How did cultural consumption change during the Covid-19 pandemic? Whilst the impact of the pandem... more How did cultural consumption change during the Covid-19 pandemic? Whilst the impact of the pandemic on cultural production has been given significant attention, work on consumption has seen less attention (Roberts 2020 on leisure time notwithstanding). This paper addresses this gap in the literature by presenting a comparative analysis of two, nationally representative, surveys of cultural activity in England. The analysis demonstrates that, when cultural consumption moved online and to digital modes of delivery and engagement as a result of the pandemic, there was no discernible transformation in the stratification of cultural participation in England. The majority of the population, characterised by the absence of participation in formal, and often state-funded, cultural forms, saw no change to their patterns of engagement. Where cultural consumption did increase, this was among the small minority of people who were already highly engaged. This minority maps closely onto pre-exist...
This article studies the socioeconomics of government public expenditure for the arts and the nor... more This article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and ...
ABSTRACT We construct a cultural hierarchy of arts organizations in Israel based on government fu... more ABSTRACT We construct a cultural hierarchy of arts organizations in Israel based on government funding, building on the premise that patterns of government funding of arts organizations over time represent priorities driven by cultural policy. We investigate how this hierarchy corresponds to the social hierarchy among ethnic and national groups and between the center and periphery, and whether changes in funding over time in the center and the periphery are differentially associated with the changing socio-demographic characteristics of Israeli society. Our data include public funding allotted to 32 arts organizations representing three performing arts domains: theaters, orchestras, and dance companies from 1960 to 2011. Our findings demonstrate that theaters are at the top of the funding hierarchy, orchestras in the middle, and dance companies receive the least funding. Significant differences in funding exist between organizations with different ethnic or national orientations such that the social hierarchy, in which Ashkenazim are more privileged than Mizrachim, and Mizrachim are more privileged than Israeli Arabs is reproduced in arts funding. Finally, the gap in funding favoring organizations in the center has been decreasing since the mid-1990s and funding trends have similar associations with economic and demographic changes in the societal makeup.
This article studies the socioeconomics of government public expenditure for the arts and the nor... more This article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delin-eate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations' productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.
We construct a cultural hierarchy of arts organizations in Israel based on government funding, bu... more We construct a cultural hierarchy of arts organizations in Israel based on government funding, building on the premise that patterns of government funding of arts organizations over time represent priorities driven by cultural policy. We investigate how this hierarchy corresponds to the social hierarchy among ethnic and national groups and between the center and periphery, and whether changes in funding over time in the center and the periphery are differentially associated with the changing socio-demographic characteristics of Israeli society. Our data include public funding allotted to 32 arts organizations representing three performing arts domains: theaters, orchestras, and dance companies from 1960 to 2011. Our findings demonstrate that theaters are at the top of the funding hierarchy, orchestras in the middle, and dance companies receive the least funding. Significant differences in funding exist between organizations with different ethnic or national orientations such that the social hierarchy, in which Ashkenazim are more privileged than Mizrachim, and Mizrachim are more privileged than Israeli Arabs is reproduced in arts funding. Finally, the gap in funding favoring organizations in the center has been decreasing since the mid-1990s and funding trends have similar associations with economic and demographic changes in the societal makeup.
How did cultural consumption change during the Covid-19 pandemic? Whilst the impact of the pandem... more How did cultural consumption change during the Covid-19 pandemic? Whilst the impact of the pandemic on cultural production has been given significant attention, work on consumption has seen less attention (Roberts 2020 on leisure time notwithstanding). This paper addresses this gap in the literature by presenting a comparative analysis of two, nationally representative, surveys of cultural activity in England. The analysis demonstrates that, when cultural consumption moved online and to digital modes of delivery and engagement as a result of the pandemic, there was no discernible transformation in the stratification of cultural participation in England. The majority of the population, characterised by the absence of participation in formal, and often state-funded, cultural forms, saw no change to their patterns of engagement. Where cultural consumption did increase, this was among the small minority of people who were already highly engaged. This minority maps closely onto pre-exist...
This article studies the socioeconomics of government public expenditure for the arts and the nor... more This article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and ...
ABSTRACT We construct a cultural hierarchy of arts organizations in Israel based on government fu... more ABSTRACT We construct a cultural hierarchy of arts organizations in Israel based on government funding, building on the premise that patterns of government funding of arts organizations over time represent priorities driven by cultural policy. We investigate how this hierarchy corresponds to the social hierarchy among ethnic and national groups and between the center and periphery, and whether changes in funding over time in the center and the periphery are differentially associated with the changing socio-demographic characteristics of Israeli society. Our data include public funding allotted to 32 arts organizations representing three performing arts domains: theaters, orchestras, and dance companies from 1960 to 2011. Our findings demonstrate that theaters are at the top of the funding hierarchy, orchestras in the middle, and dance companies receive the least funding. Significant differences in funding exist between organizations with different ethnic or national orientations such that the social hierarchy, in which Ashkenazim are more privileged than Mizrachim, and Mizrachim are more privileged than Israeli Arabs is reproduced in arts funding. Finally, the gap in funding favoring organizations in the center has been decreasing since the mid-1990s and funding trends have similar associations with economic and demographic changes in the societal makeup.
This article studies the socioeconomics of government public expenditure for the arts and the nor... more This article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delin-eate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations' productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.
We construct a cultural hierarchy of arts organizations in Israel based on government funding, bu... more We construct a cultural hierarchy of arts organizations in Israel based on government funding, building on the premise that patterns of government funding of arts organizations over time represent priorities driven by cultural policy. We investigate how this hierarchy corresponds to the social hierarchy among ethnic and national groups and between the center and periphery, and whether changes in funding over time in the center and the periphery are differentially associated with the changing socio-demographic characteristics of Israeli society. Our data include public funding allotted to 32 arts organizations representing three performing arts domains: theaters, orchestras, and dance companies from 1960 to 2011. Our findings demonstrate that theaters are at the top of the funding hierarchy, orchestras in the middle, and dance companies receive the least funding. Significant differences in funding exist between organizations with different ethnic or national orientations such that the social hierarchy, in which Ashkenazim are more privileged than Mizrachim, and Mizrachim are more privileged than Israeli Arabs is reproduced in arts funding. Finally, the gap in funding favoring organizations in the center has been decreasing since the mid-1990s and funding trends have similar associations with economic and demographic changes in the societal makeup.
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