaires are publicly available (as opposed to those for which there is an analytic report that does not include a questionnaire). Surveys can be identified in Annex I using their country and year of implementation. - 46 -
Page 1 and 2: 2695 mEaSUriNG CUltUral PartiCiPati
Page 3 and 4: UNESCO The constitution of the Unit
Page 5 and 6: Acknowledments The handbbook is bas
Page 7 and 8: 3.3 Methodological considerations .
Page 9 and 10: The Rights conferred in the Constit
Page 11 and 12: 1.1.4 Changing context and definiti
Page 13 and 14: spread of piracy easier and more th
Page 15 and 16: 1.3.2. Guidelines for using the han
Page 17 and 18: Chapter 2. Defining, measuring and
Page 19 and 20: Figure 1. Cultural values and ident
Page 21 and 22: iv) Observational Arts Participatio
Page 23 and 24: - A profile of the cultural and her
Page 25 and 26: Did you go to a live ballet perform
Page 27 and 28: “omnivores” and “univores”
Page 29 and 30: When you accessed the Internet, was
Page 31 and 32: The implication of these observatio
Page 33 and 34: other cultural relations and phenom
Page 35 and 36: During the last 3 years, have you b
Page 37 and 38: Cultural participation is about ind
Page 39 and 40: Which of the following activities y
Page 41 and 42: When you were a child, did you take
Page 43 and 44: - I’m going to read some statemen
Page 45: (for respondents who did not go to
Page 49 and 50: Another complementary field which h
Page 51 and 52: Chapter 3. Measuring cultural parti
Page 53 and 54: The contrast between the core appro
Page 55 and 56: � Cultural expenditure: typically
Page 57 and 58: While audience and visitor surveys
Page 59 and 60: The Living Standards Measurement Su
Page 61 and 62: Cultural considerations themselves
Page 63 and 64: 3.3.3 Timing, frequency and period
Page 65 and 66: In developed countries, it is custo
Page 67 and 68: A. PURPOSE B. INDICATORS C. SAMPLE
Page 69 and 70: Active participation through volunt
Page 71 and 72: paid to re-shaping the definition o
Page 73 and 74: 4.2 What makes a good cultural part
Page 75 and 76: In many cases, when cultural differ
Page 77 and 78: Last access to links: 5 September 2
Page 79 and 80: Eurostat (2008). The Life of Women
Page 81 and 82: UNESCO-UIS (2006). Guidelines for M
Page 83 and 84: UNESCO (2001). Universal Declaratio
Page 85 and 86: Ogrodnik, L. Patterns in Culture Co
Page 87 and 88: Patterns in Culture Consumption and
Page 89 and 90: Cultural Experience Survey 2002 (Ne
Page 91 and 92: Encuesta Nacional de Prácticas y C
Page 93 and 94: A profile of the cultural and herit
Page 95 and 96: Culture and the Arts Survey, Greate
Page 97 and 98:
Survey on Time Use and Leisure Acti
Page 99 and 100:
attendance. Notes The SPPA surveys
Page 101 and 102:
Latinobarómetro (Latin America, 19
Page 103 and 104:
O hábito de lazer cultural do bras
Page 105 and 106:
CEI2010: Philadelphia Cultural enga
Page 107 and 108:
Cultural Statistics Eurostat 2011 (
Page 109 and 110:
Last access to links: 5 September 2
Page 111 and 112:
emotional, socio-cultural, politica
Page 113 and 114:
After discussing these relationship
Page 115 and 116:
This monograph has specific and con
Page 117 and 118:
National Endowment for the Arts (20
Page 119 and 120:
One last topic mentioned in this pa
Page 121 and 122:
Chapter 2 “Trends in Arts Educati
Page 123 and 124:
framework cultural statistics attem
Page 125 and 126:
National Endowment for the Arts (20
Page 127 and 128:
Novak-Leonard, Jennifer L. and Alan
show all

gBDkI

Create successful ePaper yourself

Delete template?

Save as template?