By Kunihiko Kasahara
Pages pass in opposite order.
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Additional info for Saishi Origami
In some cases, arts projects and cultural institutions will provide: • A list of generalized key performance indicators rather than clear expectations about what sort of evaluation data they want, how they want it, when they want it, and what they will do with it • A predetermined deﬁnition of value and predetermined data on value • Data gathered by artists or arts marketers days, months, or years after a project, and, in some cases, already collated into trends and statistics, with selected quotes.
One reaction to this is to produce better evidence – not just data, but knowledge that people can act on (Holden, 2004, p. 19). Knowledge, by nature, is a transactional activity, and the way one begins to understand the world or the nature of an event is through direct encounter. So, it makes sense that delivering knowledge about value and impact of an arts event through a written report alone is not going to affect change or develop thought that leads to new approaches. In contrast, in an embedded and collaborative approach, the evaluator is embedded inside the investigation, just as war correspondents are embedded with troops at the front line of a military conﬂict to gain ﬁrsthand experience.
Keywords Co-production of research Á Participatory evaluation Á Partnership Chapter 5 looks at partnership types and adopts Remer’s (1996) binary of administrative partnerships, or instructional partnerships, to understand the relationships and functions that an evaluator can establish with an arts organization. The chapter breaks these two types down further into functional positions that an evaluator may adopt, either in an external and distanced viewpoint or in an embedded and collaborative viewpoint to undertake the evaluation, and outlines the beneﬁts and challenges of both positions.