Sigrid Røyseng

Nordisk kulturpolitisk tidsskrift (NKT) 26(2) s. 101-104

International Journal of Music Education Doi: https://doi.org/10.1177/02557614231164154

Institutional change is being called for to renew higher music education (HME). But what institutional pressures, specifically, are driving these calls, and how are HME organisations responding to pressures to change? By turning to institutional theory, we lean on the concept of institutional isomorphism to shed light on how HME organisations may be navigating pressures to appear legitimate in the field to secure organisational survival. Drawing from a comparative case study of two HME organisations from Norway and the Netherlands, in which strategic plans and interview transcripts with students and professors have been analysed, we discuss how change processes are intertwined with an organisational quest for legitimacy. The findings suggest that there are overarching pressures to change in the field of HME and that variables in the institutional environment indicate how processes of change may unfold. Finally, implications of this unveiled landscape are discussed.

International Journal of Cultural Policy s. 1-14 Doi: https://doi.org/10.1080/10286632.2023.2183950

Music Education Research 25(5) s. 521-531 Doi: https://doi.org/10.1080/14613808.2023.2272156

This article investigates the moral outlooks and obligations that are intertwined in the teaching and learning processes of the traditional folk music community in Norway and how moral aspects affect the development of professional identities. Theoretically, we combine the concept of a community of practice with a moral economy perspective. This allows us to see that professional folk musicians are positioned between two different moral economies, one that builds on voluntary values and gift exchange and another that builds on professional ideals of the market-based economy of the music industry. In this way, we extend existing knowledge on teaching and learning processes by specifying the moral content that is learnt by participating in the practices of the folk music community. Being socialised into the moral outlook of the Norwegian folk music community means internalising specific norms and values that create moral obligations and shape social contracts.

Nordisk kulturpolitisk tidsskrift (NKT) 25(2) s. 1-15 Doi: https://doi.org/10.18261/nkt.25.2.3

The Covid-19 pandemic has radically changed the working conditions of cultural workers, especially for those whose work involves physical attendance. At the same time, several cultural policy measures have been implemented to help the cultural sector during the pandemic. The purpose of this article is to analyze cultural workers’ responses to the pandemic working situation and to corona-specific cultural policies. To this end, a moral economy perspective is applied. Moral economy is a perspective that views economic activities, in the broad sense, through a moral and not just a material lens. It has to do with how moral sentiments and norms govern what is seen as acceptable or unacceptable economic behavior in different spheres of activity. The vast bulk of research on cultural workers has mainly emphasized the symbolic and material dimensions of their motivations. However, recently there has also been a growing interest in the moral motivations of cultural workers. The analysis is based on two different empirical materials. First, it draws on 57 interviews with professional musicians in Norway. All the interviews were carried out during the pandemic, more specifically between August 2020 and February 2021. Second, the analysis focuses on one of the most heightened public debates that arose as a response to corona cultural policy (i.e., the implementation of a stimulation scheme for the cultural sector). The article concludes that the pandemic has revealed the presence of two conflicting moral outlooks in the understanding of cultural workers and cultural policy.

The Journal of Arts Management, Law, and Society Doi: https://doi.org/10.1080/10632921.2022.2034691

This article analyzes visual artists’ response to online sales and dissemination technologies by mapping the range of corresponding positions and position-takings by professional artists in Norway. We consider whether artists’ responses align with traditional logics of artistic consecration identified in Bourdieu’s accounts of the field of cultural production, and how these responses correspond to Rogers’ theory of diffusion of innovations. Employing multiple correspondence analysis, we find position-takings toward online sales and dissemination can be structured by a dimension differentiating between technology-oriented optimism and techno-skepticism, between high and neutral levels of risk aversion toward online technologies, and thirdly between technology adopters and those still at an intentional stage.

Musikerne, bransjen og samfunnet s. 23-48 Doi: https://doi.org/10.23865/noasp.160.ch1

Cappelen Damm Akademisk

Cappelen Damm Akademisk

Musikerne, bransjen og samfunnet s. 223-243 Doi: https://doi.org/10.23865/noasp.160.ch9

Musikerne, bransjen og samfunnet s. 93-119 Doi: https://doi.org/10.23865/noasp.160.ch4

Musikerne, bransjen og samfunnet s. 247-265 Doi: https://doi.org/10.23865/noasp.160.ch10

Musikerne, bransjen og samfunnet s. 291-312 Doi: https://doi.org/10.23865/noasp.160.ch12

NMH-publikasjoner

Nordisk kulturpolitisk tidsskrift (NKT) Doi: https://doi.org/10.18261/issn.2000-8325-2021-01-03

International Journal of Cultural Policy 25(8) s. 1-14 Doi: https://doi.org/10.1080/10286632.2021.2009472

This article investigates the symbolic boundaries that are at play in controversies over public art projects and the criteria different groups of actors, (e.g. artists, art experts, bureaucrats, and local communities), use when evaluating public art. This investigation shed light on how art, artistic autonomy, and public spaces are subject to ”boundary struggles” in which the identities and worth of different social groups and the value of art in society are negotiated. Based on case studies of two public art projects that were rejected before their completion, – and by tracing the media coverage of the public debates these cases generated, – this analysis reveals that the ways art is understood vary considerably between representatives of the artistic field and those outside of it. It is argued that insights into such struggles can inform cultural policy in the narrow and wide sense. It is valuable to gain insight into how ‘ordinary people’ value and draw boundaries around art, as cultural policy research has primarily attended to the perspectives of public authorities and professional actors in the artistic field.

International Journal of Cultural Policy 25(2) s. 154-170 Doi: https://doi.org/10.1080/10286632.2016.1229313

Museum Management and Curatorship Doi: https://doi.org/10.1080/09647775.2019.1638819

In the context of the shift towards participatory practices within museums, museum engagement with social media represents a form of organizational change. This study approaches social media and the corresponding organizational change from a museum leader’s perspective, utilizing data from a broad crosssection of 82 museums in Norway. We address how the characteristics of a museum and its leader impact social media attitudes, behaviors and intention towards social media-based change. Combining factor analysis and clustering techniques, we identify four museum leader ‘types’ who are primarily defined by their (1) perception of museum benefits from social media, (2) perception of own and museum support in social media activities, (3) perception of conflicts that arise from social media usage, and (4) social media-related values. With museums being asked to more fully embrace the participatory potential of social media, this study points to significant differences in readiness to change across museum leaders.

The Journal of Arts Management, Law, and Society 50(1) s. 52-66 Doi: https://doi.org/10.1080/10632921.2019.1693458

The aim of this article is to study the effects of performance measurement on professional autonomy in the Norwegian theater sector and how these effects have changed over two decades, from the 1990s to the 2010s. We do this by introducing the concepts of decoupling and disciplinary power and by studying the dialogue between five case theaters and the Ministry of Culture as part of the system of Management by Objectives. We find effects both related to processes of decoupling and disciplinary power in this period, but the decoupling effects seem to be most notable in the first part of the period of the study. Consequently, we must also conclude that - though not totally in danger - the professional autonomy of the theaters was increasingly challenged during this period.

International Journal of Cultural Policy 26(5) s. 697-708 Doi: https://doi.org/10.1080/10286632.2019.1643335

This article discusses the methodological implications of the relations we have to our object of study as cultural policy researchers. We ask: What research relations we typically are part of and what social dimensions structure these relations? These questions are discussed by comparing field experiences from two cultural forms that can be characterized as polar opposites when it comes to the degree to which they are legitimized: contemporary opera and dance bands. We suggest that four dimensions are especially relevant to help ‘unpack’ the relations we typically find ourselves in as cultural policy researchers; cultural hierarchy, research conditions, geography and, gender and age. The coexistence of these dimensions means that the cultural policy researcher regularly finds him/herself in complex situations that we suggest should be analysed in terms of the ways in which, and the extent to which, we develop roles as insiders – or outsiders – in the field

Organizational Aesthetics 6(1) s. 99-115

In this article, we seek inspiration from the performative theatre arts to better understand creative work and leadership in a digital age. Theatre artists work and lead creative processes toward theatre performances without any digital distractions. Theatres are a physical manifestation of art. The aesthetic and embodied creative work and leadership is essential for a play that engages and touches the audience. While theories and research about embodied leadership scarcely address digitalization or technology, research about digital and virtual leadership oversees the importance of embodied processes and leadership. Through insight acquired by interviewing theatre directors, we describe how these creative work and leadership processes are about developing and maintaining embodied, emotional and mental focus. We explain and analyse this phenomenon through a description and analysis of theatre art and theatre leadership, where we argue that theatre productions resemble many kinds of temporary creative projects in regular work organizations. Theatre directors lead people in a way that makes theatres one of the last frontiers of digitalization. We also explain what there is to learn from theatres in a digitalized work life, where smart phones, I-pads, PCies or other digital devices never are turned off.

Praktisk Økonomi & Finans 33 [i.e. 34](2) s. 172-188 Doi: https://doi.org/10.18261/issn.1504-2871-2017-02-03

Kunsten har blitt karakterisert som det økonomiske feltet snudd på hodet (Bourdieu 1993). Å rette seg etter det som er økonomisk gunstig, har ikke alltid vært gangbart om man skal lykkes i kunstens verden. Like fullt, og i økende grad, må også kunstinstitusjoner fokusere på kostnadseffektivitet og sørge for å ha orden på de økonomiske og administrative sidene ved sin drift. Innføringen av mål- og resultatstyring i 1996, som ledd innføringen av nytt økonomireglement i staten og tilhørende den omfattende New Public Management-reformen(e), er en markant endring hvor hensynet til kostnadseffektivitet er blitt tydelig forsterket. Systemet med mål- og resultatstyring (MRS) og kunst representerer på mange måter ulike verdisystemer. Mens mål- og resultatstyring representerer verdier som kontroll, kostnadseffektivitet, regelfølging og planmessighet, representerer kunst verdier som kreativitet, nyskaping, estetiske regelbrudd og rom for det uventede. Følgelig blir spørsmålet: Hvordan berører og påvirker innføringen av systemet med mål- og resultatstyring forholdet mellom de kunstneriske og økonomisk-administrative sidene i kunstinstitusjoner? I denne artikkelen undersøker vi nettopp dette og ser nærmere på perioden fra to år før systemet ble innført i 1996 og fram til 2012. Mer spesifikt presenterer artikkelen en longitudinell studie av hva innføringen av systemet med mål- og resultatstyring har betydd for norske institusjonsteatre.

Cappelen Damm Akademisk

Nordisk kulturpolitisk tidsskrift (NKT) s. 159-162

The Journal of Arts Management, Law, and Society 46(5) s. 282-296 Doi: https://doi.org/10.1080/10632921.2016.1231645

The aim of this article is to provide insight into the phenomenon of sexual harassment in the theatre world. A survey among Norwegian actors is presented showing that sexual harassment is much more prevalent in the theatre world than in Norwegian work life in general. Further, the article aims at understanding why the prevalence is as high as it is. Based on qualitative interviews, the article points out some risk factors that shed light on the high prevalence of sexual harassment. Lastly, the risk factors are related to charismatic authority as an important power base in the theatre world.

Kommunikasjon og ytringsfrihet i organisasjoner s. 96-122

Nordisk kulturpolitisk tidsskrift (NKT)

Kultursosiologisk forskning s. 97-107

Scenekunsten og de unge s. 290-295

Sosiologi i dag 44(1) s. 66-89

Action, Criticism, and Theory for Music Education (ACT) 13(1) s. 101-125

Nordisk kulturpolitisk tidsskrift (NKT) s. 144-149

Nordisk kulturpolitisk tidsskrift (NKT) s. 4-8

The Journal of Arts Management, Law, and Society 42(4) s. 156-175 Doi: https://doi.org/10.1080/10632921.2012.727773

This article discusses artists’ work in performing arts institutions in Norway. Many scholars describe Nordic performing arts institutions as slow-moving and heavy “art factories,” where artistic creativity is almost suffocated within bureaucratic “prisons.” The general problem that we raise in the article is whether this pessimistic picture of the relation between state control, market influence, and artistic work is relevant for studying the performing arts today. The study is primarily based upon twenty-seven qualitative interviews with informants in an institutional theatre and a symphony orchestra. We conclude that the actors in the Theatre are trapped—not so much within “a bureaucratic iron cage”—but rather within “an iron cage of charismatic leadership,” while the musicians in the Orchestra enjoy the relative freedom and democratic power of a rather soft bureaucratic organization.

International Journal of Cultural Policy 17(1) s. 106-107 Doi: https://doi.org/10.1080/10286632.2010.528838

Kulturelt entreprenørskap s. 47-68

Kulturelt entreprenørskap s. 165-190

Kulturelt entreprenørskap s. 217-225

Peripeti

International Journal of Cultural Policy

International Journal of Cultural Policy 13(1) s. 1-16 Doi: https://doi.org/10.1080/10286630600613366

Nordisk kulturpolitisk tidsskrift (NKT)

International Journal of Cultural Policy