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.

Learning from history : social movements, arts and crafts and anti-consumption

Contemplating the lCAR Agenda, I wondered what value was to be found in history and is historical research an appropriate methodology for this contemporary discussion? I reviewed articles from social sciences and marketing literature that discuss history as a research methodology and present some of the criticisms and benefits. Social movements like the Arts and Crafts contain themes and agendas that resonate today, including protest and boycott, sustainable solutions, and technophobia that can be found in contemporary crafts movements like Stitch'nBitch. Researchers, heeding some cautions, can use history to build agendas that contribute directly to the study of anti consumption

Instrumentalism and the 'helping' discourse : Australian indigenous performing arts and policy

Indigenous arts are significant to the way Australia is represented to the world. Since the early 19705 Indigenous cultural policies, at both federal and state levels, have helped to shape the development of Indigenous performing arts in Australia. Over this period, cultural policies, in confluence with the aims of Indigenous artists and civil rights activists, have produced and reproduced instrumentalist rationales for the support of Indigenous arts. In particular, the sector has deployed <helping' rationales for cultural policies which focus on social and economic outcomes. This article addresses current debates around the instrumentalist purposes of cultural policy and the participation of Indigenous practitioners in reproducing the 'helping' discourse. The article, however, finds evidence of a recent break in the consensus which sees some Indigenous artists resisting the historical imperative for their arts practice to be exclusively focused on instrumentalist outcomes.

Western Australia intercultural arts research project : an investigation into culturally and linguistically diverse art and artists in Western Australia

Background: The introduction of the Australia Council's 'Arts in a Multicultural Australia Policy' (AIMAP) (2000) represented a shift in how the arts in multicultural communities were viewed. It has long been recognised that the arts play a significant role in promoting social cohesion, social policy goals, economic growth, and shaping a nation’s sense of identity. However, prior to the introduction of this policy, multicultural arts was typically seen as involving cultural retentive activities which had their roots in expressions of migrant cultural traditions. The introduction of the policy heralded the beginning of an era in which culturally and linguistically diverse (CaLD) Australians were seen as integral to the fabric of the Australian arts sector. Evaluation of the policy in 2005 however, revealed that culturally and linguistically diverse Australians were under-represented in most artistic categories. Western Australia is the most culturally diverse state in Australia. It is therefore of great interest to the State Government to have a comprehensive picture of the situation in that state. Hence, the Office of Multicultural Interests (OMI) commissioned Deakin University to undertake an investigation into the participation rates of CaLD artists in the arts sector in Western Australia.

Scope: The project examined the participation in the arts of CaLD artists in Western Australia. The arts sector comprises many more individuals and organisations than artists. For example, there are arts agency administrators, venue operators, policy officers, curators, and countless others who work together to make up the arts sector. This project focused on the artists, the individuals such as those who make music, visual art, dance and theatre performances. In the past it has been shown that CaLD populations are not well represented in the broader arts sector. This research aimed to discover the current position for CaLD artists in terms of participation in the broader arts sector and what factors influence their situation.

Traversing theory and transgressing academic discourses : arts-based research in teacher education

Pre-service teacher education is marked by linear and sequential programming which offers a plethora of strategies and methods (Cochran-Smith & Zeichner, 2005; Darling Hammond & Bransford, 2005; Grant & Zeichner, 1997). This paper emerges from a three year study within a core education subject in preservice teacher education in Australia. This ‘practitioner’ research (Zeichner, 1999) engaged the problematics of authentic and meaningful learner-centred teaching and learning through an arts-based curriculum. Over the period of the study, two hundred and eighty pre-service teachers participated in a ‘dialogical performance’ (Conquergood, 2003) of pedagogy about curriculum and assessment through the construction of art about curriculum and assessment. The possibilities of an arts-based pedagogy in pre-service education were affirmed by the research. An enacted epistemological move by the teacher educators led to similar shifts by the students. This opened a space for the reappearance of learner through engagements with identities, positionings and agency. This was an act of ‘putting theory to work’ (Lather, 2006, 2007) and invoked transgressive practices of academic discourses.

Changes in arts organisations under the open market economy in Vietnam

The paper examines changes in arts organisations in Vietnam under the context of changes in the arts and culture sector in Vietnam and in the world.

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.

Restructuring of education and training in Vietnam : a development and application of arts management training in Australia to Vietnam

The adoption of a more market-oriented economy under doi moi has paved the way for Vietnam to record remarkable human development achievements in the past decades. The Vietnamese education system has been undergoing continuous changes for almost twenty years. Key reforms have been implemented in the education and training sector such as privatising the sector; expanding the schooling system, the vocational education and training (VET) system, and higher education. This paper examines: (1) key reforms implemented in the education and training sector, placed in a broader context of economic reforms in Vietnam; (2) a development of arts management training courses in Vietnam to assist cultural organisations to adjust to social changes, as Vietnamese education institutions have not had much experience in designing training courses in arts and culture management; (3) several arts management training courses in Australian institutions to see the possibility to apply training in arts management in Australia to Vietnam. The findings indicate that a variety of management training modes in Australia can be adapted and applied to the Vietnamese training context. Some factors such as differences in culture, education and training systems, shortages in training staff and resources are also considered in this paper.