Relevant bibliographies by topics / Arts organisations

Academic literature on the topic 'Arts organisations'

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Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Arts organisations"

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Rimmer, Mark. "The art of survival: community-based arts organisations in times of austerity." Community Development Journal 55, no. 2 (August 20, 2018): 295–312. http://dx.doi.org/10.1093/cdj/bsy036.

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Abstract This article examines the consequences of shifts in the terms of engagement with the state – since the onset of the global financial crisis in 2008 – for small-scale UK arts-based community organisations. Through an engagement with the accounts of key stakeholders from three case study organisations, the article considers the nature and extent of organisational changes in four main respects: the activities undertaken, the people and groups engaged, the income streams accessed and understandings of role or mission. Having outlined the variable fates of each organisation over this period, the article illuminates how the effects of austerity and associated policy shifts have served to mitigate against organisations’ ability to sustain arts-based work with disadvantaged groups, resist neoliberal ‘enterprise’ agendas or maintain a practical commitment to community development aims.
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Atulkar, Sunil, and Bikrant Kesari. "A Review on Art of Creating Values in Retail for Improving Business Performance." Journal of Business Administration Research 7, no. 1 (March 13, 2018): 22. http://dx.doi.org/10.5430/jbar.v7n1p22.

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Today the retail business environment becomes more complex and unpredictable in nature. In this research article researchers try to discus on engagement of arts in creating values in retail sector organisations. As the art based methods are used in various organisational developments, so this paper focused on four processes proposed by Darso and Dawids (2002) in retail sector organisation, to identify how these methods innovatively works on retail customers and why these process are important for the retail organisation performance. We identifies that the retailers should have to focus on the use of arts based method such as decoration, entertainment, developing the high skilled employees and attractive retail environment, enables customer to see the retail store environment more differently which helps in improving the performance of retail sector organisations. Based on the review of earlier published literatures, the present study shows that the uses of arts in creating shopping values more innovative, effectively and efficiently in retail sector organisations, have become a key to develop the effective business strategy to get competitive advantages over others.
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Perry, Rachel. "“Saying yes to everything”: Slung Low’s mission in a time of rapid change." Arts and the Market 9, no. 2 (December 9, 2019): 202–18. http://dx.doi.org/10.1108/aam-06-2019-0022.

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Purpose This study explores what it means to be a mission-driven arts organisation (MDAO) in the UK. Drawing on literature relating to artistic risk and rupture, mission and vision, and arts participation, the purpose of this paper is to shed light on how Slung Low, a theatre organisation with a core staff of five, creates large and complex initiatives and seeks to make a difference to its local community. Design/methodology/approach Using a case study approach, this interpretive study makes use of qualitative data to offer context-specific knowledge about how MDAOs create new initiatives including: interviews with members of the Slung Low team; attendance at company meetings; analysis of internal organisational documents, company website and artistic director’s blog; and articles about Slung Low from the local, national and theatre industry press. Data was gathered through a research collaboration with Slung Low which is supported by Paul Hamlyn Foundation. Findings The results offer fresh insight into how MDAOs take a positive approach to rupture and rapid change. The study finds that by embracing risk and committing to an ambitious and provocative mission, small-scale arts organisations can achieve artistic, cultural and social objectives which far exceed their size. Research limitations/implications This paper offers an organisational perspective on the research questions and so participants were not interviewed on this occasion. However, the participant view will be the subject of further research with Slung Low. Originality/value This research paper provides insight into one of the UK’s most innovative theatre companies during a period of monumental change, and advances knowledge on mission-driven organisations by offering reflections on what it means to be an arts organisation which places rupture, risk and usefulness at the heart of its mission.
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Maes, A. A. "Een Beroepsgerichte Schrijfcursus Voor Letterenstudenten." Toegepaste Taalwetenschap in Artikelen 28 (January 1, 1987): 182–92. http://dx.doi.org/10.1075/ttwia.28.15mae.

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This article describes the organisation and background of a vocational writing course for arts students. The course is part of the optional curriculum of the Department of Language and Literature of Tilburg University. It is the aim of this course to create a writing environment in which arts students can apply theoretical knowledge to practical writing tasks in business organisations. Every participant in the course chooses an existing brochure, which he revises along the lines of an agreed procedure, which consist of the following steps: analyzing, criticizing, first rewriting, second rewriting, testing, producing the new version. All steps are evaluated by all participants and by representatives of the organisation where the text was first written. The course links the expertise of arts students to real-life writing tasks in organisations and is at the same time an attempt to reinforce the social basis of the arts curriculum.
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Carnegie, Elizabeth, and Andreana Drencheva. "Mission-driven arts organisations and initiatives." Arts and the Market 9, no. 2 (December 9, 2019): 178–87. http://dx.doi.org/10.1108/aam-10-2019-0031.

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Purpose The purpose of this paper is to examine how mission-driven arts organisations respond to the complex set of economic and social conditions that the authors here term as a significant point of rupture. Drawing on the papers that form a part of the special section of this issue, the authors critically examine how the intersection of globalisation and neoliberalism creates multidimensional uncertainty that shapes the opportunities, responsibilities, work arrangements, and lived experiences of artists and artist-led initiatives and organisations. Design/methodology/approach In this introduction to the symposium on mission-driven arts organisations and initiatives, the authors explore how the included articles question and introduce key concerns that govern, limit and support mission-driven arts organisations. Findings Drawing on the papers in this set, the authors note that mission-driven arts organisations are diverse and employ numerous organising forms. However, at their core is the pursuit of social objectives, which also requires the management of often conflicting artistic, economic, cultural and social demands. The authors explicate how mission-driven arts organisations respond to local agendas and work best at the community level. As such, they may not play a key role in tourism or large-scale cultural regeneration of spaces, but rather seek to make creative use of sunken and redundant, often inner city spaces to address local needs. Yet, the uncertainty that these organisations face shapes temporary solutions that may enhance the precariaty and pressures for artists and creative producers with likely impact on wellbeing. Originality/value This paper brings together original insights into how mission-drive organisations seek to overcome and indeed flourish in a time of rupture. It moves beyond the notion of cultural regeneration as an instrument of tourism, and tourism as a focus of regeneration, to consider the value such organisations bring to localities evidenced in both creative practices and as local cultural engagement beyond economic impact. In doing so, mission-driven arts organisations play a vital role in a time of rapid change.
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Ross, Malcolm. "Evaluating Education Programmes in Arts Organisations." Music Education Research 5, no. 1 (March 2003): 69–79. http://dx.doi.org/10.1080/14613800307107.

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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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Pitts, Stephanie E., Marta Herrero, and Sarah M. Price. "Understanding the liminality of individual giving to the arts." Arts and the Market 10, no. 1 (March 2, 2020): 18–33. http://dx.doi.org/10.1108/aam-08-2019-0026.

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PurposeThe purpose of this paper is to explore the experiences of donors to a UK-based contemporary music organisation fundraising scheme through the theoretical lens of liminality.Design/methodology/approachIn-depth interviews with 16 members of the Sound Investment scheme investigated the motivations and experiences of individual donors to the commissioning of new music. Thematic analysis suggested parallels with the framework of “liminality,” which shed new light on the ways in which membership changed donors' relationships with the organisation and audience.FindingsMotivations for supporting contemporary music commissioning included personal interest, cultural responsibility and alignment to the values of the organisation. Tangible benefits, particularly access to rehearsals, brought donors into closer connection with the creative and managerial working of the organisation.Research limitations/implicationsThe sample did not include any lapsed donors, or people who had chosen not to participate. Future research could test the liminal framework in different artforms and through different tangible benefits.Practical implicationsUnderstanding donors as liminals could help arts organisations to develop membership schemes that more effectively sustain individual giving. Key elements of involvement and access are identified that could engage audiences more widely.Originality/valueThis case study foregrounds lived experience of arts donors where previous literature has primarily focussed on motivations for donating. It highlights the liminal elements of becoming an individual donor, namely, the integration and socialisation processes, the space-and time-bound interactions with the organisation and the alignment of values with the organisation. This framework offers a new way for arts organisations to understand and enhance individual giving in a time of austerity.
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Mishan, Marise, and Anthony Prangley. "Barriers to inter-organisational collaboration amongst performing arts organisations in South Africa." South African Theatre Journal 27, no. 2 (January 31, 2014): 125–46. http://dx.doi.org/10.1080/10137548.2014.876821.

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Schnugg, Claudia. "The organisation as artist’s palette: arts-based interventions." Journal of Business Strategy 35, no. 5 (September 9, 2014): 31–37. http://dx.doi.org/10.1108/jbs-02-2013-0015.

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Purpose – The purpose of this paper is to focus on arts-based interventions as a management tool for personal, team and organisational development. How have management teams implemented art in their organisations, and toward what end? The literature has focused predominantly on a single case, creating many possibilities of constructing arts-based interventions. Yet, a typology is still missing. This paper examines various arts-based interventions and their underlying principles from a business perspective. Design/methodology/approach – The paper is based on a systematic review of the literature in English and German, with special consideration for articles and books within the field of business. Findings – The typology presented in this paper, based on a mapping of the field, should contribute to a more coherent understanding of arts-based interventions. My goal is to provide researchers with a more structured perspective for approaching this academic area. Furthermore, the findings suggest that over and above the various types of arts that can be introduced to organisations, there are three basic principles for the achievement of this goal. Research limitations/implications – This paper presents a mapping of the cases in literature on arts-based interventions and presents a coherent understanding of ways of bringing art into organisations. Practical implications – The three underlying principles presented in this paper should assist practitioners in designing arts-based interventions for specific problems. Originality/value – This paper provides assistance to consultants, business executives, leaders, managers, researchers and students for understanding the basics of arts-based interventions. Furthermore, it provides a structure for the body of literature on cases of arts-based interventions.
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Dissertations / Theses on the topic "Arts organisations"

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Chalon, Christopher. "Conflict and citizenship behaviour in Australian performing arts organisations." University of Western Australia. Faculty of Economics and Commerce, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0096.

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The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees’ motivational orientation influence people’s perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees’ propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.
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Bout, Jérôme, and Edouard Mortier. "Artistic Interventions : Arts, Leadership and Self-development in Organisations." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34599.

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Our society is changing, becoming a postmodern world with more attention paid to the emotional part of human beings. Organisations must develop new skills to enhance their members’ creativity and provide innovation in order to tackle new challenges. The transformation of our society provides also space for new thinking and new solutions; there is a need to be more open-minded. Organisational managers hence look into new directions to answer issues – one of them is the arts. One of arts’ manifestations in organisations is artistic interventions. Our study provides a presentation of this process, our understanding and reflection about this field and why we think it is relevant for the postmodern society in which we live. In this thesis we present our vision and theory of how a manager transforms themself into a leader through an artistic intervention and the impact on the organisational culture that the latter produces. We highlight the importance of the intervention’s follow-up and the way in which managers/leaders can lead this process to success. Our research is based on the existing literature in different fields that we have found relevant and that has enabled us to develop our own theory on the topic, with hope that it will interest other researchers to go further. In that sense, we give directions and reflections for future research.
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Pate, Maldwyn. "Measuring the immeasurable? : a critical response to the way arts funding bodies evaluate the work of arts organisations." Thesis, Brunel University, 2004. http://bura.brunel.ac.uk/handle/2438/5325.

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The arts impact on all our lives. They play an important role in our spiritual and cultural well-being, but the creative industries also contribute considerably to our economy, and a significant investment in this sector is made by state funding. The Arts Council of Wales and Arts Council England are charged with distributing state funding for the arts and this study examines the methods used by them to evaluate the arts organisations that they fund. Client evaluation is a key element in the relationship between funded and funder and a matter of considerable importance and sensitivity to both parties. Both artists and arts council officers were found to be dissatisfied with the current evaluation system, which has been in place for some twenty years. Among several important criticisms was the fundamental perception that it simply was not a suitable system for determining whether or not an organisation was doing a good job. The study comprises eight chapters, the first two of which describe the evolution of the arts funding system in Britain and the manner in which governmental attitudes towards arts funding has changed over recent years. The third chapter establishes the theoretical construct for the study. Firstly it examines the relationship between the funding body and the funded organisation within the context of Foucault's conception of Panoptic disciplinary power. It then proceeds to consider the development of evaluation practice in the sphere of education. Education is an appropriate domain to explore, partly because there are many similarities between the fields of art and education, but principally because pioneering work in this domain has informed the development of evaluation practice in other fields. The primary data gathered for this study, through observation and interview, is qualitative in character and is reported in Chapter 5. Finally, following analysis and discussion of the field and desk data in Chapters 6 and 7, an alternative approach to client appraisal is proposed in Chapter 8.
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Matysiak, Catherine Andrea. "Women in view, the evolution of local women's arts organisations in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61587.pdf.

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Knight, Helena. "Collaborative value creation : how arts and business organisations create value for society." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/83021/.

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Since its instigation by patrons supporting struggling artists centuries ago, the relationship between arts and business has been marked by dilemmas of who benefits from the value created. The perceived self-interested regard that blighted the magnanimous acts of the pioneers of arts philanthropy has transformed into outright scepticism with the move towards "selfish capitalism" in the 1970s. Despite the financial assistance, ubiquitous in society is the perception that business exploits the arts for window dressing purposes. The thesis studies value creation through transactional collaboration, focusing on the arts context. The contradictions in the phenomenon are examined to construct an understanding of how the organisations working together can lead to societal betterment . Utilising a multi method interpretive strategy, the thesis presents a conceptual framework of the principles, manifestations and functions of the business partner in societal value creation through transactional arts and business collaboration. The thesis argues that transactional collaboration can and does generate value that can contribute to societal betterment. The stipulations relate to transactional hybrids and collaboration portfolios at the organisational level, and a co-creative response to the process of value creation of beneficiaries. Transient value and cumulative value are two distinct value modes. Cumulative value can induce sustainable societal betterment when business assumes the role of a benefits provider. Human factor and organisational learning condition cumulative societal value creation in transactional collaboration. The Thesis contributes to the literature on cross-sector collaboration. The thesis contributes to the literature on cross-sector collaboration by highlighting the importance hybrid relationships and relationship portfolios in creating societal value in transactional collaboration. It also demonstrates the beneficiary-centric standpoint is a salient factor when developing a holistic understanding of how collaboration contributes to societal betterment. As such, contributions are made to the value creation literature by showing the salience of the co-creative response of the beneficiary to the process of value creation in relational contexts. Managerial and policy implications, and future research avenues are also proposed.
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Mishan, Marise Sheevah. "The dynamics of inter-organisational collaboration and their role in demand stimulation in the performing arts." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/23260.

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This study investigates the dynamics of inter-organisational collaboration and their role in demand stimulation in the performing arts. While the literature suggested methods and outcomes of collaboration and its role in demand stimulation, recent media reports indicated very few South African Performing Arts Organisations (PAOs) were involved in any form of collaboration. Therefore before the theories on could be tested the reasons behind the limited collaboration in South Africa had to be investigated.An exploratory investigation was conducted in two phases. The first phase focused on collecting the opinions on all aspects of collaboration from strategic decision makers in PAOs to form a set of guidelines for collaboration. In phase two these guidelines were validated by the same strategic makers through a self-administered questionnaire.From the results emerged a set of barriers to and enablers of collaboration. In addition, several contextual factors emerged that greatly impact collaboration and its effectiveness as a marketing tool. The political history of South Africa in particular has created a divide, not only in the performing arts industry but in the audience as well, that makes collaboration extremely difficult. PAOs need to be able to use collaboration to mobilise support from other economic sectors in order to bridge this divide.
Dissertation (MBA)--University of Pretoria, 2012.
Gordon Institute of Business Science (GIBS)
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Girard, Claire. "The internet table: how Canadian arts and culture organisations engage with telecommunication policy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119753.

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This project examines the engagement of Canadian arts and culture organizations with telecommunication policy at two Canadian Radio-television and Telecommunications Commission (CRTC) hearings held in 2009. The thesis argues that during the Broadcasting in New Media hearing arts organizations added a new set of issues to their historically content-centric advocacy concerns and began engaging with policy that regulates carriage. At the second hearing, the Review of the Internet Traffic Management Practices of Internet Service Providers, these groups in their comments and presentations to the regulator directly address the design, implementation and technical functioning of telecommunication technologies. The thesis proposes a typology of Canadian arts and culture organizations and gives an account of their history of communication and cultural policy advocacy. Using a Science and Technology Studies and Actor-Network Theory oriented definition of technology the project shows that the participation by these groups in formal policy-making forums on internet governance issues is supplemented by other productive modes of engagement with information and communication technologies (ICTs). This thesis gives examples of these organizations integrating ICTs in their work and argues that such practices effectively produce and re-define the internet. Canadian arts and culture organizations would gain from adopting an understanding of ICTs that reflects their mutually constitutive and co-productive relationship. The thesis concludes that to become more empowered in both their practices and in policy decision-making arts and culture organizations should define telecommunication infrastructure as a material agent and participant.
Ce projet examine l'engagement d'organismes culturels Canadiens avec les politiques de télécommunication lors de deux audiences publiques au Conseil de la Radiodiffusion et des Télécommunications Canadiennes (CRTC) en 2009. Le mémoire argumente que durant l'audience sur La Radiodiffusion Canadienne par les Nouveaux Médias ces organismes ont ajouté de nouvelles problématiques aux intérêts, historiquement centrés sur le contenu, qu'ils défendent et ont commencé à plaidoyer les politiques qui gèrent le transport des données. Lors de la seconde audience, l'Examen des Pratiques de Gestion du Trafic Internet des Fournisseurs de Services Internet, ces organismes ont adressé directement le design, l'implémentation et le fonctionnement technique des technologies de la télécommunication dans leurs commentaires et présentations au Conseil. Le mémoire propose une typologie des organismes culturels Canadiens et résume leurs antécédents en défense des politiques culturelles et des communications. En utilisant une définition de la technologie orientée par les Études des Sciences et Technologies ainsi que de la théorie de l'acteur-réseau le projet démontre que la participation de ces groupes aux forums officiels d'élaboration des politiques de gouvernance internet est complétée par d'autres modes productifs d'interaction avec les technologies d'information et de communication (TIC). À l'aide d'exemples d'intégration des TIC par ces organismes dans leur travail le mémoire fait valoir que de telles pratiques produisent et contribuent à la redéfinition de l'internet. Les organismes culturels du Canada gagneraient à adopter une définition des TIC qui reflète leur relation mutuellement constitutive et co-productive. Le mémoire conclut que les infrastructures de télécommunication doivent être comprises comme étant des acteurs matériels et des participants afin de renforcer et responsabiliser les pratiques et la défense de politiques de ces organismes.
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Hoebarth, Juergen. "Art organisations in the age of social media : how Hong Kong's non-profit art organisations are dealing with the use of social media to address their audiences." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1492.

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Sim, Nicola. "'Like oil and water'? : partnerships between visual art institutions and youth organisations." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49612/.

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This thesis interrogates partnership working between galleries and youth organisations involved in a four-year, Tate led programme called Circuit (2013-2017). This programme sought to build sustainable networks with youth organisations and services across England and Wales in order to ‘improve access and opportunities for harder to reach young people’ who may not otherwise engage with galleries and museums (Circuit, 2013a). Reflecting on the similarities and divergences that characterise practice in gallery education and youth work, this research untangles the historic barriers and tensions that have affected relationships between practitioners, organisations and the youth and visual art sectors. Mobilising Pierre Bourdieu’s theoretical framework, galleries and youth organisations are conceptualised as part of distinct ‘fields’, and their particular traditions, customs and internal contests are analysed. An exploration of the fields’ development under successive governments and changing policy priorities reveals that art organisations benefit from a greater affordance of agency and autonomy than youth organisations, which contributes to the uneven power dynamics that often exist in these cross-sector alliances. Reports from engagement with sector events also highlight how concepts of art and creativity frequently deviate between the fields. Through an ethnographic approach to the research context, participant observations and interviews produce data about Circuit’s programmatic decisions, and its efforts to shift problematic habitual practices. A series of in-depth site studies illustrate different ways for organisations to work together, as well as the challenges of collaboration in pressured political and economic circumstances. Cross-site analysis allows for further deliberation on the compatibility of Circuit’s wider peer-led programme agenda with the comparative agenda and practice of youth organisations. The ambition for young people to continue an independent relationship with the galleries’ programmes is shown to be hindered by a number of sometimes-misrecognised factors that unintentionally alienate certain communities of young people, particularly from working class backgrounds. The final stage of the analysis studies the identity, attitudes and positions of various youth sector agents working and participating within Circuit, and the specific ‘capital’ they bring to the temporary programmatic field. In discussing the implications for practice and research, this thesis asks whether (beyond programmes such as Circuit) it would be possible to establish a permanent collaborative or cooperative field between the youth and gallery sectors. I argue that this would only happen if a range of systemic changes were made, such as the development of national and regional structures to support integrated practice sharing; deeper engagement with the meaning and repercussions of partnership working; a determination to work collaboratively to address social urgencies facing young people, and a fundamental commitment to shift pervasive inequalities in the visual art sector.
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Laurent, Stéphanie. "Le travail identitaire des organisations intermittentes : le cas des associations du spectacle vivant." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3043.

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Comment évolue l’identité des organisations dont l’activité est discontinue ? Pour répondre à cette question, une étude de cas a été menée dans trois associations du spectacle vivant pendant trois ans. La recherche mobilise une approche ethnographique, basée sur plus de 500 heures d’observation participante et 31 entretiens, pour saisir les changements en temps réel dans leur contexte. Sur une période de plusieurs années, les trois associations évoluent très différemment : dans le premier cas l’identité d’origine est réaffirmée, dans le deuxième elle est renouvelée et dans le troisième elle est réinventée. Des termes musicaux sont employés pour nommer ces trois évolutions identitaires : le thème, la variation et l’improvisation. Dans les trois associations, un nouveau sens des croyances identitaires est formulé par les acteurs. Ce nouveau sens n’est cependant pas systématiquement adopté. Trois mécanismes permettant de réaffirmer le sens d’origine des croyances identitaires sont identifiés : la prise de distance, le désenchantement et le désaveu. L’activation de ces mécanismes répond à un besoin de protection de certains acteurs qui se trouvent mis en difficulté par le changement. En montrant comment l’organisation intermittente peut s’appuyer sur la discontinuité de son activité pour en faire une ressource du travail identitaire, ce travail doctoral offre aussi des éléments de compréhension pour les managers d’organisations de ce type
How does the identity of discontinuous organizations change? To answer this question, a three-year-long study was conducted in three non-profit performing arts organizations. This study builds on an ethnographic approach based on more than 500 hours of participant observation and 31 interviews to follow real-time interactions in their context. Over a period of several years, the three organizations evolve very differently: in the first case original identity is reasserted; in the second one identity is renewed; and in the third one it is reinvented. Given the centrality of music to the performing arts organizations studied, naming these three identity evolutions the theme; the variation; and the improvisation seemed apposite.In the three cases, identity beliefs’ new meanings are formulated by organizational members. These new meanings are not systematically adopted. The study identified three mechanisms allowing members to reassert the original meaning: distancing; disenchanting; and rejecting. The study argues that activation of these mechanisms answers a need for protection of some organisational members experiencing difficulties in the change process. By showing how discontinuous organizations can rely on discontinuity as a resource for identity work, this doctoral work also offers elements of comprehension for managers of such organizations
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Books on the topic "Arts organisations"

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Fishel, David. Management of arts organisations. London: National Arts and Media Strategy Unit, Arts Council, 1991.

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Gunn, Lewis. Business planning for arts organisations. Edinburgh: Scottish Arts Council, 1988.

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Jackson, Christine S. Arts and equality: An action pack for arts organisations. Darlington: Arts Development Association, 1989.

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Jackson, Christine S. Arts and equality: An action pack for arts organisations. Darlington: Arts Development Association, 1989.

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Association, Arts Marketing, ed. It's for you: Telemarketing for arts organisations. Cambridge: Arts Marketing Association, 2001.

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Maitland, Heather. The marketing manual: For performing arts organisations. 3rd ed. Cambridge: Arts Marketing Association, 2000.

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Makris, Marie-Louise. Women in the arts directory: A directory of women's arts organisations and other arts organisations that have a positive gender policy. Twickenham: National Association of Women's Organisations, 1994.

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Arts Council of England. Visual Arts Department. Visual Arts Department contacts list: Exhibition spaces, public art organisations, photography centres, new media organisations, architecture centres & visual arts organisations in the UK. London: Arts Council of England, 1998.

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Summerton, Janet. Notes on conducting research for arts & cultural organisations. Exeter: South West Arts, 1999.

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Fargher, Catherine. The arts insurance handbook: A practical guide for artists and arts organisations. 2nd ed. Woolloomooloo, N.S.W: Arts Law Centre of Australia, 2005.

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Book chapters on the topic "Arts organisations"

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Armitage, Andrew, and Diane Ramsay. "A Poetic Approach to Researching Silence in Organisations." In Using Arts-based Research Methods, 209–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33069-9_8.

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Mader, Rachel. "Who Sets the Agenda? Changing Attitudes Towards the Relevance of Small-Scale Visual Arts Organisations in the UK." In Rhetoric, Social Value and the Arts, 17–33. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45297-5_2.

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Leimbach, Tania, and Keith Armstrong. "Creative Partnerships and Cultural Organisations: “Enabling” and “Situating” Arts–Science Collaboration and Collective Learning." In Transdisciplinary Theory, Practice and Education, 241–56. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93743-4_16.

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Chini, Leo W. "ARIS-Organisation." In Aufsichtsrats-Informationssystem, 81–92. Wiesbaden: Gabler Verlag, 1988. http://dx.doi.org/10.1007/978-3-322-87489-4_7.

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Hamilton, Albert. "Chapter 9. Performing organisations." In Art and practice of managing projects, c—130—c—139. London: Thomas Telford Ltd, 2010. http://dx.doi.org/10.1680/apmp.34563.0009.

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Ward, Jenna, and Daniel King. "Drawing Out Emotion in Organisational Life." In Using Arts-based Research Methods, 15–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33069-9_2.

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Stevenson, David. "Introduction." In Managing Organisational Success in the Arts, 1–4. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185729-1.

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Dickson, Lesley-Ann. "Episodic volunteer management at festivals." In Managing Organisational Success in the Arts, 147–70. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185729-10.

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Newton, Travis. "Feeding tomorrow." In Managing Organisational Success in the Arts, 5–20. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185729-2.

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DeVereaux, Constance, and Jim Richerson. "Taking charge of change." In Managing Organisational Success in the Arts, 21–35. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185729-3.

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Conference papers on the topic "Arts organisations"

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Boiano, Stefania, Ann Borda, Guiliano Gaia, Stefania Rossi, and Pietro Cuomo. "Chatbots and New Audience Opportunities for Museums and Heritage Organisations." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.33.

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Kooskora, Mari. "BUILDING BLOCKS OF DECISION-MAKING: PERCEIVED QUALITY OF ORGANISATIONAL DECISION-MAKING BY KNOWLEDGE WORKERS IN FINNISH ORGANISATIONS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s11.006.

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Tsaregorodtsev, Yuriy. "THE NECESSITY OF HUMAN POTENTIAL DEVELOPMENT OF ORGANISATIONS." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/13/s04.129.

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Kozerska, Agnieszka. "SUCCESSFUL AGEING FROM THE PERSPECTIVE OF POLISH SENIORS, PARTICIPANTS OF RELIGIOUS ORGANISATIONS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/3.5/s13.101.

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Kaufmane, Dace. "REMOTE EMPLOYMENT OPPORTUNITIES AT THE EXTERNAL RELATIONS DEPARTMENTS OF PUBLIC SECTOR ORGANISATIONS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/1.5/s05.103.

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Sokolova, Marcela. "CREATING OPPORTUNITIES FOR THE APPLICATION OF WORKERS� CREATIVITY IN ORGANISATIONS IN ORDER TO DEVELOP ESSENTIAL INNOVATIONS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b11/s2.051.

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Michalak, Magdalena. "PARTICIPATION OF SOCIAL ORGANISATIONS IN ADMINISTRATIVE PROCEDURES IN ENVIRONMENTAL MATTERS IN THE EUROPEAN UNION AND POLISH LEGAL SYSTEM." In 5th International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/1.2/s02.092.

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Cekuls, Andrejs. "THE TRANSFORMATION OF ORGANISATIONAL CULTURE IN THE LEARNING ORGANISATION FOR ENSURING COMPETITIVE INTELLIGENCE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b23/s7.121.

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Walasik, Marzena, and Beata Poteralska. "Models of implementing innovative technologies into industry." In 11th International Scientific Conference „Business and Management 2020“. VGTU Technika, 2020. http://dx.doi.org/10.3846/bm.2020.520.

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Abstract:
The paper is aimed at identifying the state-of-the-art in the field of traditional and innovative management of a new product (the result of R&D works). Against this background, key elements of the management process of new product development (NPD) at R&D organisations, are identified. The main components of the management process comprise the developed implementation models and dedicated marketing tools, with taking into account the specific character of an R&D organisation, whose activities should be focused on the commercialisation of obtained research results.
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Gburova, Jaroslava. "PRODUCT POLICY AS COMPETITION TOOL OF ORGANISATION." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/15/s05.096.

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