Anders Rykkja

• Dalla Chiesa, Carolina & Rykkja, Anders (2024). Bridging the urban-digital divide: Crowdfunding as an online middleground space. City, Culture and Society. ISSN 1877-9166. 37. doi: 10.1016/j.ccs.2024.100580. Fulltekst i vitenarkiv Vis sammendrag

  The paper attempts to provide a critique of the premise of territoriality in creative cities. A validated hypothesis in the literature on economic geography is that the density and “territoriality” of members of the so-called "creative class" influence the volume of creative goods and services produced in cities. This hypothesis gave rise to several sub-related themes, such as the premise that cities are, par excellence, a place where middleground spaces emerge because of place-based activities located in close-knit communities imbued with creativity and innovation commons. In line with this argument, recent studies have yielded an analytic framework to explain the dissemination of creativity through the so-called “middleground” spaces in cities: places, spaces, projects, and events. This framework presupposes the dissemination of creativity from the physical place to a cognitively constructed space. We revise this argument by suggesting that post-digitalized forms of creation and dissemination of knowledge often blur the boundaries between place and space (which we characterize in this paper as domains of “the local” and “the digital”). By mediating creativity through digital platforms, agents are also capable of outreaching different localities and creating ties that are not subsumed to close-knit communities. As such, our framework incorporates a “digital middleground” space into this existing “middleground” framework, thereby extending the scope of creativity in cities to digitally dispersed forms of exchange. We theorize that contemporary forms of creativity unfold openly, virtually, and non-hierarchically yet are imbued by local concerns such as the ones channeled by crowdfunding communities, which we use as an example in our discussions. Our paper contributes to a better understanding of the increasingly digitalized “urban” spaces and the impossibility of pursuing a dichotomous digital-local divide. We expect that scholars will consider the possibility for creativity to manifest not only in territorial-based middlegrounds, but also in online communities where creativity unfolds dispersedly.

• Munim, Ziaul Haque; Franken, Guro Berg & Rykkja, Anders (2023). Norske folkefinansieringskampanjer – en analyse. Praktisk økonomi & finans. ISSN 1501-0074. 39(4), s. 368–380. doi: 10.18261/pof.39.4.6. Fulltekst i vitenarkiv Vis sammendrag

  Statistikk utarbeidet av Norsk Crowdfunding Forening viser at bruken av folkefinansiering blant jobbskapere og etablerere Norge har vært i kontinuerlig sterk vekst over år. Derfor er det behov for kunnskap knyttet til hvordan denne formen for folkefinansiering er tatt imot og virker i en norsk kontekst. Artikkelens bidrag er en analyse av prosjekter innen de kulturelle og kreative næringer som er forsøkt finansiert mellom 2010 og 2020 via den amerikanske folkefinansieringsplattformen Kickstarter. I analysen påvises en sammenheng mellom kampanjeutfall og variablene finansieringsmål, geografisk lokasjon og prosjektkategori. Imidlertid kan man over tid observere en større nedgang i antall lanserte kampanjer og en mindre reduksjon i innsamlet beløp per år. Funnene indikerer en markedskonsentrasjon for denne folkefinansieringsformen, som peker i retning av en fortetning i form av færre, men mer ambisiøse, kampanjer økonomisk sett. Resultatene gir ideer til videre forskning, noe som det åpent tilgjengelige datasettet benyttet i analysen muliggjør.

• Bonet, Lluis & Rykkja, Anders (2023). Why is managerial shared leadership in creative organizations a more resilient, transparent, open, and generous constellation? A case analysis approach. European Journal of Cultural Management and Policy. 13. doi: 10.3389/ejcmp.2023.12056. Fulltekst i vitenarkiv Vis sammendrag

  Leadership models in the cultural and creative sectors are frequently based on collective, shared, or distributed structures. In recent decades, research on these plural forms has yielded insights in the form of typological models and empirical studies. This article seeks to examine two issues in the literature on plural leadership that have received insufficient attention. The first is how cultural organizations combine and integrate multiple leadership models. The use of horizontal co-leadership at the macro (organisational) level alongside either vertical or horizontal leadership of embedded projects managed by teams is one example. Little is known about how the existence of distinct leadership styles at the macro and meso levels influences the career paths of individuals and organizations. The second is an inquiry into the evolution of leadership models in cultural organizations over time. This is especially important when an organisation transitions from a startup to a successful enterprise and expands its operations internationally. To empirically investigate these issues, we propose a single case study of Snøhetta, a multinational architecture firm. The results of this case study allow for a better understanding of how forms of collaborative leadership style can influence the career paths of people and organizations, and how it is possible to find a balance between the paradoxical institutional logic on which management and leadership of creativity is based. In other words, how the constellations of relationships that are generated make organizations with this leadership style more resilient and sustainable by virtue of being more transparent, open, and generous.

• Rykkja, Anders & Bonet, Lluis (2023). Adjudicación de fondos de contrapartida al micromecenazgo cultural por parte de los gobiernos: un análisi comparativo exploratorio de los casos español y sueco. Debats. Revista de cultura, poder i societat. ISSN 0212-0585. 137(1), s. 116–141. doi: 10.28939/iam.debats-137-1.7. Fulltekst i vitenarkiv Vis sammendrag

  Durante la última década, el micromecenazgo o financiación popular ha surgido como un importante mecanismo alternativo y complementario para financiar, legitimar y desarrollar proyectos creativos. En muchos países europeos, varios gobiernos regionales han comenzado a apoyar esta práctica, incorporando plataformas como proveedores tecnológicos. Existen diferentes tipos de intervenciones gubernamentales, entre ellas la provisión de fondos de contrapartida, o subvenciones proporcionales, que complementan, efectivamente, las contribuciones privadas de la campaña de micromecenazgo con fondos públicos. Sin embargo, pocos estudios académicos sobre la financiación participativa o la política cultural de las Industrias Creativas y Culturales (ICCs) han investigado estas formas emergentes de asociaciones y colaboraciones público–privadas. Utilizando una metodología cualitativa, este artículo propone un modelo conceptual para los diferentes tipos de apoyo gubernamental y colaboraciones con plataformas de micromecenazgo cultural, junto con dos estudios de caso de asociaciones público–privadas para apoyar la financiación popular de ICCs a nivel regional en España y Suecia. La ausencia de mecanismos de apoyo e intervención puede indicar que los gobiernos regionales y locales hasta ahora han visto en gran medida la financiación popular como un mecanismo de financiación marginal utilizado por proyectos culturales que no pueden acceder a otras fuentes de financiación.

• Shneor, Rotem; Munim, Ziaul Haque; Mæhle, Natalia; Rykkja, Anders; Demattos Guimaraes, Alice & Dalla Chiesa, Carolina (2022). Crowdfunding Adoption by Artists: A comparison of Norway and Brazil. I Berliner, Daniel & Shneor, Rotem (Red.), Proceedings of the International Conference on Crowdfunding Research . Universitetet i Agder. ISSN 978-82-693153-0-1. s. 29–30.
• Thorkildsen, Kjersti & Rykkja, Anders (2022). Showcase Festivals: Gatekeepers and Bridge Builders in the Music Industries. International Journal of Music Business Research. ISSN 2227-5789. 11(2), s. 47–58. doi: 10.2478/ijmbr-2022-0006. Fulltekst i vitenarkiv Vis sammendrag

  Showcase festivals are industry events comprising artist showcases and conferences. It may be argued that showcase festivals are an understudied offline field, since their role in configuring and maintaining a festival-like arena and providing a meeting place for the music industries remains largely unexplored from a scholarly point of view, as well as underappreciated and underestimated within the mainstream academic community. Their purpose is to present artists hoping to attract the attention of the core audience: industry professionals looking for new talent to sign and represent.The article provides an empirical study of the Nordic showcase festival by:Larm using theories of gatekeeping, fields and capita

• Rykkja, Anders & Hauge, Atle Jensen (2021). Crowdfunding and co-creation of value The case of the fashion brand Linjer. I Hracs, Brian J.; Brydges, Taylor; Haisch, Tina; Hauge, Atle Jensen; Jansson, Johan & Sjöholm, Jenny (Red.), Culture, Creativity and Economy : Collaborative Practices, Value Creation and Spaces of Creativity. Routledge. ISSN 9781003197065. doi: 10.4324/9781003197065-4. Vis sammendrag

  The chapter investigates the unisex fashion brand Linjer’s adoption of crowdfunding as a business model. Our analysis focuses on how crowdfunding lends itself to processes of value co-creation and production between brand and consumers. An argument is that the consumption of symbolically charged goods like fashion, transfers cultural meaning to the individual consumer. At the same time, by consuming these goods, consumers also produce value. Seen from this perspective, crowdfunding becomes a brand development strategy based on consumer participation in processes of ascribing value. Additionally, the case exemplifies that the mechanism governing crowdfunding is more than just a fundraising tool.

• Rykkja, Anders; Mæhle, Natalia; Munim, Ziaul Haque & Shneor, Rotem (2020). Crowdfunding in the Cultural Industries. I Shneor, Rotem; Zhao, Liang & Flåten, Bjørn-Tore (Red.), Advances in Crowdfunding: Research and Practice. Palgrave Macmillan. ISSN 978-3-030-46309-0. s. 423–440. doi: 10.1007/978-3-030-46309-0_18. Fulltekst i vitenarkiv Vis sammendrag

  Cultural production has stood at the forefront of crowdfunding adoption representing some of the first crowdfunding campaigns on record. This development emerged as part of comprehensive value chain reconfigurations in the cultural sector, which were triggered by the advent of digitalization on the one hand and the downsizing in public funds on the other. As a result, the emerging phenomenon here labelled as ‘cultural crowdfunding’ (CCF) has captured the imagination of researchers and practitioners. The study of CCF is of high relevance, as it presses creators to strike a balance between the commercial and the non-commercial, the economic and the cultural outcomes, as well as the authentic and independent versus the mass dictated and dependent. In this chapter we review earlier research on CCF and identify core themes and key studies representing such themes. Later, we outline an agenda for future research, while also suggesting some implications for practice.

• Rykkja, Anders; Munim, Ziaul Haque & Bonet, Lluis (2020). Varieties of cultural crowdfunding: The relationship between cultural production types and platform choice. Baltic Journal of Management. ISSN 1746-5265. 15(2), s. 261–280. doi: 10.1108/BJM-03-2019-0091. Fulltekst i vitenarkiv Vis sammendrag

  Due to the unique nature of the Cultural and Creative Industries (CCIs), the impact of crowdfunding on them is more significant than on other industries. This study investigates the association between crowdfunding campaigns in four different categories of cultural production and each campaign promoter’s decision regarding platform choice. We classified cultural productions according to the Cultural Enterprise Framework. We collected data from 1,465 successful, reward-based, culture crowdfunding campaigns from five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). We used binary logistic regression for estimation purposes. We find that cultural productions with a high degree of cultural affinity are more likely to use a local platform, while cultural productions with a higher degree of complexity in production or with composite motives are more likely to use an international platform. Additionally, the funding goal and the platform’s financing model affect the probability of using an international platform. Our finding is that there is a relationship between cultural production type and crowdfunding platform choice, and that these choices can be crucial for campaign promoters. Based on the findings and empirical setting, there is evidence that campaign promoters of cultural productions with a cultural affinity orientation may choose to use local platforms, while promoters of projects with complex production requirements or composite motives for using crowdfunding similarly may tend to opt for international platforms. We also propose a framework for the categorisation of cultural productions.

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• Rykkja, Anders & Knutsen, Kristin (2023). Teater ber om spleis på 25 millioner: – Sjokkert over beløpet. [Avis]. Vårt Land.
• Bonet, Lluis & Rykkja, Anders (2023). Attempting or Abstaining? Is it a win or a loss? An organisational typology of drivers and barriers for implementing Institutional Crowdfunding.
• Rykkja, Anders; Shneor, Rotem; Munim, Ziaul Haque; Dalla Chiesa, Carolina & Schlott, F. (2023). How productive are Patreon creators? A view of incentives at the margins.
• Demattos Guimaraes, Alice; Mæhle, Natalia; Rykkja, Anders; Bonet, Lluis & Munim, Ziaul Haque (2023). The global phenomenon of cultural-creative crowdfunding: an international analysis of success, sectorial adoption, and Covid-19 effects.
• Munim, Ziaul Haque; Demattos Guimaraes, Alice; Rykkja, Anders & Mæhle, Natalia (2023). A bibliometric literature review of culture crowdfunding literature.
• Mæhle, Natalia; Demattos Guimaraes, Alice; Munim, Ziaul Haque; Rykkja, Anders; Bonet, Lluis & Nordgård, Daniel [Vis alle 7 forfattere av denne artikkelen] (2022). Roundtable: Crowdfunding in the Culture Sector.
• Bonet, Lluis; Rykkja, Anders; Munim, Ziaul Haque & Shneor, Rotem (2022). Institutional Crowdfunding: A Research Proposal for Museet Midt, Norway.
• Rykkja, Anders & Dalla Chiesa, Carolina (2022). The Digital Middleground Arena: the case of cultural crowdfunding.
• Rykkja, Anders & Dalla Chiesa, Carolina (2022). A Digital Middleground Arena: the case of cultural crowdfunding.
• Shneor, Rotem; Munim, Ziaul Haque; Mæhle, Natalia; Rykkja, Anders; Guimaraes, Alice Demattos & Dalla Chiesa, Carolina (2022). Crowdfunding Adoption by Artists: A comparative analysis of Norway and Brazil.
• Rykkja, Anders & Munim, Ziaul Haque (2021). The Relationship between Cultural Production Types and Platform Choice: Findings from the Nordic Countries.
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Drivers of Norwegian Artists' Use of Crowdfunding for Financing their Projects.
• Rykkja, Anders; Munim, Ziaul Haque & Bonet, Lluis (2021). Varieties of Cultural Crowdfunding: The Relationship Between Cultural Production Types and Platform Choice.
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Drivers of Norwegian Artists' Use of Crowdfunding for Financing their Projects.
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Crowdfunding Cultural Production: Determinants of Crowdfunding Adoption by Artists.
• Rykkja, Anders; Munim, Ziaul Haque; Mæhle, Natalia & Shneor, Rotem (2019). Cultural Crowdfunding - What do we know? Vis sammendrag

  Cultural fan funding, particularly in the music and audiovisual sector, were precursors to the instituted models of crowdfunding known to us today. Bands (Marillion, Radiohead, and Nine Inch Nails) and film producers (John Cassavetes, Mark Tapio Kines) managed to raise funding for artistic endeavours by reaching out to their fans. ArtistShare, a pioneer crowdfunding platform, was an attempt to facilitate and streamline such practices. However, there exists no systematic effort to classify, analyse and review the literature on crowdfunding usage and practices within the culture and arts sector — CCF. Thus, we conduct a systematic literature review (Cooper 1988, 1985) of CCF studies incorporating bibliometric analysis (Zupic and Čater 2015) of over 100 articles and book chapters. We address the question of why we crowdfund culture and what consequences crowdfunding practice has on cultural productions. Models of artistic and industrial categorisation are used to classify the existing literature. The bibliometric analysis reveals the intellectual structure of the research stream as a synthesis of what we know to assess further investigations. Furthermore, we position crowdfunding within the context of traditional models of financing creative arts highlighting its position as a supplemental source of funding. After that, we look at the current market situation, pointing out prevalent types of crowdfunding, discussing different types of responses and the value created by and for the participants. Finally, we propose a conceptual framework for future CCF research. As such, in addition to academic relevance, our study offers implications for key stakeholders involved in CCF.

• Rykkja, Anders; Munim, Ziaul Haque; Mæhle, Natalia & Shneor, Rotem (2019). Cultural Crowdfunding - What do we know? Vis sammendrag

  Cultural fan funding, particularly in the music and audiovisual sector, were precursors to the instituted models of crowdfunding known to us today. Bands (Marillion, Radiohead, and Nine Inch Nails) and film producers (John Cassavetes, Mark Tapio Kines) managed to raise funding for artistic endeavours by reaching out to their fans. ArtistShare, a pioneer crowdfunding platform, was an attempt to facilitate and streamline such practices. However, there exists no systematic effort to classify, analyse and review the literature on crowdfunding usage and practices within the culture and arts sector — CCF. Thus, we conduct a systematic literature review (Cooper 1988, 1985) of CCF studies incorporating bibliometric analysis (Zupic and Čater 2015)of over 100 articles and book chapters. We address the question of why we crowdfund culture and what consequences crowdfunding practice has on cultural productions. Models of artistic and industrial categorisation are used to classify the existing literature. The bibliometric analysis reveals the intellectual structure of the research stream as a synthesis of what we know to assess further investigations. Furthermore, we position crowdfunding within the context of traditional models of financing creative arts highlighting its position as a supplemental source of funding. After that, we look at the current market situation, pointing out prevalent types of crowdfunding, discussing different types of responses and the value created by and for the participants. Finally, we propose a conceptual framework for future CCF research. As such, in addition to academic relevance, our study offers implications for key stakeholders involved in CCF.

• Vaagland, Jorid & Rykkja, Anders (2013). Artistic Choice and Cultural Challenges.
• Ibenholt, Karin; Måøy, Jonas; Rykkja, Anders & Ericsson, Birgitta (2020). Kulturelle aktiviteters ringvirkninger i Møre og Romsdal. Samfunnsøkonomisk analyse As. ISSN 978-82-8395-075-5.
• Ibenholt, Karin; Ericsson, Birgitta; Gran, Bjørn & Rykkja, Anders (2019). Ringvirkninger av kulturelle aktiviteter i Møre og Romsdal. Samfunnsøkonomisk Analyse. ISSN 978-82-8395-030-4.
• Rykkja, Anders (2017). (Virke)apparetet bak musikken. Kunnskapsverket. ISSN 978-82-93482-16-1. Vis sammendrag

  Formålet med denne rapporten er å utrede og kartlegge i hvilken grad detnasjonale virkemiddelapparatet rettet mot musikkindustrien har virkemidler som svarer til virksomheters behov. Virksomhetenes behov for finansiering av drift, kompetanseheving og ulike drivere og barrierer for utvikling, særlig i forhold til internasjonalisering og eksport har blitt vektlagt i analyser. Behov og ønsker er forsøkt avdekket gjennom en kvalitativ studie hvor 18 virksomheter, som har det til felles at de enten har mottatt Music Norways eksportprogram eller vært deltagere i det tilpassede FRAM programmet formusikkindustrien i regi av Innovasjon Norge og Music Norway, har deltatt. Prosjektet er gjennomført i samarbeid med Music Norway og Buzzfond, somhar bidratt med delfinansiering, kontakt med informanter og virksomheteneog personalressurser.

• Rykkja, Anders & Ericsson, Birgitta (2016). Nasjonal Festivalstatistikk 2015 . Kunnskapsverket. ISSN 978-82-93482-13-0.
• Ibenholt, Karin; Hauge, Atle Jensen; Haraldsen, Tone; Ericsson, Birgitta & Rykkja, Anders (2015). De gode hjelperne - nasjonale virkemidler for utvikling av kulturelle næringer . Kunnskapsverket. ISSN 978-82-93482-05-5.
• Rykkja, Anders & Ericsson, Birgitta (2015). Nasjonal Festivalstatistikk 2014. Kunnskapsverket. ISSN 978-82-93482-01-7.
• Ibenholt, Karin; Hauge, Atle Jensen; Haraldsen, Tone & Rykkja, Anders (2015). De gode hjelperne : nasjonale virkemidler for utvikling av kulturelle næringer 2015 (nr. 3). Kunnskapsverket. ISSN 978-82-93482-04-8.
• Bjerkestrand, Arnfinn; Vaagland, Jorid & Rykkja, Anders (2015). White Paper : Analyses and Proposals for Reforms in the Sphere of Festivals in Bulgaria. A project of the Bulgarian Festivals Association, in partnership with Norway Festivals, implemented with the financial support of the NGO Programme in Bulgaria under the European Economic Area Finan.
• Rykkja, Anders & Ericsson, Birgitta (2015). Litteraturformidling fra scene. Undersøkelse av litteraturfestivaler. Østlandsforskning. ISSN 978-82-7356-751-2. Vis sammendrag

  Tross at det er en stadig økende interesse for festivaler er det lite akkumulert statistikk om omfang, aktiviteter, involverte og ressurser. I forbindelse med Norsk litteraturfestival på Lillehammer i 2015 var det ønskelig å få vite mer om hvordan litteraturfestivalenes «indre liv» var sammensatt. Resultatene fra en undersøkelse til norske litteraturfestivaler om antall arrangementer, publikumsoppslutning, forfattere som eksponeres, honorarer, arbeidsinnsats og frivillighet, inntekter og finansiering presenteres i rapporten.

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