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'.

A Bishop's wife in Torres Strait: Joan Davies 1930-49

Joan Davies’s relationship with her husband challenges the view that women performed in the merely private and subservient realm. Joan and her husband did not for long remain embedded in a domestic relationship of dominance and subordination. This Australian clergy marriage of the 1930s shows the development of a smooth harmony of interests, with the wife gaining from an experienced husband a new role and becoming his counsellor and organiser.

Papuan Spine-tailed Swifts Mearnsia novaeguineae on Boigu Island, Torres Strait, Queensland

Three Papuan Spine-tailed Swifts Mearnsia novaeguineae were seen together on 17 November 2004 on Boigu Island, Torres Strait, Queensland. They were watched for a period of 7 minutes as they circled low over a small freshwater wetland, and ~70 digital photographs of the birds were obtained. This record was unanimously accepted by the Birds Australia Rarities Committee as the first of this species for Australian territory.

Entrepreneurship in the markets of nonprofit performing arts organisations

This paper explores how managers in nonprofit performing arts organizations balance the interests of the various funding sources and market opportunities to service their revenue requirements. It reviews a tension in nonprofit performing arts organizations: the relationship between limited funding and the subsequent need to act entrepreneurially and innovatively amongst the various funding sources. Using a longitudinal analysis of annual reports in six major nonprofit performing arts organisations in Australia since 1975, the paper uncovers some of the interplay essential to entrepreneurship. From this discussion, different strategies and tensions are highlighted that nonprofit general managers have used. Comparisons are made with nonprofit art museums which previous research has shown have the same funding tensions.

Audience experience : measuring quality in the performing arts

Traditional measures of quality in the performing arts include critical reviews, awards, attendance data, the reputation of the director, company or lead performers, and attributions of success such as festival participation or sponsorship and grants. However, the recent literature on audience values, quest for authenticity and the personal experience suggests the need for empirical research into the capacity of the audience experience as an appropriate and important measure of quality in the performing arts. The authors use primary research with performing arts audiences to explore notions of quality, audience risk and audience experience to redefine the quality-measurement paradigm.

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.

Talking it up! Project report : Aboriginal voices in the formulation of health policy that works : short report

Initially, there were three separate strands to the work of the project: a series of forums involving group interviews/discussions with community members; a policy analysis that reviewed policies relating to Aboriginal health at federal and state level; and a literature review. The results of these three separate strands of analysis were then brought together in a fourth strand to the work, a process involving community members to discuss and agree the overall recommendations contained in this report.

Through this structure, the project employed a participatory methodology as the basis for individual and collective empowerment in relation to health outcomes. As mentioned above, the need for the project was identified by Aboriginal people, through their own processes of healing. The need was presented by appropriate figures within their communities, namely community elders. They invited other Aboriginal people to take part through their own communication channels, thus ensuring that responsibility for engagement in the project, and in formulating action for improvement, remained with Aboriginal people and their families. However, the project design also recognised that Aboriginal people exist within broader structural and policy constraints which impact on their ability to manage their own lives successfully or otherwise. Thus the project sought to combine indigenous and non-indigenous knowledge through bringing together the three strands of work in the way described.

A Community Reference Group guided the work of the project at all stages, endorsed the findings and drafted the recommendations. The two elders who had identified the need for the project formed the core of the group, and worked on the project from start to finish. At different times during the project, other community members joined the group to assist in its work, including training Aboriginal researchers, letting others know about the forums, discussing findings and drafting recommendations.

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.

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.