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Journal articles on the topic 'Arts organisations'

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Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

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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6

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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7

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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8

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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Ayyaz, Samman, Rao Aamir Khan, Sohail Aslam, Muhammad Khushnood, and Humera Manzoor. "PROJECT SUCCESS: ROLE OF ORGANISATION STRENGTHS AND PROJECT MANAGEMENT COMPETENCIES." Humanities & Social Sciences Reviews 9, no. 3 (May 24, 2021): 508–16. http://dx.doi.org/10.18510/hssr.2021.9352.

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Purpose of the study: This research examines the major organisation strength factors, important project management competencies, and the criteria for project success, and their interrelationship. Methodology: A mixed-method approach is applied with a positivist stance to test the validity of the proposed hypotheses. Based on the detailed literature review and five expert interviews, 'organisation strengths' are identified and classified into three subcategories, making a second-order construct. A survey strategy is used to collect data from PMO individuals of construction organisations. SmartPLS software is used to analyse 97 responses. Main Findings: The results of this study support the proposed relationship. It suggests that organisation strengths influence project management competencies and project success. Furthermore, resources and capabilities influence project success. The findings are in line with the literature suggesting that organisation resources and capabilities are important for project success. Application of the study: This study is relevant for PMO individuals, especially in construction organisations. The findings highlight the importance of organisational strengths that lead to build project management competencies and eventually attain project success. These organisational strengths are of great significance to both the researchers and industry practitioners. The originality of the study: This study has applied a mixed-method approach. The model in the study empirically tests the organisation strength factors affecting project success. Furthermore, the study used SmartPLS software to test the influence of organisation strength to increase project management competencies and their cumulative effect on project success.

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Oakes, Helen, and Steve Oakes. "Accounting colonisation and austerity in arts organisations." Critical Perspectives on Accounting 38 (July 2016): 34–53. http://dx.doi.org/10.1016/j.cpa.2015.10.005.

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West, Emma. "‘within the reach of all’: Bringing Art to the People in Interwar Britain." Modernist Cultures 15, no. 2 (May 2020): 225–52. http://dx.doi.org/10.3366/mod.2020.0290.

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The years during and after the Great War saw an explosion in arts organisations attempting ‘to bring the Arts into everyday life’. 1 This essay argues that arts organisations should be seen alongside institutions like bookshops, magazines and galleries as key mediating institutions between modernist artists and writers and the general public. Using the Arts League of Service as a case study, I explore whether it was possible for such organisations to be experimental, educational and popular. To what extent could they reconcile their democratic principles with their belief in the transformative power of experimental modern art, design, literature and performance?

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Raduski, Dragoljub. "Basic Management Functions in Culture and Arts Organisations." Management - Journal for theory and practice of management 21, no. 81 (December 1, 2016): 59–66. http://dx.doi.org/10.7595/management.fon.2016.0024.

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15

Tambling, Pauline. "Opera, education and the role of arts organisations." British Journal of Music Education 16, no. 2 (July 1999): 139–56. http://dx.doi.org/10.1017/s0265051799000236.

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This article describes three projects organised by the Royal Opera House Education Department between 1985 and 1997. Following the descriptions each project is analysed in terms of students, artists and teachers with a view to placing the work within an overall conceptual framework suggesting that arts education provides an interface between the professional work of artists and educational settings. It proposes that arts education can be most effective when students are encouraged to see themselves ‘as artists’ and by creating their own work they can then engage with the work of other artists, both living and from other generations.

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Dadich, Ann, Katherine M. Boydell, Stephanie Habak, and Chloe Watfern. "Positive Organisational Arts-Based Youth Scholarship: Redressing Discourse on Danger, Disquiet, and Distress during COVID-19." International Journal of Environmental Research and Public Health 18, no. 11 (May 25, 2021): 5655. http://dx.doi.org/10.3390/ijerph18115655.

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This methodological article argues for the potential of positive organisational arts-based youth scholarship as a methodology to understand and promote positive experiences among young people. With reference to COVID-19, exemplars sourced from social media platforms and relevant organisations demonstrate the remarkable creative brilliance of young people. During these difficult times, young people used song, dance, storytelling, and art to express themselves, (re)connect with others, champion social change, and promote health and wellbeing. This article demonstrates the power of positive organisational arts-based youth scholarship to understand how young people use art to redress negativity via a positive lens of agency, peace, collectedness, and calm.

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Carlucci, Daniela. "Fostering excellence in business model management in arts and cultural organisations: insights from focus group research across Europe." Measuring Business Excellence 22, no. 1 (March 19, 2018): 14–30. http://dx.doi.org/10.1108/mbe-12-2017-0094.

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PurposeIn today’s business landscape, arts and cultural organisations are challenged to search for excellence of their business model management to create and deliver value in a more sustainable way. This study develops exploratory focus groups aimed to capture insights into the practical challenges, wants and needs that arts and cultural organisations across Europe address and face in managing and developing their business models. Design/methodology/approachThe focus groups method has been applied. The methodology included seven focus groups involving arts and cultural organisations operating in different European countries. FindingsThe overall feeling emerging from focus groups is that there is an increasing pressure to prove the value of culture, e.g. economic, social and civic, progressively more in quantitative figures. Arts and cultural organisations are greatly concerned about their financial health, and their ability to continue creating and presenting great arts and cultural events. At the same time, there is an acceptance that gaining financial resilience and sustainability can no longer be put off. Organisations are conscious that it is crucial to rethink their way of operating and to improve their value creation mechanisms to get sustainability. Nevertheless, the challenges to face and issues of change to get a more effective business model management are numerous and various. Originality/valueThe study sheds more light on “business dimensions” perceived by arts and cultural organisations across Europe, as particularly crucial for their survival and requiring proper management attention. In doing this, it offers fresh and valuable knowledge about aspects, factors and dimensions to take into account in the managing business model.

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Wiggins Johnson, Jennifer, Stephen B. Preece, and Chanho Song. "How are arts organizations responding to critique in the digital age?" Arts and the Market 6, no. 1 (May 3, 2016): 17–32. http://dx.doi.org/10.1108/aam-10-2013-0020.

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Purpose – Online communications have made critical reviews widely accessible, enabled a broader range of opinions to be heard, and led to increased critical dialogue among audiences. The purpose of this paper is to investigate how arts organisations’ strategies for engaging with critique have evolved in the digital age. Design/methodology/approach – This paper uses a content analysis of the online presence of 45 organisations. Based on the results, the organisations are classified into three different strategic approaches. The organisations’ publicly available financial data are analysed to explain differences in the choice of strategic approach, and specific cases are used to better understand their strategic execution. Findings – Organisations are engaging in three primary strategic responses: ignoring outside critique, presenting only positive reviews and ignoring or “spinning” negative reviews, and presenting all critique regardless of source or valence. The financial analysis suggests that the choice of strategic response varies across organisations of different sizes and approaches to advertising. Case analyses suggest that the strategy of presenting all critique has the potential to deepen audience engagement and value. Originality/value – Previous research on critical reviews has focused on traditional media and the importance of the professional critic. This paper is the first to examine strategies for coping with the complex, multiple-voiced nature of critique in the current online environment. The findings suggest questions for future research and provide initial guidelines for organisations in determining a strategic approach to responding to critique.

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Dade, Penny. "Arts and disability: the European information network." Art Libraries Journal 15, no. 4 (1990): 4–8. http://dx.doi.org/10.1017/s0307472200006970.

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Since the mid-1980s, a number of initiatives in Europe and the United Kingdom have sought to promote the participation of the disabled in artistic activities. A focal point for a European network linking organisations and individuals throughout Europe is provided by a European Resource Centre, based at Hertfordshire College of Art and Design in the United Kingdom, which publishes the journal Atria and which maintains the European Arts and Disability Database. Some other organisations publish their own newsletters, while certain other databases can provide relevant information.

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Turnbull, Alison. "Review of Scottish Arts Council'sQuality Framework – guidelines for arts organisations(2nd ed.), 2009." Cultural Trends 20, no. 2 (June 2011): 185–91. http://dx.doi.org/10.1080/09548963.2011.563913.

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Schrover, Marlou, and Floris Vermeulen. "Immigrant Organisations." Journal of Ethnic and Migration Studies 31, no. 5 (September 2005): 823–32. http://dx.doi.org/10.1080/13691830500177792.

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Lindqvist, Katja. "PUBLIC GOVERNANCE OF ARTS ORGANISATIONS IN SWEDEN: STRATEGIC IMPLICATIONS." International Journal of Cultural Policy 13, no. 3 (August 2007): 303–17. http://dx.doi.org/10.1080/10286630701556498.

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Reiss, Alvin H. "American arts service organisations: Conduits for millions in funding." International Journal of Nonprofit and Voluntary Sector Marketing 1, no. 4 (October 1996): 322–26. http://dx.doi.org/10.1002/nvsm.6090010405.

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Greenwell, T. Christopher, Dustin Thorn, and Jason Simmons. "Is violence used to promote Mixed Martial Arts?" International Journal of Sports Marketing and Sponsorship 16, no. 4 (July 1, 2015): 10–21. http://dx.doi.org/10.1108/ijsms-16-04-2015-b003.

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This study examines how Mixed Martial Arts (MMA) events are marketed in order to understand the role of violence in promoting events. Researchers examined 134 pieces of promotional artwork and 57 promotional news releases by MMA organisations across North America, Asia and Europe and found that 18 (13.4%) pieces of promotional artwork used violent text or imagery. Violent text was found in 12 (21%) of the 57 news releases. Violence was typically limited to smaller or European organisations. Results illustrate an evolution of the sport, suggesting violence may no longer be necessary to promote events.

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Minkiewicz, Joanna, Kerrie Bridson, and Jody Evans. "Co-production of service experiences: insights from the cultural sector." Journal of Services Marketing 30, no. 7 (October 10, 2016): 749–61. http://dx.doi.org/10.1108/jsm-04-2015-0156.

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Purpose The increased involvement of customers in their experience is a reality for all service organisations. The purpose of this paper is to explore the way organisations collaborate with customers to facilitate consumption of cultural experiences through the lens of co-production. Although organisations are typically an integral part of the co-production process, co-production is typically considered from a consumer angle. Aligned with the service ecosystem perspective and value-in-cultural context, this research aims to provide greater insight into the processes and resources that institutions apply to co-produce experiences with consumers and the drivers and inhibitors of such processes. Design/methodology/approach Case study research with three exemplar organisations, using in-depth interviews with key informants was used to investigate the processes organisations follow in co-producing the service experience with customers, as well as the drivers and inhibitors of organisational co-production of the service experience in the cultural sector. Findings The findings illuminate that cultural organisations are co-producing the service experience with their customers, as revealed through a number of key processes: inviting customers to actively participate in the experience, engaging customers and supporting customers in the co-production of the experience. Increasingly demanding consumers and a changing competitive landscape are strong external drivers of co-production. Visionary leadership and consumer-focussed employees are internal factors impelling organisations to co-produce experiences with consumers. A strong curatorial orientation, complex organisational structure, employee attitude and capability gaps and funding constraints are impediments towards organisations co-producing experiences with consumers. Originality/value This paper addresses a gap in Service-Dominant logic theory, arts/cultural marketing and broader services marketing literature by proposing a broadened conceptualisation of co-production of the service experience. This conceptualisation can be used as a platform to derive strategic imperatives for managers of service organisations. The findings highlight the key practices and resources that are central to organisations co-producing experience with customers. In this way, greater understanding of institutional logics and practices that underpin experience co-production emerges.

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Wilks, Linda. "Communicating an arts foundation’s values: sights, sounds and social media." Arts and the Market 6, no. 2 (October 3, 2016): 206–23. http://dx.doi.org/10.1108/aam-08-2015-0014.

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Purpose The purpose of this paper is to test and refine the long-established signal transmission model of the communication process by examining the ways in which a newly formed nonprofit arts foundation communicated its professed values to its stakeholders. Design/methodology/approach The study uses a mixed method case study approach. Interviews with key informants and observations of the foundation’s webpages enabled the identification of the professed values of the arts foundation. Next, a questionnaire survey established whether these values had been successfully decoded by stakeholders and identified the channels via which the values-related signals had been received. Findings The transmission model was found to be relevant as a model. However, to improve its fit within a nonprofit arts context, a modification to the model is suggested which highlights the importance of multi-sensory channels, the importance of context and the increasingly important role of the stakeholder. Research limitations/implications This study is a small-scale case study, although its mixed methods help to ensure validity. Practical implications The findings will help nonprofit arts organisations to decide how to best communicate their values to their stakeholders. Social implications The improved communications model will contribute to the enabling of organisations to uphold and transmit their values and thus improve society’s overall quality of life. Originality/value Literature which provides in-depth examination of the communication of values within a nonprofit arts context via a range of channels, including traditional, online and multi-sensory, is sparse. The opportunity to study a newly formed nonprofit arts organisation is also rare. The results of this study provide valuable evidence that even in today’s social media-rich world, people, sounds, sights and material objects in physical space still have a vital role to play in the communication of values.

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Bierschenk, Thomas, and Jean-Pierre Olivier de Sardan. "How to study bureaucracies ethnographically?" Critique of Anthropology 39, no. 2 (April 16, 2019): 243–57. http://dx.doi.org/10.1177/0308275x19842918.

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We propose a short epistemological and methodological reflection on the challenges of doing ethnographical research on public services (‘bureaucracies’) from the inside. We start from the recognition of the double face of bureaucracy, as a form of domination and oppression as well as of protection and liberation, and all the ambivalences this dialectic entails. We argue that, in classical Malinowskian fashion, the anthropology of bureaucracy should take bureaucrat as the ‘natives’, and acknowledge their agency. This means adopting basic anthropological postures: the natives (i.e. the bureaucrats) must have good reasons for their seemingly ‘absurd’ (or arbitrary) practices, once you understand the context in which they act. Based on intensive fieldwork and understanding ethnography as a form of grounded-theory production, to explore this ‘rationality in context’ of bureaucrats should be a major research objective. As in day-to-day intra-organisational practice and in internal interactions between bureaucrats, state bureaucracies function largely as any other modern organisation, the anthropology of bureaucracy does not differ that much from the anthropology of organisations. One of the major achievements of the latter has been to focus on the dialectics of formal organisation and real practices, official regulations and informal norms in organisations ‘at work’. This focus on informal practices, pragmatic rules and practical norms provides the main justification for the utilisation of ethnographic methods. In fact, it is difficult to see how informal norms and practices could be studied otherwise, as ethnography is the only methodology to deal with the informal and the unexpected.

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Rentschler, Ruth, and Gus Geursen. "Entrepreneurship, Marketing and Leadership in Non‐Profit Performing Arts Organisations." Journal of Research in Marketing and Entrepreneurship 6, no. 1 (July 2004): 44–51. http://dx.doi.org/10.1108/14715200480001354.

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Johnson, Mark S., and Ellen Garbarino. "Customers of performing arts organisations: are subscribers different from nonsubscribers?" International Journal of Nonprofit and Voluntary Sector Marketing 6, no. 1 (February 2001): 61–77. http://dx.doi.org/10.1002/nvsm.134.

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Thomas, Sarah R., Simon J. Pervan, and Peter J. Nuttall. "Marketing orientation and arts organisations: the case for business sponsorship." Marketing Intelligence & Planning 27, no. 6 (September 18, 2009): 736–52. http://dx.doi.org/10.1108/02634500910988654.

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Cornia, Alessio, Annika Sehl, and Rasmus Kleis Nielsen. "‘We no longer live in a time of separation’: A comparative analysis of how editorial and commercial integration became a norm." Journalism 21, no. 2 (June 13, 2018): 172–90. http://dx.doi.org/10.1177/1464884918779919.

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The separation between editorial and business activities of news organisations has long been a fundamental norm of journalism. Journalists have traditionally considered this separation as both an ethical principle and an organisational solution to preserve their professional autonomy and isolate their newsrooms from profit-driven pressures exerted by advertising, sales and marketing departments. However, many news organisations are increasingly integrating their editorial and commercial operations. Based on 41 interviews conducted at 12 newspapers and commercial broadcasters in six European countries, we analyse how editors and business managers describe the changing relationship between their departments. Drawing on previous research on journalistic norms and change, we focus on how interviewees use rhetorical discourses and normative statements to de-construct traditional norms, build new professionally accepted norms and legitimise new working practices. We find, first, that the traditional norm of separation no longer plays the central role that it used to. Both editors and managers are working to foster a cultural change that is seen as a prerequisite for organisational adaptation to an increasingly challenging environment. Second, we find that a new norm of integration, based on the values of collaboration, adaptation and business thinking, has emerged. Third, we show how the interplay between declining and emerging norms involves a difficult negotiation. Whereas those committed to the traditional norm see commercial considerations as a threat to professional autonomy, our interviewees see the emerging norm as a new way of ensuring professional autonomy by working with other parts of the organisation to jointly ensure commercial sustainability.

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PHILLIPS, CHARLES D., ANNE-MARIE KIMBELL, CATHERINE HAWES, JANET WELLS, JEAN BADALAMENTI, and MARY JANE KOREN. "It's a family affair: consumer advocacy for nursing-home residents in the United States." Ageing and Society 28, no. 1 (January 2008): 67–84. http://dx.doi.org/10.1017/s0144686x07006435.

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ABSTRACTNursing homes in the United States have for over 40-years been riddled with evidence of poor performance. To combat problems in this industry, state and federal governments developed an elaborate monitoring and regulatory structure. At the same time, an important citizens' movement involving nursing-home consumer advocacy groups (CAGs) came to life. This paper presents the results of a postal survey of 47 active nursing-home consumer advocacy groups. They indicate that the majority of these organisations were started by an individual dissatisfied with the care provided to a family member. The political arena in which these organisations were most active was State legislatures. Though they varied considerably, the average CAG operated on a thin financial margin, largely supported by member contributions and donations. These organisations defined their success in terms of their ability to generate policy changes at the State level. Unfortunately, as they pursued these changes, they often failed to develop the organisational infrastructure necessary to assure the CAGs' continued operation. When CAGs ceased operations, it was in most cases the loss of the organisation's original leader or the cumulative effects of the constant struggle to maintain adequate financial resources.

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Vaux Halliday, Sue, and Alexandra Astafyeva. "Millennial cultural consumers: co-creating value through brand communities." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 119–35. http://dx.doi.org/10.1108/am-01-2014-0003.

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Purpose – The purpose of this paper is to conceptualise millennial cultural consumers (MCCs) to bring together strands of consumer theory with branding theory to consider how to attract and retain younger audiences in arts organisations. Within that the authors single out for attention how “brand community” theory might apply to MCCs. Design/methodology/approach – This paper is a conceptual paper that reviews and comments on concepts relevant to helping arts organisations develop strategies to attract and retain younger consumers in their audiences. Findings – Thoughtful conceptual insights and four research propositions for further work by academics and/or practitioners on Millennials and the art and culture world are derived from this review and commentary. Managerial implications are also drawn out. Originality/value – This paper contributes to the knowledge development of such concepts as value and brand communities. It also provides an explanation of these concepts conncecting academic thought on value with pressing management challenges for arts organisations, suggesting ways to apply brand community thinking to innovatiely conceptualised MCCs.

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Dvorak, Jaroslav. "Lithuanian Agencies and Other Public Sector Organisations: Organisation, Autonomy, Control and Performancew." Journal of Baltic Studies 44, no. 1 (March 2013): 115–18. http://dx.doi.org/10.1080/01629778.2013.764648.

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Silva, D. S., J. L. Gibson, R. Sibbald, E. Connolly, and P. A. Singer. "Clinical ethicists' perspectives on organisational ethics in healthcare organisations." Journal of Medical Ethics 34, no. 5 (May 1, 2008): 320–23. http://dx.doi.org/10.1136/jme.2007.020891.

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Gahan, Peter, Stella Minahan, and Hilary Glow. "A creative twist: Management theory, creativity and the Arts." Journal of Management & Organization 13, no. 1 (March 2007): 41–50. http://dx.doi.org/10.1017/s1833367200003898.

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AbstractThe idea that organizations need to adopt structures and practices that facilitate ‘creativity’ has become a central theme in theories of managing organisational innovation and success. This idea has been deployed in organisational theory, HRM, marketing and other domains of organization studies. For many theorists and practitioners in this area, organisational creativity is something to be distilled and managed as an element of organisational performance.We argue, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. Our starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centres on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art.However it is defined, we argue that the notion of ‘creativity in business’ conveniently ignores essential elements of what constitutes creativity. In the process of being appropriated from the arts, the concept of creativity, we argue, has been ‘hollowed out’ and refashioned to suit the structures of organization as institution, and its needs as a business organization. This appropriated view of creativity has, in turn, been imposed on arts organisations, which are impelled to see themselves as ‘creative businesses’. In both cases, the mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfilment.

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Gahan, Peter, Stella Minahan, and Hilary Glow. "A creative twist: Management theory, creativity and the Arts." Journal of Management & Organization 13, no. 1 (March 2007): 41–50. http://dx.doi.org/10.5172/jmo.2007.13.1.41.

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AbstractThe idea that organizations need to adopt structures and practices that facilitate ‘creativity’ has become a central theme in theories of managing organisational innovation and success. This idea has been deployed in organisational theory, HRM, marketing and other domains of organization studies. For many theorists and practitioners in this area, organisational creativity is something to be distilled and managed as an element of organisational performance.We argue, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. Our starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centres on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art.However it is defined, we argue that the notion of ‘creativity in business’ conveniently ignores essential elements of what constitutes creativity. In the process of being appropriated from the arts, the concept of creativity, we argue, has been ‘hollowed out’ and refashioned to suit the structures of organization as institution, and its needs as a business organization. This appropriated view of creativity has, in turn, been imposed on arts organisations, which are impelled to see themselves as ‘creative businesses’. In both cases, the mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfilment.

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Quero, María José, and Rafael Ventura. "The Role of Stakeholders in the Management of Cultural Organisations: The Case of Performing Arts Organisations in Spain." Journal of Relationship Marketing 8, no. 1 (March 12, 2009): 17–35. http://dx.doi.org/10.1080/15332660802675528.

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Whitelaw, Sandy, Isla Gibson, Annie Wild, Heather Hall, and Heather Molloy. "The Dumfries Arts Award Project: towards building a programme theory of innovation transfer across two social organisations." Social Enterprise Journal 17, no. 2 (January 14, 2021): 183–202. http://dx.doi.org/10.1108/sej-11-2019-0081.

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Purpose The purpose of this paper is to critically understand a programme theory of the “transfer” of work in one social organisation and sector (an innovative and successful social enterprise community café, The Usual Place that seeks to enhance the employability of young people with additional support needs in “hospitality”) to another (Dumfries Theatre Royal, a regional theatre and registered charity, specifically the “Dumfries Arts Award Project” and more generally, “the arts”). Design/methodology/approach By means of gaining insight into the complexity of the transfer of innovative practices between two socially oriented organisations and theoretical insights into associated conducive contexts and optimal processes, the work used realist evaluation resources within a longitudinal ethnographic approach. Within this, a series of specific methods were deployed, including semi structured key stakeholder interviews, non-participant observation and “walking” and “paired” interviews with service users in each organisation. Findings The principle finding is that with attention being paid to the context and intervention processes associated with transfer processes and having sufficient capacity and strong partnership working, it is possible to take an innovative idea from one context, transfer it to another setting and have relatively immediate “success” in terms of achieving a degree of sustainability. The authors propose a provisional programme theory that illuminates this transfer. They were also able to show that, whilst working with the potentially conservative concept of “employability”; both organisations were able to maintain a progressive ethos associated with social innovation. Originality/value The work offers theoretical and methodological originality. The significance of “scaling up” social innovation is recognised as under-researched and under-theorised and the use of a realistic evaluation approach and the associated development of provisional programme theory address this.

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Lowson, Dave. "The Arts Network." A Life in the Day 1, no. 1 (February 1, 1997): 25–26. http://dx.doi.org/10.1108/13666282199700008.

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There are many initiatives — by organisations and by individuals — across the UK displaying imagination in responding to mental distress. Many of us want to be enthused through awareness of this richness. This regular ‘Network’ section is a small attempt to increase opportunities to learn and be inspired by each other.In each issue, part of this section will give some brief information on contacts and ideas relating to a particular theme. The first theme is ‘Arts, creativity and mental health’. Future themes include Leisure, Employment, Support and European Partnerships.The success of the Network section will to a large extent depend on our readers. If you involved in, or know of, something which you think will be of interest to others, then do send us brief details. If it seems particularly exciting, then we may contact you and ask whether you would do a larger piece for the journal.

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Le, Huong Thi Kieu. "Changes in Arts Organisations under the Open Market Economy in Vietnam." International Journal of Knowledge, Culture, and Change Management: Annual Review 4, no. 1 (2005): 0. http://dx.doi.org/10.18848/1447-9524/cgp/v04/50229.

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Manning, Paul. "Media Organisations in Society." Journalism: Theory, Practice & Criticism 3, no. 2 (August 2002): 251–55. http://dx.doi.org/10.1177/146488490200300210.

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Williams-Burnett, Nicola Jayne, and Heather Skinner. "Critical reflections on performing arts impact evaluations." Arts and the Market 7, no. 1 (May 2, 2017): 32–50. http://dx.doi.org/10.1108/aam-11-2015-0017.

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Purpose The purpose of this paper is to present a critically reflective account of the process of conducting an impact evaluation of a dance-theatre company’s staged productions and workshops. Design/methodology/approach There are two main approaches: the introspective critical reflection on the process of performing an impact evaluation; and the drawing/colouring methods used to perform it. Findings It is more difficult to provide impact evaluations of the soft rather than hard outcomes of publicly funded performance arts. The engagement of third-party evaluators may help overcome the challenge that many “accepted” approaches are outwith the skill or financial resources of smaller non-profit organisations. Research limitations/implications Although based on a single case, the authors believe that the evidence how the use of innovative methodologies may be more appropriate to performing arts impact evaluations, even those less familiar to management researchers. Practical implications This paper offers insights into various methods of impact evaluation that may be of use to smaller non-profit arts organisations who may be constrained by limited skills and financial resources. Originality/value This paper provides an original contribution to understanding innovative methodologies to perform arts impact evaluations, particularly those assessing soft outcomes, and a contribution in recognising the role of academic researchers in performing such evaluations.

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Ruiz, Jaime, Francois Colbert, and Alessandro Hinna. "Arts and culture management." Academia Revista Latinoamericana de Administración 30, no. 2 (June 5, 2017): 147–55. http://dx.doi.org/10.1108/arla-02-2017-0032.

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Purpose The purpose of this paper is to provide an overall picture of the five articles included in this issue highlighting their contributions and revealing the importance of academic research for arts and culture management as a nascent topic in the Latin American context. Design/methodology/approach This paper elaborates a critical description of the main aspects of the papers included. The contributions are grouped together around central topics pertaining to arts and culture management such as: audience creation and environment; museums, competition and efficiency; and management skills and entrepreneurship. Findings The contributions of the articles are as diverse as the topics included in them. Some highlight the importance of the context in audience creation processes, others reveal the determinants of the institutional variables in the efficiency of artistic organisations, and a final one, reveals the deconstruction of an artistic genre and its contribution to the comprehension of organisations’ innovation processes. However, the most important contribution, within the Latin American context, consists basically in a process of dissemination and knowledge of the research developed in different international contexts and which may apply to the analysis of arts and culture management in the region. Originality/value As noted in the body of this paper, the topic of cultural management is novel and has acquired notable importance in developed economies in which the arts and culture sector has strategic value. Latin America reveals an institutional revolution which situates the cultural sector in a predominant position where its contribution to the creation of social and economic value turns it into a key field in Latin American societies. Arts and culture constitute a factor of value creation which requires carefully planned and pertinent management processes. This publication, through its five contributions, all European, is a valuable tool of dissemination for knowledge and management in Latin America, where academic research into the sector is, as yet, incipient.

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Ford, Simon James. "Co-evolutionary processes and positive feedbacks in the growth of the ultimate fighting championships." Sport, Business and Management: An International Journal 5, no. 1 (March 9, 2015): 31–49. http://dx.doi.org/10.1108/sbm-11-2011-0083.

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Purpose – In the late 2000s, the Ultimate Fighting Championships (UFC) emerged to become the dominant mixed martial arts (MMA) organisation, bringing the sport to mainstream acceptance. The purpose of this paper is to draw on theories of co-evolution and positive feedbacks to provide insights into how the UFC has assumed this dominant position. Design/methodology/approach – A single historical case study is compiled drawing on data from a number of sources, including the UFC, US State Athletic Commissions, MMA web sites and prior UFC-related academic literature. Findings – A number of significant growth dynamics are identified, including interconnections between the increase in free-to-air events and the generation of new UFC fans and revenues; the increased financial rewards to successful fighters that allows them to improve the quality of their training and the improved quality of UFC content; and the accumulation of a critical mass of high-level fighters that increases the reputation of the UFC and the increased attraction of new fighters to the organisation. Research limitations/implications – Further in depth studies are necessary to substantiate and quantify the interconnections identified in this paper. Practical implications – The paper provides insights for other non-mainstream sports organisations that are attempting to grow their participation and viewership. Originality/value – The emergence of new sports and sports organisations such as the UFC with global appeal and significant commercial returns is infrequent. This study contributes to the need for understanding of how new sports enter the mainstream and the role that governing organisations such as the UFC play in achieving this transition.

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Bartram, Dave. "Assessment in Organisations." Applied Psychology 53, no. 2 (April 2004): 237–59. http://dx.doi.org/10.1111/j.1464-0597.2004.00170.x.

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Malina, Roger, Robin L. Drummond, and Philip Blair. "The Directory of Artists' Organisations." Leonardo 19, no. 4 (1986): 349. http://dx.doi.org/10.2307/1578387.

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Rosenow-Williams, Kerstin. "Organising Muslims and Integrating Islam: Applying Organisational Sociology to the Study of Islamic Organisations." Journal of Ethnic and Migration Studies 40, no. 5 (September 13, 2013): 759–77. http://dx.doi.org/10.1080/1369183x.2013.833710.

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Zan, Luca. "Managerialisation processes and performance in arts organisations: the Archaelogical Museum of Bologna." Scandinavian Journal of Management 16, no. 4 (December 2000): 431–54. http://dx.doi.org/10.1016/s0956-5221(00)00015-4.

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Glow, Hilary, Melissa A. Parris, and Amanda Pyman. "Working with boards: The experiences of Australian managers in performing arts organisations." Australian Journal of Public Administration 78, no. 3 (June 4, 2018): 396–413. http://dx.doi.org/10.1111/1467-8500.12327.

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