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Social value added (SVA) as an adaptation of economic value added (EVA) to the specificity of cultural institutions


Purpose: The purpose of this article is to present the concept of social value added (SVA) as a tool for measuring the effectiveness of the activity of not-for-profit cultural institutions.

Methodology: A direct application of the measure of economic value added (EVA) in the case of evaluation of non-profit activity of cultural institutions would be impossible because of the specificity of such organizations, which – as distinct from standard enterprises – are not oriented on generating financial gains. The article covers several successive modifications of EVA, which lead eventually to the measure of social value added (SVA). This parameter represents the difference between the social impact of an evaluated institution and the social cost of capital involved in the conducted activity. A positive SVA means that the activity carried out by the institution subject to evaluation is socially viable. The method of SVA calculation presented in the article has been supported by a numerical example.

Findings: The modifications presented in this article make it possible to adapt economic value added (EVA) to the needs and specificity of not-for-profit public cultural institutions. Applying a modified EVA parameter, that is SVA, in cultural institutions may facilitate the process of management and the measurement of effective utilization of resources of these entities.

Originality/value: Published sources seldom tend to cover the tools improving management process or making it possible to measure the effects achieved by public cultural institutions. The solution discussed in this paper is a contribution to the body of reference literature in the said scope.

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The Impact of the European Union on Cultural Policy in Malta


This paper will address the impact of the European Union (EU) on cultural policy development in Malta. The attention paid by the EU to globalising matters through culture, particularly i) citizenship participation in relation to social integration, ii) economic revival through urban regeneration, and iii) cultural diplomacy with regard to internationalisation efforts, is acknowledged and assessed through a focus on recent Maltese cultural practice. Impact will be assessed in relation to a) policy as well as legislation, b) funding structures and incentives, and c) implementation measures through initiatives taken by Maltese public cultural institutions. Convergences and divergences in comparison with key EU strategic actions will be discussed, with reference made to major legislative documents, funding programmes, and cultural projects undertaken by Maltese authorities and other cultural stakeholders in response or in relation to European developments.

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The determinants of local public spending on culture

-fund non-public cultural institutions. Law generally defines the local obligations in the cultural sector. The only exception is libraries: according to the law, every municipality need to have at least one library. There are also rules that define the legal form of public cultural institutions and rules related to their financial planning but (except the rule of the obligatory library) with no detailed specification to the quantity or quality of cultural offer or rules related to employment. Private institutions receive the grants according to general rules related to

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Exploring the Relationship between the Creation of an Intermodal Passenger Terminal and the Urban Development of Debrecen: A Case Study

, theatres, public cultural institutions, cinemas, built heritages, art relics and festivals). However, the city cannot provide the tourist attractions that would motivate tourists to stay in Debrecen more than for three days. Therefore, it is highly important to develop tourist attractions, primarily cultural ones. While libraries and public cultural institutions have a dispersed location pattern in the city, museums and theatres are located in the city centre exclusively and most cultural events are organised in the city centre as well. Besides the outstanding cultural

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Economic and spatial strategies of artists as cultural entrepreneurs

economic and spatial strategy Desired visibility in urban space Targeted customer types (segments) Case study inner city area – a historic quarter of artistic memory and traditions, dominated by tourism, with major public cultural institutions, niches of less commercial and independent cultural activities (Old Town) – proximity to large flows of local and non-local customers and major transport hubs; – direct face-to-face contacts with customers; – possibility to use the image of tradition and prestige of cultural heritage and cultural institutions

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