Qualitative methods are important in gaining a deep understanding of complex problems and poorly researched areas. They can be particularly useful to help explain underlying conservation problems, as in Rust et al. (2016). However, the significance in choosing and justifying appropriate methodological frameworks in conservation studies should be given more attention to ensure data are collected and analysed appropriately.
Twenty-one cat owners from a 100 km 2 area, centred on Carnforth, Lancashire, England, recorded each dead prey item delivered by their cat or cats during an 8-week period, following one of three experimental schedules, each of which required each cat to have a bell on a collar for only half of the time. The mean number of items each cat delivered to the owner was 2.9 in the 4 weeks when the cats had a bell attached, compared to 5.5 for the equivalent time when the bell was absent. The bell had no effect on the relative numbers of different prey types delivered, and there was no evidence that the cats adapted their hunting behaviour to reduce the effect of the bell over time.
PurposeThe purpose of this paper is to explore the implications of a greater marketing orientation among arts organisations and its impact on funding through sponsorship.Design/methodology/approachUtilising a qualitative methodology, the study employs case studies for the purpose of formulating tentative and emergent knowledge.FindingsThe case study observations reveal the adoption of a marketing orientation across the sample and most significantly for the purposes of securing and consolidating sponsorship relationships. But contrary to popular academic theory this is managed without significant threat to artistic integrity or adaptation of theatrical productions.Research limitations/implicationsData were derived from a purposive but limited sample. The advantages of a qualitative method in producing rich data is well established, however a longitudinal study would facilitate the understanding of the temporal shifts in arts sponsorships and counter the limits of the cross‐sectional nature of the study.Practical implicationsThe study reveals a managerial capacity for arts organisations to attract sponsorship through customer orientation without the need to compromise its artistic and social goals.Originality/valueA central concern to the increasing significance of business and private funding for the survival of arts organisations is the impact this has on the producers ability to remain faithful to the artistic integrity of their productions. This longstanding academic debate now has predominance in arts marketing management and the issues addressed in this paper serve to address this shift in emphasis.
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