Abstract
This chapter discusses the (often uncontested) underlying conceptualisations of performance evaluation inherent to the positivist paradigm. It problematises the origins and development of the field of evaluation and scrutinises the limits of performance measurement and evaluation as currently applied to the cultural and creative sector. Drawing on a systematic literature review, data analysis and empirical material in the context of institutional and temporary cultural organisations, we analyse political, organisational and artistic practices in relation to performance measurement, evaluation and sense-making. We first look at how performance is understood, measured and politically instrumentalised in major temporary cultural events, elaborating on the case of the European Capitals of Culture. In particular, we address issues of participation and sustainability. Next, by drawing on an ethnographic study of long-standing arts organisations in Vienna and Berlin, we analyse how performance itself is enacted and embedded in the artistic processes of the institutionalised performing arts. We then show how the artistic dimension of organisational performance can be more responsibly and holistically represented in evaluation practices. Our analysis reflects on the status quo of performance measurement and evaluation in the arts and cultural sector and the challenges associated with the current practices, which have been heavily influenced by positivist thinking in cultural policy and arts management research. Finally, we offer avenues for further developments.
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Notes
- 1.
In the United States only about 13 percent of direct arts support comes from public funding and only 9 percent from the federal government. The rest comes from earned revenue and private funders. That is, the large proportion of arts funding is ‘indirect’ in terms of tax deductibility of gifts for nonprofits. For every dollar of direct support, the US government provides about $14 of indirect support. Hence, arts and cultural organisations in the US place more emphasis on individual contributions and fundraising.
- 2.
For detailed information on the methodological approach and empirical findings, see Labaronne (2019a).
- 3.
According to cultural economists, a ‘long-run’ situation is a period over which the number of performances can be varied, meaning resources can be reconfigured. Because ‘the season’ is the planning unit for most nonprofit performing arts organisations, it is the appropriate indicator for the long-run situation (Heilbrun and Gray 2001, p. 128). By contrast, in a ‘short-run’ situation (e.g., a single performance), the levels of resource usage tend to be more fixed.
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Appendix
Appendix
Characteristics of the selected case studies (the case of the performing arts)
Case study | Vienna state ballet | Berlin state ballet |
---|---|---|
Organisation Type | Large classical dance company. Autonomous entity under public law. | Large classical dance company. Autonomous entity under public law. |
History and Reputation | The history of the Viennese ballet spans nearly 400 years. Among the artists who have worked in Vienna are legends such as Marie Taglioni and Rudolf Nureyev. Austria’s biggest ensemble. | The tradition of the Staatsballett Berlin dates back to 1742, when Frederick the Great founded his royal court opera. Germany’s largest company and Berlin’s only classically trained ensemble. |
Repertoire | Classic repertoire with neoclassical and modern pieces. | Traditional story ballets with increasingly contemporary works. |
Performance Venues (self-owned) | Wiener Staatsoper, Volksoper Wien | Deutsche Oper Berlin, Komische Oper Berlin, Staatsoper Unter den Linden |
Funding | Approx. 60% direct subsidies (federal and civic) Approx. 40% self-earned revenue (box office and fundraising) | Approx. 70% direct subsidies (federal and civic) Approx. 30% self-earned revenue (box office and fundraising) |
Ensemble | 100 dancers (first soloists, soloists, demi-soloists and corps de ballet) | 94 dancers (first soloists, soloists, demi-soloists, corps de ballet and character roles) |
Season | Around 87 performances, including 3 full-length premieres, 10 revivals of repertoire pieces and 1 international gala | Around 88 performances, including 4 full-length premieres, 8 revivals of repertoire pieces and 1 international gala |
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Labaronne, L., Piber, M. (2020). Performance Measurement and Evaluation in the Arts and Cultural Sector: State-of-the-Art in Theory and Practice and Prolegomena for Further Developments. In: Piber, M. (eds) Management, Participation and Entrepreneurship in the Cultural and Creative Sector. Springer, Cham. https://doi.org/10.1007/978-3-030-46796-8_11
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