Papers by Annalisa Cicerchia
Someone may find it surprising or even incredible, but in Italy, not only landscape is officially... more Someone may find it surprising or even incredible, but in Italy, not only landscape is officially recognized as an essential component of well-being, but it is also statistically measured in order to assess its transformations over time and to compare trends between regions. In this article, after briefly recalling other systems of indicators of well-being and having shortly reported if and how they include landscape, it is described the variables chosen in the BES system – Measures of fair and sustainable well-being and their trends, also with reference to territorial differences.
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Si tratta del contributo conclusivo del rapporto sull'economia della creativita promosso dal ... more Si tratta del contributo conclusivo del rapporto sull'economia della creativita promosso dal Ministero per i Beni e le Attivita culturali attraverso una commissione di studio presieduta dal prof. Walter Santagata e coordinata dal prof. Stefano Rolando (i quali hannoi pooi redatto altri specifici capitoli) che prevedeva conclusionmi raccoigliendo le proposte di tutti i membri della commissione.
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f museums can be described, statistically, as a population, what are the reasons for such approac... more f museums can be described, statistically, as a population, what are the reasons for such approach? What kind of information is generated when cultural heritage institutions - which are usually treated with qualitative methods, as individual, unique units - are analysed as a (large) group? In Italy, since the late 1980s, researchers have indeed accosted the subject with an encompassing, quantitative and aggregate vision. This approach renders an ex-post global, quasi-systemic picture of a field that is endemically dispersed from the institutional and fragmented from the policy points of view. Seeing museums as a statistical population helps highlighting common trends in management and budget, staff, conservation issues, research and cultural activities, relationships with the public, and much more. And, indeed, that way of looking at cultural heritage units discloses significant features of their territory, at various scales. In the general framework of the European Year of Cultural...
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The policy context and the conceptual and methodological framework for investigating cultural and... more The policy context and the conceptual and methodological framework for investigating cultural and creative economic activities at the EU and Member States level.
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Il pubblico dei musei italiani è un mondo affascinante e ancora poco esplorato. Se, in generale, ... more Il pubblico dei musei italiani è un mondo affascinante e ancora poco esplorato. Se, in generale, il tasso di coinvolgimento nelle proposte dei luoghi della cultura delle persone che risiedono in Italia non raggiunge in media il 34%, c’è tuttavia una parte dei residenti che ha grande familiarità e in qualche caso una relazione affettiva speciale con le istituzioni dell’arte e della storia. La chiusura improvvisa e totale dovuta alle misure di contrasto alla pandemia di COVID-19, lo scorso marzo, ha sottratto a queste persone la possibilità di recarsi nei luoghi a loro cari. Tra questi luoghi, ci sono anche i musei. La DG Musei ha voluto riallacciare i contatti con il suo pubblico proprio durante la Fase 1 del lockdown, con un questionario somministrato utilizzando i propri canali social, quelli dei musei che ne sono dotati e che hanno voluto metterli a disposizione, quelli di associazioni culturali importanti come ICOM Italia, e la comunicazione digitale virale. L’intento era farsi raccontare qualche aspetto qualitativo del rapporto con i musei; se e come le proposte virtuali alternative di contenuti culturali fossero state ricevute e ricercate, e se l’esperienza straordinaria di quest’anno, sebbene ancora non risolta e non conclusa, possa aver lasciato qualche insegnamento utile per il futuro.
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The public of Italian museums is a fascinating and still little explored world. If, in general, t... more The public of Italian museums is a fascinating and still little explored world. If, in general, the rate of involvement in the proposals of places of culture of people living in Italy does not reach an average of 34%, there is nevertheless a section of residents who are very familiar and, in some cases, have a special affective relationship with the institutions of art and history. The sudden and total closure due to measures to combat the COVID-19 pandemic last March deprived these people of the opportunity to visit the places they hold dear. Among these places are museums. The DG Museums wanted to reconnect with its public during Phase 1 of the lockdown, with a questionnaire administered using its own social channels, those of the museums that have them and wanted to make them available, those of important cultural associations such as ICOM Italy, as well as viral digital communication. The aim was to grasp some qualitative aspects of the relationship of the audiences with museums; whether and how the alternative virtual proposals of cultural content had been received and sought after, and whether this year's extraordinary experience, although still unresolved and unfinished, might have left some useful lessons for the future.
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The challenge posed by the investigation of wellbeing, its components, the factors that generate ... more The challenge posed by the investigation of wellbeing, its components, the factors that generate it and assure its sustainability represents an extraordinary opportunity for orienting the study of culture – heritage, creativity, identity – towards a richer path, where quantitative and qualitative approaches and representations, from indicators to narratives, converge.
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The initial efforts “to go beyond GDP” (e.g. Stiglitz & colleagues, OECD Better Life Inde... more The initial efforts “to go beyond GDP” (e.g. Stiglitz & colleagues, OECD Better Life Index) did not acknowledge culture among the key dimensions of well-being. The last years have seen progress to fill that gap, as institutions and scholars are increasingly aware that well-being, happiness, satisfaction with life are shaped by culture, and that cultural processes and structures generate their contents, as well as means and tools to attain them. Much work lies ahead for a proper and satisfactory representation of culture as factor of well-being. The issue with indicators is an indicator itself.
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«Art is good for you» is a statement with which few would disagree. Many are ready to support the... more «Art is good for you» is a statement with which few would disagree. Many are ready to support the proposition with stories and anecdotes, but few are able to document these with robust data-based evidence. Four broad aims underlie cultural policy, at least in most European countries: the promotion of cultural identity, cultural diversity, creativity, and participation. Each entails different impacts. The economic and social impacts of culture and the arts have been investigated since the late 1970s, but the results are still uncertain, especially socially. The pioneering work led by Matarasso nearly two decades ago listed fifty social impacts of participation in the arts, and posed a set of fundamental conceptual and methodological questions. Since then, on the same subject and on related subjects (arts attendance, cultural participation, arts or cultural practice, cultural indicators, social impact indicators, etc.), a huge amount of literature has been stacking up, but many of the key issues that Matarasso raised remain unanswered. While funding for both research in the field, and for cultural activities themselves, continues to suffer severe and unending cuts almost everywhere in OECD countries, institutions and policy makers demand evidence, call for data, and crave indicators. Drawing ideas and insights from the rich and lively international debate on arts, culture and social metrics, this paper focuses on three sets of questions among the many posed by Matarasso, by his followers and by his critics. The first set is about concepts (measurement, social impact, culture and the arts), the second about actors (who measures, and for whom), and the third about the purpose/s of measurement. It will not dwell on the remaining set of questions, which is apparently the most appealing - i.e. how measurement should be done - but attempts to show that this is greatly influenced by the choices made about the previous three.
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If museums can be described, statistically, as a population, what are the reasons for such approa... more If museums can be described, statistically, as a population, what are the reasons for such approach? What kind of information is generated when cultural heritage institutions - which are usually treated with qualitative methods, as individual, unique units - are analysed as a (large) group? In Italy, since the late 1980s, researchers have indeed accosted the subject with an encompassing, quantitative and aggregate vision. This approach renders an ex-post global, quasi-systemic picture of a field that is endemically dispersed from the institutional and fragmented from the policy points of view. Seeing museums as a statistical population helps highlighting common trends in management and budget, staff, conservation issues, research and cultural activities, relationships with the public, and much more. And, indeed, that way of looking at cultural heritage units discloses significant features of their territory, at various scales. In the general framework of the European Year of Cultura...
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SCIRES-IT : SCIentific RESearch and Information Technology, 2019
What are the implications of that awareness about the role of evidence when it comes to policy ma... more What are the implications of that awareness about the role of evidence when it comes to policy making in the field of cultural heritage? On several occasions, the European Council has underlined the need to develop cultural statistics and the European Parliament has regretted the absence of data in this field. Still today, Culture statistics for the EU are not collected by a single stand-alone survey, but come from different Eurostat data collections. Starting from statistical conceptual frames established by ESS-net-Culture Commission, the paper discusses the characteristics of sources and data on cultural heritage available today for supporting policymaking at the EU level.
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L’interesse per il cosiddetto settore creativo si è accresciuto particolarmente negli ultimi quin... more L’interesse per il cosiddetto settore creativo si è accresciuto particolarmente negli ultimi quindici anni. Tuttavia, rispetto ad altri settori di attività economica, la ricerca in questo particolare ambito resta alquanto frammentaria, privilegiando un approccio specialistico per comparti volto ad evidenziarne le particolari peculiarità (ad esempio, musica, film, turismo, o altro). Questo contributo si propone, invece, di rivolgere l’attenzione alle imprese creative, rintracciandone, nella letteratura che si è prodotta in questi ultimi quindici anni, così come nelle evidenze che sono andate raccogliendosi nel tempo, gli elementi qualificanti, che possano contribuire a formulare una definizione del settore a partire dalle caratteristiche comuni delle sue unità produttive di base. La nostra idea è che una chiara visione delle similarità esistenti nei modelli tecnico-organizzativi che caratterizzano le imprese creative può costituire una utile base per identificare e suggerire modelli di management e prospettive di analisi e modelli di management appropriati in relazione alle specifiche sfide del loro ambiente competitivo. In questo contributo si propone, come particolarmente appropriata, la prospettiva coevolutiva, ampiamente applicata per l’analisi di molti altri settori di attività economica.
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As museums worldwide were forced to close in 2020, the overall attendance of the world's 100 ... more As museums worldwide were forced to close in 2020, the overall attendance of the world's 100 most- visited art museums dramatically dropped by 77% in 2020—from 230 million in 2019 to just 54 million. COVID-19 has acted as a huge crash test "on the role, structure and functioning of museums. It has increased the existing gaps and differences has demonstrated that lacking skills and knowledge, lacking flexibility and agile structures as well as diverse sources of income can lead to museums having to decrease or abolish their main activities and tasks in service of society, or even facing the threat of permanent closure” (NEMO 2021). On the other hand, the pandemic shock forced museums to become aware of the importance of digital resources as a tool to keep alive their relationship with their audiences and to activate new relationships with new demand segments, which so far were unreachable. Based upon an online survey carried out in Italy among museumgoers during the lockdown...
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For the first time, in the 2000-2006 programming period, UE policies supporting development in th... more For the first time, in the 2000-2006 programming period, UE policies supporting development in the Objective 1 Regions include cultural resources among their priority axes. The relative financial plan allocates for that purpose 2,760.329 million euros, i.e. 5,4% of the total. However, cultural policies which will be funded in this way in Basilicata, Calabria, Campania, Molise, Puglia, Sardinia and Sicily are not so widely known, and a general strategy is in order to be reconstructed ex post. In particular, what deserves to be ascertained are the specific contents of these policies, their relationship with local development strategies and the resulting association between regional planning and the National Cultural Authority orientations. The article attempts a first reconstruction of the general picture emerging from the National and Regional Plans, in view of a further study, taking into account their implementation and advancement.
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The Italian National Statistical Institute (ISTAT) has redefined the profile of the Italian socia... more The Italian National Statistical Institute (ISTAT) has redefined the profile of the Italian social groups through an exercise of multidimensional analysis, based upon aspects of an economic nature (income, working status), cultural (education) and social (nationality, size of the household and of the municipality). Cultural practice and participation are basic dimensions in the study of inequalities and belonging to social groups. They describe possession of instruments enabling participation in the cultural life and familiarity with cultural contents. Belonging to a social group has impact on cultural tastes and behaviours. Data describe the variety of cultural diets and different choices in the use of time and economic resources, highlighting, not only preferences, but also inequalities in access opportunities and capabilities between groups who can afford the choice and groups who cannot.
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Papers by Annalisa Cicerchia
still considered not enough. Our Handbook starts by discussing the
reasons for collecting evidence of the relevance of cultural practice
for wellbeing.
If, in general, the rate of involvement in the proposals of places of culture of people living in Italy does not reach an average of 34%, there is nevertheless a section of residents who are very familiar and, in some cases, have a special affective relationship with the institutions of art and history.
The sudden and total closure due to measures to combat the COVID-19 pandemic last March deprived these people of the opportunity to visit the places they hold dear. Among these places are museums.
The DG Museums wanted to reconnect with its public during Phase 1 of the lockdown, with a questionnaire administered using its own social channels, those of the museums that have them and wanted to make them available, those of important cultural associations such as ICOM Italy, as well as viral digital communication.
The aim was to grasp some qualitative aspects of the relationship of the audiences with museums; whether and how the alternative virtual proposals of cultural content had been received and sought after, and whether this year's extraordinary experience, although still unresolved and unfinished, might have left some useful lessons for the future.