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The specific regulatory framework under which the local elections in Mostar in 2020 were held, and especially the fact that the elections in this city were held after 12 years, puts in the focus of communication research the media treatment of the relationship between citizens and political parties in local communities organized under a mortgage of war ethnic and territorial divisions. Having in mind the influence of online media, both independent and relying on traditional media productions, this paper primarily deals with reporting on the results of local elections in Mostar, questioning the focus of reports in the context of relations between citizens, as a universal political category, and political candidates competing for the management of public affairs at the local level. Also, in additional elements of the research, the paper deals with the analysis of identification of participants in political processes, on the one hand, a citizen, who in the public discourse of Bosnia and Herzegovina is often treated as a member of an ethnic group, and a political party on the other, usually treated in media reports as a representative of national categories, and not as a performer of public affairs concerning the achieved election results.

PurposeOpera houses have been traditionally publicly financed in many western countries. However, today many opera houses are facing serious financial troubles, due to the recent financial crisis. There is thus a widespread public debate on measures to ensure agency efficiency for performing arts organizations. Focusing on the reform implemented recently in Italy, which submitted opera houses that had severe financial difficulties to a recovery plan and encouraged forms of collaborative governance (CG), the purpose of this paper is to investigate the impact of CG on the performance of the arts sector.Design/methodology/approachMultiple case studies are used, on longitudinal data from multiple sources over a period of up to five years, in order to triangulate the narrative of financial and artistic performance and ensure trustworthiness. The study thus spans the period before the Bray Law came into force (2013) and covers the entire period in which recovery plans were implemented.FindingsThe analysis explores how opera houses are building sustainability for themselves and the community in terms of financial and artistic performance through CG. Various forms of CG adopted yielded positive results. Furthermore, more robust forms of CG generated better performance, especially from a financial point of view.Originality/valueThis paper adds to the limited knowledge of CG in the non-profit sector by bridging the fields of agency performance and CG. It discusses how the introduction of forms of CG can build up long-term sustainability, solving the dilemma of how to achieve financial equilibrium without compromising artistic quality, focusing on the case of opera houses, which are notably affected by Baumol’s cost disease.

This paper focuses on how Italian performing arts organizations were funded between 2003 and 2005. How does policy regulate the financing system for performing arts? What are the underlying logics that govern financing choices? In this paper the authors move beyond the simple examination of formal policies by analysing the funding data and organizational routines of the ministerial offices responsible for the allocation of grants. The authors implemented a multi-method research methodology consisting of document analysis, in-depth interviews, and quantitative analysis of funding data. The main findings can be summarized as follows. First, funds are continuously allocated to the same group of organizations. Second, although rigid, the system is imbued by a ‘rhetoric of the project’. Third, the system does not reward innovation. In conclusion, only by studying how the law is actually implemented can one capture the choices that underlie financing actions, and thus unravel unanticipated outcomes and inconsistencies between rhetoric and conduct.

The paper examines how the Alberta Foundation for the Arts has prioritized economic measures of sustainability and best business practices by including economic language and demands into arts funding applications. Analyzing ten years of granting documents from the Alberta Foundation for the Arts the research explores how the gradual inclusion of business language increases the demand on arts organizations to operate as sustainable organizations. The paper also considers how the very imposition of economic priorities onto non-profit arts organizations may, ironically, be the saving grace for such organizations in the face of global economic crisis. Forced to operate under the rigid fiscal demands of granting programs, arts organizations in Alberta are accustomed to efficient operation with limited resources. Therefore they may actually be poised to weather the economic storm better than other arts organizations in Canada.

PurposeThe purpose of this paper is to outline one innovative Australian initiative to harness creative, often intangible, knowledge, and reap the benefits of the intellectual capital of dance artists both during and post performing careers – the project Securing Career Opportunities and Professional Employment (SCOPE) which has been running for the last three years in conjunction with the Australian Institute of Sport (AIS).Design/methodology/approachUnlike much of the work in the field of knowledge management that concentrates on individual organization knowledge management processes and practices, this paper takes an industry‐sector‐wide perspective, utilizing written, and oral data sources.FindingsInternational focus on innovation, entrepreneurship, creativity and knowledge management has led to a growing recognition of the role of the creative industries for our post industrial economic well being. Dance plays a central role as a unique way of knowing and learning, with both intrinsic and instrumental value. Whilst there is diversity among dance artists, one unifying feature is short careers as performers. Having amassed an array of special attributes and competencies that are beneficial, it is crucial for artists to manage the knowledge gained through their training and careers in order to sustain and reap the benefits of their intellectual capital. The creative value of dance artists' capabilities can be a beacon in the link between creativity and economic outcomes. SCOPE is especially innovative as, unlike other programs, it moves beyond the notion of a transition program to emphasizing that of career development and sector knowledge management.Originality/valueThe research case study approach contributes to a fuller understanding of a very under researched area – first, that of management in the performing arts; and second, in knowledge management within an industry sector.

Municipal governments around the globe increasingly turn to museums, performing arts centers, arts districts, and other cultural activities to promote and revitalize their cities. While a significant body of literature examines revitalization strategies that focus primarily around entertainment and commerce, the empirical body of research that specifically investigates the role of cultural strategies in urban redevelopment is still growing. This paper first discusses the development of municipal cultural strategies in the United States, and draws from the literature to outline the characteristics of three different models of such strategies. Second, the paper presents findings from a national survey distributed to municipal agencies involved in the promotion and development of cultural activities and facilities in large and medium‐sized US cities. The survey data indicate that although most agencies are guided by a varied set of goals, entrepreneurial objectives continue to guide the development and suppo...

The objective of this paper is an attempt to explain the determinants of the lowest governance quality level in one of the communes of the Opolskie Province, Poland. The first stage of the research consisted in developing a commune-level governance quality index in order to measure the quality of governance in the 60 communes of the Opolskie Province. Subsequently, the commune with the lowest score in the index was qualified for the second stage of the research which was based on the extreme case method. The major conclusion from the research is that the commune leader's governance style which allowed him to hold on to power for many terms of office was responsible for generating low governance quality. Furthermore, the low quality of governance was not only the effect of the governance style but also the strategy aimed at remaining in the commune leader office for many terms.

Repertoire: –a stock of plays, dances, or pieces that a company or a performer knows or is prepared to perform. –the whole body of items that are regularly performed. –a stock of skills or types of behavior that a person habitually uses. https://www.google.com/#q=definition+of+repertoire Assessing the impact of teaching on student learning is an educational enterprise that has been going on for many years. Less common, however, is the evaluation of the impact of teaching on the instructor. That is, how does increasing teaching experience both in terms of the number of years doing it and the diversity of teaching experiences improve teaching? This is, of course, an empirical question. This paper focuses on one type of teaching experience and its overall contribution to improving instruction in public administration and policy. I draw from experience in short-term, non-degree teaching in executive programs (EEs). These programs are aimed at middle-level or senior government officials and may be as short as one day or as long as four weeks (on rare occasions longer). I show how this type of teaching can improve one’s teaching repertoire much like a young professional trombonist (think of Tommy Dorsey in his early 20s) or a fledging comedian trying to make the big time developing a professional repertoire. One’s repertoire is a combination of pedagogical technique and policy and management substance. Since short-term, non-degree teaching in EEs is different from degree-based, semester-length teaching, it presents specific challenges, especially for the novice EE instructor. As the repertoire improves via EE teaching, it is likely to transfer to more conventional graduate-level professional education. Case examples come from Hungary, the USA, China, Macedonia and Singapore.

Democracy, theatre and khoregia are key-words of classical Athens, where performing arts were combining creativity with the efficient management and matching grants of private sponsors, who were communities. From ancient to contemporary times, community foundations play the same role of khoregia for the survival of big and small communities in different geographies, from US to Italy. Community foundations are grant-makers whose aim is to engage citizens and communities, develop and improve their quality of life. Their fundraising has roots in relationships within relevant territories and communities. Their fund-giving has branches in any leading projects for their communities. They supply resources, and, above all, they support the creation of networks that put together main stakeholders in a specific territory with the classical benchmark of khoregia. The aim of this paper is to highlight the role of khoregia in ancient times and community foundations in contemporary times, both of them supporting development and, foremost, culture: from education to heritage. The methodology includes the analysis of mission statements and reports, and a cluster analysis of 2013’s accounting data of the biggest USA and Italian community foundations. Thanks to cluster analysis, economic performances are highlighted together with fundraising and fund-giving. The result consists of the comparison between USA and Italian foundations for different performances and focus on culture.

Finland’s education story is important because it brings hope to all those worried about whether improving their educational systems is at all possible. Finland has a unique educational system because it has progressed from mediocrity to being a model educational system and «strong performer» over the past three decades. If Chile intends to follow the Finnish Way and listen to successful international experience from other countries, there is no better lesson than investing systematically and wisely in enhancing equity in education. This conference paper offers a discussion to all those worried about whether improving their educational systems is at all possible. The United States, England, Sweden, Germany, and Chile, to mention just a few, are among those where public education is increasingly challenged because of endemic failure to provide adequate learning opportunities to all children

The purpose of this paper is to investigate the behavioural competencies of directors and managers working for cultural organizations and their relationship with organizational performance.,The study adopts an ESC competency modelling process and the technique of the Behavioural Event Interview as the primary source of data collection. In particular, the authors interviewed 14 directors and managers of six performing arts organizations operating in Emilia-Romagna, a region located in Northern Italy.,Findings show that directors and managers of cultural organizations are characterized by a specific set of social and emotional (e.g. persuasion and empathy), whereas cognitive competencies, such as quantitative analysis, are less frequent. Findings highlight also that a balanced portfolio of behavioural competencies emerges as importantly correlated with high organizational performance.,Findings offer relevant managerial implications for the design and implementation of a coherent set of human resource management practices, which allow cultural organizations to reach above-average performance.,This study contributes to a better understanding of the relationship between managerial competencies and the performance of cultural organizations, taking into account specific kinds of competencies – namely, behavioural competencies – which have been neglected by the previous literature.,Este estudio pretende investigar las competencias comportamentales de los directores y managers que trabajan en las organizaciones culturales, y la relacion entre estas competencias y la el desempeno organizacional.,Este estudio usa el proceso ESC competency modelling y la tecnica de la Behavioral Event Interview. Sobre todo, entrevistamos 14 directores y managers de seis organizaciones de espectaculos en vivo que operan en Emilia-Romagna, una region del Norte de Italia.,Encontramos que los directores y managers de las organizaciones culturales muestran un conjunto especifico de competencias sociales y emocionales (persuasion, empatia, etc.), mientras que las competencias cognitivas son menos frecuentes. Hallazgos muestran tambien que un portfolio balanceado de competencias comportamentales esta correlacionado con alto desempeno organizacional.,Los Hallazgos ofrecen relevantes implicaciones administrativas por el diseno y la implementacion de un sistema coherente de practicas de recursos humanos, que permite a las organizaciones culturales conseguir un alto rendimiento organizacional.,Este articulo contribuye a una mejor comprension de la relacion entre las competencias de los managers y el desempeno de las organizaciones culturales, sobre todo considerando competencias especificas (las competencias comportamentales) que los estudios pasados han descuidado.

This paper examines the economic and social effects of the Chuncheon Mime Festival (CMF). Unlike other festivals sponsored by local governments in the Republic of Korea, the CMF was initiated by the private sector and did not originate from the sociohistorical and cultural characteristics of Chuncheon and the surrounding area. However, because the CMF was designated as a “cultural and tourist festival” by the Ministry of Culture and Tourism, the city council increased financial support for it under a regional development strategy and simultaneously sought to commercialize it among tourists through place marketing, even though its contribution to the local economy has not been great. In this process, tension arose between the Chuncheon City Council and the festival organizers. The council asked the CMF organizers to make it into a mass-oriented program for place marketing, while the organizers saw the festival purely as a showcase for the performing arts. However, the organizers eventually developed new programs for the general public and tried to comply with the council's desire to utilize the CMF as part of a regional development strategy. Those efforts were successful. Although the CMF organizers have attempted to popularize the festival among local residents, the community has not completely accepted it yet because local people do not participate actively in the performances.

Scientists in academia have struggled to adjust to a policy climate of uncertain funding and loss of freedom from direction and control. How UK life scientists have negotiated this challenge, and with what consequences for their research and the research system, is the empirical entrance point of this paper. We find that policy impacts can be modulated and buffered by strategies and compromises devised and deployed at research performer level. This shifts conceptualisation from terms of responses to one of more or less proactive strategies of scientists and science organisations which add up, intentionally or unintentionally, to shifts in the overall system. Copyright , Beech Tree Publishing.

This article provides an overview of the nature and support provided by governments for the implementation and development of New Forms of Work Organisation. It draws on data and case studies collected by Business Decisions Ltd1 for the European Commission to illustrate the scope and impact of a sample of government programmes across 10 Member States. The paper examines the role of policy in stimulating the adoption of organisational change and helping companies to overcome obstacles with a comparison of approaches taken in different countries.

This paper investigates a referendum held in 1994 on the public support of the Zurich Opera House. The estimates demonstrate that well over 85% of the variance in the approval rates across ballot districts can be explained with a few variables characterizing the socio-economic composition of the electorate. Since these variables have been shown to influence the level of public support for the arts in representative democracies as well, our result lends support to the view that in democracies public support for the arts is coupled to the stable preferences of the electorate. This insight may, to some extent, mitigate and qualify existing fears that cultural policy is completely at the mercy of changing government ideologies and interest group influences.

Deep cuts in federal funding for the arts are certain and elimination of support is possible. This paper examines the causes of the crisis and concludes that our own heritage, current fiscal pressures, and the lack of a clearly articulated national cultural policy threaten funding for the arts in the United States. In response, a model cultural policy is presented that eliminates the National Endowment for the Arts and substitutes one with a more predictable base of support, including for four national cultural centers: the Smithsonian Institution, National Gallery of Art, Library of Congress, and the Kennedy Center for the Performing Arts. Through a clear cultural policy, sources of contentiousness can be removed, criticism of public funding for the arts eliminated, and tax reforms implemented to create more democratic participation and higher levels of funding for public and nonprofit institutions.

Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.

The paper presents an economic analysis of pricing and production relationships for professional performing arts companies. The analysis is primarily based upon the results of an empirical examination of cost functions in the performing arts. Production trade-offs among a number of output variables (length of season, ratio of home to touring performances, performance diversity) as well as the issue of economies-ofscale are investigated by means of a cross-section analysis of costs and output for sixty Canadian performing arts companies. Policy implications of the empirical study are related to government subsidy patterns in the arts and, specifically, to the issue of decentralization of artisitic activity.