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1.
In this paper, we test a six equation simultaneous model of nonprofit symphony orchestra behavior. The model is based on Hansmann's theory of nonprofit behavior in the performing arts. The results show that the most prestigious of the orchestras practise a pricing policy that encourages patrons to make a tax deductible contribution. In this manner, they achieve a pattern of price discrimination that, instead of increasing revenues, reduces revenues. Following conditions suggested by Hansmann, we are also able to draw conclusions about the objectives of nonprofit symphony orchestras. 相似文献
2.
Marta Zieba 《Journal of Cultural Economics》2009,33(2):85-108
This article provides estimates of price and income elasticities of demand for German public theatre, using a large and reliable
data set for 178 theatres over 40 years (1965–2004). It is posited that the consumption of the performing arts is a time-intensive
activity for which both a theatre ticket and leisure time are necessary. Thus, the impacts of ‘full-income’ (‘leisure time
income’ added to disposable income) and the price of leisure time on theatre attendance are examined. The findings indicate
that the demand for the performing arts is own-price inelastic. The disposable income elasticity is significant, positive
and equals approximately one. In contrast, the full-income elasticity is well above one and greater than usual income elasticity
indicating that the performing arts are a luxury good when leisure time income is included in the consumer’s budget. The positive
full-income effect is, however, offset by the negative price of leisure effect indicating that leisure time is a complement
for the performing arts. Additionally, three objective quality characteristics of theatrical productions which can positively
influence theatre demand are examined.
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| Marta ZiebaEmail: |
3.
Michael Rushton 《Journal of Cultural Economics》2008,32(4):293-300
This paper was presented at the symposium dedicated to the 25th anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al. 1983), held by the Association for Cultural Economics International, Boston, June 2008. It considers alternative
means of providing indirect tax-based state support of the arts, such as the use of tax credits as opposed to tax deductions
for charitable contributions, matching grants, and support applied to specific projects. It also considers the problem of
broad-based changes to tax policy that have unintended consequences for arts organizations.
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4.
Our paper analyzes the conduct of German public performing arts institutions in terms of non-market decision making or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument. 相似文献
5.
Perception of quality in demand for the theatre 总被引：1，自引：1，他引：0
C. D. Throsby 《Journal of Cultural Economics》1990,14(1):65-82
Conclusion In this paper some of the problems and prospects in studying the role of quality in demand for the theatre have been discussed. A set of criteria for evaluating quality judgments in the performing arts has been proposed, and in a limited way some of these criteria have been used in estimating demand and utility functions. Although results are tentative and qualified, they do confirm unambiguously the importance of qualitative variables in influencing both demand and supply decisions in the performing arts.Macquarie University
Editor's Note. Because several persons have suggested it and noted its quality, this paper is being reprinted. It was originally printed in one of the Maastricht proceedings volumes for the Second International Conference on Economics and the Arts,Markets for the Arts (1982). That volume is no longer in print. 相似文献
6.
Alan Hansen Trudy Milburn 《Journal of International and Intercultural Communication》2015,8(3):224-236
As they conduct the practical work of collaborating during meetings, nonprofit stakeholders construct, negotiate, and manage identities. In this article we use membership categorization analysis to explore how meeting participants avow and ascribe cultural identities during collaborative meetings in two nonprofit organizations. Examination of identification practices, including employing labels for ethnic categories and implicating cultural identities through category-relevant predicates—which are part of the practical work of collaborating in nonprofit organizations—can serve as an aid to understanding how stakeholders negotiate interorganizational collaboration in social interaction. 相似文献
7.
Expenses in the performing arts have historically increased at a rate faster than earned revenues due to the labour reliance of the sector. Flanagan (The perilous life of symphony orchestras: artistic triumphs and economic challenges. Yale University Press, New York, 2012) found that US symphony orchestras were able to avoid the negative consequences of this earning gap by fostering strong private support. In the present study, we find that, in contexts where private funding is not as readily accessible, like in Canada, arts organizations have more incentive to keep expenses under control. This can be understood in terms of resource dependence where government funding bodies, due to a homogeneous set of demands, put pressure on organizations to control their expenses and reach greater audiences. Using panel data covering a period of 8 years and forty-eight orchestras, the results show that Canadian orchestras, when compared to US ones, achieve a lower rate of expense increases over time and are more reactive to economic downturns. 相似文献
8.
This comment considers the applicability of the Cyert and DeGroot model of adaptive utility in modeling consumer choice behavior with respect to arts goods. An illustration of the consumer’s choice behavior on expenditure shares is simulated as a simple Markov chain. This is followed by a discussion of policy implications regarding the pricing and subsidization of arts goods. 相似文献
9.
This paper uses the logistic regression model and the count data model to identify the determinants of the likelihood and frequency of attendance at performing arts events in Taiwan. Using data collected from a telephone survey, we find that education and income, being determinants of the likelihood of attendance, are not significant in determining frequency of attendance. On the other hand, whereas members of performing arts groups attend more frequently than non-members, holding a membership or not does not seem to affect the likelihood of attendance. Personal relationships with the performing arts industry make one more likely to attend as well as to attend more frequently. Those who more often watch or listen to performing arts programs through the media or pay more attention to performing arts-related information are also likely to participate in live events and participate frequently. Lastly, age dose matter. We further find evidence of both life cycle and human capital effects in performing arts attendance. 相似文献
10.
Bonita M. Kolb 《Journal of Cultural Economics》1997,21(2):139-146
There is a general assumption that young people do not attend arts events because ticket prices are too high. To test the validity of this assumption, a survey of students' attitudes toward attending the performing arts was conducted. The data revealed that whilst students are concerned about cost, the major barrier is the perception that arts events are boring. It was found that students will purchase tickets for arts events that are perceived as entertaining and allow socialisation. This work continues the discussion contained in the recently published paper by John W. O'Hagan on equal participation in the arts. 相似文献
11.
《Journal of Cultural Economy》2013,6(2):144-165
This article presents an empirical analysis of board governance and fundraising performance in a sample of 98 Swiss museums. Through multiple regression analysis, the inclusion of donors and business professionals on museums' boards is identified as a significant success factor for fundraising governance in Swiss museums. This study substantiates the central role board composition plays in arts management and nonprofit research. Through covariance analysis, the relevance of the variables ‘organization size’ and ‘legal form’ is further discussed. 相似文献
12.
Andrew E. Burke 《Journal of Cultural Economics》1994,18(1):41-64
The paper estimates the demand for vinyl L.P.s in the U.K. In so doing, it outlines a technique to account for the impact of product differentiation innovation when estimating the demand for a product group. This may be particularly important for cultural goods where consumers are attracted to buy a product because of its unique characteristics and where these characteristics differ across time. Thus, the methodology may be used to estimate the demand for other product groups, such as movies and literature. Over the sample period L.P.s are found to be normal goods which are close to being unit price elastic. The diffusion of the Compact Disc appears to reduce the price elasticity of vinyl L.P.s. Consumers also appear to treat L.P.s as perishable goods and the demand for vinyl albums is positively stimulated both by the range of albums available on the L.P. format and product differentiation innovation. 相似文献
13.
Michael Rushton 《Journal of Cultural Economics》1999,23(3):137-146
This paper considers the communitarian critique of the method of economics, especially in regard to its methodological individualism, with reference in particular to cultural economics. It asks whether cultural goods can be modelled in a meaningful way under the usual assumptions in neoclassical economics about individual economic agents. Special attention is paid to Charles Taylor's critique of 'atomism', and his suggestion that some goods are 'irreducibly social'. The implications of the critique for (1) public funding of the arts, and (2) copyright policy, are considered. 相似文献
14.
Andrea Baldin Trine Bille Andrea Ellero Daniela Favaretto 《Journal of Cultural Economics》2018,42(4):677-700
Performing arts organizations are characterized by different objectives other than revenue. Even if, on the one hand, theaters aim to increase revenue from box office as a consequence of the systematic reduction in public funds; on the other hand, they pursue the objective to increase its attendance. A common practice by theaters is to provide incentives to customers to discriminate among themselves according to their reservation price, offering a schedule of different prices corresponding to different seats in the venue. In this context, price and allocation of the theater seating area is decision variables that allow theater managers to manage their two conflicting goals to be pursued. In this paper, we introduce a multi-objective optimization model that jointly considers pricing and seat allocation. The framework proposed integrates a choice model estimated by multinomial logit model and the demand forecast, taking into account the impact of heterogeneity among customer categories in both choice and demand. The proposed model is validated with booking data referring to the Royal Danish theater during the period 2010–2015. 相似文献
15.
In this article, we examine the objectives of nonprofit arts firms. We approach this problem from both theoretical and empirical
angles, building a structural model of arts nonprofit utility that distinguishes between the maximization of quality, the
organization’s level of service, and its budget. We then construct an empirical method for testing which objective is evident
in firm-level data. As an example application, we test the objectives of the managers of American public radio stations in
the 1990s, finding that about half of stations have discernible objectives. The data show service is not an objective for
about 30% of the stations; quality can be ruled out for 49%; and budget is rejected for 69%. In addition, large stations are
harder to classify by objective than small ones are.
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| Arthur C. BrooksEmail: |
16.
Many people argue that public art contains an element of bequest value: value derived by people today from the expected enjoyment of the art by future generations. In this paper, I investigate the existence of this claimed benefit. I employ an intergenerational model of the benefits from government subsidies and private charitable gifts to the arts, and fit it empirically using 1996 US General Social Survey data. The data analysis suggests that people take their life expectancies into account to some extent when giving to the arts or supporting government arts spending. Indeed, we cannot reject the hypothesis that people do not consider future generations in their current support for the arts. 相似文献
17.
In this analysis we present some results for book demand (schoolbooks are excluded) in Norway, obtained by means of a three-goods model (books, other cultural goods and non-cultural goods) and survey data for more than 18000 households from the period 1986–1999. Various methods of estimation are used, and they provide, surprisingly unambiguous results. Our hypotheses about the price and income sensitivity of book demand are confirmed. Books turn out to be “luxury” goods. Our calculations do also suggest that they are quite price sensitive and that they are close substitutes to other cultural goods. The results for socio-demographic variables indicate that access to outlets for books, sex and age matter for book demand. Moreover, we find that single persons and households with small children, especially those with children less than 7 years, are frequent book-buyers. 相似文献
18.
While there is a fair amount of work on determinants of demand for the live performing arts, results have often been contradictory
with little explanatory power. This may be because of the difficulty in describing the attributes of a performance, particularly
in terms of its quality, and the heterogeneity of consumer preferences. This article uses conjoint analysis, also called choice
experiments, to investigate the impact of the attributes of live theatre performances on demand, using data collected from
483 randomly chosen attenders at live theatre performances at the 2008 South African National Arts Festival. Attributes include
the type of cast (professional, semi-professional or amateur), reputation of the producer/director, the context or setting,
production type and ticket price of the show. Results largely support the a priori expectations based on the results of other
demand studies. For example, it is found that the age of consumers affects the type of show chosen, that utility and willingness
to pay increase for shows with professional and semi-professional casts and that 93% of the potential audience prefer shows
with a South African context. It is concluded that the method could prove useful to both event organisers and policy makers,
especially where the goal is to broaden access to the arts.
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| J. D. SnowballEmail: |
19.
The major distinctive feature of cultural goods is that consumers must learn how to consume them, implying that preferences should be modelled as intertemporally dependent. The canonical model in the literature uses a habit formation analogy. In this paper, we discuss in detail, though in the simplest setup, a consistent preference structure for that model. Then, we derive the implications for the dynamics of two aggregate equilibrium models, a fixed price model and a flexible price model. The learning-by-consuming behaviour is characterised by a preference structure displaying bounded adjacent complementarity in the demand for the cultural good. This implies that there will be short run complementarity between the stocks of culture and financial wealth and that the adjustment of the demand for cultural goods, or of their relative price, will have some inertia. In the exogenous price model, we find that increases in income will raise the long run demand for cultural goods while increases in the relative price will decrease it. In the endogenous price model, an increase in the supply of cultural goods will imply an initial undershooting of the price of cultural goods followed by an upward transition process. Our results seem to be consistent with the empirical results on the demand for cultural goods and seem to offer an explanation for the Baumol and Bowen paradox.JEL Classification: Z1, E21Earlier versions of this paper have been presented at the 1st Conference of the Sociedade Portuguesa de Investigação em Economia (SPiE, 1997) and at the Xth Conference of the Association for Cultural Economics International, 1998, Barcelona. 相似文献
20.
Although economies of scale are relatively well studied in the arts, economies of scope have received less attention. Yet recent trends toward freelancing and technological connectivity make scope economies especially timely in addressing structural challenges to artist-led incubators. This paper offers a conceptual framework for cooperative strategies that employ economies of scope both in the economic sense of joint production and in the financial sense of risk pooling. This framework distinguishes franchise, federation, and resource-sharing organizational structures as developed through case studies of two US-based organizations: ArtBuilt and REC (Resources for Every Creator), placed in a larger context of cooperative organizational strategy in the USA and Europe. The proposed strategies of cooperative networks (quasi-franchises, federations, or resource-sharing networks) also draw on a literature of spatial agglomeration in creative industries. The framework leads to more speculative ideas of “balance-sheet philanthropy” through credit backstopping by foundations, and of novel investment trusts that can be piloted across a range organizations including foundations, grant-makers, artist residency programs, and even for-profit companies engaged in reinsurance. The paper contributes managerial tools and strategies for the creative engagement of capacity building in arts organizations.
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