Performing Arts Market Research Articles

Engaging evaluation as a catalyst: Artists and arts managers voices in reshaping the Australian Performing Arts Market

Australian Performing Arts Market (APAM) is the Australia Council for the Arts key strategic engagement to develop national and international touring opportunities for Australian contemporary performing arts. The Market has been delivered since 1994 in four Australian cities hosted by differing cultural venues. Over a sequence of three iterations from 2014 to 2018 the APAM presenting venue, Brisbane Powerhouse, made a commitment to reshape the delivery of the Market. Positioning the Market as a cultural intermediary, this discussion outlines how the Market engaged with evaluative data to transform from a transactional model to a relational focus by foregrounding the experience of artists, companies, and art managers. The findings show how planned and ongoing stakeholder engagement influenced the focus of the Market, and the significance of artist and arts manager voices were in transforming the Market experience away from a focus on buying and selling to collaboration and exchange.

The Impacts of Cultural Experience on Customer Repurchase Intention : In Performing Arts Service Markets

Many managers predict and assume their audiences’ behavior for developing sum of profit and boosting cultural welfare or service quality. In service marketing studies, customer satisfaction and repurchase intention has exhaustively studied and clarified the pathway of customer behavior. However when audiences make a decision, their pathway seems different with customers in normal service markets. Using the structure model, we explore how audiences make decisions to repurchase in the performing arts market. To predict on the audience’s desire to repurchase with merging new conceptual ideas, cultural experience is explored as something emotionally charged and complex in services in the performing arts. This research will seek to build a model and tests the interrelationship of the constructs in predicting repurchase intention in a performing arts market. A survey instrument has been designed based on European audiences who attending Korean performing arts in world biggest performing arts market, Edinburgh festival fringe. Over 36 different countries’ 568 respondents results have processed by utilizing a Structural equation modeling (SEM) of AMOS 7.0 software. The result shows that cultural experience significantly influences audience behavior intention and gives us the suggestion of how the impacts of cultural experience occur on the audience’s decision-making process within emotional appraising. This result approves that the cultural performing arts service is a complex service and it needs special attention for understanding their audience behavior unlike typical services.

A Study on Improvement Measures of KOPIS to Activate Performing Arts Market

공연예술정보를 통합관리하고 있는 공연예술통합전산망(KOPIS) 시스템에 대한 효율적인 운영과 활성화를 위한개선방안을 제시하고자 한다. 이를 위해 일본, 미국, 프랑스, 독일, 호주의 유사 사례를 분석하였고, 그 결과를 바탕으로 국내 공연예술통합전상망의 시스템 한계점과 개선방안을 다음과 같이 제시하였다. 첫째, 공연예술단체 및공연예술인, 관객 입장의 공연정보 제공 및 연동이 필요하고 이를 지원하는 플랫폼 중심의 확장이 필요하다. 둘째, 국민 공연예술의 보편화와 향유를 위한 공연 및 공연예술시설 활용과 접근성이 용이한 시스템으로 인프라를 확충할 필요가 있다. 셋째, 공연예술통합전산망 운영은 경영자, 운영자, 공연예술시설, 공연자, 관객 등 다각화된 대상을 위한 조직 구성으로 균형적인 지원이 제공되어야 한다. 마지막으로 지역 공연 및 공연예술시설을 위한 정보 및데이터의 전국적인 연동과 지역 내 및 지역 간 공유를 위한 지역커뮤니티 네트워크 체계가 구성되어야 한다. 본 연구는 지역 공연예술과 공연예술시설의 균형적 발전과 공연예술시장 활성화를 위한 방안을 제시한다는 점에서 의의가 있다.

The Aesthetic of Acclimatization

Singapore’s global aspirations have, since the turn of the 21st century, led to the consolidation of a range of new institutions—arts research centers, degree granting programs in universities, museums, festivals— with affiliated experts, to prepare the ground for an emergent arts scene that is aligned with the norms of contemporary western art practice. As neoliberal instrumentation competes with the communitarian logic of the traditional arts, dance forms such as Indian classical, Javanese court and Malay folk dances, which once sought to link the ancient past and perpetuity for ethnic communities of spectatorship, are constricted within narrowly defined categories of the regional performing arts market. To avoid becoming mere touristic spectacles, a new generation of traditionally trained artists reinvent their respective forms to accommodate the near future of contemporary culture in Singapore. Such adaptations unsettle the once cohesive universe of traditional dance, resulting in unfinished and unsettling works that betray, to quote Nicholas Bourriard, “countless forms of melancholy”, This paper looks at two recent works of contemporary dance staged in Singapore—January Low’s Reclaim (2019), Raka Maitra’s Pallavi Series (2015-2018). I consider dance emerging from this latter discourse as articulating an aesthetic of acclimatization, sustained by political, communal and institutional attachments that emerge in a climate of overwhelming crises and adjustment. As the traditional dance world in Singapore enters a state of slow death, I identify projects that embark on experiments of partial recuperation, which “stay with the trouble,” as Donna Harraway suggests, making-with and getting-on with what remains of traditional dance and its embodied practices. I suggest that these projects extend the life of traditional dance as a minor, mutated species in an early evolutionary stage that nevertheless transforms the ecology they acclimate to. In remaining selectively porous to neoliberal and biopolitical operations, and receptive to novel artistic regimes, can the aesthetic of acclimatization allow traditional dance to escape its totalization within neoliberal calculations?

공연예술시장의 'AIDA'모델에서의 전략분석

공연예술시장의 'AIDA'모델에서의 전략분석

Connecting Chinese cities with the global performing arts market: the geographies of performing-arts consumption in China

ABSTRACT Research on global cultural cities has been biased toward dominant global cities in advanced economies. In this paper, we present the first geographical analysis of performing-arts consumption in major Chinese cities through measuring the presence, origins and inter-city network of performing arts events. We demonstrate that the distribution of performing-arts consumption in China displays both dispersive and concentrative patterns, generating an urban network with a core-periphery, although polycentric, structure. The variant patterns of urban cultural consumption not only reflect cities’ contemporary linkages with the global economy, but also the long-term evolutionary outcomes of their cultural traditions. In addition, the external connections of China’s performing arts market reveal a rather complex structure of the current global cultural industries, which is shaped by national institutional arrangements and policy interventions. This study enriches our understanding of the complex interactions between cultural globalization, the national institutional context, and the development of local urban cultures.

잠재계층 분석과 의사결정나무 분석을 활용한 공연 예술 시장세분화 연구: 저빈도 관객을 중심으로

잠재계층 분석과 의사결정나무 분석을 활용한 공연 예술 시장세분화 연구: 저빈도 관객을 중심으로

The show must go on

China's performing arts market is staging itself for a succession of encores as problems in the system are given attention

First Nations First: Reshaping the Australian Performing Arts Market Through Respectful Engagement of Aboriginal and Torres Strait Islander Artists and Companies

Australian Performing Arts Market (APAM) is the Australia Council for the Arts’ key strategic engagement to develop national and international touring opportunities for Australian contemporary performing arts. Prior to delivery of the Market1 by Brisbane Powerhouse there was criticism from the Aboriginal and Torres Strait Islander performing arts sector about the lack of inclusion of Indigenous cultural products and low visibility of Aboriginal and Torres Strait Islander perspectives and cultural protocols in the delivery of the Market. Over a sequence of three iterations from 2014 to 2018 Brisbane Powerhouse made a deep commitment to the recognition of the unique contribution that Aboriginal and Torres Strait Islander artists and companies bring to a performing arts market in Australia. The respectful inclusion of Aboriginal and Torres Strait Islander artists was a palpable step-change. This article investigates how APAM became as a site for cultural resurgence for Aboriginal and Torres Strait Islander artists and demonstrates the activation of decolonized practices to reshape the Market.

Musical Parody of Acapella Mataraman: A Creativity Compromise for the Performing Arts Market in Yogyakarta

This study aims to identify and understand the creative process of artists in the performing arts market. The concept of creativity is often the response of the high degree of creativity. Basically an assumption appears if the artist is able to survive in the market is the result of creativity in the performing arts is a form of alternative or compromise. This phenomenon occurred in the group Acapella Mataraman. This case study is based on the concept of Jennifer Lindsay and Umar Kayam about the existence of performing arts groups. The primary data are gained from the interview process with Pardiman Djoyonegoro, then, it is completed with the secondary data through a focus group discussion to explore deeper about creativity process on Acapella Mataraman. The results show that the repertoire of pangkur jenggleng and emperan Nuswantara is a form of compromise. Musical sounds and rhythms of modern music elaborated and presented through acapella techniques. Supplemented by the concept of parody that has appeal and value to the consumer tastes of the performing arts. This form is an effective medium for the delivery of criticism and moral content on each of the repertoire.

A Study on KOPIS for Performing Arts Industry of the era of 4th Industrial Revolution

Based on the digital revolution, the Fourth Industrial Revolution makes scientific technology merge not only with individuals but also with society, corporate, economy and more. It changes their paradigm and attends transitions of the system among countries, corporate, industries, and societies. A cultural economist, David Throsby, foresaw the arrival of internet as one of the paths for arts consumption and vast digital economy in terms of cultural exchange. He believed that it will greatly influence the structure and management of future arts business ultimately. This conveys that e-business, which includes ‘data’ under the use of internet, can become a catalyst for the development of the arts. Also, today’s performing arts is expanding the field of communication by exceeding temporal and spatial boundaries. The collaboration with digital video clips or artificial intelligence(AI) widened the range for the artistic creation and by increasing timely, spacial, financial accessability, different methods of communication are merged. The improvement in arts happens during the process of use and domination of technology which can be seen as a consonance between ability and intention and expression materials and contents. Despite the external growth, there are still many problems regarding supply and distribution in performing arts. The domain of fine arts expanded, however, ‘distribution technique’ is not firmly constructed, creating difficulties for the condition of virtuous cycle in performing arts. As a result, the expansion is in imbalance with the supply and demand which leads to depression and struggle between expansion and abeyance. To overcome these problems and revitalize the market to create, supply, and distribute the high quality contents in performing arts, market transparency should be fostered. For this, information of performing arts and statistical system that is accurate and reliable is needed. ‘Data’ is not only the fundamental elements but it is also the infrastructure for the industry. For performing arts, there are no exceptions at all. Professor Klaus Schwab, who brought up ‘The Fourth Industrial Revolution’, argues in his book that a important value is created when resource is shared through comprehensive cooperation due to costumer’s need and rich data that evolves rapidly. By establishing and administering policies efficiently and effectively through collection, analysis and application of ‘data’ based on customer’s experience and service, the structure for virtuous cycle and its industrialization for preforming arts can be structured. Considering all of these, establishment and stabilization of Korea Performing Arts Box Office Information System (KOPIS) as a ‘data platform’ for performing arts market should be implemented. The purpose of this study is to analyze the current status of KOPIS, look over the related problems, and come up with some improvements in terms of data and service. As a result, KOPIS needs to search for a plan to overcome the quantitative data from various angles. Supplementation of legalization or institutionalization such as revision of the Public Performance Act is necessary also. In a period where art is developing under AI or convergence within, detailed and systematic reassortment of genre is necessary more than archiving data. Moreover, variation of delivering method and service exposure along with the availability of linkage between the portal and performance information needs to be enhanced. With the participation of major ticket sale sites, KOPIS began its official status. However, there are still many processes to go through to make program go smooth. It is expected that this study can be used as a basic reference and attribute to advancement and foundation construction for industrialization of performing arts. Furthermore, based on the result of this study, more systematic study on development plan of KOPIS will be expected.

Creative Industry: Two Cases of Performing Arts Market in Indonesia and South Korea

This article explores the concepts and practices of performing arts market, one of the fifteen sub-sectors of creative industry in Indonesia. This study discusses two performances namely Indonesia Performing Arts Market (IPAM) 2013 in Indonesia and Performing Arts Market in Seoul (PAMS) 2015, South Korea. The data were collected through participatory observation, interview, literature review, and personal reflections. The data were analyzed by using triangulation, member check, compare and contrast, and interpretation. The findings of this research show that the similarity of the two performing arts markets lies in their concept of globalization in regards to world society. The performing arts markets share two similar targets, festival in the country and tour abroad. The main differences between IPAM and PAMS are the scope of the event and the institution holding the event. IPAM showcased the works of Indonesian performing arts, while PAMS showcased the works of Korean performing arts and the arts from other countries. IPAM 2013 was organized by the central government, while PAMS 2015 was organized by Korean Arts Management Services (KAMS) that was financially supported by the central government of South Korea.

Relation Between Creativity and Economy in the Creative Economy (A Case Study on Acapella Mataraman Musical Parody Community)

The aim of this study is to determine and to explain the relationship between creativity and economics. This phenomenon can be seen through the performing arts community in the era of government policy on creative economy which established in 2007. As the qualitative study, this study used case study approaches to Acapella Mataraman community .This study also used the economic concept art by Ruth Towse. The research finding of this study is the creative economy logic of the government can create important factors of increasing the level of creativity. So that Pardiman as the intellectual and major figure in Acapella Mataraman community is able to classify his creativity on consumer’s price demand. In addition, the non-profit aspect also can be applied by Pardiman as the Acapella Mataraman community promotion in the performing arts market.

The Attributes, Functions and Divisions of Folk Arts Market

Folk Arts industrialization has three systematical factors, which are the subject, object and medium of folk arts. The coordination of these three factors can bring the sustainable and orderly development of folk arts. The resource of folk arts is the object of folk arts industrialization; the production operators and the consumer consist of the subject, and folk arts market as the medium of folk arts industrialization which connects the subject and object, is the bridge that links the the production of folk arts and the consuming of folk arts, and promotes the production of folk arts and guide the consuming of folk arts. Under the arts industry context, based on the attributes of the resource of folk arts and the condition of the demands of market, strengthening market development consciousness, putting forth effort on tourism, performing arts market, handicrafts market, exhibition market, movie and television market and other divisional markets are the preconditions to make the process of folk arts industrialization to carry on orderly.

Translated Musicals and Musical Translation in Korea

Korea s musical market has grown by more than three hundred percent during the past five years and now claims over fifty percent of the performing arts market. Since musicals in their current form are of western origin, the translated productions most likely have played an important part in shaping the Korean musical industry. This paper examines the brief history of large-scale translated musical productions for the past five years in an attempt to better define their role in shaping the current Korean musical culture. Relative to other elements of western culture, musicals have been late in entering the Korean market. This paper attempts to postulate the reason behind the late arrival of this genre. Also of interest are the translation mediation methods adopted by translators. Translation is generally a very complex procedure, but translation of musicals has added factors such as music, performability, acceptability, marketability as well as approval from the original production companies. The translation process and strategies used by the translators are examined and motivations behind these decisions are postulated.

Programming Practices in the Spanish Performing Arts Market

ABSTRACT Programming is the core activity for theatre managers. Research into this topic still presents a lack of empirical studies nowadays. To fill this gap the authors undertake a survey focused on performing arts organisations in Spain. Hirschmann's (1983) model for the artistic production process is considered to state the research questions. The research methodology comprises both qualitative and quantitative techniques. A questionnaire was designed after reviewing previous studies in this field and with primary information obtained from in-depth interviews with performing arts managers. A battery of 28 items relating programming was included in the questionnaire. The audience profile is considered as a key factor for programming. However, Spanish theatres are more product oriented than audience oriented in general terms, reflecting a slight adoption of marketing principles and techniques in this context.