Continuation Puts Emphasis on Essential Values

2012.11.28

Continuation Puts Emphasis on Essential Values
[Focus] [PAMS 2012] Roundtable Review 1


Roundtable sessions, a networking program for PAMS participants, were held at KB Youth Haneul Theater and National Theatre Byeolohreum Theater on October 11 and 12. Performing arts professionals from Korea and abroad shared their knowledge, experience, and opinions, networked with each other and raised awareness of subjects of their interest. Discussions from the 4 sessions are summarized below.

Round Table 1_Arts Organization’s Crisis Management in the Context of the Global Calamity

 

 

Andrea Synder Carolelinda Dicky
Emma Dodd

Andrea Synder _Co-Director, America Dance Abroad, New York (USA)

Now we often use the term “engagement” instead of audience development or education. We are told in the dance world that we need to be good at engagement marketing but we developed research programs not as a marketing tool but as a way of achieving in-depth communication and exchanging ideas with the audience. It was interesting to find that the audience wants to talk about performances, not in public but in a closed setting with other members of the audience who watched the same performance. One regrettable thing is that they do not know appropriate words to describe performances so performers prepared questions for the audience members to take home and talk about performances at home. The audience will not return to watch a dance performance that they do not understand and that is the problem the dance world faces.

Carolelinda Dicky_Co-Director, America Dance Abroad, Pittsburgh (USA)

I want to take Pittsburgh as an example of global changes. Pittsburgh is one of the old industrial cities in the United States and is still home to major corporations. Because of the abundant corporate support, artists in Pittsburgh used to receive the largest per capita funding than anywhere else in the country. There were 35 large corporations headquartered in Pittsburgh 20 years ago all of which were managed for those who were born in Pittsburgh. Now none of the 500 major corporations is located in Pittsburgh. These companies are managed not for art but for shareholders and by the management from elsewhere who know nothing about Pittsburgh. Because the management is not from the city, they are not interested in it. The infrastructure including theaters and museums is world-class, but there is not much support for individual artists. Pittsburgh is the best city for retirees and college students but the dwindling support for individual artists has drastically reduced the artist population. I think we should learn a lesson from the case of Pittsburgh.

American Dance Abroad was founded in July, 2011 in an attempt to enable US choreographers and dance companies to network with international dance professionals.

Emma Dodd_Tour & Production Manager, Polyglot Theatre (Australia)

The biggest change in Australia is the arts audience development through digital technology. A great deal of research has been conducted into how to actively interact with the audience. We study not only the audience in the past but also the potential one by making available online documents on performances. We put emphasis on promotion to sell performances and shows so we ran a series of promotional videos. Such promotion efforts include inviting resident multimedia artists to produce videos of their creative processes and make the videos available online six weeks prior to the openings. Such a strategy to encourage the audience’s participation through digital and online tools has become a hot topic in Australia. New art forms are being communicated using new ways of promotion.


Polyglot Theater was invited to the Youth Performing Arts Festival in 2010 and performed a children’s puppet show Check Out at KB Haneul Youth Theater located inside the National Theater of Korea. This year, the theater exhibited new works such as Tangle at the booth of the Australian Commission for Culture and the Arts at PAMS.

Round Table 2_Reality of and Need for Artist Incubation

 

Tanuja Amarasuriya Yoan KIM

Tanuja Amarasuriya _Director of Theatre Bristol (UK)

We emphasize the importance of networks not only in artist incubation but also in the development of the culture industry as a whole. Artist development takes a long time so the relationships that we have built dictate its success. Nevertheless, the biggest problem is that it is difficult to show the results of our activities in terms of return on investment. Small theaters throughout the UK are active but the support from the local Arts Councils has been reduced, which means that although the theaters continue to present high-quality works, there will be constraints in moving on to the next step. British people also tend to think that arts do not matter to them and assess artist incubation and the world of arts and culture in terms of the market value. As this tendency develops further, artists will continue to lose ground in the UK, and this is why the emphasis on the meaning and essential values of art and culture is necessary to sustain artists incubation.

Theatre Bristol, a performing arts producers association based in Bristol, was founded in 2004. Theatre Bristol aims to create high-quality performances by supporting artists and collaborating with other theaters and organizations.

Yoan KIM _Executive Producer, Doosan Art Center (Korea)

In Korea, in many cases, artists are supported in the framework of a year-long project and the main beneficiaries of such support are either very young emerging artists or middle-aged ones. We have been supporting artists between these two age groups. After selecting artists, we provide them with long-term support lasting more than three years and ask them to propose a work. We continue our partnership by collaborating with the artists (if their work fits the direction of our theater) or by recommending them to other theaters. Korea had not supported interdisciplinary or stage artists and our theater has begun to focus on supporting such artists. In the long run, we plan to support creators from Korea and abroad and we want them to grow beyond their own perspectives and become creators who produce contemporary discourses.

Doosan Art Center, opened in 2007, has been identifying and supporting young artists through its Creator Fostering Program and Yeonang Arts Award.

Morag Deyes_Artistic Director, Dace Base (UK)

Artists need managers by means of artist incubation or an agency. For this reason, we created the organization called Catalyst in an attempt to train talented choreographers and support independent dancers and dance companies. It is important for British artists, regardless of what support projects they benefit from, to exchange their ideas with their global counterparts, to communicate globally and to be with other contemporary artists. That is because their failure to communicate with other artists would lead to failure to launch appropriate projects. It may sound too abstract but collaboration and partnership must form the basis for all incubation projects which in turn must provide artists with information so that they can take what they need from these projects and continue to grow.

Dance Base is Scotland’s national professional dance venue and a space supporting artistic creation. Dance Base is one of the main showcase venues for the British Council’’s biannual Edinburgh Fringe.

Youngsun LEE _dancer and choreographer (Korea)

In addition to being a creator, I play the role of an entrepreneur outside the studio, striving to promote my works and share my arts with communities and the international audience. For these goals, we need more than the spaces provided by the existing support system. We need to have secondary support such as consulting services to guide us from creation to presentation on stage. When producing a performance, it is difficult to form a production crew from the beginning so I believe that it is important to be supported in this matter and to network with the existing crews and theater professionals. It is regrettable that no such networking currently exists. What is also crucial is to create an environment where choreographers can continue their professional physical training.

Youngsun LEE is an independent choreographer working in the United States and South Korea. She is currently preparing presentation of works in Korea and abroad after founding an organization called One-Pound Chocolate Art Collective.

Information on individual contributors is not included.

Author

KAMS Knowledge and Information Team
KAMS Knowledge and Information Team
KAMS Knowledge and Information Team