Indigenous performing arts and the problem of judging 'excellence': A discussion paper

In this paper we look at the persistent debate over notions of access and excellence and intrinsic and instrumentalist rationales for arts practice within cultural policy discussion. Recent research into the Indigenous performing arts in Australia underlines the particular difficulties faced by the sector in balancing the demands of community participation, social inclusion and high-quality aesthetic outcomes. The balancing act has proven unsustainable for some Indigenous performing arts companies and their viability is now in doubt. This suggests that a re-consideration of the question of the purpose and value of the Indigenous performing arts is timely.

The state of Australia's performing arts centres, and what it tells us about the state of the Australian arts

 In December 2010 the Albany entertainment centre opened in its harbour-side city, at the bottom of southern Western Australian. Featuring a bold, angular design by architects Cox Howlett and Bailey Woodland, the complex contains a 620-seat theatre and a 200-seat studio. Needless to say, these spaces are described by the centre as 'state of the art'.

Balancing risk? First year performing arts students’ experience of a community arts event

This study examines participants’ responses to first year students’ street performances as a non-placement work-integrated learning (WIL) activity over a two year period. The purpose of the study was to determine: (1) community perception, (2) continuous improvement, and (3) future needs. Data was collected through surveying participants’ post-viewing of the street performances, students’ reflective notes, and a recorded focus group interview. The findings indicated that audience members require additional assistance to value the students’ street performances. The results revealed that students require more guidance around researching the sites of practice, understanding group work dynamics, relaxation methods, intra- and interpersonal skill development, conflict resolution and how to effectively build community relations with the local government Council. From the findings, specific recommendations for continual improvement are made. These include offering an explanation of the street performances’ historical and aesthetic connections to the building sites for audience members, affording battery operated body-microphones and light rostrum for improved sight lines, delivering group dynamics information and arranging opportunities for students to engage more effectively with the Council. While the recommendations in this study are intended to advance the field of research that evaluates non-placement WIL performing arts curriculum in higher education, the findings are relevant to any group-based performance activity in learning and teaching.

Performing on boards: the link between governance and corporate reputation in nonprofit arts boards

This paper is built on the hypothesis that good governance and reputation are inextricably linked. It takes the governance of performing arts organizations in Queensland, Australia as a case study, and focuses on the role of the nonprofit arts board and its practices of governance and measures of effectiveness. Because of the financial constraints under which arts companies operate, their sustainability relies on audiences and on government or corporate support. The reputation of the company flows from the board's capacity to manage finances, stakeholders and mission. In-depth interviews with board chairs and general managers revealed that strong management systems and rigorous financial reporting are the drivers of good governance. Innovation in product development and artistic excellence are secondary in reputation to these measures. The paper proposes a model of good governance for arts boards.

Arts leadership : case studies of Vietnamese arts managers

Since the economic reform in Vietnam in 1986, the arts community has had more opportunity to develop, given greater artistic and financial autonomy. In this context it has become necessary for arts leaders to develop management skills to adapt to a new competitive context. This has become more important since the Vietnamese government sought to relieve the problem of inadequate state funding for arts organisations through its policy of socialisation (self-finance). In this research, a case study approach was employed, using judgmental sampling. Arts administrators involved with managing large performing arts organisations in Vietnam, were interviewed in-depth. The findings of this study indicate that formal education and training in arts management is required to provide arts managers with modern arts management skills, in order both to smooth the process of becoming more self sustaining, and subsequently to take advantage of this new context. In addition, arts leaders in Vietnam need to adopt the role of an entrepreneur, to adapt and manage performing arts organisations, given the pressure of global economics and culture.

Arts marketing : a new tool for development of the arts sector in the market context in Vietnam

Since the economic reform in Vietnam in 1986 provided more artistic and financial autonomy, the arts community has had more opportunity to develop. It has hence become necessary for arts leaders to obtain management and marketing skills to adapt to the new competitive environment. This necessity became vital when the Vietnamese government sought to tackle the problem of inadequate state funding for arts organisations through its policy of socialisation. This paper sets out to examine how performing arts organisations in Vietnam apply arts marketing strategies to adapt to the market context via empirical data from the cases studied: Vietnam National Symphony Orchestra and Hanoi Youth Theatre. Further, it identifies implications for the development of the sector. Findings indicate that Vietnamese performing arts organisations focus on the role of marketing for organisational development, although there are a lack of resources and a limited knowledge in this area. Thus, training in arts marketing and arts management is needed to maximise capacity of arts leaders in managing their organisations in the changing context.

Stressors, Recovery Processes, and Manifestations of Training Distress in Dance

Abstract
Dancers are expected to maintain consistently high levels of performance capability and to perform on demand. To meet these expectations, they subject their bodies to long hours of intensive physical training. Such training regimens are often combined with tight rehearsal and performance schedules, which over time, can lead to persistent fatigue, psychological distress, performance decrements, and injury. A similar process has been observed as a consequence of high-intensity training in many different sports, and considerable sport-related research has been devoted to identifying the antecedents, the symptoms that are experienced, and the most cost-effective ways of monitoring symptom development. This paper presents a general heuristic framework for understanding this “training distress process” and discusses the framework with specific reference to dance.

Cause related marketing: can the arts afford not to participate?

Cause related marketing is a new way for for-profit organizations to increase their sales while appearing to enhance their focus on social responsibility. The key for private-sector organizations is to build partnerships with a worthy, notable cause and for them to promote that cause in a carefully structured commercial venture designed to enhance both organizations' financial viability. Over the last 2 decades the focus has shifted from the worthy cause of the arts, to issues of health and social need. The answer proposed in this paper is to broaden the definition of worthy cause to include needy non-profit arts and thus, return cause related marketing to its roots. This paper identifies the direction of rapid change in attitudes to arts marketing in just over 2 decades and indicates the possibilities of participating in cause related marketing activities as a result of this change.