Dissertations / Theses on the topic 'Cultural sponsorships'

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This work tackles issues regarding cultural sponsorship in Brazil, focusing, particularly, on the ones in the public sector, in the ambit of media actions. It is a research of the themes that are involved in the elaboration, management and (bureaucratic) processes of a sponsorship project, through the contributory prism that can help reflect on questions related to the meaning of specific terminology and concepts which are used in this area. The result of this work aims at becoming a source of information that can stimulate reflection on cultural sponsorship in the public sector, specifically regarding issues of terminology and concepts, in a field that still lacks established standard parameters in relation to its language and the understanding of management processes. In the conclusive part of the dissertation, a glossary of sponsorship expressions is presented to work as a source of memory regarding names and meanings that are important.
Este trabalho aborda questões referentes ao patrocínio cultural no Brasil, com foco naquele relacionado ao setor público, no âmbito das ações de comunicação social. Trata-se de um levantamento dos temas que envolvem a elaboração, a gestão e a tramitação de um projeto de patrocínio, sobretudo a partir da perspectiva de contribuir para uma reflexão sobre os significados de determinadas terminologias e conceitos usados nesse campo. O objetivo é que o resultado do trabalho sirva como base de informações que possam fomentar reflexões sobre o patrocínio cultural no setor público, mais especificamente no que se refere a questões de terminologias e conceitos, num campo onde ainda há poucos parâmetros de padronizações estabelecidos no que se refere à linguagem e a entendimentos sobre processos de gestão. Numa etapa conclusiva da dissertação, é apresentado um glossário de verbetes de patrocínio que pretende se prestar como uma boa memória dos nomes e das significações que merecem destaque.

Introduction This master ́s thesis focuses on the financial situation in a number of museums located in Stockholm, Sweden. In particular the study focuses on external financing and sponsorship and which means that are given to meet the conditions surrounding financial support. The aim of the study is to increase the knowledge of how the financial situation for museums looks like and how the interaction between cultural and economic capital shows. Theory The theoretical framework for the study is based on the theory of cultural economics and Pierre Bourdieu's theory of cultural / economic capital and his concept of space. The study used Bruno Freys terms Superstar Museumsand thetotal experience. Method The main method for the study was a comparative method, but a mixture of quantitative and qualitative methods were also applied in the study. Interviews were conducted with informants from a number of the museums and data from all the selected museums was collected and compared. The material also consisted of a variety of written material, mostly annual reports, but also news articles, reports and official documents. Analysis & Results The material shows a wide range of factors defining the economic situation of museums in Stockholm. A large part of the income comes from public fundings for the public museums. The private museums are more dependent on incomes from admission fees and external financing. For many of the public museums the market based rents for the building is an issue that causes economic distress. Conclusions Many museums work with sponsorships and have a positive view on external collaborations, at the same time the majority of the museums report a low revenue from sponsorships. The legal framework makes it more difficult for public museums to work with external financing and the taxation system aggravates sponsoring in museums. The free admission reform was both criticized and applauded and divided the private and public museums.

The prime objective of the research is to establish why commercial sponsors use motor sport as an element of their marketing communications. A comparison has been undertaken between car and bike racing, as represented by Formula One and MotoGp, to establish any differences in approach. The initial historical element of the research revealed that motor sport had been sponsored by vehicle manufacturers since the origins of the petrol combustion engine in the late 19th century. Any suggestion that sponsorship of motor sport is a recent, late 20th century science has been dispelled. The investigation found that the sponsors of top level car racing place major importance on achieving awareness for their brands through media exposure, particularly television. This aim is shared by motorcycle racing sponsors too and a common model is identified. Where motor cycle racing is specifically concerned the research established that there is an almost identical approach to the usage and application of sponsorship to that in car racing. The only difference being that the wider commercialisation of F1, in which brands outside those intimately involved with automotive industries have made use of motor sport sponsorship, has been around for longer than that in motorcycle racing. The motorcycle sponsors have therefore taken slightly longer to reach the same level of marketing sophistication in a sport which is recognized as having less money overall. The research reveals that the most important element of the business plan for both types of motor sport relies largely on a business model linked to global television audiences. Such audiences are seen as vital in generating awareness of sponsors and their products. Such plans provide an entirely relevant platform for the initial steps of the AIDA theory (Awareness; Interest; Desire; Action) of product adoption. The research also identifies that this commonality of approach is not entirely accidental as similar promoters have been involved at the top level of both sports. The research advises that the future of motor sport should continue to involve the application of the latest technologies appropriate to passenger vehicles if it is to continue unhindered. It is suggested that motor sport should become the definitive technological test bed for vehicle propulsion systems that are sustainable and kind to the environment.

In this study, the Cultural Marketing is directly associated to the term which expresses the patronage polices of public funding for culture, where it is assumed that both the coordination between state, private and the field of cultural producers as the goals of the funding. Tax incentives are part of the financing system and constitute an instrument of government to direct and encourage the presence of private resources and strategic segments. This work is basically composed of two distinct parts. In the first part delimit the conceptual field, passing by a brief historical background, trying to identify from empirical trends Patronage in Brazil, and by drawing the guidelines of the cultural policies during the period of democratization in Brazil. The second part presents some of the main sponsors of the culture in Brazil, values and forms of investment, covering the period from 2008 and the presentation of the major steps required in developing a Cultural Project.
Nesse estudo, o Marketing Cultural está associado diretamente ao termo Mecenato que expressa a política de financiamento público para a cultura, onde supõe-se tanto a coordenação entre agentes estatais, privados e o campo dos produtores culturais quanto os objetivos do financiamento. Os incentivos fiscais são parte do sistema de financiamento e se constituem em instrumento do poder público para direcionar e estimular a presença de recursos privados em segmentos estratégicos. Assim, este trabalho está composto basicamente por duas partes distintas. Na primeira parte, delimita-se o campo conceitual, passando-se por uma breve contextualização histórica, procurando-se identificar, a partir de bases empíricas, as tendências do Mecenato no Brasil, e traçando-se as diretrizes da política cultural implementada durante o período de redemocratização brasileira. Na segunda parte, são apresentadas algumas das principais empresas patrocinadoras da cultura no Brasil, os valores e as formas de investimentos, relativo ao período de 2008, bem como a apresentação das principais etapas necessárias na elaboração de um Projeto Cultural.

O patrocínio cultural, muitas vezes, é uma forma de contar histórias da organização. O objetivo deste trabalho é refletir e verificar se o patrocínio cultural é uma narrativa da organização. Para tanto, foi utilizada a análise da antenarrativa de Boje (2001), que analisa a narrativa organizacional a partir das diferentes vozes da organização. O objeto dessa análise foi a narrativa da cultura de três grandes empresas: Vale, Fiat Automóveis e ArcelorMittal Brasil. A antenarrativa permitiu identificar as conexões entre narrativa organizacional e patrocínio cultural. Ao final, concluiu-se que o patrocínio cultural é uma narrativa organizacional.
Cultural sponsorship, it is often a form of storytelling organization. The objective of this work is to reflect, and to verify, if the cultural sponsorship is a narrative of the organization. For this, we used the analysis of antenarrative Boje (2001), which analyzes the organizational narrative from the different voices of the organization. Thus, we analyzed the cultural narratives of three major companies: Vale, Fiat and ArcelorMittal. The antenarrative identified the connections between organizational narrative and cultural sponsorship. At the end, it was concluded that cultural sponsorship is an organizational narrative.

Taste--an appreciation for some things, a disdain for others--is usually understood by sociologists as playing a key role in struggles for position within closed, hierarchical status systems. Yet taste that reaches across cultural and social boundaries is a common phenomenon in a world of mobility and falling barriers to travel and access. This study argues that this expression of taste also has a political dimension, through an examination of the sponsorship of traditional Pueblo Indian pottery by Anglo newcomers to northern New Mexico in the 1920s and 1930s. The organization that these newcomers founded, the Indian Arts Fund, played an important role in building a differentiated market for Pueblo pottery, supported by an increasingly complex body of knowledge and evaluation. This intervention into the market for pottery, and into the definition of Pueblo culture, served to insert the Indian Arts Fund's members into regional society, against the resistance of older, more established elites. A visible association with Pueblo pottery linked newcomers to the transformation of the regional economy by tourism, which had shifted the source of value in northern New Mexico from natural resources to the marketing of particularity and difference. An examination of the role of pottery production, and income from pottery, in Pueblo communities reveals that the relationship between pottery and Pueblo culture was more complex, and more tangential, than the image that was being constructed in the context of the market.

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This research regards the experience of performing a cultural project, based on the analysis of the Cultural Production 3 Ps. The paper presents an account of the backstages, since the project planning up to its evaluation, bringing a critical reflection on the making of the cultural production and exploring issues related to access and cultural citizenship. The project analyzed here was sponsored through the Brazilian Federal Law of Cultural Incentive (Rouanet Law). The dynamic game of the cultural market here exposed presents a form of interaction between the Proponent, the Project Sponsor and the Public that serves as reference to comprehend the trajectory of a cultural project since its creation, going through its implementation and up to its finalization. Another aspect here explored, although yet less developed in the market, treats about the establishment of the bases for the evaluation of the social-cultural projects results achieved.
Esta pesquisa trata da experiência de realização de um projeto cultural, a partir da análise da dinâmica dos 3P´s da produção cultural. O trabalho apresenta um relato de bastidores desde o planejamento do projeto à sua avaliação, trazendo uma reflexão crítica acerca do fazer da produção cultural e explora questões sobre acesso e cidadania cultural. O projeto analisado foi patrocinado através da Lei Federal de Incentivo à Cultura (Lei Rouanet). O jogo dinâmico do mercado cultural aqui exposto apresenta uma forma de interação entre Proponente, Patrocinador e Público que serve de referência para a compreensão da trajetória de um projeto cultural desde sua criação, passando por sua implementação, até sua finalização. Outro aspecto aqui explorado, apesar de ainda pouco desenvolvido no mercado, trata do estabelecimento de bases para a avaliação de resultados de projetos sócio-culturais.

Canada’s response to the Syrian refugee crisis includes a unique program where private citizens can raise funds to sponsor a refugee family. This private refugee sponsorship program tasks citizens with both the financial and social aspects of a refugee’s integration for their first year in Canada. The success of the program has led many other countries, particularly in Europe, to consider adopting a similar approach. Although there has been an increased interest in the program, there is a lack of research into the sponsorship experience. This study aims to provide further insight into the sponsorship experience by studying whether it includes an element of learning for the sponsors. This was done by conducting in-depth interviews and analyzing them based on situated learning theory and placing the results in the context of previous research done on sponsors in Canada during the Kosovo crisis. The principle findings of this study show that private refugee sponsorship groups are indeed sites of adult learning for the sponsors. However, the degree to which this is the case differs depending on how sponsorship groups are positioned vis-à-vis the refugee family and the professional settlement community.

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O objetivo do presente estudo foi descrever e analisar a trajetória do incentivo fiscal à cultura no município do Rio de Janeiro – Lei 1.940/92 (1992–2012) e Lei 5.553/13 (2013 – em vigor), e, como objetivos secundários, consolidar os dados dispersos e avaliar a distribuição de recursos das fases de inscrição de projetos e captação de recursos. Foram realizadas pesquisas em diversas fontes, públicas e privadas, eletrônicas e físicas e, além do resgate histórico, a estruturação de um banco de dados permitiu consolidar uma grande variedade de registros sobre os termos de compromisso (contratos) firmados no período. O resultado da pesquisa evidencia melhorias na distribuição dos recursos, na inter-relação entre o poder público e os agentes de mercado e na operacionalização do mecanismo, apesar de não ter havido aporte de recursos privados para a cultura, como pretendido originalmente.
The current study’s goal was to describe and analyze the history of tax incentives for cultural sponsorships in the city of Rio de Janeiro – Law 1.940/92 (1992–2012) and Law 5.553/13 (2013 – active), and, as a secondary goal, to consolidate disperse data and evaluate the distribution of resources throughout the phases of the projects and the obtaining of sponsorships. The research data was collected from various sources, both public and private, in electronic and paper formats. In addition to a historical review, the structure of the database permitted the consolidation of the terms of commitment of a large variety of contracts completed during the period. The results of the research provided evidence of improvements in the distribution of resources, with respect to the interrelationship between governmental and private agents in the operationalization of the law for cultural incentives. However, the objective of the law was not achieved, in that sponsors failed to provide additional funding, as was planned.

Ambush marketing has recently become a large problem for event owners and official sponsors. One of the main focuses, in the field of ambush marketing, has been about consumers' attitudes towards ambush marketing. However, the research field has a gap in what affects consumers’ attitudes. The purpose of this thesis is to explain the causal effect between consumers’ culture factors and their attitudes towards ambush marketing. This thesis uses a conceptual model that is based on theories in national culture, marketing and psychology. This thesis uses a positive, deductive approach with an explanatory research design. The quantitative method is a survey that is handed out to Swedish students and exchange students from China. Analyses show that consumers' culture has a significant correlation to their attitudes towards ambush marketing. Consumers in cultures with high power distance and/or collectivism, have a significant stronger negative attitude towards ambush marketing, compared to consumers who have low power distance and/or individualism. The theoretical implications in this thesis fill the gap about what causal effect culture factors have on consumers’ attitudes towards ambush marketing. This thesis has also contributed to the more controversial belief, that the consumers’ do not have such negative attitude towards ambush marketing. The findings will be of managerial use for event owners who are taking actions against the ambush companies. Limitation of this study is that theory on the cultural factors is only based on one theoretical framework, Hofstede’s cultural dimensions.

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.

Sponsring är ett utbyte och en marknadsföringsmetod som används av allt fler organisationer. Med syftet att påverka personalen i en organisation är sponsring en relativt oanvänd metod för marknadsföring. Trots detta så påverkar sponsring personalen oavsett organisationens målsättning med sponsring. Syftet med studien är att utvärdera om sponsring fungerar som ett verktyg för motivation i en specifik organisation, sedan utvärderas hur sponsring bidrar till motivation. För att besvara syftet genomfördes en kvantitativ studie i form av en enkätundersökning. Denna genomfördes hos vårt studieobjekt Länsförsäkringar i Gävleborg. Analysen av den insamlade datan har genomförts med stöd av den teoretiska referensramen. Resultatet av studien visar att sponsring kan användas till att motivera personalen på Länsförsäkringar. Dock så är organisationens nuvarande sponsring något som inte tydligt motiverar personalen. Länsförsäkringar vill med sin sponsring bidra till samhället och på så sätt skapa engagemang och stolthet bland personalen. Sponsring får personalen att känna stolthet men däremot inget tydligt engagemang. Länsförsäkringar är bra på att informera personalen om sponsring, däremot så är organisationen inte lika bra på att lyssna till personalens värderingar kring sponsring. Det bristande engagemanget skulle då kunna bero på att personalen inte får tycka till om organisationens sponsring.
Sponsorship is an exchange and a marketing method that is used by more and more organizations. With the aim to influence the staff of an organization is sponsoring a relatively unused method of marketing. Despite this, sponsorship affects the staff regardless of the organization's goal of sponsoring. The purpose of this study is to evaluate if sponsorship serves as a motivational tool in a specific organization, then evaluate how the sponsorship contributes to motivation. To answer the purpose we conducted a quantitative study in the form of a questionnaire. The questionnaire was done at our research object, Länsförsäkringar Gävleborg. The analysis of the collected data was carried out with the support of the theoretical framework. The results of the study show that sponsorship can be used to motivate staff at Länsförsäkringar. However, the organization's current sponsorship is not clearly motivating their staff. Länsförsäkringar wants with its sponsorship to contribute to society and thus create commitment and pride among the staff. Sponsorship get staff to feel proud but no clear commitment. Länsförsäkringar is good at informing staff about sponsorship, however, the organization is not as good at listening to staff's values regarding sponsorship. The lack of commitment could then be due to staff being unable to speak up on the organization's sponsorship.

Le festival n'est pas une activité a-juridique. Cette activité événementielle attractive est encadrée par les pouvoirs publics tant par des mesures de police administrative que dans son occupation du domaine public. Cet événement présentant incontestablement des atouts pour la politique touristique et culturelle d'un territoire est devenu une véritable institution cofinancée par les pouvoirs publics. Oscillant entre mission de service public et simple activité de prestation de services, la question de l'intérêt public local de cette activité est au cœur d'un contentieux émergent devant le juge administratif. Dans le même temps, la valeur du festival tend à se privatiser. L'introduction du mécénat, le recours à certains droits de propriété intellectuelle pour protéger cette valeur (droit des marques pour l'appellation et le droit d'auteur pour la programmation) et le travail des groupes de pression pour obtenir un nouveau droit voisin en faveur des organisateurs de spectacles sont autant d'indices qui illustrent ce mouvement de privatisation. De plus, la tentation d'appropriation des concepts festivaliers incite à proposer une qualification juridique globale pour laquelle la notion de fonds de commerce s'avère adaptée. Enfin, l'application de contrats de franchise ou de partenariat aux festivals constitue des instruments juridiques utiles pour permettre leurs duplications.

This thesis analyzes the Canadian Immigration and Refugee Board (IRB)’s treatment of culture in recent family sponsorship decisions. Drawing upon theories of cultural difference, identity construction, and Critical Race Theory, it examines IRB decision-makers’ assessments of cultural factors and their influence on the evaluation of parties’ credibility. This thesis argues that appellants and applicants before the Immigration Appeal Division often had to demonstrate that their family class relationships were “performed” in accordance with the norms of their culture. Many IRB Members relied on essentialist conceptions of culture, and thus generated problematic images of both cultural minorities and Canadian society. Further, the identity of parties was often constructed in terms of defined categories such as ethnic background, religion, marital status, age, and disability. In conclusion, this thesis offers reflections on how issues of cultural identity can be more fairly and sensitively addressed by administrative tribunals such as the IRB.

碩士
中國文化大學
運動教練研究所
97
Abstract Sponsorships for university sport teams, a special kind of sport business in universities, have been in existence for years, but there are a lot of problems associated with this business. The purpose of this research was to analyzied the relationship between sponsoring enterprises and university sport teams. The documentary analysis and in-depth interview were the research methods of choices for this study. Specifically, this study researched the differences of and compared between considerations that enterprises had for sponsoring university sport teams and university sport teams had for seeking sponsorships from enterprises, and provided relevant suggestions for the cooperative relationship.The in-depth interviews were conducted on eight sport team players and sport team staff across three universities. The research results reveal that the reason Meifu Group consistently sponsors the university sport team was because the top manager of Meifu Group was enthusiastic about baseball. The factors that university sport teams seek sponsorships from enterprises include organization goal, organization size, and the philosophy of the top manager. Among the three factors, the philosophy of the top manager was the determining factor. The external factors include budget limitation, equipment budget, consistency among the sport team image, university image, and enterprise image, and the benefit of corporate baseball promotion. Budget limitation and equipment budget were two main considerations that university sport teams seek corporate sponsorships. The factors that enterprises sponsor university sport teams include organization goal, organization size, and top manager. Among the three factors, the top manager was the determining factor since top managers possess decision making authorities. The external factors include corporate position, sport organization, and integrity of the sponsorship plan. Among the three factors, sport organization and integrity of the sponsorship plan were two main considerations that enterprises sponsor university sport teams, and a well thought out sport organization plan and sport team management were the highly valued considerations for enterprises.The research results suggest that 1) universities should increase the frequency of communications with the enterprises; 2) enterprises should hire or train professional marketers to help the university sport teams generate positive publicity, which will in turn create beneficial results for the enterprises; and 3) enterprises should adopt an assessment tool measuring the benefits of sponsorships and identify ideal candidates for sponsorship efforts with the help of sport professionals. Key words: Corporate sponsorship, University baseball team, Corporate sponsored internship

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.

Since the middle of the twentieth century, American dance artists have presented complicated images of American identity to world audiences, as dance companies traveled abroad under the auspices of the US State Department. This dissertation uses oral history interviews, archival research, and performance analysis to investigate how dancers navigated their status as official American ambassadors in the Cold War and the years following the 2001 terrorist attacks in the US. Dance companies worked and performed in international sites, enacting messages of American democratic superiority, while individual dancers re-interpreted the contours of American identity through personal encounters with local artists and arts practices. The dancers’ memories of government-sponsored tours re-insert the American artist into American diplomatic history, prompting a reconsideration of dancers not just as diplomatic tools working to persuade global audiences, but as creative thinkers re-imagining what it means to be American. This dissertation begins in the late 1950s, as the State Department began discussing appropriate dance companies to send to the Soviet Union, as part of the performing arts initiatives that began in 1954 under the direction of President Dwight Eisenhower. The dissertation concludes by examining more recent dance in diplomacy programs initiated in 2003, coinciding with the US invasion of Iraq. My analysis considers New York City Ballet’s 1962 tour of the Soviet Union, where the company performed programs that included George Balanchine’s Serenade (1934), Agon (1957), and Western Symphony (1954), and Jerome Robbins’ Interplay (1945) during the heightened global anxieties of the Cuban Missile Crisis. My analysis of Ailey’s 1967 tour of nine African countries focuses primarily on Revelations (1960), which closed every program on the tour. Moving into the twenty-first century, I analyze A Slipping Glimpse (2007), a collaboration between Margaret Jenkins Dance Company and Tansuree Shankar Dance Company, which began as a US State Department-sponsored 2003 residency in Kolkata. To explore each tour, I consider government goals documented in archived minutes from artist selection panels; dancers’ memories of the tours, which I collected in personal interviews conducted between 2007 and 2009; and performance analysis of the pieces that traveled on each tour.
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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
國立交通大學
傳播研究所
94
In recent years, the enterprises take themselves as the social citizens, and gradually form the concept from overseas to Taiwan. As for the large-scale enterprises, in order to respond with the people’s expectation to the corporations and the demand of itself, they will mostly set up their exclusive "the corporate foundations" to sponsor such as art performances, or sports competitions, to let the resources and the fund more effective. This study wants to take the technical corporate foundations as the examples which have the contribution to the sponsorship of art and culture, and to discuss whether the foundations take corporate public relations into account, they are engaged in sponsoring art and culture, to maintain the relationship between the stakeholders. This research chose three domestic technical corporate foundations as the cases to carry on the analysis, and proceeded the depth-interview with the persons who are in charge of the actual sponsorship of art and culture, and understand the relation between the foundation and the enterprises. The result showed by interviewing these persons: 1) There is the same goal between the department of corporate public relations and the corporate foundation, but carry into effect by the different orientation. 2) The sponsorship of art and culture is the fusion of marketing and public relations, and become” Marketing Public Relations”. 3) The relation between the foundation and the group of art and culture changes the direction to the” cooperation”, but the” sponsorship”. 4) The operators of the enterprise should ponder the ability of the enterprise, from the personnel specialized degree, the enterprise resources and the adjustment of stakeholders, to decide whether it should set up the corporate foundation to sponsor art and culture or not.