By Lloyd Dixon Kimberly Jinnett
Arts firms around the state are actively increasing their efforts to extend public participation of their courses. This file offers the findings of a RAND research subsidized via the Wallace-Reader's Digest money that appears on the procedure through which contributors get entangled within the arts and makes an attempt to spot ways that arts associations can so much successfully impression this technique. The file provides a behavioral version that identifies the most elements influencing person judgements in regards to the arts, in accordance with website visits to associations which were quite profitable in attracting members to their courses and in-depth interviews with the administrators of greater than a hundred associations that experience obtained delivers from the Wallace-Reader's Digest money and the Knight origin to inspire higher involvement within the arts. The version and a suite of guidance to assist associations process the duty of participation development represent a framework which may help in devising participation-building ways that healthy with an institution's total goal and project, its to be had assets, and the neighborhood surroundings during which it operates--in different phrases, a framework that would permit arts associations to take an integrative method of construction participation within the arts.
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Extra info for A New Framework for Building Participation in the Arts
9 As already noted, these do not explain why some individuals with a given set of background characteristics are frequent participants and others are not. This focus on socio-demographic factors rather than on the factors that motivate participants provides little help to arts institutions, since institutions typically have little or no way to influence background characteristics, including education. Finally, by stressing socio-demographic factors, the conceptual models give too little attention to behavioral differences in participation, which in many ways seem to be the key to understanding participation decisions.
Kelley and Freisinger, 2000; Kelley, 1987). The first of these dimensions distinguishes between activities primarily undertaken as a form of entertainment, such as watching television (Robinson and Godbey, 1997), and those undertaken for enrichment or self-fulfillment, or what has been referred to as “serious leisure” (Stebbins, 1992). , is he or she primarily interested in developing proficiency in the activity? 1). Within the group of individuals primarily seeking entertainment, those who are self-focused will be more inclined to participate through the media (by, for example, listening to recorded music or watching a play on television), and those seeking a social experience, the “casual attendees,” will be more inclined to attend a live performance.
The second insight from the economics literature is the idea that the more knowledgeable people are about the arts, the more likely they are to participate, because they gain more satisfaction and enjoyment from a given level of consumption than do people who are less knowledgeable. This effect provides a potential explanation for why participation levels vary as sharply as they do among rare, occasional, and frequent arts consumers. It also helps to explain why some people use the term addiction for the love that art aficionados (those who are enthusiastic fans of the arts) have for the arts.
A New Framework for Building Participation in the Arts by Lloyd Dixon Kimberly Jinnett