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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GEOGRAPHIES OF FLOWERS AND FLOWER POWER: DO ARTS AND ECOLOGY AFFECT POLITICAL BEHAVIOR?

By Annie Tubadji and Valentina Montalto

In a moment of raising inequalities and high political discontent magnified by the COVID-19 pandemic, it becomes of utmost importance to find effective ways not only to make people happy (again) but also to channel people’s dissatisfaction through constructive political debate. Using microdata from the World Values Survey, we study the relationship between ecological and arts activism and political behavior.

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GLOBALIZATION AND THE RISE OF ACTION MOVIES IN HOLLYWOOD

By Shi Qi and Tin Cheuk (Tommy) Leung

What has caused the influx of superheroes such as The Avengers and The Justice League in Hollywood in recent years? Leung and Qi (2021) empirically show that globalization plays a huge part, especially with the emergence of the Chinese market in which Action movies face fewer cultural and language barriers. 

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REALITY VS. EXPECTATIONS: WHY WOULD ARTISTS FAVOUR FREE STREAMING?

By José Aly Tovar

Before the start of the 2000s the music business was in a bonanza thanks to the massive revenues that it got from selling CD’s. Artists would consider that their share of the pie was good enough and they seem to consider that their art was being rewarded correctly (for the exception of Radiohead and tom Yorke who likes to experiment how much value a listener gives to its music). But then, Napster came and everything changed, internet made piracy easy and the music industry was going down. When there was no salvation in sight Spotify came and saved the dying industry. Even with this a lot of Artists seem to think that it is just more piracy but why? What is the reason behind this? 

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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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