2017
DOI: 10.1111/caim.12240
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Organizing artistic activities in a recurrent manner: (on the nature of) entrepreneurship in the performing arts

Abstract: A majority of performing arts organizations active in classical music, theatre, and contemporary dance rely on funding from “third parties” in order to organize productions in a recurrent manner. We adopt an entrepreneurial perspective to inform the debate on the economic sustainability of performing arts organizations: Is it a “deficit” in entrepreneurial orientation that condemns these organizations to financial dependence? Relying on a comparative case study design (n = 12), we distill a process model of pe… Show more

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Cited by 13 publications
(26 citation statements)
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References 115 publications
(161 reference statements)
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“…In particular, we do so by combining logics with insights from paradox theory (LEWIS 2000;PRADIES et al 2020;SMITH/LEWIS 2011) and propose a dynamic process model in which the currently dominant vicious response cycle is accompanied by a virtuous cycle showing the way towards a more hybrid organizational logic. Second, the analysis categorizes the various tensions PAOs experience, building on work on paradox theory, and extends the work around this theme (AMANS et al 2015;BERGAMINI et al 2018;LABARONNE/ TRÖNDLE 2020;LINDQVIST 2017). Finally, from a more practical perspective, the findings have implications for how both practitioners and policy makers might best manage PAOs and create an environment conducive to long-term viability of the organization.…”
Section: Introductionmentioning
confidence: 94%
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“…In particular, we do so by combining logics with insights from paradox theory (LEWIS 2000;PRADIES et al 2020;SMITH/LEWIS 2011) and propose a dynamic process model in which the currently dominant vicious response cycle is accompanied by a virtuous cycle showing the way towards a more hybrid organizational logic. Second, the analysis categorizes the various tensions PAOs experience, building on work on paradox theory, and extends the work around this theme (AMANS et al 2015;BERGAMINI et al 2018;LABARONNE/ TRÖNDLE 2020;LINDQVIST 2017). Finally, from a more practical perspective, the findings have implications for how both practitioners and policy makers might best manage PAOs and create an environment conducive to long-term viability of the organization.…”
Section: Introductionmentioning
confidence: 94%
“…This shows the challenge for PAOs' performance management, namely attending to both a commercial and an artistic dimension (LABARONNE/TRÖNDLE 2020). As PAOs' services are usually performed by humans in front of an audience, compared to visual arts organizations such as exhibition spaces and museums, the business models are also more constrained by time and space (BERGAMINI et al 2018) and the limitations of the human body. In sum, PAOs are shaped by a plurality of logics and the resulting complexity gives rise to tensions that need to be managed in order to operate successfully.…”
Section: Institutional Logics Complexity and Arts Organizationsmentioning
confidence: 99%
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“…Poettschacher (2005) also argues that creative enterprises are often a ‘lifestyle business’ and entrepreneurs find it difficult to assume their ‘commercial responsibilities’. Such enterprises fuel their founders' identity, creative vision and aspirations more than economic goals, protecting intrinsic motivation from market logic (Bergamini, Van de Velde, Van Looy, & Visscher, 2018). Chaston (2008) also show that individuals who manage small creative firms are concerned more about lifestyle by being involved in creative output than about being financially successful.…”
Section: Literature Reviewmentioning
confidence: 99%