Masters of their own destiny : autonomy and the performing arts

2001 Kenneth Myer lecture for the George Fairfax Fellowship, at Deakin University's Toorak Campus, Thursday 22 March 2001.
"Produced and distributed by Bowater School of Management & Marketing, Faculty of Business & Law, Deakin University."

Your genre is black : indigenous performing arts and policy

In February 2008, Prime Minister Kevin Rudd apologised to the Stolen Generations on behalf of the Australian people. Now what? In this Platform Paper, mid-career Indigenous performing artists think about their post-apology future. Indigenous theatre blossomed in the 1990s when it was grasped as a means to expose social issues and advance the goals of Reconciliation. Now that generation of artists questions these motives. For some, history and community are central; others are impatient with 'your genre is black' and demand the professional respect they have earned. "Indigenous artists", says director Wesley Enoch, "have been asked for decades to work at their slowest, to bring everyone along with them. It's the equivalent of asking Cathy Freeman to run slowly, so that everyone can keep up with her." Glow and Johanson provide a forum for practitioners like Rachel Maza-Long, David Milroy, Stephen Page and Rhoda Roberts. Together they call for an end to second-best; and for measures that respond with post-apology confidence to the vision and inspiration that, in the opinion of the Australia Council, "remain at the heart of Australia's culture" .

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.

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.

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.

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.