Redefining places for art:The dynamics of performance and location in Australia

Huib Schippers, Jennifer Craik, Chris Bowen, Helen Lancaster, Sue KyteArts Queensland / OzCo / ARC / UC/Queensland Conservatorium Research Centre

2

Synopsis of rationale and background

While the performing arts are often organised around a few centralised, well-funded, iconic ‘Places for Art’, there appears to be a growing interest in alternative physical/virtual spaces as chosen venues or mediums.

Erosion of the high/low art distinction, suburbanisation, distance/remoteness, local pride, recontextualisation, technology, and community arts initiatives have all played a role in theoretical and policy discussions.

3

Statistical indications

An initial analysis of audience numbers of major arts organisations and venues in Queensland suggested that they had lost 9.7% over the periods 2001-2005, while operating in an area of strong population growth.

Meanwhile, some alternative places for art (notably festivals) seem to have recorded a growth of close to 50% over the same period; alternative spaces such as Brisbane Powerhouse and JWC also perform well.

4

Key questions

• Is this perceived change supported by current thinking on the relationship between place and art?

• Does the available statistical data reflect this trend and/or can they predict the dynamics of audience preference?

• What is driving change – artists/organisations, art forms, venues, government priorities/policies, new or existing (segments of) audiences, or a combination of factors?

5

From the literatureThe role of art is to transform spaces into places, the

public into people. This entails a merging of individual with common interests, without contradiction. Art has this. It is personal, and shared. (Miles & Adams, 1989)

To create work that has important cultural significance to a particular place and people, and which is then embraced universally as an important creation, is what every artists strives for. (Lyndon Terracini)

6

The project ‘Redefining places for art’

The research aims to provide greater understanding of the changing dynamics of art and place in Australia by developing a model derived from quantitative data and seven in-depth case studies of arts organisations/ clusters that embody various ways to approach the relationship between performing arts and place.

The project results can be used strategically by arts organisations, and inform arts policy and funding.

7

Seven Queensland clusters/case studies1. Major urban & regional arts venues / QPAC-Out of the box

2. Flagship companies / Opera Queensland

3. Major festivals / Queensland Music Festival

4. S2M Brisbane-based organisations / Circa

5. S2M regional organisations / JUTE Theatre

6. Community-focused festivals / Woodford & The Dreaming

7. Emerging, experimental & online events / SOOB

8

Approach to the case studies

Each case study will include an overview of the current situation for a number of organisations with additional details provided for the central case study:

• Analysis of statistical data on audience (and place)

• Survey of reports and policy documents

• Extensive interviews with creators and managers

• Focus groups and audience surveys (existing/new)

9

Statistical data

Currently available statistical data from annual reports, acquittals, consultancies and ABS are inconsistent, often not dependable, and hardly provide information on the relationship between activity and place

However, from the original data from ABS (2002, 2006 and before) and some others, perceived trends can be checked, the results of which can inform a focussed audience motivation survey in October 2009

10

Initial findings Major Venues cluster

• Magic happens in space between audience and stage

• Audiences look for entire experience – venue relevant

• Venues tend to know their audiences well and market their offerings accordingly

• For some, audience overlap/audience loyalty to venue

• Venues understand and work within their limitations: some try to overcome them

11

Initial findings Flagship Companies cluster

• Focus on the idea that ‘the magic happens on stage’

• Audiences enjoy the entire experience, and therefore venue choice is relevant

• Some flagship companies rely less on / are less aware of market data than do the venues

• Nonetheless, the perception is that they have different audiences for different venues and different reasons

12

Initial findings S2M Brisbane cluster

[Circa, Clocked Out, Topology – Polytoxic and/or Phluxus to do]

• Only Circa has access to a ‘home’ venue, but all continually adapt to a range of performing spaces and/or create site specific works

• Most have come out of a classical tradition and appreciate the acoustic offered by major venues but have sought out alternative venues either for commercial reasons and/or to experiment within their art form

• Different venues have brought different audiences but require different approaches and site specific work brings greater logistical headaches

• Issues are raised regarding limited venue flexibility and availability

13

Initial findings S2M Regional cluster[JUTE, Tropic Sun, Crossroad Arts, QAC/Theatre to the Edge]

• Clear overlap between venue, content and sustainability wherein local artists and arts workers produce and present work for mainly regional audiences largely through their own network of venues

• Approach has allowed them to address their frustration with accessing more mainstream venues and develop their skills at the same time

• All concede that it does take more energy to produce work outside the box and do not necessarily believe that it enhances the work

• However it has been part of their development, allowed them to attract large audiences for one-off community events and enable them to work with groups they wouldn’t otherwise engage with e.g. Crossroad Arts

14

Initial findings Community Festivals cluster[Woodford Folk Festival, The Dreaming, – Stylin’UP and Laura to follow] • Complex relationship between place and performance ranging from

folklore traditions to commercial decisions to audience involvement and links with indigenous and environmental issues

• Festival has worked with volunteers and audience members to create a distinctive and separate place and ‘community’ with its own identity

• Site ownership has brought advantages in creating this sense of place but also huge financial risks

• For The Dreaming, sustainability issues closely linked with continuing to build strong local and broader indigenous networks underpinned by place. Stylin’UP and Laura relate to these issues quite differently

15

Striking initial overall findings• Each situation is unique and complex, with many

nuances in awareness and action, but not always by the people / organisations one would expect

• Discrepancies between rhetoric and observed practice

• An emerging picture of ‘scope of place’ for each cluster / organisation, which is explored to a degree determined by infrastructure, art form, funding model, personalities, audiences, and inventiveness

16

Questions to explore

•What relationships exist between place and performing artists?

•What relationships exist between place and audiences?