Edited by Philip Cooke and Luciana Lazzeretti
Chapter 10: The Management of ‘Events’ in the Veneto Performing Music Cluster: Bridging Latent Networks and Permanent Organizations
Fiorenza Belussi and Silvia Rita Sedita 1. INTRODUCTION1 The aim of the chapter is to provide some empirical evidence to strengthen the debate around the project-based organization, which tends to qualify the latter as the dominant organizing form among the creative industries. Our focus is the performing music industry. Explorative in nature, the work gives interesting hints, both on the organization of performing music, and thus of artistic events, and on the characteristics of the labour force, and thus of the artists. While some economists (Breschi and Malerba, 2005; Maskell and Lorenzen, 2004) have considered the diﬀerent organizational arrangements occurring in the market (diﬀerent from hierarchical organizations) developing some ideal stereotype-like networks, project-based organizations, clusters and districts, our work is based on an integrated perspective, which considers together the way in which resources, capabilities, places and social structures are combined for the production of an artistic event. Following Grabher (2002a: 212), who describes the interrelations between projects, personal ties, local relations and organizational aﬃliations, we have studied the modality through which activities – events – are organized by local associations (permanent organizations) recruiting local and distant human resources (latent network). Thus, there is a continuum between the so-called project organization and the permanent organization. The role of each individual association is to pre-organize the demand of a musical event, using the existing resources – musicians – and the locally embedded social network of talented artists (Trimarchi, 1993). The project organization – a one-shot form of organizing transactions – is created by the ability...
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