(H)OM(E)NIBUS CULTURE AT A TIME OF LOCKDOWN

Three years ago in December 2020, while individuals in the western World were entering the festive season, media accounts had started reporting news of an infection spreading in China –…

COUNTERACTING HATE BY ENCOURAGING PARTICIPATION IN CULTURAL ACTIVITIES

Hate has a devastating impact on victims and society. Targets experience vulnerability and anxiety, with consequences also on their social and working life. Also, hate harm people belonging to the…

10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY

By Association for Cultural Economics Poland The European Workshop on Applied Cultural Economics (EWACE) returns to northern Italy to celebrate its 10th anniversary. Originally organised by Roberto Zanola (University of…

UNDERSTANDING URBAN ALTERNATIVE CULTURAL PRODUCTION

By Enrico Bertacchini and Francesco Puletti From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as a complex adaptive system of…

HOW TICKET PRICES TO SWEDISH OPERA HOUSES AND SYMPHONY ORCHESTRAS HAVE BECOME INCREASINGLY EXCLUSIVE

By Staffan Albinsson Ambitions for social inclusion have guided the publicly funded opera houses and symphony orchestras since the early twentieth century. However, this explicit policy goal has not influenced…

WHAT IS THE CREATIVE INFLUENCE OF TEACHERS? EVIDENCE FROM MUSIC COMPOSITION SINCE 1450

By Karol Jan Borowiecki Ideas are fundamental for the production of any creative output, whether in the arts, science or business. However, because ideas are so elusive, little is known…

LET’S DANCE ! MEASURING EFFICIENCY IN THE DANCE SECTOR

By María José del Barrio Tellado and Luis César Herrero Prieto Economic studies exploring dance have proliferated enormously recently, although they have failed to receive as much attention as other…

BANDING TOGETHER: NEW COOPERATIVE SOLUTIONS TO PERENNIAL ECONOMIC PROBLEMS

By Amy Whitaker and Amber He Arts organizations can access economies of scope, overcoming some of the key challenges in managing costs, sharing risk, and accessing capital. These advantages of…

CULTURAL ENTREPRENEURSHIP: UNDERSTANDING THE MARKET FOR MEANING

By Yu-Yu Chang, Jason Potts, and Hui-Yu Shih Cultural commodities, whether goods or services, are vehicles for conveying cultural and creative content. Consumers perceive value in these goods or services…

STUDIOS VS. STREAMING: WHICH ‘LOGIC’ WILL PREVAIL IN HOLLYWOOD?

By Allègre L. Hadida, Joseph Lampel, W. David Walls and Amit Joshi The battle between traditional Hollywood studios and streaming services like Netflix is a matter of “institutional logics” – commitment…