Gains and Losses of a Resident Dance Group: An Auto-ethnography
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This research is motivated by the fact that mere statistics about performing arts groups in the government white papers are not enough for understanding the dire situation in which performing arts organizations struggle to create and perform arts with no subsidy or with a modicum of mostly one-time only public support. Based on my experience as a representative of a private non-profit dance company, I try to convey, through my auto-ethnography, the problems that performing arts organizations confront in more vivid description and in depth. My dance organization went through some positive and negative internal changes including an identity crisis since we had been selected as a resident performing arts group with a regional public performance hall. We also had to overcome external obstacles of uncertainty in policy and lack of communication with the administrative personnel. I discuss how to deal with these changes and problems.
Abstract
This research is motivated by the fact that mere statistics about performing arts groups in the government white papers are not enough for understanding the dire situation in which performing arts organizations struggle to create and perform arts with no subsidy or with a modicum of mostly one-time only public support. Based on my experience as a representative of a private non-profit dance company, I try to convey, through my auto-ethnography, the problems that performing arts organizations confront in more vivid description and in depth. My dance organization went through some positive and negative internal changes including an identity crisis since we had been selected as a resident performing arts group with a regional public performance hall. We also had to overcome external obstacles of uncertainty in policy and lack of communication with the administrative personnel. I discuss how to deal with these changes and problems.
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