Author: Radbourne, Jennifer

Publication Year:

Media Type: Periodical (article)

Summary:

Abstract:

This study examines how to measure demand for a new arts center--striving for a "full house"--and looks at the strengths and weaknesses of existing business-school theories to arrive at the potential for maximum occupancy and use of a cultural facility.

Working with "Gravity Theory" and "Central Place Theory" as starting points, the author illustrates her new "Full House Theory" by doing case studies of four performing arts centers: Cairns Civic Theatre, Rockhampton Performing Arts Complex, and centers in Gladstone and Maryborough, Australia.

In brief, "Full House Theory" uses "Central Place Theory" to define the traditional borders of distances that patrons will travel to an arts center or cultural facility. A modification of "Gravity Theory" is used to describe product demand by segmented audience preferences for the arts. The third stage of "Full House Theory" adds five intervention factors: 

1. Funding.
2. Leadership.
3. Marketing expertise.
4. Community ownership or cultural development.
5. Public utilities.

These intervention factors are key performance indicators for arts development. A convergence of data from the primary research highlighted the impact on use and occupancy of these five quantitative variables. When managers and marketers were dependent on high levels of government funding, commercial and entrepreneurial activity were low. When community involvement was high, profitability and productivity increased.

Although this theory needs to be tested for over three to five years to prove its effectiveness, early research indicates its value in forecasting the requirements for sustainability of a new arts center.

Arts & Intersections:

Categories: Participation