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of individual improvisation’ the second ‘concentrated on collective improvisation’ and the third was used ‘to recall and summarise the exercises and the lessons learned’. This sequence allowed participants to develop their own abilities to express themselves, to be attentive and develop enhanced listening. ‘Improvisational theatre is a collective activity in which a group of actors perform together – with no script or director – in a spirit of shared leadership, responsibility, mutual support and

artifacts’. Brand museums are typically the subject of research into how organisational memory works, or how companies go about improving their image. The authors in this study think there is something more profound at work: that by becoming recognised as a 'heritage object' a brand can become ‘a sacred and inalienable common good’ rather than just a commodity in a commercial market.

This research was conducted by Andrew J. Martin, Michael Anderson and Ricci-Jane Adams at the University of Sydney and University of Melbourne, Australia
Summary
This paper examined a range of factors that determined whether or not adolescents attended a performing arts event (defined as live dance, music or drama). The study focused on out-of-school arts attendance, but used school students as its research subjects. The researchers found little patterning in the way that particular schools or

This research was conducted by Melissa Nisbett and Ben Walmsley at at King’s College London and the University of Leeds, UK.
Summary
This study sets out to assess the role of charisma in cultural leadership, noting that the arts sector seems to be particularly invested in individuals perceived to be inspirational or visionary leaders. The authors propose that the focus on charismatic leadership in the sector has become excessive, and suggest that organising an institution around a figurehead

This research was conduced by Dmitry Khodyakov at the RAND Graduate School, USA.SummaryThis paper focuses on orchestral musicians’ perspective of the role of guest conductors and how they manage the power relations between them and the musicians in a short period of time. The methodology consisted of 18 one-to-one interviews with instrumental musicians, as well as two with orchestral conductors.Three types of authority are studied in this context: traditional (taking into account the historical

support both bonding and bridging. ‘Cultural policies with the aim of fostering social cohesion tend not to support [...] modern art, but rather [...] amateur art and folk culture.’ This study was keen to address that gap.The research is based on five projects from the ‘Samen Delen!’ [Share Together!] ProgrammeThis supported a range of contemporary community arts projects in the Drenthe province of the Netherlands. The data comes from more than 50 interviews with artists and organisers, along with

wellbeing: positive emotions, engagement, positive relationships, meaning and achievement/accomplishment.Hear and Now was an intergenerational arts and health project led by the Philharmonia Orchestra, Orchestras Live and the University of BedfordshireOver four weeks, groups of participants (including older adults, young people, carers, partners and artists) collaborated to devise a music and dance piece. Seven rehearsal days, held over four weekends, culminated in a public performance at the

This research was conducted by Hei Wan Mak and Daisy Fancourt at University College LondonSummaryThis paper digs into survey data to reveal that while children’s out-of-school arts engagement is shaped by parental habits and social class, the same cannot be said for cultural activities that take place in school. The research ultimately concludes that cultural activities provided by schools are ‘important to ensuring universal access to the arts amongst young people'.The data came from

the main exhibition
What best practice looks like
The author concluded that best practice for consultation involves shared ownership of all stages of exhibition design, recognition of the power relations involved in community consultation, and recognition by curators of the significance of exhibitions spaces as sites for providing social justice and positive representation.  The results of the research show that narrative-driven exhibitions, rather than those that were object-led, more often involved a democratic consultation process. In order to deliver better community consultation in the future, the research recommends diversity and negotiation skills training.
This summary was written by Ruth Craggs, King's Knowledge Exchange Associate

Our stakeholders identified this area of research as being of interest, and we are actively looking for papers from peer-reviewed journals to put this section together. If you know of any suitable research then please get in touch.