Category: Attendance and Participation

10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY

By Association for Cultural Economics Poland

The European Workshop on Applied Cultural Economics (EWACE) returns to northern Italy to celebrate its 10th anniversary. Originally organised by Roberto Zanola (University of Eastern Piedmont) and Antonello Eugenio Scorcu (University of Bologna), this time taking place in Torino University 8 – 10 September 2022. Over 50 presentations, increasingly with multiple authors and with a balanced gender representation, evidence an active, creative, and engaged community of specialized economists worldwide.

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UNDERSTANDING URBAN ALTERNATIVE CULTURAL PRODUCTION

By Enrico Bertacchini and

From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as a complex adaptive system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene.

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HOW TICKET PRICES TO SWEDISH OPERA HOUSES AND SYMPHONY ORCHESTRAS HAVE BECOME INCREASINGLY EXCLUSIVE

By Staffan Albinsson

Ambitions for social inclusion have guided the publicly funded opera houses and symphony orchestras since the early twentieth century. However, this explicit policy goal has not influenced ticket prices during the last four decades. The successive ticket price increases have resulted in a situation where only the better off attend the performances.

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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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