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Redefining Places For Redefining Places for for Places Redefining Observing an apparent shift in the relationship between place and performance, Redefining Places for Art explores whether, how, why, and to what extent artists, administrators and audiences see place as an essential part of twenty-first century performance experience. Using the vibrant and emerging cultural life of Queensland as its Queensland Conservatorium Research Centre principle site of investigation, the project focuses on six clusters of arts organisations, from ‘flagship companies’ to small regional arts initiatives. Between them, they represent a broad gamut of approaches: conventional theatre spaces, recommissioned industrial buildings, outdoor festivals, touring, and site-specific work. Extensive interviews with artists and administrators and an analysis Art of print sources and statistical data are complemented by focus group discussions with audience members throughout the State. and location Exploring the dynamics of performance This provides revealing insights into drivers and obstacles for striking a creative balance between place and performance, between tradition and innovation. Important outcomes include an awareness of increasing desire among audiences to curate their own experiences, the search among artists and administrators to negotiate between production values and flexibility, and the realisation that arts policies and funding may not yet fully reflect the current dynamic relationship between place and performance. Redefining Places for Art Exploring the dynamics of performance and location Redefining Places for Art was realised as an ARC Linkage project in collaboration with the University of Canberra, Arts Queensland, and The Australia Council for the Arts. Helen Lancaster Suzanne Kyte Jennifer Craik Huib Schippers 1521/10 Research team Dr Helen Lancaster has an established track record of initiating and leading cultural initiatives in regional and metropolitan settings. With a significant research background in cultural policy, particularly exploring the nature of arts leadership, and the conservatorium culture, Helen is currently Research Fellow at Queensland Conservatorium Research Centre, Chair of the Music Council of Australia, and a freelance consultant in cultural policy and higher music education. Suzanne Kyte is an experienced cultural planner and researcher whose work with local government includes integrating cultural and social considerations into projects, planning, procedures and policy. Her work with state and local government has focused on building partnerships across individual agencies and the public, private and community sectors. In addition to her practice, she is undertaking a PhD exploring community identity, cultural values and place-making. Professor Jennifer Craik (formerly University of Canberra) is Professor Research of Fashion and Textiles at RMIT University, Melbourne and Adjunct Professor in the Research School of Humanities and the Arts, Australian National University, Canberra. She researches and teaches in various areas of cultural policy concerning arts funding, tourism, and fashion. She is a member of the International Scientific Committee of Cultural Policy Research. Chris Bowen, MBA (Arts Queensland) is Director of Dance and Music at Arts Queensland. During his earlier career, he was executive manager of a number of iconic places for art in Queensland: the multicultural centre BEMAC, the Brisbane Powerhouse and the Judith Wright Centre of Contemporary Arts. Dr Nick Herd (Australia Council) brings extensive experience in research, cultural policy, strategic leadership and industry advocacy to his role as Director, Research and Strategic Analysis at the Australia Council. He has held senior posts with the Australian Broadcasting Tribunal, the Australian Broadcasting Authority, the Screen Producers Association of Australia and Screen Australia. Professor Huib Schippers (Griffith University) is Director of Queensland Conservatorium Research Centre and Queensland Conservatorium. He was commission member of the Dutch National Arts Council in the early 2000s. Although his current research primarily focuses on creative practice, transmissions processes, and musical ecosystems, he continues to have a fascination with the relationship between arts policy and vibrant creative environments. The research team would like to thank Janet Chaseling for her contribution to the statistical analysis, Madonna Townsley for her assistance from Arts Queensland, Brydie-Leigh Bartleet for her invaluable preparatory work in 2005-2007, Kate Brennan and John Drummond for their feedback on the preliminary findings of the report, Catherine Grant for her thorough and insightful suggestions for editing this report, and all those who generously provided their experiences and opinions during the course of this study. Brisbane Powerhouse at dusk is by Jon Linkins, and was supplied to Redefining Places for Art by the Brisbane Powerhouse. Redefining Places for Art Exploring the dynamics of performance and location An examination of the changing role and concept of place in Queensland’s performing arts conducted by Queensland Conservatorium Research Centre (Griffith University), funded by the Australian Research Council and realised in partnership with the Australia Council for the Arts, Arts Queensland and the University of Canberra. Griffith University Queensland Conservatorium Research Centre | 1 | Executive summary Redefining Places for Art was conceived in collaboration with Arts Queensland and the Australia Council for the Arts. The project was based on a strong impression that the relationship between place and performance is shifting substantially, and that organisers and producers of new work are increasingly exploring alternative venues to conventional theatres and concert halls. While formats and venues for performance inherited from nineteenth century European models still shape the Australian cultural and funding landscape, new forces are challenging assumptions about the formats, venues and audiences for the performing arts. These forces have become too prominent to be ignored. The project (funded as a Linkage project by the Australian Research Council from 2008- 2010) set out to investigate whether this development indeed reflects a significant change in the cultural realities of performance culture in Queensland. In addition to examining the sparsely available relevant statistical data, the project focused on identifying key artistic drivers behind this development from the perspective of artists and managers, and to glean audience perspectives on the relationship between live performance and place. Seven clusters of arts providers were identified as the basis for this study: major urban and regional arts venues; flagship companies; major festivals; small-to-medium Brisbane-based organisations; small-to-medium regional organisations; community-focused festivals; and emerging, experimental & online events. For each, an in-depth case study was chosen to illustrate the most striking characteristics of the cluster. Extensive interviews were conducted with art producers and organisations, which led to a wealth of ideas and insights. Meanwhile, statistical data were analysed from both the Australian Bureau of Statistics and the relevant organisations within each cluster (primarily annual reports and audience surveys) to gain greater insight into the scope and drivers of change. This led to some new and unexpected correlations, but much more strongly to the realisation that these important developments in audience behaviour are barely reflected in current systems of data gathering. To compensate for this dearth in understanding key impacting factors on audience behaviour, focus groups were organised across Queensland to include the voices of end-users. This combined exercise has led to a rich and varied picture of an arts scene in constant movement, where artistic visions interact with practical possibilities and impossibilities in both expected and unexpected ways. The insights evolving from this exercise generate a framework for understanding the drivers for flexible relationships between performance and place, from wholly static to highly fluid. These extremes do not represent value judgments; they rather create insight into choices made — as well as opportunities discarded — across the performing arts in Queensland. Many of these principles are likely to apply beyond state boundaries, or even internationally. In that way, this report provides an instrument for creators, administrators, marketing professionals, funding bodies and policy makers to make better informed decisions in providing quality experiences to a wide range of audiences. It is projected that the insights gained from this project will yield practical strategies to optimise reach for the performing arts in Australia. Ultimately, the framework emanating from this research can be used across Australia for assessing arts policies and funding to ensure the most appropriate support for facilitating a rich and diverse future for the performing arts in this country. Redefining Places for Art: Exploring the dynamics of performance and location | 2 | | 3 | Table of contents Executive summary 2 Foreword 5 SECTION 1: Background, 7 rationale and approach Introduction 7 Space, place and meaning 13 Changing places and contexts 15 Place and access 25 Organisation and funding of performing arts in Queensland 32 Statistics 38 SECTION 2: Clusters and case studies 47 Introduction 47 Cluster
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