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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
I
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
II
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
III
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
IV
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
V
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
VI
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
VII
Keywords: partnerships; international dance event; project/event
management; Australian case study; not-for-profit arts organisations
VIII
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 13-
18 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.
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IX
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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.
XI
1
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-for-
profit 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
2
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,
3
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,
4
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
5
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.
6
‘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) Initiation 2) Planning 3) Implementation 4) Event 5) 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
7
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).
8
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
9
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)
10
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
11
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
12
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
13
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 not-
for-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
14
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)
15
(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
16
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 cross-
sector 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,
17
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
18
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:
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
Participants & Spectators
Host organization
Host community
Co-workers Media
Sponsors
Event
19
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.
20
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 co-
workers 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
21
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’
22
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.
23
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.
24
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
25
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,
26
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.
27
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.
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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.
29
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
30
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
31
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
32
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’.
33
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
34
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
35
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
36
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
37
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:
38
Table 1: Key roles in the 2008 World Dance Alliance Global Summit
name position
*Mr. Marcus Hughes Executive Director, Ausdance Queensland, Program Director
*A/Prof. Cheryl Stock Program Chair/Curator, Conference Convenor, WDAGS Vice-President (Pacific) WDA-AP, Associate Professor, Creative Industries Faculty QUT
Ms Denise Richardson Conference Project Officer, WDAGS Ms Amy Piekkala-Fletcher QUT Events Manager *Ms. Julie Dyson National Executive Director, Australian
Dance Council—Ausdance and Secretary of WDA-AP
Prof. Mohd Anis Md Nor Anis President of WDA-AP Dr Urmimala Sarkar Munsi Chair of WDA-AP network: Research
& Documentation
* 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
39
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 ‘meanings-
based 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
40
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)
41
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’.
42
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,
43
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
44
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
45
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.
46
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.
47
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
48
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
49
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:
50
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
51
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:
52
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.
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.
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.
1. To promote the recognition, development and mutual understanding of all forms of dance.
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.
(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.
53
3.4 Evolution of organisational structure
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54
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55
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
56
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).
57
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
58
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, Asia-
Pacific 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).
59
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:
60
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 (Asia-
Pacific, 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 Manila WDA-AP annual event 1992 Taipei WDA-AP annual event 1993 Tokyo & Akita WDA-AP annual event 1994 Kuala Lumpur & Beijing WDA-AP annual event 1995 Seoul WDA-AP annual event 1996 Jakarta & Melbourne; WDA-AP annual event 1997 Hong Kong WDA-AP annual event 1998 Manila WDA-AP annual event 1999 Philadelphia Global Summit 2000 Korea & Tokyo Global Summit 2001 Singapore WDA-AP annual event 2002 Dusseldorf Global Summit 2003 Kuala Lumpur WDA-AP annual event 2004 Taipei WDA-AP annual event 2005 Kuala Lumpur WDA-AP annual event 2006 Hong Kong WDA-AP annual event 2006 Toronto Global Summit 2007 Singapore. WDA-AP annual event 2008 Brisbane Global Summit
(Sources: Dyson, 2008, p.11 & personal communication with Stock)
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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.
62
Table 4: WDAGS from 2000
(Based on archive newsletter & Asia-Pacific Channels)
Time Location Theme Characteristics Activities 2000 Seoul,
Korea; Tokyo, Japan
Seoul: the 2nd 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
2002 Düsseldorf, Germany
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)
2006 Toronto, Canada
Dance / Diversity / Dialogue: Bridging Communities and Cultures
Highlighting the work of traditional and indigenous artists
Showcases conference workshops youth program a series of dance performances by international and local dance artists Global Assembly
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
Conference Masterclasses International Choreolab Dance dialogue speaker program Showcase of independent artists (performance dialogues) Performances (associated events) Global Assembly
63
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.
64
65
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:
66
• 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.
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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
68
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
69
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,
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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:
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• 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 in-service 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
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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.
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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)
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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
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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 in-
theatre 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.
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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)
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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
78
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)
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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
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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
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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.
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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 hard-earned 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.
83
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!
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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 ).
85
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
86
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.
87
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 Sub-
committee 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
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89
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.
90
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
International & national applications Conference convener Overall program conception & curationDialogues co-convener Choreolab & Masterclass committees
*Ms. Janelle Christofis
Chair, Ausdance Queensland Program Development Manager, Queensland Performing Arts Centre (QPAC)
Dialogues co-convener Opening ceremony Sponsorship negotiation
*Mr. Marcus Hughes
Program Director, WDAGS Executive Director, Ausdance Queensland
Overall budget local applications Organisational planning Internal transport Admin for choreolab & masterclasses
*Ms. Julie Dyson
National Executive Director, Australian Dance Council—Ausdance Secretary of WDA-AP
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)
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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
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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.
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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
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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.
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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
Supervisors
Documentation Technical
support
Masterclasses
& Choreolab
Conference Global
Assembly
Program
Chair
TV & Film
students
Technical
students
Technical
students
QUT
technical
staff
Technical
production
students
Choreolab
convener &
Ausdance
Qld staff
Dance
students
Dance
students
Conference
project officer
Dance & UQ
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):
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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
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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
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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
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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.
(Sou
Figure 1
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1011
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5.2.1.1 Funding partners
Cash and in-kind partners are essential to support most events, especially not-
for-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.
103
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
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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:
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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 General Support $ 5,000 $ 5,000
Philanthropic
Sidney Myer Fund
Choreolab (International participation) $ 30,000 $ 15,000
Philanthropic
Besen Foundation Master Classes $ 10,000 $ 5,000
Institutional
QUT Faculty of Creative Industries
Dialogues Speakers & costs $ 5,000 $ 5,000
Institutional
Institute of Creative Industries (iCi)
Dialogues Speakers & costs $ 3,000 $ 3,000
Institutional
QUT Faculty of Creative Industries
Conference Proceedings $ 10,000 $ 10,000
Total $ 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).
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Table 9: Unsuccessful applications for cash support
sources Funding
Organisation Activities Applied Actual Government (State) Arts Queensland Qld Artists for Choreolab $ 14,168 $----- Commercial Bloch Dialogues $ 10,000 $----- Commercial Paul Wright Dialogues $ 5,000 $----- Commercial Pure Mountain Conference $ 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
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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
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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.
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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 e-
communications, 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
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111
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
112
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
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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.
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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
QUT Ausdance National
QPAC
venue Conference 1 Dance Dialogue Closing event Masterclasses Choreolab
4 Dance dialogues Opening event
expertise Event management Financial support Co-ordination
Global Assembly Choreolab
Technical Programming support for above events
staffing Technicians Computer support General event management
Administration management support
4 Dance Dialogues Opening event
website On-line bookings Referee proceedingsRegistrations
Hosted WDAGS site
marketing QUT corporation communication
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
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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,
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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.
Figure 13: The relationship of partners
Program partners
Funding partners
Event
Operational partners
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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 inter-
relationship has already been discussed, this section explores strategies to
118
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
119
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
120
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’.
121
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.
122
• 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
123
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.
124
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.
125
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
126
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.
127
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.
128
129
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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?
139
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?
140
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]
141
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.
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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.
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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 / /
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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.
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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
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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 re-interpreting 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-in-Residence 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.
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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.
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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 main-stream 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.
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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 co-operative 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 floor-work, 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-
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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
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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?
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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.
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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.
