School of Culture and Communication - Research Publications
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ItemA festival in disarray: the 2002 Adelaide festival: A debacle or another model of arts organization and leadership?(HELDREF PUBLICATIONS, 2004-01-01)
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ItemPrivilege or problem: The distinct role of government in arts development in South Australia(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2005-01-01)
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ItemArts and business: The impact of business models on the activities of major performing arts organisations in Australia(University of Queensland, School of Languages and Comparative Cultural Studies, 2010)Managerial business models were first introduced to Australian subsidised performing arts organisations by the then Howard Coalition government in 2000. Until the early 1990s, Australian arts organisations were contextualised as 'not for profit' entities, with an overall objective of producing good art. Over the past decade, however, major Australian performing arts organisations have been viewed more frequently as part of an 'industry' and, within this industry construct, framed as 'business entities', with a need to prove positive financial outcomes as a first priority. This article explores what is meant by business models in the context of Australian major performing arts organisations and looks at the impact of this approach.
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ItemThriving or surviving: Artists as leaders of smaller arts organizations(Tilde University Press, 2013)
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ItemDifferent cultures but similar roles: Leadership of major performing arts centers(Routledge, 2015-05-08)
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ItemMarketing and sponsorship of the arts: A chicken and egg dilemma?(Deakin University, 2018)This paper explores the potential impact of prioritising the ‘marketing’ of the arts over the ‘creation’ of art. Shifts in government policies, the development of the industry paradigm and the necessity to generate more income has meant that arts organisations have increasingly focussed on marketing their wares and finding additional sources of income. Has this increasing reliance on selling to the market place or dependence on the marketplace, had an impact on the nature of the undertaking? Do sponsors of art influence the outcomes? Has marketing become the end rather than a tool in the process? This discussion also raises issues the particular nature of arts making and whether increasing commercialisation perverts its integrity.
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ItemCultural wars in an Australian context: challenges in developing a national cultural policy(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2015-03-15)In March 2013, the Australian Federal Labor Government released Creative Australia. This document was described as the first national Cultural Policy statement in 20 years since the publication by a previous Labor Government of Creative Nation in 1994. However, within 6 months of the launch of this new policy, a Coalition (Conservative) Federal government was elected in September 2013. Up till now, Coalition Governments have rejected the need for a national cultural policy, so the future for Creative Australia may in fact be both contested and limited. Indeed, during the previous Federal Coalition Government a ‘cultural war’ erupted between the government and artists and intellectuals, over the latter’s desire for an Australian cultural policy. This paper addresses questions around the process of developing this new national cultural policy, why it occurred, and what future it might have now there is a new Coalition Federal Government in power.
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ItemThere is not one ideal model: Different governments and how they relate to the arts(WSB University, 2018)There are many approaches to the arts by governments. Some governments take a ‘hands-off’ approach to the extent of providing no funding or institutional support. Others are deeply involved from conception to production with arts practice, providing funding but also expecting the right to intervene and control what occurs. Some governments see the provision of funding in transactional terms, expecting specific economic or social outcomes. Others say that they operate with an ‘arms-length’ model, but nevertheless demonstrate forms of intervention. Whatever the nature of the relationship, there are usually expectations by governments around their engagement with the arts. Using three case studies as exemplars of government approaches, this paper explores the nature of the relationship between art makers and government funders and reviews the potential impact of the different approaches on both organisations and their art practise.
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ItemThe Arts Funding Divide: Would ‘Cultural Rights’ Produce a Fairer Approach?(Routledge, 2019-10-11)It seems that the funding of arts practice is always a contested domain, whatever political view or system is dominant. In some contexts, for example, there is no government support for the funding of arts practice, while in others there are different interpretations of what this entails. In most forms of government, several sectors of society (agriculture, mining, manufacturing and sport) receive government subsidies. In a capitalist state this is sometimes described as ‘welfare capitalism’. However, those opposed to the government funding of arts practice believe the arts should not be included in this framing because they are regarded as ‘non-essential’ (Bell and Oakley, 2015; Brabham, 2017; Brooks, 2001). Thus, in this framing the arts and cultural sector is not seen as a fundamental component of society and government support of the arts is seen as an indulgence and not a necessity.
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ItemWomen and Arts Leadership(Routledge, 2018)Women are the major consumers of most arts practices, yet they are generally less visible than men in arts leadership roles. This chapter explores the issues and challenges around women in the arts and in arts leadership in different artforms. Judy b. Rosener argues that the expectations of women and men in the workplace are different because of long-term social conditioning. Exploring issues around gender and arts leadership is important because it relates to cultural, economic and social issues connected with both art and society. The invisibility of women as leaders in the arts is evidenced by who are recognized as the leaders of arts practice and the leaders of major arts institutions across the globe. Women are certainly visible as leaders of small to medium arts organizations in various artforms, but as the organizations become bigger or more important, the presence of women at the top diminishes.