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eventmanagementmodelforaninternationaldance
event:acasestudyofthe2008WDA(WorldDance
Alliance)GlobalSummit,Brisbane,Australia
by
SHUYI LIAO
BA
January, 2009
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
III
IV
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
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
VI
Keywords:
partnerships;
international
dance
event;
project/event
VII
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 1318 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.
VIII
Sttatemen
nt of oriiginal authorsh
hip
ork contain
ned in this thesis hass not been previouslyy submitted
d to meet
The wo
requirem
ments for an
a award at
a this or any other higher educcation instittution. To
the besst of my knowledge and be
elief, the thesis contains no material
previoussly published or writte
en by anotther person
n except w
where due reference
is made.
________
_________
_________
______
____
___18/08/2
2009_____
________
Signature
e of candid
date
Date
e
IX
X
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.
Finally,
this
thesis
would
never
have
been
completed
without
the
XI
1.
2.
3.
How did WDAGS build partnerships and why was this particular
partnership combination selected?
4.
5.
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
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 OToole & 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.
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 Fayols 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.
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
According to Allen et al. (2008, pp.163-165), a project will pass through five
phases described as:
1)
2)
3)
4)
5)
Initiation
Planning
Implementation
Event
Shutdown
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
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):
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; OToole &
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
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.
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
10
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 citys
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.
13
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)
14
(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 events ever-increasing
attendance and the ability to return a profit (AbaF, 2002).
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
15
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 events 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 Rysers (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,
16
and, as Halseth and Ryser (2007) suggest, partnerships have increasingly been
a requirement to access some government funding programs.
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.
17
According to McDonnell et al. (1999), from a functional point of view, there are
six major event stakeholder groups which are illustrated below:
Host
organization
Host
Participants
& Spectators
community
Event
Co-workers
Sponsors
Media
18
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:
19
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 coworkers 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 events 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
20
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.
and trust become useful. As Portes (1998, p.7) states, Whereas economic
capital is in peoples 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.
22
23
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 events 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
24
Hadley, 2007, p.5). Therefore, whatever the challenges, it appears that the
building of social capital is a positive action for any community.
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,
25
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.
26
Chapter 2Methodology
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.
27
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.
28
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.
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).
30
brokers
different
activities
ranging
from
in-studio
professional
31
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.
32
33
search for grand narratives is being replaced by more local, small-scale theories
fitted to specific problems and particular situations.
34
study in the choices I make about the data whilst not consciously imposing my
own conceptual framework.
of the nature of the event and the management style, other data collection
methods were used and designed during various stages of the event.
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
36
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.
37
Table 1: Key roles in the 2008 World Dance Alliance Global Summit
name
position
Ms Denise Richardson
Ms Amy Piekkala-Fletcher
*Ms. Julie Dyson
39
conceptual documents
minutes of meetings
correspondence
40
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.
41
42
Partnerships/Stakeholders
Event management
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
43
studies, this provides the researcher with a system by which he/she can set
priorities for what he/she needs to analyse and why.
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.
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.
45
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.
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
Wolzs scholarly and artistic rsum, 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
47
Based on the founders 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 AsiaPacific. In order to sustain
WDAs 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. Whats 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 AsiaPacific, Americas and Europe made a decision that
48
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.
49
Aims:
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)
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
50
51
Table 2: Comparison of initial goals of the WDA with current goals (2008)
of WDA-AP
Initial goals of the WDA
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.
52
53
E
Executive
Board
d
a Pre
esident, a
Vice President,
P
a
Secre
etary and a
Trreasure
Pacific A
Area
Chapter headss
East Assia
Chapter headss
South A
Asia
Chapter headss
Southeastt Asia
Chapter headss
Region
nal Vice
Presidents
C
Creation
&
Presentation
Board
Re
esearch
& Doccumentation
Network
Chairpersons
Welfare
W
&
S
Status
Mana
agement &
Pro
omotion
Edu
ucation &
T
Training
Fig
gure 4: WD
DA-Asia Pacific
P
Boa
ard structu
ure
(Based on WDA Asia Pacific,
P
2008, cover page))
The struc
cture of the
e executive
e board com
mprises Prresident, V
Vice-Presid
dent,
Secretaryy and Trea
asurer and Regional Vice-Presid
V
dents, who
o are demo
ocratically
elected by
b the mem
mbership. Currently,
C
t
there
are fo
our Region
nal Vice-Prresidents,
one each
h for East Asia,
A
South
h Asia, Sou
uth-East Asia and the
e Pacific. The
T entire
WDA Boa
ard include
es the Exec
cutive Boa
ard, the Ne
etwork Cha
airs and the
e Chapter
Heads wh
ho represe
ent countrie
es or regio
ons within countries.
c
F
For examp
ple, in a
large cou
untry like In
ndia, there are two Chapters: West
W
Benga
al and a Ch
hapter
54
4
56
57
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 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.
Burridge, Stephanie (ed.) (2006) Shifting Sands: Dance in Asia and the
Pacific, Australian Dance Council, for the World Dance Alliance.
In addition, as the main written forum for news and information exchange, AsiaPacific 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).
58
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.
59
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.
Place
Type
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
Manila
Taipei
Tokyo & Akita
Kuala Lumpur & Beijing
Seoul
Jakarta & Melbourne;
Hong Kong
Manila
Philadelphia
Korea & Tokyo
Singapore
Dusseldorf
Kuala Lumpur
Taipei
2005
2006
Kuala Lumpur
Hong Kong
2006
2007
Toronto
Singapore.
Global Summit
WDA-AP annual event
2008
Brisbane
Global Summit
60
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
festival
of
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.
61
Location
Seoul,
Korea;
Tokyo,
Japan
2002
Dsseldorf,
Germany
Theme
Characteristics
Activities
Seoul: the 2
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
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)
Showcases
conference
workshops
youth program
a series of dance
performances by
international and local
dance artists
Global Assembly
Conference
Masterclasses
International Choreolab
Dance dialogue speaker
program
Showcase of independent
artists (performance
dialogues)
Performances
(associated events)
Global Assembly
nd
2006
Toronto,
Canada
Dance / Diversity /
Dialogue:
Bridging
Communities and
Cultures
Highlighting the
work of traditional
and indigenous
artists
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
62
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.
63
64
65
Ausdance Queensland
Brisbane Marketing
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.
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
67
four key issues became the drivers of each of the summit programs. The four
sub-themes adopted were:
mind/body connections
sustainability
transcultural conversations
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
68
tutus. In my view, this image successfully conveys the multiple layers of the
main idea of this summit.
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,
69
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.
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:
70
Dance Dialogues
Performative Dialogues
Physical Dialogues
Networking Dialogues
and also
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 inservice 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
71
72
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:
73
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.
events and forums were combined to explore the Summits 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.
scholarly papers;
discussion panels;
As a result, 207 individual presenters (including scholarly papers, panels and intheatre 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.
75
Poor
Fair
Good
Excellent
Pre-conference communication
21
12
14
19
13
Venue
26
Catering
29
22
17
Conference Satchel
14
15
76
77
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.
78
79
cross-cultural
dance;
somatic
techniques;
improvisation
and
Im 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.
81
82
However, negative comments were given by some of the delegates who had
booked for what they thought would be a choreographic showing.
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.
84
Discussions were also had as to the location of future AGMs and Global
Summits until 2012.
The evening performance program and associated events boasted leading local
artists from stage and screen, which included:
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 nights proceedings, launched by senior Indigenous
85
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 Australias 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.
86
ber was th
he first me
eeting of steering
s
co
ommittee). A memorandum off
(Decemb
understan
nding betw
ween WDA
A-AP and Ausdance Queensla
and was re
eviewed in
n
terms of the co-ho
ost relationship betw
ween thes
se two org
ganizations over 12
2
a the prrogram ev
volved. Th
he proposed manag
gement sttructure off
months as
WDAGS was mad
de up of several sub-commit
s
ttees inclu
uding both
h program
m
ment and program implementation as follo
owing:
developm
Exeecutive
Com
mmittee
Program
de
evelopment
sub
b-committees
Progra
am
implemen
ntation
sub-comm
mittees
Confe
erence
Prog
gram
Fu
unding &
Spo
onsorship
Work
kshop
Prog
gram
Logistics
Perform
mance
Prog
gram
Ma
arketing &
Prromotion
Global Assembly
A
Prog
gram
Ho
ospitality
Vo
olunteers
Task allocated
*A/Prof.
Cheryl
Stock
*Ms. Janelle
Christofis
*Mr.
Marcus
Hughes
*Ms. Julie
Dyson
Overall budget
local applications
Organisational planning
Internal transport
Admin for choreolab & masterclasses
WDAGS Global Assembly Website
Choreolab commitee
Global Assembly
90
91
92
*QUT
T Events
Volunteers
*Con
nference
Proje
ect Officer
Volunteers
AV support
Volunteers
Progra
am Chair,
Con
nference
con
nvener
Volunteers
*Prrogram
O
Officer
Volunteers
Program
Diirector
Volunteers
QUT
Executive
committee
Au
usdance Qld
Associated staff
from
m the hostt
organisattion, Ausda
ance Quee
ensland, an
nd the majjor program
m partner, QUT. The
e
combinattion of thes
se two org
ganisationss provided the main operationa
al basis forr
managing
g WDAGS
S. The QUT
Q
team
m was su
upervised by progrram chair,
conferenc
ce conven
ner, A/Prof. Cheryl Stock, wh
ho was largely volu
untary with
h
some su
upport by QUT (suc
ch as tim
me and ad
dditional o
office and computerr
requireme
ents). The
e Ausdanc
ce Queenssland team
m was sup
pervised by
y program
m
director Mr.
M Marcus
s Hughes who
w was paid
p
by Ausdance Qu
ueensland as part off
his role as
a Executive Directo
or of that organisation. Thus, one of th
he two key
y
93
3
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
94
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,
95
were
outlined as follows:
Table 7: Student volunteer/supervision relationship & roles
Volunteer
Documentation
Supervisors
Program
TV
Chair
students
&
Technical
Masterclasses
support
& Choreolab
Film
QUT
Technical
technical
production
staff
Global
Assembly
Technical
Technical
students
students
students
Choreolab
convener
Conference
&
Dance
Dance
students
students
Ausdance
Qld staff
Conference
Dance & UQ
project officer
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):
96
97
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:
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
98
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
99
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 [Cheryls] 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.
100
101
1
102
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 registrationsand 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 doesnt 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
103
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:
104
Funding
Organisation
Activity funded
Subsidy
requested
Subsidy
received
Government
(National)
Australia
Council
Dialogues; Choreolab
$ 39,671
$ 39,671
Government
(State)
Arts
Queensland
$ 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
Philanthropic
Philanthropic
Institutional
Institutional
Institutional
Sidney Myer
Fund
Besen
Foundation
QUT Faculty of
Creative
Industries
Institute of
Creative
Industries (iCi)
QUT Faculty of
Creative
Industries
Total
General Support
Choreolab
(International
participation)
$ 5,000
$ 5,000
$ 30,000
$ 15,000
Master Classes
$ 10,000
$ 5,000
$ 5,000
$ 5,000
$ 3,000
$ 3,000
Conference
Proceedings
$ 10,000
$ 10,000
$ 233,339
$ 176,171
(Based on Organisational Funding Applied & Actual for 2008 WDA Global Summit, provided by
event organisers)
105
Funding
Organisation
Arts Queensland
Bloch
Paul Wright
Pure Mountain
Activities
Applied
Actual
$ 14,168
$ 10,000
$ 5,000
$ 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 didnt 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
106
107
108
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 ecommunications, 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
109
on of incom
me and expenditure related to the two ad
dministrativ
ve centres,
distributio
the host, Ausdance
e Queensla
and and ma
ajor partne
er, QUT, ass illustrated
d over:
Q
QUT
Acco
ount 1
(manageedbyQUT
Eveents)
Au
usdance
Qld
d Accountt
QUT
T
Account 2
(m
managedby
ProggamDirector)
(manage
ed by
Program C
Chair)
Gen
neral
Revvenue
Figure 12
2: Distributed Financial Mode
el
The acco
ounts base
ed at Ausda
ance Quee
ensland de
ealt with alll of govern
nment and
d
philanthro
opic grants
s; QUT Ac
ccount 1 managed
m
a the fee
all
es paid by delegates
s
including tickets forr all events
s, registration, accom
mmodation, as well as
a handling
g
transport, printing and
a
conferrence expenditure); QUT Acco
ount 2 ma
anaged the
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nal cash su
upport from
m the Facu
ulty of Cre
eative Industries and iCi, which
h
institution
was prim
marily use
ed for guest speak
kers and some conference expenses.
Therefore
e, a distrib
buted financial model was es
stablished based on the three
e
accounts with the ability
a
to tra
ansfer fund
ds across th
he three operating ce
entres.
artners
5.2.1.2 Program pa
or partners
s of this summit
s
we
ere a group
p of mainlly in-kind supporters
s
s
The majo
which ha
ave been termed prrogram pa
artners. Sin
nce the S
Summit comprised a
110
0
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
112
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, Australias 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.
113
expertise
QUT
Conference
1 Dance Dialogue
Closing event
Masterclasses
Choreolab
Event management
Financial support
Co-ordination
staffing
Technicians
Computer support
General event
management
website
On-line bookings
Referee proceedings
Registrations
marketing QUT corporation
communication
Ausdance
National
QPAC
4 Dance dialogues
Opening event
Global Assembly
Choreolab
Administration
management
support
Technical
Programming
support for above
events
4 Dance Dialogues
Opening event
Hosted WDAGS
site
Through Ausdance
e-communications
Publications such
as Asia Pacific
Channels
115
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.
Funding
partners
Program
partners
Event
Operational
partners
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.
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).
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
119
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.
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.
120
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.
121
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.
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.
level,
professionals
oversaw
funding
applications,
budgets,
fundraising and logistics. At the operational level, the QUT Event management
122
team was selected to handle conference and program logistics through their
own technological systems.
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 Rochlins (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.
123
124
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
125
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:
126
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.
127
128
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138
12. With the diversity of input that these partners will contribute, how do you
aim to balance these perspectives to achieve WDAGSs objectives as
well as the objectives and needs of your partners?
13. What are the characteristics of the WDAGSs branding? Can you talk
about your perception of how WDAGS is branded?
14. How do you differentiate the WDAGSs 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?
139
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. shuyi.liao@student.qut.edu.au
140
+61(0)431438607
shuyi.liao@student.qut.edu.au
c.stock@qut.edu.au
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.
141
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 ethicscontact@qut.edu.au. The Research Ethics Officer is not connected
with the research project and can facilitate a resolution to your concern in an
impartial manner.
142
Statement of consent
By signing below, you are indicating that you:
have read and understood the information document regarding this project
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
ethicscontact@qut.edu.au if you have concerns about the ethical conduct of the project
Name
Signature
Date
143
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.
144
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.
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
145
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 Australias 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-inResidence 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.
146
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.
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.
147
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 mainstream 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 Queenslands
first full-time Indigenous Australian Dance Performance Course at the Cairns
TAFE.
148
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 cooperative 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 floorwork, 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.
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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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.
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.
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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To have input into the guests for the Dance Dialogues component and to liaise with the steering
committee in this regard.
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