Politico-economic interactions of German public performing arts institutions
Identifieur interne : 000709 ( Istex/Corpus ); précédent : 000708; suivant : 000710Politico-economic interactions of German public performing arts institutions
Auteurs : Susanne Krebs ; W. PommerehneSource :
- Journal of Cultural Economics [ 0885-2545 ] ; 1995-03-01.
Abstract
Abstract: Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.
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DOI: 10.1007/BF01074430
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Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.</div></front></TEI><istex><corpusName>springer</corpusName><author><json:item><name>Susanne Krebs</name><affiliations><json:string>Institute of Public Finance, University of Saarland, Germany</json:string></affiliations></json:item><json:item><name>Werner W. 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If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. 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Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. 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Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.</Para></Abstract><KeywordGroup Language="En"><Heading>Key Words</Heading><Keyword>Performing arts</Keyword><Keyword>cultural policy</Keyword><Keyword>nonprofit</Keyword></KeywordGroup></ArticleHeader><NoBody></NoBody></Article></Issue></Volume></Journal></Publisher></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Politico-economic interactions of German public performing arts institutions</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Politico-economic interactions of German public performing arts institutions</title></titleInfo><name type="personal"><namePart type="given">Susanne</namePart><namePart type="family">Krebs</namePart><affiliation>Institute of Public Finance, University of Saarland, Germany</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Werner</namePart><namePart type="given">W.</namePart><namePart type="family">Pommerehne</namePart><affiliation>Institute of Public Finance, University of Saarland, Germany</affiliation><affiliation>University of Zurich, Switzerland</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="OriginalPaper"></genre><originInfo><publisher>Kluwer Academic Publishers</publisher><place><placeTerm type="text">Dordrecht</placeTerm></place><dateIssued encoding="w3cdtf">1995-03-01</dateIssued><copyrightDate encoding="w3cdtf">1995</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract lang="en">Abstract: Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.</abstract><relatedItem type="host"><titleInfo><title>Journal of Cultural Economics</title><subTitle>Published in cooperation with The Association for Cultural Economics International</subTitle></titleInfo><titleInfo type="abbreviated"><title>J Cult Econ</title></titleInfo><genre type="Journal" displayLabel="Archive Journal"></genre><originInfo><dateIssued encoding="w3cdtf">1995-03-01</dateIssued><copyrightDate encoding="w3cdtf">1995</copyrightDate></originInfo><subject><genre>Economics / Management Science</genre><topic>Economic Policy</topic><topic>Microeconomics</topic><topic>Public Finance & Economics</topic></subject><identifier type="ISSN">0885-2545</identifier><identifier type="eISSN">1573-6997</identifier><identifier type="JournalID">10824</identifier><identifier type="IssueArticleCount">8</identifier><identifier type="VolumeIssueCount">4</identifier><part><date>1995</date><detail type="volume"><number>19</number><caption>vol.</caption></detail><detail type="issue"><number>1</number><caption>no.</caption></detail><extent unit="pages"><start>17</start><end>32</end></extent></part><recordInfo><recordOrigin>Kluwer Academic Publishers, 1995</recordOrigin></recordInfo></relatedItem><identifier type="istex">64ADE0E29223F70D1A7B7AE42650157D3D0D29D2</identifier><identifier type="DOI">10.1007/BF01074430</identifier><identifier type="ArticleID">Art2</identifier><identifier type="ArticleID">BF01074430</identifier><accessCondition type="use and reproduction" contentType="copyright">Kluwer Academic Publishers</accessCondition><recordInfo><recordContentSource>SPRINGER</recordContentSource><recordOrigin>Kluwer Academic Publishers, 1995</recordOrigin></recordInfo></mods></metadata><enrichments><istex:refBibTEI uri="https://api.istex.fr/document/64ADE0E29223F70D1A7B7AE42650157D3D0D29D2/enrichments/refBib"><teiHeader></teiHeader><text><front></front><body></body><back><listBibl><biblStruct xml:id="b0"><monogr><title level="m" type="main">In our paper the word 'theater' comprises theaters, opera houses and institutions that offer different categories of performing arts</title><imprint></imprint></monogr></biblStruct><biblStruct xml:id="b1"><analytic><title level="a" type="main">Further studies deal with theater demand in a broader context, so e.g</title><author><persName><forename type="first">Moore</forename><surname>Globerman</surname></persName></author><author><persName><forename type="first">Book</forename><surname>Kelejian</surname></persName></author><author><persName><forename type="first">Lawrence</forename></persName></author></analytic><monogr><title level="m">Throsby and Withers Withers Touchstone Lange and Luksetich Gapinski Jenkins and Austen-Smith Greckel and Felton Carson and Mobilia Oteri and Trimarchi Throsby</title><imprint><publisher>Felton Houthakker and Taylor</publisher><date type="published" when="1966"></date></imprint></monogr><note>and. Gapinski (1984, 1988). A survey of studies on demand for opera performances is found in van Gemerden</note></biblStruct><biblStruct xml:id="b2"><analytic><title></title><author><persName><forename type="first">De</forename><surname>Goudriaan</surname></persName></author><author><persName><surname>Kam</surname></persName></author></analytic><monogr><title level="m">Pommerehne and Kirchg~issner Abb6-Decarroux Bonato, Gagliardi and Gorelli Abb6-Decarroux and Grin</title><imprint><date type="published" when="1983"></date></imprint></monogr></biblStruct><biblStruct xml:id="b3"><monogr><title level="m" type="main">found a price-elasticy greater than one (in absolute values) for some subperiod of his sample. This elasticity, however, is not significantly different from -0.85. Abb6-Decarroux (1994) found an elastic demand for reduced price seats, which doesn't differ significantly from minus one at the 95% level of confidence. Felton (1992) demonstrated that elasticities can vary widely among performing arts companies</title><author><persName><surname>Withers</surname></persName></author><imprint><date type="published" when="1980"></date></imprint></monogr></biblStruct><biblStruct xml:id="b4"><analytic><title level="a" type="main">Goudriaan and de Kam</title></analytic><monogr><title level="j">See Touchstone</title><imprint><date type="published" when="1980"></date></imprint></monogr></biblStruct><biblStruct xml:id="b5"><analytic><title></title></analytic><monogr><title level="m">Houthakker and Taylor Withers Bonato, Gagliardi and Gorelli</title><imprint><date type="published" when="1966"></date></imprint></monogr><note>See. among others Moore</note></biblStruct><biblStruct xml:id="b6"><analytic><title></title><author><persName><forename type="first">Kirchg~tssner</forename><surname>Pommerehne</surname></persName></author></analytic><monogr><title level="m">Felton Oteri and Trimarchi Abb6- Decarroux</title><imprint><date type="published" when="1987"></date></imprint></monogr></biblStruct><biblStruct xml:id="b7"><monogr><title level="m" type="main">Evidence for the existence of 'two taste subcultures', that is, tastes of professional theater critics and the lay public</title><imprint><date type="published" when="1988"></date></imprint></monogr></biblStruct><biblStruct xml:id="b8"><analytic><title></title><author><persName><forename type="first">Becker</forename><surname>Stigler</surname></persName></author></analytic><monogr><title level="m">West and McKee Stevens</title><imprint><publisher>Becker and Murphy</publisher><date type="published" when="1977"></date></imprint></monogr></biblStruct><biblStruct xml:id="b9"><analytic><title level="a" type="main">Pommerehne and Frey (1990), and for earlier collections of arguments the</title><author><persName><surname>See</surname></persName></author><author><persName><surname>Instance</surname></persName></author><author><persName><forename type="first">Sagot-Duvaroux</forename><surname>Farchy</surname></persName></author></analytic><monogr><title level="j">Journal of Cultural Economics</title><imprint><biblScope unit="volume">4</biblScope><biblScope unit="issue">2</biblScope><date type="published" when="1980"></date></imprint></monogr></biblStruct><biblStruct xml:id="b10"><analytic><title level="a" type="main">Existing studies are confined to examining certain aspects for a given institutional frame, i.e. a single country. See e.g. Solf (1993) for Germany, Khakee (1988) for Sweden</title></analytic><monogr><title level="m">for Australia</title><editor>Austen-Smith and Jenkins</editor><meeting><address><addrLine>Pommerehne</addrLine></address></meeting><imprint><publisher>Austen-Smith</publisher><date type="published" when="1979"></date></imprint></monogr><note>for. Switzerland and Seaman (1980) for the United States</note></biblStruct><biblStruct xml:id="b11"><monogr><title level="m" type="main">the remaining have some economic and/or juridical independence and are therefore controlled with more difficulty. About 18% are owned by states, the remaining belong to one or more municipalities. The ownership structure has hardly changed during the last 30 years</title><imprint><date type="published" when="1991"></date></imprint></monogr></biblStruct><biblStruct xml:id="b12"><monogr><title level="m" type="main">Goals can at the same time be pecuniary, as higher income often couples with more powerful positions</title><imprint></imprint></monogr></biblStruct><biblStruct xml:id="b13"><monogr><title level="m" type="main">These artists are formally subordinate to the theater manager, their competence in their field, however, may surpass his. So, a theater manager's policy could de facto be the result of interactions between himself and influential artistic personnel. But in order not to further complicate our reasoning</title><imprint></imprint></monogr></biblStruct><biblStruct xml:id="b14"><analytic><title level="a" type="main">14) has pointed out, this objective is "not necessarily inconsistent with long-run wealth maximization, since prestigious awards given by artists to artists ... are often treated by consumers as indicators of the quality of the product 17. 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