Vision, Viability and Value: Three perspectives on the performing arts across cultures, context and nations

Abstract

How can we reach out to institutions, artists and audiences with sometimes radically different agendas to encourage them to see, participate in and support the development of new practices and programs in the performing arts? In this paper, based on a plenary panel at PSi#18 Performance Culture Industry at the University of Leeds, Clarissa Ruiz (Columbia), AnuradhaKapur (India) and Sheena Wrigley (England) together with interloctorBree Hadley (Australia) speak about their work in as policy-makers, managers and producers in the performing arts in Europe, Asia and America over the past several decades. Acknowledged trailblazers in their fields, Ruiz, Kapur and Wrigley all have a commitment to creating a vital, viable and sustainable performing arts ecologies. Each has extensive experience in performance, politics, and the challenging process of managing histories, visions, stakeholders, and sometimes scarce resources to generate lasting benefits for the various communities have worked for, with and within. Their work, cultivating new initiatives, programs or policy has made them expert at brokering relationships in and in between private, public and political spheres to elevate the status of and support for performing arts as a socially and economically beneficial activity everyone can participate in. Each gives examples from their own practice to provide insight into how to negotiate the interests of artistic, government, corporate, community and education partners, and the interests of audiences, to create aesthetic, cultural and / or economic value. Together, their views offer a compelling set of perspectives on the changing meanings of the ‘value of the arts’ and the effects this has had for the artists that make and arts organisations that produce and present work in a range of different regional, national and cross-national contexts.

Notes

¹The ideas developed here derive from a plenary session presented by Kapur, Ruiz and Wrigley and chaired by Hadley at PSi #18 at the University of Leeds, United Kingdom, in 2012. Hadley managed the collaborative production of this paper, in which she is the first-level narrator.

²Kapur is director of the National School of Drama, New Delhi, India; Ruiz is Secretary of Culture, Recreation and Sports of the Mayoralty of Bogotá and the former director of Arts, Ministry of Culture, Colombia, 2002–11; and Wrigley is general director and joint chief executive, West Yorkshire Playhouse, Leeds, United Kingdom.

³ See Chibber (2004), Singh (2009) and Sundar (1995).

⁴ See www.culturavivacomunitaria.org and www.culturarecreacionydeporte.gov.co

⁵ See http://salonesdeartistas.com