Performing Arts Industry Research Articles

Challenges of the Creative Industries in Nigeria: A Case Study of the Performing Arts Industry

Challenges of the Creative Industries in Nigeria: A Case Study of the Performing Arts Industry

EMERGENCE OF TALENT ANALYTICS IN HUMAN RESOURCE MANAGEMENT WITH REFERENCE TO MUSIC AND PERFORMING ARTS INDUSTRY IN INDIA

The integration of talent analytics into human resource management practices within the music and performing arts industry in India has been a topic of increasing significance. Present research aimed to examine the emergence of talent analytics, its impact on HR management, and the challenges faced by HR managers during its implementation. Employing quantitative methodology, data was collected through a structured survey distributed among 311 HR professionals from various organizations in this sector. The findings highlighted the positive impact of talent analytics on HR practices, showcasing enhancements in decision-making, recruitment efficiency, workforce planning, and talent identification. However, substantial challenges such as financial investments, skill shortages, technical integration hurdles, cultural resistance, and data reliability issues emerged as impediments to seamless implementation. These results underscore the potential benefits of talent analytics while emphasizing the critical barriers that HR managers encounter in leveraging its full potential within this industry.

Exploring the Representation of Women in Technical Roles at a South African Performing Arts Entity

Low levels of female representation are found when it comes to technical roles within the South African performing arts industry despite improved numbers in the overall representation of females within the industry across different occupational categories. Employment in the core functions of the performing arts entities is therefore still predominantly male. The research aimed to explore the representation of women in a performing arts entity. The feminist, social dominance and patriarchy theories were used to conceptualize the research phenomena and interrogate the findings in this study. The research adopted a qualitative case study approach, using one-on-one in-depth interviews. The sample of participants included management and employees in the technical business unit, selected through convenience sampling and a complementary snowball sampling technique. Thematic analysis was used to analyse the data, which engendered themes and sub-themes, substantiated by verbatim quotes from the interviews. Although the research findings indicated an unequal representation of females in technical roles and their absence in management positions within the entity, female presence was found to enhance teamwork and diverse views, which consequently improved team performance. The study found that barriers to female representation include unequal gender representation, the nature of work, and the work-life balance. The study established policy recommendations for the industry, including flexible-hour strategies and childcare facilities, among others.

Analysing the model of “theme park & tourism performing arts”: A case study on Songcheng Company

In recent years, with the increase in people’s demand for tourism, the output value of the tourism performing arts industry has increased, and market competition has become fierce. In this case, Song Cheng Performing Arts Co., Ltd. (Songcheng Company) has developed faster than the average level of the industry since 2013 and has become a leading enterprise in the industry in recent years. The reason why the purpose of this study was to explore how Songcheng Company has developed rapidly in the past ten years and how the “theme park +tourism performing arts” model makes Songcheng Company successful. This paper finally analysed three reasons by using founding materials and data: This model was complementary. In future development, the company should integrate trend elements and join experiential projects; the model is highly replicable, but the company should strictly control product quality and reduce product homogenization. The model allows the company to build its own IP. Meanwhile, this paper suggests making more effective use of network resources. Through the study of Songcheng Company, this paper makes up for the gap in the study of this model and has a certain reference significance for the development of other tourism enterprises.

Exploring Entrepreneurship Education in the Performing Arts: Perceptions of Nigerian Theatrepreneurs

Abstract:
 This study delves into the emerging field of entrepreneurship education in the performing arts, aiming to investigate current practices and evaluate the effectiveness of entrepreneurial endeavors within this domain. Focusing on Nigerian graduate and undergraduate prospective entrepreneurs, commonly referred to as theatrepreneurs, who pursue careers in drama, dancing, script writing, and other performing arts disciplines, the research utilizes qualitative methods. Forty purposefully selected respondents were interviewed, employing a mediated interview approach to identify theatrepreneurs' characteristics, motivations, and the significant challenges they encounter in their professional and entrepreneurial journeys. The findings demonstrate that participants opt for the performing arts primarily for personal career development rather than financial incentives. They highlight the benefits of talent development, confidence building, and professional growth. Nevertheless, the study identifies major obstacles such as time management, financial constraints, adaptation to the performing arts environment, unethical practices, and personal style, which significantly affect career development. Despite these challenges, respondents express optimism about the future of the profession. Based on the study's outcomes, it is recommended to introduce entrepreneurship education programs that nurture students' abilities to think creatively, reflectively, strategically, and analytically about their artistic practices. Such initiatives would further enhance professional career development within the performing arts industry.

Potret Ludruk Rukun Budaya sebagai Pusat Industri Kreatif Seni Pertunjukan di Kabupaten Probolinggo

This article investigates the dynamics of the Ludruk Rukun Budaya creative performing arts industry led by Harun. Since its formation on December 12, 2012, Ludruk Rukun Budaya has successfully established itself as a self-sustaining venture with a patronage model. The origin of Ludruk Rukun Budaya stems from Harun's experiences as a Ludruk performer in Madura and Situbondo, providing the foundation for establishing Ludruk in Probolinggo. The community's attraction to Ludruk Rukun Budaya lies in Harun's uniqueness, encompassing elements such as distinctive performances, daily life-reflecting dances, unique humor, and historically themed stories. This article details the captivating factors that attract audiences and explains why Ludruk Rukun Budaya has taken root in the hearts of the Probolinggo community. The research method employs a qualitative descriptive approach with Ludruk performers as the main informants, including Havin Suharon (42 years old), Untung Suropati (39 years old), Sareat (43 years old), and Dios (32 years old). Data analysis is conducted descriptively and interpretatively. Findings indicate that the success of Ludruk Rukun Budaya as a creative industry can be attributed to the cultural reproduction agent model of Harun, involving his experiences as an actor, ability to manage members, and a deep understanding of Ludruk audience preferences in Probolinggo.

뮤지컬 제작진의 제작 경험 네트워크가 뮤지컬 흥행에 미치는 영향

This study empirically analyses the impact of production team composition on the box office success of musicals, a prominent sector of the performing arts industry. To do so, we categorize production team teamwork into two types: interpersonal and functional, and examine the relationship between these two types of production team configurations and the total ticket sales of musicals. We collected data from the top 212 musicals in terms of ticket sales over a period of approximately three years, from July 2019 to June 2022. Based on the production team information for each performance, we formed a producer network, measured the number of co-productions of participating producers as a variable for interpersonal teamwork, and calculated betweenness centrality as a variable for functional teamwork. These were then entered into a regression analysis with total ticket sales for each production as the dependent variable. The analysis showed that experience in co-producing musicals and the average betweenness centrality of the production team had a positive effect on box office success. However, production teams with high co-production experience and high average betweenness centrality did not significantly increase box office success. This suggests that it is not easy to simultaneously achieve the dual tasks of improving production efficiency through interpersonal teamwork within a limited time frame and enhancing creativity through the combination of diversity. This study not only elucidates the theoretical relationship between production team composition in the performing arts and box office success, but also has practical implications for production team configuration strategies that can enhance the box office success of musical works.

Understanding the factors that affected the resilience of performing arts workers during the COVID-19 pandemic

ABSTRACT Similar to a number of arts and cultural sector industries, the COVID-19 pandemic deeply affected the performing arts sector. Whilst research has focused on the impact on the industry and on freelance workers and performing artists during the lockdowns, this article investigates how the COVID-19 pandemic affected the resilience of permanently employed workers in the performing arts industry (not performers or performing artists) based in England, UK as the performing arts industry re-opened in 2021/22. Utilising a qualitative approach (via semi-structured interviews), this paper establishes the factors that affected the resilience of these workers in England and explores the effect of the COVID-19-related closures and subsequent re-openings on the resilience of the performing arts workers. The study finds that the participants reported maladaptive or coping behaviours rather than resilience behaviours and described a discomfort at having to be personally resilient in the absence of organisational resilience.

"Methods of professionalization in the performing arts - the high school model"

"The present article aims to map the historical route of the theater- education tandem starting from the period of ancient Greece until the moment of the institutionalization of theater education at the university level and then at the high school level. We analyze the issue of the professionalization of the staff in performance institutions, at the level of high school studies, from the perspective of eloquent models. Therefore, we have identified the main stages in creating a curriculum for the study of drama arts in specialized high schools. The economic importance that the performing arts industry acquires in England and especially in the United States determines the development of a specialized schooling network at the high school level. England is developing a whole procedure and methodology for professional attestation in the performing arts industry, even offering overspecialization niches in musical theater. In the United States, high schools specializing in the study of the performing arts offer four-year programs of integrated study for individual majors in theater, musical theater, or dance. In France, at the high scool level, there are study programs dedicated to performing arts, especially theater, but they cannot be compared to the magnitude of the phenomenon in the English or American world. The study highlighted the existence in a developed and complex configuration of some forms of professionalization in the field of performing arts at the level of high school education. The existence of these high schools is legislated by educational policies that encourage the early professional orientation of students. Serious professional and authentic knowledge of the field determines a documented motivation for a future course in in-depth study at the university level or a possible professional reconversion. At the same time, the extent of the phenomenon of development of high schools dedicated to the professionalization of teenagers in the field of performing arts is directly influenced by the economic factor and the extent of the entertainment industry in that area. As a consequence, the analysis of the three models of institutionalisation of education in drama presents the way in which theater education was first institutionalized at the level of university curricula so that to be introduced later on into the high school education system."

Strategies in Managing Challenges of The Kuala Lumpur Performing Arts Centre (KLPAC) during Uncertain Times: A Reflection and A Way Forward

The recent pandemic was a plague to the performing arts industry. KLPAC was crippled by the incessant restrictive movement orders, where theatres were deprived of audiences for over 377 days bringing losses to about RM2,000,000 during that period. Previous studies on tackling these challenges are widely addressed in countries that rely heavily on this industry to preserve traditions. In Malaysia, collective coping strategies across cultural policies in the country is still in its infancy. Decentralisation in the navigation of this predicament compelled such cultural and arts centres to find their own way out in times of uncertainty. Hence, this paper examines the strategies adopted by KLPAC during the pandemic with the hope of extending these sustainable measures across any uncertain times that may occur in the future. The study was guided by John’s Model of Structured Reflection. Interviews were conducted with KLPAC’s management, stakeholders, and audience to explore ad hoc and long-term strategies. Through a focus group discussion, responses were analysed to gauge the efficacy of these suggestions and feedback. The findings of this study indicate the need for a new business model and the necessity to build a resilient arts community through digitalisation.

Anti-Fat Bias in the Singing Voice Studio, Part One: Culture and Context

Singing voice teachers are working hard to be inclusive and progressive in the 21st century. We are aware of our power to create inclusive learning spaces that embrace our students’ identity traits, including race, gender, sexual orientation, ability, neurodivergence, and more. However, body size is almost always left out of the discussion of inclusive actions in the voice studio. Fatness is a social justice issue and singing voice teachers can either affirm or further marginalize fat students in the 1:1 training setting of the voice studio. In part one, the authors offer background information on the prevalence of fatness, the history of anti-fat bias, and the experiences of fat persons in healthcare, employment, and educational settings. This context encourages voice teachers to examine implicit anti-fat bias, one of the few remaining yet still widely tolerated cultural biases. Many believe that anti-fat bias can be justified by medical facts, but this belief requires an examination of the influence of money and the media. The authors utilize a fat liberationist framework, rejecting the long-held idea that fat bodies are problematic in the performing arts, and affirming that the performing arts industry must provide opportunities for talented and well-trained performers of every body size to work and tell stories that reflect our diverse world. In part two, the authors explore tangible pedagogical modifications to foster a sense of belonging for all voice students, including fat students. Micro-activism in the voice studio is a huge step toward systemic change, and it can have a profoundly positive impact on our students.

Reflections on the Development of Tourism Performing Arts in the New Media Environment

In recent years, with the development of Internet technology, it has brought new impetus to the tourism industry. The operation mode relying on new media technology has become the inevitable choice for the development of tourism, and also promotes the development of tourism performance. However, with new media technology penetrating into various fields today, the development of tourism performance is also facing unprecedented opportunities and challenges, and there are many problems in the communication of tourism performance products in the new media environment. In view of this key factor, the development of performing arts products, this paper expounds the characteristic of new media and current situation of the development of performing arts products in the context of new media, analyzes the market prospect of performing arts of tourism, and puts forward some suggestions for developing tourism performing arts under new media environment, hoping to promote the improvement of the overall level of our country's tourism performing arts industry.

공연영상의 라이브니스의 수용자 인식과 관람몰입 연구

This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).

Psychological Well-Being of Australian Actors and Performing Artists: Life Satisfaction and Negative Affect.

Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group. The Australian Actors' Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents' psychological well-being: life satisfaction and the experience of negative affect. An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents' sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing. A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others. Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.

The Impact of Transformational Leadership on Organizational Commitment and Intention to Stay: Empirical Evidence From China's Performing Arts Industry.

As part of the cultural industries, performing arts has been playing an important role in enriching people’s spiritual life, leveling culture and education, creating jobs, and even making economic benefits. Hence, a significant methodology is required to tackle the complicated concepts of transformational leadership (TL) and social factors in an arts industry context. This article aims to observe the direct impacts of TL on organizational commitment (OC). Furthermore, it examined the indirect effects of TL on OC and intention to stay (ITS) via person–job fit (PJF), social capital (SC), and psychological capital (PC). According to the results of this research, TL was discovered to have a positive impact on OC and PJF while having no significant effect on ITS. Furthermore, PJF had a significant impact on SC. Moreover, SC significantly influenced PC. In addition, PC was discovered to be in a significant correlation with OC while having no significant association with ITS. Finally, OC was also in a significant relationship with ITS.

Anti-Fat Bias in the Singing Voice Studio, Part Two: How to Make a Size Inclusive Voice Studio

Singing voice teachers are working hard to be inclusive and progressive in the 21st century. We are aware of our power to create inclusive learning spaces that embrace our students’ identity traits including race, gender, sexual orientation, ability, neurodivergence, and more. However, body size is almost always left out of the discussion of inclusive actions in the voice studio. Fatness is a social justice issue and singing voice teachers can either affirm or further marginalize fat students in the 1:1 training setting of the voice studio. In part one, the authors offer background information on the prevalence of fatness, the history of anti-fat bias, and the experiences of fat persons in healthcare, employment, and educational settings. This context encourages voice teachers to examine implicit anti-fat bias, one of the few remaining yet still widely tolerated cultural biases. Many believe that anti-fat bias can be justified by medical facts, but this belief requires an examination of the influence of money and the media. The authors utilize a fat liberationist framework, rejecting the long-held idea that fat bodies are problematic in the performing arts, and affirming that the performing arts industry must provide opportunities for talented and well-trained performers in bodies of every size to work and tell stories that reflect our diverse world. In part two, the authors explore tangible pedagogical modifications to foster a sense of belonging for all voice students, including fat students. Micro-activism in the voice studio is a huge step toward systemic change, and it can have a profoundly positive impact on our students.

An Examination on Sexual Harassment Activities in the South African Professional Performing Arts Industry

An Examination on Sexual Harassment Activities in the South African Professional Performing Arts Industry

Coping with precarity in the tourism performing arts industry: a case study of China’s Wa entertainers

This article examines the precarious work experiences and coping tactics of entertainers in China’s tourism performing arts (TPAs), who are also tourism labour migrants (TLMs). Focusing on a particular ethnic group, Wa entertainers (WEs), this article aims to highlight how TLMs sustain their careers and fight for decent work. Qualitive methods were applied to investigate entertainers in a neglected sector of the tourism industry. The findings show that entertainers face two main aspects of precarity: labour relations and job attributes. Inspired by the precarious TPA work, WEs develop micro-tactics to resist, namely, they have suitable geographical mobility choices and actively participate in skilling and learning. Thus, WEs become more capacitated to switch smoothly between different jobs to sustain a broader career in tourism-oriented sectors. This article offers critical insights into the capability development of tourism practitioners. It reflects on a vernacular, grassroots redefinition of sustainability with respect to decent work, in which a stable or predictable career pathway may not be the ultimate purpose for grassroots TLMs.

Cultural exploitation in Chinese politics: Reinterpreting Liu Sanjie

Liu Sanjie is a typical Chinese legendary figure, adapted from folk custom and transformed during many historical and political stages. By comparing the musical filmLiu Sanjiewith the landscape performing artImpression Liu Sanjie, this paper explores how Liu Sanjie is reconstructed in theImpressionto be in accord with contemporary demands (shidaixing). In the film, made during the 1960s, Liu Sanjie was promoted as a heroine fighting against the privileged classes, but in theImpression, her class struggle has been erased and only a harmonious and abstract legend remains. Her ethnicity is promoted by Han elites as not exclusive Zhuang, but shared equally with Han, Miao and Dong ethnicity in an imagined community to propagate a sense of ethnic harmony and unified Chineseness. Her transformation from a realistic character, full of a rebelling spirit, to an abstract and disembodied ‘sense of harmony’, is a complete reinterpretation of a Chinese historical legend. Utilizing a term from Wang Ban (1997), ‘the sublime figure of history’, which refers to an ideology aestheticized by the party state for securing its governance, this paper refers to the bold artistic treatment of Liu Sanjie for cultural exploitation as ‘Liu Sanjie's sublime’. The paper explores the evolutionary progress of Liu Sanjie from class revolution to art revolution in response to political requirements. The author is a stage-trained performing artist, specialized in both Western opera and Chinese classical and folk singing and dance. He is also a critic and art consultant in the Chinese landscape performing arts industry. These professional roles have allowed privileged access to the top people in this industry.

Exploration of Social Benefits for Tourism Performing Arts Industrialization in Culture-Tourism Integration Based on Deep Learning and Artificial Intelligence Technology.

As a product of the tourism performing arts industry in culture–tourism integration development, to develop a featured culture–tourism town is a new trend for tourism development in the new era. To analyze the social benefit of the culture–tourism industry, in this study, an artificial intelligence model for social benefit evaluation is constructed based on backpropagation (BP) neural network and fuzzy comprehensive analysis, with Yiyang Town taken as an example. The criterion layer in the model includes three indexes (life benefit G1, environmental benefit G2, and economic benefit G3), and the index layer contains 11 indexes (H1–H11). The weight values of cultural inheritance and protection, ecological environment improvement, and commercial economy development to the social benefit of the town are 0.522, 0.570, and 0.424, respectively. For G1, 41.20% is excellent; for G2, 39.5% is excellent; and for G3, 40.5% is good. In general, 30.76% of the total social benefit is excellent, with 37.69% being good, 21.48% being qualified, and 10.07% being unqualified. It is inferred that the total social benefit level of Yiyang Town is good according to the constructed model. Therefore, the culture inheritance and protection, the ecological environment improvement, and the commercial economy development are the key evaluation factors of social benefit.