Economics of Leisure - Essay Example

?Running head: ECONOMICS OF LEISURE Economics of Leisure of the of the Economics of Leisure What kind of document isthis and why was it written? The document report examines the levels of arts attendance among adults in English and socio-demographic inequalities in development opportunities for assistance. Arts Council England seeks to ensure that as many people as possible have access to exciting, challenging and enriching artistic experience. This is especially useful for us to know who attends event, and how often, what people are involved in a number of artistic and cultural activities, and how the public feels the arts and how they should be financed. Readers of this report have different needs and use the results for different purposes. Chapters 2-5 look at the results on the subject: attendance, participation, access to the arts through the media and the Internet, and attitude toward art and culture. Chapter 6 discusses the results by region to provide a regional overview of the commitment to art. Critically assess the economic usefulness of the concepts and definitions of the 'arts' contained in the document. Art can be viewed as functional, i.e., a set of activities or objects that present to perform some common functions. This kind of concept art is better fit in terms of economic activity. Economics assumes that people act on the network. Creative activity is observed, then the number of persons acting in a feature perceived benefits. To understand the benefits is to understand the economics of art (Bunting, 2007, p45). To comprehend those advantages is the understanding of the economics of art. In this document both Modern Visual Art and Modern Literature challenge the intellect and propose an alternative view of the world. Alongside, these two forms of modent art, allow the artists the immense liberty through conceptual phrase to express their reserved emotions and the fundamental desires. Subsequently, contemporary artists remind about subjective and sensory impressions, not the re-creation of objective realism, due to the inconclusive reality. Contemporary Visual Art and Present day literature have quite a bit in common when compared. Both are the most abstract art forms, and both have seen the most backlash, however what is intriguing here is that they both don’t represent reality (Chan, 2006, p133). The contemporary art greatly stresses upon the self and artistic self-expression. Consider the suitability of the 16-fold categorisation of live events used here {it is listed on page 10} for an economic analysis of demand for the arts. Participation in musical events has been fairly widespread. Almost two in five per cent attended live events in the music world over the past 12 months. One of the five percent attended a rock or pop event in the past 12 months. Classical music attended 10% of people in the past year, 6% of them went to the opera or operetta, 6% of jazz, folk and country and western 2%, and music is 2% of the world. Other types of music were seen in 7% of the people. There was an increase in the proportion of people attending live musical event by 36% in 2001 to 39% in 2003. There was also a slight increase between 2001 and 2003 to participate in events or pop-rock music and a slight decrease between 2001 and 2003 events as "other music". Nearly one in eight (12%) saw a dance of some in the past 12 months, 4% had attended modern dance, and 2% of the ballet. Other types of dances mentioned in 7% of people (Chan, 2007c, p23) . There were no differences in the proportion of people who attend these various events to dance in 2001 and 2003, except for a small increase of 3% to 4% of respondents, modern dance. Different forms of assistance were evident for various musical and dance activities included in the study. For example, classical music is characterized by a high level of care, repeat, with one third (33%) of those present were a classical concert of three or more times in the past year, compared with 19% of those attending the opera. More than half (51%) of those who were in all other musical events was done only once in the past 12 months. Small sample size for participants dance event means that the results should be viewed with caution. However, participation in dance, it seems less than in musical events (Chan, 2006, p133). About two-thirds (69% and 62% respectively), participants in the events dance ballet and modern was only once in the past year, although over a fifth of dance events (21%) attended three modern times or more. There were no significant differences in attendance patterns of music and dance events in the period between 2001 and 2003. Looking through the whole document, provide a general profile of the importance of age as an independent variable in determining the level of participation in the arts. Young people are more likely than older people attended a movie, video or electronic art events, live music events, carnivals and for the past 12 months. However, a significant increases in the period between 2001 and 2003 the percentage of films to assist more than 35 years. The figures for the younger age groups attending the film remained constant. This suggests that the film is becoming more popular among older age groups. People aged 55-64 are more likely than other age groups who have been on the musical performances, exhibitions of handicrafts, exhibitions of visual art, classical music and opera. Those over 65 were less likely to attend movies, live events, dances, cultural festivals and activities related to books and records, and video or electronic art event. Dance to live events is a high attendance of 16-24 and 55-64 years, although it is likely that the nature of dance events can be different (Chan, 2005, p193). The largest share of the pantomime was one of the participants aged 35-44, probably, who accompany their children. Persons aged 25-44 are more likely than other groups who have visited famous parks and gardens. With all the events together, there is a clear relationship between age and attendance. Young people are more likely than older people have passed at least one case in the past 12 months, and the trend of compliance in 2001. Proportion of those attending at least one case in the past 12 months ranged from 93% in the age group 16 to 24 to 47% of people 75 and older. Although, in general, older people are less likely to attend the young, the chance to go to classical concerts, and usually increases with age. The study showed that people who reported illness or disability that limit a long time were less likely than other respondents who participated in the events (Keaney, 2007a, p76). How do you disease is more common among older people who may be one reason for low attendance. Another report, to examine the relationship between health and care of art in more detail, is expected to be published by Arts Council in the first half of 2005. This is a good attendance and participation levels remain high in the face of increased competition from other leisure activities. Proportion of those who attend at least one arts event in the past year was 79% in 2001 and 80% in 2003. In both years, almost nine out of ten (87%) had participated in at least one arts activity themselves. Studies also show high levels of support for public funding of art, with 79% of people agree that "art and cultural projects that receive public funds - an increase of five percentage points since 2001(J.H. 2007a, p512). Look at the pie chart on Page 8 of the document. This shows that only 4% of the respondents are 'voracious' consumers and only 12% are 'enthusiastic'. How do we interpret this in terms of the economics of consumer demand? Members of the group ‘Enthusiastic’ are often take part in different types of places or events, three or more times a year. They reflect the preferences in a particular area - especially likely to participate in musical events, for example - instead of regularly through a series of events. Members of the Voracious’ groups are the most frequent attendees. They regularly attend a wide range of events across the arts and cultural spectrum (McMaster, 2008, p87). These four groups did not show a preference for rather different activities. Rather, they mainly differ in the spectrum of different kinds of arts and cultural events with the participation and frequency of attendance. In particular, there seems no evidence of the cultural elite, which are designed for "high art" and not a pop culture: the group who are most active in the niche of more arts and cultural activities such as ballet and participants most common activities that can be described as pop culture, like film. The concluding section of the document relies heavily on the idea of 'self exclusion'. Is this a meaningful concept in terms of mainstream economic theory and, if not, what extensions to economic theory would be needed in order to incorporate it? During these years there was a change in the way the value of art. Art has gone from the economy as a whole sector of the global consumer culture. We see that the art was the subject of speculation. Art market has also become a marginal industry in a complex system of relationships with a much broader cultural and economic. Art market should be limited and controlled to avoid inflation and maintain the economic value of works of art, as in the foreign exchange market. To this end, members of the art market should set the criteria for selection. Globalization is a reality that affects the cost of works of art. Thus, the international art market is influenced by internal forces - global public art and the art market and external forces - the macro-economic, political and historical factors issues. Thus, were also aware that risk is an essential element of globalization. Thus, art can be seen as an expression of culture and art as an investment "within the meaning of investment." (Keaney, 2007b, p56)Although the historical data show that prices have increased over the years. This shows that the value of artistic truth prevails in the long run and eventually also to find the proper market value. In addition, the art market has always been about the taste, influence and trade. Art market is certainly a restrictive market. Therefore, limiting the supply of art, art market would mean a profit and at the same time, the increasing role of market participants. Accordingly, the art will also be important to avoid monopolistic positions (both private and public) and develop a system that promotes diversity. However, this system should have a scale separate good art from the collection of art to become an effective system on the market. Thus, we could see economic progress in the international market depends on the stability and coherence of political institutions; these institutions manage the development of its policies. The need for international control on the art market is also important. Although the art market has played an active role in the economy, supply and demand management, which should pay special attention to works of art. In conclusion, the market should restrict the supply of art and antiques from the selection of talented artists - good art to enhance the value of work. References Bunting, C. (2007). Public value and the arts in England: Discussion and conclusions of the arts debate. London: Arts Council England Bunting, C., Godlieb, J., Jobson, M.45-67 Chan, T.W. and Goldthorpe J.H. (2007b). Social stratification and cultural consumption: Music in England. European SociologicalReview, 23(1), 1–29 Chan, T.W. and Goldthorpe J.H. (2007c). Social stratification and cultural consumption: The visual arts in England. Poetics, 35, 168–190 Creative Research (2007). The arts debate: findings of research among the general public. London: Arts Council England , 23-24 Chan, T.W. and Goldthorpe, J. (2006). Social Stratification of Cultural Consumption Across Three Domains: Music, Theatre, Dance and Cinema, and the Visual Arts. Draft paper, available at: http://users.ox.ac.uk/~sfos0006, 133-189 Chan, T.W. and Goldthorpe, J.H. (2005). The social stratification of theatre, dance and cinema attendance. Cultural Trends, 14(3), 193–212 J.H. (2004). Is There a Status Order in Contemporary British Society? Evidence from the Occupational Structure of Friendship. European Sociological Review, 20(5), 383–401 J.H. (2007a). Class and Status. The Conceptual Distinction and its Empirical Relevance. American Sociological Review, 72(4), 512-532 Keaney, E. and Godlieb, J. (2007b). Arts Opportunities. In Aust, R. and Vine, L. (eds). Taking Part: The national survey of culture, leisure and sport. Annual report 2005/2006, 56–74. London: Department for Culture, Media and Sport Chan, T.W. and Goldthorpe, 54-56 Keaney, E., Oskala, A., Skelton, A. (2007a). Informing change. Taking Part in the arts: survey findings from the first 12 months. London: Arts Council England Bunting, C., 76-88 McMaster, B. (2008). Supporting excellence in the arts: from measurement to judgement. London: Department for Culture, Media and Sport . 87-98 Read More