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Journal articles on the topic 'Arts marketing'

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Published: 4 June 2021
Last updated: 31 January 2023

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1

Rentschler, Ruth. "Arts marketing." International Journal of Nonprofit and Voluntary Sector Marketing 12, no. 2 (2007): 91–93. http://dx.doi.org/10.1002/nvsm.276.

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2

Lee, Hye‐Kyung. "WHEN ARTS MET MARKETING." International Journal of Cultural Policy 11, no. 3 (November 2005): 289–305. http://dx.doi.org/10.1080/10286630500411309.

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3

Raduški, Dragoljub. "Marketing management in culture and arts." Marketing 48, no. 4 (2017): 224–34. http://dx.doi.org/10.5937/markt1704224r.

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4

O'Reilly, Daragh. "Mapping the arts marketing literature." Arts Marketing: An International Journal 1, no. 1 (May 20, 2011): 26–38. http://dx.doi.org/10.1108/20442081111129851.

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5

Thomas, Edward, and Bob Cutler. "Marketing the fine and performing arts: What has marketing done for the arts lately?" Services Marketing Quarterly 10, no. 1 (1993): 181–99. http://dx.doi.org/10.1080/15332969.1993.9985116.

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6

Chang, Yu-Chien, and Chloe Preece. "Visual arts marketing in East Asia." Arts and the Market 8, no. 2 (October 1, 2018): 118–22. http://dx.doi.org/10.1108/aam-10-2018-031.

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Purpose The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing. Findings Findings and insights relate to topics such as the structure of the visual arts markets of East Asia, political influences on these arts markets, alternative spaces such as art festivals, ambiance and audience experience in museums and new media initiatives. Research limitations/implications The authors believe that all of the papers have implications for future thinking, research, scholarship and practice in the area of arts marketing, particularly for scholars, cultural institutions and artists working in Asia. Originality/value As far as the editors are aware, this is the first ever journal special issue on arts marketing in East Asia. In particular, the authors offer some new ideas in thinking about visual arts marketing in Asia as part of this editorial essay, particularly in considering the difficulties for both artists, arts organisations and academics in creating from the “periphery”.
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7

Jones, Brian, and Shirley Beresford. "Leeds and the Northern Arts Prize." Journal of Place Management and Development 7, no. 3 (October 7, 2014): 247–58. http://dx.doi.org/10.1108/jpmd-11-2012-0040.

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Purpose – This paper aims to look at the nature of the relationship between the marketing of the contemporary visual arts, cultural tourism and city and urban regeneration. This exploratory study of the marketing of the contemporary visual arts in Leeds has, as its background narrative, the emergence of BritArt. Design/methodology/approach – The growth of contemporary visual arts provides the context for a case study of the Northern Art Prize, which was first awarded in 2007. Findings – The study found a number of factors for success that can aid urban renewal and city regeneration. Private sector marketing expertise levered into the management of the project was one critical success factor. Another was that private sector funding freed up marketers and artists and allowed risk-taking. Participants highlighted a lack of vision for the contemporary visual arts in the city and region and a strong desire for new collaborative working and new governance structures for the delivery of arts marketing and cultural tourism. Originality/value – The Northern Art Prize offers much for the marketing of contemporary visual arts, cultural tourism, city branding and urban renewal. Investing in and marketing of the arts is argued to serve as a stimulus that can bring a range of benefits for the business and wider community. Marketing, especially arts marketing, can help deliver social, economic and urban regeneration.
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ICHIM, Traian. "Innovative marketing in the performing arts." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 123–30. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.13.

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Marketing in the cultural sphere has its own characteristics due to certain market requirements in this field of activity. It is distinguished by a special approach to traditional categories of marketing activities, thus defining the content of its functions. The key point of the management process in the cultural field is the study and evaluation of the marketing environment of a cultural institution. The marketing environment consists of macro and micro factors, which influence the activities of the institution. Research in the field of cultural marketing will be the concrete and realistic basis of future cultural projects. At the same time, the results of research will account for several political decision-makers. The use by cultural institutions of the whole complex of marketing technologies will not only improve the quality of services provided by a given institution in a certain market segment, but will also give the opportunity to move to a new stage of evolution of the whole market of sociocultural services, which corresponds to the requirements (needs) of consumers to a greater extent.
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9

Holst, Christian, Emily M. Myers, and Sigrid Bekmeier-Feuerhahn. "What’s on in Arts Marketing Research?" Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 7, no. 2 (December 1, 2021): 201–14. http://dx.doi.org/10.14361/zkmm-2021-0208.

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10

Morris, Valerie. "Arts Management and Marketing Research: Commentar." Journal of Arts Management, Law, and Society 28, no. 1 (January 1998): 3. http://dx.doi.org/10.1080/10632929809597275.

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11

Copley, Paul. "Practitioner Perspectives on Arts Tourism Marketing." Journal of Travel & Tourism Marketing 10, no. 2/3 (March 1, 2001): 23–46. http://dx.doi.org/10.1300/j073v10n02_02.

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12

Ragan, Sandra L., and Jill J. McMillan. "The Marketing of the Liberal Arts." Journal of Higher Education 60, no. 6 (November 1989): 682–703. http://dx.doi.org/10.1080/00221546.1989.11775078.

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13

Copley, Paul, and Ian Robson. "Practitioner perspectives on arts tourism marketing." Journal of Travel & Tourism Marketing 10, no. 2-3 (January 2001): 23–46. http://dx.doi.org/10.1080/10548400109511557.

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14

Butler, Patrick. "By Popular Demand: Marketing the Arts." Journal of Marketing Management 16, no. 4 (April 2000): 343–64. http://dx.doi.org/10.1362/026725700784772871.

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15

Kirchner, Theresa A., John B. Ford, and Sandra Mottner. "Entrepreneurial marketing of nonprofit arts organisations." Social Business 3, no. 2 (August 26, 2013): 107–22. http://dx.doi.org/10.1362/204440813x13747454648777.

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16

Boorsma, Miranda. "A STRATEGIC LOGIC FOR ARTS MARKETING." International Journal of Cultural Policy 12, no. 1 (March 2006): 73–92. http://dx.doi.org/10.1080/10286630600613333.

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17

Witkowski, Terrence H. "Marketing thought in American Decorative Arts." Journal of the Academy of Marketing Science 18, no. 4 (September 1990): 365–68. http://dx.doi.org/10.1007/bf02723922.

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18

Marciszewska, Barbara. "Emotional arts marketing — creating tourist value." Tourism Review 60, no. 3 (March 2005): 29–34. http://dx.doi.org/10.1108/eb058459.

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19

Thomas, Edward G., and Bob D. Cutler. "Marketing the Fine and Peforming Arts." Journal of Professional Services Marketing 10, no. 1 (January 28, 1994): 181–200. http://dx.doi.org/10.1300/j090v10n01_15.

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20

Colbert, François. "The Arts Sector: A Marketing Definition." Psychology & Marketing 31, no. 8 (July 9, 2014): 563–65. http://dx.doi.org/10.1002/mar.20717.

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21

Gainer, Brenda. "Marketing Arts Education: Parental Attitudes toward Arts Education for Children." Journal of Arts Management, Law, and Society 26, no. 4 (January 1997): 253–68. http://dx.doi.org/10.1080/10632921.1997.9942965.

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22

Quyen, Nguyen Thi Anh. "Factors Affecting Arts Marketing of Theaters in Hanoi, Vietnam." WSEAS TRANSACTIONS ON ENVIRONMENT AND DEVELOPMENT 18 (April 15, 2022): 442–51. http://dx.doi.org/10.37394/232015.2022.18.43.

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Arts marketing is the inevitable development trend of contemporary society, in the context of international exchanges and integration deepening and the competition in the arts field is becoming more and more intensive. If arts organizations want to successfully carry out marketing activities, they need to have a deep understanding of both theoretical and practical aspects of arts marketing. Theoretically, many researchers have pointed out that the factors impacting and affecting arts marketing include internal environment and external environment factors, in which the important factors are the external environment ones, including: Economic, political and legal factors; Cultural, social and technological factors. The objective of this study is to evaluate the influence of external environmental factors on arts marketing of theaters in Hanoi, Vietnam. The author inherits the above research points and conducts a practical survey for 50 managers and 150 artists of 12 theaters in Hanoi capital, Vietnam. The important contribution of the study is shown by the author through the results of testing the scales, analyzing the correlation between the scales and testing the research hypothesis, which is: economic, political, legal factors (EPL) and Cultural, social and technological factors (CST) all have an impact on arts marketing (AM) of theaters in Hanoi, Vietnam. Moreover, Economic, political and legal factors (EPL) have a stronger influence on Arts Marketing (AM). The research results are also meaningful to many Vietnam's arts managers in planning and adjusting policies to achieve results and effectiveness in marketing activities to bring art works to the public; adapting to the market, in line with the movement and development trend of Vietnamese society and international integration.
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23

Wiid, Ria, and Paulo Mora-Avila. "Arts marketing framework: The arts organisation as a hub for participation." Journal of Public Affairs 18, no. 2 (March 13, 2017): e1657. http://dx.doi.org/10.1002/pa.1657.

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24

Valcic, Marija, Duško Ljuština, and Ivan Simunic. "Digital Marketing for Arts and Culture Enterprises." Journal of Data Processing 9, no. 2 (June 1, 2019): 37. http://dx.doi.org/10.6025/jdp/2019/9/2/37-39.

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25

Scheff, Joanne, and Philip Kotler. "Crisis in the Arts: The Marketing Response." California Management Review 39, no. 1 (October 1996): 28–52. http://dx.doi.org/10.2307/41165875.

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26

Gainer, Brenda. "The Importance of Gender to Arts Marketing." Journal of Arts Management, Law, and Society 23, no. 3 (October 1993): 240–52. http://dx.doi.org/10.1080/10632921.1993.9942934.

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27

Venkatesh, Alladi, and Laurie A. Meamber. "Arts and aesthetics: Marketing and cultural production." Marketing Theory 6, no. 1 (March 2006): 11–39. http://dx.doi.org/10.1177/1470593106061261.

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28

Lange, Candy. "Visibility and involvement in effective arts marketing." Marketing Intelligence & Planning 28, no. 5 (August 3, 2010): 650–68. http://dx.doi.org/10.1108/02634501011066546.

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29

Kerrigan, Finola, Daragh O'Reilly, and Dirk vom Lehn. "Producing and consuming arts: A marketing perspective." Consumption Markets & Culture 12, no. 3 (July 29, 2009): 203–7. http://dx.doi.org/10.1080/10253860903063212.

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30

Bradshaw, Alan. "Before method: axiomatic review of arts marketing." International Journal of Culture, Tourism and Hospitality Research 4, no. 1 (March 30, 2010): 8–19. http://dx.doi.org/10.1108/17506181011024724.

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31

Woodliffe, Lucy, and Roger Bennett. "New perspectives on arts and nonprofit marketing." International Journal of Nonprofit and Voluntary Sector Marketing 12, no. 3 (July 16, 2007): 175–76. http://dx.doi.org/10.1002/nvsm.317.

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32

File, Karen Maru, and Russ Alan Prince. "Cause-related marketing, philanthropy, and the arts." Nonprofit Management and Leadership 5, no. 3 (1995): 249–60. http://dx.doi.org/10.1002/nml.4130050304.

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33

Bennett, Roger. "How small charities formulate marketing responses to major reductions in income." Qualitative Market Research: An International Journal 17, no. 1 (January 7, 2014): 58–76. http://dx.doi.org/10.1108/qmr-10-2012-0045.

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Purpose – The purpose of the study was to examine how heads of small charitable performing arts organisations who did not possess backgrounds or qualifications in marketing interpreted the implications, for future marketing activities, of significant cuts in government funding and how their views on the value of marketing changed consequent to the cuts. Design/methodology/approach – Dervin's sensemaking interview method was employed to explore the processes, whereby the heads of 26 small nonprofit contemporary dance companies made sense of the marketing demands of newly constrained funding situations. Findings – Three groups of respondents were identified, respectively, labelled as marketing reductionists, knowledge seekers, and marketing activists. Many of the respondents did not distinguish between marketing and human resource management functions. Major confusions existed vis-à-vis pricing policies and how to evaluate returns on marketing expenditures. Research limitations/implications – The study covered a single sector in just one country. Replication of the study in other sectors and countries would be worthwhile, as would the comparison of how small arts companies deal with various other types of financial crisis. Practical implications – National bodies that award performing arts qualifications need to include marketing in their curricula and syllabuses. Arts marketing associations should make available on their web sites instructional materials relating to marketing. The government should encourage the formation of marketing co-operatives among small performing arts companies. Originality/value – The study applied a qualitative interview technique unfamiliar to most researchers in the marketing field. It was the first to investigate the impact of cutbacks in government funding on the interpretations of marketing held by heads of small arts organisations.
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34

Patsiaouras, Georgios, Anastasia Veneti, and William Green. "Marketing, art and voices of dissent." Marketing Theory 18, no. 1 (August 14, 2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.

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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.
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35

Walmsley, Ben. "The death of arts marketing: a paradigm shift from consumption to enrichment." Arts and the Market 9, no. 1 (May 7, 2019): 32–49. http://dx.doi.org/10.1108/aam-10-2018-0013.

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Purpose The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement. Design/methodology/approach The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing. Findings The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences. Research limitations/implications The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept. Practical implications In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion. Originality/value The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.
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36

Lehman, Kim, and Mark Wickham. "Marketing orientation and activities in the arts-marketing context: Introducing a Visual Artists’ Marketing Trajectory model." Journal of Marketing Management 30, no. 7-8 (March 5, 2014): 664–96. http://dx.doi.org/10.1080/0267257x.2013.838987.

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37

Conway, Tony, and Jeryl Whitelock. "Relationship marketing in the subsidised arts: the key to a strategic marketing focus?" European Journal of Marketing 41, no. 1/2 (January 20, 2007): 199–222. http://dx.doi.org/10.1108/03090560710718184.

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38

Le, Huong, Bridget Jones, Tandi Williams, and Sara Dolnicar. "Communicating to culture audiences." Marketing Intelligence & Planning 34, no. 4 (June 6, 2016): 462–85. http://dx.doi.org/10.1108/mip-05-2015-0102.

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Purpose – The purpose of this paper is to provide novel insights into arts consumption behaviour and patterns of communication displayed by arts consumers using Peterson’s theoretical framework, and to identify differences in the use of communication channels across arts segments. Design/methodology/approach – The authors conducted an a priori market segmentation study, with two variables serving as segmentation criteria, namely, the frequency of and the variety of arts events attended. The authors tested for differences in communication patterns. Findings – Four segments were created: low-frequency univores, low-frequency multivores, high-frequency multivores and high-frequency omnivores. They differ in their communication patterns and online behaviours, including their online activities before and after attending arts events. Printed materials and e-mail newsletters were the most effective communication channel for raising awareness of all arts consumers. Research limitations/implications – Understanding these communication patterns can help arts marketers to increase the attendance of low-frequency segments and broaden the variety of arts events attended by the univore and multivore segments. The generalisability of the findings is limited as the survey was conducted among online Australian arts consumers only. Originality/value – The paper adds the dimension of arts consumption frequency to the taxonomy of omnivores and univores proposed by Peterson, which is based on the variety of consumed arts only. The paper contributes to communication and arts marketing literature by identifying key differences in communication patterns across segments of arts consumers and the most promising communication channels to engage them.
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39

Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.
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Radbourne, Jennifer. "The Role of Government in Marketing the Arts." Journal of Arts Management, Law, and Society 28, no. 1 (January 1998): 67–82. http://dx.doi.org/10.1080/10632929809597279.

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41

Fillis, Ian. "The evolution and development of arts marketing research." Arts Marketing: An International Journal 1, no. 1 (May 20, 2011): 11–25. http://dx.doi.org/10.1108/20442081111129842.

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42

Urciuoli, Bonnie. "Excellence, leadership, skills, diversity: marketing liberal arts education." Language & Communication 23, no. 3-4 (July 2003): 385–408. http://dx.doi.org/10.1016/s0271-5309(03)00014-4.

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43

Andreasen, Alan R. "Marketing or Selling the Arts: An Orientational Dilemma." Journal of Arts Management and Law 15, no. 1 (April 1985): 9–20. http://dx.doi.org/10.1080/07335113.1985.9942143.

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44

Terblanche, Nic. "The Performing Arts and Marketing: Concepts and challenges." South African Theatre Journal 17, no. 1 (January 2003): 153–76. http://dx.doi.org/10.1080/10137548.2003.9687767.

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Terblanche, Nic. "The Performing Arts and Selected Relationship Marketing Strategies." South African Theatre Journal 18, no. 1 (January 2004): 8–30. http://dx.doi.org/10.1080/10137548.2004.9687777.

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46

Colbert, François, and Yannik St-James. "Research in Arts Marketing: Evolution and Future Directions." Psychology & Marketing 31, no. 8 (July 9, 2014): 566–75. http://dx.doi.org/10.1002/mar.20718.

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47

Akimov, Dmytro. "Segmentation of art market in the fine art’ marketing." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 27–31. http://dx.doi.org/10.32461/2226-2180.39.2021.238676.

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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the technology of segmentation of the art market. The article analyzes the algorithms of marketing technologies in the segmentation of the fine arts market. It should be noted that in the marketing of fine arts the technologies of segmentation of art markets and technologies of the positioning of works of art are purposefully and productively used. The segmentation of art markets enables to highly efficient identify and systematize groups of consumers and admirers of works of fine art in accordance with their goals and motivations. The main purpose of the article: analysis of the specifics of the implementation of classical marketing technologies (marketing researches, segmentation of art markets) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. It should be noted that the technology of market segmentation is actively used in the art market in works of museums, galleries, auctions. The technology of market segmentation allows regulating the processes of appearance and satisfaction of demand for works of art and their implementation.
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48

Swanson, Scott R., and J. Charlene Davis. "Arts Patronage: A Social Identity Perspective." Journal of Marketing Theory and Practice 14, no. 2 (March 2006): 125–38. http://dx.doi.org/10.2753/mtp1069-6679140203.

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49

Quyen, Nguyen Thi Anh. "impact of marketing on activities of Vietnam arts and cultural organizations." Linguistics and Culture Review 6, no. 1 (December 24, 2021): 99–109. http://dx.doi.org/10.21744/lingcure.v6n1.2038.

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With the trend of budget reduction and autonomous operation of arts and cultural organizations, competition in this field to attract audiences is an inevitable trend. This sets out the requirements of marketing activities to bring arts to the audiences and bring the audience to arts, which is, to link arts with the audience; not only achieved the goal of establishing and meeting the audience needs, but also fulfilled the arts and cultural organizations’ task of creating arts. There have been many research perspectives on culture and arts marketing in the context of cultural integration and economic development associated with the characteristics of each country and region. In this study, the author approaches, inherits, and develops Rentschler's culture and arts marketing model to build a scale and conduct practical research in Hanoi, Vietnam. The survey subjects were identified as art practitioners (artists) with more than 3 years of working experience in 7 theaters in Hanoi. The research was carried out by qualitative method through secondary data collection, combined with the quantitative method through a survey of opinions of 200 artists.
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50

Chang, Yu-Chien. "Creating Value through the Performing Arts Festival: The Multi-Stakeholder Approach." Journal of Macromarketing 40, no. 2 (January 9, 2020): 185–200. http://dx.doi.org/10.1177/0276146719894627.

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‘Value’ is an important and developing research topic in the field of marketing; however, the research on how value is co-created through stakeholders’ interaction remains limited. This study argues that an arts festival as a collective art production acts as a platform through which the stakeholders co-create value. By employing the publically-funded Huashan Living Arts Festival in Taiwan, which focuses on performing arts, as a case for collecting longitudinal data, this study explores how the stakeholders interact to co-create and obtain value. The findings reveal that value is co-created through the interactions between the stakeholders, rather than by a single stakeholder, in an arts festival. A proposed framework of value co-creation identifies the process and stakeholders’ interaction with regard to a performing arts festival, from a macro-level context.
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