L'Art Pour L'Art? Behavioral Effects of Performing Arts Organizations

1987 ◽  
Vol 5 (1) ◽  
pp. 59-78 ◽  
Author(s):  
Bruno S. Frey ◽  
Werner W. Pommerehne
Keyword(s):  
Economic Model ◽  
Performing Arts ◽  
Behavioral Effects ◽  
Arts Organizations ◽  
Ceteris Paribus ◽  
Public Companies ◽  
Non Profit ◽  
Incentive Effects ◽  
Performing Arts Organizations ◽  
Different Types

The institutional forms of cooperative, profit-oriented (private) and government subsidized non-profit performing arts companies affect the behavior of their management systematically. Thus, the managers of profit-oriented theaters, operas, and orchestras tend to let plays run longer, to have a smaller number of new productions and a more narrow repertoire than do public companies. The number of rehearsals will, ceteris paribus, be smaller, and more plays suiting the preferences of the general public will be offered. These propositions are derived using the economic model of behavior looking also on the incentive effects of different types of government subsidies.

scholarly journals Non-profit brand and corporate sponsorship in performing arts organizations

2021 ◽  
Author(s):  
Leila Fene
Keyword(s):  
Brand Equity ◽  
Performing Arts ◽  
Specific Reference ◽  
Arts Organizations ◽  
Corporate Sponsorship ◽  
Non Profit ◽  
Performing Arts Organizations ◽  
Potential Benefits ◽  
Potential Impact ◽  
Different Sources

This purpose of this paper is as follows. First, it will investigate Thompson and Stegemann's theory that suggests that for performing arts organizations, brand and brand equity are contributed to by a number of different sources, each of which may have their own brand and brand equity ("Brand Equity and the Cultural Event: The Amalgamation of Multiple Brands for a Unified Marketing Communications Performance", 2). The multi-faceted composition of brand equity will be examined with a specific application to potential impact on corporate sponsorship. Each of the key elements that contribute to brand equity will be examined with specific reference to the potential benefits and hazards they may bring to a corporate sponsorship relationship. Secondly, this paper will propose the addition of four additional sources of brand equity to those proposed by Thompson and Stegemann. These sources will also be evaluated for relevance to corporate sponsorship. It is hoped that this paper and further studies into non-profit brand will balance the brand equation in arts sponsorship relationships, where traditional emphasis has been placed on the brand of the donor. This may, in turn, work to pave the way for a more equitable and mutually beneficial sponsor relationship or partnership between corporations and arts organizations -- Page 2.

scholarly journals Revenue and attendance simultaneous optimization in performing arts organizations

2018 ◽  
Vol 42 (4) ◽  
pp. 677-700 ◽  
Author(s):  
Andrea Baldin ◽  
Trine Bille ◽  
Andrea Ellero ◽  
Daniela Favaretto
Keyword(s):  
Performing Arts ◽  
Simultaneous Optimization ◽  
Arts Organizations ◽  
Performing Arts Organizations

Crowdfunding Acts as a Funding Substitute and a Legitimating Signal for Nonprofit Performing Arts Organizations

2020 ◽  
Vol 49 (4) ◽  
pp. 827-848 ◽  
Author(s):  
Kostas Alexiou ◽  
Jennifer Wiggins ◽  
Stephen B. Preece
Keyword(s):  
Performing Arts ◽  
Crowding Out ◽  
Arts Organizations ◽  
Negative Effects ◽  
Important Link ◽  
Performing Arts Organizations ◽  
The Relationship ◽  
Cultural Data

This research examines the relationship between crowdfunding campaigns by nonprofit performing arts organizations and their overall fundraising portfolio. Using a dataset compiled from the CrowdBerkeley Initiative and the Cultural Data Project, we find an important link between campaign success and organization age. For young organizations, crowdfunding success attracts funding in the subsequent year, while a failed campaign significantly hampers the organization’s ability to raise funds, suggesting that crowdfunding acts as a legitimating signal. In contrast, older organizations appear to be insulated from the negative effects of a failed campaign. In addition, higher amounts raised in the campaign are associated with a substitution or “crowding out” effect for other types of funding for young organizations, but this effect reverses for older organizations. This suggests that crowdfunding should not only be considered a tool for younger organizations, but also holds promise for established organizations.

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