Building partnerships as a key strategy in developing an event ...

Building partnerships as a key strategy in developing an  event management model for an international dance  event: a case study of the 2008 WDA (World Dance  Alliance) Global Summit, Brisbane, Australia 

by

SHUYI LIAO

BA

Submitted for the degree of Master of Arts at the Queensland University of Technology

January, 2009

Table of Contents Table of Contents ..................................................................................................................... I  Keywords .................................................................................................................................VII  Abstract ...................................................................................................................................VIII  Statement of original authorship ....................................................................................IX  Acknowledgements ................................................................................................................X  Chapter 1: Background to the study ............................................................................... 1  1.1 The purpose of the study .............................................................................................. 1  1.2 Concepts of event management .................................................................................. 3  1.2.1 Definitional perspectives ....................................................................................... 3  1.2.2 The application of a project management approach in the events field ..... 5  1.2.3 An event management model: EMBOK .............................................................. 9  1.3 Event management strategies (model) for not-for-profit arts event ................ 11  1.3.1 The definition of an arts niche event ................................................................ 11  1.3.2 The characteristics of not-for-profit management......................................... 12  1.3.3 Challenges for implementing an international not-for-profit arts event ... 12  1.3.3.1 A tourism perspective .................................................................................. 13  1.3.3.2 Market oriented events ................................................................................ 14  1.4 The role of partnerships in not-for profit arts events ........................................... 16  1.4.1 Partnership definitions ......................................................................................... 16  1.4.2 Partners as stakeholders ..................................................................................... 17  1.4.3 Categorisations of stakeholders......................................................................... 17 

I

1.4.4 Fundamentals of social capital ........................................................................... 21  1.4.5 Partnerships and social network ........................................................................ 23  1.4.6 Trust......................................................................................................................... 24  Chapter 2：Methodology .................................................................................................... 27  2.1 Paradigm: Realism........................................................................................................ 28  2.2 Qualitative methodology ............................................................................................. 29  2.2.1 Case study approaches ........................................................................................ 30  2.2.2 Ethnographic approach ........................................................................................ 32  2.2.3 The researcher’s role............................................................................................ 34  2.3 Data collection ............................................................................................................... 35  2.3.1 Participant observation ........................................................................................ 36  2.3.2 Semi-structured interviews................................................................................. 37  2.3.3 Questionnaire survey ........................................................................................... 39  2.3.4 Documents and archive records ........................................................................ 40  2.3.5 Triangulation .......................................................................................................... 41  2.4 Data analysis ................................................................................................................. 43  2.5 Ethical considerations .................................................................................................. 46  Chapter 3: History and structure of host organisations, World Dance Alliance and Ausdance ........................................................................................................ 47  3.1 Background .................................................................................................................... 47  3.2 Relationship between World Dance Alliance (WDA) and Ausdance ................... 49  3.3 Evolution of organisational goals............................................................................... 51  3.4 Evolution of organisational structure ........................................................................ 53 

II

3.5 Membership strategy ................................................................................................... 55  3.5.1 The role of chapters ............................................................................................. 55  3.5.2 The relationship between chapters and national organisations .................. 56  3.5.3 The role of networks ............................................................................................ 57  3.6 The role of events ......................................................................................................... 59  Chapter 4: The conceptualisation and implementation (outcome) of 2008 WDAGS ...................................................................................................................................... 65  4.1 The bidding process...................................................................................................... 65  4.2 Program design and branding .................................................................................... 66  4.3 Realising the event ....................................................................................................... 72  4.3.1 Dates and venues ................................................................................................. 72  4.3.2 Implementation ..................................................................................................... 73  4.3.2.1 Dance Dialogues............................................................................................ 73  4.3.2.2 Performative Dialogues................................................................................ 74  4.3.2.3 Physical Dialogues ........................................................................................ 79  4.3.2.4 Networking Dialogues .................................................................................. 84  4.3.2.5 Performances and Associated Events ....................................................... 85  Chapter 5: Partnerships & their relationship to the event management model of 2008 WDAGS ....................................................................................................... 87  5.1 Event management structure..................................................................................... 87  5.1.1 The overarching committee ................................................................................ 87  5.1.2 The executive committee .................................................................................... 90  5.1.3 Staffing structure .................................................................................................. 92  5.1.3.1 Administration and management .............................................................. 93 

III

5.1.3.2 Student volunteers ....................................................................................... 94  5.1.3.3 Professional volunteers ................................................................................ 97  5.1.4 The conference committee.................................................................................. 97  5.2 Partnerships ................................................................................................................. 100  5.2.1 Identifying partners ............................................................................................ 100  5.2.1.1 Funding partners ......................................................................................... 102  5.2.1.2 Program partners ........................................................................................ 110  5.2.1.3 Operational Partners .................................................................................. 114  5.2.3 Partner inter-relationships ................................................................................ 115  5.2.4 Maintaining partnerships ................................................................................... 117  5.2.4.1 Subjective successful factors ................................................................... 118  5.2.4.2 Objective successful factors ..................................................................... 120  Chapter 6: Conclusion ....................................................................................................... 125  References ............................................................................................................................. 129  Appendix A: Interview questions ................................................................................. 138  Appendix B: Questionnaire survey .............................................................................. 140  Appendix C: Consent form .............................................................................................. 141  Appendix D: Masterclass information ........................................................................ 144  Appendix E: The inaugural meeting of conference committee ........................ 153 

IV

List of Tables Table 1: Key roles in the 2008 World Dance Alliance Global Summit 38  Table 2: Comparison of initial goals of the WDA with current goals (2008)

of WDA-AP ...................................................................................... 52 

Table 3: WDA-AP Annual Events & Global Summits .............................. 60  Table 4: WDAGS from 2000 ........................................................................ 62  Table 5: Feedback from QUT Event Management survey ..................... 76  Table 6: Executive Committee members ................................................. 90  Table 7: Student volunteer/supervision relationship & roles ............... 96  Table 8: Cash funding partners ................................................................ 105  Table 9: Unsuccessful applications for cash support ............................ 106  Table 10: 2008 WDAGS Program Partner involvement ....................... 114 

V

List of Figures Figure 1: The EMBOK framework ................................................................. 9  Figure 2: The stakeholder relationship to events ................................... 18  Figure 3: Overarching structure ................................................................. 53  Figure 4: WDA-Asia Pacific Board structure ............................................. 54  Figure 5: The Image of 2008 WDAGS....................................................... 69  Figure 6: Selected photos of performance presentation ....................... 79  Figure 7: Selected photos of Choreolab.................................................... 83  Figure 8: The initial event management model ...................................... 88  Figure 9: The actual event management model ..................................... 89  Figure 10: Staffing structure ...................................................................... 93  Figure 11: The pyramid figure of logos .................................................. 101  Figure 12: Distributed Financial Model ................................................... 110  Figure 13: The relationship of partners .................................................. 116

VI

Keywords:

partnerships;

international

dance

event;

project/event

management; Australian case study; not-for-profit arts organisations

VII

Abstract With the increasing growth of cultural events both in Australia and internationally, there has also been an increase in event management studies; in theory and in practice. Although a series of related knowledge and skills required specifically by event managers has already been identified by many researchers (Perry et al., 1996; Getz, 2002 & Silvers et al., 2006) and generic event management models proposed, including ‘project management’ strategies in an event context (Getz, 2007), knowledge gaps still exist in relation to identifying specific types of events, especially for not-for-profit arts events. For events of a largely voluntary nature, insufficient resources are recognised as the most challenging; including finance, human resources and infrastructure. Therefore, the concepts and principles which are adopted by large scale commercial events may not be suitable for not-for-profit arts events aiming at providing professional network opportunities for artists. Building partnerships are identified as a key strategy in developing an effective event management model for this type of event. Using the 2008 World Dance Alliance Global Summit (WDAGS) in Brisbane 1318 July, as a case study, the level, nature and relationship of key partners are investigated. Data is triangulated from interviews with organisers of the 2008 WDAGS, on-line and email surveys of delegates, participant observation and analysis of formal and informal documents, to produce a management model suited to this kind of event.

VIII

Sttatemen nt of oriiginal authorsh hip ork contain ned in this thesis hass not been previouslyy submitted d to meet “The wo requirem ments for an a award at a this or any other higher educcation instittution. To the besst of my knowledge and be elief, the thesis contains no material previoussly published or writte en by anotther person n except w where due reference is made.”

________ _________ _________ ______

____ ___18/08/2 2009_____ ________

Signature e of candid date

Date e

IX X

Acknowledgements Firstly, I would like to express my gratitude to my principal supervisor A/Prof. Cheryl Stock and associate supervisor Ms Rachel Pedro. As an international student who just started her academic journey, I have been fortunate to acquire enormous support from the supervision team not only for the thesis itself, but also in other aspects such as improving my English skills and in my daily life. During almost one year and a half, I was rewarded by a learning experience that went beyond my research. Again, special thanks to A/Prof Cheryl Stock for her untiring commitment, intellectual advice, and valuable time.

Secondly, I would like to extend my thanks to those organisers of the World Dance Alliance Global Summit including the key staff of the conference committee and the members of the executive committee, who were so supportive of my research. It has become more than a research project to encompass a learning process about many aspects of the field of dance and arts management.

Finally,

this

thesis

would

never

have

been

completed

without

the

encouragement and help of my friends and family.

X

XI

Chapter 1: Background to the study 1.1 The purpose of the study The purpose of this study is to identify the status of building partnerships as a key strategy for developing an effective event management model for not-forprofit arts events through a single case study: the 2008 World Dance Alliance Global Summit (WDAGS), held in Brisbane, Australia. The following research questions arising from the nature of the case study delineate a framework for the investigation.

1.

How do dance activities that aim to provide networking and professional development opportunities for artists to extend their practice, attract investors or support?

2.

How important is the establishment of partnerships for not-for-profit arts organisations which do not aim to provide commercial outcomes？

3.

How did WDAGS build partnerships and why was this particular partnership combination selected?

4.

Were these partnerships effective?

5.

How did these partnerships influence the event management model?

In order to contextualise the research topic and the surrounding issues above, a survey of current relevant literature on event and project management, the nature of partnerships and their relationship to events, was undertaken. This

1

literature review provides a theoretical perspective to inform the study and provides existing event management models on which to draw. There appears to be an increasing growth in events both in Australia and in an international context, ranging from small local community festivals to large complex international events (Allen et al., 2008). Subfields of such events are proposed by Goldblatt (1997, p.6), including ‘civic events, conventions, expositions, fairs and festivals, hallmark events, hospitality, incentive travel, meetings and conferences, retail events, reunions, social life-cycle events, sport events, and tourism’. In terms of size, function, form or content, these different types of events above reflect the particular contexts which make it difficult to agree on a standard definition of the nature of an event. However, all events have the common characteristics of being ‘temporary’ and ‘unique’, ‘stemming from the blend of management, program, setting and people’ (Getz, 2005, p.16). The Accepted Practices Exchange (APEX) Industry Glossary of terms (Convention Industry Council, 2004) defines an event as ‘an organized occasion such as a meeting, convention, exhibition, special event, gala dinner, etc.’ When referring to ‘special events’, Goldblatt (2005, p.6) describes an event as a ‘unique moment in time celebrated with ceremony and ritual to satisfy specific needs’, while Getz (2005, p.16) talks about the term ‘event’ from the perspectives of both event organisers and customers/guests. Although similar principles can be shared to profile events, it is important to recognise that each event is motivated by different objectives which lead to diverse participants,

2

management strategies and style. However, it would seem that previous event management models are quite generic. Getz (2007, p.295) has argued that ‘little related research is being done to test concepts and evaluate methods specific to different types of events and event settings’. Apart from lack of specific methods for certain types of events, much of the key literature is discussed in a corporate context (such as in O’Toole & Mikolaitis, 2002). Since this research focuses on a non-corporate cultural context in a service-based environment, it is necessary, on one hand, to identify whether applying those event management models is suitable in terms of the specific characteristics of not-for-profit arts events and, on the other hand, to explore effective strategies for successfully realising such events. Previous research on event management with a particular focus on project management models is discussed, and EMBOK (Event Management Body of Knowledge) is introduced as a useful structure to relate to this study. In terms of the changing roles of the event industry, the challenges for event management have also been identified especially in relation to the specific event type of an international dance global summit. Finally, the role of partnerships is examined in response to challenges for not-for-profit arts events.

1.2 Concepts of event management 1.2.1 Definitional perspectives Goldblatt (1997, p.4) emphasises the function of event management is to support ‘human assembly for the purpose of celebration, education, marketing, 3

and reunion’. Getz (1997, p.11) lists the necessary components of event management as comprising ‘organising and coordinating; leadership; planning, evaluating, and controlling; human resources (or staffing); financing; and marketing’. Thus, it is not surprising that much knowledge and many skills of event management are borrowed from closely related disciplines such as tourism, sport, arts administration, leisure studies and recreation (Getz, 2007). Despite varying definitions of event management, most are generally based on Henri Fayol’s famous four functions of the management process, ‘planning, leading, organising and controlling’ (as cited in Byrnes, 2003, p.12).

Despite

generic

theories

and

methods

provided

from

the

traditional

management area, events still have their own characteristics which require particular management styles. Getz (1997, p.11) points out that a combination of ‘creativity and operational skills’ is also needed in ‘programming and event production’ (Getz, 1997, p.11). Similarly, Silvers et al. (2006, p.185) describes the principle of event management as a ‘multidisciplinary occupation’ which attracts persons ‘who possess creative talents and organisational skills’.

In fact, with the development of event management, a series of related knowledge and skills required specifically by event managers has been identified by some researchers (Perry et al., 1996; Getz, 1997; Royal & Jago, 1998). Based on a survey conducted at the Australian Events Conference in Canberra, Perry et al. (1996, p.88) identified 19 knowledge areas and attributes

4

required by event managers. The survey results demonstrate that the aspects most valued include: • • • • • • • • • •

project management budgeting time management relating to the media business planning human resource management marketing contingency management obtaining sponsorship networking

Specifically, an events manager with particular skills in project management is considered one of the most important attributes, according to the views of 105 managers (Perry et al., 1996, p.88). Most importantly, Getz (2000) proposes a ‘two-level conceptual framework’ extracting the necessary skills of event managers from both a generic management perspective and an event specific perspective.

1.2.2 The application of a project management approach in the events field Similar in nature, project management is well established and thus can contribute to the general event sector. Emerging from engineering, project management has been defined as ‘a response to the inability of traditional organisational structure and methods to deal with the new economic fluidity’ (O’ Toole & Mikolaitis, 2002, p.22). In terms of this research, a project management approach is employed to examine the different facets of, or projects within, a large event. 5

‘A project is a complex nonrouting one-time effort limited by time, budget, resources and performance specifications designed to meet customer needs’ (Gray & Larson, 2000, p.4). According to the definition, a discrete time period is emphasised which distinguishes it from the concept of ongoing management. An event, at this point, can be considered as a project. Based on the traditional project management provided by PMBOK 2000TM ( P Management Body of Knowledge), five phases and nine knowledge areas are identified by Allen et al. (2008) to describe the processes involved in event project management. A textbook approach is employed to examine the advantages and disadvantages of adopting ‘project management’ in an event context.

According to Allen et al. (2008, pp.163-165), a project will pass through five phases described as:

1) 2) 3) 4) 5)

Initiation Planning Implementation Event Shutdown

A traditional project management considers implementation as a final phase, as it often results in a tangible outcome such as a building. Extra phases are needed for an events context which will involve the examination of the event. Generally, there is a lot of work to be done post-event, both on-site and off-site. The former requires packing up and re-setting the environment for the next 6

event, while the latter includes a debrief and evaluation of the management team and structure. A shutdown may lead to a perceived failure of an apparently successful event if the post-event management is not well handled, since it involves the evaluation of the events’ outcomes and possibly preparation for the next event. Therefore, the shutdown phase may in fact be better described as the debrief phase （Allen et al., 2008, p.165).

It should be noted that some of the event knowledge areas are described differently in project management. For example, cost is called finance in event management. This is because event managers need to search for suitable sponsorship and funding which may not be a problem in traditional project management.

Additionally,

some

extra

areas

are

identified

in

event

management such as marketing and stakeholder management. In event management, marketing can be recognised as a ‘feed-forward control mechanism’ and as a ‘risk management tool to minimize uncertainty’ (Allen et al., 2008, p.166). In other words, successful marketing is thought to ensure a high level of participation in the event. Stakeholder management is considered a major function for an event manager who is most probably dealing with a number of projects with various stakeholders (Allen et al., 2008, p.129). Instead of just meeting the needs of its audiences or participants, an event is judged by its ‘success in balancing the competing needs and interests of a diverse range of stakeholders’ (McDonnell et al., 1999, p.39).

7

The advantages of using project management strategies and theories for events have been identified as including establishing a systematic approach to all events under the following headings (O’ Toole and Mikolaitis, 2002, pp.23-25): • • • • • • • •

Depersonalizing the event Facilitating clear communication Conforming to the methodology used by other departments Ensuring accountability Increasing the visibility of event planning Facilitating training Developing transferable skills Establishing a diverse body of knowledge

From the description above, one can see that many techniques from traditional project management have been well absorbed by the event sector such as ‘the scope’ and ‘work breakdown structure’ (WBS) (O’ Toole and Mikolaitis, 2002, p.27). To apply a WBS technique means the tasks are classified into manageable units so that event management structure can be build up from component break down information. However, although project management is a widely accepted management framework for events, there are still limitations which have been identified by some researchers (Shone, 2001; O’Toole & Mikolaitis, 2002). Instead of a solid defined asset and stable management environment as in a traditional project management context, event management needs to be more flexible in terms of new opportunities and challenges that could emerge at any time across all five phases, such as new funding policies and new marketing information. Therefore, it is challenging for event managers/organisers to face the ‘intangible nature’ and ‘ever-changing

8

environment’ of an event (Allen et al., 2008, p.188). More flexibility is thus required for leadership in an event context than in a typical business setting. As Van der Wagen, suggests, one must sometimes be ‘autocratic, as in a crisis, and at other times collaborative and appreciative’ (as cited in Getz, 2007, p.259).

1.2.3 An event management model: EMBOK Based on an examination of previous studies, Silvers et al. (2006) have developed the Event Management Body of Knowledge (EMBOK). The conceptual EMBOK model, as illustrated below, is based on three dimensions that correspond to the core values, process, and phases of project management. In addition, knowledge domains have also been identified and classified into sub-areas.

Figure 1: The EMBOK framework (Source: Silvers et al., 2006, p.193)

9

Since Silvers et al. (2006) argue that the project management is often mistaken as the representation of the entire event management system, the five phases of project management are only one of three dimensions which should not be viewed in isolation, as shown in Figure 1.

Most importantly, the core values of creativity, strategic thinking, continuous improvement, ethics, and integration are the values that must permeate all decisions throughout event management regarding every element, phase, and process. Especially in an arts event, artistic expression and creativity could be regarded as essential qualifications for an effective event manager. Core values become crucial criteria when making decisions in response to the ever changing event environment.

Silvers et al. (2006) argue that the output of the process such as tourism and destination marketing should not be confused with the event management process. Unlike a pure business model which emphasises outputs, Silvers et al. (2006, p.195) suggest that, ‘A major use for the EMBOK is in the recognition of event management as a process’ and can be described as ‘an integrated, sequential, and iterative system associated with each element of each class of each domain at each phase in the event management process, with tools and techniques that may be used for each’ (Silvers et al., 2006, p.194).

This model solves the dilemma of the perceived inability to describe processes appropriately, which has been considered a major constraint for the

10

development of event management research. As Getz (2007, p.288) comments, ‘the EMBOK project is intended to provide the body of knowledge necessary to permit licensing’ which accelerates the professionalism of event management. However, in terms of the diverse nature of different events, it is difficult to achieve the same standard across all components of the event. As Harris (2004) argues, a lack of common purpose and unity stemming from the diversity of events currently precludes the assurance of standard professional status.

1.3 Event management strategies (model) for not-for-profit arts event 1.3.1 The definition of an arts niche event Although this research will focus on a specific global dance summit, it is helpful to define its characteristics under the bigger picture of cultural events, and the more specific nature of an arts event. A global summit can be defined as a professional gathering to discuss specific issues in relation to its targeted field from an international perspective. Thus, a dance global summit can be defined as a gathering of dance professionals and specialists with the purpose of sharing and discussing crucial issues emerging from the dance discipline. Unlike an international dance festival event whose program is usually to curate showcase performances with paying audiences, the nature of a global dance summit can be described more in terms of ‘meetings and conferences’, which ‘primarily deals with educational seminars providing networking opportunities for association members’ (Goldblatt, 1997, p.8). However, in a dance global summit, this does not mean that dance showcases are not included. In a physical art 11

form, in-studio professional development, sharing performance work and masterclasses are equally important as discussions and conference papers. To ensure maximum efficacy of a dance event, a series of different activities with diverse forms are combined, often under the umbrella of a particular theme. Thus, in this context “summit” means much more than ‘meetings and conferences’.

1.3.2 The characteristics of not-for-profit management The common features among this sector

include: ‘centrality of values,

complexity of revenue generation, reliance on volunteers, difficulty in judging performance, accountability and Board/staff conflict in relation to economic contribution’ (Allen Consulting Group, 2002, p.36). The leader’s responsibility in a not-for-profit organisation thus includes recruitment and development of board or committee members, fundraising, engaging in advocacy and creating a shared strategic vision and mission.

1.3.3 Challenges for implementing an international not-for-profit arts event With changing economic environments and cultural policies, cultural events have experienced a series of evolutions. Instead of being a forum for celebrating community and seasonal change which is described from an anthropology perspective (Alomes, 1985), it would seem that this evolution has seen a broadening role for cultural events. Rather than a pure celebration of community, Schuster (2001) describes festivals from an ‘arts and urban development’ perspective, whilst Crespi-Vallbona and Richards (2007, p.106) further expand 12

the idea and highlight the status of a festival as a ‘catalyst’, which can contribute to ‘urban renewal, attracting tourists and capital investment, enhancing a city’s image and creating new jobs’. In citing van Elderen, they also describe the meaning of cultural festivals as a ‘symbolic transformation of public space to a particular form of cultural consumption’ (Crespi-Vallbona & Richards, 2007, p.106).

In terms of the broadening roles which cultural events play in our contemporary society, many researchers have become interested in the economic contribution of events, rather than their content or symbolic importance, and begin to view such events from a tourism perspective, and from a market orientation.

1.3.3.1 A tourism perspective From a tourism point of view, an event manager meets visitors’ needs, using that information internally to create programs that will satisfy them (Mayfield & Crompton, 1995). However, Crespi-Vallbona and Richards (2007, p.106) argue that although tourism has been identified as ‘one of the main conduits of modernization and commoditization for cultural events’, there are very few notfor-profit cultural events which are directly related to tourism in terms of economics connected to urban renewal. Cultural events are often organised by volunteers from community or professional associations, with differing levels of public or private sector support. Especially in recent years, in relation to the meaning and value of cultural events, research which only concentrates on the

13

replacement of local, traditional culture by globalised, popular culture has been criticised (Crespi-Vallbona & Richards, 2007).

1.3.3.2 Market oriented events ‘In general, it can be said that marketing has dominated the events literature in terms of management topics, including sponsorship and motivational, satisfaction and segmentation studies’ (Getz, 2007, p.375). The adoption of the concept of market orientation seems to be advantageous to management models of arts festivals trying to satisfy the need of audiences. However, ‘many events exist in the realm of public policy or social services, and do not need to respond only to market forces’ (Getz, 2007, p.279). Mehmetoglu and Ellingsen’s (2005) research based on a survey of 13 small Norwegian festivals, concludes that none of these events adopt a market oriented concept.

It would seem that the changing roles of cultural events nowadays, present challenges to traditional event management practices, not only in terms of type of events and their context but also their function. In the Australian context, government and related sectors have become interested in the events sector largely due to their potential economic contribution. Rentschler (1998) and Radbourne (1997) state that cultural policy has shifted from supply to market oriented, especially since the Creative Nation policy produced by the Federal Government in 1994. In order to encourage partnerships between business and the arts, which saw a shift to more visible and commercial outcomes for the arts, an advisory body called AbaF (The Australian business for the arts Foundation) 14

(AbaF, 2002) was funded by the Australian Government. Its task is to foster sponsorship relationships between arts and business. Despite the increasing interest of sponsors, government and funding agencies in the event sector as mentioned above, their focus largely concentrates on an event’s ever-increasing attendance and the ability to return a profit (AbaF, 2002).

However, the event which is volunteer-driven by nature with a focus on networking opportunities and professional participation rather than profit, may find it difficult to attract investment. For most events of a largely voluntary nature, insufficient resources are still recognised as the most challenging; including finance, human resources and infrastructure (Allen et al., 2008).

As Hadley (2007, p.2) argues, previous research about events pays much attention to the degree of formality with which they are programmed, managed and positioned in the marketplace. In other words, they cater for ‘external market environments’, and are predominantly product/outcome driven. At this point, tourism and some market-oriented management models which are suitable for larger-scale sports, arts and food festivals with an attraction for major sponsors can be counterproductive for smaller events, especially if they focus exclusively on this strategy. In response to the limited resources available when holding small scale community-based events, Hadley (2007) proposes a strategy which can be described as a ‘partnership strategy’ based on ‘cooperation, trust and social capital’. The following section draws on the

15

significance of building partnerships in not-for-profit arts events and the strategies to achieve an effective outcome, not just in marketing terms.

1.4 The role of partnerships in not-for profit arts events 1.4.1 Partnership definitions The term partnership has been used to describe the relationship of cooperation among private enterprises (Kanter, 1994; Koza & Lewin, 1998; Hemphill & Vonortas, 2003). More recently it has also incorporated public-private partnerships (PPP) (Miller & Ahmad, 2000; Rowe & Devanney, 2003). Nicholls (2005, p. 6) describes partnerships as a relationship ‘where two or more parties, having compatible goals, form an agreement to work together in a mutually beneficial manner, often doing things together that might not be possible alone’. Googins and Rochlin (2000) specifically emphasise the importance of financial reciprocity when judging the effectiveness of partner relationships in a crosssector context.

Partnership, in event management terms, can be very broad and is used across a range of disciplines. It can be considered ‘a critical factor to attract resources to plan, manage and evaluate the event’s marketing strategies’ (Allen et al., 2008, p.331). In a not-for-profit voluntary context, the benefits of partnerships can be found in Halseth and Ryser’s (2007) research, which concludes that partnerships can be used for expertise, to access resources and for networking. In particular, funding is evidently crucial in determining the value of partnerships,

16

and, as Halseth and Ryser (2007) suggest, partnerships have increasingly been a requirement to access some government funding programs.

Based on the definition and benefits of partnership as discussed above, the following section will discuss the range of partnerships in an event context. Some related concepts including stakeholders and the fundamentals of social capital theory will also be reviewed to frame an effective partnership strategy.

1.4.2 Partners as stakeholders In terms of the diversity and complexity of partners and other relationships in an event, a stakeholder theory is useful to help analyse the different nature of partners and examine their varying relationships.

As Getz (1997, p.15) states ‘Stakeholders are those people and groups with a stake in the event and its outcomes, including all groups participating in the event production, sponsors and grant-givers, community representatives, and anyone impacted by the event’. In the ‘Event Management Profession model’, Goldblatt (1997, p.4) emphasises stakeholders’ various motivations such as what they ‘financially, politically, emotionally, or personally invested in an event’.

1.4.3 Categorisations of stakeholders A number of stakeholder categorisations are revealed in the event management literature such as those defined by Shone and Parry (2001) as comprising the ‘public, private and voluntary sector’, examining event stakeholders from a

17

social angle, whereas McDonnell et al. (1999) looks at stakeholder relationships from a functional angle.

According to McDonnell et al. (1999), from a functional point of view, there are six major event stakeholder groups which are illustrated below:

Host organization

Host

Participants & Spectators

community Event

Co-workers

Sponsors Media

Figure 2: The stakeholder relationship to events (Adapted from McDonnell et al., 1999, p. 39)

The functional approach to stakeholder analysis developed by McDonnell et al. (1999) identifies event stakeholders according to their roles, as above, in implementing the event through a web of relationships among them. This fits well with cultural events, where there are a wide range of stakeholders involved in the development, production and consumption of the event.

Sponsors are considered major stakeholders in event management literature, and so characteristics of partnerships and sponsorships can be interchangeable

18

in some situations. As Bowdin et al. (2006, p.228) suggest, ‘events and festivals must view sponsorships as working business partnerships’. Partners can be sponsors who become involved in an event through financial participation and/or in-kind contributions. Some sponsors may emphasise their commercial interest in the event, while others are looking for more intangible benefits. As Meenaghan (1983, p.9) suggests:

Loosely defined, sponsorship can be regarded as the provision of assistance either financial or in-kind to an activity [e.g., sport, musical event, festival, fair, or within the broad definition of the Arts] by a commercial organization for the purpose of achieving commercial objectives. This kind of sponsorship can be viewed as ‘a strategic marketing investment’ (Bowdin et al, 2006, p.228). In this scenario, arts sponsorship can be considered to be a communication tool in the business world in order to market their product or service (Meenaghan, 1998). In other words, the art is used to sell a product. However, partners in a volunteer based arts event may not be driven by the motivation of commercial benefit. As Waterman (1998, p.69) argues, due to declines in public subsidies, arts festivals have been driven into competing for business sponsorship, as a result of which ‘the festival becomes a medium for business image making, as well as an arena characterised by less adventurous and less expensive programming’. It seems that festivals can be easily made as an economic tool, failing to meet social and cultural goals.

19

A host-organisation is the organisation responsible for running the event. The different natures of host organisations determine the various ranges of stakeholders. In a not-for-profit voluntary context, from a social perspective as suggested by Shone and Parry (2001), voluntary bodies as host organisations can organise a whole event based on solely voluntary work or a mixture of voluntary work and receiving support from other stakeholders like local authorities, other voluntary organisations, or partially commercial organisations, companies, and sole traders. The host community provides a geographic context for the event. However, the same event can be culturally diverse in terms of the differing nature of the host communities.

Another possible major partnership can exist between the co-workers and the host organisation(s). Co-workers can include administrative and technical staff as well as volunteers for different parts of the event. Labor and support provided by co-workers for the event can be exchanged as either payment or in-kind of rewards by the host organisation(s). Thus, the relationship between the coworkers and host organisation(s) can be a long term relationship from the very beginning to the closure of the event.

Participants and spectators comprise the event’s audience, who pay to attend the cultural/arts events and seek quality content and service from the organiser and the event. It should be noted that participants and spectators can have very different relationships with the host organisation. The former are usually much more involved in an event such as a conference presenter who may participate 20

from the pre-event to the post-event whist spectators mainly only focus on the actual event itself and their observation of it. Although the different nature of stakeholders can influence an event and various possibilities of partner relationships between event and stakeholders, this research focuses on those stakeholders who are involved directly in the development and production of the event and therefore can be considered partners. Thus, stakeholders as participants and spectators will be only considered as a way of evaluating the case study event.

Consequently, the range of partners can involve event staff and volunteers, as well as commercial sponsors and public or private funding bodies and institutions. A partner relationship can exist, on one hand, between the host organisations and other stakeholders which consist of external partners such as sponsors; and on the other hand, within the host organisations and their teams. Additionally, the degree of participation of different partners should be taken into account. Some of them may have a close and long term relationship sharing many resources including organisational structure and staff, while others may be less involved in the process of the event. The balance of these factors influences the effectiveness of the partnerships.

1.4.4 Fundamentals of social capital Getz (2007, p. 352) has argued that ‘Event studies fits best into Social Science, mainly because of its heavy reliance to the human and behavioral disciplines’. The terms from the sociology discipline such as ‘social capital’, ‘social network’ 21

and ‘trust’ become useful. As Portes (1998, p.7) states, ‘Whereas economic capital is in people’s bank accounts and human capital is inside their heads, social capital inheres in the structure of their relationships’. Social capital ‘refers to connections among individuals – social networks and the norms of reciprocity and trust that arise from them’ (Putnam, 2000, p.19). In this sense, partnerships are similar in definition to social capital in that they are based on reciprocity or mutual benefit, and involve people coming together to achieve a common goal (Wallis, 1998). In terms of voluntary organisations which are coping with limited financial resources by accessing other forms of support, ‘social capital’ theory is particularly useful in examining the effectiveness of partnerships amongst voluntary organisations.

Hadley (2007) emphasises the crucial use of ‘social capital’ in the specific context of small cultural festivals. Although this research focuses on an international arts event which may distinguish it from the small cultural festivals mentioned above, they still have something in common especially in emphasising values as outcomes rather than economic contribution and tourism. Additionally, this type of professional arts event normally has limited budgets and resources. Thus the use of ‘cooperation, partnerships and social capital’ can help minimise the need for major financial resources. One way, as suggested by Hadley (2007, p.3), is to ‘encourage other organisations to contribute to their programming’, rather than paying for or commissioning program items.

22

1.4.5 Partnerships and social network ‘Network theory’ is closely related to stakeholder theory. A ‘social network’ consists of individual ‘actors’ and the ties between them, either formal or informal. Getz (2007, p.58), discussing ‘social network’ in an event context, suggests that the more ties an actor has (e.g., event organization) the more social capital it will accumulate. Putnam (1993) identifies two types of networks: horizontal and vertical. Vertical networks have strong bonds, closure, and solidarity. Horizontal networks have the capacity to bridge different groups of peers and use weak ties to nurture cooperation between groups for society’s benefit. Therefore, effective communication should contain both horizontal and vertical networks. Both types of network can be a valuable resource for individuals and organisations.

Applying Social Network (SN) theory to sponsor/sponsored organisation relationships, Daellenbach et al. (2006, pp.81-82) propose that social networks are not only an effective event management strategy, but also a useful way to examine stakeholder relationships surrounding event policy and management. Daellenbach et al. (2006, p.82) suggest:

The ties between sponsor and sponsored organization…. can become more than economic and legal, to embrace the creative and complementary use of heterogeneous resources such as, national reach, branding, identity and finance; to embrace the sharing of information on target markets as well as the management of network- building hospitality events.

23

This strategy thus helps develop a perspective that shows whether and how organisational actions and decisions may be embedded in social networks. Since not-for-profit organisations are mission-driven, it is challenging to find suitable partners without compromising the event’s discrete identity and its aims.

1.4.6 Trust Putnam (1993, pp.163-165) emphasises trust as an important component of social capital in terms of creating reciprocity or voluntary association. Giddens (2000, p.78) also takes up the notion of “trust”, writing:

Social capital refers to trust networks that individuals can draw upon for social support, just as financial capital can be drawn upon to be used for investment. Like financial capital, social capital can be expanded; invested and reinvested. Elkington (1998, p.397) also discusses ‘trust’, as ‘[a] measure of the ability of people to work together for common purposes in groups and organizations. A key element of social capital is the sense of mutual trust’. However, researchers point out the difficulties of measuring social capital (Winter, 2000, p.35). To overcome lack of ‘measurement’, a core principle is proposed by Putnam (2000, p.415) that ‘no single source of data is flawless, but the more numerous and diverse the sources, the less likely that they could all be influenced by the same flaw’. Bridger and Alter, also argue that ‘the critical thing is to avoid generalisations about how beneficial social networks can be, and instead identity specific factors that build the trust, bridges and social networks that will encourage partner producers to commit programming to a festival’ (as cited in 24

Hadley, 2007, p.5). Therefore, whatever the challenges, it appears that the building of social capital is a positive action for any community.

Voluntary association membership is usually considered as an important element in building trust with reference to social capital theory. However, recent theory and research suggest that not all voluntary associations are positive in building trust, whist the diverse types of voluntary associations can result in different effects (Paxton, 2007). In a not-for-profit event, the source of leaders and participants are largely drawn from the membership of the organisation, and so event producers develop their social capital based on their membership goals and vision, and the needs of the members and type of membership thus has a great influence on these events. How to create and reinforce the membership relationship should be considered as a potential element of event management. It is thus necessary to examine whether or not the membership strategy in WDA is effective in generating trust.

This chapter has explained a number of theories and strategies to support the aim of the study, which is to develop a successful event management model that is partnership driven for not-for-profit arts events. In examining the effectiveness of generic management approaches applied to an event context, project management is considered as an event management strategy since theory in this area is well established and a number of benefits can be found by using a project management approach. Whereas previous research of event management tends to concentrate on economic function and contribution, 25

alternative concepts and methods are scanned for different types of events and event settings, to apply in particular to the cultural and arts sector. Not-for-profit service-based organisations which differ from corporate events are the focus of this chapter and study. From this review of literature, building partnerships has been identified as a key strategy and an effective way when confronting limited resources and a not-for-profit mission-driven orientation.

26

Chapter 2：Methodology The aim of this chapter is to explain the research approach and the methods of data collection and analysis used to address the research issues, arising from the previous chapter and the case study itself.

Beginning with a comparison between the epistemologies of qualitative (naturalist/constructivist) and quantitative (positivist) research paradigms, a realism paradigm which possesses the characteristics of both constructivism and positivism is employed with regard to the nature of this research.

Epistemologically, a qualitative methodology is adopted and examines a single case study, the 2008 WDAGS (World Dance Alliance Global Summit), from the point of view of event management theory with a particular focus on partnerships. An ethnographic approach is adopted in relationship to the dynamics of the leadership team and the participants’ views leading up to and during the actual event. Methods of data collection, related to both case study and ethnographic approaches, include personal recorded interviews, a questionnaire, an on-line survey, participant observation and document analysis. Finally, a three step analytical strategy has been employed to manage data and extrapolate findings.

27

2.1 Paradigm: Realism According to Guba and Lincoln (1994, p.105), a paradigm can be regarded as the ‘basic belief system or worldview that guides the investigator’. They synthesise scientific paradigms into four categories: (1) positivism, (2) realism, (3) critical theory, and (4) constructivism. In general, quantitative research is predominated by positivism assuming that science quantitatively measures ‘independent facts’ about ‘a single apprehensible reality’, whereas qualitative research is based on a relativistic, constructivist ontology believing that there is no objective reality (Guba & Lincoln, 1994; Healy & Perry, 2000). Realism, as a philosophical paradigm, has elements of both positivism and constructivism. It is also known as critical realism or postpositivism (Guba & Lincoln, 1994). Although the realism paradigm shares the common recognition with the positivism paradigm that there is a ‘real’ reality ‘out there’, it emphasises that the reality is ‘imperfectly and probabilistically apprehensible’ instead of ‘a single apprehensible’ one (Perry, Alizadeh & Riege, 1997, p.547). Thus, a realism researcher recognises that more valid development models can be derived from a mixture of theory and field data, even if precise knowledge of reality remains uncertain (Guba & Lincoln, 1994).

As the aim of this research is to identify which factors can contribute to building a model for a not-for-profit arts event, different theoretical event management models have been examined. However, in terms of lack of research in these specific types of event, the theories need to be examined in a real world setting.

28

Therefore, the researcher’s responsibility at this point is not to find a ‘perfect’ management model for this type of event, but rather the most suitable.

A realism paradigm has also been adopted because previous research shows that this particular paradigm has been adapted from market research about business networks (Borch & Arthur, 1995). Although the author is not undertaking a marketing research study, part of the nature of this research is to look at partnership strategies which are quite similar to this kind of marketing research in its endeavor to capture real-world complexity. As a result, the realism paradigm has been chosen as the most appropriate for an event case study.

2.2 Qualitative methodology For the reasons above, a qualitative inquiry is employed in this study, as characterized by Denzin and Lincoln (2000, p.3):

Qualitative research is multi-method in focus, involving an interpretive, naturalistic approach to its subject matter. This means that qualitative researchers study things in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them. Getz (2007), in his book Event Studies, outlines a series of research traditions, methods and methodologies in an event context. As a closely related field to this research, the study of leisure and tourism is usually based on large-scale social surveys and quantitative analysis. However, there is a shift towards learning more about why people did what they did, and what it meant to them, instead of 29

just measuring and forecasting what they did. In this study, therefore, a ‘functionalist’ tradition is less appropriate than the more contemporary qualitative methods (Getz, 2007, p.57).

Getz (2007, p.364) also suggests that a qualitative approach emphasises ‘discovering people’s attitudes, feelings, motives, or perhaps meanings attached to an event experience’, which are salient factors of my study. In order to elicit meaningful and experiential rather than statistical or accumulated data, a single case study is chosen to generate data. Additionally, in this research, elements of an ethnographic approach are drawn in terms of participant observation and being embedded in the study both as a participant/volunteer and as a researcher.

2.2.1 Case study approaches As one of the most common approaches to qualitative inquiry, case study is considered as ‘what is to be studied’ instead of a ‘methodological choice’ (Stake, 2000, p.435). Yin (1994, p.7) also emphasises that various disciplines can employ a case study approach, particularly in work settings, such as in policy and public administration research, and for organisational and management studies. In this research, a single case study 2008 WDAGS is employed in a particular and discrete workplace setting.

Stake (2000) states that in the selection of a case, it can be categorised as intrinsic or instrumental. The reason why this single case is chosen is largely

30

due to an intrinsic preference. Unlike an international dance festival whose program is to curate showcases through performances with paid audiences, the unique nature of WDAGS is that it is a dance advocacy and networking model which

brokers

different

activities

ranging

from

in-studio

professional

development through to sharing of performance work and masterclasses, as well as presenting seminars, conferences and performances. However, besides the intrinsic interest in the case itself, another agenda of this research is to explore issues arising from this specific event in relation to general event management and re-examine event management strategies through learning about the case. Therefore, an instrumental interest in the case is included to provide other understandings of the case. The instrumental aspects can thus make this single case study as a ‘critical case’, which is one of the three rationales for single-case design suggested by Yin (1994). As the nature of a ‘critical case’ is to ‘test a well-formulated theory’ (Yin, 1994, p.38), the relationship and management style which emerges from WDAGS is therefore examined in relation to existing theoretical models of event management, with specific relevance to partnerships.

The limitation of a single case study is that it is difficult to generalize. Unlike more statistically-based studies which search for quantifiable data, the goal of a case study is to offer new variables, experiential insights and questions for further research. Thus, rather than ‘statistical generalization’, this study will explore ‘analytic generalization’ (Yin, 1994, p.13). In other words, through

31

analysis of a single case, one can identify some general attributes that can apply to similar cases. Yin also suggests the researcher should ‘try to generalize findings to “theory”, analogous to the way a scientist generalizes from experimental results to theory’ (Yin, 1994, p.13). Although the aim of the research is not to emphasise generalisation, some generalisable findings gradually emerged from the case and thus could contribute to event management theories. This case study will therefore look at extracting elements that may be generalisable to other not-for-profit international arts events.

This study also adopts an ethnographic approach as a way to address the potential ‘vulnerability’ of a single-case design, since ‘ethnographic procedures allow us to grasp subjective aspects of life that other procedures neglect’ (Burns, 2000, p.395).

2.2.2 Ethnographic approach The word ethnography, literally ‘writing about people’ is described by Burns as encompassing ‘any study of a group of people for the purpose of describing their socio-cultural activities and patterns’ (Burns, 2000, p.393). Ethnographers describe in detail events and people in their particular context. More recently, Johnson (2000, p.111) defines ethnography as ‘a descriptive account of social life and culture in a particular social system based on detailed observations of what people actually do’.

32

Although this approach is commonly used by anthropologists to study specific, and often ancient cultures, Spradley (1979, p.3) suggests that it is also a useful tool for ‘understanding how other people see their experience’. He emphasises, however, that ‘rather than studying people, ethnography means learning from people’ (Spradley, 1979, p.3). As in-depth experiential perspectives of detailed partnership relationships are crucial in this research, a deeper understanding of the internal environment which may reflect much more about the people’s professional modus operandi is required, to provide experiential perspectives in their natural settings. ‘Learning from people’ in order to gain a holistic perspective in the context of this study, centers on how to build and maintain relationships of trust internally with the leadership and membership, and externally with the partners. Therefore, the ethnographic approach provides an effective protocol for the researcher to implement a detailed observation.

An ethnographic researcher is asked to ‘enter into close and relatively prolonged interaction with people in their everyday lives’ (Tedlock, 2000, p.470). In this research, it is the professional working areas and the participants’ professional life which are emphasised instead of their personal ‘everyday lives’. The researcher thus needs to get a feeling for the dynamics of the leadership team and the participants who are involved in this event at different levels. The value of acquiring a detailed insight into a particular group can be well explained by the ‘postmodern experimental, ethnographic research’ that Denzin and Lincoln (2000, p.17) refer to as the ‘fifth moment’ which emphasises how ‘the

33

search for grand narratives is being replaced by more local, small-scale theories fitted to specific problems and particular situations’.

2.2.3 The researcher’s role As ethnographers seek to gain what is called an ‘emic’ perspective, or the ‘native's point(s) of view’ without imposing their own conceptual frameworks, my role can be considered as an ‘insider’ (emic), in terms of being a conference presenter and a volunteer. I also bring an insider perspective to the study as a dance graduate of Beijing Dance Academy, since I able to understand the dance language well, even though I was not trained to be a professional dancer. I have also had some management training in my undergraduate degree. In terms of the nature of this event, which is concerned with dance advocacy comprising a leadership team from dance backgrounds, it is easy for me be familiar with the context and content of this event. However, although I am an observer in the conference committee, I am not involved in the actual management process. As distinct from the ‘emic’, the ‘etic’ or ‘outsider's perspective in the local setting also exists in this research. As a Chinese student living abroad for the first time, I am also an 'outsider' participating in an unfamiliar social, geographical and linguistic environment. Therefore, the researcher is taking both insider (emic) and outsider (etic) perspectives within a contemporary phenomenon in its real-life context. However, it must be acknowledged that I nevertheless bring my own history and background to this

34

study in the choices I make about the data whilst not consciously imposing my own conceptual framework.

My involvement as the researcher allows me to see, to hear and to experience various aspects, but not all, of the event. Interaction between the researcher and the researched becomes an important issue due to the demand for the researcher to become an ‘insider’ where he or she collaborates, spending time in the field with participants in order to lessen distance between them (Creswell, 1998, p.75).

Burns (2000, p.404) suggests, ‘ethnographers try to avoid sharpening their problems into specific research hypotheses until considerable exploratory investigation has occurred (a process termed “progressive focusing”)’. Similarly, Yin (1994, p.41) recommends ‘not to commit oneself to the single case until these major concerns have been covered’.

As I began to do my research from the pre-event stage of WDAGS, she was able to look at the event through different stages. Thus, the gradual development of the whole process led to the ‘progressive focusing’ of my research.

2.3 Data collection As I began investigating WDAGS in the pre-event stage, this provided an opportunity to look at the life cycle of the event. A living involvement in the event created some first-hand data. However, in order to gain a holistic understanding 35

of the nature of the event and the management style, other data collection methods were used and designed during various stages of the event.

2.3.1 Participant observation As one of the most common and demanding methods for qualitative data collection, participant observation has been characterised as ‘the mainstay of the ethnographic enterprise’ (Hodder, 2000, p.703).

The basic methodological argument for participant observation, explained by Guba and Lincoln (1989, p. 193), is to ‘maximize the researcher’s ability to grasp motives, beliefs, concerns, interests, unconscious behaviors and the like’. Thus, an ‘analytic ethnography’ can be employed that ‘utilizes data based on deep familiarity with social setting or situation that is gained by personal participation or an approximation of it’ (Berg, 1998, pp.120-121).

My fieldwork began in September 2007 which was the pre-event of the study stage, although bidding and planning began from August 2006. The main site of my fieldwork was the meeting place of the conference committee. I specifically focused on the conference committee as it seemed to be the most important and complicated part of the summit. All accounts and observations as field notes were taken during committee meetings which I observed in an ethnographic way. It should be noted that although I was an observer in the conference committee before the opening of the event, I was not involved in the actual management process. Thus, the risk of being too ‘subjective’ in the

36

research was partially minimised. Another major site was in the actual event, which included different venues. In order to feel and experience the actual atmosphere and attitudes of participants, I became involved in this summit as much as possible through participating in masterclasses, dance dialogues, performances and other informal “on the spot” dance activities which took place by some of the delegates, as well as working as a volunteer throughout the Summit. As a result, informal conversation and interaction with organisers, delegates and invited artists have also been recorded in the field notes. Although I was trying to get involved in the whole event process as much as possible, there were still some gaps in direct observation of activities such as executive meetings, financial meetings and negotiations with partners. However, some of the information related to these activities is available through internal documents.

2.3.2 Semi-structured interviews Interviews were conducted with seven organisers. Five of them were interviewed before the actual event happened, while the other two were interviewed during the actual event. In order to gain multiple perspectives from the event management team, the interviewees were selected from different position levels in the 2008 WDAGS ranging from Executive Director to Conference Committee staff, as illustrated on Page 38:

37

Table 1: Key roles in the 2008 World Dance Alliance Global Summit name

position

*Mr. Marcus Hughes

Executive Director, Ausdance Queensland, Program Director Program Chair/Curator, Conference Convenor, WDAGS Vice-President (Pacific) WDA-AP, Associate Professor, Creative Industries Faculty QUT Conference Project Officer, WDAGS QUT Events Manager National Executive Director, Australian Dance Council—Ausdance and Secretary of WDA-AP President of WDA-AP Chair of WDA-AP network: Research & Documentation

*A/Prof. Cheryl Stock

Ms Denise Richardson Ms Amy Piekkala-Fletcher *Ms. Julie Dyson

Prof. Mohd Anis Md Nor Anis Dr Urmimala Sarkar Munsi

* Members of Executive Program committee Since this research topic focuses on how to implement an international dance event, a series of questions around the management of this event were designed ahead of time. The specific questions were related to the factors contributing to partnership strategies as discussed in Chapter 1. However, a fully structured interview may not have revealed meaningful data for this research. In terms of the ‘inflexible, standardized and predetermined’ (Fontana & Frey, 2000, p.650) nature of this type of interview, there is little room for the interviewer to know much about the interviewee’s personal inspiration and their relationship with others. However, in terms of the not-for-profit nature of the case study, the leaders’ personal motivations and preferences could be considered crucial factors influencing the effect and outcome of the event. Thus, encouraging the interviewees to talk about themselves was vital for the 38

researcher to achieve a multi-facetted and rich understanding of the leadership team. Therefore, some aspects of unstructured interview methods were used ‘to understand the complex behavior of members of society without imposing any a priori categorization that may limit the field of inquiry’ (Fontana & Frey, 2000, p.653). Finally, the semi-structured interview was employed in order to provide a fairly open framework. Based on the general questions within the context of event management, some specific questions could be improvised during the interview process. The structured questions can be found in Appendix A (pp. 134-135).

2.3.3 Questionnaire survey A questionnaire survey was also conducted in order to acquire perspectives from the personal experiences of delegates during the actual event. The questionnaires were included in the delegates’ packages and twenty-seven responses were received via e-mail, post-event. Borrie and Brizell , suggest that there are four approaches to studying visitor experience: the ‘satisfaction approach’, ‘benefits approach’, ‘experience-based approach’ and ‘meaningsbased approach’ (as cited in Getz, 2007, p.372). Four questions in eight were designed as open-ended questions with a particular emphasis on a ‘benefits approach’ and ‘meaning-based approach’. The other four questions in the survey refer to the background information of respondents as quantitative data. However, the main aim of the survey was to look at feedback from the delegates’ point of view rather than to collect statistical data. The quantitative data was

39

only considered as identification for individual respondent types (age, gender, professional expertise).

In addition, an evaluation survey designed by the conference event manager, with forty-six respondents, was received in the form of anonymous on-line feedback with a focus on the ‘satisfactory approach’ of the event, and was also accessed by the researcher. In addition, personal emails from the delegates to the Program Chair post-event, have also been accessed as more open-ended feedback, in terms of unsolicited responses. Therefore, the latter two sources of data can be considered complementary sources of information. Appendix B, (p.136) includes the research questionnaire and the feedback questions.

2.3.4 Documents and archive records Other sources of evidence in the form of documents and archives were used to complement interviews and participant observation (Yin, 1994, pp.79-80). The data used in this study ranges from administrative documents to published articles outlined as follows: •

applications for funding

•

conceptual documents

•

minutes of meetings

•

correspondence

•

published program book

•

articles about the event (pre & post event)

40

In terms of the important role of the international host organization, as a main stakeholder in the event, WDA deals with different levels of relationships with other stakeholders involved. Therefore, the descriptive data including the nature of the WDA and its management structure is identified mainly through internal documents on the history, philosophy and past activities of the organization. To a lesser extent, Ausdance Queensland, the co-host organization of the event, has also been examined in terms of structure and management style.

Most significantly, the researcher has been granted access to the funding applications and acquittal reports of 2008 WDAGS, both successful and unsuccessful. 2008 WDAGS covers different forms of fundraising including government, philanthropic and corporate sponsorship. As most not-for-profit organizations rely heavily on funding subsidies, either cash or in-kind support, the analysis of different funding sources reveals how WDAGS matches their various priorities. The number of funding applications (successful/unsuccessful) can also be considered as effective quantitative data.

2.3.5 Triangulation In order to increase the credibility of a single-case design, Yin (1994, p.41) suggests that this kind of design requires ‘careful investigation of the potential case to minimize the chances of misrepresentation and to maximize the access needed to collect the case study evidence’.

41

On this point, triangulation is needed as a validation strategy. It can be defined as ‘the use of two or more methods of data collection in the study of some aspect of human behavior’ (Burns, 2000, p.419). Denzin and Lincoln (2000, p.179) identify four types of triangulation including ‘triangulation of data’, ‘investigator triangulation’, ‘methodological triangulation’ and ‘triangulation of theories’. In this research, ‘methodological triangulation’ is the major type used to test the validity of the data collected and analysed. As the central concept of Guba and Lincoln (2000, p.179), methodological triangulation ‘involves a complex process of playing each method off against the other so as to maximize the validity of field efforts’. These multiple perceptions also coincide with the nature of a realism paradigm rather than exploring only a single ‘reality’. Healy and Perry (2000) also discuss investigating the reality of a social phenomenon through ‘the triangulation of cognition processes’. Therefore, the triangulation of different research methods is not only a validity technique but also a philosophical need which makes it possible to capture different aspects of the research study.

In this study, data is collected through participant observation, interviews and documents which provide the opportunity for cross-checking interpretations. However, the triangulation approach is not without problems. Schroeder (1999, p.50) notes that ‘the fundamental problem with triangulation is that we lack a theoretical framework for specifying the precise manner in which the different methods actually observe, or “measure”, the “same object”’. In this research,

42

although much of the data about event management is obtained through interviews, field notes and internal documents and other data, theories of event management theory have also been accessed via current literature in the field as outlined in Chapter 1. The main theoretical areas are in reference to: •

Partnerships/Stakeholders

•

Not-for-profit cultural organisations

•

Event management

Thus, in response to the limitations of triangulation, a theoretical and broad contextual background is provided to widen and contextualize this ethnographic case study.

2.4 Data analysis In writing about qualitative data analysis, Miles and Huberman (1994) state that the focus is on data in the form of words. In this research, words came from the interviews conducted, participant observation, questionnaire surveys and documents. The processing, structuring and interpretation of these words is a form of analysis. In terms of analysis of the case itself, the data provides the material for further theory building, but an analytic strategy is important to precede the research (Miles & Huberman, 1994; Yin, 1994).

The benefit of a general analytical strategy at the beginning, as Yin (1994, p.103) suggests, is that it can reduce potential analytic difficulties. In relation to case

43

studies, this provides the researcher with a system by which he/she can set priorities for what he/she needs to analyse and why.

According to Yin (1994, pp.103-104), ‘Relying on theoretical propositions’ is the most common general analytical strategy to assist with the findings in comparison with previous studies. In this research, therefore, the collection of data emerging from the case study is compared with research coming from previous studies on event management and partnership.

In terms of insufficient specific event management theory for not-for-profit arts events, theoretical propositions may not be enough as a general analytic strategy. Therefore, ‘developing a case description’ which has been proposed as the second general analytic strategy by Yin (1994, p.104) is also employed. Although the objective of this research is not primarily descriptive, the detailed description of the background and history of the host organization WDA and the process of the whole 2008 event WDAGS is crucial to set the context in which the event takes place.

Miles and Huberman (1994, p.10) define data analysis as ‘consisting of three concurrent flows of activity: (1) data reduction, (2) data display, and (3) conclusion drawing/verification’.

‘Data reduction’ involves selecting, focusing, simplifying and transforming the raw data. Beginning with a careful reading of interview transcripts, questionnaires, field notes and documents, all the materials were categorized 44

and connected to particular codes in order to reflect the research issues and emergent themes. Comparing the data obtained directly from the case with previous event management theories, the researcher looked at how findings from all the data sources fit previous findings.

As the second major activity, data display is considered to be ‘a major avenue to valid qualitative analysis’ (Miles & Huberman, 1994, p.11). Data display involves taking the reduced data and displaying it in an organised, compressed way so that conclusions can be more easily drawn. Although data display is best used in cross-case analysis, it is also important for this research in terms of the various sources of data collected and different levels of partnership relationships need to be clearly outlined. Miles and Huberman (1994) also suggest that the creation and use of displays is not separate from data reduction and the whole process of analysis, but is an integral part of it.

The final analytical activity is the ‘conclusion drawing/verification’ stage which helps to frame a suitable management model for not-for-profit arts events. It also should be noted that the conclusion should not be a closed one. Miles and Huberman (1994, p.10) suggest that the competent researcher should maintain both openness and a degree of skepticism, because the nature of qualitative research is subjective and open to a range of interpretations.

45

2.5 Ethical considerations In conducting this research, ethical considerations include all participants being fully informed of the research process and their role within it (Patton, 1990). Additionally, the ethical conduct of the research ensured that their privacy, anonymity (except for key organisers who agreed to be named), safety and comfort was respected throughout the research process (Miles & Huberman, 1994).

A full disclosure about the purpose and context of the research was provided to all participants at the time of the interview (Patton, 1990). Invitations to participants, consent forms and questions were sent to interviewees in advance (see Appendix C, pp.137-139). Any direct quotations or paraphrasing were sent to interviewees for approval. Consent was gained from the interviewees in accordance with the legal requirements of Queensland University of Technology, initially through emails and then more formally through a written research agreement.

In summary, the methodological approach for this research consists of the paradigm of realism, and a methodology utilising a case study of both intrinsic and instrumental interest, as well as employing aspects of an ethnographic approach. In order to gain a holistic understanding of the nature of the event and the management style, different data collection methods in a triangulation system were used and designed during various stages of the study. In this research, the application of the multi-sources of data not only increases the validity of a single case study but is also highly relevant to the nature of a realism paradigm. 46

Chapter 3: History and structure of host organisations, World Dance Alliance and Ausdance As World Dance Alliance Global Summit (WDAGS) is the major event for World Dance Alliance, the background and organisational structure of WDA impacts directly on the nature and management style of the events they produce. In order to provide a context for this event, this chapter examines the background and history of WDA, analysing the development of this organisation, its structure and its strategies for initiating and implementing its program of activities.

3.1 Background Carl Wolz, the founder of WDA (from 1990), set out the organisation largely as a result of his personal experience and inspiration for dance. When looking at Wolz’s scholarly and artistic résumé, his abilities and interest were well regarded, with roles as a dancer, educator, choreographer, tertiary advisor, researcher and playwright. For Wolz, dance was a cross cultural experience of great importance. Graduating from the Julliard School in New York, he had rich working experience in many places of the world especially in the Asian region. In the 1980s, he became the first Dean of Dance at the Hong Kong Academy of Performing Arts (HKAPA). There, he quickly formulated a dance program that taught the disciplines of traditional and modern techniques in parallel. He collaborated with local dance communities and managed to establish communication networks with China in the 1990s. His teaching staff at HKAPA

47

eventually also included teaching staff of the Beijing Dance Academy（Dyson, 2008）. According to Dyson (2008, p.7), Wolz believed that ‘dance could be a unifying factor in world peace, that successful communication between individual practitioners, companies, teachers and communities would provide a focus for cultural understanding and greater tolerance of diversity’.

Based on the founder’s experience and interest, the forerunner Asia Pacific Dance Alliance was initially founded in Hong Kong in 1988. As an independent, non-profit, non-political organisation, the global body, World Dance Alliance (WDA), was founded at the Hong Kong International Dance Conference in 1990. Later, in order to reflect its relationship to the future global body, the name of the Asia Pacific Center was changed to WDA Asia–Pacific. In order to sustain WDA’s growth, it was decided in 1993 to develop more regional centres. Therefore, WDA Americas was formed in the same year followed by WDA Europe in 1997. What’s more, a new Alliance is being considered for development in Africa (WDA Asia-Pacific, 2006, back page).

Besides efforts to attract more regional centres and country chapters as a global body, WDA is also working towards affiliation with other international organisations such as WAAE (World Alliance for Arts Educators). In order to establish WDA as a non government organisation (NGO) within UNESCO (United Nations Educational, Scientific and Cultural Organization), all three presidents of WDA Asia–Pacific, Americas and Europe made a decision that

48

they should work closely with the International Dance Committee of International Theater Institute/UNESCO (ITI) to achieve the status of an NGO in the WDA Presidents’ Meeting in UNESCO Paris on April 29, 2006. Currently, WDA is indirectly a member of UNESCO through ITI/UNESCO (Nor, 2006, pp. 3-4). UNESCO aims to ‘promote international co-operation among its 193 [as of October 2007] Member States and six Associate Members in the fields of education, science, culture and communication’ (UNESCO, 2008). It thus provides WDA with more opportunity to share ideas and advocate for future resources in a dynamic international environment.

3.2 Relationship between World Dance Alliance (WDA) and Ausdance As the organisation grew and policies and a constitution was developed, the structure of Ausdance became a model for establishing the policy and procedures of WDA-AP. Ausdance was a founding member of WDA-AP and has been very active in the development of the organisation. Formed in 1977 as a national organisation, Ausdance is a network comprising State, Territory and National branches. While each Ausdance branch independently incorporates its own constitution, the entire network adheres to a common mission statement and set of aims; the basic purpose being to provide a united voice for dance in Australia (Ausdance, 2008). The aims and priorities of Ausdance are as follows:

49

Aims: • • •

To promote awareness and understanding of, and access to, dance throughout Australia; To provide opportunities for debate, advocacy, lobbying and policy development; To foster international links with dance and dance-related organisations. Priorities:

• • • • • •

Professional dance; Youth dance; ATSI (Aboriginal & Torres Strait Island), culture specific dance, community dance, regional dance; Education, teacher development and services; Audience development, dance marketing/profile; International links. (Ausdance, 2008)

WDA is similar to the model of Ausdance, but possesses a broader international perspective in its mission statement which claims ‘it serves as a primary voice for dance and dancers throughout the world, and encourages the exchange of ideas and the awareness of dance in all its forms’ (WDA Asia-Pacific, 2006, back page). To some degree, it tries to create a networking dance community involving participants from many countries throughout the world.

Almost 20 years after its inception, this organisation is still evolving in response to a changing world. In order to ensure the sustainability of WDA, a series of major principles have been established. As the three regional centres have a

50

similar organisational structure with some regional differences, the researcher will specifically concentrate on WDA-AP which is the oldest, most developed and active regional centre, and the co-host of this case study 2008 WDA Global Summit.

3.3 Evolution of organisational goals The initial goals of the organisation have been modified over the life of the organisation. Comparing the two versions of goals, one can track the evolution of the organisation as shown below:

51

Table 2: Comparison of initial goals of the WDA with current goals (2008) of WDA-AP Initial goals of the WDA

Current goals (2008) of WDA-AP

1. To serve as a primary advocate and support group for dance worldwide.

1. To promote the recognition, development and mutual understanding of all forms of dance.

2. To establish a centre of information and communication for dance organisations and individuals, a forum for the exchange of information, ideas, expertise and resources in all areas of dance with the publication or presentation of information in several languages. 3. To encourage an awareness of, access to, and understanding of dance as an art, a ritual or traditional expression, and a leisure time activity in communities throughout the world. 4. To assist in the identification and promotion of all dance traditions in recognition of their cultural importance. 5. To encourage the protection of dance repertoire in all forms by preservation in notation, film, and media to be devised. 6. To coordinate and enhance the work of existing dance organisations through international meetings.

2. To facilitate communication and exchange among dance individuals, institutions and organisations interested in dance. 3. To provide a forum for discussion of matters relating to dance. 4. To encourage and support the research, education, criticism, creation and performance of dance. 5. To liaise, co-ordinate and participate in activities with other dance organisations in the world.

7. To assist in international exchanges and to encourage dialogue among people working in dance regardless of affiliation. 8. To build through dance a saner, safer world through cooperation on global projects.

(Source: Dyson, 2008, pp.8-9 & p.12) It seems that some of the original goals have been transformed to provide a more feasible template for the organisation as it currently operates. For example, the fourth item of the 2008 version reflects the status and function of ‘network’. Meanwhile, the information era makes the communication among different countries much more easy and effective than before, and has accelerated the development of WDA.

52

3.4 Evolution of organisational structure

Figure 3: Overarching structure

53

E Executive Board d

a Pre esident, a Vice President, P a Secre etary and a Trreasure

Pacific A Area

Chapter headss

East Assia

Chapter headss

South A Asia

Chapter headss

Southeastt Asia

Chapter headss

Region nal Vice Presidents C Creation & Presentation

Board

Re esearch & Doccumentation

Network Chairpersons

Welfare W & S Status Mana agement & Pro omotion

Edu ucation & T Training

Fig gure 4: WD DA-Asia Pacific P Boa ard structu ure (Based on WDA Asia Pacific, P 2008, cover page))

The struc cture of the e executive e board com mprises Prresident, V Vice-Presid dent, Secretaryy and Trea asurer and Regional Vice-Presid V dents, who o are demo ocratically elected by b the mem mbership. Currently, C t there are fo our Region nal Vice-Prresidents, one each h for East Asia, A South h Asia, Sou uth-East Asia and the e Pacific. The T entire WDA Boa ard include es the Exec cutive Boa ard, the Ne etwork Cha airs and the e Chapter Heads wh ho represe ent countrie es or regio ons within countries. c F For examp ple, in a large cou untry like In ndia, there are two Chapters: West W Benga al and a Ch hapter 54 4

based in New Delhi. The board members work in a voluntary capacity. As Ms Julie Dyson, Secretary of WDA-AP, states ‘The board functions well, with everybody involved working cooperatively within their respective roles’ (personal interview, June 16, 2008).

3.5 Membership strategy As discussed in Chapter 1, the necessity to create and reinforce the membership relationship in voluntary organisations is considered a crucial element for event management. WDA, as an organisation, is dependent on the commitment of its membership who work on a voluntary basis. Membership development is thus a fundamental organisational strategy of WDA. A series of membership strategies are outlined in the following section including the significant status of ‘Chapters’ and their relationships with national organisations, as well as the function of ‘Networks’. 3.5.1 The role of chapters Originally, some individual members may have participated in some activities randomly, and not keep in touch with WDA consistently. In this situation, a more stable and concentrated relationship was needed from a sustainable perspective. The suggestion of the establishment of “Chapters” was proposed by founder Carl Wolz in1994 when he stated that, ‘Perhaps the most important task ahead of WDA-APC (World Dance Alliance-Asia Pacific Centre) is to establish a Chapter or branch in all of the countries and areas in the Asia Pacific region and to broaden the membership base’ (Wolz, 1994, p.3). As a result, the 55

evolution of its organisational structure from individual membership to Chapter (country/region) membership led to a rapid increase in membership. By 2008, WDA-AP grew to 18 active country/regional Chapters as well as individual members who join the Asia Pacific from other parts of the world or from countries which have not formed a Chapter. At the time of writing current Chapters comprise Australia; Aotearoa New Zealand; Cambodia; Fiji; Hong Kong; India (Karnataka chapter; Maharashtra chapter; West Bengal chapter); West Sumatra, Indonesia; Japan; Korea; Malaysia; Philippines; Singapore; Taiwan; Thailand; Vietnam (WDA Asia-Pacific, 2008, cover page). Membership recruitment actively occurs at its annual general meetings held in a different country each year as well as conducting regional workshops such as those held in Cambodia (2006), Kolkata (2004, 2007), Taipei (annually) and at the global summits which will be introduced in section 3.6.

3.5.2 The relationship between chapters and national organisations In the Australian Chapter of WDA–AP, all Ausdance members are automatically WDA–AP members. Chapters can propose and implement projects, which address not only the general goals of WDA as a whole and WDA Asia–Pacific, but also the specific needs of the local dance community. Often the country Chapter serves as the national organisation for dance in their country such as Hong Kong Dance Alliance; Mydance, WDA Cambodia; WDA Indonesia etc (Stock, personal communication, October 3, 2007).

56

3.5.3 The role of networks The idea of “networks” was firstly introduced in 1996 and the specific rules were developed at Carl Wolz’s last meeting in Singapore in 2001, before his death (Dyson, 2008, p.10). The Chapters represent countries or regions, and emphasise providing information and coordinating dance activities in their countries as well as participating in the regional annual event held by WDA (in this case, Asia-Pacific). The five networks represent different areas of dance: Research and Documentation, Creation and Presentation, Education and Training, Management and Promotion, Welfare and Status. These five networks provide a platform for exchanges with those of similar interests. Every network can design its own activities which recognises the diversity in each area, as well as initiate projects for the whole organization. Dyson (2008, p.10), emphasises the crucial role of networks as the ‘backbone of WDA–AP’s activities’ especially Research & Documentation and Creation & Presentation networks. As the most two active networks so far, they have been developing different formats for activities. Research & Documentation has a close relationship with the conferences through co-publishing proceedings with host countries as well as the research of its members, which has resulted in several books on Asian dance. The WDA-AP publications program has been strengthened more recently, with the Research and Documentation team providing an ongoing high profile for the organisation. Dance, Transcending Borders is considered as the most ambitious global publication, launched at 2008 WDAGS. Apart from annual

57

conference proceedings since 1989, a number of books have also been published as listed below:

•

Mohd Anis Md Nor (ed.) Asia Pacific Dance Research Society Database. Kuala Lumpur: Asia Pacific Dance Research Society (WDA-AP), Cultural Centre, University of Malaya, 1999.

•

Mohd Anis Md Nor (ed.) Asian Dance: Voice of the Millennium. Kuala Lumpur: Asia Pacific Dance Research Society (WDA-AP), Cultural Centre, University of Malaya, 2000.

•

Mohd Anis Md Nor (ed.) Diversity in Motion. Editor. Kuala Lumpur: MyDance, Alliance (WDA-AP), Cultural Centre University of Malaya, 2003.

•

Mohd Anis Md Nor and Revathi Murugappan (ed.) Global and Local: Research Trajectories in Dance Performance Studies in Malaysia. Kuala Lumpur: WDA-AP, Cultural Centre University of Malaya and Ministry of Culture, Arts and Heritage Malaysia, 2005.

•

Urmimala Sarkar Munsi (ed.) Time and Space in Asian Context: Contemporary Dance in Asia. Kolkata: World Dance Alliance West Bengal, 2005.

•

Burridge, Stephanie (ed.) (2006) Shifting Sands: Dance in Asia and the Pacific, Australian Dance Council, for the World Dance Alliance.

•

Mohd Anis Md Nor (ed.) Dialogues in Dance Discourse: Creating Dance in Asia Pacific. Kuala Lumpur: WDA-AP, Cultural Centre University of Malaya and Ministry of Culture, Arts and Heritage Malaysia, 2007.

•

Urmimala Sarkar Munsi (ed.) Dance Transcending Borders, Tulika Books, New Delhi, 2008. (Source: WDA Publications, unpublished document)

In addition, as the main written forum for news and information exchange, AsiaPacific Channels is the regular communication channel across regions. The first Channels which was published in 1994 is print form only, with both print and online versions available after 2002 (Dyson, 2008, p.10).

58

Performances, choreographic and skills development is the main aim for the Creation and Presentation network. A series of regular choreographic and dance workshops are held and supported by this network such as the Asia Young Choreographer Project which has been annually held in Taiwan from 2005, and provides opportunities for 8 choreographers from the Asia Pacific region to create a new work in Taiwan, with selected Taiwanese dancers. Other dance and choreographic workshops have been held in Kolkata in 2004 and 2006 and Cambodia in 2006.

As a result, both Chapters and Networks provide a dynamic and organic platform for their members to experience a package of benefits face to face and through publications and journals in the global dance world.

3.6 The role of events Despite the important role of the newsletter as a written platform for members to acquire information from other regions or countries, face-to-face communication is still the most effective way for sharing ideas. Therefore, a series of international dance events are considered as the main activities for WDA. So far, the development of events has experienced two stages:

59

Stage 1: From 1986 to 1990, the Hong Kong Academy for Performing Arts was recognized as the only venue for the WDA international events, since Carl Wolz, the founder, was the Dean of Dance at HKAPA and was therefore able to host them.

Stage 2: After 1990, annual general meetings were hosted sometimes in combination with dance festivals in different countries, as a principle activity of WDA. Additionally, from 1999 a Global Summit became the predominantly biannual international dance event to bring together the three regions (AsiaPacific, Americas and Europe) and dance specialists from each of the WDA Chapters who were able to attend. Thus, different chapter countries have bid to be host organisations for annual or biannual events as outlined below: Table 3: WDA-AP Annual Events & Global Summits Date

Place

Type

1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004

Manila Taipei Tokyo & Akita Kuala Lumpur & Beijing Seoul Jakarta & Melbourne; Hong Kong Manila Philadelphia Korea & Tokyo Singapore Dusseldorf Kuala Lumpur Taipei

WDA-AP annual event WDA-AP annual event WDA-AP annual event WDA-AP annual event WDA-AP annual event WDA-AP annual event WDA-AP annual event WDA-AP annual event Global Summit Global Summit WDA-AP annual event Global Summit WDA-AP annual event WDA-AP annual event

2005 2006

Kuala Lumpur Hong Kong

WDA-AP annual event WDA-AP annual event

2006 2007

Toronto Singapore.

Global Summit WDA-AP annual event

2008

Brisbane

Global Summit

(Sources: Dyson, 2008, p.11 & personal communication with Stock)

60

Although the nature of all the events mentioned above serves the primary mission of the organisation as dance advocacy, usually the content of an event includes ‘a conference with scholarly paper presentations, panel discussions, lecture-demonstrations,

workshops,

open

classes,

and

a

festival

of

performance’s by groups from around the world, mostly students of professional dance schools’ (Dyson, 2008, p.11).

In terms of the different host countries and changing dance issues, the theme and content of various events have been designed and programmed differently. The following are a group of comparisons of the changing but related themes.

61

Table 4: WDAGS from 2000 Time 2000

Location Seoul, Korea; Tokyo, Japan

2002 Düsseldorf, Germany

Theme

Characteristics

Activities

Seoul: the 2 Korean International dance event

An international gathering of tertiary dance academies and professional companies

Korea Conference Showcases Masterclasses Dance market (associated event) Network meetings

Tokyo: Choreography Today

International meeting of WDA regions conference

Japan Global Assembly Performances at local festival

Aesthetics of Diversity: cultural diversity in unity

International symposium & associated events

Showcases Workshops Under the umbrella of a major dance festival Dance market(associated event) Showcases conference workshops youth program a series of dance performances by international and local dance artists Global Assembly Conference Masterclasses International Choreolab Dance dialogue speaker program Showcase of independent artists (performance dialogues) Performances (associated events) Global Assembly

nd

2006

Toronto, Canada

Dance / Diversity / Dialogue: Bridging Communities and Cultures

Highlighting the work of traditional and indigenous artists

2008

Brisbane, Australia

Dance Dialogues – conversations, across cultures, art forms and practices

A set of specific issues crossing all levels of activities with sub-themes of: —sustainability —rethinking the way we make dance —mind/body connection —transcultural conversations

(Based on archive newsletter & Asia-Pacific Channels)

62

Compared to many other dance events which tend to have a particular focus around one area such as a tertiary dance festival, an independent dance festival, a multicultural dance festival or an international conference, WDAGS encompasses a more holistic approach to the dance industry with a broader focus. On the one hand, it is attractive because it is international. It shows that dance is international, and that everybody is working together to promote dance and artists across the globe. On the other hand, it is challenging to classify its uniqueness due to the lack of “focus” on specific area. The next chapter will specifically focus on 2008 WDAGS, looking at how the theme and sub-themes were conceptualised and implemented, based on the policy and available resources of the host country and organisations.

63

64

Chapter 4: The conceptualisation and implementation (outcome) of 2008 WDAGS As a biannual event, WDAGS (World Dance Alliance Global Summit) can be considered established and employing similar formats. However, in terms of changing host countries, also biannually, as well as harnessing resources and the different styles and interests of organisers, each summit also has an individual flavor. Taking 2008 WDAGS-Dance Dialogues: conversations across cultures, artforms and practices as a single case study, this chapter will look at the development and actualisation of the event itself, and how it was conceived and perceived.

4.1 The bidding process A bidding process to host a global summit is a recognised principle of WDA. Ausdance Queensland presented its bid to host the 2008 WDAGS in Brisbane at both the June 2006 Global Summit in Toronto and subsequently at the June 2007 WDA-AP annual general meeting (AGM) in Singapore. The earlier presentation in Toronto demonstrated the potential resources of the future host organisation and its community, and there was an emphasis on the benefits of holding a Global Summit in this particular city (Brisbane). In the bidding document, a list of potential partners was outlined by the bidding organisation (Ausdance Queensland) as the most important supporting evidence to identify the feasibility of hosting this summit. Letters of support were obtained from:

65

•

Ausdance Queensland

•

QUT Creative Industries (Dance)

•

Queensland Performing Arts Centre

•

The Brisbane Festival

•

Brisbane City Council

•

Brisbane Marketing

•

The Judith Wright Centre of Contemporary Arts

•

The Queensland Department of Education and the Arts

•

The Queensland Department of State Development

•

The Queensland Department of the Premier and Cabinet (Hughes, 2006)

Ausdance Qld was confirmed as a viable host organisation. In December 2006, major partners were identified as Queensland University of Technology (QUT) through the Faculty of Creative Industries, Queensland Performing Arts Centre (QPAC), Ausdance National and the Brisbane Festival. The other presentation, which was given at the AGM of WDA-AP in June 2007 in Singapore, highlighted the program content and design, and was ratified by WDA-AP, which was the regional co-host in accordance with the principle of the global summits rotating between Asia-Pacific, Europe and Americas.

4.2 Program design and branding As mentioned in Chapter 4 section 3.6, WDA Global Summits have sometimes 'piggy-backed' on other dance festivals or events occurring in the host country. 66

Despite the benefit to indirectly access enough resources though linking with other festivals, there is a danger that the WDA Global Summit may be subsumed by other events, and be organised as a gathering of various activities without enough emphasis on the specifically curated programming of the Global Summit. Since 2008 WDAGS was not an umbrella event of another festival, the challenge for the organisers was to frame the themes to ensure an independent branding. Therefore, this section explores how the Summit organisers began with a concept and developed it into feasible components of discrete programs.

The objectives of 2008 WDAGS were to provide opportunities for: •

building networks between international peers and colleagues with a view to instigating ongoing collaborations;

•

skills and professional development for choreographers, dancers, teachers, researchers and academics;

•

exploration of notions of cultural diversity in choreographic approaches, movement material, training, writing and expressive encounters;

•

the stimulation of new ideas and knowledge to empower individuals and groups to effect social and cultural change;

•

influencing cultural policy and practice across government agencies and creative communities. (Stock, 2007)

Based on the objectives of the 2008 WDAGS and the overall concept encapsulated in the title of the summit: Dance Dialogues: Conversations across cutures, artforms and practices, some specific issues for dance evolved and

67

four key issues became the drivers of each of the summit programs. The four sub-themes adopted were: •

mind/body connections

•

sustainability

•

transcultural conversations

•

re-thinking the way we make/teach dance/performance

These sub-themes were envisioned as important features of the four activities of the program, discussed in this section.

The idea of “Dance Dialogues” came from a dialogue between two Artistic Directors, from different countries, at the Reel Dance Festival in 2006 in Australia. The dialogue was facilitated by Cheryl Stock, who is the program chair of the 2008 WDAGS. She reflected, ‘A very lively, natural but “directed” conversation occurred, and it somehow revealed so much more than a guest speaker’ (Stock, personal communication, October 3, 2007).

In conjunction with the general concept of Dance Dialogues of the 2008 Global Summit, the branding photograph aimed to deliver a notion of conversations across cultures, art forms, practices. Two dancers, appearing to be young and one of Asian descent, are posed in front of a modern building, their gesture appearing to be abstract with a highly contemporary flavor although wearing

68

tutus. In my view, this image successfully conveys the multiple layers of the main idea of this summit.

Figure 5: The Image of 2008 WDAGS (Source: Accented Body, 2006; Director: Cheryl Stock; Photographer: Sonja de Sterke; Performers: Ko-Pei Lin and Elise May)

In order to develop this idea, the main components that had been prevalent in past occasions were reviewed such as Global Summit and Networks meetings, Conference, Tertiary Performance Program (up to 18 groups in the past), Festival Program, Workshop Program (Dyson, 2007).

Compared to past summits, the biggest change of 2008 WDAGS was that the tertiary performance program, which usually consisted of a student showcase,

69

was not included. This omission caused concern for the WDA members who participated in the AGM in Singapore because it normally is an integral part of the summit program. The reasons for not presenting student showcases were explained by the Program Chair.

Firstly, instead of privileging undergraduate students as in the past, this summit aims to privilege ‘both the voice and the practices of our emerging and experienced artists’ (Stock, 2008a, p.6). In terms of the career struggles that professional artists face once they have graduated, the summit aimed to provide ‘a supportive platform for sharing creative work as well as professional development opportunities at the highest level’ (ibid).

Secondly, showcases and performances are usually the most costly part of the summit. Unlike some Asian countries, the policy of the Australian government to only support professional arts activities in its grant structure determines that it is impossible to arrange free accommodation for approximately 200 students from all over the world. Not only is accommodation expensive but lack of availability of student accommodation for short term stays made it unrealistic to support a showcase program. Venue availability was also a problem because the WDAGS overlapped with the Brisbane Festival which had pre-booked most available theatres. Nevertheless, activities for undergraduate students remained a part of the program through attendance at the conference performances, and participating in the masterclasses. The ‘Dance Dialogues’ theme was developed to include four formats for different ‘dialogues’, as shown below: 70

•

Dance Dialogues

•

Performative Dialogues

•

Physical Dialogues

•

Networking Dialogues

and also •

Performances and Associated Events

Participants covered nearly all major sectors of the dance industry including performers, choreographers, directors, producers, marketing and management personnel, educators (early childhood, primary, secondary and tertiary), academics, scholars, health professionals and community workers. Naturally, delegates from different backgrounds had diverse expectations of this summit. As an educator teaching dance in the school curriculum, respondent f, said: I hoped to meet up with other dance educators in pre-service and inservice teacher education to talk and share ideas. An Australian Aboriginal (Nyoongar) artist, respondent a, had a quite unique expectation, related to his Indigenous interests: I was hoping to address some of the issues which were present at the beginning of the meeting and by attending the various sessions, this enabled all those who were in attendance to appreciate the unique styles of Traditional culture our other Indigenous Cultures have

71

The summit therefore needed to be designed to satisfy their diverse needs. From the result of survey feedback by the author, all (27 in total) of the responders felt they achieved their primary expectation in different ways. Despite particular varying expectations, words like ‘networking’, ‘meeting people’, ‘sharing ideas’, ‘learning’ are the high presence words to describe both their pre-expectations and the actual WDAGS event. Detailed explanation of the content and realisation of the “dialogue” formats will be introduced in section 4.3.

4.3 Realising the event 4.3.1 Dates and venues Although the proposed dates of 2008 WDAGS were originally decided in mid 2006, the final dates involved long discussion for two reasons. Firstly, in terms of the tradition of WDAGS which sometimes appears under the umbrella of a local arts festival, the dates of other arts festivals can decide the dates of WDAGS. One of the benefits outlined in the bidding document of 2008 WDAGS, was the choice of dates coinciding with that of the Brisbane Festival which is a biannual international arts event. Secondly, as QUT was the main venue provider, the timing had to coincide with semester break so there would be conference venues available such as seminar and lecture rooms, and so that dance studios would be free of normal student programs. Finally, it took place from 12-18 July across several venues at QUT, QPAC and the Parliamentary Annexe with extension events at the Judith Wright Centre of Contemporary Arts and The Thomas Dixon Centre.

72

4.3.2 Implementation 4.3.2.1 Dance Dialogues As the central concept of the summit, a guest speaker dialogue program was developed instead of a traditional keynote address format. The topics of Dance Dialogues focused on the summit themes of ‘Sustainability’, ‘Mind/Body Connections’, ‘Transcultural Conversations’ and ‘Re-thinking the way we make dance’. The fifth dialogue comprised the ‘Dame Peggy Van Praagh Memorial Address’ which is a biannual address held in Australia and delivered by a prominent dance leader. For 2008, this was Prof. Susan Street, Executive Dean of Faculty of Creative Industries, QUT and National President of Ausdance.

Prominent international artists and cultural thinkers were invited to talk with provocateurs. Key speakers of Dance Dialogues are outlined as following:

• • • • • • •

Li Cunxin, author of Mao’s Last Dancer Rustom Bharucha, India’s controversial and renowned cultural activist and author Lloyd Newson, Artistic Director, UK’s DV8 Physical Theatre Boi Sakti, international Indonesian choreographer David McAllister, Artistic Director Australian Ballet Shirley McKechnie, Australian dance education pioneer and Ausdance founder Plus artistic directors from six of Australia’s leading contemporary dance companies.

(Based on media release, International dance spotlight this July on Brisbane, 15 April 2008)

73

Participants showed their interest in this new format of activities, as the comments below indicate:

Dialogues was brilliant [and] provided excellent debate. (Respondent 4) I loved the dialogues with prominent leaders, after a mix of eclectic stimulating presentations during the day. (Respondent 13) The dialogues in the early evening ranged from fantastic to interesting. Tuesday evening was particularly excellent and fitted well within the cross cultural theme. (Respondent 21) Meanwhile, this program was designed not only for delegates but also for the general public as a method of growing and maintaining the dance audience, with 926 audience members attending the Dialogue Speaker program.

Additionally, in order to reflect its public access nature, the cultural centre of Brisbane was chosen as the venue – the Cremorne Theatre at Queensland Performing Arts Centre (QPAC). Respondent 16c liked the change of venue and thought ‘it was great going down to South Bank for the Dance Dialogues’.

4.3.2.2 Performative Dialogues This was the most complicated and crucial component of the event, which was also justifiably described as the conference program. The conference is an essential component of the history of WDAGS, and the voice of the artist is always encouraged along with academics. However, for the 2008 WDAGS, it was agreed by the organisers that a traditional mode of conference presentation was not a sufficient vehicle in allowing artists to express themselves and interact with audiences. Therefore, a series of academic and performative presentation 74

events and forums were combined to explore the Summit’s key issues and themes. In order to avoid the separation of the conference from the performance element, this model aimed to integrate the two by providing a format which included contextualised performances as well as spoken

and

digital

presentations.

The presentation types of the ‘peformative dialogues’ comprised: •

scholarly papers;

•

discussion panels;

•

postgraduate poster presentations;

•

performative panels of artists showing their work digitally;

•

live in-theatre performance presentations of choreographers’ work (known as ‘performance dialogues’).

As a result, 207 individual presenters (including scholarly papers, panels and intheatre performance presentations) and a total of 364 registered delegates attended from 28 countries. Since participants and spectators are considered as one type stakeholder in McDonnell et al.’s (1999) model as mentioned in Chapter 1 section 1.4.3, all delegates (and a small number of non-delegates who attended specific components other than the conference) fall into this category. Their perspective is therefore important in evaluation terms. Positive feedback from participants ranged from the quality of presentations to the logistics and organization of the event.

75

Table 5: Feedback from QUT Event Management survey Answer Options

Poor

Fair

Good

Excellent

1

Pre-conference communication

1

5

8

21

2

Conference web site

3

5

12

14

3

Conference program format

2

0

19

13

4

Venue

0

4

5

26

5

Catering

0

4

2

29

6

Audio and video

3

1

9

22

7

Social Program: Opening Ceremony

0

1

7

17

8

Social Program: Closing Party

2

0

5

9

9

Conference Satchel

0

4

14

15

(Based on QUT Event Management survey) The total number of respondents was 35 with some delegates not attending all the event programs such as No.7 and No.8 shown in the Table above. Below are a sample of comments on the outcome of WDAGS as provided by the QUT Event Management WDAGS feedback database:

Comments on the quality of presentations Excellent range and diversity of presentations. I loved the formal and informal discussion opportunities these provided. (Respondent 16) I thoroughly enjoyed sharing experiences with dancers/teachers from around the World. They inspired me to keep teaching, researching and trying different ideas. (Respondent 45)

76

Respondent 10c commented on All the different personalities, perceptions, intellects and creativity. Diversity of cultures and backgrounds. Respondent 25c stated that she enjoyed: The generous atmosphere The informal discussions The combination and integration of dance practice and theory The range of interconnected dialogues, forms and approaches represented here The welcome and integrity of the Australians, and in particular the organisers Respondent 3 stated that: I was tremendously impressed with the tone and quality of this conference in particular. It seemed more supportive and informative than several other dance conferences. Everyone I heard was well-prepared and moderators kept a steady balance between the actual time allocations and genuine dialogue. Sincere congratulations on an outstanding program. This was echoed by Respondent 41 who said that: All of the presentations that I attended were very good, many excellent. I appreciated the variety of the work, and the broad cultural representation.

Comments on logistic organising Many delegates commented on the logistics organization as follows: Venue was great. I loved being on the QUT campus. The people skills of all the workers and volunteers was patient, personable, and efficient. (Respondent 18a) Conference organisation features; web site, review of paper submissions, communication, facilities, etceteras were fabulous! (Respondent 38a) The registration or staff room at the conference was staffed by an incredibly skilled and courteous group of people. Thanks to them and to

77

all the helpful answers to millions of repeated questions, despite all the printed info. Thanks also to the internet access. (Respondent 3d) In terms of the many parallel sections, some delegates felt it difficult to make choices. As Respondent 8 suggested ‘Excellent, fascinating, quality and quantity were superb which led to my only problem which was picking what to attend out of multiple excellent choices’.

An early concern of the organisation, that there were no student showcases, was not reflected in the feedback. The alternative to the student showcase was devised, still showed 19 performances chosen from 70 submissions through a blind referee process in the form of a performance presentation. As a new format, the informal showing of work in progress as part of the conference program was much appreciated by the delegates, as following

From a participant point of view, the following comment is instructive: Sandra and I found the experience to be extremely worthwhile and fruitful as we move closer towards completing our respective PhD’s. We found the joint presentation format worked for us, both in the presentation and afterwards, as we were able to network as a team and felt as a result our collective presence was stronger. We returned from Melbourne, not only energised by the conference experience, but we both felt significant breakthroughs had occurred in our work as a direct result of the performative presentation. If we hadn’t worked towards that experience, we perhaps wouldn’t be as far along as we are today. (Independent artists, PhD candidates, e-mail 22/9/08) An observer of the performance dialogues commented: Wonderful to have live performance work/papers. So informative and connects the theory and practice. Good to see this was given significant weight. (Respondent 30c)

78

Figure 6: Selected photos of performance presentation (Sources: Performance Presentation, photographed by Fiona Cullen) 4.3.2.3 Physical Dialogues A curated series of International Masterclasses 12 classes of 2 hours duration by teachers from 5 countries (6 Australia of which 2 were Indigenous, 2 New Zealand, 2 UK, 1 US and 1 India). Overall participant

79

attendance was 249. Aimed at sharing culturally diverse and contemporary approaches to dance, the concept of the masterclasses were designed to link back to the key themes. Each day reflected one of the conference themes. Workshops included contemporary Aboriginal and Torres Strait Island dance; Indian

cross-cultural

dance;

somatic

techniques;

improvisation

and

choreographic techniques; dance in the classroom; physical theatre. Detailed descriptions of each masterclass and the teachers are included in Appendix D, (pp.140-148). Indian scholar and critic Uptal K Bannerjee (2008) commented on this particular opportunity for dancers, teachers and rresearchers who took part in as the ‘sheer variety’ of ‘the transcultural conversation through masterclasses by acknowledged choreographers’.

A 5-day intensive Choreolab led by acclaimed choreographers Lloyd Newson (UK) and Boi Sakti (Indonesia) The concept of the “choreolab” was developed from an initial pilot project developed in 2007 in Singapore by the WDA-AP Creation & Presentation Network and local Singapore organisers. It was led by 2 mentors, 2 choreographers and 8 dancers of varying cultural backgrounds, with 2 researchers. Based on the previous model, not only the scale but also the partcipants selection process was extended for the 2008 choreolab by Convenor Nanette Hassall (Chair of Creation & Presentation network) and her sub-committee together with Co-convenor Rosetta Cook. The 2008 choreolab was under the supervision of 2 mentors (1 UK based, 1 Indonisian), with 4 choreographers (1 New Zealander, 1 Thai, 2 Australian) and 16 dancers of 80

varying cultural backgrounds (11 Australian, 2 Hong Kong, 1 New Zealander, 1 Indian and 1 Cambodia) as well as two researchers to document the program (1 from the US and 1 resident in Indonesia). This group worked intensively over 5 days from 9am until 9pm.

Originally, a showing of the processes of the choreolab was to be held in The Loft (the theatre venue of the conference). However, at the last minute, this did not happen with a ‘talkfest’ replacing the showing. Interestingly, all the dancers and choreographers made positive comments about not showing any outcomes, because it allowed them to concentrate on the process and take creative risks. Dancer, Zaimon Vilmanis, comments on this in the following statement taken from an acquittal report.

I’m sure that there was controversy over the fact that there did not end up being a showing of the work done for the “choreolab”. However, for all involved, not having pressure to expose the choreographic experiments to the public at the end of the week, allowed the choreographers and dancers to relax and gave us the opportunity to take risks. The “choreolab” provided an environment where we could nurture our creativity so that any work that we now create in the future will reflect our experiences from the time at the “choreolab”. FenLan, from Taiwan, commented on her perspective as a dancer: It has been a great opportunity to feel uncomfortable from very honest feedback and response from conversations during these five days of Choreolab. Some words do hurt, but they also pinpoint my weakness and some that I know, but I've ignored. And now, this feedback has become a very precious treasure that encourages me to carry on, in Dance. As a very young freelance artist, it's a great honour to work with several well experienced dancers and choreographers, especially DV8 director Lloyd Newson.

81

As an external observer, the Indonesian-based researcher commented: [Examples] of transformative experience seem to come from opposite directions and were not untypical of the kinds of things, the small hardearned epiphanies, struggles and discoveries during the Choreolab. This general flavor highlights that while the two mentors had almost opposite approaches, their goals were quite similar: stripping away superfluous movement, and clarifying motivation and intention. Lloyd Newson used text and there was lots of talking in his class while Boi Sakti used movement and when he talks, it is about abstract things like energy, spirit, motivation. Australian Choreographer Sarah Jayne Howard reported: I learnt new things about my choreographic process which I think would not be possible in a product based environment. Having the opportunity to be in a creative environment without the pressure of a show was an absolute luxury. I believe that one week was not enough time to make full use of having two mentors especially in the view of having choreographers from such diverse cultural, artistic and personal points of view. The information I have gained from Lloyd about myself and my process as both a performer and choreographer was so insightful and has been vital to my choreographic and artistic development.

82

Figure 7: Selected photos of Choreolab (Source: Choreolab process, photographed by Fiona Cullen)

However, negative comments were given by some of the delegates who had booked for what they thought would be a ‘choreographic showing’.

Respondent 1 reported that it was a ‘major disappointment’, whist respondent 23b suggested that the organisers should find ‘a way to ensure that the work done in Choreolab can be seen by all to avoid last minute changes and disgruntled public.’

Respondent 31 angrily wrote that: the only segment of the summit that people were paid to attend and not paying to present - could get away with firstly not presenting anything physical at all …, and secondly 95% of involved people spending 95% of their talking session justifying why they weren't presenting! 83

It would appear that to hold a successful choreolab which can satisfy both delegates and participants is an ongoing balancing act. In this summit, although the lack of a showing disappointed many delegates, the crucial status of the mission of WDAGS was maintained and professional development was finally chosen as a priority over a performance outcome.

4.3.2.4 Networking Dialogues This was a two-day Global Assembly of the three centres of World Dance Alliance (Asia-Pacific, Europe, and The Americas) which was held after the conference, following a meeting of all the presidents and vice presidents which was held on 10th July prior to the commencement of the summit. The aim of this program was to discuss ways to enhance the profile and increase opportunities for dance internationally. At that meeting, it was agreed that there was a need for the Secretary General position to support the regional presidents. Meetings of the five networks of WDA were held: Creation and Presentation; Research and Documentation; Education and Training; Management and Promotion; Welfare and Status. While Board members from the three regions of WDA represented many of the attendees, some observers also attended. In this Global Assembly, many key issues related to the development of WDA were addressed such as the present relationship between WDA and UNESCO (as mentioned in Chapter 4), as well as advantages and disadvantages of joining with another organisation such as World Alliance for Arts Educators (WAAE ).

84

Discussions were also had as to the location of future AGMs and Global Summits until 2012.

4.3.2.5 Performances and Associated Events A series of umbrella events were coordinated as associated events of the 2008 WDAGS. This decision reinforces the crucial role of partnership.

The evening performance program and associated events boasted leading local artists from stage and screen, which included:

•

Expressions Dance Company, one of Australia’s leading and oldest contemporary dance companies

•

Queensland Ballet, Queensland’s full-time ballet company

•

The national Reel Dance (on screen) Festival, featuring the shortlisted films for the outstanding dance film award of the Australian Dance Awards and ‘global shorts’-internationally acclaimed dance films.

Besides input from these organisations, the opening and closing programs were also hosted and supported by partners in conjunction with WDAGS organisers. The opening program, hosted and supported by QPAC (Queensland Performing Arts Centre), featured performances by senior Indigenous artists such as didgeridoo player William Barton and traditional performer Djakapurra Munyarryun, as well as key emerging artists from Treading the Pathways which was established as a career “pathway” for selected Indigenous choreographers in Australia. The new WDA publication, Dance, Transcending Borders was also an inclusion in the opening night’s proceedings, launched by senior Indigenous 85

dancer and author, Noel Tovey. In addition, Vou Dance Company from Fiji closed with a traditional ‘meke’ dance. The closing event coincided with the opening of Contagion by innovative, cross-platform media artist, Gina Czarnecki, who collaborated with three of Australia’s top scientists to create this work. Gina was also a guest speaker for the mind/body connection dialogue.

As a result, over 400 participants from 28 countries across its five major program components were attracted to attend this Summit. There were 207 conference presenters, 12 international master teachers, 2 choreographic mentors and 17 guest Dance Dialogue speakers and provocateurs, who contributed to the content of the Summit, as well as the performers and artists of the associated events.

86

Chapter 5: Partnerships & their relationship to the event management model of 2008 WDAGS Whilst Chapter 4 profiles the content and outcome of the whole event and evaluates its degree of success from different stakeholders’ perspectives, the purpose of this chapter contains two aspects. One aspect (section 5.1) is to reveal the evolving event management structure behind the actual event. Starting from the overview of the steering committee, a series of key components of the management structure are introduced including the role of the Executive Committee, the staffing structure as well as the Conference Subcommittee which is seen as a microcosm of the overarching structure. Another aspect (section 5.2) to building an event management model is defining the nature of the partnerships into the categories of funding, program and operational partners. The purpose of the identification of these three types of partners is to explore the relationship between them and the event management structure, specifically, to answer one of the research questions as outlined in Chapter 1 (p.1), How did these partnerships influence the event management model? Some strategies to maintain partnerships are also discussed at the end of the Chapter.

5.1 Event management structure 5.1.1 The overarching committee A 2008 WDA Global Summit Committee involving the key persons of host organisations and major partners was established initially at the end of 2006 87

ber was th he first me eeting of steering s co ommittee). A memorandum off (Decemb understan nding betw ween WDA A-AP and Ausdance Queensla and was re eviewed in n terms of the co-ho ost relationship betw ween thes se two org ganizations over 12 2 a the prrogram ev volved. Th he proposed manag gement sttructure off months as WDAGS was mad de up of several sub-commit s ttees inclu uding both h program m ment and program implementation as follo owing: developm

Exeecutive  Com mmittee

Program de evelopment sub b-committees

Progra am implemen ntation sub-comm mittees

Confe erence Prog gram

Fu unding & Spo onsorship

Work kshop Prog gram

Logistics

Perform mance Prog gram

Ma arketing & Prromotion

Global Assembly A Prog gram

Ho ospitality

Vo olunteers

Figurre 8: The initial even nt manage ement model (Source: Huughes, 2008 WDAGSB S Sub-committe ees Briefing Paper, 2006 6) However, the sub-c committees s were not set up as described above ma ainly due to o limited sstaffing res sources, time t cons straints an nd for rea asons of efficiency. 88 8

Although a WBS (work breakdown structure) technique was employed in the form of sub-committees which clearly reflected the necessary ‘knowledge areas’ of project management which have been introduced in Chapter 1 section 1.2.2, insufficient human resources and the unwieldy and unrealistic structure of so many committees made it difficult to realise at least 9 sub-committees with chairs and members. A more feasible management model evolved and eventually became the final management structure of 2008 WDAGS as shown in Figure 9 (devised by the researcher).

Figure 9: The actual event management model Compared with the initial event management model, the actual structure appeared more organic and made good use of existing resources, human and financial. Drawn from the original larger steering committee, the executive committee was much smaller with only four members as discussed in section 5.2. 89

Underneath the executive committee, only one conference sub-committee (see section 5.1.4）was officially realised which held regular meetings every two weeks, whereas ad hoc committees were formed as needed instead of formally constituted sub-committees for each program component. Therefore, emails and phone became the most frequent communication tools in the daily management process instead of face to face meetings, especially as one key member lived in Canberra, a 2 hour flight from Brisbane. Based on the available human resources, QUT and Ausdance Queensland provided the core operational bases undertaking the main tasks of the event (see section 5.1.3). 5.1.2 The executive committee Table 6: Executive Committee members Name

Position & Role

Task allocated

*A/Prof. Cheryl Stock

Program Chair/Curator, WDAGS Conference Convenor, WDAGS Vice-President (Pacific) WDA-AP, Associate Professor, Creative Industries Faculty QUT Chair, Ausdance Queensland Program Development Manager, Queensland Performing Arts Centre (QPAC) Program Director, WDAGS Executive Director, Ausdance Queensland

International & national applications Conference convener Overall program conception & curation Dialogues co-convener Choreolab & Masterclass committees Dialogues co-convener Opening ceremony Sponsorship negotiation

*Ms. Janelle Christofis

*Mr. Marcus Hughes

*Ms. Julie Dyson

National Executive Director, Australian Dance Council— Ausdance Secretary of WDA-AP

Overall budget local applications Organisational planning Internal transport Admin for choreolab & masterclasses WDAGS Global Assembly Website Choreolab commitee Global Assembly

*All executive committee members participated in funding applications, budget overview, fundraising and logistics (Based on program committee executive meeting, July 20, 2007 & updated November, 2008)

90

In general, the function of leadership in events requires ‘the setting of a vision, developing strategies and goals, and inspiring everyone to work together towards these goals’ (Getz, 2007, p.259). In cultural/arts events, particularly, both artistic and management leadership are required. An over-emphasis on business might stifle artistic innovation, whereas an over-emphasis on creativity might compromise the event’s financial viability (Getz, 2007). However, it seems that rarely are the two skills of business and artistic management combined in one person: moreover, the tasks are seldom defined in a way to be undertaken by a single person. Usually, two roles are needed; one to oversee the mission and goals, and one to oversee business. In 2008 WDAGS, the background of each executive committee member reflected a variety of diverse working experience in the arts industry covering professional dancer/choreographer, as well as academic, director, producer and administrator. From delegating tasks, the executive leadership team were also ‘pro bono’ key staff, with all subcommittees chaired by a member of the executive committee known as ‘convenors’ to ensure effective bilateral communication and information sharing. As shown in the table Roles & Positions, each of the members performed a multiplicity of roles related to their professional work as well as holding senior positions in the partner organisations (QUT, QPAC, Ausdance National). As Hadley (2007, p.9) suggests in her proposed ‘partnership strategies’, encouraging ‘more partners to come on board, can be a way of generating large outcomes with limited resources’. Their

91

professional roles also potentially reinforced the WDAGS partnerships through a symbiotic relationship with their employer organisations. In addition, some of the work was done informally in making initial contacts, especially in relation to invitations and communications with artists and speakers who were the major content providers in this summit. A/Prof. Cheryl Stock as program chair and curator of the event, undertook responsibility for the dance dialogues and some choreolab negotiations, as she explained in the personal interview (May 6, 2008) that, I also took on the dance dialogues because I knew the people with whom I could negotiate and made suitable arrangements for them to come. I was able to negotiate a reasonable price through knowing the person and in a friendly way, explaining the necessity to keep costs and ticket registration prices low. 5.1.3 Staffing structure Underneath the supervision of the executive committee, the key staffing structure （ see Figure 10 ） comprised both paid administrative staff and volunteers (students and professionals). The structure also included a conference sub-committee, convenors of each program component, a QUT Events Manager and her staff, two Global Summit funded project officers, staff of Ausdance Queensland, QUT, Ausdance National and over 30 volunteers.

92

*QUT T Events

Volunteers

*Con nference Proje ect Officer

Volunteers

AV support

Volunteers

Progra am Chair, Con nference con nvener

Volunteers

*Prrogram O Officer

Volunteers

Program Diirector

Volunteers

QUT

Executive committee

Au usdance Qld

Associated staff

e and part-time paid staff s * full-time F Figure 10:: Staffing structure s 5.1.3.1 Administra A ation and managem ment At the ad dministration level, there t were e two lead dership teams

from m the hostt

organisattion, Ausda ance Quee ensland, an nd the majjor program m partner, QUT. The e combinattion of thes se two org ganisationss provided the main operationa al basis forr managing g WDAGS S. The QUT Q team m was su upervised by progrram chair, conferenc ce conven ner, A/Prof. Cheryl Stock, wh ho was largely volu untary with h some su upport by QUT (suc ch as tim me and ad dditional o office and computerr requireme ents). The e Ausdanc ce Queenssland team m was sup pervised by y program m director Mr. M Marcus s Hughes who w was paid p by Ausdance Qu ueensland as part off his role as a Executive Directo or of that organisation. Thus, one of th he two key y 93 3

supervisors was paid and one was primarily unpaid, although all the executive committee worked long hours on a voluntary basis. Three key paid staff worked under their supervision. QUT Events Manager Amy Piekkala-Fletcher (and her staff) and conference project officer, Denise Richardson, were answerable to the program chair. The program officer, Adam Tucker, was answerable to the program director. QUT Events received a fee via 2008 WDAGS registration fees, while the latter two positions were funded by the Queensland Community Gambling Fund. It should be noted that although QPAC and Ausdance National also contributed staff to the management process for the event, they are not included in Figure 7 as their roles were not considered in the core event management teams of QUT and Ausdance Queensland. In other words, they oversaw specific projects which will be introduced in section 5.2.2.2. 5.1.3.2 Student volunteers Compared to the administration staff who encompassed all five phases of the event Initiation, Planning, Implementation, Event, Shutdown of the project management model (Allen et al., 2008, pp.163-165), student volunteers mainly worked during the onsite event with a relatively short-term involvement. ‘Using volunteers’ has been identified as one of the most challenging aspects to effective project management in an event context (see chapter 1, section 1.2.2). Volunteer recruitment is considered crucial but difficult to quantify (Allen et al., 2008). However, in 2008 WDAGS, the roles and targeted number of volunteers

94

were clearly outlined and matched to their background and skills. In line with the program partners, volunteer students were mainly from QUT including 30 from Dance, 5 from Film & TV and 4 from technical production (the latter were paid a small honorarium). There were also 8 volunteer students from

Business,

Economics and Law, and the School of Tourism at UQ (University of Queensland). The QUT volunteers were managed and coordinated by the Conference Project Officer. The UQ volunteers were managed by UQ Business lecturer and Vice-Chair of the conference committee Dr. Michelle Whitford. In general, volunteer recruitment strategies focused on a workplace learning experience for the students, with volunteers choosing an area related to their own studies. Opportunities to participate at no cost in masterclasses and the Dance Dialogues were the most attractive reason for many of the dance students to volunteer. The volunteers from Film & TV specifically provided documentation for the Performance Dialogues in the Loft Theatre and the Dance Dialogues at QPAC. The students from UQ came as part of an internship. They assisted with the conference program as they had no specific dance knowledge which was needed for the other components. In fact, some of these students participated earlier in drafting sponsorship proposals for Bloch and Water companies. It is suggested by Mehmetoglum and Ellingsen (2005, p.131) that actively using marketing or tourism students at undergraduate and postgraduate levels is a very ‘cost-efficient way of gathering market intelligence’ for a small scale management team.

95

A training handbook, containing important information like contact details of key staff, and detailed time and venue arrangements were distributed to all volunteers. The relationship between administration and volunteers

were

outlined as follows: Table 7: Student volunteer/supervision relationship & roles Volunteer

Documentation

Supervisors

Program

TV

Chair

students

&

Technical

Masterclasses

support

& Choreolab

Film

QUT

Technical

technical

production

staff

Global Assembly

Technical

Technical

students

students

students

Choreolab convener

Conference

&

Dance

Dance

students

students

Ausdance Qld staff Conference

Dance & UQ

project officer

students

Due to the participatory nature of the Summit, not only the delegates but also the volunteers felt a strong sense of ownership instead of merely service. The following feedback by e-mail was received from a volunteer (3rd year dance student in the performance program at QUT, 24/7/08): 96

To be perfectly frank, I absolutely LOVED this job. It was both inspiring and reassuring to be surrounded by intelligent people who are doing so much for dance both in Australia and on an international level, and to be able to help make their experience a more efficient and enjoyable one. I have learnt so much and met so many valuable people that I will treasure this experience as one of the highlights of my time at QUT. WDA [Global Summit] went above and beyond all my expectations. It has been an absolute pleasure, given me much food for thought, and opened up many new avenues that I was previously unaware of I feel privileged to have been involved so thank you for giving me the opportunity. 5.1.3.3 Professional volunteers Apart from student volunteers, there were also professional volunteers who were approached through industry networks. Maureen Hafner, who has a background in theatre management, undertook the administration work for the Dance Dialogues component of the Summit whilst Carol Wellman, whose background is a dancer, choreographer and rehearsal director, coordinated the Performance Presentations.

5.1.4 The conference committee As the most costly and complicated component of the Summit, the management process of the conference program has been chosen to explore in depth. Initially, Conference Convenor Cheryl Stock invited a number of dance academics to form a committee. During the first meeting on Tuesday 15 May 2007 (see Appendix E, p.149), the scope of tasks were confirmed and roles were allocated. Actions arising from early meetings and minutes were reviewed at the beginning of the next meeting. In order to meet the specific needs of different stages of the

97

conference, tasks evolved according to the various life cycles of the event. At the beginning, funding and sponsorship, call for papers, refereeing/selection panels were considered to be the main tasks. Funding and sponsorship was considered an ongoing process which will be expanded in section 5.2.1.1. In terms of the participatory nature of this summit, call for papers has a direct relationship to numbers of registrations for the Summit. Therefore, targeted and frequent communication with potential paper presenters was crucial. Based on the existing networks of WDA and the academic and professional contacts of the Executive and Conference Committees, a master list was drawn up during Conference Committee meetings. Additions to the lists were discussed regularly as shown by the following extract of the Action Sheet of the 26 July 2007 Conference Committee meeting: •

Distribution for call to papers ongoing – Canada, BAMF, Simon Fraser, York, Performance Paradigm (Ed Scheer & Peter Eckersall), Kim Vincs, Tokyo contacts

•

Denise gathering e-mails of Paris conference

•

Lists to be sent to Cheryl to add to master list to go into WDA Ausdance database

•

Michelle to visit Mexico, Canada and Hawaii. Cheryl to send name and contacts for WDA members in these countries.

Another way of expanding the network was through one of the major partners, QUT, so that the postgraduates and staff of Creative Industries Faculty were contacted about submitting papers through the QUT internal Faculty communications. The call for papers closed in early December in 2007, after

98

which a separate international referee committee was set up to oversee a blind refereeing process of abstracts for selection of papers, as per research requirements in Australia. This committee consisted of experienced QUT and other Australian and international academics. Because a full refereeing process was time-consuming and the numbers larger than at previous WDA conferences, it was argued that full papers should be published after the Summit and only abstracts and biographies included in the Program Book of the Summit itself. An event check list was also set up to assist with the management of the progressing of the event.

Regarding the staffing structure of the conference committee, instead of relying solely on the professional qualifications of the program chair, the conference coordinator Amy Piekkala-Fletcher and the conference project officer Denise Richardson worked closely on a daily basis with the program chair and conference convener Cheryl Stock. Other committee members from different backgrounds brought sufficient necessary skills to meet what Getz (2000) describes as both ‘event generic’ and ‘event specific’ needs.

As this was the only regular working committee apart from the executive committee, the conference management took on other major responsibilities of the Summit such as fundraising, accommodation, budgets for many components, and on-line bookings for all events through the QUT Event Management system. Therefore, the management style of the conference

99

committee is based on sharing responsibility rather than designating tasks. As project officer Denise Richardson suggested (personal interview, May 15, 2008):

If I was just a project officer, I would be told what to do. I'm used to working on my own. I see the jobs before they need to be done. We work more as a team, rather than me doing her [Cheryl’s] work. I usually have a clear idea of what I'm doing, and of what needs to be done. The overarching committee can be considered as a macro event management model, while the conference sub-committee is examined as a micro one. The following section will explore how different levels of partners become involved in the event management process and thus contributed to this management model.

5.2 Partnerships 5.2.1 Identifying partners In terms of the different nature and degree of involvement, external partnership will be examined based on different priorities from the level of their support as shown in the pyramid figure of logos (Figure 11). Funding partners and program partners fall into this category as shown in the figure below. Besides, since the internal management team also represented a partnership, a third category of partnership has been defined as internal operational partnerships.

100

Figure 11: The py yramid figu ure of logo os (Souurces: The prrogram bookk of 2008 WD DAGS, back page)

101 1

5.2.1.1 Funding partners Cash and in-kind partners are essential to support most events, especially notfor-profit arts events. Depending on the nature of the funding partners, they can be categorised as government, philanthropic, institutional or commercial, as well as classified as cash or in-kind. Fundraising in 2008 WDAGS was an ongoing activity of long duration from November 2006 to April 2008. In order to understand the different forms and levels of funding partners of this Summit, the following section will clarify the fundraising strategies of 2008 WDAGS. 1) Fundraising strategies Australian funding policies were reviewed before the related strategies were decided. This was essential to maximize the chance of being successful. As Cheryl Stock, program chair, explains, Unlike many Asian countries, Australia has very limited and specific arts funding guidelines from State and Federal agencies. They mostly will not fund academic conferences, Summit like activities or international artists (apart from collaborative joint productions for specific events, or to and from targeted countries through specific government initiatives). In terms of the funding realities, multiple sources of support had to be considered. (meeting notes from steering committee, December, 2006) The first priority suggested in the initial planning document of WDAGS was to target those organisations most likely to give cash, and to broker contra deals as much as possible. Besides the funding bodies in Australia, other funding agencies outside Australia would also need to be approached.

102

As Mr. Marcus Hughes, the program director of 2008 WDAGS, stated (personal interview, May 2, 2008), ‘It really is the government funding that offsets the costs, rather than the generated income’. He highlighted the crucial status of government funding for this summit and pointed out the reason why fundraising was important, Because a lot of the World Dance Alliance membership involves students, often from developing nations, plus academics, we've had to heavily subsidise a lot of the delegate registrations…and these are all factors which would not normally occur in an international conference. So, we are totally reliant on as much funding as we can generate, because we're not expected to make a lot of income. (personal interview, May 2, 2008) The majority of the income was generated from registration fees which were deliberately kept at a low cost to ensure dancers and students who have small incomes could attend. Therefore, subsidy was needed to cover the shortfall and support all other aspects of the program. However, not expecting to ‘make a lot of income’ doesn’t mean the income is not important. In fact, the income was also a crucial factor to keep the budget in balance. To ensure a sufficient registration number was a major priority during the planning process. As a result, 364 delegates registered and paid, which was beyond the initial estimate of 200. Based on the combined experience of the executive committee, the program of 2008 WDAGS was divided into different components to match specific funding guidelines. A list of every funding possibility was outlined by Mr. Marcus Hughes initially and the potential funding bodies were selected by the committee. In order to consider a good match with those funding bodies, the content of

103

funding applications was designed strategically. For example, QUT’s funding related to academic research and guest speakers, as well as seeding support of the conference and proceedings. Artists were primarily targeted for funding from governmental arts organisations such as the Australia Council for the Arts and Arts Queensland. However, in terms of international artists, Australia Council could only provide limited funding. Therefore, the background and significance of artists were an important consideration in relation to which funding bodies to approach. For example, Lloyd Newson is based in the UK although he is Australian, and so the British Council appeared a suitable organization for subsidising

his

airfare.

The

other

mentor

Boi

Sakti,

an

Indonesian

choreographer, was supported by the Sidney Myer Fund which has a particular focus on funding Australian/Asian collaboration (Stock, personal communication, May 6, 2008). 2) Cash funding partners The funding partners were Arts Queensland, the Australia Council for the Arts, the Queensland Community Benefit Fund, QUT, Sidney Myer Fund, British Council, Brisbane City Council and Besen Family Foundation. The following table outlines the cash funding partners to support the summit:

104

Table 8: Cash funding partners Sources

Funding Organisation

Activity funded

Subsidy requested

Subsidy received

Government (National)

Australia Council

Dialogues; Choreolab

$ 39,671

$ 39,671

Government (State)

Arts Queensland

General assistance & Global Assembly

$ 55,000

$ 55,000

Government (State)

Qld Community Gambling Fund

Salary of Conference & Program Officers

$ 30,000

$ 30,000

Government (International)

British Council

Airfare Newson (Choreolab)

$ 6,500

$ 8,500

Government (Local)

Brisbane City Council

Philanthropic Philanthropic

Institutional

Institutional

Institutional

Sidney Myer Fund Besen Foundation QUT Faculty of Creative Industries Institute of Creative Industries (iCi) QUT Faculty of Creative Industries

Total

General Support Choreolab (International participation)

$ 5,000

$ 5,000

$ 30,000

$ 15,000

Master Classes

$ 10,000

$ 5,000

Dialogues Speakers & costs

$ 5,000

$ 5,000

Dialogues Speakers & costs

$ 3,000

$ 3,000

Conference Proceedings

$ 10,000

$ 10,000

$ 233,339

$ 176,171

(Based on Organisational Funding Applied & Actual for 2008 WDA Global Summit, provided by event organisers)

Comparing the amount of government support with philanthropic funding and Institutional support, government funding was the major source of support for WDAGS. In general, most of the funding applications were successful. However, there were four unsuccessful applications as illustrated below, although Bloch and Pure Mountain did provide in-kind support (see pp.106-107).

105

Table 9: Unsuccessful applications for cash support sources Government (State) Commercial Commercial Commercial

Funding Organisation Arts Queensland Bloch Paul Wright Pure Mountain

Activities

Applied

Actual

Qld Artists for Choreolab Dialogues Dialogues Conference

$ 14,168 $ 10,000 $ 5,000 $ 10,000

$----$----$----$-----_

(Based on Organisational Funding Applied and Actual for 2008 WDA Global Summit, provided by event organisers)

Since 2008 WDAGS was an international dance event, it needed to gain support locally, nationally and internationally. In this instance, it would appear that locally and nationally based was the easiest funding to obtain. The lack of success for the application to Arts Queensland, which met their particular focus to support Queensland artists, is surprising. The reason given was the large number of good applications and the small amount of money for that particular round of funding. Interestingly, a much bigger sum of cash support ($55,000) was successfully achieved after this failure. This was through a newly instigated Industry Initiative Fund by Arts Queensland to support industry based projects. A/Prof Cheryl Stock (personal interview, May 6, 2008) stated that, ‘We were very disappointed when we heard that we didn’t get the smaller grant; then we put in for a larger one and we got that, because they liked the idea of the whole thing, rather than a small component…’. The success of this funding again demonstrates how the crucial status and changing nature of policy influence such events. As discussed in Chapter 1, the Australian government, in outlining its 1994 ‘Creative Nation’ cultural policy statement, shifted its basis for

106

evaluation of performing arts organizations from the simple production of an arts product to industry success. In terms of the long duration of the fundraising process for this event, policy changes can happen unexpectedly. It is thus challenging for organisers to be flexible in pursuing a good match, and to keep up with policy changes. Except for Arts Queensland, the other unsuccessful applications related to commercial sponsorship. It has been seemingly difficult for WDAGS to achieve support from these potential investors. Mr. Marcus Hughes argued in an interview (May 2, 2008) that: For us, we are looking at a maximum probably of 300 delegates who have all been heavily subsidised. There are few hooks for attracting business sponsors to the event because it doesn't really have a commercial focus. That's always a problem, unless it's working at the top end, like other companies like the Australian Ballet or Sydney Dance Company, [which] have much more success at attracting corporate investment into their core funding. They are fundamentally organisations within the business world. It's all about profile. It is also more difficult for WDAGS, as a one-off event to attract commercial sponsorship compared with an ongoing permanent organisation. Bloch, an international dancewear label, has previously sponsored the Queensland Ballet and the 1998 Options Tertiary Dance Festival in Brisbane. However, despite being involved with these localised sponsorships, Bloch did not accept the sponsorship proposal from WDAGS. The reason for this may be multi-facetted within the commercial realm of marketing. In examining why more business support for the arts is not forthcoming, the AbaF (The Australian business for

107

the arts Foundation) 2002 report presented a number of commonly expressed misconceptions or myths by commercial organisations as follows: a. There are few benefits associated with supporting the arts; b. Arts sponsorships are short-term, one-off events only; c. There are few prominent brand exposure opportunities in the arts; d. Arts and cultural events offer little opportunity for consumers to experience a product as part of an enjoyable event; e. The reach of the arts is small relative to the reach of television and sports events; f. The community views arts organisations as exclusive and too serious – not a useful image with which to align; g. There is a lack of community goodwill towards the arts compared with community attitudes to health and environment issues. Perhaps a primary reason that such a renowned international label did not sponsor this international dance event was that the target audiences were not primarily professional dancers or students. As the program chair Cheryl Stock suggests, ‘it is largely because the main market objective for Bloch is young dance students’ (personal communication, April 10, 2008). Bloch has felt they could not broaden their dance sales from the majority of people attending this event. They may have misunderstood WDAGS as only an academic conference and not been as aware of the level and profile of professional artists involved, although it was clearly set out in the sponsorship proposal.

108

2) In-kind support Apart from cash, WDAGS acquired in-kind support from some of the commercial corporations such as Bloch (conference satchels, inserts, discount vouchers and a full page advertisement in the program) and Jimbour Wines (free wine for all events). Additionally, small cash income was derived from program advertisements and product placement in the foyer of the conference venue. It should be noted that ‘sponsors and media’ are usually considered two main stakeholders as mentioned in Chapter 1 (McDonald et al., 1999, p.39). With reference to partners in events, previous research has mainly focused on business sponsors. In the Summit, however, sponsors and media were only minor stakeholders. Rather than marketing for attracting delegates, the function of marketing was mainly to profile the event and give it high visibility. A standard marketing plan was not necessary because delegates were attracted to the event directly, either through existing membership or extensive and regular ecommunications, by the event management team. 3) Summary of funding partners As a result, not only did WDAGS attract more delegates than anticipated, but it also covered the major kinds of fundraising for such events: government, philanthropic, institutional and corporate sponsorship. In terms of the financial operations of the Summit, three accounts were established, reflecting how the

109

on of incom me and expenditure related to the two ad dministrativ ve centres, distributio the host, Ausdance e Queensla and and ma ajor partne er, QUT, ass illustrated d over:

Q QUT Acco ount 1 (manageed by QUT  Eveents)

Au usdance Qld d Accountt

QUT T Account 2

(m managed by  Proggam Director)

(manage ed by Program C Chair)

Gen neral Revvenue

Figure 12 2: Distributed Financial Mode el The acco ounts base ed at Ausda ance Quee ensland de ealt with alll of govern nment and d philanthro opic grants s; QUT Ac ccount 1 managed m a the fee all es paid by delegates s including tickets forr all events s, registration, accom mmodation, as well as a handling g transport, printing and a conferrence expenditure); QUT Acco ount 2 ma anaged the e nal cash su upport from m the Facu ulty of Cre eative Industries and iCi, which h institution was prim marily use ed for guest speak kers and some conference expenses. Therefore e, a distrib buted financial model was es stablished based on the three e accounts with the ability a to tra ansfer fund ds across th he three operating ce entres. artners 5.2.1.2 Program pa or partners s of this summit s we ere a group p of mainlly in-kind supporters s s The majo which ha ave been termed prrogram pa artners. Sin nce the S Summit comprised a 110 0

dialogue program, conference program, workshop/choreolab program, Global Assembly program and opening/closing events program, the selection of program partners was based on who could best support the program components. Program partners were approached early in the bidding stage. The selection of program partners directly decided the feasibility of this summit. Although cash support was also available from program partners, the level of involvement and style of these partners was quite different from the funding partners. Compared to government or philanthropic funding bodies which normally only need a successful application prior to the commencement of the event followed by a financial and artistic report at the end, much more involvement was needed between the host organisations and the allied program partners. The major program partners of 2008 WDAGS were Queensland University of Technology (Faculty of Creative Industries, QUT Precincts, iCi and QUT Events), Queensland Performing Arts Centre and Ausdance National. These partnerships represent academic, government and service-based organisations. Brisbane Festival 2008, although expressing interest in becoming a major partner, eventually only supported in a minor way the Dance Dialogues component, and provided some media support. 1) QUT As an academic institution, the most attractive component of WDAGS for QUT was the conference and dialogue program. In terms of the international scale of the conference which would bring leading academics and practitioners from different countries, it was a good opportunity to contribute research credit and 111

promote the branding of the university. As a result, besides the cash support mentioned in funding partners, the most significant in-kind contribution from QUT was the venues and associated staff provided for the conference, choreolab and masterclasses, one of the dance dialogues program and the closing event. 2) Ausdance National Since one of the host organisations, Ausdance Queensland, is a branch of Ausdance National, they obviously have common aims and priorities. Meanwhile, in terms of the membership principle of WDA-AP which was introduced in Chapter 4, both host organisations and one of the main partner Ausdance National share their membership. In other words, the highly similar organisational structure made the vision of this Summit overlap in many ways with that of Ausdance National itself. Professional expertise, dissemination and the Summit website were the main contribution to this summit by Ausdance National. The secretary of WDA-AP, Julie Dyson, and Ausdance Queensland director, Marcus Hughes, co-convened the Global Assembly. The venue for the Global Assembly program was successfully negotiated by Mr. Marcus Hughes. Being able to use the Parliamentary Annexe, a prestigious venue within Parliament House, largely enhanced the quality of the summit. 3) Queensland Performing Arts Centre (QPAC) As the largest performing arts venue in Queensland, the function of QPAC is performing arts attendance, appreciation and education, through providing high

112

quality programming to the public (QPAC, 2003). Since the Dance Dialogues component was the only central part of the program designed for the public as well as for the registered delegates, the partnership with QPAC was helpful in providing the Cremorne Theatre for 4 out of the 5 Dance Dialogues. Another crucial contribution of QPAC to this summit was the opening event. In order to highlight the significant role of Indigenous arts practice, Australia’s most respected Indigenous artists were invited by QPAC and WDAGS to perform in the opening event. A sense of place and community was thus highlighted for the delegates of WDAGS, through the Indigenous participators, members of the local art and business communities, local politicians and the local food and wine. 4) Brisbane Festival 2008 As the local biannual international festival, Brisbane Festival was approached for support in this summit. Originally, Brisbane Festival and 2008 WDAGS were negotiated to be scheduled at the same time. However, Brisbane Festival changed their dates in October 2007 due to a major event becoming unavailable. It was too late for WDAGS to change, as it had already confirmed venues and guest speakers/artists. Therefore, the involvement of Brisbane Festival was less than originally envisaged. Brisbane Festival, however, did launch the WDAGS program as part of its own launch, with a separate press release about the Dance Dialogues distributed from their marketing arm. In addition, two Dance Dialogue speakers were provided, Mr. Lyndon Terracini, the artistic director of the Brisbane Festival, and Mr. Barrie Kosky, acclaimed Australian theatre and opera director. 113

5) Summary of support by Program Partners In-kind contributions such as venue, expertise, staffing and promotion were considered the most significant support by program partners as displayed in the following table. These benefits point to the crucial importance of bridging social capital through networks and partnerships.

Table 10: 2008 WDAGS Program Partner involvement Types of support venue

expertise

QUT Conference 1 Dance Dialogue Closing event Masterclasses Choreolab Event management Financial support Co-ordination

staffing

Technicians Computer support General event management website On-line bookings Referee proceedings Registrations marketing QUT corporation communication

Ausdance National

QPAC 4 Dance dialogues Opening event

Global Assembly Choreolab

Administration management support

Technical Programming support for above events 4 Dance Dialogues Opening event

Hosted WDAGS site Through Ausdance e-communications Publications such as Asia Pacific Channels

5.2.1.3 Operational Partners Whilst funding partners and program partners can be identified as external, operational partners relate to the internal management process. Usually, an event is run by the host organisation. However, the internal management team 114

of 2008 WDAGS consisted of diverse human recourses coming from different organisations as outlined in section 5.1.3. Thus, a partnership relationship also existed at the internal operational level. It is clear that one of the major program partners, QUT, and one of the co-host organisations, Ausdance Queensland, became the main operational partners undertaking most of the organising work of the Summit, as outlined in tables. Other activities such as opening and associated events were also negotiated and implemented by the program partners.

5.2.3 Partner inter-relationships As discussed in Chapter 1, ‘social networks’ are often important for event managers, especially when obtaining the resources and support to start an event (Getz, 2007, p.92). At this point, a social network perspective is employed to examine the partnership strategies of identifying the most suitable government, corporate, community or arts partners and their inter-relationships. Since WDA and Ausdance, as co-hosts of the Summit are mission-driven, one must balance funding criteria of targeted partners without sacrificing the event’s identity and purpose. In other words, the balance between mission and money should be carefully considered when making any choices about partners to approach. Although diverse resources are essential, an inappropriate partner is usually identified as one which is at odds with the mission of the event. However, in terms of the necessity of finding diverse partners, it is difficult to expect all partners to have a similar vision and identity to each other. In other words,

115

identifying the level and nature of the partnership is as important as the choice of partner itself. As a result, all of the major program partners (QUT, QPAC, Ausdance National) appeared to have a similar or overlapping goals parallel to the mission of the host organisations. Those commercial sponsors who have different missions from WDA such as Jimbour Wines, collaborated as minor partners and so presented a low risk to the mission and vision of WDAGS. Additionally, Jimbour Wines provided a service of good Australian wines which arguably assisted the informal social networking.

As mentioned in Chapter 1, discussing a partnership relationship from a social networks perspective may help event organisers not only to consider influences that impact upon the organisation from elsewhere in its local or global networks, but also how it may seek, gain and harness benefit and influence within those networks. Therefore, besides identifying suitable partners and their relationship to the event itself, the inter-relationships between different types of partners are also crucial to take into account as shown in Figure 13.

Funding partners

Program partners Event

Operational partners

Figure 13: The relationship of partners 116

All three types of partners contributed to the event in various ways as discussed in the last section. Funding partners provided mainly cash support for content providers such as artists and guest speakers of the event, while program partners contributed to the event through multiple human and infrastructure resources, as well as directly organising artists for the opening ceremony. Partners can also benefit from each other, and Zahner (2005) suggests, partnerships have increasingly been a requirement to access some government funding programs (as cited by Halseth & Ryser, 2007). The combination of already negotiated program partners thus increases credibility when applying to new or other funding bodies. For example, the newly instigated Industry Initiative Fund by Arts Queensland may not have been successful if other funding and partners had not already been secured. Operational partners receive cash support from funding partners, often to support salary costs. While in-kind support from program partners more often occurs in the form of both staff and expertise, in the case of the WDAGS, program partner QUT was also a funding partner.

Therefore, a complex inter-relationship between all 3 types of partners not only provided a successful outcome, but also for the purposes of this research provides a cross-communication model.

5.2.4 Maintaining partnerships Whist the identification of the different nature of partners and their interrelationship has already been discussed, this section explores strategies to 117

maintain partnerships. Both subjective and objective factors of maintaining successful partnership relationship are examined. Different levels of trust among various partners were considered as crucial subjective factors; whilst Googins and Rochlin’s (2000, p.133) template of ‘critical success factors’ was used to examine the partnership relationship from a more objective operational perspective.

5.2.4.1 Subjective successful factors As discussed in Chapter 1, mutual trust is identified as a key element to a reciprocal systematic relationship that produces social capital. Since a variety of partners were involved in WDAGS, it is necessary to examine different types and levels of trust among those partners. Paxton (2007) pays particular attention to the theory and measurement of voluntary associations in promoting trust, hypothesizing that voluntary associations connected to other voluntary associations are more beneficial for the creation of trust than associations isolated from other associations. In adopting this theory in the case study, it is clear that existing high levels of trust between World Dance Alliance and Ausdance generated in this event a sense of ‘connectedness’, influencing the event in various ways as discussed below.

Trust between host organisations According to the membership strategy of WDA discussed in Chapter 3, section 3.5, the relationship between a WDA Chapter and the national dance organisation in a country (such as WDA-AP and Ausdance Queensland) is 118

synergistic with mutual benefits and engenders a high level of trust. The relationship between the two organisations has been identified as a closely developed partnership (see Chapter 3, section 3.5).

Trust between program partners and host organisations Obviously, the executive committee members of the event are key members of WDA-AP, the host-organisation. Their multi-roles represented the key positions of program partners, which effectively increased their work possibilities and their inter-relationships. Therefore, a high level of trust was established between the various program components and host-organisations via the leadership team and networking strategies, and formed a bridge between the program and operational partners.

Trust between funding partners and host-organisations As well as the importance of a suitable match between the identification of the event and guidelines of funding bodies as mentioned before, the successful record of funding applications in previous arts projects by the Summit organisers was arguably an added advantage in procuring funding for WDAGS. The trust built on the successful outcomes of previous applications by members of the executive committee added credibility to the funding applications for this event.

Clearly, the existing trust between the key organisers of the Summit was crucial for maintaining partnerships. Trust is therefore a significant aspect to the event management structure, where mutual understanding particularly during the

119

management process is built on trust, both with the operational partners and with the external partners. Getz (1997) emphasises that longer term arrangements are required to achieve a greater degree of mutual understanding among partners. This was achieved in WDAGS through the effective professional relationship between key stakeholders.

5.2.4.2 Objective successful factors According to Waddock (1988:18), social partnerships ‘require[s] active rather than passive involvement’. A template of “critical success factors” for partnership relationships is provided by Googins and Rochlin (2000, p.133) to describle the level of ‘active involvement’:

•defining clear goals • obtaining senior level commitment • engaging in frequent communication • assigning professionals to lead the work • sharing the commitment of resources • evaluating progress/results

However, in terms of the different nature of partners, not all partners have a ‘longer term’ and ‘active’ involvement, and different criteria are thus necessary for different partners. As Stock (2008b, p.27) argues, ‘philanthropic, government, research and artistic communities all have their own “accents” and coming to an understanding of shared meanings is central to efficacious partnerships’.

120

According to Hadley (2007, p.6), the best way to understand the differences is to ‘create the management and communication systems’. Similarly, Stock (2008b, p.27) suggests that ‘[a]dopting an appropriate communication style in approaching and sustaining partnerships is an underrated key to success’.

In the case study, the involvement of program partners is defined as ‘active involvement’, whist the funding partners were involved in a relatively passive way. Regular contact is not needed between the event and the funding bodies during the event (pre-event and the realisation of event), however, evaluation reports need to be provided post-event. Therefore, instead of adapting all those “critical success factors” into one type of partnership, the different nature of the partners fall into various attributes of the template as mentioned above. The following section employs the template to examine the effectiveness of various types of partners of 2008 WDAGS.

•defining clear goals

As outlined in Chapter 4, the clear goals were initially defined through a memorandum of understanding between Ausdance Queensland & QUT and Ausdance Queensland & Brisbane Festival. These goals were continually monitored and refined through the planning process which provided reinforcement to the mutual understanding of the co-host organisations.

121

• obtaining senior level commitment

Senior level commitment was obtained early in the first steering committee meeting. The major program partners were invited to be involved and to discuss and negotiate the main issues and implementation strategies for the event. They continued to support the event throughout the planning and implementation process.

• engaging in frequent communication

Except for the funding partners, frequent communication was achieved for both program partners and operational partners via meetings, emails and phone. As the program chair, Cheryl Stock, noted at the Global Assembly of 2008 WDAGS, ‘organising the Brisbane conference has taken two years, but it has been possible through good communication rather than only through adequate funds and resources, which must be raised by the host country.’ An effective communication system built on trust is crucial to achieve successful partnership relationships.

• assigning professionals to lead the work

Professionals were assigned in different levels of management team. At the executive

level,

professionals

oversaw

funding

applications,

budgets,

fundraising and logistics. At the operational level, the QUT Event management

122

team was selected to handle conference and program logistics through their own technological systems.

•sharing the commitment of resources

This aspect mostly refers to program partners. The support provided by program partners included infrastructure (e.g. venues, website) and human (staffing, expert) resources. Most importantly, sharing resources became integral to establishing an effective model of event management.

• evaluating progress/results

The last step of Googins and Rochlin’s (2000) model is the same as the last phase of project management which is called ‘shutdown’, as discussed in Chapter 1, section 1.2.2. In this context, it may be more appropriately entitled the ‘evaluation’ phase. As one of the major operational partners, QUT Events conducted an on-line survey for delegates as part of their regular evaluation process. In depth evaluation was also a requirement to acquit grants from the funding partners, both financially and artistically. The survey data was therefore provided to funding partners through the artistic and financial acquittals. However, what did not occur was a face to face debriefing session with the key stakeholders. Feedback was sought from the choreolab participants as discussed in Chapter 4 section 4.3.2.3, and other general e-mail feedback assisted the executive in presenting evaluation reports for all partners.

123

In terms of the challenge of limited resources, the original management framework which was proposed in initial steering meetings evolved and resulted into a more feasible and organic event management model. Key components were extracted and the structure of the model discussed, resulting in a staffing structure which consisted of administrative organisers, student and professional volunteers, and which also utilised in a hands-on manner, the qualifications of the leadership team. The latter’s management style was highlighted at both the Executive Committee and at the Conference Sub-committee level. From the analysis of this and preceding chapters it can be concluded that the event management model of 2008 WDAGS was predicated on a number of partnerships. In other words, all three types of partners (Funding, Program and Operational) were identified as contributing to the event in distinctive ways. Cash and in-kind support involved all three partners but through different levels of support. At the same time the inter-relationship among partners became integral to establishing an effective model of event management. Finally, both subjective and objective factors in maintaining partnerships revealed that both were significant to an effective management model for WDAGS.

124

Chapter 6: Conclusion This study began with an overview of current literature on event management, in which different perspectives were discussed in order to explore crucial factors which might be applied to an alternative event management model. Based on the characteristics of not-for-profit arts events, the recognition and acceptance of the need for developing partnerships was proposed as a key strategy to achieve a successful event. The 2008 World Dance Alliance Global Summit (WDAGS) was selected as a single case study to examine the theoretical propositions of the literature and from which to build a specific and relevant model. In the case description, the history and structure of host organisations was initially examined, followed by the description of the conceptualisation and realisation phases of the event itself. This provided key indicators to build the evolving event management model and to measure its effectiveness.

Looking at the evolving event management model of the 2008 WDAGS and its relationship to the different nature of partnerships as defined in Chapter 5, the study demonstrates that this international event could not have happened without effective partnerships. Although funding partnerships, through cash support, can solve basic material requirements, human resource shortages can still be a challenge for such complicated and costly events. In the 2008 WDAGS, it was the funding partners who contributed most of the cash, predominantly to content providers such as artists and speakers, and for their expenses (travel, accommodation, fees) whilst only limited financial assistance was obtained for 125

administrative support. An important finding of this study was the necessity for appropriate volunteers in the lead up to and during the event, from both professional administrative personnel and students. This reduced the financial pressure in realising the event. Stock (2008c) suggests in the project outcome documentation that:

if such an ambitious project were to be undertaken again by two service organisations, something on a smaller scale with less presentations would be preferable, or else a larger team with a greater number of paid staff with specialist expertise. However, this research shows that the scale of 2008 WDAGS was indeed successfully managed by a small, mainly volunteer, professional management team with only three designated full-time staff, and a handful of paid part-time staff.

Significantly, this research demonstrates that the involvement of funding partners, program partners and operational partners and their inter-relationships are crucial to supporting this type of event, through providing both material and non-material resources. A major finding through this case study is that partners, integrated into the event management model, are critical to an effective management structure. The strategies of maintaining partnership relationships are also a significant indicator of an effective management model. Trust at every level of management is highlighted as an important key to maintaining partnership relationships throughout every phase of the event.

126

Finally, although the research topic stems from a specific not-for-profit arts event, the event management model developed to support WDAGS can be adapted to similar situations. With resource shortages a common dilemma facing most not-for-profit organisations staging an event, this study provides a template to overcome such challenges through the strategic use and combination of varying types of partnerships embedded within a specifically designed management structure both of which have been built on the needs of the particular event.

127

128

References Allen Consulting Group. (2002). A Not-for-Profit Council? Discussion of Need and Options for the Way Ahead. The Allen Consulting Group/LEK, Melbourne. Allen, J., O’Toole, W., Harris, R., & McDonnell, I. (2008). Festival and Special Event Management. (4th ed.). China: John Wiley & Sons Australia, Ltd. Alomes, S. (1985). Parades

of Meaning:

The

Moomba Festival

and

Contemporary Culture. Journal of Australian Studies, 17, 3-17. Ausdance.

(2008).

Structure.

Retrieved

October

1,

2008,

from

http://www.ausdance.org.au/about/structure.html. Ausdance. (2008). Aims and Priorities. Retrieved October 1, 2008, from http://www.ausdance.org.au/about/aims.html. Australian business for the arts Foundation (AbaF). (2002). Business Support for the Arts in Australia: Recent Developments and Future Directions. Melbourne: AbaF. Banerjee, U.K. （2008）. When The World Spins To Dance, In 2008 World Dance Alliance Global Summit, unpublished report. Berg, B.L. (1998). Qualitative Research Methods for the Social Sciences. (3rd ed.). Boston: Allyn and Bacon. Bowdin, G., Allen, J., O’Toole, W., Harris, R., & McDonnell, L. (2006). Events Management (2nd ed.). Great Britain: ELSEVIER. Borch, O.J. & Arthur, M.B. (1995). Strategic networks among small firms: implications for strategy research methodology, Journal of Management Studies, 32(4), 475-491. Retrieved September 2, 2008, from Business Source Elite database. Burns, R. (2000). Introduction to research methods (4th ed.). Frenchs Forest: Pearson Education.

129

Byrnes, W. (2003). Management and the Arts. Boston: Focal Press. Convention Industry Council (CIC). (2004). APEX Industry Glossary. Retrieved November 20th, 2007, from http://glossary.conventionindustry.org/. Crespi-Vallbona, M. & Richards, G. (2007). The meaning of cultural festivals. International journal of cultural policy, 13(1), 103-122. Creswell, J.W. (1998). Qualitative inquiry and research: Choosing among five traditions. Thousand Oaks, CA: Sage. Daellenbach, K., Davies, J., & Ashill, N., J. (2006). Understanding sponsorship and sponsorship relationships-multiple frames and multiple perspectives. International Journal of Nonprofit and Voluntary Sector Marketing, 11(1), 73. Denzin, N. K. and Lincoln,Y. S. (2000). Introduction:The Discipline and Practice of Qualitative Research, In Denzin, N. K., & Lincoln, Y. S. (Eds.), The handbook of qualitative research (2nd ed.) (pp.1-28). Thousand Oaks, Calif.: Sage Publications. Dyson, J. (2007, February). Meeting notes from 2008 WDAGS Steering Committee Meeting 1, QPAC Meeting Room, Queensland Performing Arts Centre. Dyson, J. (2008). World Dance Alliance-Asia Pacific: Communicating through dance in our region. Brolga : an Australian journal about dance, June, 712. Elkington, J. (1998). Cannibals with Forks: the triple bottom line of 21st century business. New Society Publishers, Gabriola Island BC, Canada. Fontana, A. and Frey, J. H. (2000). THE INTERVIEW:From Structured Questions to Negotiated Text, In Denzin, N. K., & Lincoln, Y. S. (Eds.), The handbook of qualitative research (2nd ed.) (pp.645-672). Thousand Oaks, Calif.: Sage Publications.

130

Getz, D. (1997). Event management & event tourism. New York: Cognizant Communications Corporation. Getz, D. (2000). Developing a research agenda for the event management field. Conference Proceedings of the ‘Events Beyond 2000: Setting the Agenda’ (pp.10-21). Sydney: Australian Centre for Event Management, UTS. Getz, D. (2005). Event management & Event tourism (2nd ed.). New York, Cognizant Communication Corporation. Getz, D. (2007). Event Studies: Theory, research and policy for planned events. Great Britain: Elsevier. Giddens, A. (2000). The Third Way and Its Critics, Polity Press, Malden, Massachusetts, USA. Goldblatt,

J.

(1997).

Special

events—Best

practices

in

modern

event

management (3rd ed.). New York: John Wiley & Sons, Inc. Goldblatt, J. (2005). Special Events: Event leadership for a New World. 4th edn. Hoboken, John Wiley & Sons. Googins, B., & Rochlin, S. (2000). Creating the partnership society: Understanding the rhetoric and reality of cross-sectoral partnerships. Business and Society Review, 105(1), 127–144. Gray, C & Larson, E. (2000). Project management, Gower Press, Aldershot, England. Guba, E. G. and Lincoln, Y. S. (1989). Fourth Generation Evaluation. Newbury Park, CA: Sage Guba, E. G. and Lincoln, Y. S. (1994). Handbook of Qualitative Research. Sage Publications, Thousand Oaks. Guba, E. G. and Lincoln, Y. S. (2000). Paradigmatic Controversies, Contradictions,and Emerging Confluences, In Denzin, N. K., & Lincoln, Y.

131

S. (Eds.), The handbook of qualitative research (2nd ed.) (pp.163-188). Thousand Oaks, Calif.: Sage Publications. Hadley, Bree J. (2007, July). Partnerships, social capital and the successful management of small scale cultural festivals: A case study of Hobart’s Antarctic Midwinter Festival. In Proceedings Re-eventing the city/town: Events as catalysts for social change, Fourth International Event Research Conference. University of Technology Sydney and Victoria University, Melbourne. Retrieved October 25, 2007, from QUT ePrints. Halseth, G., & Ryser, L. M. (2007). The Deployment of Partnerships by the Voluntary Sector to Address Service Needs in Rural and Small Town Canada. Voluntas, 18, 241-265. Harris, V. (2004). Event management: a new profession. Event Management, 9 (1/2), 103-109. Healy, M., & Perry, C. (2000). Comprehensive criteria to judge validity and reliability of qualitative research within the realism paradigm. Qualitative Market Research, 3 (3), 118-126. Retrieved September 4, 2008, from ABI/INFORM Global database. Hemphill, T. A., & Vonortas, N. S. (2003). Strategic research partnerships: A managerial perspective. Technology Analysis and Strategic Management, 15(2), 255–271. Hodder, I. (2000). The Interpretation of Documents and Material Culture, In Denzin, N. K., & Lincoln, Y. S. (Eds.), The handbook of qualitative research

(2nd

ed.)

(pp.703-715).

Thousand

Oaks,

Calif.:

Sage

Publications. Hughes, M. (2006). Ausdance Queensland & the WDA World Dance Congress, WDA Bid – Brisbane Background - Abridged, unpublished document. Hughes, M. (2006). WDAGSB 2008 Sub-committees Briefing Paper, unpublished document. 132

Johnson, Allan G. (2000). The Blackwell Dictionary of Sociology. (2nd ed.). Oxford, UK: Blackwell. Kanter, M. R. (1994). Collaborative advantage: the art of alliances. Harvard Business Review, 72(4), 98–108. Keller, K. L. (1993). Conceptualizing, measuring, and managing customer-based brand equity. Journal of Marketing, 57, January, 1-22. Koza, M. P., & Lewin, A. Y. (1998). The Co-evolution of strategic alliances. Organization Science, 9(3), 255–263. Mayfield, T. L., & Crompton, J. L. (1995). The status of the marketing concept among festival organisers. Journal of travel research, 33(4), 14-22. McDonnell, I., Allen, J., & O’Toole, W. (1999). Festivals and special events management. Sydney: Wiley & Sons Australia. Meenaghan, J.A. (1983). Commercial Sponsorship. European Journal of Marketing. 7(7), 5-73. Meenaghan, T. (1998). Current Developments and Future Directions in Commercial Sponsorship. International Journal of Advertising. 17(1), 3-28. Mehmetoglu, M. & Ellingsen, K.A. (2005). Do Small-Scale Festivals Adopt “MarketOrientation”

as

a

Management

Philo

Philosophy?.

Event

Management, 9(3), 119-132. Miles, M. B., & Huberman, A. M. (1994). Qualitative data analysis: an expanded sourcebook (2nd ed.). Thousand Oaks: Sage Publications. Oxford, UK: Blackwell. Miller, C., & Ahmad, Y. (2000). Collaboration and Partnership: An Effective Response to Complexity and Fragmentation or Solution Built on Sand? International Journal of Sociology and Social Policy, 20(5/6), 1–38.

133

Nicholls, C. (2005). Promising practices in community partnerships: Lessons learned from the Canadian Rural Partnership. Ottawa: Agriculture and Agri-Food Canada. Nor, M.A. (2006). President’s Message. Asia-Pacific Channels, 1, 3-4. O’Toole, W. J. & Mikolaitis, P. (2002). Corporate event project management. New York: John Wiley & Sons, Inc. Patton, M.Q. (19990). Qualitative Evaluation Methods, Sage, Beverly Hills. Paxton, P. (2007). Association Memberships and Generalized Trust: A Multilevel Model across 31 Countries. Social Forces, 86(1), 47. Perry, C., Riege, A. & Brown, L. (1999). Realism's role among scientific paradigms in marketing research", Irish Marketing Review, December. Perry,

C.

Alizadeh,

Y.

&

Riege,

A.

(1997),

Qualitative

Methods

in

Entrepreneurship Research. In proceedings of the Small Enterprise Association of Australia & New Zealand 1997 Annual Conference. Novatel Opal Cove Resort, Coffs Harbour, 21-24 September, 547-567. Perry, M., Foley, P., & Rumpf, P. (1996). Events management: An emerging challenge in Australian higher education. Festival Management & Event Tourism, 4 (3/4), 85-94. Portes, A. (1998). Social Capital: Its Origins and Applications in Modern Sociology. Annual Review of sociology, 24, 1-24. Putnam, R. D. (1993). Making Democracy work: Civic Traditions in Modern Italy. Princeton: Princeton University Press. Putnam, R. D. (2000). Bowling Alone: The Collapse and Revival of American Community. New York: Simon and Schuster. Queensland Performing Arts Centre (QPAC). (2003). About QPAC. Retrieved December 1, 2008 from http://www.qpac.com.au/qpac_partners/about_qpac/.

134

Radbourne, J. & Fraser, M. (1996). Arts Management: A Practical Guide. Sydney: Allen & Unwin. Radbourne, J. (1997). Creative Nation: A Policy for Leaders or Followers? An Evaluation of Australia’s 1994 Cultural Policy Statement. The Journal of Arts Management, Law and Society, Winter, pp. 271-283. Rentschler, R. (1998). The changing shape of culture, In R. Rentschler ed. Shaping Culture: Arts and Entertainment Management. Deakin University Press, Geelong, 1-8. Rentschler, R. (2002). The Entrepreneurial Arts Leader. Brisbane: University of Queensland Press. Rowe M, Devanney C. 2003. Partnership and the governance of regeneration. Critical Social Policy, 23(3), 375–397. Royal, C. G., & Jago, L. K. (1998). Special event accreditation: The practitioners’ perspective. Festival Management & Event Tourism, 5(4), 221-230. Schroeder,K.C. (1999). The best of both worlds? Media and Research between Rival Paradigms. In P. Alasuutari (Eds.), Rethinking the Media Audience: the New Agenda (pp.38-68). London: Sage Publications. Schuster, G. (2001). Ephemera, temporary urbanism and imaging. In L. J. Vale & S. B. Warner (Eds.), Imaging the city- Continuing Strategies and New Directions (pp. 361-396). CUPR Books, New Brunswick. Shone, A., & Parry, B. (2001). Successful event management. A practical handbook. London: Continuum Books. Silvers, J. R., Bowdin, G. A. J., o'Toole, W. J., & Nelson, K. B. (2006). Towards An International Event Management Body of Knowledge (EMBOK). Event Management, 9, 185–198. Spradley, J.P. (1979). The ethnographic interview. New York: Holt, Rinehart, and Winston.

135

Stake, Robert E. (2000). Case studies. In Denzin, N. K., & Lincoln, Y. S. (2nd ed.), Handbook of qualitative research (pp.435-454). Thousand Oaks, CA: Sage. Stock, C. (2007, October). Dance Dialogues – conversations, across cultures, art forms and practices, briefing paper, unpublished document. Stock, C. (2008a). Introduction. In World Dance Alliance Global Summit Program Book (p.6). Stock, C. (2008b). Creating collaborative partnerships: enabling public access to live urban art, innovative performance and creative research. Brolga: an Australian journal about dance, June, 21-37. Stock, C. (2008c). 2008 WDA Global Summit project outcomes report, unpublished document. Tedlock, B. (2000). Ethnography and Ethnographic Representation, In Denzin, N. K., & Lincoln, Y. S. (Eds.), The handbook of qualitative research (2nd ed.) (pp.455-486). Thousand Oaks, Calif.: Sage Publications. United Nations Educational, Scientific and Cultural Organization (UNESCO). (2008).

About

UNESCO.

Retrieved

October

9,

2008,

from

http://portal.unesco.org/en/ev.php URL_ID=3328&URL_DO=DO_TOPIC&URL_SECTION=201.html Waddock, S. A. (1988). Building Successful Partnerships, Sloan Management Review, Summer 1988, 17-23. Wallis, A. (1998). Social capital and community building: Part two. National Civic Review, 87(4), 317–336. Waterman, S. (1998) Carnivals for elites? The cultural politics of arts festivals, Progress in Human Geography, 22(1), 54–74. Winter, I. (2000). Major Themes and Debates in the Social Capital Literature: The Australian Connection. In I. Winter (ed.) Social Capital and Public Policy in Australia: 17-42. Melbourne: Australian Institute of Family Studies.

136

Wolz, C. (1994). Recent Developments and Future Plans. World Dance Alliance Asia Pacific: Asia-Pacific Center, archive newsletter. World Dance Alliance Asia-Pacific (WDA Asia-Pacific). Channels,

1,

cover

page.

Retrieved

(2006). Asia-Pacific

November

10,

2007,

from

http://www.ausdance.org.au/resources/journals/channels.html World Dance Alliance Asia-Pacific (WDA Asia-Pacific). (2006). Asia-Pacific Channels,

1,

back

page.

Retrieved

November

10,

2007,

from

http://www.ausdance.org.au/resources/journals/channels.html World Dance Alliance Global Summit (WDAGS). (2008), Organisational Funding Applied and Actual for 2008 WDAGS, unpublished document. World Dance Alliance (WDA). Publications, unpublished document. Yin, R. K. (1994). Case study research: design and methods (2nd ed.). The United States of America: Sage Publications. Zahner, S. (2005). Local public health system partnerships. Public Health Reports, 120, 76-83.

137

Appendix A: Interview questions 1. Could you tell me something about your work in the arts industry? 2. What is your role in the WDAGS? 3. What are the different professional backgrounds of the leadership team? 4. How is the leadership team structured and how are roles allocated and decisions made? 5. Does the WDAGS have the capacity to employ staff on this project? If yes, is this cost a challenge for the conference budget to accommodate? 6. What is the balance between volunteers and paid staff? Do you believe the staff have relevant experience? 7. How do you maintain quality control of the event, especially when you may not have enough funding? 8. What are the funding sources for this event? 9. Is it a challenge to obtain government (national, state) and other subsidies for WDAGS? If so, what strategies have you employed to solve this challenge? 10. How can you maximize your earned income to offset the expenses of WDAGS? 11. There is a particular range of partners involved in this event. Why did you choose this particular combination? How do you manage the different partners?

138

12. With the diversity of input that these partners will contribute, how do you aim to balance these perspectives to achieve WDAGS’s objectives as well as the objectives and needs of your partners? 13. What are the characteristics of the WDAGS’s branding? Can you talk about your perception of how WDAGS is branded? 14. How do you differentiate the WDAGS’s branding from the branding of other similar international dance events? 15. At present, there is no Chinese chapter of the WDA. Why has it been difficult organising a China Chapter for WDA? 16. What are the strategies of WDA for developing this chapter, for thus conference and in the future? 17. What communication strategies do you use to work across Australia and overseas in planning your event?

139

Appendix B: Questionnaire survey WORLD DANCE ALLIANCE GLOBAL SUMMIT Dance Dialogues: conversations across cultures, art form, practices

Questionnaire for delegates (for Masters Research project)

1. Age (optional) Gender 2. Your dance background (Please circle) choreographer; company director; dancer; educator; student; researcher; manager; critic, other (please identify ) 3. Cultural and/or nationality 4. Are you a WDA member? Yes

No

5. What has been the most useful/enjoyable part of this event for you?

6. What were you expecting to acquire from this event, and has this been achieved?

7. Have you made any contacts at this event which could potentially result in a collaborative project or other opportunities?

8. Do you think this event has been successfully branded and why?

Thanks for your time! Could you please leave it in the registration desk or send it back to me by email. [email protected]

140

Appendix C: Consent form

PARTICIPANT INFORMATION for QUT RESEARCH PROJECT

Building partnerships to implement an international dance event: a case study of the 2008 WDA (World Dance Alliance) Global Summit in Brisbane, Australia.

Research Team Contacts Shuyi Liao-student

A/Prof. Cheryl Stock – Principal Supervisor

+61(0)431438607

+61 (0)7 3138 5904

[email protected]

[email protected]

Description This project is being undertaken as part of a Masters of Arts (Research) by Shuyi Liao. The project is supported by the Creative Industries Faculty, Queensland University of Technology. The Funding body will have access to the data obtained during the project. The purpose of this project is to establish an event management model for an international dance event, employing 2008 WDA Global Summit as a case study. I am requesting your assistance because your experience, knowledge and insight regarding this international dance event will provide crucial data for this project. Participation Your participation in this project is voluntary. If you do agree to participate, you can withdraw from participation at any time during the project without comment or penalty. Your decision to participate will in no way impact upon your current or future relationship with QUT. Your participation will involve an interview. 141

The length of time for the interview and questionnaire will be around 1 hour at a location of your convenience. Expected benefits It is expected that this project will not directly benefit you. However, there may be indirect benefits in terms of the outcome of the research in providing useful information and archival records of the Global Summit and for you organization. Risks There are no risks beyond normal day-to-day living associated with your participation in this project. Confidentiality All comments and responses will not be verified by the participants prior to final inclusion unless otherwise required. This project will involve audio recording: • that will be stored for a period of 5 years after the contents have been transcribed to enable accuracy of transcriptions to be verified • that will not be able to be accessed except by the researcher and her supervisor • that will not be used for any other purpose than bona fide research Please note that it is possible to participate in the project without being recorded. Consent to Participate We would like to ask you to sign a written consent form (enclosed) to confirm your agreement to participate. Questions / further information about the project Please contact the research team members named above if you have any questions, or if you require further information about the project. Concerns / complaints regarding the conduct of the project QUT is committed to researcher integrity and the ethical conduct of research projects. However, if you do have any concerns or complaints about the ethical conduct of the project you may contact the QUT Research Ethics Officer on 3138 2340 or [email protected]. The Research Ethics Officer is not connected with the research project and can facilitate a resolution to your concern in an impartial manner.

142

CONSENT FORM for QUT RESEARCH PROJECT

Building partnerships to implement an international dance event: a case study of the 2008 WDA (World Dance Alliance) Global Summit in Brisbane, Australia.

Statement of consent By signing below, you are indicating that you: • have read and understood the information document regarding this project • have had any questions answered to your satisfaction • understand that if you have any additional questions you can contact the research team • understand that you are free to withdraw at any time, without comment or penalty • understand that you can contact the Research Ethics Officer on 3138 2340 or [email protected] if you have concerns about the ethical conduct of the project • agree to participate in the project I am aware that the conditions of this research include the interview to be recorded in order to have an accurate record of your contribution.

Name Signature Date

/

/

143

Appendix D: Masterclass information

ABOUT THE MASTERCLASSES AND THE MASTERS

MASTERCLASS 1 The Nature of Becoming Vicki Van Hout This contemporary class is designed to give insight into the impetus behind various traditional dance techniques, focussing on three basic movement principles, tracking: the connection to land, mimicry: development of gesture in association to survival and social behaviour, and lastly, intensity of gaze: in relationship to social structure. In Australian indigenous traditional community practice, dance is but a part of a greater art system integrating painting and song/story, to sustain cultural identity, in the contemporary practice a new aesthetic is being developed, using long held tradition as inspiration, a new movement vocabulary created to tell contemporary stories.

Vicki Van Hout is a Wiradjuri descendant, a graduate of the National Aboriginal/Islander Skills Development Assc.-Dance College and the Martha Graham Sc. of Contemporary Dance NYC. She has worked with both leading indigenous dance companies, Bangarra and AIDT before working extensively as a freelance independent performer appearing in film and television, both nationally and internationally, a highlight of which was a three month residency in Austria courtesy of Swarovsky Kristalwelten. As a choreographer, Vicki is currently developing a new work, Birr'yun/Shimmer, based on the brilliance effect in traditional painting techniques. Previous works include Wirad'journi, based on Wiradjuri kinship systems and My Right Foot, Your Right Foot, inspired by welcome to country practices.

144

MASTERCLASS 2 Where the Eyes go the Mind follows Dr. Urmimala Sarkar This masterclass concentrates on techniques for using the body in a contemporary context within the realms of Indian Dance Tradition. Participants from different dance practices will experience movements of Indian dance and ways of using the limbs, face and body to activate the Indian aesthetic. The emphasis of the class focuses on generating and realising the basic philosophy of Indian Dance – whereby it is said - that where the hands go the eyes follow, where the eyes go the mind follows, and where the mind goes, Rasa is created.

Urmimala Sarkar is a Social Anthropologist and Visiting Fellow, teaching Dance Studies and Ethnographic Documentation at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She is an independent choreographer/ performer having trained with Uday Shankar India Culture Centre – where she taught, performed and choreographed for fifteen years before moving to Delhi. She has learnt Kathakali and Manipuri for eight years each and has performed extensively using multi-style vocabulary.

MASTERCLASS 3 Contemporary South Asian dance - strength, power and precision Liz Lea This masterclass celebrates and illustrates the beauty of the contemporary South Asian dance field and explores a culturally diverse training and choreographic approach. The class involves a warm up based around opening performance awareness by employing Kalariappayattu imagery and awareness techniques. Then the basic lines and aesthetics of Bharata Natyam, including hand gestures, body line and facial exercises opening expression, are introduced. This is followed by strong contemporary technique exercises aimed at strength and power and sequences of company repertoire.

Liz Lea trained at London Contemporary Dance School and Akademi in London and Darpana Academy in India. She specialises in the field of contemporary South Asian dance and is based between London and Sydney while touring internationally as a solo and company artist. Liz has worked with numerous 145

cross cultural companies including Ranjbati Sircar, Imlata and Sankalpam. Commissions include the 2002 Commonwealth Games Festival, The Place Prize 2004, Mavin Khoo, Ballet Arabesque, Western Sydney Dance Action and London’s Royal Opera House in 2007. Liz has also been researching and reinterpreting cross cultural 1906 solos of Ruth St Denis.

MASTERCLASS 4 Choreographic Processes Csaba Buday The masterclass is designed for dance artists with an interest in choreography; its focus being a choreographic exploration into generating emotional states/nuances through the abstract language of contemporary dance. In order to create work that reflects emotional states and nuances, a range of choreographic processes will be explored that inform the construction of movement vocabulary. The first part of the workshop aims to assist the dancer (through set tasks) in developing a personal movement vocabulary on the solo body, rather than relying on codified steps. The second half on the workshop looks at various approaches that can be employed, in order to elicit emotional states/nuances from that, which has been constructed earlier in the class. By the conclusion of the masterclass participants would have created a short solo work, through exploring a range of choreographic practice.

Csaba Buday Dip ABS, MA (Res) QUT, has had an extensive career spanning over 24 years working with many of Australia’s leading professional dance companies as a performer, choreographer and teacher. Csaba has taught for companies abroad including: Cloud Gate Dance Theatre 1 and 2 (Taiwan), Modern Dance Company of Beijing (China) and City Contemporary Dance Co (Hong Kong). He has choreographed 33 major works that have been presented throughout Australia, SouthEast Asia, Israel, Scotland, Belgium, and Austria, and at the Danses de Mai festival, Paris. A 1999 Choreographic Fellowship recipient (Choreographic Centre, Canberra), Csaba held the position of Artist-inResidence at the Hong Kong Academy for Performing Arts between 2000 and 2003, joining Creative Industries Faculty, QUT as Lecturer in Contemporary Dance and Resident Choreographer in 2003.

146

MASTERCLASS 5 Teachers’ ‘knowing’ is in their teaching Ralph Buck This workshop is designed for primary and secondary school teachers. We will play with movement, examine teaching strategies and re-think what we teach and how we teach dance when we focus on our classrooms as dynamic and complex communities comprised of interdependent human beings.

Associate Professor Ralph Buck (PhD, Otago; MA Dance Studies, Surrey) is Head of Dance Studies, The University of Auckland, New Zealand. His research is within dance education, curriculum design, pedagogy and community dance. Ralph has presented his research at Congress on Research in Dance (New York 2003, Montreal 2005, Paris, 2007), World Dance Alliance (Singapore 2001/7, Hong Kong 2006) Dance and the Child International (Sydney 1994, Regina 2000). Ralph devised and helped establish the Caroline Plummer Community Dance Fellowship, The University of Otago. He is an Honorary Life Member of the Australian Dance Council, and Chair, Education and Training Network, World Dance Alliance Asia Pacific Chapter. In 2007 Ralph won a University of Auckland Excellence Award in Equal Opportunities for his work in teaching community dance.

MASTERCLASS 6 Dance in Dialogue Wendy Woodson This workshop will explore interactions and dialogues between moving and speaking - between gestures, rhythms and patterns in speech and in dance. Working with improvisational structures, we will experiment with movement as a stimulus to create words and vice versa. In the process we will work with different interactions and translations between spoken texts (in different languages) and personal movement vocabularies. The workshop will focus on specific techniques and approaches that encourage dynamic and reciprocal exchanges between writing, speaking, sounding, and dancing. We will practice these techniques and use them to create spontaneous compositions and choreographies.

147

Wendy Woodson (US), Artistic Director of Present Co. Inc. and Professor of Theatre and Dance at Amherst College has created eighty works for stage and video presented throughout the U.S. and in Europe in such venues as the Kennedy Centre, Jacob's Pillow, De Cordova Museum, PS 122 and at many universities. Awards include fellowships and grants in choreography, playwriting and video from the National Endowment for the Arts, Massachusetts Cultural Council, D.C. Commission on the Arts and the Mid-Atlantic Arts Consortium, among others. In 2007 she was a Fulbright Senior Scholar, artist-in-residence at the Victorian College of the Arts in Melbourne.

MASTERCLASS 7 Strait up! Traditional and contemporary dance from the Torres Strait Rita Pryce Rita Pryce is renowned for her knowledge of Torres Strait Island culture and her ability to create dynamic choreography with the graceful fusion of Traditional Aboriginal and Torres Strait Island Dance and Contemporary Indigenous Dance. The incredible imagery that evolves from her binding of Traditional dance and stories from long-ago is a unique spiritual experience. This stylistic blend of cultural fortes will give you an opportunity to experience the Indigenous Australian Cultures from a whole new perspective. You will get a taste of Traditional Torres Strait Islander Dance and Culture, including language as well as a rhythmically challenging class of body percussion ‘Island Style’. There is also a chance to understand how choreography is transformed from mainstream contemporary dance to Indigenous Contemporary dance.

Rita Pryce was born and raised in the Torres Strait, the northern most tip of Australia. Her family is the Kulkalgal people of Gaigalkuth on Poruma (Coconut) Island; her family totem is Gau, a small reef bird. She is not just recognized and respected by her own people, but is also accepted by Aboriginal families in several communities such as Ramingining (NT), where she was adopted and given the name Gunatharr. Rita trained at the National Aboriginal and Islander Skills Development Association (NAISDA) and graduated with a Diploma in Dance in 1999. Rita has worked with various performing artists including David Hudson, Christine Anu, Emma Donavan, Sean Choolburra and Bangarra Dance Company. In 2005 she took on the Teacher/Co-ordinator role of Queensland’s first full-time Indigenous Australian Dance Performance Course at the Cairns TAFE.

148

MASTERCLASS 8 Dancing on a Fault Line Michael Parmenter Living movement is always a dialogue between nature and freedom. Dancing, whether in traditional choreography based work, or within improvised or cooperative structures, demands reconciliation between a received form and personal style. In this class, based on the principles of palin-tonality - the somatic theory of Hubert Godard and Danis Bois - we will develop the skills to enable the dancer to negotiate these conflicting demands. Incorporating floorwork, centre and locomotion, the class will explore the dialogue between earth and sky, between centre and periphery, between integration and differentiation. Focusing particularly on musicality, dynamics and phrasing, we will attempt to reconcile experiential truth with performative demands. The movement vocabulary is energetic and expansive.

Michael Parmenter trained predominantly in New Zealand and New York where he danced with the Erick Hawkins Company and Sephen Petronio and Dancers. He has also worked in Japan with Min Tanaka. Since 1980 he has created over 60 works for his own Commotion Company and numerous works for Footnote Dance Company and the Royal New Zealand Ballet. His work ranges from exploratory solo and duo work, often including text, to large-scale opera house productions. He teaches regularly at Toi Whakaari/New Zealand Drama School, the New Zealand School of Dance, and the Unitec School of Performing and Screen Arts.

MASTERCLASS 9 The Communicative Body Fiona Malone Exploring different ways in which we can use our bodies to communicate, and act as storytelling tools in performance, without the use of language and mime, will be the focus of this masterclass. Use of different physical qualities, tensions, agilities, and ways to convey emotional states or story in performance will be explored through group tasks and conversations. This process will develop new approaches to using the body, developing new movement vocabulary specific for the storytelling, and develop an understanding of the importance of the WAY we utilise our bodies as opposed to the display of technical physicality. Non-

149

verbal, physical performance cuts through cultural and language barriers, enabling communication with all people.

Fiona Malone is a Sydney based choreographer/dancer/teacher. Holding a Postgraduate Diploma in `Movement Studies’ (NIDA) and a Bachelor of Arts (QUT), alongside teaching Dancers and Actors, she produces dance works utilising real-time technologies. Fiona was awarded the Innovation in Arts Award in 2004 by the Adelaide Critics Circle for her interactive dance/theatre/technology production The Obcell and her hybrid dance/theatre production D/vision. She has been nominated for two Australian Dance Awards: Most outstanding achievement in Independent Dance in 2004 for the The Obcell, and in 2002 Most Outstanding Female Performance for her performance in Garry Stewart’s Age of Unbeauty.

MASTERCLASS 10 Return to the Body Janis Claxton Moving from the body as our primary creative resource, this master class will guide participants into deepening states of embodied presence. Through solo, duo and group improvisations, we will work with fundamental principles of motion to access ease, fluidity, power and pleasure in the moving, dancing body. We will focus on unifying our inside/outside awareness - staying present in the space and with each other, whilst maintaining a deep somatic connection. Ideokinetic imagery and hands-on work may be used as learning tools to guide us to increase range, dynamism and pleasure in motion.

Janis Claxton (Aus/UK) has worked internationally as a dancer, teacher, and choreographer. Her work is underpinned by a passionate commitment to movement research and has evolved from 20 years of studies in the principles of Modern Dance pioneer Erick Hawkins, and extensive studies in Contact Improvisation, Improvisation, Martial Arts, Body-Percussion, Butoh Dance, Alexander Technique and other ‘Somatic’ therapies. Janis has danced with companies including The One Extra Dance Theatre (Aus 83-84), Michael Parmenter’s Commotion Company (NZ 90) and in 1992 was invited by Erick Hawkins to join his company in New York City. Based in Edinburgh, she is Artistic Director of her company Janis Claxton Dance, Associate Lecturer at The Scottish School of Contemporary Dance and regular guest teacher the Dance Academy Arnhem (NL). www.janisclaxton.com 150

MASTERCLASS 11 Meat and Bone – contemporary technique Gavin Webber This class teaches the dancer how to gain maximum power in movement, with minimal effort through the use of momentum. It is a very tiring class with a continuous flow and an aerobic quality, definitely a good workout. We will be looking at release techniques and powerful floor work beginning with a joint release, some stretches, and Pilates based exercises for strength. Then we will move into a systematic and relentless series of movement that travel down the room. Always there is a continuous aerobic quality and a necessity for the body to cope and find momentum pathways to sustain itself. A cooling down period and a Tai Chi series at the end brings the balance and stillness back to the body.

Gavin Webber was appointed as Artistic Director of Dancenorth in June 2005 and has been involved in dance theatre for fifteen years. An interest in sport led Gavin to explore the physicality of dance. He joined Meryl Tankard’s Australian Dance Theatre in 1993 until moving to Europe to work with Ultima Vez in Belgium in 1999, under the direction of Wim Vandekeybus. In 2002 he returned to Australia and since then he has developed his distinctive, athletic technique and honed his skills as a choreographer, teacher and collaborator. He is a founding member of Splintergroup and his work has been nominated for two Helpmann Awards and toured throughout Germany, Japan, Singapore and Australia.

MASTERCLASS 12

Depth Sounding Felicity Bott Techno Sapien. Chimera. Clone. Cyborg. Homo Perfectus or Homo Freakus? How might these human entities move? How might they dance? Further..... If genetic freedom became a thing of the past, what would dance ensembles look like?

151

The masterclass will lead dance professionals through some of the investigative development processes employed by Buzz Dance Theatre in the making of Depth Charge, a new festival-scale professional dance theatre work currently in development 2008-9, inviting participants to engage in task-based choreographic investigations and ethical imaginings used during the creative process undertaken by the creative team early in 2008.

Felicity Bott was appointed Artistic Director of Buzz Dance Theatre in January 2004. Since then, her original dance theatre works have met with critical and popular success. In February 2006 PreTender was nominated for the Adelaide Fringe Best Production Award and in June 2006 Buzz Dance Theatre received nominations in six different categories of the prestigious Helpmann awards. In December 2006 Buzz was nominated for, and won, the Ausdance Australian Dance Award for Outstanding Achievement in Dance Education. She was Artistic Director of STEPS Youth Dance Company 2000-3, has extensive experience as a freelance choreographer and over twenty years of experience working as a director, dance educator and programmer of works in arts and community settings. Felicity is a 2008 Churchill Fellow.

152

Appendix E: The inaugural meeting of conference committee 2008 WORLD DANCE ALLIANCE GLOBAL SUMMIT – 13-18 JULY. Dance Dialogues – conversations across cultures, genres, practices. Conference: July 13-16 2008 at QUT’s Creative Industries Precinct Inaugural Committee Meeting, Tuesday 15 May 2007 Z2/208, Creative Industries Precinct, 60 Musk Ave, Kelvin Grove Present: Cheryl Stock (Chair), Rachel Pedro, Denise Richardson, Kym Stevens, Michelle Whitford, Evan Jones, Xanthe, Beesley Apologies: Felicity Mandile Agenda: 1. Introduction and overview 2. Roles and expertise of committee members 3. Conference management 4. Budget, financial and administrative support 5. Timelines (call for papers, organisational deadlines etc) 6. Guest speakers for Dance Dialogues (and sub-themes) 7. Refereeing process (readers from research networks of WDA, Asia-Pacific, Europe, Americas, TDCA, QUT academics, dance writers in Australia such as Alan Brissenden, Robin Grove, Lee Christofis) 8. Nature of joint on-line publication (Ausdance National, WDA and QUT) 9. National and international sub-committees and their roles 10. Revisit committee brief (below) Committee brief as ratified by Steering Committee (Chair: Cheryl Stock) ♦

To draft the academic programmes of the WDA GSB 2008 conference

♦

To structure and timetable conference program

♦

To manage the call for papers

♦

To manage the refereeing of all offerings

♦

To participate in the development of publication planning of the WDA conference proceedings.

♦

To liaise with all presenters concerning their involvement

♦

To identify the operational requirements of presenters and conference participants

♦

To assist in the development and monitoring of the relevant program budget

♦

To have input into the guests for the Dance Dialogues component and to liaise with the steering committee in this regard.

153