Entrepreneurship, marketing and leadership in non-profit performing arts organisations

This paper argues that the entrepreneurial leader in non-profit PAOs has received too little attention in literature pertaining to these organisations. This criticism also applies to museums. The paper explores how leaders in non-profit performing arts organisations balance the interests of the various funding sources and market opportunities to service their revenue requirements. It reviews a tension in non-profit performing arts organisations: the relationship between limited funding and the subsequent need to act entrepreneurially and innovatively among the various funding sources. Using longitudinal analysis of annual reports, the paper uncovers interplay essential to entrepreneurship. Hence, strategies and tensions are highlighted that non-profit leaders have used. Comparisons are made with non-profit art museums which previous research has shown have the same funding tensions.

The gender composition of boards of property trust IPOs in Australia from 1994 to 2004

This study investigates the gender composition of the boards of directors of Australian property trust IPOs from 1994 to 2004. Like mining and industrial company IPOs, we find that property trust IPOs in Australia generally do not require female directors for the initial equity capital raising. We also find that larger IPOs during 1994 to 1999 tended to engage more women directors but that this relation was not significant in property trust IPOs from 2000 to 2004.

The role of arts education in advancing leadership life skills for young people

This paper contends that the arts provide a foundation for the intensifying effort that leadership, creative aptitude and expertise are making to existing and emerging professions. Participation in arts-based (school and/or community) programs 'have proven to be educational, developmentally rich, and cost-effective ways to provide students the skills they need to be productive participants in today's economy' (Psilos, 2002, p. 2). In particular, this paper explores the relationship between leadership development in young people through their engagement with arts education experiences, specifically the capacity of the arts to develop the generic skills of communication, team work, problem-solving and creative interpretation-skills considered essential for productive participation in today's economy and skills that augment leadership potential.

The gender composition of boards after an IPO

Purpose - The purpose of this paper is to empirically analyse the change in the gender composition of the boards of large Australian companies, after listing.
Design/methodology/approach - This study investigates the gender composition of the boards of large Australian companies at the time of the initial public offering (IPO) and subsequently as these companies mature into established public companies. It also investigates industry influences and organizational size influences on the board composition at the time of the IPO and subsequently.
Findings - No significant change is found in the proportion of male and female directors holding directorships at the time of the IPO and some five to eight years later when the company is recorded as a top 500 company (by market capitalization) on the Australian lists. This implies that the capital market is generally satisfied by the gender composition of boards from the time of the IPO.
Originality/value - This paper extends on previous work which provides evidence of a relatively low proportion of female directors on the boards of Australian initial public offerings.

Cultural sustainability of the arts through cross cultural market segmentation

The cultural characteristics attributed to individuals in their country of birth are likely to change through immigration and acculturation processes taking place in the host country. Immigrants are likely to develop their own unique cultural styles through a blending of their old culture and the host culture. With slightly less than half of the population born overseas or with at least one parent born overseas, and with some 200 languages Australia has one of the most cosmopolitan populations in the world, with a relatively small population of 20 million. This paper considers the cross cultural nature of the Australian population and the sustainability of culture through the Arts. This paper also considers the marketing of the arts from a cross cultural segmentation perspective. In so doing the paper identifies segmentation issues associated with cross cultural segmentation.

Valuing the arts : theorising and realising cultural capital in an Australian city

For those who make and admire artistic works, there is no question of their value. However, for others interested in economic development, the value of the arts is often more tangential, contested and questionable. While the post-modern world of consumption and spectacle suggests to some academics and governments that the arts and cultural industries are the way of the future, others remain sceptical about their social and economic value. This is a theoretical as well as a practical issue this paper explores by offering a reconceptualisation of Pierre Bourdieu's concept of cultural capital as a way of re-assessing the value of the arts. The paper then applies this framework to quantify and qualify the value of the arts in one regional city in Australia – Geelong in Victoria – focusing on the work of two artists. The aim is to describe the interconnected processes by which the arts generate cultural capital in the form of confidence, image, individual well-being, social cohesion and economic viability. The analysis also highlights the ongoing power relations which prescribe artistic production, circulation and valuation. The implications of such a rethinking and application go well beyond one city and region to other places grappling with the relationship between artistic production and urban well being. By focusing on the broad-ranging process by which artistic value is created for individuals, groups, professionals, communities and governments, a model becomes available for other places to use in realising their cultural capital.

Social intervention or market intervention? A problem for governments in promoting the value of the Arts

The research design for this paper is based on the critical need for greater emphasis by Australian arts organizations on relationship marketing as a means of achieving sustainability. Recent injections of government funds into the performing arts in Australia, to meet a "crisis" in financial viability and audience development, highlighted the dependence of arts organizations on government funds in building audiences. A hypothesis was developed through an analysis of the literature on relationship marketing, cultural economics and value measurement, and an analysis of the long-term outcomes of government strategies for the funding of arts marketing. The hypothesis is that while social intervention is acceptable (even desirable and necessary), and achieves the social goals of governments, market intervention reduces the benefits of relationship-building and the exchange of values between arts organizations and their audiences.

Analysis of government documents and primary research in audience development proved the hypothesis. Empirical research resulted in the development of a theory and model that describe the limits of market intervention and in the development of a definition of values in the continuum of government activity from social to market intervention. The model could be useful for governments in developing arts policy with regard to audiencebuilding. It could also be useful in demonstrating to arts managers that sustainability results not from government funding but rather from relationship-marketing strategies.

Relationship marketing, audience retention and performing arts organisation viability

Marketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long-term viability of performing arts organisations (PAOs) and micro-economic reform. While government reports have recommended strategies aimed at building audience based recognition, this is an expensive approach for many PAOs and does not produce short term returns. Little attention has been paid to building enduring relationships with existing audiences as a way if having a more dramatic impact on PAOs' long-term viability. This paper explores this theme through relationship marketing and the implication of retaining existing audiences. The paper identifies the changing cultural environment which has led to the importance if marketing. It then explains the concepts if relationship marketing and its pertinence to PAOs' viability by presenting a loyalty ladder. The structure is modelled as a dynamic conceptualisation of the relationships (audience and organisation) to assist arts managers to decide whether to focus their efforts on catching or keeping customers to maximise earned income.

What is the value of the arts?

In an age of globalisation, economic restructuring and rampant consumption, the "cultural industries" have come to be viewed as offering a source of social and economic salvation to declining towns, cities and regions. However, it is far from clear to what extent the arts, media and related tourism create employment, wealth, capital and community cohesion. What then is the value of the cultural industries and what concepts can be deployed to answer this question? This paper will report on one effort to devise a theoretical framework to assess the value of the cultural industries in one small Australian city. Drawing on Marxism, Pierre Boudieu and post-modem theory, it will develop a particular concept of "cultural capital" for use in quantifying and qualifying the socio-economic contribution of the cultural industries in Geelong, Victoria. It will argue that by linking Marx to Bourdieu around reformulated notions of "value" and "cultural capital", a theoretically rigorous framework can be distilled to assess and argue for the value of the arts. Such a concept has particular relevance and implications for arts managers.