Dissertations / Theses on the topic 'Arts Sponsorship'

CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
O patrocínio cultural desempenha um papel cada vez mais importante como ferramenta de comunicação de marketing nas empresas.Dentre seus atrativos, destaca-se a capacidade de comunicar-se com os mais variados tipos de público e de fortalecer a imagem institucional da empresa. Estudos têm sido realizados abordando os efeitos do patrocínio, mas pouco tem sido pesquisado a respeito do processo de escolha dos patrocínios pelas empresas. Este trabalho pretende preencher parte desta lacuna. Através de estudos de casos, a pesquisa identifica quais as principais dificuldades enfrentadas pelas empresas na condução do processo de seleção de projetos culturais. Os dados foram coletados por meio de entrevistas com pessoas-chave, cuja experiência no setor foi preponderante para a escolha. As entrevistas realizadas sugerem que os principais problemas são gerados por dois fatores principais: o despreparo dos profissionais envolvidos no processo, interna ou externamente, e as falhas de comunicação existentes entre as partes envolvidas. O estudo não tem a pretensão de abordar todos os aspectos relacionados, mas apontar os entraves a uma condução mais eficaz do processo e,deste modo, servir de base para que futuras pesquisas apresentarem soluções para as questões aqui levantadas.
Corporate sponsorship is growing in importance as a form of marketing communication. The role of sponsorship is particularly relevant to bridge the gap between a wide range of publics and the corporate image. This work intends to narrow that gap. Through case studies the research identifies the difficulties companies face in selecting projects to receive sponsorship. Data were gathered through interviews with experts with experience with that process. Results suggest that problems are generated by two major factors: Professionals both from arts business and from the sponsoring companies seem unprepared for dealing with the process altogether. In addition, communication between both parts are rather cumbersome. As it shows the major obstacles to an efficient approach to the problem, this study subsidizes not only more immediate solutions but future studies on the subject.

Thesis (M.S.)--Kutztown University, 1989.
Source: Masters Abstracts International, Volume: 45-06, page: 2722. Abstract follows appendices. Typescript. Includes bibliographical references (leaves 50-51).

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The fight sport known as MMA – Mixed Martial Arts, which in Portuguese corresponds to Artes Marciais Mistas, has lived in the last decade a very successful trajectory of increase and sustained, since the beginning, a singular relationship with Brazil – country that originated in the 20th century a kind of fight known as “Vale Tudo”, “Anything goes”, in English – being such modality the start of what is worldwide conceived as MMA. In the field of marketing management, the interest of sports marketing on such modality of sport is focused not only in the aspects provided by events related to that, but mainly in the increase potential of its globalized market. Defining a marketing strategy for such modality is still a challenge, since not all brands are willing to sponsor a fight event. The present study, which aims to investigate with attributes of MMA sport can establish a synergy with potential brands of interest of event organizers, with the intent to contribute to the theory of sports marketing and also contribute to the MMA event’s organizers may have sponsorship for their events, is not an easy task, because apart from being a good product to offer (event, athlete, location and so on) the promotor company “must define its own action strategy”. In both qualitative and quantitative nature, this research was carried out in three different phases: first, it was searched among MMA event’s organizers, by semi-structured interviews, to understand which brands or sponsors would be present in the dreamed events. The second phase, with was quantitative, applied a survey questionnaire, along with the audience of three MMA events and the motives behind the intention to watch such events. The results obtained in the first phase of the study, that is, the identification of the favorite brands of the event’s organizers were: Nike, Coke, Reebok, Banco do Brasil and Honda; the data obtained in the second phase consisted of getting the MMA attributes which were: adrenaline, emotion, joy, pleasure and aggressiveness, propelled the third and last phase of this study, in which, again, by the application of survey questionnaires, there were associations between brands and attributes. After carrying out four statistical tests, this researchwork reaches the conclusion that the atribute most linked to MMA was adrenaline and as for brand Nike was chosen. The aggressiveness was pointed out as a kind of attribute in which the audience related to this kind of sport, what generated the hypothesis of considering such modality as an aggressive one both in a view that only people who had never had any connection with MMA at all
O esporte de lutas MMA - Mixed Martial Arts, em português, Artes Marciais Mistas tem vivenciado na última década uma bem sucedida trajetória de crescimento e mantém desde a sua origem uma relação singular com o Brasil - país que deu origem, no século XX, a um tipo de luta conhecida como “Vale Tudo” – sendo esta modalidade a precursora do que hoje é mundialmente conhecido como MMA. No campo da gestão de marketing, o interesse do marketing esportivo sobre este esporte está focalizado não apenas nos aspectos decorrentes dos eventos que ele propicia, mas principalmente, no potencial de crescimento do seu mercado globalizado. Definir uma estratégia de marketing para essa modalidade ainda éum desafio, pois nem todas as marcas querem patrocinar um evento de lutas. O presente estudo tem o objetivo de investigar quais são os atributos do esporte MMA capazes de estabelecer sinergia com potenciais marcas de interesse dos organizadores de eventos. Com a intenção de contribuir para a teoria do marketing esportivo, mas também de auxiliar os organizadores de eventos de MMA a obter patrocínio para seus eventos; tarefa fácil, pois, além de um bom produto a oferecer (evento, atleta, local, etc), a empresa promotora “deve definir para si uma estratégia de ação”. De natureza qualitativa e quantitativa (quali-quanti), a pesquisa foi realizada em três fases distintas: na primeira buscou-se, junto a organziadores de eventos de MMA, por meio de entrevistas semi-estruturadas, entender quais marcas e/ou patrocinadores estariam presentes, no evento dos seus sonhos. Na segunda fase, quantitativa, usando questionario survey, buscou-se compreender junto à platéia de três eventos de MMA, a motivação para assistir presencialmente tais eventos. Ao apurar os dados da primeira fase do estudo, conclui-se que as marcas favoritas dos organizadores de eventos foram: Nike, Coca Cola, Reebok, Banco do Brasil e Honda. Os dados da segunda fase que apuraram os atributos do MMA, destacaram-se: adrenalina, emoção, alegria, prazer e agressividade. Após as apurações, deu-se inicio à terceira e última fase do estudo, onde, novamente com base em questionários survey, buscou-se associações entre marcas e atributos. Após realizar quatro testes estatísticos, conclui-se que o atributo mais associado com o MMA foi a adrenalina e a marca foi a Nike. A agressividade foi apontada como o atributo que a platéia menos associou a este esporte, o que gerou a hipótese de que considerar este esporte agressivo configure-se com uma visão que apenas de pessoas que nunca tiveram ligaçao com o MMA tem sobre ele

Bakgrund: Den svenska teaterscenen befinner sig i vad som tycks vara en ständig ekonomisk kris. De offentliga medlen räcker inte längre till, vilket har fått till följd att teaterinstitutionerna har blivit tvungna att söka sig nya inkomstkällor. Kultursponsring är en alternativ finansieringsform som har blivit allt vanligare. Vi vill undersöka kultursponsringens möjligheter för svensk teater.

Syfte: Syftet med uppsatsen är att undersöka möjligheterna att gå bortom den traditionella definitionen av kultursponsring för att skapa ett helhetsperspektiv på utbyten mellan teater och näringsliv.

Avgränsningar: Vi utgår ifrån Sveriges teaterinstitutioner och de kulturpolitiska målen som är uppställda av Sveriges Riksdag.

Genomförande: Vår undersökning bygger på sju intervjuer med representanter från teatrar och företag.

Resultat: Idag ses kultursponsring främst som ett marknadsföringsverktyg, där det sker ett utbyte av image mot pengar. Vi anser att med denna begränsade definition förbises den största potentialen, vilken återfinns i själva mötet mellan teater- och affärsvärlden.

A pesquisa teve como objetivo compreender as motivações que sustentam o patrocínio artístico do Banco do Brasil, a partir da análise dos critérios utilizados na seleção dos projetos e na estruturação da programação do Centro Cultural Banco do Brasil (CCBB) São Paulo, nas áreas de artes cênicas e artes plásticas, nos anos de 2005 e 2006. Identificou-se que o CCBB situa-se na intersecção dos campos econômico e artístico que, não obstante obedecerem a normatividades muitas vezes antagônicas, estabelecem, na ação de patrocínio, dinâmica de interdependência, que também é permeada por conflitos. Para o mantenedor, as ações de patrocínio se justificam por quatro razões fundamentais: a busca pela melhoria de sua imagem diante de seus públicos de interesse, a necessidade de se afirmar como empresa socialmente responsável, a utilização do patrocínio como instrumento de marketing de relacionamento e a obtenção de benefícios tributários. Essas justificativas se ancoram em universo valorativo próprio do campo econômico, calcado em racionalidade que se sustenta pela busca constante de lucratividade e conquista de mercados. Por outro lado, na qualidade de instituição cultural, o CCBB seleciona os projetos a serem patrocinados e estrutura a sua programação, a partir de juízos próprios do campo artístico (inovação, relevância conceitual e temática, grau de consagração de obras e artistas, dentre outros). Se houvesse a preponderância dos julgamentos econômicos na seleção das obras, a arte patrocinada perderia a sua moeda de troca, já que seu capital simbólico decorre justamente da negação de qualquer constrição externa ao campo artístico. Analisando a programação do CCBB nas áreas pesquisadas, identificamos que o resultado das escolhas é coerente com o principal eixo curatorial da instituição que é a diversidade. Apesar do destaque dado a nomes consagrados, artistas menos conhecidos também são contemplados, ainda que em menor número e com espaços reduzidos. Nas artes cênicas, a preocupação central é com a presença de atores renomados, sendo que sua programação não se qualifica nem como teatro comercial, nem como teatro experimental. Nas artes plásticas, aparece também uma posição dúbia, já que ao tempo em que promove a arte contemporânea, correndo certa dose de riscos em suas escolhas, privilegia, por outro lado, formas de patrocínio menos arriscadas, como as mostras museológicas e coletivas (essas abrangendo outras manifestações que não apenas as contemporâneas). A exposição nos meios de comunicação de massa e a quantidade de público nos eventos patrocinados são os principais fatores considerados na qualificação do patrocínio como bem sucedido. Isso revela características eminentemente narcísicas que envolvem as ações de patrocínio, nas quais a repercussão na mídia garante a amplificação da imagem benevolente e pretensamente desinteressada da empresa, mesmo junto aos públicos não fruidores das artes patrocinadas. A preocupação com a percepção desse público foi decisiva na opção da empresa em retirar uma obra iconoclasta da exposição Erotica, no momento em que a instituição foi confrontada por segmentos da população que julgaram que seus símbolos religiosos haviam sido vilipendiados.
This study aims to explore the reasons behind Banco do Brasils sponsorship of the arts. To this end, an analysis of the criteria used both for selecting theater and visual arts projects and designing Banco do Brasils Cultural Center (CCBB) program of cultural activities between 2005 and 2006 was carried out. It was found out that the CCBB lies at the interface between the economic and artistic fields, which, albeit governed by conflicting normativities, become interdependent when it comes to sponsoring, but not without dispute. Justification for the banks sponsorship activities is fourfold: as an attempt to improve its image with the banks various stakeholders; the need to become publicly known as a socially responsible company; the use of sponsorship as a tool of relationship marketing; and the possibility of earning tax benefits. These reasons stem from a set of values that are typically from the economic field. The rationality behind them is an ongoing search for profit and the conquest of new markets. As a cultural institution, however, the CCBB uses artistic criteria such as innovation, conceptual and thematic relevance, and the reputation of art works and artists to select artistic projects for sponsorship and to design its own program of cultural activities. If economic criteria prevailed, the sponsored art, whose symbolic capital stems precisely from the denial of any external restraint to the artistic field, would lose its role as a medium-ofexchange. By analyzing CCBBs theater and visual arts programs, the choices that were made were found to be consistent with its main curatorial policy, namely, that of promoting diversity. Although highly renowned artists prevail, minor artists are also present but in smaller numbers, and taking less space. As for theater projects, the CCBBs main concern is to ensure that widely acclaimed actors are included in its theatrical program, which can be neither regarded as purely commercial nor experimental theater. In the visual arts, the institutions position is also ambivalent. Although it promotes contemporary art, which includes a fair amount of risk-taking, sponsorship of less risky pieces, such as museum collections (including art from other historical periods) and group shows, prevail. Media exposure and the number of viewers attending sponsored events are perceived as the main indicators of a successful event. Sponsoring therefore can be seen as highly narcissistic: media repercussion ensures that the companys supposedly unbiased benefactor image is widely spread, even among those who do not attend the sponsored events. Concern about the perception of the latter group was critical when the company chose to withdraw an iconoclastic piece from a show called Erotica. The institution had been challenged by members of the public who believed their religious symbols had been profaned.

This dissertation proposes that in the case of multiple sponsorships (i.e., brands sponsoring concomitantly the same event), the group constituted by the sponsoring brands and the sponsored event will be perceived as an entity; a phenomenon that Campbell (1958) called entitativity. The extent to which a group of brands and a sponsored event is seen as being entitative will result in stereotypic processing of the group members (Brewer and Harasty 1996). Information about an entitative group is abstracted and used to form judgments about every group member (McConnell, Sherman, and Hamilton 1997). Characteristics tied to one brand or to the event will become associated to the other brands due to category-based information processing (Fiske and Neuberg 1990). As a result, images associated with a brand or an event that belongs to an entitative group will be transferred to other brands of that group due to stereotyping.Image transfer effects were investigated through an experiment. Image transfer in sponsorship occurs primarily at an implicit level because sponsorship messages are subtle (Pham and Vanhuele 1997). As a consequence, the savings in relearning paradigm (Ebbinghaus 1885/1964) was the methodology used. It allows investigating implicit memory by comparing the recall of paired-associations between brands and image-traits across a multiple sponsorship and a no sponsorship condition. The findings confirmed that the event and the concomitant sponsoring brands were perceived as an entitative group, which resulted in an implicit transfer of image among the brands (Brand Image Transfer, BIT) as well as from the event to the brands (Event Image Transfer, EIT).

Cette thèse bilingue (anglais-italien) en deux volumes est consacrée aux relations que les entreprises tissent avec le monde de l’art. Nous rendons compte du phénomène dans une Revue Systématique de la Littérature qui a permis l’identification de la relation Art & Entreprise selon neuf axes de recherche, qui vont de la philanthropie au parrainage et à l’artification. Nous définissons ce nouveau concept d’artification en tant que relation entre les artistes contemporains et les entreprises appartenant au secteur luxe de la mode. Pour elles, les arts visuels deviennent une troisième source capable de préserver, aux yeux du consommateur, une valeur de marque minée par les effets de la mondialisation et des fusions acquisitions qui ont transformé le secteur luxe de l’industrie de la mode. Les entreprises adoptent un Processus d’Artification visant à transformer leurs produits en œuvres d’art, et deviennent des acteurs nouveaux dans les arts. Après une étude de cas consacrée à l’entreprise française Louis Vuitton, nous testons ce que nous nommons un Effet d’Artification, par le biais d’une expérience-sondage, qui a pris la forme de questionnaires distribués à un échantillon de 880 consommateurs français, au sein du laboratoire INSEAD SORBONNE BEHAVIOURAL LAB. Nous avons testé l’Effet d’Artification en utilisant le modèle de Customer-Based Brand Equity et de la mesure de l’échelle esthétique. Les résultats et leur analyse statistique détaillée montrent que les arts visuels jouent le rôle de troisième source capable de changer la valeur de la marque. Le Processus d’Artification a donc la capacité d’agir en tant que stimulus sur la perception du luxe auprès du consommateur final, réel ou potentiel
In a two-volume bilingual dissertation in English and in Italian, we research the way companies weave relationships with the art world. First, we account for this phenomenon through a Systematic Literature Review. It allows us to identify the relational Art & Enterprise forms in nine areas of research spanning from sponsorship to philanthropy and to artification. We define this new concept as a specific relational mode between contemporary artists and business enterprises which is frequent in luxury fashion. The visual arts become a viable third source capable of maintining brand value for consumers who are ever more sensitive to a loss in luxury brand value. It is caused by globalization and the frequent mergers and acquisitions that are transforming the luxury sector in the fashion industry. Luxury businesses’aim is to elevate their products into objects of art. Process of Artification additionally results in their acting as key players in the art world. After a case study of French company Louis Vuitton, we finally test what we term Artification Effect by carrying out a consumer-based survey: with the help of INSEAD-SORBONNE BEHAVIOURAL LAB, we designed a survey with questionnaires distributed to an 880 French-consumers sample. We tested the Artification Effect through the model of Customer-Based Brand Equity and The Measurement of the Aesthetic Scale. The results and our in-depth statistical analysis prove that the visual arts effectively play the role of third source capable of changing the value of a brand. The Artification Process therefore acts as stimulus eliciting the perception of luxury in the end or potential consumer

碩士
淡江大學
國際貿易學系國際企業學碩士班
97
Many companies use sponsorship to increase the awareness and image of the brand. Previous findings show that through sponsorship and corporations can improve brand awareness and strengthen brand image to influence consumers’ buying behaviors. This research will discuss factors which affect art events sponsoring efficiency through consumers’ attitude, and expect this research can help firms in marketing affairs. The study choose consumer awareness of the sponsor motives, consumer attitudes to sponsored enterprises, consumer attitudes to sponsor events, fitness between corporate and sponsoring event, and art events involvement as independent variables and sponsoring efficiency as dependent variables . There are four findings from this research: 1. Consumer awareness of the sponsor motives to sponsoring efficiency has a direct impact. 2. Consumer attitudes to sponsored enterprises to sponsoring efficiency have a direct impact. However, consumer attitudes to sponsor events to sponsoring efficiency have no direct impact. 3. Fitness between corporate and sponsoring event to sponsoring efficiency has a direct impact. 4. Art events involvement to sponsoring efficiency has a direct impact.

碩士
國立中山大學
藝術管理研究所
95
Abstract Among advanced countries, such as in the US, West Europe, and Japan, attending artistic activities have long been the daily life of ordinary people. It is also prevalent of businesses in these countries to sponsor artistic activities or art institutes, through which businesses can feed back society and enhance their company images. In Taiwan, it has been a history for decades of enterprises sponsoring artistic activities and collecting arts. The traditional sponsorship of art originated from the friendships between business owners and artists or business owners’ collection of artistic works. The corporate sponsorship of art in Taiwan can date back to Japanese Occupation (A.D. 1895~1945). In Japanese colonial days, Tai-chung entrepreneur, Zao-Jia Yang, was a renowned art supporter to island-wide artistic activities. During Yang’s younger days, possessed with strong Taiwanese Awareness and literary penchant, he co-funded, with Pei-huo Tsai, the construction of Tai-Yang Fine Art Association. This famous fine art association had encouraged well-known painters of older generation like Shih-Chiao Lee、Mei-shu Lee、Cheng-Po Chen、Chi-Chun Liao、San-Lang Yang、Shui-Long Yen to fully develop their talents, and pioneered the modern arts in Taiwan at then. Mr. Zao-Jia Yang could be deemed as the guardian god of early Taiwanese artists. Yang’s followers like Mr. Pao-Thou Lin, former Chairman of Taiwan Cement Corporation、Mr. Chen-fu Koo, former Chairman of Straits Exchange Foundation and Mr. Wen-Lung Hsu, the founder of Chi-Mei Corporation, and etc., have all contributed greatly to local artistic activity fund raising and arts collection in the past decades. To gain a better understanding on various types and paradigms of corporate sponsorship of artistic activities and arts collection, this study focus on the study of Chi-Mei Corporation, in hope that we could advocate the interaction between arts and businesses through deep interview and comprehensive analysis on the creation of Chi-Mei Museum. Through analysis,it is obvious that: Arts are no more the privilege or captive of the rich, enterprises through the operation of their funds or museums can assist academics, artists, and more ordinary people exposure to arts, thereby expanding art population as well as fulfilling the social obligation and citizenship of enterprises. Meanwhile, the resulting ideal economic environment will benefit enterprises themselves. Enterprises should treat arts investment in the same way with regular profitable business operations. The invisible arts value will have economic benefits from all sides. Aside from acknowledging that enterprises are an efficient private factor to promote government policy, government should recognize the essence of nation competitiveness—the substance of its people including culture development as well as academic credential and economic strength. The present pan-politics environment is against culture development. Government should expedite of legislation of Museum Law and related stipulations improvement to help private museum operation. If art collections are concealed from the public as treasures, the collections are preserved for its own value. The construction of private museum is necessary. It can play complementary role to public museum. According to David Throsby, art collector can be traced by their aesthetic value, spiritual value, social value, historical value, real value, i.e., a series of cultural characteristics, to study the arts collection behavior. Through the beauty, harmony, race uniqueness of artistic works, it helps human understanding of social substance, identity. It also helps reflect the status quo of a society. Artistic works convey meaning of itself and the culture valuation and symbolism of arts collectors. From the above perspectives, the author thinks that arts collection is an extreme passion for human spirit and culture. The difficulties of running private museum should not prevent us from encouraging its setup. According to Bruno S. Frey, investments on arts are tax avoidance in many countries. Although it is a truth known to the public, the tax incurred from owning art works is seldom treated in related study. It is impossible to neglect tax when calculating the profits. In different countries and time, taxation is various. Perfect arts collection, in author’s opinion, aside from fond of arts, and need intellectual tactics more of financial strengths, market information, knowledge, aesthetic taste, and ideal seeking. Therefore, arts investment and its taxation leave ample room for successor to study further.

碩士
國立臺灣師範大學
表演藝術研究所
106
Due to variations of social lifestyle, values of performing arts venues have changed at the same time. Performing arts venues gradually become the model of culture communication and the aesthetic of city. In terms of industry, performing arts venues create value by playing both roles of producer and intermediary of performances. In respect of management, most of performing arts venues in Taiwan use government budget and operating revenue as their funds. On the other side, operation right of performing arts venues in Mainland China is managed by operation transfer or other ways. Therefore, both performing arts venues in Taiwan and Mainland China have to develop more sponsorship to maintain the venues’ operations. In order to promote the development of art, performing arts venues should cooperate with enterprises to implement resource integration. Since performing arts and enterprises can exchange resources with each other, the partnership between enterprises and performing arts will lead to a win-win situation. This study focus on the cases of “National Theater & Concert Hall” (Taiwan),” National Centre for the Performing Arts” (Mainland China), “Shanghai Grand Theatre” (Mainland China),” Guangzhou Opera House” (Mainland China), and” Shenzhen Poly Theatre” (Mainland China). Based on each of their development process and organization, this study aim at discussing corporate sponsorship and analyzing art and business cooperation between Taiwan and Mainland China.

碩士
國立臺灣師範大學
表演藝術研究所
97
The funding of maintaining the operation for Taiwan’s performing arts groups comes from three major sources: government’s subsidization, enterprise’s donation and ticket sales. However, the enterprises’ donation occupies a more crucial role in supporting the performing arts environment among the three because of limited subsidization and unstable box office. For this reason, many performing arts groups have adopted foreign art-business cooperation mode in recent years and actively sought performance opportunities patronized by enterprises. In the meanwhile, more and more studies related to local enterprises’ patronage of performing arts have appeared in the domestic academic community. These studies aim to explore the current situation and future development of Taiwan’s art-business cooperation from various perspectives. According to foreign and domestic literature related to this topic, high level directors or enterprisers are usually the people who decide to patronize arts groups or not when facing such requests. Based on this finding, this study chooses small and medium size enterprises as the objects and tries to explore how the enterprisers evaluate this kind of requests. It will also study whether there is connection between their past arts performance participation experience and current evaluation standard. This study adopts in-depth case interview approach. The author interviewed the student advisors in Graduate Institute of Performing Arts, National Taiwan Normal University and attempted to probe into enterprisers’ arts participation experiences, present situation and his or her attitude toward patronizing performing arts as well as possible behavior modes when facing the patronage seeking. The result of this study shows that all of the0 interviewed enterprisers would regularly participate in arts activities and appreciate what is more closely related to their business field or self-study interests. They usually gain activity information through the Internet. Those interviewed enterprisers who had experiences of arts participation may not refuse to patronize arts performance; instead, they usually hold “open” attitude toward it. According to the interviews, some enterprisers had patronized performing arts before. It was found that industry type has little influence on deciding patronizing performing arts or not. Furthermore, enterprisers’ behavior of patronizing performing arts still remains in the traditional manner, which cannot meet enterprisers’ need any more. Besides, through patronage activity, enterprisers would also give his or her employees opportunities to participate in performing arts. At the same time, enterprisers who haven’t patronized performing arts explained that is because no performing arts group ask for their patronage or they find no channel to do so. Lastly, the interviews show that every interviewed enterpriser has different evaluation standard to decide whether to patronize performing arts and hold subjective opinion on how they obtain feedback from patronage. Therefore, this study provides three suggestions for enterprisers: “An enterpriser could act more actively and positively to cooperate with performing art group,” “Trying more multidimensional patronage modes,” “Creating more participating ways for employees.” In addition, four recommendations are also made for performing arts group: “Making good use of online resource to strengthen activity promotion,” “Increasing opportunities of interacting or contacting with enterprisers,” “Drawing up different patronage plans for different enterprisers” and “Cultivating general public’s habits of participating in performing arts.”

ABSTRACT This report is a study into the corporate sponsorship of art as is evident in South Africa today. Starting with a history of patronage in the West, it leads to South Africa and the role currently being played by South African companies in the art world. Through an examination of South African patronage by the government and direct interviews with individuals involved in government and corporate sponsorship of the arts, this report endeavours to show how and why organisations such as Absa Bank and Hollard Insurance have chosen to involve themselves in the art world. I will then follow on to discuss the effect that this corporate sponsorship has on the value of art – financially, socially and culturally. The end result will be study on the relationship that exists between the benefactor and the beneficiary of corporate sponsorship in South Africa and the resulting impact this has on the perceived value of art.

碩士
國立中興大學
高階經理人碩士在職專班
94
Currently, enterprise sponsorship is not only philanthropy but also a good tool of marketing and communication for the enterprise. A large number of references indicate that the enterprise’s participation in the sponsorship is resulted from two primary reasons, i.e. increasing brand awareness, strengthening or changing brand image. A lot of scholars also believe that the enterprise can create the brand equity through participation in the enterprise sponsorship. However, there are few researches on how the participation in the enterprise sponsorship can affect the enterprise and fewer researches on the same based on the consumers’ view points. In light of this, the present search is based on the consumers’ attitudes to the enterprise’s sponsorship of cultural and artistic activities to discuss the factors affecting the effect of the enterprise’s sponsorship of cultural and artistic activities, looking forward to have any help to the marketing practice for the enterprise. The present research concludes that the consumers’ attitudes to the participation in the cultural and artistic activities are positive; the consumers think that the public welfare of such sponsorship is more than the commercial property of the same; the participative degree of the consumers in the cultural and artistic activities also has noticeable influence on the purchasing intention of the enterprise sponsorship; when the consumers’ attitudes to the cultural and artistic activities are more and more positive, the effect of the sponsored enterprise’s image becomes better and better; and the consumers’ attitudes to the enterprise sponsorship include commercial attitude and public welfare attitude, wherein if the commercial attitudes of the participants of the cultural and artistic activities to the enterprise sponsorship are more positive, the effect of the sponsored enterprise’s image and the effect of promoting purchase become better; if the public welfare attitudes of the consumers participation in the cultural and artistic activities to the enterprise sponsorship are more positive, the effect of the sponsored enterprise’s image becomes better. The present research discovers three definite effects for the enterprise’s sponsorship of the cultural and artistic activities. The three effects includes: (1) noticeable effect of the sponsorship for the consumers who are not students; (2) controllability of the markets of the consumers’ species; and (3) increase of opportunities of interaction with the consumers for higher identification. Therefore, the present research recommends that the enterprise should not only select the themes that specific consumers like but also understand that the frequency of the participation in the activities is closely linked to the enterprise’s promotions; besides, if the enterprise can earn the consumers’ loyalty, the enterprise can also hold or develop new markets. Finally, for the creation of the sponsored enterprise’s image, the present research discovers that the consumers will reinforce the enterprise’s image, preference of the image, and the effect of the promoting purchase if the sponsored enterprise can match the theme to pertinently emphasize the commercial attitude. In light of this, if enterprise can properly reinforce the commercial promotions on the sponsored cultural and artistic activities, there will be greater effect generated from the sponsored activities.

碩士
國立臺北藝術大學
藝術行政與管理研究所碩士班
96
Accompanied with maturation of democratic politics and emergence of bourgeoisie, art gradually transforms its role from aristocratic privilege to common property. Nowadays, private donation, especially corporate support, has become a very important fund resource for art organizations. In the past, corporations offer funding, space, and manpower mostly. At present, the one-way relationship between corporations and art organizations is changed. Mutually beneficial relationship is the main concern of today. It not only makes art closer to the public, but also vitalizes the corporations, even stimulates innovative art forms. The “new partner’ plan, impelled by “Art and Business” in England, focuses on the win-win between corporations and art organizations, and promotes new concept and methods. By observing the different modes of art-business cooperation, examining the meaning of “new partner” plan and analyzing the cases, this thesis endeavors to offer a reference for Taiwan’s art-business corporation.

This investigation accepts that art is a term of western culture and that advertising is a creation of an historical and social process firmly linked to the economies of western industrialised nations. A cultural niche theory of the visual arts is employed to define the various visual art forms and it is in this context that the development of the notion of fine art, which had its origins during the Renaissance, is investigated with a view to how this led to the commodification of art. The phenomenon of art as a commodity accelerated throughout the nineteenth century and was moulded by the same political, cultural, social, economic and technological forces that gave rise to advertising when, during the second half of the century, the capitalist system of production became geared towards mass production of products for consumption. This was also the period of significant European colonial expansion in southern Afiica and consequently the development of both art and advertising in the region was cast in a colonial, European mould, the effects of which are investigated throughout this research project. This body of research also seeks to explain how the meaning and the value of the art object and its reproduced image, changed and became exchangeable as technology developed. Significantly this occurred at a time when the needs of advertising shifted from a simple system of proclamation and announcement on the periphery of the national economy during the nineteenth century to become a sophisticated system of communication which acts as an influential social institution at the end of this millennium. That this appears to have occurred at a time when the influence of fine art began to decline as a cultural force is significant as it is in this context that advertising has become a primary carrier of meaning in society. This research project works within this paradigm to investigate the history and motives of business support for the arts, particularly the visual arts, in the form of sponsorship with particular reference to a culturally diverse and politically dynamic South Africa. In addition, specific rhetorical devices that advertising employs, as a strategic tool of marketing, to appropriate and (ex)change meaning from the value laden visual art object is investigated with reference to contemporary advertising in South Africa.
Thesis (M.A.)-University of Natal,1998.

碩士
國立臺灣師範大學
表演藝術研究所
107
The cultural ecology of puppetry can be divided into four types: sacrificial theater, commercial theater, cultural field and mass media. As the forms differ, the operational strategies for the troupes are made accordingly. This study used the glove puppetry troupes that were selected to enter the Sponsorship Plan for Multi-level Performance Arts Teams from 2014 to 2018, to discuss the troupes’ operational strategies in depth. This study chooses two developing glove puppetry troupes --- Liao Wen-Ho Puppet Show Troupe and Taipei Puppet Theater for a qualitative study. Liao Wen-Ho Puppet Show Troupe has performed on the Jin-Guang Stage for many years, and has been on televisions, while Taipei Puppet Theater is a traditional glove puppetry troupe that is both mature and developing. The goal of this study is to use the two research objects in four venues: sacrificial theater, commercial theater, cultural field and mass media, to gain a deep understanding of the organizational, operational, HR management, troupe management, and financial management models of glove puppetry troupes that give public cultural performance. This study also includes a report of the in-depth interview with The National Culture and Arts Foundation and The Performance Art Branch of The Cultural Affairs Department of Yunlin County on topics such as the reform of the Sponsorship for Multi-level Performance Arts Teams, cultural policies relevant to glove puppetry, and artistic sponsorship. The purpose of the interview is to analyze the development of artistic grants and cultural policies related to glove puppetry, and to compare and contrast the answers with issues raised by the puppetry troupes. The information will help us understand the overall status, dilemmas and prospects of the glove puppetry world. The discussion and results presented in this study may provide suggestions and references for cultural administrative agencies, grant and sponsorship agencies and actors in glove puppetry.

abstract: ABSTRACT This mixed methods study examines 126 community college students enrolled in developmental reading courses at a mid-sized Southwestern community college. These students participated in a survey-based study regarding their reading experiences and practices, social influence upon those practices, reading sponsorship, and reading self-efficacy. The survey featured 33 structured response prompts and six free response prompts, allowing for both quantitative and qualitative analysis. The study¡&brkbar;s results reflected the diverse reading interests and practices of developmental college students, revealing four main themes: -the diversity and complexity of their reading practices; -the diversity in reading genre preferences; -the strong influence of family members and teachers as reading sponsors in the past with that influence shifting to friends and college professors in the present; and, -the possible connection between self-efficacy and social engagement with reading. Findings from this study suggest these college students, often depicted as underprepared or developmental readers, are engaging in diverse and sophisticated reading practices and perceive reading as a means to achieve their success-oriented goals and to learn about the real world.This study adds to the limited field of community college literacy research, provides a more nuanced view of what it means to be an underprepared college reader, and points to ways community college educators can better support their students by acknowledging and building upon their socio-culturally influenced literacy practices. At the same time, educators can advantage students academically in terms of building their cultural capital with overt inculcation into disciplinary literacies and related repertoires of practice. Keywords: college students, reading, sponsorship, multimodal reading practices, developmental education, social networking, and literacy
Dissertation/Thesis
Ph.D. Curriculum and Instruction 2014

碩士
國立中山大學
藝術管理研究所
94
Recently, financial holding companies have been reported through various media channels for their sponsorships to art groups. For example, Taishin financial holding company contributed millions of dollars to support the performance The Phantom of the Opera in Taiwan in 2006. And Cathay Financial Holdings supported Cloud Gate Dance Theatre of Taiwan with 14 outdoor performances within the past five years. Both examples show how these companies emphasize on subsidizing art and culture activities. However, why these companies decide to sponsor, and how they choose suitable art and cultural activities? The main purposes of this study are: to discuss the current situation that the financial holding companies sponsorship for art activities and to provide art groups and sponsors suggestions with the acknowledgement of support through relationships. To achieve these goals, a thorough literature review and case interview was conducted. The researcher took examples of four financial holding companies which own Wen-hsin Awards, analyzed the motivation behind the sponsorship, the content of sponsorship package, and evaluated the outcomes of the sponsorship. Finally, the behavior model of financial holding companies to sponsor arts and culture activities is made. The results showed that the key factors to motivate sponsors’ behavior are the company’s social responsibility, benefit for business, and the proprietors’ personal love for arts. It is also found that these four companies are interested in sponsoring the certain visual or performing art groups which hold exhibitions or large shows yearly; and mostly they do not pay much attention to evaluating their sponsorship outcomes.