Guest editorial

An examination of Australian media reports over the last twelve months on the subject of Indigenous arts suggests a number of significant contradictions. Indigenous affairs Minister Amanda Vanstone called Aboriginal arts ‘Australia’s greatest cultural gift to the world’ (Australian, 24 January 2006), while the always-controversial expatriate Germaine Greer argued that much Indigenous art was in fact poor quality and ‘a big con’ (West Australian, 13 December 2005). Curators at France’s Musee du Quai Branly dedicated a wing of the new gallery to Aboriginal art. Yet many Indigenous leaders – including David Ross from the Central Land Council and Hetti Perkins, curator of Indigenous Arts at the Art Gallery of NSW – continue to publicise the widespread exploitation of Aboriginal artists in Central Australia by unscrupulous art dealers (Northern Territory News, 22 December 2005). Former head of the Northern Land Council and former Australian of the Year, Galarrwuy Yunupingu, who twenty years ago presented Bob Hawke with the painting Barunga Statement in celebration of the government’s commitment to a treaty, recently threatened to take the painting back from Parliament House in protest against ‘successive governments’’ neglect of Indigenous policy (Sydney Morning Herald, 21 January 2006). And in the performing arts, Richard Walley drew attention to the lack of professional recognition of Indigenous performing artists (Australian, 24 January 2006).

Such contradictions within the management and marketing of Indigenous arts have persisted for several years, and it was in response that this special issue of the Asia Pacific Journal of Arts and Cultural Management was initiated. As guest editors, we sought to present research that examines, more deeply and constructively, the marketing of Indigenous arts in Australia both historically and in the present. What emerges from this collection of five papers is a familiar scholarly theme: a tension between the ‘periphery’ and the ‘centre’, between outback and city, between larger and smaller Australian states and between Australia and other nations.

Jonathan Sweet’s ‘UNESCO and cultural heritage practice in Australia in the 1950s’ looks at the evolving relationship between Australia and the United Nations through an analysis of a significant touring exhibition: Australian Aboriginal Culture. Sweet pinpoints the 1950s as a period in which Australian museology’s approach to Indigenous cultures gradually changed, and in which Australian participation in UNESCO through the exhibition helped shape the ideological position UNESCO advocated. His article provides a useful historical contrast against which the following four articles may be read.

Chapman, Cardamone, Manahan and Rentschler look at local and contemporary issues in Indigenous arts marketing. Katrina Chapman’s ‘Positioning urban Aboriginal art in the Australian Indigenous art market’ investigates perceptions about contemporary urban Aboriginal art, concluding that the estrangement – and indeed stereotyping – of urban and traditional art creates a false set of values that urban artists are challenging. Similarly, Megan Cardamone, Esmai Manahan and Ruth Rentschler contrast perceptions of Aboriginal arts from the northern and south-eastern states, identifying crucial misconceptions that contribute to the value system applied to these arts. As Ruth Rentschler is a joint editor of this issue, the review process for this article has been managed by Katya Johanson as co-editor.

Two case studies of marketing the arts – which look at different artforms and in opposite sides of the country – then follow. Jennifer Radbourne, Janet Campbell and Vera Ding’s ‘Building audiences for Indigenous theatre’ analyses research on audiences and potential audiences for Kooemba Jdarra – Brisbane’s Indigenous performing arts company – to identify the ways in which audience attendance may be encouraged.

Finally, Jacqui Healy’s ‘Balgo 4-04’ provides a close examination of a unique art exhibition: a major commercial exhibition of the kind usually seen in Sydney and Melbourne, held in an arts centre in the middle of the Tanami Desert and retailing directly to collectors.

The editors are grateful to Warlayirti Artists Art Centre for permission to use the photographs that accompany Jacqui Healy’s article. We would also like to thank the contributors, Jo Caust for the opportunity to present this special issue, and Pearl Field for her assistance in putting it all together.

Economic reforms, cultural policy : opportunities and challenges to the arts and culture in Vietnam in the age of globalization

The author investigates social change in Vietnam in the late 1980s-2000s, a transition from a subsidized economy to a market-oriented economy. The author discusses the influences of socioeconomic changes on the operation of the performing arts sector through analyzing changes in cultural policies, opportunities, and challenges confronted by performing arts organizations. The new cultural policy allows arts organizations, arts managers, and artists more opportunities to develop a greater degree of autonomy and more freedom in performing, programming and other artistic activities. The author believes that open policies will motivate Vietnam to develop its own national identity and to participate in cultural exchange with other parts of the world. However, under the impact of global culture, global economics, cuts in state funding, and rapid technological development, the performing arts sector has faced challenges in terms of financial viability, audience development, and balance between commercialization and artistic creativity. The author suggests that privatization should be implemented depending on the art form. Consideration should be given by the Vietnamese government to implementing appropriate funding policies and schemes, as state funding still forms a significant part of public companies' incomes.

Cultural dimensions of arts entrepreneurship : lessons for Vietnam from Australia

This paper provides an overview of entrepreneurial activities in three non-profit performing arts organisations in Australia and lists implications for Vietnam. The relationship between limited funding, pressure to attract audiences and the need to act entrepreneurially to diversify funding sources characterises both countries. Case studies from Australia were used to analyse how leaders in arts organisations balance the interests of the various funding sources and market opportunities to service their revenue requirements. Our research strengthens the need to study how Vietnamese artists face challenges of financial viability, audience development, and balance between commercialization and artistic creativity. We conclude that entrepreneurship is seen as an important concept for understanding the development of arts organisations in Australia and Vietnam.

Multicultural arts education : attitudes and perceptions of Australian tertiary students

Through social interaction the Arts connects communities and brings people together where both contemporary and traditional arts can be preserved, protected and promoted. In multicultural Australia, the Arts provides a space in teaching and learning that enables students the opportunity to engage, create and imagine both individually and collectively. The ‘Arts’ in the wider community fosters empathy, acceptance and appreciation of difference where diversity is celebrated between people of different cultures, languages, religions, and ethnicities. Through a discussion of multiculturalism, teacher education and multicultural education, I argue that the Arts can be seen as an agent of social change, a powerful dais to alter perceptions, attitudes and beliefs. This paper situates itself in Melbourne (Australia) through the lens of celebrating our rich multicultural arts. Through questionnaire data collected in October 2010 from Arts Education final year students at Deakin University, I present a snapshot of their understandings of multiculturalism: what they value, believe and understand as agents of change in education. By experiencing multicultural arts, both new and different hybrid art forms can be explored in schools and the wider society. Through such connections, the Arts can foster a positive experience that promotes diversity and enhances intercultural and cross-cultural understanding in our multicultural Australian society.

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.

Adaptation and change in the Australian life insurance industry : an historical perspective

In the wake of the deregulation of the financial sector in Australia in the 1980s and 1990s the life insurance industry has undergone a period of rapid change and reorganisation. Part of this adjustment has been the move towards the integration of financial service provision and the rise of bancassurance. This paper investigates the strategies adopted by Australian life insurers as they moved into the increasingly competitive environment triggered by the lifting of government restrictions on banking practices. It compares the approach of life insurers with that adopted in an earlier period of expansion and change. During the 1950s and 1960s an influx of foreign owned insurance companies into the Australian market precipitated the diversification of domestic life insurers into other insurance markets. The catalyst for change in both cases was the change in information costs brought about by the change in the competitive environment. The experience of the Australian life insurance market would suggest that there is a link between changing information costs and changing organisational structures. However this link is circumscribed by the institutional environment.

Market research effectiveness : the effects of organisational structure, resource allocation and strategic type

According to the marketing literature and marketing textbooks, market research is required for successful marketing. However organisations differ in the way they both manage and resource their market research. This study hypothesised that market research effectiveness would be a function of internal research buying expertise, resource allocation and strategy. The research was conducted among a sample of 240 Australian marketing managers. Market research effectiveness was measured in terms of a) decision making support, b) contribution to marketing strategy, c) leveraging customer and competitor data, d) its ability to represent the "voice of the customer" and finally, e) bolstering the role of the marketing group and marketing manager within the organisation. The findings showed that having dedicated internal market researchers and allocating internal and external resources to the research function enhanced market research effectiveness. It was also found that organisations with an entrepreneurial strategic orientation were more likely to see value in the market research function, with these organisations being less likely to use market research for internal political purposes.

On the determinants of derivative usage by Australian companies

This paper provides an examination of the determinants of derivative use by Australian corporations. We analysed the characteristics of a sample of 469 firm/year observations drawn from the largest Australian publicly listed companies in 1999 and 2000 to address two issues: the decision to use financial derivatives and the extent to which they are used. Logit analysis suggests that a firm's leverage (distress proxy), size (financial distress and setup costs) and liquidity (financial constraints proxy) are important factors associated with the decision to use derivatives. These findings support the financial distress hypothesis while the evidence on the underinvestment hypothesis is mixed. Additionally, setup costs appear to be important, as larger firms are more likely to use derivatives. Tobit results, on the other hand, show that once the decision to use derivatives has been made, a firm uses more derivatives as its leverage increases and as it pays out more dividends (hedging substitute proxy). The overall results indicate that Australian companies use derivatives with a view to enhancing the firms' value rather than to maximizing managerial wealth. In particular, corporations' derivative policies are mostly concerned with reducing the expected cost of financial distress and managing cash flows. Our inability to identify managerial influences behind the derivative decision suggests a competitive Australian managerial labor market.

Managerialism and the arts : a complete and utter bloody waste of time

Managerialism has been adopted with alacrity by Australian government agencies across multiple sectors. Studies of managerialism in concept and practice have been undertaken in some public sectors but not from a critical management perspective. This position paper examines the contribution of organization theory to an understanding of managerialism. Here we challenge the appropriateness and effectiveness of new managerialism generally, and for the arts in particular, through an analysis of conflict between an Artistic Director, General Manager and Board in a key Australian community arts organization. We call for further research into the appropriateness of management theory and practice for the arts; and seek better ways of managing our cultural capital.

Why teach music in schools?

One of the most pressing problems for contemporary school education is an overcrowded curriculum. The so-called 'National Curriculum' developed as a result of the Australian Education Council's Hobart meeting in 1989 and the subsequent publication of a series of 'Statements' and 'Profiles' by the Curriculum Corporation in 1994 consolidated the school curriculum into eight Key Learning Areas (Curriculum Corporation 1994a, 1994b). Since that time most states have moved away from school-based curriculum development and have embraced the National Curriculum but with adaptations to suit their own needs. In the case of Victoria there have been two iterations of the National Curriculum in the form of Curriculum and Standards Frameworks. In the original version, Music was one of the five arts strands specified for years P to 6 and one of the six strands for years 7 to 12 (Board of Studies 1995). With the CSF2, Music is now one of three possible arts form included under Performing Arts which, with Visual Arts, form the two strands specified for years P to 4 (Board of Studies 2000). Music is then included in its own right as one of six Arts strands for years 5 to 12. However, effectively the CSF2 represents a significant loss of ground for Music at the lower and middle primary school levels in Victoria.

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.

Dancing between diversity and consistency: refining assessment in postgraduate degrees in dance

Guidelines for best practice in Australian Doctoral and Masters by Research Examination, encompassing the two primary modes of investigation, written and multi-modal theses, their distinctiveness and their potential interplay.

Sharing community through singing : the Bosnian Behar Choir in Victoria, Australia

In 2008, the Australian Federal Minister for Ageing identified the importance of promoting social engagement amongst older Australians who frequently rely on community arts organizations to enhance quality of life, specifically in health, happiness and community. The arts are identified as a powerful catalyst in building strong communities that have the potential for connection, caring and social development. Greater active engagement in performing arts by older people is positively related to enhanced individual and community well-being. Our research study, Wellbeing and ageing: community, diversity and the arts (begun in 2008), explores cultural diversity and complexity within older Australian society through an examination of engagement with a community choir. In 2009 data were collected via semi-structured interviews that were analysed using Interpretative Phenomenological Analysis which utilises a phenomenological approach that explores personal experience in the participant’s life-world. Our research study focuses on one community choir, the Bosnian Behar Choir, in Victoria, Australia, as a lens through which to explore active ageing. Three significant issues were identified from this research which will be reported under the themes of well-being, community and cultural diversity. The Bosnian Behar Choir demonstrates how community music making can enhance well-being and positive ageing in contemporary Australia.