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Journal articles on the topic 'Performing Arts Studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (June 1, 2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.

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2

Dunlop, Rachel, Dominic Moody, Adrienne Muir, and Catherine Shaw. "The performing arts." Cultural Trends 7, no. 26 (January 1995): 1–25. http://dx.doi.org/10.1080/09548969509365003.

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3

Colley, Binta M. "Teaching Social Studies Through the Performing Arts." Educational Forum 76, no. 1 (January 2012): 4–12. http://dx.doi.org/10.1080/00131725.2011.627986.

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4

Conant, David A., and Thomas J. McGraw. "Case studies of two performing arts halls." Journal of the Acoustical Society of America 108, no. 5 (November 2000): 2648. http://dx.doi.org/10.1121/1.4743872.

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5

Draper, Jack A. "Performing Brazil: Essays on Culture, Identity, and the Performing Arts." Hispanic American Historical Review 96, no. 1 (January 28, 2016): 190–92. http://dx.doi.org/10.1215/00182168-3424240.

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6

Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.

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7

Waterhouse, David, and Masato Matsui. "Japanese Performing Arts: An Annotated Bibliography." Ethnomusicology 29, no. 3 (1985): 512. http://dx.doi.org/10.2307/851806.

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8

Norman, Moss Edward, and John Bryans. "Performing the Norm: Men in the Performing Arts and the Materialization of White, Heteronormative Masculinity." Journal of Men’s Studies 28, no. 3 (February 28, 2020): 281–300. http://dx.doi.org/10.1177/1060826520907923.

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There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the arts are not nearly as stable and certain as we might imagine. Rather, normative masculinity is continuously formed and re-formed within an assemblage of discursive and nondiscursive relations that performatively materialize the seemingly stable white, heteronormative masculine subject.

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9

Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of others that apparently did not “make the cut.”

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10

Levi S. Gibbs. "Faces of Tradition in Chinese Performing Arts." Journal of Folklore Research 55, no. 1 (2018): 1. http://dx.doi.org/10.2979/jfolkrese.55.1.01.

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11

Pantawee, Jiraphorn, Peera Phanlukthao, and Suchat Sukna. "Communication through Cross-Cultural Performing Arts." International Journal of Critical Cultural Studies 19, no. 1 (2021): 41–61. http://dx.doi.org/10.18848/2327-0055/cgp/v19i01/41-61.

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12

Manchester, Ralph A. "Energy Expenditure in the Performing Arts." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 183–84. http://dx.doi.org/10.21091/mppa.2011.4029.

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Two papers in this issue of MPPA examine energy expenditure while playing a wind instrument and dancing. Measurement of the amount of energy required to play an instrument, dance, or sing has been done in the past, but these two papers advance our understanding of how performing artists carry out their professional activities. Since most of us don’t think about our daily lives in terms of METs or kilojoules, I will first review some basic information about human energy intake and expenditure before examining how energy expenditure studies can expand our knowledge base.

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13

Helbo, André. "Semiotics and performing arts: contemporary issues." Social Semiotics 26, no. 4 (June 17, 2016): 341–50. http://dx.doi.org/10.1080/10350330.2016.1189727.

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14

Natarajan, Radhika. "Performing Multiculturalism: The Commonwealth Arts Festival of 1965." Journal of British Studies 53, no. 3 (July 2014): 705–33. http://dx.doi.org/10.1017/jbr.2014.104.

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AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct national cultures assembled through an equitable framework. Governments sponsored representative cultural forms in response to domestic political circumstances and international economic needs, and against the imperial aesthetic hierarchies of the past. Examining the diverse interests assembled through the festival is essential to understanding the legacies of imperial power for more seemingly democratic frameworks of difference.

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15

Bektaş, Özlem. "PERFORMING ARTS PRACTICES IN SOCIAL STUDIES TEACHER EDUCATION: PARTICIPATORY AC." International Journal of Education Technology and Scientific Researches 4, no. 9 (January 1, 2019): 113–48. http://dx.doi.org/10.35826/ijetsar.24.

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16

Chitiga, Miriam. "Performing Arts for Effective Civic Engagement." International Journal of Civic Engagement and Social Change 1, no. 3 (July 2014): 59–74. http://dx.doi.org/10.4018/ijcesc.2014070105.

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There is a dearth of civic knowledge, skills, dispositions, and interest among pre-and post-secondary students and the general public. Many people are not equipped with the necessary knowledge of American political history, democratic institutions, processes, and civic life needed to allow them to become active, effective, responsible, and empowered citizens and leaders of the future. The traditional mode of incorporating civics in the lecture format in social studies and political science curricula is ineffective. The Performing Arts for Effective Civic Engagement (PAECE) program is a cross-disciplinary, multi-institutional effort that was created to address this problem through creative, entertaining performance-based content delivery that is designed by students. This paper describes the details on the program implementation, evalution, as well as its outcomes, in an effort to disseminate pertinent information for possible replication or adaptation of the model by other institutions. The paper concludes with some implications for higher education institutions.

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17

Manchester, Ralph A. "Biomedical Ethics in Performing Arts Medicine Research." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 87–88. http://dx.doi.org/10.21091/mppa.2007.3020.

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As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The public's confidence in medical researchers has been shaken in the last few years as the result of a few well-publicized “bad outcomes” in clinical studies being done at leading academic medical centers in the U.S. and elsewhere. While we are unlikely to do gene-transfer or new drug development studies in an effort to address the health problems of musicians and dancers, we should still hold ourselves to the same ethical standards that apply to the rest of the healthcare world.

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18

Weintraub, Andrew N., Gamelan Galura, Otong Rasta, Martin Clayton, Robert Philip, and Simon Cook. "Wayang Golek: Performing Arts of Sunda (West Java)." Ethnomusicology 44, no. 3 (2000): 547. http://dx.doi.org/10.2307/852506.

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19

KONECNY, MARK. "INTRODUCTION: PERFORMING ARTS AND THE AVANT-GARDE." Experiment 10, no. 1 (2004): v—4. http://dx.doi.org/10.1163/2211730x04x00019.

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20

van Nieuwkerk, Karin. "‘Repentant’ artists in Egypt: debating gender, performing arts and religion." Contemporary Islam 2, no. 3 (November 19, 2008): 191–210. http://dx.doi.org/10.1007/s11562-008-0061-z.

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21

Authors, Multiple. "Writing Arts." ti< 9, no. 1 (March 26, 2020): 29–36. http://dx.doi.org/10.26522/ti.v9i1.2450.

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22

Rogers, Amanda. "Advancing the geographies of the performing arts." Progress in Human Geography 42, no. 4 (February 9, 2017): 549–68. http://dx.doi.org/10.1177/0309132517692056.

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Performance has become an analytical lens for examining a range of geographical phenomena. However, research specifically on the geographies of the performing arts has not kept pace with this broader field. Here, I argue for a deeper engagement with the theories and practices of the performing arts, particularly as research on creativity and the geohumanities gathers momentum. The article focuses on three areas where literatures from theatre and performance studies can expand our understanding of what ‘the geographies of the performing arts’ might be: intercultural aesthetics, migrant mobilities, and geopolitics. It examines how these come together in contemporary Cambodian dance.

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23

Traub, Stefan, and Martin Missong. "On the public provision of the performing arts." Regional Science and Urban Economics 35, no. 6 (November 2005): 862–82. http://dx.doi.org/10.1016/j.regsciurbeco.2005.03.003.

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24

Kolhede, Eric John, and J. Tomas Gomez-Arias. "Segmentation of infrequent performing arts consumers." Arts and the Market 6, no. 1 (May 3, 2016): 88–110. http://dx.doi.org/10.1108/aam-04-2014-0015.

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Purpose – The purpose of this paper is to examine market segments within the broader category of occasional patrons of the performing arts. While similarities between these segments exist, important distinctions are also apparent. Design/methodology/approach – The authors surveyed 347 performing arts patrons using a structured questionnaire. Their responses along 28 proposed motivational variables were subjected to factor analysis to reduce their dimensionality and collinearity. Cluster analysis was then applied to respondents’ factor scores to group subjects into homogenous segments for subsequent comparison along variables, including demographic and marketing mix elements. Findings – The authors find six key motivating factors influencing the attendance of performing arts events: personal; promotional; product; distribution; economic; and social motivators. The authors also find that infrequent consumers can be further subsegmented into disinclined and fringe consumers with different levels of performance attendance and dissimilarities in responding to motivators. Research limitations/implications – The survey was conducted in a single county within the San Francisco Bay Area, limiting the generalizability of results. Practical implications – Fringe consumers are more responsive to the personal benefits (e.g. cultural enrichment) derived from the core product offerings of a performance such as programming and quality of the performers. The disinclined segment is more influenced by economic, social, and distribution related elements associated with a performing arts event such as pricing, the accessibility (or convenience) of the venue, and the opportunity to socialize accompanying attendance. Social implications – The practice of relationship marketing by small local performing arts organizations (PAOs) has been emphasized and often advocated by researches in the most recent literature. In order to ensure the viability of PAOs beyond the short-term, further examination of audience development is imperative. This paper indeed places more attention on audience development with a particular focus on expanding audiences among subsegments of infrequent performing arts consumers. Originality/value – The central purpose of this research is to arrive at comprehensive profiles of subsegments within a group of infrequent arts patrons, along with viable differentiated marketing program and positioning approaches that would appeal to each of these consumer categories. Consequently, the authors address a significant gap in the performing arts marketing literature as few recent studies appear to have been structured to allow for the possibility of producing adequate subsegmentation information within a group of occasional performing arts patrons. Secondarily, this study also answers a call for future research to examine the internet as a channel of promotion for arts consumers.

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25

Law, Jane Marie, and Barbara E. Thornbury. "The Folk Performing Arts: Traditional Culture in Contemporary Japan." Monumenta Nipponica 53, no. 4 (1998): 582. http://dx.doi.org/10.2307/2385758.

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26

Edmund Lingan. "Performing Dark Arts: A Cultural History of Conjuring (review)." Magic, Ritual, and Witchcraft 3, no. 2 (2008): 218–20. http://dx.doi.org/10.1353/mrw.0.0117.

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27

Brown, Patricia, and Mary Ann Shaening. "Impacting Awareness of Child Abuse through a Performing Arts Project." Journal of Beliefs & Values 19, no. 2 (October 1998): 237–41. http://dx.doi.org/10.1080/1361767980190208.

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28

Jackson, Shannon. "Rhetoric in Ruins: Performing literature and performance studies." Performance Research 14, no. 1 (March 2009): 6–16. http://dx.doi.org/10.1080/13528160903113148.

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29

Owens, Douglas T. "Hearing Loss: A Primer for the Performing Arts." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 147–54. http://dx.doi.org/10.21091/mppa.2008.4031.

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Noise-induced hearing loss (NIHL) is a major health problem that affects an estimated 16.1% of American adults, but for musicians, the onset of noise-induced, or any type of hearing loss, can be a career-changing event. The potential for dangerous sound pressure levels in musical environments has been documented in numerous studies, with exposures in both short and long durations shown to be harmful. Yet, in theory, NIHL is completely preventable. This review discusses basic information concerning the hearing mechanism and NIHL, audiometry, standards, protective strategies, and terminology. It aims to provide a general understanding of these processes as they relate to musicians and other performing artists.

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30

Katz, Stanley N. "W. McNeil Lowry,The performing arts and American society." International Journal of Cultural Policy 16, no. 1 (February 2010): 39–40. http://dx.doi.org/10.1080/10286630902971660.

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Kim, Seongseop (Sam), Jin Young Chung, Jim Petrick, and Jong Wong Park. "Determination of preferred performing arts tourism products using conjoint analysis." Journal of Vacation Marketing 24, no. 1 (December 15, 2016): 44–61. http://dx.doi.org/10.1177/1356766716679484.

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The performing arts are an integral part of the economies of many communities and often highlight the cultures of places visited. Because of this, studies on performing arts have been actively conducted in the arts management and marketing fields. Yet, little research has examined the benefits of the performing arts from a tourism perspective. Thus, the current study employed conjoint analysis in an attempt to identify the most preferred performing arts tourism products as perceived by Japanese tourists. Results revealed the most important determinant attributes Japanese tourists consider in purchasing a Korean performing arts product were ‘admission price’, followed by ‘type of theater’, ‘genre’, and ‘location of theater’. The most preferred performing arts tourism product was found to be the following: 5.517 (overall utility) = 1.081 (Korean pop music concert) + 2.233 (less than 5000 Yen) + 0.775 (downtown Seoul) + 1.428 (exclusive theater).

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32

Martínez López, Carolina. "Una experiencia encarnada de investigación escénica en estudios teatrales universitarios." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 116. http://dx.doi.org/10.7203/eari.10.14309.

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Resumen. Este artículo presenta una propuesta pedagógica y de investigación en estudios teatrales universitarios basada en el análisis teórico y en la experiencia física, intelectual y emocional de procesos creativos escénicos. A lo largo del mismo, veremos cómo la dificultad de los estudios teatrales para integrarse en el terreno científico y en la academia puede utilizarse para construir nuevas vías docentes y creativas, atendiendo a la especificidad del teatro, vivo y efímero por naturaleza. Transitaremos para ello el camino de la Investigación Basada en las Artes, la A/r/tografía (rama de la IBA) y las experiencias previas de Investigación Basada en el Teatro. Aunaremos una visión organicista y holística basada en la idea del arte como experiencia encarnada, y la aproximación a la investigación como un trabajo en proceso permanente. En cuanto a lo estético, primará una percepción transversal de lo escénico en el marco de las denominadas “teatralidades expandidas” ligadas al concepto de “performativo”. En una segunda fase, enlazaremos esta teoría con la descripción y el análisis de casos prácticos llevados a cabo en el Grado de Artes Escénicas de la Universitat de Girona (EU ERAM), para intentar valorar la eficacia de la propuesta, además de buscar ir asentando unos parámetros válidos para su evaluación. Palabras clave: estudios universitarios de Artes Escénicas, Investigación Basada en las Artes, experiencia encarnada, A/r/tografía, performativo Abstract. This article presents a pedagogical and research proposal in Performing Arts university studies based on theoretical analysis, and on physical, intellectual and emotional experience of scenic creative processes. Throughout it, we will see how the difficulty of Performing Arts studies to integrate into the scientific field and into the Academy can be used to build new educational and creative paths, taking into account the specificity of Theater, alive and ephemeral by nature. We will go through the path of Arts-Based Research, A / r / tography (branch of ABR) and previous experiences of Theater-Based Research. We will combine an organic and holistic vision based on the idea of art as an embodied experience, and the approach to research as a work in permanent process. As for the aesthetic, a transversal perception of theatre will prevail within the framework of the so-called “expanded theatricalities” linked to the concept of “performative”. In a second phase, we will link this theory with the description and analysis of practical cases carried out in the Degree of Performing Arts of the University of Girona (EU ERAM), to try to assess the effectiveness of the proposal, in addition to seeking to settle valid parameters for evaluation. Keywords: Performing Arts university studies, Art-based Research, embodied experience, A/r/tography, performative DOI: http://dx.doi.org/10.7203/eari.10.14309

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33

Patterson, Nile DeGray. "Who Goes to Shows? Race-ethnicity and the Visual and Performing Arts." Cultural Sociology 14, no. 1 (January 31, 2020): 22–41. http://dx.doi.org/10.1177/1749975519885467.

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Using data from the 2012 Survey of Public Participation in the Arts, I investigate whether education’s influence on the likelihood of visual and performing arts attendance in the USA varies by race-ethnicity. The results reveal that education increases the odds of attendance for both Whites and non-Whites, but it has a stronger impact upon the former than the latter. Unlike Whites, education’s effect on attending visual and performing arts activities for non-Whites is insignificant for high school diploma recipients when compared to their counterparts with some college education. These findings suggest a racial-ethnic bias in visual and performing arts attendance net of education that connects to the European roots of “legitimate” art in modern western society and the history of US racial discrimination. European Americans have dominated the USA’s social institutions for centuries and have held prejudices against minorities’ artistic capabilities since the colonial era. Consequentially, they could determine which arts genres provide valuable cultural capital. Conversely, minority art communities have only recently acquired the resources for self-sustainability. This likely limited their ability to develop formal institutions within their own communities to support the arts.

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Gilbert, Clara. "Inventing the Performing Arts : Modernity and Tradition in Colonial Indonesia." Archipel, no. 94 (December 6, 2017): 246–49. http://dx.doi.org/10.4000/archipel.473.

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35

Sutton, R. Anderson. "Performing arts and cultural politics in South Sulawesi." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 151, no. 4 (1995): 672–99. http://dx.doi.org/10.1163/22134379-90003034.

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Rumens, Nick, and John Broomfield. "Gay men in the performing arts: Performing sexualities within ‘gay-friendly’ work contexts." Organization 21, no. 3 (April 28, 2014): 365–82. http://dx.doi.org/10.1177/1350508413519766.

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Building on emerging research on ‘gay-friendly’ organizations, this article examines if and how work contexts understood and experienced as ‘gay-friendly’ can be characterized as exhibiting a serious breakdown in heteronormativity. Taking the performing arts as a research setting, one that is often stereotyped as ‘gay-friendly’, and drawing on in-depth interview data with 20 gay male performers in the UK, this article examines how everyday activities and encounters involving drama school educators, casters and peers are shaped by heteronormative standards of gay male sexuality. Adopting a queer theory perspective and connecting with an emergent queer theory literature in organization studies, one concern articulated in this article is that heteronormative constructions of gay male sexualities constrain participants’ access to work; suggesting limits to the abilities and roles gay men possess and are able to play. Another concern is that when gay male sexualities become normalized in performing work contexts, they reinforce organizational heteronormativity and the heterosexual/homosexual binary upon which it relies. This study contributes towards theorizing the heteronormative dynamics of ‘gay-friendly’ places of work, arguing that gay male sexualities are performatively instituted according to localized heteronormativities which reinforce contextually contingent, restrictive heteronormative standards of gay male sexuality which performers are encouraged to embody and perform both professionally and personally.

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Alagha, Joseph. "Hizbullah’s Post-Islamist Trends in the Performing Arts." Religions 11, no. 12 (December 2, 2020): 645. http://dx.doi.org/10.3390/rel11120645.

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This article outlines Hizbullah’s shift to post-Islamism and its various cultural activities in Lebanese society that underpin this shift. The Party’s involvement in these activities is integrated in current research on post-Islamism and its various social, political, and cultural manifestations. In its Islamist stage, Hizbullah anathematized the Lebanese political system and state institutions. In its post-Islamist phase, Hizbullah became pragmatic by embarking on a policy of opening-up (infitah) in politics along with cultural and social practices. This article studies Hizbullah’s popular culture and lifestyles by focusing on its purposeful art or ‘resistance art’, which is a cultural resistance against oppression, domestic deprivation, disenfranchisement, and repression, as well as foreign aggression, invasion, occupation, and subjugation. Hizbullah exploits the concepts of cultural citizenship and cultural politics to encourage, in mixed gender spaces, purposeful performing arts: music, dancing, singing, revolutionary theater, and satire. Hizbullah appears to equate modernity with European art forms rather than indigenous forms. In its ideology and politics, Hizbullah fluctuated between Islamism and post-Islamism. While in its performing arts, Hizbullah conveyed a post-Islamist face legitimized by the principle of maslaha (public interest).

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Averbuch, Irit, and Barbara E. Thornbury. "The Folk Performing Arts: Traditional Culture in Contemporary Japan." Asian Folklore Studies 58, no. 1 (1999): 252. http://dx.doi.org/10.2307/1178903.

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Ali, Farah. "Racial and ethnic diversity in the performing arts workforce." Cultural Trends 29, no. 3 (May 26, 2020): 252–54. http://dx.doi.org/10.1080/09548963.2020.1799334.

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40

Shin, Victor K. W., Ling Tung Tsang, and Tommy H. L. Tse. "Bridging structural and micro-level factors in cultural labor studies." Social Transformations in Chinese Societies 16, no. 1 (April 11, 2020): 15–37. http://dx.doi.org/10.1108/stics-03-2019-0007.

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Purpose This study aims to examine how the organizational structure of arts groups and their administrative personnel’s socio-demographic attributes affect the working conditions of and create tensions for their staff. Recent discussion about the cultural industries and labor has pursued two strands – macro-level research expounds on the organization of cultural industries and labor market; and micro-level studies focus on the work and employment of cultural practitioners. Very few of them, however, articulate the relationships between the two levels. This study contributes to the literature with a multilevel framework that examines the interplay between the structural conditions and personal factors in which labor–capital relationships evolve. Design/methodology/approach This study applies a qualitative approach to collect and analyze data. It conducted 39 in-depth interviews with arts managers and administrators from a sample of 18 performing arts organizations across four performing arts sectors in Hong Kong, namely, drama, music, dance and opera. The stratified sample covers arts organizations of different funding models – the public “nationalized” form, the mixed-economy form, and the privatized form. Findings This study shows that the funding and organization model of arts organizations resulted in various forms of job structure, and that the practitioners’ socio-demographic background shapes their career expectations. The job structure and career expectations together affect the labor turnover and influence organization strategies. Originality/value This study’s methodological contribution lies on its application of a multilevel framework to analyze the relationships between the macro- and the micro-level factors underpinning the working conditions of labor in the cultural industries. Besides, it contributes to the discussion about “labor precariousness” with empirical evidence from a comparative study of arts managers and administrators from organizations across four performing arts sectors.

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Fan, Ken Yiu Kwan, Patrick Lo, Kevin K. W. Ho, Stuart So, Dickson K. W. Chiu, and Eddie H. T. Ko. "Exploring the mobile learning needs amongst performing arts students." Information Discovery and Delivery 48, no. 2 (April 29, 2020): 103–12. http://dx.doi.org/10.1108/idd-12-2019-0085.

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Purpose This paper aims to study the information needs and online information-seeking behaviors on mobile platforms of performing arts students at a college level. Design/methodology/approach Survey instruments were used to collect data from performing arts students at the Hong Kong Academy of Performing Arts (HKAPA), a metropolitan’s major performing arts tertiary institution. Data collected were analyzed through descriptive statistics and other statistical methods, and the music-related students were compared with the production-related students. Findings The result reveals that performing arts students all owned their mobile devices and often used mobile apps for non-academic purposes, but they did not often use mobile library services or read online academic contents with their mobile devices. The participants considered inadequate signal coverage, slow loading time, difficulty in reading on a mobile device and the lack of specialized mobile apps as more significant barriers affecting their usage. There are some significant differences between the music-related and production-related student groups in that music-related students watched lectures on the library websites and used electronic music scores more often than the production-related students. Practical implications This study contributes to the input for enhancements and policies to future mobile services and facilities of performing art libraries. Originality/value There have been scant studies on the mobile learning needs of performing arts students, especially in Asia.

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Corner, John. "Performing the Real." Television & New Media 3, no. 3 (August 2002): 255–69. http://dx.doi.org/10.1177/152747640200300302.

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43

Tincknell, Estella, and Deborah Chambers. "Performing the Crisis." Journal of Popular Film and Television 29, no. 4 (January 2002): 146–55. http://dx.doi.org/10.1080/01956050209601020.

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Braziel, Jana Evans, and Kathleen LeBesco. "Introduction: Performing excess." Women & Performance: a journal of feminist theory 15, no. 2 (January 2005): 9–14. http://dx.doi.org/10.1080/07407700508571502.

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45

Mock, Roberta, and Ruth Way. "Pedagogies of Theatre (Arts) and Performance (Studies)." Studies in Theatre and Performance 25, no. 3 (September 2005): 201–13. http://dx.doi.org/10.1386/stap.25.3.201/1.

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46

Green, Lelia. "Research Outputs in the Creative and Performing Arts: ‘Australianising’ an International Debate." Media International Australia 118, no. 1 (February 2006): 5–15. http://dx.doi.org/10.1177/1329878x0611800103.

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This paper positions current Australian discussions about practice-led research within international, national, historical and policy contexts and relates them to the developing pedagogical debate around performing and creative arts doctorates. Arguing that the creative industries offer benefits across the economy, it suggests that recognition for the research methodology specific to practice-led disciplines and the creative industries is overdue. The discussions in this paper, and in this theme issue of MIA, are all the more critical as a result of their articulation with the imminent introduction of the Research Quality Framework (RQF), which will allow nuanced, rigorous and internationally benchmarked evaluation of the quality and impact of research outputs. The RQF and the proposed research assessment panel for ‘creative arts, design and built environment’ herald the way for wider acceptance of practice-led outputs in the Australian research environment.

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Gibson, Lisanne. "The Arts as Industry." Media International Australia 90, no. 1 (February 1999): 107–22. http://dx.doi.org/10.1177/1329878x9909000112.

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There is a discursive split in Australian arts policy between subvention of the arts justified in terms of ‘humanistic’ objectives and subvention of the arts justified in terms of ‘economic’ objectives. It is possible to locate the emergence of this particular split to the 1976 Industries Assistance Commission Report, Assistance to the Performing Arts. Over the last two decades, these policy objectives have been constructed as in competition. This paper traces the history of the construction of the ‘arts as industry’ in Australian arts policy. In conclusion, it queries the more recent terms in which ‘arts as industry’ policy objectives have been set as in opposition to ‘public provision’ models of arts subvention.

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Conant, David. "Case studies of variable acoustic design: A repertory theater and performing arts chapel." Journal of the Acoustical Society of America 124, no. 4 (October 2008): 2430. http://dx.doi.org/10.1121/1.4782494.

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Young, Elma. "THESES AND DISSERTATIONS ON THE PERFORMING ARTS SOUTH AFRICAN STUDIES COMPLETED IN 1986." South African Theatre Journal 1, no. 2 (January 1987): 103–4. http://dx.doi.org/10.1080/10137548.1987.9687607.

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Roux, Yolande. "THESES AND DISSERTATIONS ON THE PERFORMING ARTS: SOUTH AFRICAN STUDIES COMPLETED IN 1987." South African Theatre Journal 2, no. 2 (January 1988): 110. http://dx.doi.org/10.1080/10137548.1988.9687622.

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