A New Framework for Building Participation in the Arts by Lloyd Dixon Kimberly Jinnett

By Lloyd Dixon Kimberly Jinnett

Arts corporations around the nation are actively increasing their efforts to extend public participation of their courses. This document offers the findings of a RAND learn subsidized by means of the Wallace-Reader's Digest cash that appears on the approach during which contributors get entangled within the arts and makes an attempt to spot ways that arts associations can such a lot successfully impact this strategy. The record offers a behavioral version that identifies the most elements influencing person judgements concerning the arts, in response to web site visits to associations which were really winning in attracting contributors to their courses and in-depth interviews with the administrators of greater than a hundred associations that experience obtained provides from the Wallace-Reader's Digest money and the Knight starting place to inspire better involvement within the arts. The version and a suite of guidance to assist associations strategy the duty of participation development represent a framework that may help in devising participation-building techniques that healthy with an institution's total function and undertaking, its on hand assets, and the group atmosphere within which it operates--in different phrases, a framework that may allow arts associations to take an integrative method of development participation within the arts.

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38 A New Framework for Building Participation in the Arts Our survey results indicate that the interviewed arts organizations place a high priority on publicizing their activities and use a combination of resources for this task. We asked them about their use of ten techniques: word of mouth, free media, direct mail, presentations to community groups, community collaborators, handouts, paid media, the Internet, personal telephone calls, and billboards. 6 Every organization relied on word of mouth and free media publicity, almost all used direct mail, and between 80 and 95 percent used presentations to community groups, community collaborators, handouts, paid advertisements in the media, and the Internet.

Casual attendees differ from aficionados not only in their motivations but also in their numbers, knowledge of the arts, and in all probability their tastes. The aficionados are the frequent attendees discussed above. They are a small and select group of people likely to be knowledgeable about and interested in a diverse array of content. The casual attendees, in contrast, are likely to be far more numerous, less interested in the art form per se, and more likely to be attracted to programming that is more traditional or that relates directly to their daily lives.

In general, as the price of participation increases, individuals participate less. , admission costs, transportation, childcare) and the price of alternative goods or leisure activities that are “substitutes” for arts participation. Thus, the level of arts participation depends on the price of participation relative to the price of substitute leisure activities (Throsby and Winter, 1979; Vogel, 2000; Nardone, 1982). Conversely, as income rises, participation should rise. , the earnings forgone by spending one’s time participating in the arts rather than working.

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