Showing papers by "Paul DiMaggio published in 1978"

Social class and arts consumption

Abstract: The last decade has witnessed a burgeoning of American high culture. The number of museums and theaters has increased, the number of orchestras, opera companies, and dance companies has skyrocketed, and attendance at all of them is up.1 Ironically, however, the upsurge in public enthusiasm has been accompanied by financial tension. Earnings from admission and ticket prices have risen far less quickly than expenses, traditional patrons have been unable or unwilling to bridge the gap, and inherently labor-intensive production systems, inflation, energy costs, urban fiscal crises, and constraints on ticket and admission fees promise to make the situation worse.2 The effect of this fiscal malaise has been to involve the government federal, state, and municipal in American high culture to a degree unprecedented in this country. In twelve years the National Endowment for the Arts' budget has grown from $3 million to $96 million, the number of state arts agencies has increased from 18 to 55, and the number of local arts councils has expanded from 175 to 900.3

Cultural Democracy in a Period of Cultural Expansion: The Social Composition of Arts Audiences in the United States

Abstract: Students of American society, from the times of Tocqueville and Veblen, have been concerned with the social role of high culture in a democracy. The debate over the extent and consequences of elite dominance of the arts constituency has been intensified in recent years by the rise of government support for the arts. Little is known about the social composition of the arts constituency. Drawing on 268 largely unpublished studies of visitors to museums and audiences of live performing arts, we conclude that the gender and age composition of the arts audience is little different from the general public. However, the social class composition is strikingly elite: audiences are better educated, of higher occupational standing and more affluent than the general populace. Conversely, blue-collar workers, individuals with low incomes or little education, and racial and ethnic minorities are found to be greatly underrepresented. Analysis of differences between and within art forms reveals that museums, particularly science and history museums, draw a broader audience than do performing arts events; frequent attenders within most forms are found to be more elite than irregular consumers. Assessment of audience composition trends since the early 1960s indicates no movement toward a broader inclusion of the public, suggesting that a recent expansion in the scale of arts activities and government subsidies has not been accompanied by a democratization of cultural consumption

Cultural democracy in a period of cultural expansion

Abstract: Students of American society, from the times of Tocqueville and Veblen, have been concerned with the social role of high culture in a democracy. The debate over the extent and consequences of elite dominance of the arts constituency has been intensified in recent years by the rise of government support for the arts. Little is known about the social composition of the arts constituency. Drawing on 268 largely unpublished studies of visitors to museums and audiences of live performing arts, we conclude that the gender and age composition of the arts audience is little different from the general public. However, the social class composition is strikingly elite: audiences are better educated, of higher occupational standing and more affluent than the general populace. Conversely, blue-collar workers, individuals with low incomes or little education, and racial and ethnic minorities are found to be greatly underrepresented. Analysis of differences between and within art forms reveals that museums, particularly science and history museums, draw a broader audience than do performing arts events; frequent attenders within most forms are found to be more elite than irregular consumers. Assessment of audience composition trends since the early 1960s indicates no movement toward a broader inclusion of the public, suggesting that a recent expansion in the scale of arts activities and government subsidies has not been accompanied by a democratization of cultural consumption

An Example of Evaluation Research as a Cottage Industry: The Technical Quality and Impact of Arts Audience Studies

Abstract: Research resources are likely to be critical determinants of the technical quality of nongovernmental evaluation research, and quality in turn may affect the utility of the research. It is hypothes...