Hilary Glow

Measuring the intrinsic benefits of arts attendance

There is an emerging dissatisfaction with the current evaluative regimes for the quality and effectiveness of funded arts organizations. Far too much evaluation rests on audience satisfaction surveys and quantitative measures of audience attendance numbers, production numbers and revenue sources. The intrinsic benefits of the arts to audiences and to society are recognized to be of major importance, but the means to measure these in an acceptable and on-going manner has not been found. This article changes that. It shows, through almost three years of data collection on arts audiences, that a newly developed and tested Arts Audience Experience Index can be used and embedded by companies and government funding agencies to measure the audience experience of quality, alongside other acquittal tools.

A creative twist: Management theory, creativity and the Arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The articles starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Being and becoming : children as audiences

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three childrens theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for childrens theatre, and identify a new emphasis on the importance of valuing childrens aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

Instrumentalism and the ‘helping’ discourse: Australian Indigenous performing arts and policy

Indigenous arts are significant to the way Australia is represented to the world. Since the early 1970s Indigenous cultural policies, at both federal and state levels, have helped to shape the development of Indigenous performing arts in Australia. Over this period, cultural policies, in confluence with the aims of Indigenous artists and civil rights activists, have produced and reproduced instrumentalist rationales for the support of Indigenous arts. In particular, the sector has deployed ‘helping’ rationales for cultural policies which focus on social and economic outcomes. This article addresses current debates around the instrumentalist purposes of cultural policy and the participation of Indigenous practitioners in reproducing the ‘helping’ discourse. The article, however, finds evidence of a recent break in the consensus which sees some Indigenous artists resisting the historical imperative for their arts practice to be exclusively focused on instrumentalist outcomes.

‘More Yuppy Stuff Coming Soon’: Gentrification, cultural policy, social inclusion and the arts

Responding to gentrification has become a key planning issue for many urban municipalities. Local governments need to balance the often-competing agendas of urban regeneration, social inclusion and arts access and participation. This paper argues that arts and cultural units within local government bear the impact of such tensions. More importantly, however, local government policies and their implementation represent a third position in the polarised discussion on the cultural impact of gentrification. The example discussed here is the rapidly gentrifying City of Maribyrnong in Melbournes western suburbs: a municipality where any potential realisation of the economic benefits of gentrification is balanced against the needs of a significant population of resident professional artists, and the social inclusion needs of socio-economically disadvantaged residents. Maribyrnongs arts and cultural unit, like those within many municipalities in the developed world, has had to develop cultural policies and plans as tools for negotiating complex relationships and diverse needs of community members by considering the economic, social and cultural benefits of the arts for all residents.

The Advantage of Proximity: The Distinctive Role of Local Government in Cultural Policy

The arts and cultural sector has historically relied on funding from state and federal levels of government. Increasingly, however, local government has become a source of distinctive cultural policy making and a provider of significant funding for arts and cultural activities. The paper notes the relative absence of analyses of the role of local government in policy literature. It argues that with the recent proliferation of dedicated local cultural policies and plans, the attention of scholars is warranted. Through an analysis of the cultural plans of five local councils around Australia, the paper argues that the distinctive feature of cultural policy at the local level is a function of local governments proximity to its constituents, flexibility in decision-making and the discretionary nature of its expenditure.

Culture and Political Party Ideology in Australia

Australian federal cultural policy has been shaped by the political party in government in ways that reflect the distinctive ideology of that party. The authors trace the influence of Australias two major political parties on federal cultural policy, arguing that their distinctive political philosophies have been significant forces in determining the changing shape of cultural policy in diverse ways. The authors demonstrate that, over the past decade, the cultural policies of the two major parties have become less distinctive as each party responds to the same international economic and political challenges. This lack of ideological dichotomy within political discourse has hampered the development of cultural policy that adequately responds to the cultural interests of Australian communities and artists.

Honour bound in Australia: From defensive nationalism to critical nationalism

The imprisonment and trial of Guantanamo Bay detainee David Hicks catalysed widespread public debate in Australia over issues of nationalism and citizenship. This article discusses the competing forms of nationalism that underpinned this debate, especially critical nationalism, which evidences both a critique of and caring for the nation. Following Ghassan Hages notion of the dichotomy between national caring and worrying, the article looks at a theatre production based on the David Hicks story to illustrate the role the arts play in challenging and redefining our attachment to the nation.

Accounting for quality:: arts evaluation, public value and the case of “Culture counts”

ABSTRACT Arts policy has a longstanding relationship with the concept of “quality” and the ways in which organisations measure, evaluate and account for it. Culture Counts, an evaluation system and digital platform, compiles data from standardised evaluation surveys of different stakeholder groups – organisations, audiences, critics, funders and peers – and provides the means to compare and triangulate data in an accessible format. As a result, it claims to provide a more effective, democratic tool for quality measurement of art, which demonstrates the public value of funding [Department of Culture and the Arts, & Knell, J. (2014). Public value measurement framework: Measuring the quality of the arts. Perth: Department of Culture and the Arts.]. Through qualitative research with two consortia of organisations involved in Culture Counts pilot projects in Manchester, England and Victoria, Australia, we explore these claims, comparing the reception and promotion of the system in both countries and considering its potential incorporation into policy assessment frameworks and adoption within arts organisations’ existing evaluation capacities.

The state of play: protocols as children's cultural policy

Opportunities for children to experience the arts are burgeoning around the world, and many nations have put into place cultural policies that foster these opportunities. In Australia, an existing children’s cultural policy has been overshadowed by the 2009 Protocols for Artists Working with Children: a political response to a public controversy around a photography exhibition featuring naked girls. This article argues that these protocols function as de facto policy, conflating children’s rights with a moral agenda around children’s potential to be exploited by artists. The article identifies the rationales behind children’s cultural policies around the world and argues that children’s cultural rights form the foundation of most policy discourse. It examines cultural policy for Australian children and the development of the Protocols in response to moral panic about child sexual abuse. That this occurred was due to the almost complete absence of children, and the arts practitioners who work with them, in informing the protocols. The article interrogates the implications of this absence by comparison with the example of Danish cultural policy-making for children. Finally, it argues that children and artists who work with them need to be better represented in Australian policy and politics.