Rapporto Di Ricerca Analisi Dell'impatto Economico E Occupazionale Delle Attività Della Fondazione Pergolesi Spontini | 2013

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Rapporto Di Ricerca Analisi Dell'impatto Economico E Occupazionale Delle Attività Della Fondazione Pergolesi Spontini | 2013 Prof. Guido Guerzoni Università “Luigi Bocconi” Rapporto di ricerca Analisi dell’impatto economico e occupazionale delle attività della Fondazione Pergolesi Spontini | 2013 Indice Premessa 0 Premessa 10 La metodologia 1 I festival come beni culturali e i loro impatti. Una nuova prospettiva di analisi 14 1.1 Premessa 14 3LKP]LYZL[PWVSVNPLKPPTWH[[VULSSHSL[[LYH[\YHZJPLU[PÄJH 3LKP]LYZL[PWVSVNPLKPPTWH[[V 2.2 Gli Olympic Games studies 20 2.2.1 Impatti economici 21 2.2.2 Impatti sociali 21 2.2.3 Impatti politici 21 2.2.4 Impatti turistici 21 2.2.5 Impatti urbanistici 21 2.2.6 Impatti ambientali 21 2.2.7 Legacies 21 2.3 I grandi eventi sportivi 22 2.4 Gli Expo studies 22 2.4.1 Impatti economici 23 2.4.2 Impatti urbanistici 23 2.4.3 Le nuove frontiere della ricerca 24 2.5 Gli studi sugli eventi culturali 24 2.6 Gli standard metodologici 25 5 2.6.1 Il dibattito sugli standard 25 2.6.2 Gli standard di legge 26 :[HUKHYKUVUKLÄUP[PWLY]PHSLNPZSH[P]H 3 Gli impatti economici 32 3.1 La diffusione degli studi sull’impatto economico delle manifestazioni culturali in Italia 32 3.2 La diffusione all’estero 34 3LVYPNPUPLSLÄUHSP[nKLSSVZ[\KPV 4 L’impatto economico e occupazionale delle istituzioni e dei festival culturali 40 4.1 Premessa 40 4.2 Che cosa è e che cosa non è un’analisi di impatto economico 45 4.3 I possibili modelli di riferimento 45 4.4 I pregi e i difetti delle analisi di impatto 52 4.5 Perché realizzare un’analisi di impatto 54 4.5.1 Valutazione 55 4.5.2 Marketing e comunicazione 56 4.5.3 Controllo 56 4.6 Gli strumenti di misurazione dell’impatto economico 56 4.7 Gli effetti diretti, indiretti e indotti 57 3HZWLZHKPYL[[H L’impatto economico e occupazionale delle attività della Fondazione Pergolesi Spontini 5 La Fondazione Pergolesi Spontini 65 5.1 La Fondazione Pergolesi Spontini 65 5.1.1 Organi statutari 65 5.1.2 Missione 65 3LH[[P]P[nKLSSH-VUKHaPVUL 6 5.2.1 I teatri 65 3LH[[P]P[nKPWYVK\aPVUL ([[P]P[nZJPLU[PÄJH 7YVNL[[PLK\JH[P]PLH[[P]P[nKPMVYTHaPVULWYVMLZZPVUHSL ([[P]P[nKPWYVTVaPVULKLS[LYYP[VYPV 5.2.6 Progetti sociali 67 5.2.7 Centro studi Valeria Moriconi 67 0S-LZ[P]HS7LYNVSLZP:WVU[PUP +H[PLJVUVTPJP )\KNL[LÄUHUaPHTLU[P <ZJP[L 6 La metodologia di analisi 70 6.1 I passaggi fondamentali per condurre un’analisi d’impatto 70 3HKLÄUPaPVULKLSWYVISLTHLS»PKLU[PÄJHaPVULKLNSP\ZPLKLPKLZ[PUH[HYPKLPYPZ\S[H[P +LÄUPYLS»HYLHKPZ[\KPV 6.4 Raccogliere i dati sulle istituzioni oggetto di studio 72 6.4.1 La costituzione di data room 73 +LÄUPYLSLPUMVYTHaPVUPULJLZZHYPLLSLYLSH[P]LMVU[PYPSL]HU[P 0KLU[PÄJHYLPZLNTLU[PKLPWHY[LJPWHU[P :[PTHYLPSWYVÄSVKPZWLZHKPJPHZJ\UZLNTLU[VKPWHY[LJPWHU[P (KH[[HTLU[VKLPWYVÄSPKPZWLZHLKPWLYTHULUaHPUKP]PK\H[PPUWYLJLKLU[PZ[\KP 3HKL[LYTPUHaPVULKLSSHX\HU[P[nKPWHY[LJPWHU[PSHSVYVZLNTLU[HaPVULLSHZ[PTHKLSSLZWLZLWYVJHWP[L :[PTHKLSSHKVTHUKHÄUHSL[HZZPKP capture rateLTVS[PWSPJH[VYP +HSSHZWLZH[V[HSLHSSHZ[PTHKLSSHKVTHUKHÄUHSL 0TVS[PWSPJH[VYP 0TVS[PWSPJH[VYPKLSSL]LUKP[L 0TVS[PWSPJH[VYPYLKKP[\HSP 0TVS[PWSPJH[VYPVJJ\WHaPVUHSP 7 0TVS[PWSPJH[VYPKLS]HSVYLHNNP\U[V 0TVKLSSPKPWHY[LUaHKLPZVM[^HYL 0SJVTW\[VKLSSHZWLZHTLKPH +HPWHY[LJPWHU[PHSU\TLYVKPNPVYUH[L 3HZWLZH[V[HSL 3HZWLZHZVZ[LU\[HKHPWYVK\[[VYPKLNSPL]LU[P 0TVS[PWSPJH[VYPKLSS»PTWH[[VLJVUVTPJVLVJJ\WHaPVUHSL 0SZL[[VYL[LH[YHSLLJVUJLY[PZ[PJVPU0[HSPH -PUHUaPHTLU[PW\IISPJPU\TLYVKPZWL[[HJVSPLJVUZ\TPJ\S[\YHSP (UHSPZPKLSJVU[LZ[VJVTWL[P[P]V0SZL[[VYLKLPMLZ[P]HS 0MLZ[P]HSP[HSPHUP!HUHSPZPX\HU[P[H[P]H 9 Analisi dell’offerta ricettiva e della domanda turistica a Jesi 99 9.1 Esercizi ricettivi, arrivi e presenze 99 10 L’analisi dell’impatto economico e occupazionale 104 0SWYVÄSVKLP]PZP[H[VYP 10.2 La segmentazione dei visitatori 106 0WYVÄSPKPZWLZHKLPKP]LYZPZLNTLU[P 10.4 La spesa totale 112 10.4.1 La spesa totale dei visitatori 112 10.4.2 La spesa della Fondazione 112 10.5 L’applicazione dei moltiplicatori e il valore degli impatti 112 )PISPVNYHÄH 8 Premessa Premessa Premessa Negli ultimi anni il tema della valutazione degli discendente: il Fondo Unico per lo Spettacolo ISTAT e Federculture sui consumi culturali impatti e del ruolo economico, occupazionale è diminuito in un decennio (2003-2013) del degli italiani e in particolare nel settore dello e sociale delle istituzioni culturali è entrato di 23,1% , mentre si è aggravata la situazione delle spettacolo dal vivo, consumi che dal 2011 al 2013 prepotenza nell’agenda degli amministratori amministrazioni locali, dacché in cinque anni le sono scesi dell’8% circa. pubblici, dei policy maker e delle dirigenze delle loro dotazioni sono diminuite di oltre 400 milioni Eppure, in un quadro così disastrato, l’esame istituzioni medesime, in una fase di drammatica di euro. delle performance economiche della Fondazione contrazione delle risorse pubbliche e private Ciò spiega perché il Rapporto Annuale SIAE Pergolesi Spontini la colloca tra gli esempi più destinate alle attività culturali e segnatamente a 2012 abbia fornito per la prima volta dati virtuosi, pur restringendo il confronto all’élite quelle di natura produttiva. allarmanti: dopo anni di crescita costante l’attività del settore, rappresentato dalle fondazioni D’altronde non si tratta di una crisi congiunturale, teatrale e concertistica in Italia ha lamentato la lirico-sinfoniche, in termini di rapporto tra ma di una rottura strutturale: il trend negativo flessione di tutti gli indicatori, mostrando linee finanziamenti pubblici e reddito autogenerato. è iniziato nel 2008 e da allora, secondo l’ultimo di tendenza ampiamente negative. Rispetto al La crisi, paradossalmente, sta facendo emergere rapporto redatto da Federculture, il settore 2011 gli spettacoli sono diminuiti del 4,04%, in modo incontrovertibile le diverse capacità culturale ha perso circa 1,3 miliardi di euro. Il gli ingressi del 2,58%, le presenze del 21,44%, di gestione dei manager culturali, premiando budget annuale del Ministero dei Beni, delle la spesa al botteghino del 4,99%, la spesa del quelli più capaci di ottenere buoni risultati Attività culturali e del Turismo negli ultimi dieci pubblico del 6,54% e il volume d’affari del con un uso più efficiente delle risorse, con la anni ha perso il 27% del suo valore, nel 2012 10,10%. Purtroppo i dati del 2013 non sono stati capacità di coinvolgere soggetti privati, con la lo stanziamento previsionale è stato pari a soli esaltanti, soprattutto per quanto riguarda le comprensione che l’internazionalizzazione è una 1.687 milioni di euro, con un’ulteriore riduzione attività teatrali e concertistiche: il raffronto con prospettiva obbligata, con una rilettura in senso dell’8,3% nel 2013, laddove tagli compresi tra il i valori del 1° semestre 2012 dimostra che nel imprenditoriale e “industriale” delle proprie 30 e il 40% sono stati inferti ai bilanci degli enti primo semestre 2013 - a fronte di una sostanziale attività. locali, che hanno patito contrazioni ancora più tenuta dell’offerta di spettacoli (+0,55%) - si è I buoni risultati economici colti dalla Fondazione accentuate di quelle registrate dai bilanci degli registrata un’ulteriore flessione degli ingressi Pergolesi Spontini sono stati conseguiti in un istituti statali. (-4,08%), della spesa al botteghino (-7,22%), territorio che sta patendo il morso della crisi, In una situazione di crisi generalizzata, anche della spesa del pubblico (-3,86%) e del volume in cui la Fondazione gestisce una nutrita rete l’intervento pubblico nel settore dello spettacolo d’affari (-7,02%). di strutture teatrali, un compito che rende più dal vivo ha seguito la medesima parabola Questi dati coincidono con le elaborazioni di faticoso il raggiungimento di alcuni risultati. 10 Infatti, sin dal 2005, la Fondazione Pergolesi comprensione da parte degli enti locali e delle Per ottenere questi risultati va posta maggior Spontini cura non solo la gestione, promozione e fondazioni - e non solo da queste – dei diversi attenzione alle procedure di raccolta ed valorizzazione del Teatro G.B. Pergolesi (Teatro modelli di sviluppo attivabili e del loro diverso elaborazione delle informazioni (valutazioni Lirico di Tradizione dal 1968) e del Teatro- grado di sostenibilità; la cultura può divenire un ex ante ed ex post, raccolta dei dati socio- Studio Moriconi di Jesi (con l’annesso Centro settore economicamente importante, a patto che demografici dei visitatori, profilazioni della Studi e Attività Teatrali Valeria Moriconi), ma venga valutato come gli altri, con i medesimi domanda, analisi di budget degli organizzatori, gestisce anche le stagioni teatrali del teatro strumenti di misurazione, e sia destinatario di interviste agli operatori ed ai partecipanti agli G. Spontini di Maiolati Spontini, del teatro investimenti veri, che non vengano allocati a eventi, ecc.), implementando gli strumenti di comunale di Montecarotto, del teatro P. Ferrari caso, ma vengano indirizzati verso i soggetti di San Marcello e del teatro La Fortuna di che si sono dimostrati capaci di gestire bene le misurazione periodica e diffondendo in vario Monte San Vito, oltre ad essere è impegnata istituzioni loro affidate. modo le best practices, al fine di ottenere modelli nella produzione di uno dei più importanti In tal senso, non si tratta solo di conoscere e che siano facilmente adottabili da altri soggetti, festival musicali nazionali e di numerosi altri sbandierare il rapporto tra risorse investite e accrescendo la comparabilità dei risultati ottenuti eventi performativi. redditi generati: pur essendo un’informazione e costituendo una casistica che nel tempo possa E’ del tutto
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