Collaboration in Performing Arts

Abstract

__Abstract__ \n \nAs a result of declining government support, performing arts organisations (PAOs) face increased \nchallenges and difficulties in the sector. They attempt to develop new ways of generating income and seek \nnew models of organising the production and presentation of performing arts. Hereby, we can think of \ncollaboration and integration as horizontal and vertical within the production chain of performing arts. \nThere are various reasons for cultural organisations to decide upon collaboration, such as increasing \norganisational capacity, engaging new audience and building organisational networks (Ostrower, 2005). \nOther reasons for deciding upon collaboration are economies of scale and stronger profiling of the \nperforming arts organisation. Collaboration intensifies knowledge, thus the performing arts market \nbecomes more dynamic and there is more room for experimentation. \nThe issue or threat, however, is that not all collaboration processes are successful. According to Kottler \nand Scheff (1996), the organisation needs to meet several conditions in order to build an efficient \ncollaboration: one has to set a goal-building consensus, build trust, communicate, design leadership and \ninvolvement structures, and commit adequate resources. These are the fundamental conditions but during \nthe process of collaboration there are other issues that need to be considered. A frequent threat is that \nparties often have different motives to collaborate. For example, for commercial organisations the motive \ncould be generating more profit whereas for non-profit art organisations, especially in these times, \ncollaboration means survival. A related issue is whether collaboration aimed at surviving is a good motive \nfor collaboration formation. \nMoreover, fear may exist of losing an organisation\xe2\x80\x99s identity or artistic autonomy, employees may become \nanxious, the coordination costs might increase and parties may need additional resources and time to \nestablish such a project. Backer (2003) summarises this dilemma in the following question: \xe2\x80\x98How can \nparties control the collaboration in an efficient way while at the same time meeting their main objectives \nand guarding their own artistic identity?\xe2\x80\x9

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This paper was published in Erasmus University Digital Repository.

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