A business model for arts education in a non-formal context
| dc.contributor.advisor | Van Zyl, Johan H. | |
| dc.contributor.advisor | Pretorius, Gerda G. | |
| dc.contributor.author | Henning, Aletta Petronella | |
| dc.date.accessioned | 2021-05-19T06:19:53Z | |
| dc.date.available | 2021-05-19T06:19:53Z | |
| dc.date.issued | 2020-11 | |
| dc.date.updated | 2021-05-19 | |
| dc.description.abstract | Inspired by the positive outcomes of the non-formal education (NFE) approach experienced during the twelve years on the music staff of the Drakensberg Boys’ Choir, the researcher initiated the Ladybird International Arts Academy (Ladybird), based on this footprint in 2003. The leading research question of the study, Why would the Ladybird business model be feasible and viable to use in non-formal arts education as a trade initiative for the South African market? aligns with the primary objective, which was to explore the successes of Ladybird and evaluate whether it is feasible and viable to comply as a non-formal arts educational trade opportunity in South Africa. An interdisciplinary approach was chosen for this research, due to the nature of the topic which involved both the exploration of business (Economic and Management Sciences), and non-formal arts education (Humanities). Underpinning the Deweyan educational focus of the study on the non-formal context of the business model, a pragmatist stance was chosen, with a mixed methods approach to the case study of arts business, rooted in a constructivist paradigm. The study showed the Ladybird business model to be a relevant academic contribution to the fields of business development and arts education in the nonformal sector. The apparent insufficient research and publications regarding the process and outcomes of non-formal arts education revealed a need for more academic research to be done to explore this learning approach. Arts educators and entrepreneurs in South Africa will be able to use the business model as a guideline to enhance their arts departments in formal schools or set up their own enterprise, using this model. Hypothetically, this study can initiate opportunities for exploring the possibilities of franchising the business model. The heuristic value of this study is embedded in the challenge on how private non-formal initiatives can network to create collaboration, worthy of the attention of the formal education sector, possibly in the direction of the mutual advancement of the education of arts-talented learners. | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11660/11136 | |
| dc.language.iso | en | en_ZA |
| dc.publisher | University of the Free State | en_ZA |
| dc.rights.holder | University of the Free State | en_ZA |
| dc.subject | Dissertation (MDS (Development Studies))--University of the Free State, 2020 | en_ZA |
| dc.subject | Business model | en_ZA |
| dc.subject | Business environment | en_ZA |
| dc.subject | Non-formal education | en_ZA |
| dc.subject | Democratic education | en_ZA |
| dc.subject | Lifelong learning | en_ZA |
| dc.subject | Artistic citizenship | en_ZA |
| dc.subject | Living theory | en_ZA |
| dc.subject | Art in education | en_ZA |
| dc.title | A business model for arts education in a non-formal context | en_ZA |
| dc.type | Dissertation | en_ZA |