Different cultures but similar roles: leadership of major performing arts centers

Abstract

Large purpose-built performing arts centers have been a widespread phenomenon in Western cities since the 1970s. These centers, which usually consist of several performing spaces of different sizes, are used for a diversity of performances-from grand opera to small-scale experimental theater. In the 1990s and into the new millennium, similar major performing arts centers were constructed in a number of Asian cities. Some were designed to become architectural icons, for example, Beijing’s National Center for the Performing Arts; others are more utilitarian in appearance but serve the same function. While centers vary in scale and design, they are essentially based around one model: a purpose-built venue that houses spaces to enable the performance of music, theater and opera (and sometimes cinema). Some also house an art gallery or a small museum or specialist library within the center. These centers are expensive to build and are usually expensive to maintain(Bonet et al. 1997). Some have permanent companies attached to them; others are purely venues that may or not adopt an entrepreneurial role to filling their spaces. Ensuring that the center’s various performance spaces are filled with interesting work and attracting paying audiences for most days of the years, is an ongoing challenge. Many centers have a direct relationship with government (national, State, local or a combination) where they are funded, governed and/or seen as an official representative of the State or city. This may bring its own challenges re programming and creativity (Frey 2002). There may be also expectations of the center by government in terms of access, policy directives and responsibilities, not necessarily congruent with the process of making art (Boerner and Jobst 2011; Turbide and Laurin 2009). On the other hand, if there is little or no State subsidy, then the challenge to stay financially solvent maybe even greater (given the cost of just keeping the doors open). As the model of these arts centers originated in Western countries it might be interesting to consider whether they fit within an Asian cultural construct. Do the same leadership challenges presentIn terms of leadership, the director of the center may be little more than amanager who ensures that the books are balanced; alternatively, the director may be an active producer/entrepreneur who envisions a creative and expansive role for the center (Bilton and Leary 2002; Caust 2010; Creese 1997). In addition, there is often a core tension for the leader between the demands of making art and the practical reality of making ends meet (Caust 2010; Cray et al. 2007). Center outcomes may therefore be determined by the leader’s understanding of their role or by the type of individual (and his or her skill base) appointed to the position. If the leader has a transformational style, he or she usually possesses clarity of vision and the courage to undertake often radical change in the face of opposition from many sides (Bilton and Leary 2002; Ekvall 2002). At the same time, the leader must develop the commitment and trust of the staff to support the change and build the capacity in them to work together to achieve it. For example, it has been noted that contemporary creativity models depend on collaboration rather than competition (Hewison and Holden 2011). As Byrnes notes, in the context of a complex arts environment such as a performing arts center, “… a leader with great skill as a transformational leader and negotiator will be required” (Byrnes 2003: 170). Many arts contexts, particularly more contemporary examples, demon-strate a leadership model or organizational structure where leadership may be shared or distributed and is located around a more collaborative model than a conventional hierarchy (Caust 2013; Gronn 2008; Reid and Karambayya 2009). The positional leader may then involve everyone in owning the process, where he or she demonstrates superior communication skills and possesses the capacity to work successfully with many different kinds of people. Leaders must have the skills necessary to persuade those around them to accept and support a shared vision; the leader must also have the ability to encourage his or her followers to work collaboratively towards the realization of the vision (Ansell and Gash 2012). In addition, the leader must be able to share the leadership spotlight and allow others to take the leadership role when required. This requires a trusting, respectful, environment which is focused on achieving the outcomes for the arts center rather than focusing on the ego needs of an individual leader. So what are the expectations of the role of the leader in these arts centersand what type of skill base is most suited to the role? This research addresses specific examples of leadership in four major performing arts centers in the Asia Pacific region and discusses the different individual approaches, backgrounds and values of their leaders. It considers the expectations placed on the centers by funders, audiences and arts communities, and the challenges this places on the leaders (Beirne and Knight 2002). It notes the different choices made by the leaders to ensure the survival or growth of their centers and discusses these in the context of different cultures, locations and expectations placed upon the centers.