By Kevin F. McCarthy
The nonprofit arts at present face an atmosphere that demanding situations the best way they've got grown and increases the chance of destiny consolidation. The authors concentrate on the connection one of the parts of neighborhood groups' arts ecology and improve a brand new framework for comparing structures of help to the humanities. They then use this framework to evaluate the strengths and weaknesses of Philadelphia1s arts region.
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Additional resources for Arts and Culture in the Metropolis: Strategies for Sustainability
Overall attendance levels have stabilized, and rates of attendance have often dropped. And when people do participate, they are more inclined to purchase tickets at the last minute rather than weeks or months ahead with a season subscription. This introduces greater unpredictability in admissions revenues, lowers total revenues, and increases the diﬃculty of establishing the kind of ongoing relationship with audiences typically required to make them into members and ﬁnancial patrons. Finally, as organizations have increased the range of techniques they use to attract members and sponsors, the costs of these eﬀorts have risen, as have the expectations of potential members and sponsors about the beneﬁts they are entitled to receive for their contributions.
Although they contribute to the prestige of the institution, they often increase expenses as well. Moreover, to the extent that funders prefer to make capital rather than operating grants, arts organizations can ﬁnd themselves with the money to build new facilities but not to support them. In combination, these developments have placed increasing ﬁnancial pressures on nonproﬁt arts organizations. As their costs continue to rise, their revenues become increasingly diﬃcult and costly to secure. There is growing competition for contributions and grant income from both other arts organizations and other nonproﬁts, and the costs of raising funds have grown in terms of both time and staﬀ.
We have removed individual artists from our analysis of the data because their inclusion distorts the dynamics of the city-level analysis. 3 The number of organizations in each category diﬀers signiﬁcantly. There are almost eight times as many entertainment organizations as arts organization, which in turn outnumber cultural organizations by almost three to one. However, this diﬀerence is due primarily to the large number of activities within the entertainment category—80 percent—that are devoted to recreation.