Playing a play: online and live performing arts consumers profiles and the role of supply constraints

Vega, Pablo de la; Suárez-Fernández, Sara; Boto‐García, David; Prieto‐Rodríguez, Juan

doi:10.1007/s10824-019-09367-y

Cited by 20 publications

(12 citation statements)

References 68 publications

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“…This is particularly important given that previous efforts to reduce inequalities in access to cultural events by expanding facilities and offering free tickets in Brazil have not been successful [ 51 ]. Future research could also investigate whether removing other barriers to engagement, such as providing the arts online to avoid high prices and reduce time constraints, could increase levels of engagement [ 52 ]. This could then support the development of interventions to promote engagement in the arts, and test whether this leads to improvements in health outcomes.…”

Section: Discussionmentioning

confidence: 99%

Who engages in the arts in the United States? A comparison of several types of engagement using data from The General Social Survey

Bone

Fluharty

et al. 2021

BMC Public Health

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Background Engaging in the arts is a health-related behavior that may be influenced by social inequalities. While it is generally accepted that there is a social gradient in traditional arts and cultural activities, such as attending classical music performances and museums, previous studies of arts engagement in the US have not adequately investigated whether similar demographic and socioeconomic factors are related to other forms of arts engagement. Methods Using cross-sectional data from the General Social Survey (GSS) in the US, we examined which demographic, socioeconomic, residential, and health factors were associated with attendance at arts events, participation in arts activities, membership of creative groups, and being interested in (but not attending) arts events. We combined data from 1993 to 2016 in four analytical samples with a sample size of 8684 for arts events, 4372 for arts activities, 4268 for creative groups, and 2061 for interested non-attendees. Data were analysed using logistic regression. Results More education was associated with increased levels of all types of arts engagement. Parental education demonstrated a similar association. Being female, compared to male, was also consistently associated with higher levels of engagement. Attendance at arts events was lower in participants with lower income and social class, poorer health, and those living in less urban areas. However, these factors were not associated with participation in arts activities or creative groups or being an interested non-attendee. Conclusions Overall, we found evidence for a social gradient in attendance at arts events, which was not as pronounced in participation in arts activities or creative groups or interest in arts events. Given the many benefits of engagement in the arts for education, health, and wider welfare, our findings demonstrate the importance of identifying factors to reduce barriers to participation in the arts across all groups in society.

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Section: Discussionmentioning

confidence: 99%

Who engages in the arts in the United States? A comparison of several types of engagement using data from The General Social Survey

Bone

Fluharty

et al. 2021

BMC Public Health

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“…While the current study did not enable direct comparison of online and in-person performances, future studies may determine if there are further advantages to live performance and help identify active ingredients of both live and virtual opera performances. Meanwhile, the current findings may help stimulate enhanced access to beneficial arts engagements, and to further research that may determine if there are unique advantages of live, in person audience participation (De la Vega et al, 2020).…”

Section: Discussionmentioning

confidence: 85%

“…Online events might be expected to have less impact for various reasons, including: (a) the lack of live engagement with performers; (b) the decreased sense of being "away" in specific performance spaces; and (c) lack of shared experiences with other audience members. Demonstrating the efficacy of virtual performances would be important because, if effective, online offerings could increase access to and broaden engagement in the arts (De la Vega et al, 2020).…”

mentioning

confidence: 99%

Impact of Veteran Journeys opera on audience member attitudes related to veterans with posttraumatic stress or unstable housing.

Bilder¹,

Mango²,

Jeffers³

et al. 2022

Psychology of Aesthetics, Creativity, and the Arts

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“…In a highly unequal context like Chile, cultural consumption is primarily determined by economic resources. Policies aiming to achieve a higher level of cultural engagement across the board might address inequalities in economic capital and restrictions on participation, such as high prices or segregation of cultural offer (De la Vega, Suarez-Fernández, Boto-García, & Prieto-Rodríguez, 2020;Gayo, 2017). Second, for omnivorous literature, a long-standing finding is that status, education, and income are important predictors of developing eclectic profiles of cultural consumption (Alderson et al, 2007;Jaeger & Katz-Gerro, 2010;Peterson, 2005;Torche, 2007).…”

Section: Discussionmentioning

confidence: 99%

Cultural omnivorousness and status inconsistency in Chile: the role of objective and subjective social status

Olivos¹,

Wang²

2020

Preprint

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Sociological research has long shown that cultural participation is socially stratified. We build on this literature to discuss the role of the subjective and objective dimensions of stratification, and how they are linked to practices of social distinction through cultural consumption. The aim of this study is to understand (1) the effect of subjective and objective social status on patterns of cultural participation, and (2) the implications of the status inconsistency between objective and subjective social status. We use a probabilistic and representative sample of the Chilean urban population over the age of 18. Latent class analyses show that a significant proportion of Chileans can be considered cultural omnivores. Multinomial diagonal reference models suggest that omnivorousness is positively predicted by subjective and objective social status. Moreover, regarding inconsistency, objective social status is prominent in the explanation of omnivorousness for both status-underestimating (SSSOSS). These findings provide important insights for discussing the implications of status inconsistency on cultural consumption.

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Playing a play: online and live performing arts consumers profiles and the role of supply constraints

Cited by 20 publications

References 68 publications

Who engages in the arts in the United States? A comparison of several types of engagement using data from The General Social Survey

Who engages in the arts in the United States? A comparison of several types of engagement using data from The General Social Survey

Impact of Veteran Journeys opera on audience member attitudes related to veterans with posttraumatic stress or unstable housing.

Cultural omnivorousness and status inconsistency in Chile: the role of objective and subjective social status

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