DataArts

In a U.S. sample of nonprofit professional theaters, we examine how slack resources interact with environmental threat appraisal to influence product exploration and exploitation. We find systematic variation depending on the extent to which a resource is rare and absorbed in operations, and the extent of perceived environmental threats. Absorbed, generic resources are associated with increased exploitation and decreased exploration. Unabsorbed resources, both generic and rare, result in higher exploration and lower exploitation, but only when perceived environmental threat is high. Overall, results reveal pragmatic decision making balancing the benefits of superior strategic position against the risks of jeopardizing viability.

Conventional marketing wisdom holds that a customer orientation provides a firm with a better understanding of its customers, which subsequently leads to enhanced customer satisfaction and firm performance. However, there are cautions that being too customer focused can lead to inertia, and anecdotal evidence suggests that it may be better to "ignore your customer" when developing new products. Building on the market orientation research stream, the authors examine the impact of three alternative strategic orientations-customer orientation, competitor orientation, and product orientation-on a variety of subjective and objective measures of performance in the nonprofit professional theater industry, which is marked by high rates of artistic innovation and largely unpredictable customer preferences. The results indicate that the association between strategic orientation and performance varies depending on the type of performance measure used. However, the most unambiguous result is that a customer orientation exhibits a negative association with subscriber ticket sales, total income, and net surplus/deficit.

There is a growing body of literature trumpeting a paradigm shift to relationship marketing. Much of the initial conceptual development behind relationship marketing can be traced to discussion of the impact of long-term, legal contracts on exchange relationships. Berry (1983) introduced the term "relationship marketing" to the services marketing literature, defining it as attracting, maintaining, and enhancing customer relationships (cf. Grönroos, 1994). Several recurring themes in the relationship marketing literature include customer satisfaction (Crosby et al.

This study explores the organizational values that characterize firms in the nonprotit professional theatre industry, and examines the links between firms' organizational values and their relationships with external constituents. Using grounded research methods, we uncover five value dimensions that are relevant to arts organizations: prosocial, artistic, financial, market, and achievement. Using a sample of 97 nonprofit theatres, we extend our qualitative inquiry with an empirical investigation ot" how firms enact their organizational values to build and maintain relationships with extemal constituents. Results from a two-wave survey design indicate consistent patterns of association between organizational values and (1) perceptions of values congruence with external constituents, (2) human resource allocation and programming decisions that firms make to support relationships with external constituents, and (3) the level of financial resources that firms obtain from their relationships with different external constituents. Interestingly, results from both investigations hint at underlying tensions between competing values in cultural firms, such as pressures to be both artistic-and market-oriented.

Theatres provide varying degrees of detail in their responses to the annual survey. In this report, we present four sets of analyses. With each analysis, we provide an increased degree of detail. In compliance with the audit structures recommended by FASB since 1997, this report looks at income and expenses from all unrestricted funds, including operating, plant, board designated, and endowment campaign funds. We frequently refer to CUNA — the Change in Unrestricted Net Assets — or the balance that remains when we subtract total unrestricted fund expenses from total unrestricted income.

We begin this report with a look at the Survey Universe theatres — the 154 theatres included in the 2001 investigation. This year's survey asks the same questions as that of 1998, so that we can begin to look at changes in board composition, structure, development, policies, relations with staff and committee involvement over time. We seek to discover more

PurposeThe country‐of‐origin literature has focused mainly on tangible products and has neglected largely intangible services and products such as the arts. The objective of this study is to examine the impact that country of origin may have on consumer perceptions of artistic and cultural products and to explore the variables that explain how consumers form their perceptions of countries as producers of cultural products.Design/methodology/approachA survey was conducted among adult consumers in Australia, Canada, Italy, Switzerland, and the USA that assessed participants' perceptions of 16 countries with respect to their reputation for nine cultural products.FindingsThe results indicate that product‐country images in the arts are affected by country and product familiarity as well as consumers' openness to foreign cultures and home country bias. Countries more proximate to the participants' home country were also better evaluated, especially when the proximity factor pl...

In a 2014 report, AAMD and the National Center for Arts Research (NCAR) found that a gender gap existed in art museum directorships. We found that women held less than half of directorships, that the average female director's salary lagged behind that of the average male director, and that these phenomena were most persistent in the largest museums. Three years later, despite press attention and field-wide dialogue on the topic, the gender gap persists, although trends showing incremental gains in some areas of pay and employment representation deserve recognition

Theatre Facts 2000 authors Zannie Giraud Voss, Glenn B. Voss and Christopher Shuff (with Hillary Jackson) have just published In Whom We Trust II: Theatre Governing Boards in 2001. Their report profiles our boards by age, gender, ethnicity and structure; defines our activities; and reflects our priorities. The report provides trustees and managing directors with a remarkable cross-section of useful benchmarks. For example, as Center Stage explores additional revenue sources, the statistics on trustee and individual giving not only suggest untapped opportunities but also realistic target dollar amounts. The report also begs some unsettling questions. Why, for example, do our boards spend so much energy making reports rather than engaging in activities surrounding the art?

This white paper examines the distinguishing characteristics of arts organizations that primarily serve Asian American, African American, and Hispanic/Latino communities. The study is designed to provide insights, based on measurable data, about the operating contexts and unique challenges that these organizations face. Co-authored with Andrea Louie, Executive Director, Asian American Arts Alliance and Zenetta Drew, Executive Director, Dallas Black Dance Theatre, the goal of the white paper is to provide a more nuanced understanding of culturally specific organizations and to help establish a more equitable measure of their performance