Anders Rykkja

• Guimaraes, Alice Demattos; Munim, Ziaul Haque; Mæhle, Natalia; Rykkja, Anders & Bonet, Lluís (2025). Cultural and Creative Crowdfunding: How Project Categories Shape Adoption and Success on Kickstarter. The Journal of Arts Management, Law, and Society. ISSN 1063-2921. doi: 10.1080/10632921.2025.2519715. Fulltekst i vitenarkiv Vis sammendrag

  This article contributes to the literature on cultural and creative crowdfunding (CCCF), illustrating the trends and dynamics of crowdfunding adoption amid cultural and creative industries (CCIs) from a longitudinal perspective. This paper explores the development of CCCF by examining all campaigns on Kickstarter from 2009 to 2020, taking into account the variations among CCIs, their respective success rates, and the amounts pledged. Using three different statistical tests, we find support for the hypotheses that there is an association between CCI campaign categories and campaign success, which varies over time. Our main findings reveal distinct dynamics with significant differences in the success rates and pledged amounts when treating the fifteen Kickstarter project categories as proxy for the different CCIs.

• Shneor, Rotem; Mæhle, Natalia; Munim, Ziaul Haque & Rykkja, Anders (2024). What drives crowdfunding intentions of artist-entrepreneurs? – Evidence from Norway. International Journal of Entrepreneurship and Innovation. ISSN 1465-7503. doi: 10.1177/14657503241282939. Fulltekst i vitenarkiv Vis sammendrag

  Crowdfunding has been proclaimed as a new fundraising channel offering multiple benefits to artist-entrepreneurs, yet its use has been surprisingly underwhelming. The study examines the determinants of artist-entrepreneurs’ intentions to use crowdfunding in fundraising for their projects. It does so by suggesting and testing a model combining classical antecedents of intentions adopted from the theory of planned behaviour (i.e., attitudes (ATT), subjective norms (SUBN), perceived behaviour control (PBC), and self-efficacy (SELE)), and aspects specific to creative and artistic work (i.e., conventionality of creative work and the size of existing fanbase (FAB)). The analysis employs survey data collected from artist-entrepreneurs in Norway. Findings show that while ATT towards crowdfunding and SUBN are positively associated with crowdfunding intentions, SELE and PBC are not. Moreover, non-conventionality of creative work and FAB are positively associated with SELE and PBC, though they are not significantly associated with ATT and SUBN. These results remain stable even when controlling for sub-sectoral affiliations of artists based on the type of creative work they do.

• Chiesa, Carolina Dalla & 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.

• Rykkja, Anders; Shneor, Rotem; Mæhle, Natalia & Munim, Ziaul Haque (2024). Cultural Crowdfunding: Does Experience Matter? Beta – Scandinavian Journal of Business Research. ISSN 0801-3322. 37(1), s. 1–18. doi: 10.18261/beta.37.1.7. Fulltekst i vitenarkiv Vis sammendrag

  Despite increasing interest in crowdfunding as an alternative source of, or supplementary, funding, there is still limited adoption of this new digital practice among artists. The current study explores the variety of funding sources that artists use for their projects and the position of crowdfunding in relation to traditional sources. In addition, this study discusses how artists who embrace crowdfunding differ from those who have not tried it. The results indicate that favorable attitudes toward crowdfunding, subjective norms, self-efficacy, and perceived behavioral control are exhibited at higher levels among artists with crowdfunding experience compared to those without it. To enable greater adoption, efforts need to be directed toward communication about the benefits of crowdfunding for artists, as well as the promotion of success cases. The endorsement of crowdfunding by cultural authorities (e.g., through match funding) may further boost its uptake and unlock additional resources for cultural workers in a time of digital disruption and increased uncertainty.

• 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.

• 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.

• Shneor, Rotem; Munim, Ziaul Haque; Mæhle, Natalia; Rykkja, Anders; Guimaraes, Alice Demattos & Chiesa, Carolina Dalla (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 9788269315301. s. 29–30. Fulltekst i vitenarkiv
• Thorkildsen, Kjersti & Rykkja, Anders (2022). Showcase Festivals: Gatekeepers and Bridge Builders in the Music Industries. International Journal of Music Business Research. 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. Fulltekst i vitenarkiv 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; 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.

• 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 9783030463090. 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.

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• Rykkja, Anders & Bonet, Lluís (2024). The non-birth of an institutional cultural crowdfunding campaign: barriers to innovation, change of priorities, low cost-benefit perception, or lack of internal leadership? Fulltekst i vitenarkiv
• Rykkja, Anders & Bonet, Lluís (2024). Public-Private Match Funding: Evidence from Spain and Sweden. Fulltekst i vitenarkiv
• Munim, Ziaul Haque; Guimaraes, Alice Demattos; Rykkja, Anders & Mæhle, Natalia (2023). A bibliometric literature review of culture crowdfunding literature. Fulltekst i vitenarkiv
• Guimaraes, Alice Demattos; 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. Fulltekst i vitenarkiv
• Rykkja, Anders & Knutsen, Kristin (2023). Teater ber om spleis på 25 millioner: – Sjokkert over beløpet. [Journal]. Vårt Land. Fulltekst i vitenarkiv
• 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. Fulltekst i vitenarkiv
• Rykkja, Anders; Shneor, Rotem; Munim, Ziaul Haque; Chiesa, Carolina Dalla & Schlott, F. (2023). How productive are Patreon creators? A view of incentives at the margins. Fulltekst i vitenarkiv
• Rykkja, Anders & Chiesa, Carolina Dalla (2022). A Digital Middleground Arena: the case of cultural crowdfunding. Fulltekst i vitenarkiv
• Shneor, Rotem; Munim, Ziaul Haque; Mæhle, Natalia; Rykkja, Anders; Guimaraes, Alice Demattos & Chiesa, Carolina Dalla (2022). Crowdfunding Adoption by Artists: A comparative analysis of Norway and Brazil. Fulltekst i vitenarkiv
• Mæhle, Natalia; Guimaraes, Alice Demattos; Munim, Ziaul Haque; Rykkja, Anders; Bonet, Lluis & Nordgård, Daniel [Vis alle 7 forfattere av denne artikkelen] (2022). Roundtable: Crowdfunding in the Culture Sector. Fulltekst i vitenarkiv
• Bonet, Lluis; Rykkja, Anders; Munim, Ziaul Haque & Shneor, Rotem (2022). Institutional Crowdfunding: A Research Proposal for Museet Midt, Norway. Fulltekst i vitenarkiv
• Rykkja, Anders & Chiesa, Carolina Dalla (2022). The Digital Middleground Arena: the case of cultural crowdfunding. Fulltekst i vitenarkiv
• Rykkja, Anders; Munim, Ziaul Haque & Bonet, Lluis (2021). Varieties of Cultural Crowdfunding: The Relationship Between Cultural Production Types and Platform Choice. Fulltekst i vitenarkiv
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Drivers of Norwegian Artists' Use of Crowdfunding for Financing their Projects. Fulltekst i vitenarkiv
• Rykkja, Anders & Munim, Ziaul Haque (2021). The Relationship between Cultural Production Types and Platform Choice: Findings from the Nordic Countries. Fulltekst i vitenarkiv
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Drivers of Norwegian Artists' Use of Crowdfunding for Financing their Projects. Fulltekst i vitenarkiv
• Shneor, Rotem; Rykkja, Anders; Mæhle, Natalia & Munim, Ziaul Haque (2021). Crowdfunding Cultural Production: Determinants of Crowdfunding Adoption by Artists. Fulltekst i vitenarkiv
• Rykkja, Anders; Munim, Ziaul Haque; Mæhle, Natalia & Shneor, Rotem (2019). Cultural Crowdfunding - What do we know? Fulltekst i vitenarkiv 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? Fulltekst i vitenarkiv 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. Fulltekst i vitenarkiv
• Rykkja, Anders (2023). Take a chance on me: Cultural crowdfunding as a necessary, complementary, or substitutive business model in the Nordic countries and in Spain. Universitetet i Innlandet. ISSN 9788283804461. Fulltekst i vitenarkiv Vis sammendrag

  Sammendrag I løpet av de siste 15 årene har nettbasert folkefinansiering vokst frem som en desentralisert, alternativ mikrofinansieringsmodell brukt til pengeinnsamling for prosjekter og virksomheter av både allmennyttig og profittbasert karakter. Samtidig har det blitt publisert en voksende litteratur om folkefinansiering som en ny og innovativ tjeneste. Mesteparten av denne litteraturen setter søkelys på kampanjesuksess, og finner at to faktorer vanligvis avgjør utfallet: kampanjens presentasjon og formidling til støttespillere samt valg av tjenestemodell (innhenting av egenkapital versus belønnings- eller donasjonsbasert?). Færre studier undersøker hva som motiverer til adopsjon blant jobbskapere og hvordan folkefinansiering brukes som forretningsmodell på sektornivå. Målet med avhandlingen er å belyse hva som motiverer eller hemmer bruken av folkefinansiering blant kunstnere og kulturelle jobbskapere, samt hvordan folkefinansiering brukes som forretningsmodell i kulturelle og kreative næringer. Oppgaven inntar en kritisk realistisk metodologisk innfallsvinkel som innpasser funn fra utforskende, intensive (kvalitative) og ekstensive (kvantitative) forskningsdesign for å adressere spørsmålene. De nordiske land og Spania brukes som en empirisk kontekst. Avhandlingen kommer med flere empiriske og teoretiske bidrag. Det primære empiriske bidraget er at påstander om at folkefinansiering innen de kulturelle og kreative næringer i seg selv representerer et "levedyktig" alternativ eller "demokratisering" av tilgang til finansiering. Dette støttes ikke av en analyse av tverrsnittsdata på kampanjenivå. «Winner-takes-it-all» strukturer favoriseres i stedet. Et teoretisk hovedbidrag er å vise at mikroperspektivet alene er utilstrekkelig for å forstå motivasjonen for å ta i bruk kulturell folkefinansiering. Strukturer og mekanismer på både meso- (plattformmiljø, bransjekategori og konfigurasjon av produksjonssystemer) og makronivå (konfigurasjon av institusjonelle miljøer og ordninger) må også inkluderes for å forstå hva som driver eller hindrer adopsjon og bruk av folkefinansiering. Avhandlingen bidrar med en kontekstuell analyse som synliggjør forskjeller i motivasjoner som bidrar med forklaring av hvordan folkefinansiering faktisk brukes av kunstnere og kulturelle jobbskapere. Et flertall av disse bruker folkefinansiering av nødvendighet på grunn av mangel på tilgang til alternative finansieringskilder. I noen få prosjekt- og bransjespesifikke omstendigheter fungerer folkefinansiering enten som en komplementær eller substituerende finansieringskilde. Ved å bruke langsgående data er oppgaven ett av få eksisterende bidrag som beskriver og forklarer de ulike formene for kulturell folkefinansiering. Ved å være sensitiv til forskjeller forårsaket av geografi, institusjonelle rammevilkår og prosjekttyper viser avhandlingen verdien av et søkelys på objektspesifisitet. Den demonstrerer også verdien og fordelene ved å kombinere metoder i studier av folkefinansiering som et fenomen på måter få andre tilsvarende studier har klart å få til.

• Ibenholt, Karin; Måøy, Jonas; Rykkja, Anders & Ericsson, Birgitta (2020). Kulturelle aktiviteters ringvirkninger i Møre og Romsdal. Samfunnsøkonomisk analyse As. ISSN 9788283950755. Fulltekst i vitenarkiv
• Ibenholt, Karin; Ericsson, Birgitta; Gran, Bjørn & Rykkja, Anders (2019). Ringvirkninger av kulturelle aktiviteter i Møre og Romsdal. Samfunnsøkonomisk Analyse. ISSN 9788283950304. Fulltekst i vitenarkiv
• Rykkja, Anders (2017). (Virke)apparatet bak musikken. Kunnskapsverket. ISSN 9788293482161. Fulltekst i vitenarkiv 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 9788293482130. Fulltekst i vitenarkiv
• Ibenholt, Karin; Hauge, Atle Jensen; Haraldsen, Tone; Ericsson, Birgitta & Rykkja, Anders (2015). De gode hjelperne - nasjonale virkemidler for utvikling av kulturelle næringer. Kunnskapsverket. ISSN 9788293482055. Fulltekst i vitenarkiv
• Rykkja, Anders & Ericsson, Birgitta (2015). Nasjonal Festivalstatistikk 2014. Kunnskapsverket. ISSN 9788293482017. Fulltekst i vitenarkiv
• 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 9788293482048. Fulltekst i vitenarkiv
• 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. Fulltekst i vitenarkiv
• Rykkja, Anders & Ericsson, Birgitta (2015). Litteraturformidling fra scene. Undersøkelse av litteraturfestivaler. Østlandsforskning. ISSN 9788273567512. Fulltekst i vitenarkiv 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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