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1.
Trine Bille Hansen 《Journal of Cultural Economics》1997,21(1):1-28
In this paper some of the results of a Contingent Valuation (CV)-Study of the Royal Theatre in Copenhagen, Denmark, are presented.
The estimated aggregated willingness-to-pay (WTP) for the Royal Theatre through taxes shows that the Danish population wants
to pay at least as much as the theatre receives in public subsidies. The visitors comprise only about 7 per cent of the total
population, but the non-users' WTP is quite substantial which is the interesting point. It means that the non-users are willing
to pay an option price and that the Royal Theatre has non-use value.
This revised version was published online in August 2006 with corrections to the Cover Date. 相似文献
2.
This paper combines perspectives on nonprofit organizations, clubs and club goods, demand for performing arts, and demand for charitable contributions to consider relationships between nonprofit organizations in the performing arts and their patrons. A broad view is taken of factors influencing demand for club goods, charitable donations, and for the live performing arts. These are integrated in a model of demand for the outputs and services of nonprofits in the performing arts. Data from a single institution is used to test hypotheses. Conclusions are drawn for organizational policy and economic theory. 相似文献
3.
R. Claude Hendon 《Journal of Cultural Economics》1992,16(1):83-92
Conclusions From this brief examination of the leisure activities of older Americans, several previous findings have been validated with national, representative data and a few surprises have been discovered in arts participation. As expected, those younger than 65 years of age were more active than seniors in nearly all of the leisure activities tested. In addition, the elderly were more likely to participate in in-home rather than out-of-home activities.The most intriguing finding concern the elderly's arts participation. While leisure activities decline as one grows older, participation in passive arts activities in the home and out of the home decline far less than for leisure activities and more participatory arts activities. Unlike other activities discussed, few significant difference existed between the younger and older groups in the away from home art activities. Those 65 and older were more willing to attend fine arts performances, such as opera, musical plays, stage plays, and ballet. It is also notable that the differences in frequency of the away from home arts activities are in not great between the older and younger groups. Finally, this study does dispel somewhat the idea that the elderly prefer solitary activities. The elderly are a diverse and widely varying group of citizens who in some cases maintain their patronage of the arts while other leisure activities decline. 相似文献
4.
Expenses in the performing arts have historically increased at a rate faster than earned revenues due to the labour reliance of the sector. Flanagan (The perilous life of symphony orchestras: artistic triumphs and economic challenges. Yale University Press, New York, 2012) found that US symphony orchestras were able to avoid the negative consequences of this earning gap by fostering strong private support. In the present study, we find that, in contexts where private funding is not as readily accessible, like in Canada, arts organizations have more incentive to keep expenses under control. This can be understood in terms of resource dependence where government funding bodies, due to a homogeneous set of demands, put pressure on organizations to control their expenses and reach greater audiences. Using panel data covering a period of 8 years and forty-eight orchestras, the results show that Canadian orchestras, when compared to US ones, achieve a lower rate of expense increases over time and are more reactive to economic downturns. 相似文献
5.
J. D. Snowball 《Journal of Cultural Economics》2005,29(2):107-125
In the New South Africa, as in other developing countries, the equitable distribution of public resources is a priority. The case for public support of the arts is thus difficult to make because it has been shown and borne out by South African research, that arts audiences tend to represent the better educated, more prosperous minority of society, not the majority of the very poor, mainly African-origin population. Using data from willingness to pay studies conducted at two South African arts festivals, this paper shows that, when the positive externalities provided by the arts are included in their valuation, it can be shown that both high and low income earners benefit. However, as suggested by Seaman (2003), it is also found that some of what the WTP figure is capturing is current and expected future economic benefit from the event. 相似文献
6.
This paper uses the logistic regression model and the count data model to identify the determinants of the likelihood and frequency of attendance at performing arts events in Taiwan. Using data collected from a telephone survey, we find that education and income, being determinants of the likelihood of attendance, are not significant in determining frequency of attendance. On the other hand, whereas members of performing arts groups attend more frequently than non-members, holding a membership or not does not seem to affect the likelihood of attendance. Personal relationships with the performing arts industry make one more likely to attend as well as to attend more frequently. Those who more often watch or listen to performing arts programs through the media or pay more attention to performing arts-related information are also likely to participate in live events and participate frequently. Lastly, age dose matter. We further find evidence of both life cycle and human capital effects in performing arts attendance. 相似文献
7.
The paper focuses on funding issues facing arts and cultural resources worldwide. Inter alia, current public policy consensus
encourages cultural resources to raise money from voluntary contributions at the gates in order to address some of the shortfall
in public funding. The paper considers the British Museum, London, as a case study. The objectives of the paper are twofold.
First, to elicit individual preferences for future managerial initiatives that could have an impact on visitors’ willingness
to financially support cultural resources by making a voluntary contribution during their visit. Second, the study combines
observed and unobserved heterogeneity in order to explain a greater source of variation on individuals’ decision-making process.
Overall, the results provide directions for government policy into widening and deepening participation for the arts and culture.
In addition, the results also provide support towards a reconsideration of curatorial procedures towards a motivational segmentation
of demand for the arts and culture. 相似文献
8.
In this paper, we test a six equation simultaneous model of nonprofit symphony orchestra behavior. The model is based on Hansmann's theory of nonprofit behavior in the performing arts. The results show that the most prestigious of the orchestras practise a pricing policy that encourages patrons to make a tax deductible contribution. In this manner, they achieve a pattern of price discrimination that, instead of increasing revenues, reduces revenues. Following conditions suggested by Hansmann, we are also able to draw conclusions about the objectives of nonprofit symphony orchestras. 相似文献
9.
This study examines the value placed on museums by patrons and non-patrons and investigates the factors that affect this valuation with a view to boost visitorship. The total economic value of Singapore’s History Museum is at least US$57 million, and this is high relative to other countries, a fact which can be used to justify increased government funding towards museums as cultural capital. Females and high income people are the target groups for increased visitation, while among the non-patrons, the ethnic majority is another potential clientele. Somewhat surprising is the finding that neither patrons nor non-patrons see the museum as having significant tourist value, and contrary to prospect theory, there is a preference for enhancing the museum’s services over keeping the museum. These findings provide some direction for the management of the museum to improve its visitor appeal. 相似文献
10.
Carlos A. Ulibarri 《Journal of Cultural Economics》2000,24(2):135-146
This paper develops a theory of rational philanthropyin forming ``cultural capital' and aestheticpreferences. The study maintains that changes incapital market opportunities provide investmentmotives for private and public giving. Theseimplications are examined in a Vector Autoregressive(VAR) model of funding in the arts and humanities inthe United States for the period 1966 to 1997. Theresults suggest private philanthropy increased inresponse to both lower real returns on capital marketassets and cuts in public funding. On the other hand,public funding for the endowments is not explained byany of the variables in the model, including its pasthistory. 相似文献
11.
Michael Rushton 《Journal of Cultural Economics》2000,24(4):267-282
In 1990, the Act governing theUnited States' National Endowment for the Arts wasamended requiring the Chairperson to ensure thatjudges of grant applications should take intoconsideration ``general standards of decency andrespect for the diverse beliefs and values of theAmerican public'. This provision has been widelydebated, and was challenged on the basis of whether itviolated the right of freedom of expression. But arecent decision by the U.S. Supreme Court found theprovision to be constitutional. This paper examinesrationales that have been put forward by philosophicalliberals, economists, and communitarians in support ofpublic funding of the arts. It finds that for each ofthese rationales the decency-and-respect provision onfunding is justifiable. The paper concludes with aspeculative discussion of the economics of the``artworld'. 相似文献
12.
The past three decades have witnessed a sharp reduction in the rate of growth of public research funding, and sometimes an actual decline in its level. In many countries, this decline has been accompanied by substantial changes in the ways that such funding has been allocated and monitored. In addition, the institutions governing how research is directed and conducted underwent significant reforms. In this paper we examine how these changes have affected scientists’ research goals and practices by comparing the development of three scientific innovations (one each in physics, biology, and educational research) in four European countries, namely Germany, the Netherlands, Switzerland, and Sweden. We find that the increased number of actors exercising authority over research goals does not necessarily lead to a greater diversity of interests funding research. A narrowing of goals and frameworks is especially probable when the increasing importance of external project funding is combined with reductions in state financing of universities and public research institutes. Finally, the growing standardisation of project cycle times and resource packages across funding agencies and scientific communities make it more difficult for researchers to pursue projects that deviate from these norms, especially, if they challenge mainstream beliefs and assessment criteria. 相似文献
13.
Many consider salvage value and tourism expenditures as the only economic values of a historic shipwreck. This paper looks at one alternative, the non-market value generated by management of shipwrecks as submerged maritime cultural resources. We consider the question: How much are people willing to pay to maintain shipwrecks in their pristine state? The contingent valuation method was implemented during summer 2001 as part of a telephone survey to households in eastern North Carolina. We find that households are willing to pay about $35 in a one-time increase in state taxes. Willingness to payis internally validated by expected relationships with prices and income but fails to pass the scope test. We speculate that we inadvertently succumbed to the well-known “birds” problem. The double-bounded willingness to pay questions are not incentive compatible and are subject to starting point bias, despite efforts to minimize these effects. 相似文献
14.
Beginning in 1979, certain states extended extra copyright protection, known as “moral rights” protection, to visual artists.
Moral rights protection, which was incorporated into U.S. copyright law in 1990, ensures that works cannot be altered in a
manner that would negatively impact the reputation of the artist. Using difference-in-differences regression strategies, we
compare artists and non-artists in states with moral rights laws to those in states without these laws, before and after the
laws are enacted. This enables us to test the impact of the laws on the behavior of artists, consumers, and policy makers.
Our analysis reveals that the average artist’s income falls by around $4000 per year as a result of moral rights legislation,
but we find no impact of the laws on artists’ choices of residence or on state-level public spending on the arts. 相似文献
15.
Michael Rushton 《Journal of Cultural Economics》1999,23(3):137-146
This paper considers the communitarian critique of the method of economics, especially in regard to its methodological individualism, with reference in particular to cultural economics. It asks whether cultural goods can be modelled in a meaningful way under the usual assumptions in neoclassical economics about individual economic agents. Special attention is paid to Charles Taylor's critique of 'atomism', and his suggestion that some goods are 'irreducibly social'. The implications of the critique for (1) public funding of the arts, and (2) copyright policy, are considered. 相似文献
16.
Program decisions by symphony orchestra management are influenced by various factors. To examine these factors, we create
an objective index of the propensity of a symphony orchestra to perform the standard repertoire. We use regression analysis
to examine factors that influence programming decisions of 64 US symphony orchestras in 2006–2007, including public and private
sources of funding. We find that increased funding from ticket sales, endowments, and local government increases the likelihood
that an orchestra will perform nonstandard repertoire. In addition, the results suggest that a symphony orchestra’s music
director does not have a significant impact on the degree of program conventionality. 相似文献
17.
This paper examines the impact of the National Endowment for the Arts on private donations to the arts. The aim of the analysis is to assess whether public funding generates a crowding effect on private giving. We distinguish between institutional and sectoral crowding phenomena and discuss their possible implications.We used both a qualitative approach and an econometric model to estimate the effect of NEA introduction and appropriations on donations. Our results suggest that at the institutional level NEA grants do not generally induce donations to recipients while at the sectoral level appropriations and private giving are independent. The introduction of the agency appears to have caused a decrease in donations. 相似文献
18.
Steve Globerman 《Journal of Cultural Economics》1980,4(2):15-25
Conclusions The bulk of contemporary policy concern in the cultural area is focussed on the nature of government assistance. In particular,
there is a growing feeling that indirect assistance to cultural industries should be promoted to a greater extent than it
has been in the past. This feeling reflects both the view that real levels of direct government grants may not be sustainable
and the presumption that indirect forms of assistance (such as tax concessions and the like) can channel aid to artists more
efficiently than direct forms of assistance, such as Canada Council grants to arts organizations.
The various arguments offered in favor of one or another approach towards funding cultural activities are certainly not conclusive.
The main point to be made in this regard, however, is that debate over how culture should be funded is taking place in the
absence of explicitly formulated operational objectives as well as crucial information about how the cultural production and
marketing processes operate. In this regard, ineffectual policy-making across the broad spectrum of cultural assistance programs
may be of far greater concern than any efficiency differences which might be anticipated between various forms of assistance
to the arts. 相似文献
19.
Minerva - Project funding rarely demands much change on behalf of the recipient. In contrast, cross-sectoral mobility funding requires recipients to change their environment and often some aspects... 相似文献
20.
There are many contingent valuation (CV) studies to estimate the economic benefits of cultural heritage, but few provided advice on the design of financial products for cultural heritage assets. This paper conducted conjoint and willingness-to-pay (WTP) analyses for providing the design implication of these financial products. We calculated WTP for each attribute. The result of conjoint analysis shows that people prefer a short period of investment, high-expected rate of return and small amount of money invested. Only the amount invested and the rate of return on investment are significant to estimate WTP for these financial products. 相似文献