The Happy Artist? An Empirical Application of the Work-Preference Model

Steiner, Lasse; Schneider, Lucian

doi:10.2139/ssrn.1957156

Cited by 14 publications

(21 citation statements)

References 31 publications

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“…It is quite common and effective to study the motivation and self‐efficacy of entrepreneurs by means of self‐completed questionnaires (e.g. Simoens & Tervaniemi, ) and current research on the psychology of artists and other creative professionals shows that surveys constitute a “satisfactory empirical approximation of individual utility” (Steiner & Schneider, , p. 230). We developed our online questionnaire based on validated scales in the SDT and entrepreneurship literature that were translated from English to Dutch, backward and forward independently by two of the authors.…”

Section: Methodsmentioning

confidence: 99%

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

2019

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We aim to shed light on the deep mechanisms that keep individual entrepreneurs in the creative and cultural industries motivated in this insecure and fast‐paced environment. We collect data through a survey of entrepreneurs working in the Dutch creative and cultural industries (CCI) and examine what motivates these professionals to work in an environment characterized by tough competition. Specifically, we analyse our respondents' self‐perceived (creative and entrepreneurial) competences and needs (for autonomy and relatedness) in relation to their motivation to execute creative work. We suggest a reading of our results through the lens of self‐determination theory. Our results show that the need for competence is a consistent predictor of an individual's motivation to work in the CCI. Furthermore, we find that although intrinsic motivation is very high among entrepreneurs working in the creative and cultural industries, those who have a relatively high esteem of their creative capabilities do expect external rewards as well. Our study suggests the existence of a trade‐off between autonomy and commercial viability rather than one between intrinsic and extrinsic motivations.

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Section: Methodsmentioning

confidence: 99%

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

2019

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“…The hypothesis that artists are primarily concerned with artistic valuation and appreciation, has been directly tested by looking at artists’ job satisfaction compared with that of other groups. Studies by Bille et al () and Steiner and Schneider () confirmed that, on average, artists are considerably more satisfied with their work than non‐artists, a finding that supports the work‐preference model. Differences in income, working hours, and personality cannot account for the observed difference in job satisfaction.…”

Section: Artists’ Labor Marketmentioning

confidence: 76%

“…In this case, arts work is included as an argument in the utility function, and the model is often called the work‐preference model (Throsby, , ). Studies have found that non‐pecuniary benefits are among the key reasons for preferring to be an artist (Steiner and Schneider, ; Bille, Frey, Steiner and Fjællegaard, ).…”

Section: Introductionmentioning

confidence: 99%

Work for Passion or Money? Variations in Artists’ Labor Supply

Bille¹,

Løyland

Holm

2017

Kyklos

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Summary This paper assesses the relative impact of work for money or work for passion on Norwegian artists by examining artists’ labor supply. Our contribution is twofold. The first is to test the work‐preference model and the second is to investigate the impact of arts grants on artists’ labor supply. The empirical specification draws two distinctions: between arts and non‐arts income and between labor and non‐labor income. Non‐labor income is divided into three different sources: (1) spouse's income, (2) income from financial assets and social benefits, and (3) arts grants and subsidies. Our contribution adds to the literature by estimating the significance of these various income sources on the time allocated to arts work, non‐arts work, and leisure. The results provide convincing evidence for the work‐preference model, and ad hoc evidence shows that art grants have a significant positive effect on the supply of arts hours. This finding supports arts policy and shows the impact of art grants on artists’ motivation to work on their arts. The causality of wages on supply is demonstrated by estimating the effects of wage shocks (grants) on arts labor supply using fixed‐effect and difference‐in‐difference methods.

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“…For instance, qualification requirements are very demanding as musical actors have to learn singing, dancing and acting up to a professional level. Moreover, the prospects of being part of a musical show attract so many actors that the labor market is largely over-supplied, while demand is stagnant or even shrinking (compare also e.g., [36]). On the other hand, however, it is often necessary to get out, even after a foothold in the business has been gained.…”

Section: Methodsmentioning

confidence: 99%

Once You Are In You Might Need to Get Out: Adaptation and Adaptability in Volatile Labor Markets—the Case of Musical Actors

Ibert

Schmidt

2014

Social Sciences

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Abstract:The labor market for musical actors is very challenging for several reasons. On the one hand, it is difficult to acquire a position: qualification requirements are high, competition is fierce and reputation is difficult to build up. On the other hand, once in it is often necessary to get out: once being in, market demand for roles with a stage age above 45 drops dramatically and it becomes increasingly hard to stay healthy due to the threefold exposure to bodily strains of acting, dancing and singing. This labor market thus presents potentially interesting situations, in which the meaning of the concept resilience-in the sense of valuing preservation-can change fundamentally. While at the beginning of a career, the main challenge is often to adapt to market requirements, in the second half of a career it becomes increasingly important to become adaptable to a broader spectrum of opportunities, including exit scenarios. The paper generates empirically grounded ideal-typical accounts of the meaning of adaptation and adaptability for musical actors with a focus on the actors' networking strategies, their professional identities, and the corresponding ways of perceiving and creating spaces.

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The Happy Artist? An Empirical Application of the Work-Preference Model

Cited by 14 publications

References 31 publications

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

Work for Passion or Money? Variations in Artists’ Labor Supply

Once You Are In You Might Need to Get Out: Adaptation and Adaptability in Volatile Labor Markets—the Case of Musical Actors

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