Expressive cultural activities, such as viewing visual art, drama, or dance, are perceived as beneficial to individuals and societies, justifying public funding. However, not everyone benefits and participates equally. We intentionally sampled infrequent and frequent attendees among young adults in the Netherlands. Results indicated that infrequent and frequent attendees differed in expressive cultural activity constraints and socialization, though not on demographic background. Their cultural, social, and emotional experience through self-report and physiological data revealed no significant differences between the groups’ experience of a dramatic performance. These outcomes suggest that, as an example of expressive cultural activity, a dramatic performance experience can be equally emotionally beneficial to frequent and infrequent attendees, an important prerequisite to broader appeal and intergroup contact. Implications of the use of physiological data in leisure experience research are discussed
Philanthropy is on the rise in the Dutch visual arts. Fat cash prizes, big-name exhibitions, large-scale renovations, spectacular public artworks, and big scandals are changing the public display of art and undermining the democratic governance of art institutions. While some have critiqued the patron's rise to power, the majority of the art world remains silent, muted by a combination of ignorance and self-censorship. How can we overcome this deadlock and start cultivating a healthy public debate?
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Purpose–The purpose of this paper is to describe and understand dimensions of cultural activity involvement and the relationship between cultural activity involvement and behavioural loyalty. Design/methodology/approach–Semi-structured in-depth interviews with 47 customers of a theatre were held. Findings–The study shows that the concept of cultural activity involvement consists of six dimensions: attraction, centrality, self-expression, social bonding, cultural transmission and financial contribution. Three customer segments are taken into consideration according behavioural loyalty levels: incidental spectators, interested participants and the core audience. There are large differences between the three customer segments regarding cultural activity involvement. Research limitations/implications–Introspection might have decreased the reliability. As the study is a case study, problems with external validity are recognised. Practical implications–Given the decline of subsidies in the arts world, it becomes more important to attract more visitors and to increase spending. Performing arts organisations might attract more visitors in case they provide additional services which enable cultural transmission. Moreover, the study shows that certain visitors are willing to contribute additional money to the arts. Originality/value–Current studies about leisure involvement focus on recreation and distinguish four dimensions of involvement. This study focuses on cultural activity involvement and explores these four dimensions, but also shows there are two new dimensions. This study contributes to a further understanding of the relationship between cultural activity involvement and behavioural loyalty.
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The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
Codarts, as a University of the Arts, develops practice-oriented research to enhance artistic development, the arts practice and arts education. Performing arts, specifically dance, music and circus, enable us to communicate beyond geographical, cultural, linguistic and religious boundaries and helps us connect our common values and dreams. The performing arts are universal in their capacity to unite and inspire, providing an excellent opportunity for us to expand our research to an international level. However, the current research strategy at Codarts does not sufficiently match our European research ambitions, even though our education is inherently international and there are multiple strong connections to relevant themes in the European Research Area. Accordingly, with this project, we aim to bridge the gap between our current national research activities and our European ambitions by aligning our research focus with the European Research Area. The aim is to develop a strategy that enriches the arts practice, arts education and our research, creating a stronger connection to the European Research Area and to relevant European networks. Expanding the scope of our practice-oriented research towards European projects is essential to increase research opportunities, improve the applicability and societal impact of our research outcomes and provide more opportunities for students, teachers and researchers to learn and exchange knowledge and insights. Additionally, it is necessary to create a sustainable future for our institution. Strategic brainstorm sessions, benchmark studies, detailed action plans and viability assessments need to make sure that we become aware of our current position in the European research field, as well as identify potential partners and networks to collaborate with. This project will eventually work towards participation in a relevant European project proposal as the first step towards strengthening our position as a leading University of the Arts in Europe.
- MOTIVE: This project (NoSI) constitutes a first step towards a broader research aiming at counteracting the compartmentalization of Dutch education: WO-HBO-MBO. This first step focuses on vocational education and training (VET) in the creative industry (CI) to develop an incubator for an innovative and participatory VET system, that bridges the gap between the professional field and education. It starts from the pioneering experience of No School (NS) (http://noschool.nl/), where teachers and students already work together as co-creators. - RESULTS: 1) incubator of the new creative VET, based on the following activities: NS book-Manifesto; NS Pavilion; international VET movement /network of people working on educational change; 2) design of a large-scale subsidised study. - CONTENT: VET system needs a systematised renovation on both practical and theoretical level. We will furtherly develop the NS experiment into an incubator serving as operational example of co-creation between: HBO/MBO/WO; teachers/students; schools/professional field. We are in line with the CLICKNL agenda (The Human Touch) and NWA routes (Jeugd in ontwikkeling, opvoeding en onderwijs; Kunst: onderzoek en innovatie in de 21ste eeuw). - RELEVANCE: Starting directly from the practical needs of the professionals (VET teachers/students/professionals), NoSI bridges the gap between schools and the professional field towards a new educational system that can match the demands of the 21st century society. - METHODS: NoSI introduces Participatory Action Research (PAR) as on-going approach in which all the stakeholders (researchers, teachers, students/CI professionals) are actively involved in the decision-making process as co-creators in bringing an ‘idea’ directly into reality. It considers ‘action’ as the main criterion to validate any theory, prioritizing practical knowledges. PARTNERS: 1) ArtEZ lectoraat Kunst- en Cultuureducatie (AeCT), 2) No School (Cibap/SintLucas), 3) Studio INAMATT, 4) expert groups (UvA).
