Collaboration and Integration in Performing Arts
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Research in the Economics of the Performing Arts ERASMUS UNIVERSITY ROTTERDAM COLLABORATION AND INTEGRATION IN PERFORMING ARTS Enlarging financial, artistic and social value by doing it collectively: a qualitative study in the Netherlands Cees Langeveld Dóra Belme Tessa Koppenberg Acknowledgements We use this opportunity to express our gratitude to everyone who supported us throughout the course of this project. This report would not have been possible without the help of so many people involved in the process. We are thankful for their valuable constructive contribution during the project work. We are sincerely grateful to them for sharing their truthful and illuminating views on a number of issues related to the project. First of all, we would like to thank the Raad voor Cultuur, the VSCD, the FPK and the VNPF for helping us to contact the participants for the research. We express our deepest appreciation to all those who participated in our interviews: Rob van Steen, Marc van Kaam, Han Evers, John de Vos, Peter Voorbraak, Sandra Bruinsma, Geert Overdam, Freek van Duijn, Joep van Dijk, Adriaan van Geest, Bart Fiers, Jos Kok, Rian Dirken, Rob Kuiphuis, Marijn Lems, Renske Verbeek, Jeroen Blijleve, Bas Schoonderwoerd, Tineke Maas, Hajo Doorn, David van Wijngaarden, Derrick Smittenaar, Ruud Visser, Lisa Gribling, Yolande Melsert, Nico Schaafsma, Marjolein Kooijman, Guido de Vries, Leon Zwaans, Valentijn Fit, Marijke van der Woude, Anita Berrevoets, Hedwig Verhoeven, Geert van Itallie, Jaap Lampe, Rick Spaan, Anthony Heidweiller, Wouter Overgaauw, Jan Van den Bossche, Corina van Eijk, Lieke van Hoogenhuyze, Annemarie Reitsma, Frank van Iersel, Wilm Vos, Peter Sikkema, Niek Wijns, Karen Smit, Harmen van der Hoek, Frans Vreeke, Ton Wiggers, Gerda van de Kamp, Daniella Groenberg, Ruud van Meijel, Erik Pals, George Wiegel, Harm G. Mannak, Benoit Vanraes, Eve Hopkins, Marjolein van Bommel, Erica van Eeghen, Marcel 't Sas, Jacques van Veen, prof. dr. Hans Schenk, Walter Ligthart, Berend Schans, Johan Gijsen, prof. dr. Mirko Noordegaaf, Paul Adriaanse, Leonie Clement, Stefan Rosu, Petra van den Manacker and Frans Lievens. Furthermore, we would like to acknowledge with much appreciation the significant role of drs. René Goudriaan, prof. dr. Arjo Klamer. and Dr. Christian Handke, who provided us guidance and constructive criticism throughout the process. Cees Langeveld Dóra Belme Tessa Koppenberg !2 TABLE OF CONTENTS Acknowledgements .......................................................................................... 2 1. Introduction .................................................................................................. 6 1.1. Aims and objectives ................................................................................................. 6 1.2. Research questions ................................................................................................. 7 2. Theoretical Framework ................................................................................. 8 2.1. Introduction .............................................................................................................. 8 2.2 The history of collaboration formation ...................................................................... 9 2.3. The economics of the performing arts industry ..................................................... 10 2.4. Objectives of performing arts organisations .......................................................... 11 2.5. Collaboration in performing arts ............................................................................ 13 2.6. Collaboration from the perspective of the Dutch government ............................... 14 2.7. Structure of collaborations ..................................................................................... 14 2.8. Reasons to collaborate .......................................................................................... 15 2.9. Reasons not to collaborate .................................................................................... 17 2.10.Factors that contribute to a successful collaboration ............................................ 18 2.11. Threats of collaborations ...................................................................................... 19 2.12. Evaluating the result of the collaboration ............................................................. 21 2.13. The influence of funders on collaboration ............................................................ 22 2.14. Problematic issues .............................................................................................. 22 3. Research Methodology .............................................................................. 24 3.1. Introduction ............................................................................................................ 24 3.2. Research strategy and design ............................................................................... 24 3.3. Research method .................................................................................................. 24 3.4. Participant selection .............................................................................................. 25 3.5. Data Analysis ......................................................................................................... 26 3.6. Validity and Reliability ............................................................................................ 26 4. Data Analysis ............................................................................................... 27 4.1. Introduction ............................................................................................................ 27 4.1.1. Characterising collaborative processes ......................................................... 27 4.1.2. The collaboration framework .......................................................................... 28 4.2. Collaboration between performing arts presenters ................................................ 30 4.2.1. Reasons to collaborate .................................................................................. 31 4.2.2. Collaboration is a tool and not a goal in itself ................................................ 31 4.2.3. Conditions for a good collaboration partner ................................................... 32 4.2.4. Different types of collaboration between venues ........................................... 33 4.2.4.1. Collaboration on the national level ................................................................. 33 4.2.4.2. Collaboration on the local level ...................................................................... 34 4.2.4.3. Collaboration on programming ....................................................................... 34 4.2.4.4. Collaboration on marketing ............................................................................ 35 4.2.4.5. Collaboration on sponsoring .......................................................................... 36 4.2.4.6. Collaboration in the back-office ...................................................................... 36 4.2.5. Different types of integration between venues ............................................... 37 4.2.5.1. Shared employees ......................................................................................... 37 4.2.5.2. Shared back-office — partial and full integration ........................................... 37 4.2.5.3. The merger of theatres ................................................................................... 37 !3 4.2.5.4. Cultural mega-complexes .............................................................................. 38 4.2.5.5. Acquisition ...................................................................................................... 42 4.2.6. The disadvantages of intensive collaboration ................................................ 42 4.2.6.1. Additional costs .............................................................................................. 43 4.2.6.2. Different levels of intensifying a collaboration ................................................ 44 4.2.6.3. Collaboration between the theatre and the pop venue .................................. 44 4.2.7. The impact of the economic crisis on collaboration ...................................... 44 4.2.7.1. Financial motive versus artistic and social motives ........................................ 45 4.2.7.2. Collaboration versus competition and artistic autonomy ................................ 46 4.2.7.3. Tension between supply-driven and demand-driven production .................... 47 4.2.7.4. Political interests influencing collaboration ..................................................... 48 4.2.8. Professionalisation of business processes .................................................... 48 4.2.8.1. Focus on the process, not only the products ................................................. 49 4.2.8.2. Formalisation and Evaluation ......................................................................... 50 4.2.9. Future direction for venues ............................................................................ 50 4.2.9.1. Building Management .................................................................................... 51 4.2.9.2. Specialisation of venues ................................................................................ 51 4.2.9.3. Travelling system ..........................................................................................