Considerations for performing arts organisations in a climate of transition to the open market context in Vietnam

The emergence of a global economy and culture has created a worldwide climate of change since the 1980s. These changes impact on the growth of a national economy and change the significance of sectors in society, for example the service sector, which increasingly accounts for an important part of the economy (Burbules & Torres, 2000). The arts have also been profoundly influenced by social changes, and technological development. While these changes pose new challenges for the arts, most of which struggle for financial viability in an era of globalisation, privatisation and reduced public funding, the developments also open new opportunities for arts companies/artists but require them to possess the capability to identify and adapt to change. This process underlines the necessary new capacities of arts management, arts marketing, arts leaders and artists.

Doi moi - Vietnamese economic reforms in 1986 - provided impetus for change in every sector, resulting in growth of the service sector in Vietnam (UNDP, 2002). Arts organisations in Vietnam found themselves operating in a more competitive environment, forcing them to adjust to this new economic structure. Improved Vietnamese living standards helped to create more demands for a diverse entertainment industry and allowed both the government and individuals to spend more on the arts. A new cultural policy - socialisation (somewhat equivalent to privatisation in Western countries) was implemented in the arts and cultural sector, producing for performing arts organisations (PAOs) as well as a broader cultural milieu in Vietnam, challenges of being self-sustaining but also more autonomy and greater funding diversity. Simultaneously, this led to upgraded artistic standards, improved infrastructure and higher musicians’ salaries; the latter having only experienced slow improvement during the subsidised era.

This paper investigates how social changes affected organisational operations of selected PAOs in Vietnam and Australia. The analysis of how PAOs in each country adjusted to rapid changes will provide experience for learning from each other, particularly for the Vietnamese case. These analyses provide points of discussion, comparison and implications for development of arts management training in Vietnam. Case studies, personal interviews with key participants and policy actors have been used to discern which direction performing arts management should take in order to correspond with Vietnam’s present and future economic situation and its political position in the world.

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.

How to (re) value Indigenous performing arts

In their paper on “Excellence and access: Indigenous performing arts” the problem that Hilary Glow and Katya Johanson describe is discursive, one that also has a discursive solution. An alternative can come from thinking through the process by which “value” is created, supported and circulated in the art world. Strategies to re-value Indigenous performance can thereby be directed to the various sites of institutional value which have long characterized Australian cultural policy – its importance to national identity, in the connection between culture and economics as well as to the debate over access and excellence – and come from artists as well as the communities they serve.

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.

Performing arts management in a climate of adjustment : case studies from Vietnam and Australia

This paper presents a series of empirical case studies to discuss impacts of economic globalisation on the development of performing arts organisations in Vietnam (Hanoi Youth Theatre and Vietnam National Symphony Orchestra) and Australia (Melbourne Theatre Company and Sydney Symphony Orchestra), and focuses on how Vietnamese organisations have adapted to these changes. The paper also identifies cultural policy implications for the development of the sector; for arts management training in Vietnam so that the sector (and more importantly, the artists) may fully benefit from the open market context. The findings indicate that Vietnamese performing arts organisations have attempted to adapt to the new market context while struggling to balance artistic quality, freedom and financial viability in the new socialist regime. The Australian case studies offered a relevant management model to Vietnamese arts management practice and training.

Evaluation of the childhood obesity prevention program kids - go for your life

Background
Kids - 'Go for your life' (K-GFYL) is an award-based health promotion program being implemented across Victoria, Australia. The program aims to reduce the risk of childhood obesity by improving the socio-cultural, policy and physical environments in children's care and educational settings. Membership of the K-GFYL program is open to all primary and pre-schools and early childhood services across the State. Once in the program, member schools and services are centrally supported to undertake the health promotion (intervention) activities. Once the K-GFYL program 'criteria' are reached the school/service is assessed and 'awarded'. This paper describes the design of the evaluation of the statewide K-GFYL intervention program.

Methods/Design
The evaluation is mixed method and cross sectional and aims to:
1) Determine if K-GFYL award status is associated with more health promoting environments in schools/services compared to those who are members only;
2) Determine if children attending K-GFYL award schools/services have higher levels of healthy eating and physical activity-related behaviors compared to those who are members only;
3) Examine the barriers to implementing and achieving the K-GFYL award; and
4) Determine the economic cost of implementing K-GFYL in primary schools
Parent surveys will capture information about the home environment and child dietary and physical activity-related behaviors. Environmental questionnaires in early childhood settings and schools will capture information on the physical activity and nutrition environment and current health promotion activities. Lunchbox surveys and a set of open-ended questions for kindergarten parents will provide additional data. Resource use associated with the intervention activities will be collected from primary schools for cost analysis.

Discussion
The K-GFYL award program is a community-wide intervention that requires a comprehensive, multi-level evaluation. The evaluation design is constrained by the lack of a non-K-GFYL control group, short time frames and delayed funding of this large scale evaluation across all intervention settings. However, despite this, the evaluation will generate valuable evidence about the utility of a community-wide environmental approach to preventing childhood obesity which will inform future public health policies and health promotion programs internationally.

Trial Registration
ACTRN12609001075279

Being and becoming : children as audiences

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

Culture is bigger than the arts

The author advances his argument for the need for a more progressive arts policy in Australia. He proposes a blueprint for the reform of Australian cultural policy, and of the Australia Council for the Arts. 

Surveillance, Security and Sporting Mega Events: Toward a Research Agenda on the Organisation of Security Networks

Surveillance and security at sports mega events have been the subject of considerable scholarly attention. Events such as the Olympic Games and Fédération Internationale de Football Association (FIFA) World Cups have become occasions of almost unparalleled economic, political and social significance. In the lead up to the London 2012 Olympic Games, scholars have examined issues such as the ‘security legacies’ of sports mega events, the infrastructures and technologies used in an attempt to secure these events, and the planning mentalities underpinning the staggering ‘security spectacle’ of these globally televised events. This paper deals with the subject of how surveillance and security practices at sports mega events are organised. It uses the emerging paradigm of ‘security networks’ to call attention to some important issues involving the entire ‘security assemblage’ that accompanies these mega events. The paper presents five levels of analysis—structural, cultural, policy, technological and relational—to examine these practices and documents several key areas for further research on sports mega events.

Queensland arts cuts: the real story

In the first part of an exclusive 3-part series, Ben Eltham exposes the machinations and implications of money and mates in Queensland's arts sector. Article investigates the behind-the-scenes policy decisions inside the Queensland government that resulted in significant funding cuts to small-to-medium cultural organsations in Queensland in late 2013.

Mates and majors: how the big fish survived

In October this year, the Queensland Government slashed funding to small-to-medium sized arts organisations. In part two of a three-part investigation, Ben Eltham asks why the smaller players were targeted, while the major institutions were protected.

The national fallout from Queensland's crisis

The entire national arts sector is facing worrying reverberations as a result of the massive cuts to small and medium arts organisations in Queensland. Part 3 of Ben Eltham's investigation into the Arts Queensland funding cuts of 2013.

Beyond eurocentrism? Heritage conservation and the politics of difference

There is a long-standing debate concerning the suitability of European or ‘western’ approaches to the conservation of cultural heritage in other parts of world. The Cultural Charter for Africa (1976), The Burra Charter (1979) and Nara Document on Authenticity (1994) are notable manifestations of such concerns. These debates are particularly vibrant in Asia today. This article highlights a number of charters, declarations and publications that have been conceived to recalibrate the international field of heritage governance in ways that address the perceived inadequacies of documents underpinning today’s global conservation movement, such as the 1964 Venice Charter. But as Venice has come to stand as a metonym for a ‘western’ conservation approach, intriguing questions arise concerning what is driving these assertions of geographic, national or civilisational difference in Asia. To address such questions, the article moves between a number of explanatory frameworks. It argues declarations about Asia’s culture, its landscapes, and its inherited pasts are, in fact, the combined manifestations of post-colonial subjectivities, a desire for prestige on the global stage of cultural heritage governance and the practical challenges of actually doing conservation in the region.