艺术视角下的安塞腰鼓表演艺术分类

本文从艺术学、历史学的角度对各种场合的腰鼓表演进行分析,挖掘腰鼓中的艺术因素,揭示腰鼓表演艺术的本质,并对腰鼓表演艺术在艺术角度下进行分类。结果表明:可分为视觉腰鼓表演艺术、视听觉腰鼓表演艺术、视听腰鼓表演艺术和想象腰鼓表演艺术四类。以期为我国腰鼓表演艺术理论与实践的发展提供理论依据。     

Understanding customer satisfaction in opera: first steps toward a model

• Despite the frequent call for a strengthened customer orientation in performing arts organizations, no efforts have been made to investigate customer satisfaction in opera so far. The paper aims at filling this gap by suggesting a first integrative model of customer satisfaction in opera. This model integrates insights from both services marketing literature (i.e., general services marketing and performing arts marketing) and performing arts literature (i.e., music perception and theater studies). The model is tested in a field study interviewing 116 visitors of a public German opera house. Results reveal visitors' level of appraisal to be the main antecedent of their satisfaction, followed by their perception of the artistic quality, empathy/identification with the actors on stage, and recall from memory. Furthermore, differences within the audience regarding the relative importance of the antecedents of customer satisfaction in opera are investigated. Using gender and attendance frequency as segmentation variables, only minor differences are found, though. Managerial implications for opera marketing are discussed in conclusion. First, efforts in opera marketing should rather concentrate on the core service quality instead of the peripheral service quality. Second, professional opera companies may attract broader audiences if they focus on the emotional satisfaction of their customers. Third, since only minor and mostly insignificant differences between men and women, and occasional compared to frequent visitors are found, a need for further research to explore alternative segmentation variables in the opera context is identified.

Copyright © 2010 John Wiley & Sons, Ltd.     

Authenticity and the Other: Coleadership in Arts Organizations

Coleadership as a form of management structure has emerged in financial and technological companies, yet remains under researched in the wider management literature. Although regarded as a relatively recent phenomenon, models of coleadership are common in arts organizations because of the dual nature of activities within such organizations: an organization management function and an artistic creation function. Coleadership is particularly common in the management structure of performing arts organizations where a general manager and artistic director may have very separate responsibilities but share the leadership role for the overall organization. Based on interviews with the general managers and artistic directors of performing arts companies in Australia, this research examines the relationship between authentic leadership and coleadership. Detailed analysis of these interviews reveals that the interviewees in the six coleadership arrangements examined displayed characteristics of authentic leadership.     

Regional voices talk theatre: audience development for the performing arts

• Audience development is somewhat of a ‘buzz word’ within the Australian performing arts sector at present. However, rather than actually engaging with audiences and with non‐attenders to discover how to best serve the community, most of the performing arts organisations approach audience development from a product‐centred viewpoint.
• In direct contrast to this, the Talking Theatre project (2004–2006) was implemented in regional Queensland and in the Northern Territory in Australia as an audience development initiative focused on the consumer. The project sought to assist performing arts centres (PACs) to better engage with their local communities and to build new audiences for the future. In particular, the research aimed to understand non‐attenders, their reasons for non‐attendance and their reactions to a range of live performances they experienced under study conditions.
• The Talking Theatre project provided the vehicle for introduction, communication and relationship building to occur to assist in attitudinal and behavioural change. The non‐attenders enjoyed their experiences at the PACs and have begun attending performances outside of study conditions. Limited awareness of the performing arts' relevance to their lives combined with a lack of positive peer influence to attend, were the chief deterrents to attendance for the participants in the study.

Copyright © 2007 John Wiley & Sons, Ltd.     

Dynamic pricing in subsidized performing arts

While current pricing strategies in public theaters are mostly based on static schemes, this paper analyzes the potential of dynamic pricing. Subsidized performing arts organizations face the challenge of selling a fixed capacity (available seats of a venue) to a broad and varied audience. Based on the literature and on empirical evidence from a survey among Swiss theaters, we discuss whether and to what extent yield management and uniform‐price auctions—two widespread dynamic pricing mechanisms in the Internet age—can be applied to public theaters in view of the particular goals and targets imposed by their source of funding and by subsidy contracts. Our analysis suggests that although the application of yield management may not be advantageous in the current environment, the introduction of dynamic elements (including auctions) to prevailing pricing strategies can help public theaters respond to temporal demand fluctuations and fill up performances with a varied audience. Copyright © 2015 John Wiley & Sons, Ltd.     

Coming soon to a live theater near you: performing arts trailers as paratexts

• Dramatic changes in technology present not‐for‐profit performing arts organizations with both opportunities and challenges for engaging and attracting audiences. With its emphasis on deep engagement with a select group of users, the Internet “long tail” presents a natural application for this sector; however, performing arts groups must grapple with developing the most optimal web‐based content for their particular organizational needs. This paper analyzes the use of web‐based video offerings used currently by professional symphony orchestras in the United States and Canada. One third of observed websites included video of some kind (including a wide‐array of content), while roughly half of that number focused on promoting concerts scheduled for the future. An even smaller number have embraced the practice of presenting performing arts previews (after the longstanding tradition within the film industry) as a purposeful kind of paratext, including representational elements of the work, the performers, and the overall concert context. A conceptual frame of video types is presented and discussed, with particular attention to the preview format. The research on film previews as an analogous vehicle is evaluated including the tradition of telling the incomplete story, while also promoting the movie. The research on paratexts in relation to books, theatre programs, and film trailers is reviewed and the case is made for web‐based performing arts previews as an emergent genre within the paratext conceptual frame. Specific video examples currently in use illustrate theory and concepts presented in the paper.

Copyright © 2010 John Wiley & Sons, Ltd.     

Relationship marketing,audience retention and performing arts organisation viability

Marketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long‐term viability of performing arts organisations (PAOs) and micro‐economic reform. While government reports have recommended strategies aimed at building audience‐based recognition, this is an expensive approach for many PAOs and does not produce short‐term returns. Little attention has been paid to building enduring relationships with existing audiences as a way of having a more dramatic impact on PAOs' long‐term viability. This paper explores this theme through relationship marketing and the implication of retaining existing audiences. The paper identifies the changing cultural environment which has led to the importance of marketing. It then explains the concepts of relationship marketing and its pertinence to PAOs' viability by presenting a loyalty ladder. The structure is modelled as a dynamic conceptualisation of the relationships (audience and organisation) to assist arts managers to decide whether to focus their efforts on catching or keeping customers to maximise earned income. Copyright © 2002 Henry Stewart Publications     

Public support for performing arts. Efficiency and productivity gains in eleven European countries

This paper investigates the importance of public cultural expenditure for the efficiency and productivity of the performing arts (PA) firms. To this aim, we estimate a translog production function using the stochastic frontier approach (SFA), and we obtain the estimates of both technical efficiency and its determinants for the PA firms in EU-11 countries over the period 2009–2017. The large panel data set enables the application of robust true random-effects SFA techniques, which control for noise, unobserved firms' heterogeneity and endogeneity of the inputs. Moreover, by estimating a production function, the characteristics of the production technology in the PA sector is also derived. The empirical results demonstrate that PA firms are technically inefficient, implying that the investigated firms could increase their artistic output between 32 and 42% and that decreasing returns to scale are prevalent, due to the presence of too many micro and large-scale firms in the European PA sector. In contrast to the seminal Baumol and Bowen's [5] paper, we also demonstrate that the total factor productivity (TFP) increased in the EU PA firms over the examined period. Technical efficiency, although relatively low, was the main driver of this productivity growth, as opposed to scale efficiency change or technological change, which display very small or no increases. We also find that, contrary to the common wisdom on its negative effects on firm efficiency, public spending on culture increases the efficiency of PA firms. Within this context some policy implications are discussed.     

The marketing and public relations practices of Australian performing arts presenters

Although arts organisations are often said to be underdeveloped in marketing and management areas, it is unclear whether this is actually an intentional response to the atypical environment in which they exist, or simply a result of limited skills and resources. This paper looks at performing arts presenters (PAPs) in two Australian States, profiling what they do in the way of marketing, how sophisticated they are at it and the reasons they behave the way they do. In‐depth interviews with marketing managers indicated that PAPs are confused about the role of marketing, relying instead mainly on public relations. While it was widely acknowledged that marketing would be beneficial, the marketing that is executed is generally ad hoc and basic. This lack of marketing action is due primarily to a paucity of skills and resources and a historical preference for public relations, not as a considered response to the arts environment. Copyright © 2002 Henry Stewart Publications     

基于德国“双元制”的钦州学院物流管理专业实践教学调查分析

文章基于德国"双元制"实践教学对钦州学院物流管理专业实践教学现状进行调查,借鉴国外"双元制"教学实例剖析了该专业实践教学存在问题,并提出了发展建议。     

高校美术鉴赏课教学模式与方法改革探索

美术鉴赏教学是艺术教学中的重要组成部分,课程改革要求美术欣赏教学方式和教学手段不断更新,学习方式有所变化,教师合理把握和使用教材,拓宽教学思路,发挥美术学科的优势,以美术教学为载体贯彻全面发展的方针,提高全体学生的艺术素养。为了更好的转变学习方式和教学方式,扭转授课中倾向过于注重知识的形式,以此让学生积极主动地去学习,使美术鉴赏成为形成学生正确情感态度和人生价值观以及审美情趣的有效途径。     

Customers of performing arts organisations: are subscribers different from nonsubscribers?

The subscribing customers of performing arts organisations are an indispensable, but frequently maligned source of patronage for the arts. This paper reviews some of these criticisms in the arts literature and assesses previous research on subscribers. Audience studies of the customers of cultural organisations have generally focused on usage differences (eg nonusers, frequent users) rather than subscriber/nonsubscriber differences. Based on theories of relationship marketing, the paper describes how relational subscribers may differ from nonsubscribing customers who frequent the arts but are more transactional in their exchanges with the cultural organisation. The results of a survey of subscribing and nonsubscribing customers of a repertory theatre company are presented to show differences between these two types of customer. Subscribers have higher levels of satisfaction, trust and commitment, and have more positive intentions of supporting and donating to the organisation. The arts patronage goals of subscribers are more congruent with the goals of the cultural organisation. Subscribers are more satisfied with familiar than with famous performers, and are comfortable with diversity in the choice of repertoire. Other factors examined include differences in overall involvement with the category of theatre, perceptions of risk and value, use of information sources, and reasons why some customers choose not to subscribe. The paper concludes with discussion of the importance of relationship marketing and subscribing customers for the performing arts organisation. Copyright © 2001 Henry Stewart Publications     

Absorptive capacity—one size fits all? A firm‐level analysis of absorptive capacity for different kinds of knowledge

This paper empirically analyzes the effect of R&D activities, human resource and knowledge management, and the organization of knowledge sharing within a firm on the absorptive capacity of innovative firms for three different types of knowledge, namely absorptive capacity to use knowledge from a firm's own industry, knowledge from other industries and knowledge from research institutions. Using data from the German innovation survey, we investigate how firms are able to exploit knowledge from external partners for successful innovation activities. The estimation results show that the determinants of absorptive capacity differ with respect to the type of knowledge absorbed for innovation activities. In particular, we find that the R&D intensity does not significantly influence absorptive capacity for intra‐ and inter‐industry knowledge. Additionally, our results suggest that absorptive capacity is path dependent and firms can influence their ability to exploit external knowledge by encouraging individuals' involvement in a firm's innovation projects. Copyright © 2009 John Wiley & Sons, Ltd.     

Strategic stakeholder orientations and performance consequences—a case of private nonprofit performing arts in the US

• This paper borrows a market orientation perspective in considering how organizations behave toward stakeholders and the implications on performance in the institutional performing arts environment. To investigate the relationship between stakeholder orientations and organizational performance, both interviews and a survey instrument were used. Using nonprofit performing arts organizations in three metropolitan areas of Northwestern US as a sample frame, primary data was collected from leading directors of these organizations. The results generally indicate a positive relationship between stakeholder orientation and organizational performance. Complex relationships between dimensions of stakeholder orientation and performance consequences were also observed.

Copyright © 2009 John Wiley & Sons, Ltd.     

The influence of external reference price strategies in a nonprofit arts organization's “pay‐what‐you‐want” setting

Nonprofit arts organizations face conflicting objectives to balance—or more specifically, to create—artistic and educational value and to generate financial income from various sources. Pay‐what‐you‐want (PWYW), a participative pricing mechanism where services have no fixed price and customers actively decide what to pay, is a novel pricing mechanism and is of high interest for organizations and researchers alike. Based on the concepts of loss aversion and gain, this study presents a field experiment to test the effects of different PWYW pricing strategies on the amount of money paid by visitors of a German photo biennial. Explicitly, the provisions of minimum, maximum, and suggested external reference prices are compared to a setting with no external reference prices. We test the derived hypotheses, discuss the results, and provide implications for future research, as well as for the management of nonprofit arts organizations.     

The General Public's Participation in Art Museums:

A bstract . From a nationwide study of arts participation among Americans, the population of art museum visitors can he compared to people who do not go to art museums. Visitors to art museums generally are in upper educational, occupational and income groups and are more active than nonvisitors in other forms of arts participation and most leisure activities. While direct parental influence does not seem too important, art museum visitors were far more likely than nonvisitors to have had art lessons as children. While museum visitors were more frequent participants, of perhaps most importance is that the preference orders of visitors and nonvisitors were about the same, indicating that the opportunity to participate or lack of it, may be the most important cause of differences in participation rates between the two groups.     

基于灰色关联度的社区抗震韧性评价研究

我国对于社区抗震韧性的研究起步较晚,通过研究现有文献,发现国内学界关于地震建筑物应急疏散评价的研究较少,且以层次分析和模糊评价为主,方法单一.本文通过查阅40多篇国内外文献中涉及的151个评价指标,通过专家调研进行预分类,从社区抗损害性,社区疏散能力,社区环境承载能力三个方面构建社区抗震韧性的评价指标体系;利用熵权法权...     

Cracks in the Creative City: The Contradictions of Community Arts Practice

The recent flurry of research about arts‐led regeneration initiatives illuminates how contemporary arts festivals can become complicit in the production of urban inequality. But researchers rarely engage with detailed empirical examples that shed light on the contradictory role that artists sometimes play within these spectacularized events. Similar research in performance studies connects the political limits and potential of social practice arts — interventions that encourage artists and non‐artists to co‐produce work — as civic boosters strive to stage cities in order to attract investment. In this article, I explore the case study of Streetscape: Living Space at Regent Park, a participatory artistic intervention programmed in a public housing neighbourhood that is undergoing redevelopment in Toronto, Canada. Streetscape was part of the Luminato festival, an elite booster coalition‐led festival of ‘creativity’. I refer to these arts interventions to demonstrate how artists engaging in social practice arts can become complicit in naturalizing colonial gentrification processes at multiple scales. But I also reveal how artists can leverage heterogeneous arts‐led regeneration strategies to make space for ‘radical social praxis’ (Kwon, 2004), interventions that challenge hegemonic regimes. I conclude by interrogating the effectiveness of place‐based efforts in unsettling the ‘creative city’.