Survey-based research methods are nothing particularly new to the event and festival sector; and in a forthcoming journal article (Event Management), myself and co-author James Bostock (Derby University) carry out an in depth analysis of past, current and future trends.
Yeah, we may use survey methods a lot in this field, but that doesn’t mean we’re somehow exceptionally good at it or that all the different variations of surveys can just all be lumped together and considered as ‘basically the same thing’. As a proportion, we’re doing ‘less’ surveys, but as the literature expands, there is still more and more research using surveys.
Here are some thoughts and findings from phase one of a project I was involved in (and remain involved in phase two). Hopefully anyone interested in libraries, arts, culture and arts education will find it useful.
“Among Ideal Friends (AIF) is a touring performance project developed by The Spark Arts for Children in partnership with Libraries in the East Midlands. Working together to deliver and transport high quality family theatre performances and workshop activities, inspired by books and stories for children, families and schools, alongside training for library staff and community volunteers.”
A Boy and A Bear in a Boat (one of the AIF shows, by Stewart Melton adapted from the book by Dave Shelton)
I worked with The Spark Arts for about a year on this and it was great to be able to vary and refine the approach to evaluation throughout. As someone primarily in the arts & events field, the role of libraries in the wider cultural sector was not something I would have previously considered myself particularly well informed about. Considering that they represent a nation-spanning, universally provided range of facilities or venues usually offering free and unlimited access to assorted cultural experiences, goods and services… in retrospect, well, that seems like an oversight! Especially given the recent and emerging debates around cultural democracy and everyday participation.
The website includes input from like-minded self builders, renovators and construction professionals.
This was originally published in Volume 2 // 3 of Aesthesis: International journal of art and aesthetics in management and organisational life (now defunct) in 2008.
I interviewed a handful of organisations in the Custard Factory, Birmingham. This was in the New Labour heyday of growth and bigging up the creative industries. I hope they are all still doing well.
The Artist-entrepreneur in the New Creative Economy
‘New knowledge is available at little or no cost to those who are on the lookout, full of curiosity and bright enough not to miss their chances.’
Fritz Machlup, 1980: 179