WHAT IS THE CREATIVE INFLUENCE OF TEACHERS? EVIDENCE FROM MUSIC COMPOSITION SINCE 1450

By Karol Jan Borowiecki

Ideas are fundamental for the production of any creative output, whether in the arts, science or business. However, because ideas are so elusive, little is known on how they are transmitted across people. In this article I develop a novel approach to provide unique insights on how teachers influence the creative work of their students, how long this influence lasts, and what are the consequences for the students’ inventive output.

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LET’S DANCE ! MEASURING EFFICIENCY IN THE DANCE SECTOR

By María José del Barrio Tellado and Luis César Herrero Prieto

Economic studies exploring dance have proliferated enormously recently, although they have failed to receive as much attention as other cultural goods and services, such as museums, theatres or symphony orchestras. We therefore present the results from two studies evaluating efficiency in the dance sector, focusing on two contrasting markets: the US market, in which most dance companies act as non-profit entities and in which fundraising proves crucial; and the Spanish market, where we evaluate the impact of a public programme supporting the dance through the participation of the agents involved (theatres, dance companies, and policy makers). Non-parametric frontier techniques, such as data envelopment analysis (DEA) and variations, are used to measure the efficiency of the stakeholders and efficacy of the programme.

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BANDING TOGETHER: NEW COOPERATIVE SOLUTIONS TO PERENNIAL ECONOMIC PROBLEMS

By Amy Whitaker and Amber He

Arts organizations can access economies of scope, overcoming some of the key challenges in managing costs, sharing risk, and accessing capital. These advantages of resource sharing across activities—including by gathering people—can support the specificity and individuality of artistic practice. The benefits go well beyond the artists to support lively, vibrant, heterogeneous cities.

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ENTREPRENEURIAL ECOSYSTEM FRAMEWORKS FOR THE STUDY OF CULTURAL AND CREATIVE INDUSTRIES: THE CASE OF PORTO

By Miguel Neiva and Ellen Loots

The ‘ecosystem’ notion is finding its way in the economic, management and policy literatures. In fact, in entrepreneurship, the entrepreneurial ecosystem is a well elaborated concept. By means of an analysis of the sub-ecosystem of the cultural and creative industries (CCIs) in Porto, we explain how cultural, social and material aspects, also in their interactions, have led to the development of the entrepreneurial ecosystem (EE) of this medium-sized city since it became a European Capital of Culture in 2001.

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ANONYMOUS ART AT AUCTION: LOOKING AT THE “UNBRANDED” AND THE “OUTDATED”

Anne-Sophie V. Radermecker

For once, roles are reversed and this is art historians talking cultural economics. The goal of this book, at the intersection of both disciplines, is to show art historians the potential of economic tools to understand how art is perceived, valued, and consumed over time. 

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CULTURAL ENTREPRENEURSHIP: UNDERSTANDING THE MARKET FOR MEANING

By Yu-Yu Chang, Jason Potts, and Hui-Yu Shih

Cultural commodities, whether goods or services, are vehicles for conveying cultural and creative content. Consumers perceive value in these goods or services when they successfully deliver symbolic meaning rather than simply accomplishing utilitarian or functional purposes. Therefore, cultural entrepreneurs are not necessarily artists, but those who discover opportunities by observing and creating connections between the subjective meanings of the cultural production and the meanings mutually developed across consumer networks, groups and markets.

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