The effects of trust in Brazilian PNPs: interpersonal and interorganizational trust in the cultural sector social organizations in São Paulo, Brazil

This study seeks to evaluate how enterorganizational and interpersonal trust affects the degree of State interference in the operations of public-nonprofit partnerships (PNPs). We conducted a qualitative case study in two Brazilian PNPs, Projeto Guri and Orquestra Sinfônica do Estado de São Paulo, through documental analysis and semi-structured interviews. Content analysis of the data yielded a trust framework that begins to explain how a variety of factors, including the protective qualities of the management contract and the strength of the board, moderate the relationship between interpersonal and interorganizational trust in PNPs. The study reveals that unlike Zaheer et al (1998), interpersonal trust had a unique and prominent effect on State interference and types of collaboration in PNPs. Parting from the suggestions by previous authors to contextualize PNP literature findings, the framework takes into account the highly personalistic qualities of Brazilian culture as well as historical and institutional context while highlighting the crucial role of interpersonal trust in Brazilian PNPs.

Co-production of service experiences: insights from the cultural sector

Purpose: The increased involvement of customers in their experience is a reality for all service organisations. The purpose of this paper is to explore the way organisations collaborate with customers to facilitate consumption of cultural experiences through the lens of co-production. Although organisations are typically an integral part of the co-production process, co-production is typically considered from a consumer angle. Aligned with the service ecosystem perspective and value-in-cultural context, this research aims to provide greater insight into the processes and resources that institutions apply to co-produce experiences with consumers and the drivers and inhibitors of such processes. Design/methodology/approach: Case study research with three exemplar organisations, using in-depth interviews with key informants was used to investigate the processes organisations follow in co-producing the service experience with customers, as well as the drivers and inhibitors of organisational co-production of the service experience in the cultural sector. Findings: The findings illuminate that cultural organisations are co-producing the service experience with their customers, as revealed through a number of key processes: inviting customers to actively participate in the experience, engaging customers and supporting customers in the co-production of the experience. Increasingly demanding consumers and a changing competitive landscape are strong external drivers of co-production. Visionary leadership and consumer-focussed employees are internal factors impelling organisations to co-produce experiences with consumers. A strong curatorial orientation, complex organisational structure, employee attitude and capability gaps and funding constraints are impediments towards organisations co-producing experiences with consumers. Originality/value: This paper addresses a gap in Service-Dominant logic theory, arts/cultural marketing and broader services marketing literature by proposing a broadened conceptualisation of co-production of the service experience. This conceptualisation can be used as a platform to derive strategic imperatives for managers of service organisations. The findings highlight the key practices and resources that are central to organisations co-producing experience with customers. In this way, greater understanding of institutional logics and practices that underpin experience co-production emerges.

Creating successful cultural Brokers : the pros and cons of a community of practice approach in arts management education

Arts managers play a critical role in creating a strong, sustainable arts and cultural sector. They operate as brokers, creating programs, and, more critically, coordinating the relationships between artists, audiences, communities, governments and sponsors required to make these programs a success. Based on study of model developed for a subject in the Master of Creative Industries (Creative Production & Arts Management) at Queensland University of Technology (QUT), this paper examines the pros and cons of a “community of practice” approach in training arts management students to act as cultural brokers. It provides data on the effectiveness of a range of activities – including Position Papers, Case Studies, Masterclasses, and offline and online conversations – that can be used facilitate the peer-to-peer engagement by which students work together to build their cultural brokering skills in a community of practice. The data demonstrates that, whilst students appreciate this approach, educators must provide enough access to voices of authority – that is, to arts professionals – to establish a well-functioning community of practice, and ensure that more expert students do not become frustrated when they are unwittingly and unwillingly thrust into this role by less expert classmates. This is especially important in arts management, where classes are always diverse, due to the fact that most dedicated programs in Australia, as in the US, UK and Europe, are taught via small-scale programs at graduate level which accept applicants from a wide variety of arts and non-arts backgrounds.

Restructuring arts and cultural funding in Tanzania : expectations and impasses

In 1984, the Tanzanian government established the Tanzania Culture Trust Fund (TCTF) – well known as ‘Mfuko’ – with the support of the Swedish government. The focus of Mfuko was to enable the arts and cultural sector to strengthen its position through grant allocations. However, rural artists have limited opportunity to access financial support to strengthen their works. The challenge remains: how to restructure arts and cultural funding in line with cutting dependence on foreign aid. This article reports on the research findings of a case study based on ‘Strategies for youth employment in Tanzania: A creative industries approach’. The study was undertaken in Dar-Es-Salaam, Bagamoyo, Dodoma, Lindi and Morogoro from July to October, 2012. This study employed mixed me thods incorporating questionnaires, interviews, and focus groups. This paper argues that lack of deliberate initiatives to restructure arts and cultural funding (in line with cutting dependence on foreign assistance) have prevented artists from fulfilling their desire for better lives. Hence, the severe lack of financial support to the artists remains a challenge to meeting the Millennium Development Goals and Tanzania Development Vision 2025. Although this discussion is specific to Tanzania, the significance and contribution of this case may apply to other developing countries.

Before and after the creative city : the politics of urban cultural policy in Austin, Texas

This article examines the politics and practice of urban cultural policy in Austin, Texas. I demonstrate how aspects of the local context frame how local government and cultural sector interests strive to initiate the direction of policy. While larger trends—such as Richard Florida's creative city thesis—influence cultural policy and planning, specific contextual factors including prior economic development and growth management policy, departmental organization, the forum for interaction between municipal actors and non-governmental coalitions, and the character of the city's cultural economy mediate such trends to produce policy outcomes. As this case shows, contemporary urban cultural policy is not simply due to the rise of the creative city discourse, but is an evolving product of past policy structures and shaped by local institutions and actors.