In the international context the focus on the Intellectual Property Rights (IPRs has generated interest in the capital formation potential of creative industries.  Indeed the economic and institutional crisis faced by performing arts theatres in advanced and affluent countries has  been explored by Baumol and Bowen (1957), Throsby (2009), Rizzo and Throsby (2006) , Mulcahy (1991) and Frey (2000). Though literature abounds on the policy and aesthetic essence of arts that belong to developing and emerging countries, there is scant,  in-depth  information on current management practices, the methods and tools of financing arts organizations. Information on the scale and predictability of Government financing of art organizations and the role of these organizations in contributing  to the GDP and capital formation process  in developing countries is scanty.  In the absence of information on these aspects, it is difficult for one to assess the role of new technologies (including digital technologies) in improving existing operational  systems in art based organizations based on modern management systems. In India where academic attention on the management and economic dimensions of arts organizations has remain unexplored, there have been efforts to lay down policy approaches towards art and culture. These policy statements do not highlight the management dimensions of art organizations. In recent times, Damodaran and Chavis (2017) have explored the economic and institutional crisis faced by Classical Performing Arts in India with reference to the theatre form,  Kutiyattom.  The tools and techniques employed in this study include consumer behaviour approaches that involve the application of the  stated preference approach. A similar approach is called for in the case of other art organizations.