Suchergebnisse

__Abstract__ As a result of declining government support, performing arts organisations (PAOs) face increased challenges and difficulties in the sector. They attempt to develop new ways of generating income and seek new models of organising the production and presentation of performing arts. Hereby, we can think of collaboration and integration as horizontal and vertical within the production chain of performing arts. There are various reasons for cultural organisations to decide upon collaboration, such as increasing organisational capacity, engaging new audience and building organisational networks (Ostrower, 2005). Other reasons for deciding upon collaboration are economies of scale and stronger profiling of the performing arts organisation. Collaboration intensifies knowledge, thus the performing arts market becomes more dynamic and there is more room for experimentation. The issue or threat, however, is that not all collaboration processes are successful. According to Kottler and Scheff (1996), the organisation needs to meet several conditions in order to build an efficient collaboration: one has to set a goal-building consensus, build trust, communicate, design leadership and involvement structures, and commit adequate resources. These are the fundamental conditions but during the process of collaboration there are other issues that need to be considered. A frequent threat is that parties often have different motives to collaborate. For example, for commercial organisations the motive could be generating more profit whereas for non-profit art organisations, especially in these times, collaboration means survival. A related issue is whether collaboration aimed at surviving is a good motive for collaboration formation. Moreover, fear may exist of losing an organisation's identity or artistic autonomy, employees may become anxious, the coordination costs might increase and parties may need additional resources and time to establish such a project. Backer (2003) summarises this dilemma in the following question: 'How can parties control the collaboration in an efficient way while at the same time meeting their main objectives and guarding their own artistic identity?'

First published in 1981. The overthrow of the "gang of four" in October 1976 had profound effects in all areas of Chinese society, and probably nowhere can this be more clearly seen than in the performing arts. Jiang Qing, Mao Zedong's widow, was strongly interested in the performing arts and exercised great influence over them. This book describes her influence and the effects its removal had on the arts. Although the period covered is mainly that since the death of Mao, the author also explores the years following the Cultural Revolution.

This volume of Who's Who in Research series offers a useful guide for current researchers in Intellect's subject area of Performing Arts. The directory holds the names, institutions, biographies and current research interests of hundreds of leading international academics as well as references to the researchers' principal articles in Intellect journals

In the present political and socio-cultural situation in Slovakia, it is natural and necessary even to ask "what position do the arts occupy in this country?" and "what role do they play within the complex global atmosphere?" Art and culture should mirror the nation. Are we aware of that? Do we realize that art has the ability and the power to move? Not many of us realize this. This is a consequence of the permanent scepticism, apathy and resentment caused by the fact that this voice has never been heard. And this is not just the case in Slovakia. Yet even today there are certain groups of artists who still believe in the arts and their power. I think that giving up on this faith is the easiest thing to do. The decision whether to fight, rebel or actively participate is extremely complex and in many cases doing so may even threaten the freedom of the person. In this article I address the issue of whether art has the power and ability to change things. I draw attention to those socially engaging activities that could be described as performance art, which occur beyond enclosed areas and in public spaces; and in order to achieve change, they openly and nakedly attack individual consciousness and the subconscious.

Performance is a process-oriented tool which improves our sensuous, intellectual, social, and aesthetic appreciation of life and the world we live in. A performer is a doer whose action is carried out in a space shared with a public. The visible image of a performer contradicts the stereotypical image of the passive female in Arab societies. What is more inconsistent is the presence of the female performer as an economic player in contemporary Arab societies. She does not live on the margin of society but is a professional, an evident contributor to the cultural scene, and above all has been instigating change in her community by expanding the horizons of her gender and certainly exercising power. Scheherazade's bedtime stories proved to be a stratagem to change her fate and that of her sisters.

Performing arts have by nature the possibility to emotionally involve the audience in ways, which are, in some important sense, "direct" and active, instead of contemplative. The audience is in the presence of flesh and blood people doing various things and of events happening in front of them. In other words, the artistic event happens live, in front of the spectators' eyes and ears, and sometimes it can even end with the audience turned into performers. This fact has lead some scholars to affirm that, to a certain extent, performing arts seem to cancel or at least to minimize the gap between art and life. This trend is mainly strong in more or less new art forms and art movements, like Performance Art, Happening, etc., that, for reasons of different kinds (aesthetic, social, political, philosophical, etc.), refused the idea of art as work and encouraged art as action and event. This idea of art as something "fluid", not fixed, not ontologically steady, and as expression of free invention seems to come to fruition also in some art technique and ways of execution, like improvisation in jazz or in certain forms of theatrical play. It would seem obvious, then, to employ this idea of art as action, event and process in contrast with the traditional conception of art -based on works that should become objects of a particular experience, differentiated from the ordinary path of life by an alleged "aesthetic distance". I will argue, on the contrary, that aesthetic "difference", "distance" and "disinterest" are basic features also of the appreciation of art forms based on events or processes and that this stands even if art as a whole is taken as better understandable in terms of performance, event, action and process rather than in the traditional terms of work and composition.

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.

There are 13 nationalities currently dwelling within the boundaries of the Xinjiang Uygur Autonomous Region (XUAR). The most populous nationality is the Uygur, a Turcic people. The article focusses on the performing arts (song, dance, balladry, song opera and musical plays) of the Uygurs. Continuing influence of Islam among the Uygurs. Cultural policy of the CCP (Chinese Communist Party) and the Chinese government in respect of national minorities. (DÜI-Sen)