Performance Measurement and Evaluation in the Arts and Cultural Sector: State-of-the-Art in Theory and Practice and Prolegomena for Further Developments

Abstract

This chapter discusses the (often uncontested) underlying conceptualisations of performance evaluation inherent to the positivist paradigm. It problematises the origins and development of the field of evaluation and scrutinises the limits of performance measurement and evaluation as currently applied to the cultural and creative sector. Drawing on a systematic literature review, data analysis and empirical material in the context of institutional and temporary cultural organisations, we analyse political, organisational and artistic practices in relation to performance measurement, evaluation and sense-making. We first look at how performance is understood, measured and politically instrumentalised in major temporary cultural events, elaborating on the case of the European Capitals of Culture. In particular, we address issues of participation and sustainability. Next, by drawing on an ethnographic study of long-standing arts organisations in Vienna and Berlin, we analyse how performance itself is enacted and embedded in the artistic processes of the institutionalised performing arts. We then show how the artistic dimension of organisational performance can be more responsibly and holistically represented in evaluation practices. Our analysis reflects on the status quo of performance measurement and evaluation in the arts and cultural sector and the challenges associated with the current practices, which have been heavily influenced by positivist thinking in cultural policy and arts management research. Finally, we offer avenues for further developments.

Appendix

Characteristics of the selected case studies (the case of the performing arts)

Case study	Vienna state ballet	Berlin state ballet
Organisation Type	Large classical dance company. Autonomous entity under public law.	Large classical dance company. Autonomous entity under public law.
History and Reputation	The history of the Viennese ballet spans nearly 400 years. Among the artists who have worked in Vienna are legends such as Marie Taglioni and Rudolf Nureyev. Austria’s biggest ensemble.	The tradition of the Staatsballett Berlin dates back to 1742, when Frederick the Great founded his royal court opera. Germany’s largest company and Berlin’s only classically trained ensemble.
Repertoire	Classic repertoire with neoclassical and modern pieces.	Traditional story ballets with increasingly contemporary works.
Performance Venues (self-owned)	Wiener Staatsoper, Volksoper Wien	Deutsche Oper Berlin, Komische Oper Berlin, Staatsoper Unter den Linden
Funding	Approx. 60% direct subsidies (federal and civic) Approx. 40% self-earned revenue (box office and fundraising)	Approx. 70% direct subsidies (federal and civic) Approx. 30% self-earned revenue (box office and fundraising)
Ensemble	100 dancers (first soloists, soloists, demi-soloists and corps de ballet)	94 dancers (first soloists, soloists, demi-soloists, corps de ballet and character roles)
Season	Around 87 performances, including 3 full-length premieres, 10 revivals of repertoire pieces and 1 international gala	Around 88 performances, including 4 full-length premieres, 8 revivals of repertoire pieces and 1 international gala