Crowdfunding and the democratization of the music market

Gałuszka, Patryk; Brzozowska, Blanka

doi:10.1177/0163443716674364

Cited by 25 publications

(12 citation statements)

References 21 publications

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“…Success through CCF effectively mitigates issues of uncertain demand and symmetrical ignorance. Interpreted this way, CCF becomes a conduit for breaking into the 'mainstream' system of cultural production (Galuszka and Brzozowska, 2017).…”

Section: Literature Reviewmentioning

confidence: 99%

Varieties of cultural crowdfunding

Rykkja

Munim

Bonet

2020

BJM

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PurposeDue to the unique nature of the Cultural and Creative Industries (CCIs), the impact of crowdfunding on them is more significant than on other industries. This study investigates the association between crowdfunding campaigns in four different categories of cultural production and each campaign promoter's decision regarding platform choice.Design/methodology/approachWe classified cultural productions according to the Cultural Enterprise Framework. We collected data from 1,465 successful, reward-based, culture crowdfunding campaigns from five Nordic countries (Denmark, Finland, Iceland, Norway and Sweden). We used binary logistic regression for estimation purposes.FindingsWe find that cultural productions with a high degree of cultural affinity are more likely to use a local platform, while cultural productions with a higher degree of complexity in production or with composite motives are more likely to use an international platform. Additionally, the funding goal and the platform's financing model affect the probability of using an international platform.Originality/valueOur finding is that there is a relationship between cultural production type and crowdfunding platform choice, and that these choices can be crucial for campaign promoters. Based on the findings and empirical setting, there is evidence that campaign promoters of cultural productions with a cultural affinity orientation may choose to use local platforms, while promoters of projects with complex production requirements or composite motives for using crowdfunding similarly may tend to opt for international platforms. We also propose a framework for the categorisation of cultural productions.

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Section: Literature Reviewmentioning

confidence: 99%

Varieties of cultural crowdfunding

Rykkja

Munim

Bonet

2020

BJM

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“…It developed from a platform used for garnering business investments to one seeking donations for a variety of causes, including those involved in state provision. Crowdfunding is now used to cover expenses in such diverse areas as artistic creation (Galuszka and Brzozowska ), scientific research (Schafer et al. ), journalism (Hunter ), litigation (Elliott ), as well as for various charity and community projects and for individual needs in the case of, for example, medical emergencies and educational opportunities.…”

Section: The Rise Of Crowdfundingmentioning

confidence: 99%

Worthy? Crowdfunding the Canadian Health Care and Education Sectors

Lukk

Schneiderhan

Soares

2018

Canadian Review of Sociology

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Crowdfunding, the practice of asking for money from others using the Internet, is a major private means through which Canadians are funding their health care and education. Crowdfunding has proliferated in Canada during the 2010s and continues to grow, approaching the revenues of Canada's major traditional charities. Proponents describe it as an empowering practice from which anyone can benefit. If its gains are inequitably distributed, however, increasing reliance on this private funding mechanism, especially in core areas of welfare state provision, can further exacerbate inequalities of opportunity and income. This study asks why Canadians turn to health care and education crowdfunding and how equitably funds are raised using this novel method. Based on a mixed methods analysis of 319 campaigns conducted on two prominent crowdfunding platforms between 2012 and 2014, we find that crowdfunding users' needs frequently correspond to known gaps in the contemporary social safety net, including in the area of cancer care, and that campaigns for older and visible minority Canadians face a disadvantage. We argue that health care and education crowdfunding is a response to the shortcomings of Canadian welfare state provision, but one that reproduces offline inequalities with potentially perilous consequences for democratic life and individual suffering.

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“…Aligning with our ‘missing producer’ argument, many cultural industry scholars have noted the downloading of production labour onto the backs of the artists who must now not only create original content but must also produce, distribute and market their work as well as shoulder community and business management ( Baym, 2015 ; Galuszka and Brzozowska, 2017 ; Kribs, 2016 ). While neoliberal ideologies shift risks and responsibilities onto individuals, the success of cultural entrepreneurs depends on how well they individually build and leverage collective creative networks, using favours, unpaid portfolio work and ‘do it yourself’ (DIY) labour to generate buzz and draw attention to their work ( Scott, 2012 ).…”

Section: Cultural Entrepreneurship Sustainability and Markers Of Indie Successmentioning

confidence: 99%

The Missing Producer: Rethinking indie cultural production in terms of entrepreneurship, relational labour, and sustainability

Whitson

Simon

Parker

2018

European Journal of Cultural Studies

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This article draws on over 60 interviews and 120 surveys with indie game developers to illustrate relational labour and entrepreneurship practices in cultural industries and their relationship to 'good work'. We first outline the changing organization of games work, the shift towards so-called indie production, and the associated rejection of creatively constrained, hierarchically managed production models. In the move towards small-scale games making, indies jettisoned producers because producers represented industry modes of work, values and creative constraints. But indies are now struggling to manage production processes without producers. We use developer narratives to highlight how this 'missing producer' work is redistributed in the form of cultural entrepreneurship, cultural intermediation and relational labour. This relational labour simultaneously supports and undermines sustainable production practices, as developers take on impossible workloads associated with networking and connecting with others. We next illustrate how the inherent valorization of growth and expansion in cultural entrepreneurship discourses may force developers

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Crowdfunding and the democratization of the music market

Cited by 25 publications

References 21 publications

Varieties of cultural crowdfunding

Varieties of cultural crowdfunding

Worthy? Crowdfunding the Canadian Health Care and Education Sectors

The Missing Producer: Rethinking indie cultural production in terms of entrepreneurship, relational labour, and sustainability

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