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Why Do Companies Sponsor Arts Events? Some Evidence and a Proposed Classification
Abstract
Corporate philanthropy towards the arts isof long standing in the United States. There is nosuch tradition in Europe, but corporate sponsorship ofthe arts has been in place since the 1960s (seeFrémion, 1994). This paper will discuss thedifferences and similarities between these two formsof business support to the arts and then concentrateprimarily on corporate sponsorship. The motivationsfor companies to sponsor arts events are examined inthe context both of the literature relating to themotivations for corporate philanthropy and corporatepromotional/marketing expenditure. Results from asurvey of 69 companies that had sponsored 129 artsevents in Ireland are presented and compared to thelimited results from similar surveys elsewhere. Itis suggested that the motivations for such sponsorshipcan usefully be reduced to four: promotion ofimage/name, supply-chain cohesion, rent-seeking andnon-monetary benefit to managers/owners. The evidence for this from the survey, either directly available orimplicit in the responses to some other questions, issignificant. Copyright Kluwer Academic Publishers 2000
... It implies that a set of relationships should be developed among stakeholders, so that long-term value can be created (Freeman 2010). In comparison, corporate sponsorships refer to a collaboration based on a two-sided barter that includes the corporate provision of resources, mainly in the form of monetary support, in exchange for a promotional exposure by the cooperating non-profit organization (Kirchberg 2011;O'hagan and Harvey 2000). It has a long-lasting tradition in the arts and culture sector, originating from the 60s of the nineteenth century (O'hagan and Harvey 2000). ...
... In comparison, corporate sponsorships refer to a collaboration based on a two-sided barter that includes the corporate provision of resources, mainly in the form of monetary support, in exchange for a promotional exposure by the cooperating non-profit organization (Kirchberg 2011;O'hagan and Harvey 2000). It has a long-lasting tradition in the arts and culture sector, originating from the 60s of the nineteenth century (O'hagan and Harvey 2000). Partnerships, instead, underline a commitment between businesses and non-profit organizations in which both entities share responsibilities, risks and benefits (Lewandowska 2015;Surman 2006;Waddell and Brown 1997). ...
... The key element defining sponsorship in the arts and cultural sector is a "transactional collaboration" between businesses and non-profit organizations (Austin et al. 2012a, p. 739). It involves the corporate provision of resources, mainly in the form of monetary support, in exchange for a promotional exposure (O'hagan and Harvey 2000). With such promotional exposure, businesses attempt to generate a positive reputation among the public (Kirchberg 2011). ...
The arts and cultural sector offers a beneficial field of cross-sector collaboration for businesses as it is closely related to contemporary consumers’ lifestyle and civilization. This study examined the impact of two prominent cross-sector collaborations (i.e. partnership and sponsorship) on corporate reputation in the arts and culture sector, with the focus on a specific stakeholder group – the millennials. 154 millennials were recruited for an online experiment, using a convenience sampling through posting an open-call on the Facebook pages of the 100 most visited art museums in the world. The results show that partnership and sponsorship both indicate a positive effect on corporate reputation, whereas partnership is more appealing to the millennials than sponsorship. We also examined the moderation effects of sincerity, value alignment and credibility on the relationship of cross-sector collaboration and corporate reputation. All three moderators are found to strengthen the relationship, while the impact of credibility is the strongest among them. The findings imply that companies should be aware of the need to present themselves as a trustworthy collaborator and the necessity to fulfil their duties deriving from the engagement in a particular cross-sector collaboration.
... Private support or corporate giving refers to a wide array of forms of collaboration between firms and arts organizations (Lewandowska, 2015). A first kind of corporate giving is represented by the donations companies may decide to make available for artistic and cultural activities in the form of money, or consisting of their products or technologies, or volunteer labor and/or business skills (i.e., donations in kind) (O'Hagan & Harvey, 2000). Donations represent a long-standing practice, since cultural patronage promoted by entrepreneurial families in the Renaissance (e.g., the Medici dynasty in Florence), and persists nowadays in the form, for example, of arts support provided by industrial magnates (Comunian, 2009). ...
... The above-mentioned forms of corporate giving and their associated benefits suggest that business investments in the arts and culture may be motivated by different reasons, like, for instance, products' advertising, promotion or improvement of corporate brand/image, which ultimately leads to an economic return. Other motivations may be favorable tax treatments (Trupiano, 2005;Stanziola, 2007), developing goodwill or corporate social responsibility (e.g., LeClair & Gordon, 2000;O'Hagan & Harvey, 2000), rent-seeking and raising regional competitiveness (Lewandowska, 2015). More specifically, two main general purposes or goals of corporate giving to the arts and culture can be identified: marketing purposes and corporate philanthropy (Comunian, 2009;Lewandowska, 2015;Moir & Taffler, 2004). ...
... Geographic Scope À This variable measures the distance (i.e., number of kilometers) between the supporting firm and the location of the supported activity. This variable was included to understand if the supporting company is motivated by the need to be visible in the market of reach of the same company, since artistic and cultural investments can influence the (social and market) environment in which the firm operates (Moir & Taffler, 2004;O'Hagan & Harvey, 2000;Stanziola, 2007). ...
In line with the reappraisal of the welfare state concept started in the 1980s and culminated in the recent economic crisis, governments have reduced the public funding available to cultural institutions. Thus, cultural institutions have progressively adopted more market-oriented practices, rethinking their relationship with the world of business in order to get additional economic resources. This chapter addresses corporate support to the arts and culture in the case of Italy, a country where government has traditionally played a central role in supporting culture. Drawing on the extant literature on sponsorships and corporate philanthropy, we propose a cluster analysis carried out on 160 investments in artistic or cultural activities made by 95 mid-sized Italian companies between 2008 and 2015. Results provide an up-to-date empirical evidence of corporate giving patterns in Italy and suggest an original typology of business investments in the arts and culture. Our study, focusing on the case of a Latin country and on a sample of mid-sized companies, extends the empirical settings usually investigated. Moreover, different from previous studies, we elucidate the influence that the characteristics of supporting organizations have on business investments in the arts and culture.
... Traditionally, corporate giving to the arts took form of a philanthropic gift to the recipient without any expectations of business benefits in return (Seitanidi and Ryan 2007), i.e. undertaken with largely altruistic motivations, in order to benefit society. However, much recent research has concluded that corporate giving is becoming increasingly strategic, incorporated in the overall business strategy, primarily to achieve distinct business benefits (O'Hagan and Harvey 2000;Saiia et al. 2003). On the other hand, O' Hagan and Harvey (2000) and Frank and Geppert (2004) maintained that an altruistic element still plays a significant role in influencing the decision making process. ...
... Here, businesses aimed to satisfy both internal and external audiences, by supporting causes that mattered to those stakeholders. Two underlying motivations were present: portrayal of an enlightened image and building of positive reputation via generating goodwill amongst customers and local community; and cost reduction by influencing employees, clients and decision makers (O'Hagan and Harvey 2000). Improving employee relations was high on the agenda of all the companies interviewed: "We feel that the greater involvement the staff have…, especially locally, it enriches, sort of, how they feel about the company in general". ...
... The perceived efforts to improve the society were largely directed towards the local community where the company operated: "We kind of focus on where we are based as a major location and where our employees live." Where companies operating on nationwide or international markets solely support local causes, their motivations are most likely driven by cost reduction motivations (O'Hagan and Harvey 2000), linked to the bottom line issues. ...
... T he third perspective stresses the potential of corporate sponsorship to achieve corporate social responsibility objectives, mainly to improve the brand image and promote organisations as responsible actors within society (Plewa and Quester 2011;Seok Sohn, Han, and Lee 2012;O'Hagan and Harvey 2000;Lidström 2004;Kawashima 2012;Yamin 2019;Walliser 2003). Corporate social responsibility is defined as "organisation's status and activities with respect to its perceived societal reputation" (Brown and Dacin 1997, 68). ...
... Plewa and Quester (2011) point out that a sponsorship strengthens both employee and customer perceptions of corporate social responsibility. Thus, corporate sponsorship of non-profits is a tool to gain positive customers' perception which, in turn, enhances consumer responses to marketing campaigns and affects staff by improving their motivation and satisfaction (Pomering and Dolnicar 2009;O'Hagan and Harvey 2000). Although these studies established a link between corporate sponsorship and corporate social responsibility, but they have not differentiated between sponsoring different segments of nonprofit organisations. ...
Previous researchers have examined the motivations and effects of arts sponsorship from the perspective of the sponsor, but without a clear aggregate implication on the sponsee. This study examines the development of arts sponsorship with reference to cultural policies, and identifies the rationale and effects on art museums. Building on marketing and arts literature and a comparative case study of the United Kingdom and France, this study shows that marketization policies and volatile public funding are pushing art museums to focus on self-funding sources including corporate sponsorship as a private funding source. Arts sponsorship has become more commercial than philanthropic because it carries institutional, stakeholders, and corporate social responsibility objectives. The positive effects of arts sponsorship on the sponsee are financial support for arts and enhancing cultural enrichment, while the negative effects include diminishing artistic autonomy and a contradiction between the type of sponsor and the mission of the sponsee. The study proposes a way forward to mitigate damages through cultural policies, as arts sponsorship is becoming an inevitable source of funding for arts.
... desvinculariam das políticas culturais do Estado, algo que poderia contribuir para uma democracia cultural. Não obstante o potencial que a lei de incentivo apresenta, diversos autores problematizam essa investida das empresas em razão do caráter mercadológico na escolha dos projetos a serem apoiados (Leclair;Gordon, 2000;O'hagan;Harvey, 2000;Lorêto;Pacheco, 2007), bem como da concentração de recursos em determinadas áreas geográficas (Bier;Cavalheiro, 2015;Ficheira;Hollanda, 2018;Varella;Santos;Najberg, 2020). ...
... desvinculariam das políticas culturais do Estado, algo que poderia contribuir para uma democracia cultural. Não obstante o potencial que a lei de incentivo apresenta, diversos autores problematizam essa investida das empresas em razão do caráter mercadológico na escolha dos projetos a serem apoiados (Leclair;Gordon, 2000;O'hagan;Harvey, 2000;Lorêto;Pacheco, 2007), bem como da concentração de recursos em determinadas áreas geográficas (Bier;Cavalheiro, 2015;Ficheira;Hollanda, 2018;Varella;Santos;Najberg, 2020). ...
A Lei Rouanet é uma das principais fontes de recursos para a cultura no Brasil, e permite que contribuintes de imposto de renda decidam quais projetos culturais apoiar, o que teoricamente poderia representar uma forma de democratizar a cultura no país. No entanto, essa prerrogativa empresarial também levanta questionamentos sobre a concentração de recursos em determinadas regiões e produções culturais, considerando os interesses do capital privado. O objetivo deste artigo foi investigar se a Lei Rouanet representa um instrumento de democratização na produção e no consumo da cultura, sobretudo em termos de distribuição geográfica dos recursos. Partindo de uma abordagem quantitativa, realizou-se uma descrição da distribuição geográfica dos recursos e uma análise comparativa entre os grupos de municípios que possuíam e que não possuíam projetos com captação de recursos desta lei, utilizando-se o teste de Kolmogorov-Smirnov e o de Wilcoxon Mann-Whitney. Acerca dos resultados, constatou-se a existência de concentração de recursos na região Sudeste, e pela análise comparativa percebeu-se que os recursos da Lei Rouanet estão presentes em municípios com maior porte populacional e maior Produto Interno Bruto. Concluiu-se que na forma de funcionamento da lei e pelo histórico de concentrações, esta representa um instrumento com dificuldades de democratizar os recursos em termos geográficos, atendendo mais interesses do mercado do que interesses públicos. Palavras-chave: Políticas Culturais. Cultura. Financiamento à Cultura. Incentivo Fiscal.
... In recent years, the motivation of the companies to support the arts and culture has received great research interest. The literature recognizes two major types of motivation for this [53,54]: (a) altruistic motivation that serves the social interest as a philanthropic initiative, and (b) strategic motivation that is expressed as corporate sponsorship and aims at serving the business interests, such as the improvement of the corporate image and reputation, and attracting or satisfying customers though the activities that have a high-profile social value. In general, the support of culture has a positive effectiveness on the corporate reputation [26], image [55] and value [56]. ...
... Future studies could focus on other CSR activities besides culture initiated by institutions with image and low trust issues, and investigate their impact on the public's attitude and customer loyalty, or explore their communication in depth. It may also examine the impact of these activities with respect to the support model (patronage, altruistic or strategic) [9,53,54], as well as the motives of the companies. Future research could also attempt to validate the outcomes of the survey with the opinion of the bank executives, and in general consider their opinion for the implementation and evaluation of initiatives related to cultural corporate responsibility. ...
Banks are under criticism that their business models are not adequately sustainable and also that they do not contribute largely to the resolution of the big issues of humanity. For this, banks seek eagerly to develop sustainable and socially responsible strategies as a means for supporting their public image, establishing trusted relationships with society and increasing customer loyalty. Greek banks implement such strategies; however, they seem to have image issues due to the harsh and extended economic crisis that occurred in the country, as well as their policies of the past. It is interesting to investigate the impact of such activities undertaken by institutions with a damaged image, an area that does not seem to have been investigated yet in the relevant literature. The purpose of the paper is to record the supporting activities in culture of the Greek banks and explore the public’s attitude towards them. The research method combines a content analysis on the banks’ websites and published annual reports to specify their actions in culture, and a structured survey to investigate the evaluation of these actions by the public. The findings of this study reveal that the Greek banks pay much attention to the support of culture. These activities have a positive impact on the public’s attitude towards them, but not on customer loyalty.
... While research on this growth in alternative support has documented how corporations use partnerships with nonprofits as a marketing tool to improve their brand image and achieve reputational objectives (Cornwell et al. 2005;Dalakas 2009;Lewandowska 2015;O'Hagan and Harvey 2000;Turgeon and Colbert 1992), there is a paucity of empirical research on nonprofit motivations for such partnerships (Al-Tabbaa et al. 2015). Indeed, arts and culture nonprofits can put their reputation at risk when engaging in corporate partnerships. ...
... By sponsoring a nonprofit, a corporation can increase awareness of its brand and promote its brand to the stakeholders of the nonprofit. Moreover, by associating its brand with that of the nonprofit, a corporation can benefit from the nonprofit's brand equity to improve its own brand image (Colbert et al. 1994;O'Hagan and Harvey 2000). However, only 8.4% of the revenues of arts and culture nonprofits in the United States come from corporations (National Endowment for the Arts 2012). ...
... Second, our findings suggest how different combinations such as museums and historical societies, public television and radio, theatre, and support for local and regional symphonies" (p.1). According to its aim (altruistic vs. commercial), CSA can assume different forms, lying on an ideal continuum between philanthropy and sponsorship (Moir & Taffler, 2004;O'Hagan & Harvey, 2000;Seitanidi & Ryan, 2007). On the one hand, philanthropy and charitable donations are defined as contributions in cash or in kind (products, materials, and labor) offered by a company without expecting any specific rewards (Moir & Taffler, 2004). ...
... Philanthropy and sponsorship have been traditionally characterized as opposite because of their different motivations (Moir & Taffler, 2004;O'Hagan & Harvey, 2000). However, the issue of whether philanthropy and charitable donations should be regarded as pure altruism rather than business investments has been the subject of considerable debate (Bennett, 1997(Bennett, , 1998. ...
Drawing on the agency theory and the stakeholder theory, this study assesses strategies for corporate support to the arts and analyzes their organizational and contextual determinants.
Based on an original dataset of Italian companies benefitting from a tax incentive program, we observe the following findings: smaller companies are more likely to contribute to the maintenance of the artistic heritage of the local area where they are located, with the aim of sustaining the cultural capital of their community (Local legacy strategy); larger companies are more likely to support arts and culture as part of their social responsibility strategy (Rich patronage strategy); medium-sized service companies are more likely to contribute a small amount of money to cultural and artistic events with a national appeal, with the aim of enhancing their reputation (Market-oriented strategy). Our research provides useful insights to artistic and cultural organizations for designing their fundraising activities and to policymakers interested in stimulating private donations for the preservation of a country's cultural heritage.
... Existen muchos estudios que explican las causas de la relación entre empresa y Cultura (por ejemplo, Gautier y Pache, 2013; O 'Hagan y Harvey, 2000), y en ellos se nos habla de promoción de la imagen, de mejora de la reputación mediante la asociación con buenas causas, de beneficios publicitarios o de cohesión de la cadena de suministro. Siendo mecenazgo y patrocinio las fórmulas iniciales de la relación entre la empresa y la Cultura, conviene empezar por acotar ambas modalidades. ...
... Con esa salvaguarda, el mecenazgo podría seguir definiéndose como la transferencia voluntaria e incondicional de dinero o recursos que una empresa realiza a favor de la Cultura (Gautier y Pache, 2013;Katz, 2006). Por el contrario, el patrocinio -sponsorship-cultural es siempre un intercambio comercial al tratarse de que una empresa cede fondos o recursos a cambio de beneficios promocionales por la asociación de su marca o de sus productos con bienes culturales o con la reputación de sus creadores (O 'Hagan y Harvey, 2000). Pero estas dos fórmulas básicas de relación con la Cultura -mecenazgo y patrocinio-, no bastan para explicar las diferentes maneras en que empresas y Cultura se relacionan actualmente. ...
... Moving along the continuum, yet still at the explicit value end, are savings generated via social collaborations providing access to powerful external stakeholders and able to influence product and/or market development. Young andBurlingame (1996) andO'Hagan andHarvey (2000) refer to political motivation or rent-seeking, respectively. The objective is to influence the bottom line by "protecting the company's position vis-a-vis policymakers" (O'Hagan & Harvey, 2000, p.207), where gaining political goodwill by direct or indirect lobbying is pursued (Bowen, Newenham-Kahindi, & Herremans, 2010). ...
... Moving along the continuum, yet still at the explicit value end, are savings generated via social collaborations providing access to powerful external stakeholders and able to influence product and/or market development. Young andBurlingame (1996) andO'Hagan andHarvey (2000) refer to political motivation or rent-seeking, respectively. The objective is to influence the bottom line by "protecting the company's position vis-a-vis policymakers" (O'Hagan & Harvey, 2000, p.207), where gaining political goodwill by direct or indirect lobbying is pursued (Bowen, Newenham-Kahindi, & Herremans, 2010). ...
Purpose: Perspectives on corporate social responsibility (CSR) permeate contemporary society and its impact poses important strategic issues within the private sector. How CSR initiatives contribute to economic success has become one of the key strategic agendas. Although extant research largely signals a positive link between CSR initiatives and economic performance, existing frameworks for extrapolating economic value from CSR initiatives are highly complex, onerous, and sometimes precluding plausibility. A simplified version of economic value generation in CSR initiatives is needed to assess CSR relevance to strategic planning, particularly the contributions of short and long-term value acquisition from CSR engagement.
Design: This paper offers a theoretical framework of CSR induced economic value-generation, derived by examining research on the business case for CSR/sustainability and their value drivers.
Findings: The study identifies and orders a number of economic CSR induced value drivers along a continuum according to their value added properties in terms of (a) ability to directly affect the firm’s higher cash flows, termed ‘explicit value’; and (b) level of time lag involved in relative economic value acquisition, termed ‘back value’. 'Explicit value' and 'back value' are opposing but mutually enhancing ends of the continuum.
Contributions/ Implications The paper offers a theoretical basis to less explicit and monetarily tangible CSR value chain facets, and contributes a straightforward tool for incorporating CSR into long-term strategic planning.
Limitations: The framework is theoretically derived. Applying it to different CSR contexts would determine whether and how different CSR initiatives deliver both explicit and back value.
... There is extensive and useful research into the reasons and drivers for corporate involvement with arts and culture (Carrigan, 1997;Gautier & Pache, 2013;Moir & Taffler, 2004;O'Hagan & Harvey, 2000). Depending on the kind of relation with culture previously stated, companies have an interest about arts and culture for a variety of reasons, including promotion of image and reputation, supply-chain cohesion, creating goodwill towards the company, association with good causes or advertising among others. ...
... More specifically, it is a voluntary and unconditional transfer of cash or other assets for the encouragement or support of culture (Gautier & Pache, 2013;Katz, 2006). On the other hand, cultural sponsorship is not a donation but a commercial exchange between the company and cultural agents whereby the company gives resources in exchange of promotional benefits (O'Hagan & Harvey, 2000). Currently, culture and business relations are more diverse. ...
The main purpose of this conceptual paper is drawing up a framework to assess the company responsibility regarding culture and fine arts. Since a rich cultural life requires variety and commitment to innovative and bold forms of cultural activity, the model should measure the corporate commitment to fostering axiological pluralism in the cultural sphere. A subordinate purpose is testing that model using primary data on the biggest Spanish listed companies. First, we define the corporate cultural responsibility (CCR) as a specific field of the corporate social responsibility.
Second, we defend that corporate citizenship involves accepting some risks to be in line with the public expectations on arts and culture. Third, it is proposed an assessment model that takes into account the kind of cultural activities promoted by the firms, from conventional and uncommitted to innovative and provoking. The model makes possible to rank the companies according to the quality of their CCR and take into account the influence of size and sector. The model reveals whether firms support conventional versus challenging cultural activities. This should be taken into consideration both by CSR managers and policy makers. In spite of the mounting economic significance of symbols and creativity, there is still little literature that specifically addresses the role of firms regarding arts and culture as another facet of their responsibility as corporate citizens.
... Scholars such as Bargenda (2004), Kirchberg (2003), Lund & Greyser (2015), O'Hagan & Harvey (2000), and Oesch (2002), have investigated the motivations that guide private company investments in the cultural sector. Without going beyond the scope of this article, it is worth reflecting more specifically upon the potential benefits obtained by fossil-fuel corporations in sponsoring museums. ...
This article traces a timeline of the shifting relationship between museums and their patrons,focusing particularly on the evolution and the complexities of the controversial links betweenmuseums and fossil-fuel industries. In doing so, it aims to facilitate an understanding of the impact of societal pressure over the ethics of museum funding. It describes the ways in which, over the last two decades, the increase in public scrutiny, together with the protests carried out by climate activists and artists, have put sponsorship deals linked to fossil-fuel industries in the spotlight on an international level. It also evidences the ways in which environmental concerns and accusations of ‘green washing’ have ultimately pushed towards substantial changes in the bond between museums and oil companies, thus paving the way for more transparent and responsible models of museum patronage. Methodologically, the text examines primary materials such as contemporary press releases, museum reports, environmentalist investigations, and activist performances. This approach aims to put the focus on the different actors and ingredients of the conflict, highlighting the practical elements of museum everyday work and offering a multi-faceted account of a complex issue, rather than a detached, theoretical analysis.
... Over the past few decades, scholars and practitioners have focused on corporate philanthropy as an important aspect of corporate social responsibility (CSR) activities (Cha and Rajadhyaksha 2021). Corporate philanthropy is motivated by a genuine interest to support target organizations and people and the desire to promote and improve brand recognition and image (Luo et al. 2018;O'hagan and Harvey 2000). Although some studies cite motivations such as tax benefits (Feliu and Botero 2016), concealment of fraud (Du 2015), and restoring corporate image after fraud (Harrison and Huang 2022), most academic studies emphasized the positive aspect of philanthropy (Damberg et al. 2022;Hebb and MacKinnon 2016). ...
Companies engage in philanthropic corporate social responsibility (CSR) activities not only to genuinely support certain organizations and people but also to promote and improve brand recognition and image. CSR activities target the environment, sports, and arts and culture. However, surprisingly, few studies have explored all of these and demonstrate their effectiveness in core businesses. This study investigated the impact of CSR activities on the perceived value of products and advertising in the Japanese and American markets. The target brands were Coca-Cola, McDonald’s, Nestle, and Starbucks. We collected online surveys from 754 people in the two countries and applied structural equation modeling. Environmental and sports activities positively affected core business factors, whereas arts and cultural activities had a negative effect. Increasing environmental awareness and sports interest could lead to the observed positive effects. Companies make art-related investments to receive tax breaks, and art and cultural activities are limited to society’s elite, which could have led to the negative effects observed. This study provides valuable insight for the food industry to formulate strategies for allocating limited internal financial and human resources to CSR activities.
... An organization's goal is to maximise the owner's return on investment (Neiheisel, 1994;Young and Burlingame, 1996;Sanchez, 2000). Companies give to improve profits, according to previous research (Fry et al., 1982;O'Hagan and Harvey, 2000). With these financial implications comes the decision to engage in corporate philanthropy by management. ...
Purpose
The present study aims to focus on the management of public listed companies (PLC) in Malaysia. It aims to explore the factors that influence the behavioural intention of the managers in donating cash waqf (endowment) as part of their organisations’ corporate philanthropy.
Design/methodology/approach
The theory of planned behaviour was used, and 701 questionnaires were emailed to PLCs’ managers. Four main variables, i.e. economic attitude, political pressure, perceived behavioural control (PBC) and personal moral obligation, were tested and analysed by using structural equation modelling.
Findings
The findings showed that the first three variables, attitude, subjective norms and PBC of the management, significantly influenced management’s behavioural intention to donate cash waqf . Nonetheless, the personal moral obligation of the management was found to be insignificant.
Research limitations/implications
One of the main limitations is that it involved only quantitative surveys with managers in Malaysia. In future, the findings of this study can be supported by interviews.
Originality/value
The present study integrates the corporate social responsibility (CSR) fund of Shariah-compliant companies for the development of waqf property. The combination of CSR funds and waqf land will solve the waqf institution’s fund deficit issue. This will optimize waqf land development efficiency and benefit society.
... As a result, managers may engage in rent-seeking activities leading to substantive departure from shareholder wealth maximization motives (Masulis and Reza, 2015). Empirical evidence suggests that managers divert organizational resources to maintain their position among the influential elites (Campbell et al., 1999) and to get personal favor in consequence (O'Hagan and Harvey, 2000). We, therefore, argue that managers may utilize free cash flow for personal value-maximizing activities (i.e. ...
Purpose
The purpose of this study is to investigate whether financial resource allocation decisions for corporate social responsibility (CSR) depends on slack resources and free cash flow.
Design/methodology/approach
The study's sample consists of 202 company-year observations from 51 financial institutions over the period 2015–2019. The authors collected CSR data from CSR review reports published by the Central Bank (Bangladesh Bank). The financial and governance data are collected from corporate annual reports and year-end review reports published by the Dhaka Stock Exchange. This study uses both the random-effect and generalized estimating equation models to test the hypotheses.
Findings
The authors establish two key findings consistent with the predictions of slack resource theory and free cash flow theory. First, the authors find a significant and positive relationship between slack resources and CSR expenditure. This result also supports the traditional thinking about corporate giving – that doing well enables doing good. Second, the author show that increases in free cash flow are associated with increases in CSR expenditure. This indicates the presence of agency problems between managers and shareholders regarding CSR expenditure.
Originality/value
This study is the first to show the positive impacts of slack resources and free cash flow on CSR expenditure in an emerging economy characterized by both capital constraints and high salience of CSR expenditure. The study has important implications for regulators, advocacy groups, shareholders and analysts in emerging economies that share similar contextual characteristics.
... In terms of funding, this analysis-in line with other studies (Comunian 2008;Fissi et al. 2018)-reveals that the major contributors are companies that, in different forms, support funding of the Italian state museums. Indeed, companies often develop philanthropic and sponsorship programmes in order to generate a positive return for their tangible and intangible assets (O'Hagan and Harvey 2000;Proteau 2018). Therefore, companies represent one of the most relevant sources to develop marketing strategies for museum fundraising (Camarero et al. 2019;Fahy et al. 2004). ...
In recent years museums are experiencing the progressive decline in the public and governmental funding as a consequence of the recent crisis. Museums are currently competing for innovative forms of funding in order to attract new sources of financing like sponsorships and donations. In this perspective, the aim of this paper is to analyse new approaches to museum financing and fundraising in context, like continental Europe, characterised by high levels of competition and the decrease in public policies and funds. The research adopts a cross-case analysis focused on a group of 40 Italian State museums.
... CSR in art and culture is generally regarded as the deployment of and support for art and cultural strategies to achieve positive change within corporations (Stern, 2015). Similar practices, such as "art supporting activity" (Shiseido, 2020), corporate philanthropy towards the art (O'Hagan & Harvey, 2000), corporate support for artistic and cultural activities (Leclair & Gordon, 2000), and collaborative development of long-term formats and partnerships in corporations' international cultural commitments (Girst et al., 2018) are found. However, the exact scope of "art and culture" remains a matter of debate and ambiguity. ...
... The classic approach to sponsorship by marketing and corporate communication scholars has produced many studies whose aim is to understand the following: the reasons why companies sponsor an event [15,22,[28][29][30][31], the psychological processes triggered by sponsorship in the individual's mind [32][33][34][35], the image transfer mechanism that allows the association between the initiative promoted and the company's image [21,29,36,37], and the value creation process for the sponsor [38]. Of great importance are the studies on the evaluation of the effects of sponsorship, based mainly on the estimation of direct and indirect audience [19,[39][40][41][42], on consumer surveys [20,43,44] or social experiments [21]. ...
The paper addresses the theme of sponsorship as the main form of public–private partnership through which to finance restoration/recovery interventions for the historical–architectural heritage. The goal is the maximization of sponsorship profitability for companies. Specifically, an existing dynamic model through which it was possible to estimate the optimal annual amount to be invested in sponsorship to maximize the current value of expected profits has been analyzed, reworked and for the first time applied to an Italian company. It was therefore assumed that the company is intent on supporting a multi-year program of sponsorship investment. It is also assumed that the corporation is a single-product company, operating in monopolistic competition and characterized by a Cobb–Douglas production function with decreasing returns to scale. The work is in continuity with a previous publication focused on the application and validation of a static model. The final goal is to provide tools for applied analysis of the financial sustainability of the sponsorship that forms incentive for companies to implement its use, facilitating the recovery of the historical–architectural heritage. Public bodies can thus benefit from the greater contribution of resources from private financiers for a zero-cost and sustainable valorization of cultural heritage.
... Finally, cultural capital also plays a role. The valued cultural capital in the philanthropy field is related to the word 'culture' (O'Hagan & Harvey, 2000), in the form of artistic taste and sense of 'chic' (see Bourdieu & Eagleton, 1992). The specific elements of cultural capital vary across individuals according to their specific upbringing and education, and orients them towards a particular philanthropic strategy of funding exhibitions, music events, or educational programs. ...
This essay extends a Bourdieusian perspective on the microfoundations of institutions. Drawing on this perspective, we argue that the recursive dynamics of institutions and action orient actors towards the maintenance of distinct and contradictory practices within, rather than bridging across, different fields. We corroborate our argument with an illustration of how corporate executives strategize within the tax field compared to the philanthropy field. Specifically, we show how actors are simultaneously oriented by different capitals towards apparently contradictory strategies. Our essay provides promising avenues for future research on the microfoundations of institutions, inter-field dynamics, and critical accounting and business ethics studies.
... In addition to the traditional view of corporate philanthropy (CP) as an altruistic activity, an emerging body of literature examines CP as a part of a larger corporate strategy. Studies show that CP brings tangible and intangible benefits to a firm such as a good corporate image and reputational capital (Saiia, Carroll, & Buchholtz, 2003;Wang & Qian, 2011;Zhang, Zhu, Yue, & Zhu, 2010b, 2010a, relational capital with governments and the public (Shleifer & Vishny, 1994;S anchez, 2000), tax benefits (Duquette, 2016;Navarro, 1988;Schwartz, 1968), improve corporate efficiency (O'hagan & Harvey, 2000;Porter & Kramer, 2002), among others. A few studies suggest that firms leverage their CP activities to alleviate weakness of their operations. ...
We examine the impact of short selling on a firm's CP propensity in a sample of Chinese firms. Drawing from the strategic view of CP literature, we postulate that when a firm faces weaknesses, it has incentive to use CP to divert public attention. Our results, as expected, suggest that when there is a surge in short selling, a firm is more likely to make CP in a given year. The findings are robust to endogeneity concerns and different measure of CP propensity. Sub-sample analyses use corporate transparency, operating results, corporate governance, and prior security violation suggest that when a firm is less transparent, having poor operating performance, an ineffective corporate governance, and anticipated future security violation, it is more likely to using CP to divert the public attention.
... On a more tactical level, the literature discusses the relevance, implementation and impact of arts for various communication instruments: corporate collections and corporate museums (Kottasz et al., 2008), arts sponsorship (Schwaiger et al., 2010;Stockburger-Sauer and Hofmann, 2017;Mermiri, 2010;O'Hagan and Harvey, 2000) and advertising (Hetsroni and Tukachinsky, 2005;van Niekerk and Conradie, 2016). ...
Purpose
This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration.
Design/methodology/approach
This is an editorial based mainly on an extensive and broad literature review.
Findings
First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process).
Originality/value
This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.
... Finally, cultural capital also plays a role. The valued cultural capital in the philanthropy field is related to the word 'culture' (O'Hagan & Harvey, 2000), in the form of artistic taste and sense of 'chic' (see Bourdieu & Eagleton, 1992). The specific elements of cultural capital vary across individuals according to their specific upbringing and education, and orients them towards a particular philanthropic strategy of funding exhibitions, music events, or educational programs. ...
... Con esa salvaguarda, el mecenazgo podría seguir definiéndose como la transferencia voluntaria e incondicional de dinero o recursos que una empresa realiza a favor de la Cultura (Gautier y Pache, 2013;Katz, 2006). Por el contrario, el patrocinio -sponsorship-cultural es siempre un intercambio comercial al tratarse de que una empresa cede fondos o recursos a cambio de beneficios promocionales por la asociación de su marca o de sus productos con bienes culturales o con la reputación de sus creadores (O' Hagan y Harvey, 2000). Pero estas dos fórmulas básicas de relación con la Cultura -mecenazgo y patrocinio-, no bastan para explicar las diferentes maneras en que empresas y Cultura se relacionan actualmente. ...
El arte, la literatura o el patrimonio —la Cultura— son afectados de manera específica por la actividad empresarial. La Responsabilidad Cultural Empresarial —RCE— se refiere así a las distintas acciones de RSE que las empresas realizan para responder a las demandas culturales de sus grupos de interés y a los impactos generados en la Cultura. Respecto de la justificación normativa de la RCE, se defiende el derecho de las empresas a intervenir en la vida cultural de la sociedad no sólo escogiendo la Cultura como su actividad de negocio sino también como parte de sus acciones de RSE. Por otro lado, se argumenta que las empresas tienen responsabilidades específicas en la promoción y protección de los bienes culturales dado su carácter público o cuasi-público, y dado el rol social y político de las propias empresas.
... Similar to sponsorship, patronage aims to create a positive image and, to a lesser extent, attain commercial objectives. Nevertheless, it offers a new, more altruistic dimension for the company and thereby generates a different relationship with its stakeholders (O'Hagan and Harvey, 2000). ...
Purpose
The purpose of this paper is to present alternative management practice methods for the Cultural Heritage Sector apart from the traditional public support model. These alternatives rely on Sponsorship and Patronage as well as the newer and more innovative Public Private Partnership (PPP).
Design/methodology/approach
The paper is organized in two conceptual sections based on a literature review and an empirical section based on the analysis of a case study. The first section presents and compares two closely associated business strategy forms that are increasingly becoming popular within companies: Sponsorship and Patronage. These strategies are analyzed to show their advantages and disadvantages and are assessed based on their best uses in terms of the benefits from their implementation to all stakeholders involved (benefactors, recipients and the public) and, more particularly, to the benefactor’s company communication policy. The second section analyzes the PPP as a newer innovative practice in the Cultural Heritage Sector, a recent development that has great potential, especially during an economic crisis where public funds are reduced, which risks the future recovery and proper maintenance of sites.
Findings
In the paper, the authors stressed that sponsorship, patronage and PPP are not merely alternative ways of primarily obtaining government funding for the cultural heritage sector but are also new strategic management practices that, when properly performed, will not only preserve and improve the sector but also allow more value to be distributed among all stakeholders.
Originality/value
Although the topic of Public Private Partnership is treated fairly in the scientific literature, especially with regard to infrastructure, there are few cases of the application of this model to cultural heritage management.
... Further, the specific justifications for sponsorship provided by our respondents were in line with those found in previous studies. For example, the development of corporate image and personal relationships were discussed by Daellenbach (2012) and Daellenbach et al. (2013);and O'Hagan and Harvey (2000) identified hospitality opportunities as a motivation for sponsorship. However, most sponsorship studies simply focus on the broad concept of 'fit.' ...
Bu makale, burjuvazinin belirli kesimlerinin üst düzey sanat formlarını neden desteklediği hakkındadır. Bankacılık, enerji, hukuk, demir çelik, kimya veya otomotiv gibi ekonominin değişik sektörlerinde faaliyet yürüten şirketlerin senfoni orkestraları kurmalarının, operalara sponsor olmalarının, baleleri finanse etmelerinin gerisinde, rant motivasyonuyla sanat piyasasına ya da kâr amacıyla kültür endüstrisine yatırım yapmalarından daha farklı nedenler yatmaktadır. Burjuvazinin sanata yatırım yapması ile sanatı desteklemesi arasında ayrım yapılmalıdır. Temel amacı kâr maksimizasyonu olan burjuvazinin rant getiren sanat piyasasında ve artık-değer üreten kültür endüstrisinde aktif olması anlaşılabilir bir durumdur. Buna karşılık burjuvazinin temel faaliyet alanlarından elde ettiği kârın bir kısmıyla üst düzey sanat formlarını desteklemesinin ardında yatan gerekçeler, sanat piyasasına ve kültür endüstrisine yatırım yapma amacında olduğu gibi bir bakışta gözlemlenemez. Bu amaçların neler olabileceğinin sorunsallaştırılması gerekir. Bu sorunsaldan hareket eden makalede öncelikle burjuvazinin sanatla ilişkisinin farklı biçimleri ele alınmıştır. Bunun ardından burjuvazinin sanatın üst düzey formlarını destekleme biçimleri üzerinde durulmuştur. Bu sergilemeyi takiben burjuvazinin belirli sanat formlarını destekleme nedenlerine ilişkin üç düzeyli bir analiz ortaya konmuştur. Sanata verilen destek tekil düzeyde bir burjuvanın ya da bir şirketin çıkarıyla; tikel düzeyde bir sınıf olarak burjuvazinin çıkarıyla; tümel düzeyde ise evrensel bağlamda burjuvazinin sınıfsal hegemonya hedefleriyle ilişkili olarak tartışılmıştır. Bu üç düzeyli tartışmada Antonio Gramsci’nin sınıf bilincinin uğraklarına ilişkin analizinden yararlanılmıştır. Burjuvazi, homojen bir sınıf olmadığı için sanatın üst düzey formlarını bütün kesimleri ve üyeleriyle desteklemez. Burjuvazinin kendi içinde sanat formları karşısında gösterebileceği farklı eğilimlere ve içsel farklılaşmalara ilişkin çerçeve Karl Marx’ın sınıf teorisine dayandırılmıştır.
This paper investigates whether companies actively use social responsibility to divert public attention from the quality of their accounting information when implementing earnings management. The results show a significant positive relationship between EM and CSR. The mechanism of influence suggests that the risk of share price collapse, investor sentiment and the cost of capital play a mediating role. Subgroup tests reveal that this corporate masking and rent-seeking motive is more pronounced in underperforming, non-family-owned and non-state owned firms. Further research finds that corporate governance mechanisms such as equity incentives, fund ownership, and high concentration of equity can moderate this opportunism.
La presente investigación tiene como finalidad el análisis de las principales estrategias que caracterizan la gestión de los festivales artísticos (artes escénicas, música y audiovisual) en un contexto de crisis económica y presupuestaria. A partir del contraste con la literatura teórica y comparada, y de la contextualización en el marco político y administrativo español, las hipótesis de la investigación se organizan alrededor de cuatro ejes: la caracterización tipológica de los modelos de gestión de los festivales, las estrategias de financiación, las estrategias de gestión de los recursos humanos y el impacto de la recesión durante el período 2008-2013. La corroboración de las mismas se realiza a partir de los datos obtenidos de tres trabajos de campo focalizados en dos territorios complementarios entre sí (el conjunto de España y Catalunya). El trabajo demuestra el carácter explicativo clave de la dependencia del organismo titular (correlacionado con el grado de financiación pública), el género artístico principal y el volumen total del presupuesto. Para comprender la mayoría de las estrategias adoptadas es necesario tener en cuenta el carácter intensivo, temporal e intermitente de los festivales hecho que explica tanto el potencial financiero como la particular gestión de sus recursos humanos. Finalmente, las bajas barreras de entrada y de salida de la industria de los eventos, revelan tanto la vulnerabilidad como la adaptabilidad y mutabilidad de los festivales en periodos de recesión económica.
Faced with the cutbacks in public funding and the changes taking place in the governance and funding models in the cultural sector, museums must rise to the challenge of devising and implementing strategies to obtain resources from a range of sources and thus reduce public sector dependence. Based on a sample of museums from various countries which use private funding, the present work examines different signals that can impact on private fundraising from donors and sponsors: social signals (reputation and social performance) and financial signals (accountability and fundable projects). The results reveal that whereas donors are concerned with all kinds of social and financial signals, sponsors are mainly attracted by reputation and fundable projects. The study also draws a distinction between small and large museums. While the former should offer private funders flexibility in funding, the latter need to evidence social achievements as well as financial features to attract funders.
“One thorn of experience is worth a whole wilderness of warning”. In China, the Cultural Revolution as a great historical event has affected behavioral patterns of several generations of Chinese people. Against this context, this chapter examines the impacts of the Cultural Revolution experiences of directors on corporate philanthropy and further investigates the moderating effect of corruption atmosphere across provinces in China on above relation. The findings show that the Cultural Revolution experiences of directors significantly negatively affect corporate philanthropy, implying that directors experiencing the Cultural Revolution are inclined to be less socially ethical and benevolent. Moreover, provincial corruption atmosphere attenuates the negative relation between the Cultural Revolution experiences of directors and corporate philanthropy. A variety of sensitivity tests using alternative measures about the Cultural Revolution experiences of directors and corporate philanthropy suggest that the findings are robust, and further the conclusions still stand after addressing the endogeneity problem.
This chapter is dedicated to the explanation of two main communication activities which, as evidenced by the literature, can benefit the most from an interaction with the art world: advertising and (art) sponsorship.
As a burgeoning area of research, Arts and Business still lacks clearly defined boundaries, thus requiring the largest possible contribution from previously validated research. So as not to neglect any important contributions, the review of the relevant literature which follows focuses mainly on research conducted in the area of management. In order to assure that literature review was as complete as possible, we adopted a method called systematic literature review. After an overview of this methodology, its application will be deeply described. A description of the results obtained will follow, together with the main literature strands highlighted in the field of Art and Business.
This essay extends a Bourdieusian perspective on the microfoundations of institutions. Drawing on this perspective, we argue that the recursive dynamics of institutions and action orient actors towards the maintenance of distinct and contradictory practices within, rather than bridging across, different fields. We corroborate our argument with an illustration of how corporate executives strategize within the tax field compared to the philanthropy field. Specifically, we show how actors are simultaneously oriented by different capitals towards apparently contradictory strategies. Our essay provides promising avenues for future research on the microfoundations of institutions, inter-field dynamics, and critical accounting and business ethics studies.
This research investigates whether financial institutions that have gained a good reputation in relation to their CSR activities also engage in significant corporate support for the arts (CSA). Using a sample composed of the 42 largest listed European financial institutions, data from 2004 to 2013 (i.e., 420 firm-year observations) and manually collected CSA disclosure information, our findings indicate that entities rewarded for their CSR initiatives are also those that engage in significant CSA. We also find that CSA disclosure reported in the social reports of financial institutions is a predictor for the attainment of a CSR award, whereas that reported in annual reports is not. Our findings suggest that annual and social reports have a different informative relevance, at least in relation to CSR initiatives in the form of CSA, for the stakeholders of financial institutions. Thus, our results provide useful insights for companies’ communication strategies showing, for example, that social reports are the best channel to communicate about CSA.
In this proposal of a research agenda for cultural economics, I discuss the supply-side economics of the next wave of digital technological change. I begin by arguing that digitization and internet-enabled platforms, together with automated licensing of user-generated content, have substantially lowered the costs of individual-level cultural participation. I discuss how the dependence on advertising revenues may affect this dynamic and highlight some implications for the economics of copyright. Next, I discuss circumstances under which market data, which have become much less expensive to collect at more fine-grained levels, can trigger differentiation of cultural products. Finally, I speculate about the economic implications of artificial intelligence that complements, or perhaps substitutes for human creativity with regard to cultural participation, copyright and the industrial organization of culture.
This paper analyses the impact of neoliberal policies on the film heritage sector at the European level. I first describe the specific debate to which this paper contributes, a conversation that deals with the relationship between neoliberalism and digital technology. With the aim of expanding the horizon of the debate beyond technology, I adopt an analytical framework that draws on the contribution of critical cultural policy scholars who have provided convincing accounts of neoliberalism in the cultural sector. Neoliberalism has had an impact on film heritage approximately in the same ways that it has on the cultural sector as a whole. In fact, economic instrumentalism, New Public Management and corporatisation – the three main features of neoliberal cultural policy – have found their ways into the film heritage sector. In spite of this, neoliberalism does not yet seem to have created a paradigmatic change, as the key features of the field persist. In the conclusion some potential ways forward are suggested.
In this study of an economic field and its relationships to a cultural field, we apply Pierre Bourdieu’s central concepts of economic capital, cultural capital, symbolic capital and field, and thus follow in a tradition that at the outset was considered to be post-structuralism, but which by Bourdieu later has been brought into the realm of realism. We have mapped relationships between the actors and thus the field structures that these relationships entail. The fields in which a segment of an art world is operating is represented in multi-dimensional figures which illustrate relationships and bonds between the different categories of organizations. Some of the business actors we have studied are engaging in cultural activities with a great deal of autonomy, others are connected to the cultural field in less active ways. In participating in the cultural field they are in different ways and to different extents accumulating symbolic capital including prestige and honor. The method we have applied is multiple correspondence analysis which was frequently used by Bourdieu.
Die Kulturnation Deutschland zehrt zunehmend von ihrem historischen Kapital. Eine auf niedrigem Niveau verharrende Nachfrage nach Kulturleistungen, bei den klassischen Kulturangeboten vornehmlich durch älteres, weibliches Publikum der höheren Bildungsschicht praktiziert, bietet keinen Anlass zum Ausruhen. Der Schlüssel zum Gegensteuern liegt in der Stärkung des Kulturbewusstseins. Alle Untersuchungen zeigen, dass der Zugang zur Kultur in jungen Jahren geschafft werden sollte, um dauerhaft Bestand zu haben. Grundlegender Ansatzpunkt ist die breite Förderung von Kulturkompetenz. Mangelt es an kulturkompetenten Eltern und Lehrern, kann auch die Weitervermittlung nicht gelingen. Darüber hinaus bilden strukturelle und prozessbezogene Komponenten ein stetiges Störpotenzial für das harmonische Zusammenspiel von Kulturangebot und Kulturnachfrage. Darunter fallen die Kostenkrankheit und Managementdefizite auf der Anbieterseite und Schwarzfahrertum und Crowding out-Tendenzen bei den Nachfragern.
This article examines the rapidly expanding movement to professionalize the corporate contributions function, linking giving to special events in sports and the arts, and the pressures to reorient philanthropy into a bottom-line function. Philanthropy has become big business. Sponsorship of sports events, concerts, and festivals has become an 500 million annually to the arts, representing a four-fold increase in the past decade. The management of corporate philanthropy has become an integral component of the strategic-planning process.
This article considers corporate objectives in sports sponsorship. The important question is to determine why companies sponsor sport when there are other promotion techniques available to them. Reasons for sponsoring sport in the first place are discussed, as well as broad corporate objectives in becoming involved in sponsorships. This study involved a sample of 45 sponsors who received media exposure in South Africa between November 1984 and March 1985. Results show that the most important reasons for sponsoring sport include potential TV coverage, promoting the corporate image and the potential of spectators as customers. Anonymous sponsorship, even philanthropic, is rare.
Report on Patronage and Sponsorship in Culture and Sport Corporate Sponsorship of the Arts in Ireland Art Support as Corporate Responsibility in the Postindustrial City of Rotterdam, The Netherlands
- Y Frémion
- D Harvey
Frémion, Y. (1994) Report on Patronage and Sponsorship in Culture and Sport. Committee on Culture, Youth, Education and the Media, European Parliament, Strasbourg. Harvey D. (1999) " Corporate Sponsorship of the Arts in Ireland ". Unpublished Masters thesis, Trinity College, Dublin. Hitters, E. (1996) " Art Support as Corporate Responsibility in the Postindustrial City of Rotterdam, The Netherlands ", in Martorella (ed.), pp. 195–166.
Commercial Sponsorship: The Misunderstood Corporate Art. Corporate Image
- J Meenaghan
- P Flood
Meenaghan, J. and Flood, P. (1983) Commercial Sponsorship: The Misunderstood Corporate Art. Corporate Image, Dublin.
The State and the Arts: An Analysis of Key Economic Policy Issues in Europe and the United States
- O Hagan
O'Hagan, J. (1998) The State and the Arts: An Analysis of Key Economic Policy Issues in Europe and the United States. Edward Elgar, Cheltenham.
Marketing Culture and the Arts
- F Colbert
- J Nantel
- W Poole
Colbert, F., Nantel, J., and Poole, W. (1994) Marketing Culture and the Arts. Morin, Montreal.
Emerging Corporate Arts Support: Potsdam, Eastern Germany
- V Kirchberg
Kirchberg, V. (1996) " Emerging Corporate Arts Support: Potsdam, Eastern Germany ", in Martorella (ed.), Art and Business: An International Perspective on Sponsorship, pp. 119–130.
Standing Room Only: Strategies for Marketing the Performing Arts Positive Rationales for Corporate Arts Support
- P Kotler
- J Scheff
- Boston
- John O 'hagan And Denice Harvey
- R Kushner
Kotler, P. and Scheff, J. (1997) Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Business School Press, Boston. JOHN O'HAGAN AND DENICE HARVEY Kushner, R. (1996) " Positive Rationales for Corporate Arts Support ", in Martorella (ed.), Art and Business: An International Perspective on Sponsorship, pp. 235–246.
Review " (of Martorella, 1996)
- M Schuster
Schuster, M. (1997) " Review " (of Martorella, 1996). Journal of Cultural Economics 21: 153–156.
Corporate Contributions to Culture and the Arts: The Organization of Giving and the Influence of the Chief Executive Officer and of Other Firms on Company Contributions in Massachusetts
- M Useem
- S Kutner
Useem, M. and Kutner, S. (1986) " Corporate Contributions to Culture and the Arts: The Organization of Giving and the Influence of the Chief Executive Officer and of Other Firms on Company Contributions in Massachusetts ", in P. Di Maggio (ed.), Nonprofit Enterprise in the Arts: Studies in Mission and Constraint, Oxford University Press, Oxford, pp. 93–112.
Art and Business: An International Perspective on Sponsorship
- R Martorella
Martorella, R. (ed.) (1996) Art and Business: An International Perspective on Sponsorship. Praeger, Westport Connecticut.
The Role of Sponsorship in Marketing Planning: Selected New Zealand Companies
- J Hoek
- P Gendall
- R West
Hoek, J., Gendall, P., and West, R. (1990) " The Role of Sponsorship in Marketing Planning: Selected New Zealand Companies ". New Zealand Journal of Business 12: 87–95.
How Does Firm Size Affect Corporate Philanthropy?
- D Burlingame
- P Frishkoff
Burlingame, D. and Frishkoff, P. (1996) " How Does Firm Size Affect Corporate Philanthropy? ", in Burglingame and Young (eds.), pp. 86–104.
Corporate Philanthropy at the Crossroads
- D Burlingame
- D Young
Burlingame, D. and Young, D. (eds.) (1996) Corporate Philanthropy at the Crossroads. Indiana University Press, Bloomington and Indianapolis.
Corporate Philanthropy The Nonprofit Sector: A Research Handbook
- M Useem
Useem, M. (1987). " Corporate Philanthropy ", in W. Powell (ed.), The Nonprofit Sector: A Research Handbook, Yale University Press, New Haven, pp. 340–359.
Entertainment, Arts and Cultural Services Paradigm Lost: Research toward a New Understanding of Corporate Philanthropy
- I Waters
- Longman
- London
- D Young
- D Burlingame
Waters, I. (1989) Entertainment, Arts and Cultural Services. Longman, London. Young, D. and Burlingame, D. (1996) " Paradigm Lost: Research toward a New Understanding of Corporate Philanthropy ", in Burlingame and Young (eds.), Corporate Philanthropy at the Crossroads, pp. 158–176.