This paper examines how performing artists balance between economic and artistic risk-taking within the performing arts sector. The paper is based on a comparative study, including qualitative interviews with performing artists working in three different theatres in three different countries: England, Norway and the Netherlands. The paper discuss how different ways of organizing theatres and different theatre policy represent different systems of economic risk managing, and further how they facilitate artistic risk taking. The author identifies three different approaches to risk management in these three countries: a collectivization of risk, an institutionalization of risk and an individualization of risk. Theoretically, the paper makes use of, and criticizes the work sociology developed by Ulrich Becks and Richard Sennet, as well as welfare theory, including Esping-Andersen.
Experiences have become the hottest commodities the market has to offer. No matter where we turn, we are constantly inundated by advertisements promoting products that promise to provide us with some ephemeral experience that is newer, better, more thrilling, more genuine, more flexible, or more fun than anything we have previously encountered. In turn, consumers themselves are increasingly willing to go to great lengths, invest large sums of money, and take great risks to avoid "the beaten track" and "experience something new." Working with an interdisciplinary approach, this book critically analyzes the significance this market for experiences (and interest in them) is having as a generative motor of cultural and socioeconomic change in modernsociety. The book's contributors are active scholars working in the Department of Service Management at Lund University, the Copenhagen Business School, and the Center for Regional and Tourism Research. They come from the disciplines of anthropology/ethnology, business administration, and cultural geography.
En kritisk eksplorering av opplevelsesøkonomiens forståelse av fenomenet opplevelse kontrastert med en begivenhetsfilosofisk forståelseshorisont
Cultural and heritage tourism began to expand as a mass phenomenon in the 1970s and ’80s with a considerable economic and social impact. It was a consequence of the self-development of the tourism industry and its need for diversification (Bull, 1991). During the previous decades and stimulated by a long period of unbroken economic growth in most developed countries, tourism enjoyed a great expansion (Timothy, 2011). This was largely based on standardized products, mainly offered by tour operators through the travel agencies system. The result was an increase in the number of destinations and resorts. Over the years, many of them have followed a life-cycle profile, from involvement and consolidation, to stagnation and, in some cases, even decline (Butler, 1980). So, the need to adapt the current offer to a more exigent demand, fuelled by a rising competition with new destinations, developed the specializations of many tourism areas and the search for added-value products. The resulting scene is characterized by being much more dynamic and competitive, in which a multitude of specialized offers proliferate at lower costs. Tourism products can be segmented by travel motivation (business, holiday, health, academic or religion, among many other driving forces), by user groups (families, senior citizens, professional people or students), by destination (cities, coast areas, countryside regions or countries), by time (holiday seasons, weekends, special events or business periods), and by the level of maturity of the destination (more or less emergent, with larger or weaker touristic supply, level of social reputation).
What advantages, challenges and opportunities are contained within the scope of film tourism? How can the destinations, the tourist players and the local business sector cooperate with the film industry? How have others proven successful in their work with film tourism?
Da Stortinget 15. juni 1999 vedtok at det skulle oppføres et operahus i Bjørvika, var dette en virkeliggjøring av en 100 år gammel drøm. Sjelden har en kulturpolitisk sak vekket så stor interesse i norsk offentlig samfunnsdebatt. Å bygge et nytt operahus forutsatte en stor statlig investering, og operadebatten dreide seg om prioritering og fordeling innad på kulturfeltet, mellom samfunnssektorer og ikke minst mellom Oslo og resten av landet. Stortinget besluttet denne dagen også å styrke operavirksomheten i landet for øvrig. I dag får 10 operainstitusjoner utenfor Oslo statlig støtte gjennom satsingen på region- og distriktsopera, og det produseres opera i alle landsdeler. Denne rapporten presenterer resultatene fra evalueringen av den helhetlige kulturpolitiske satsingen på region- og distriktsopera og musikkteater.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.