Performing Arts In Times Of The Pandemic - Ietm
IETM R EPORTw w w .ie t m.orgPERFORMING ARTSIN TIMES OF THE PANDEMICStatus quo and the way forward28 March 2020by Elena PolivtsevaThe European Commission support for the production of this publicationdoes not constitute an endorsement of the contents which reflects theviews only of the authors, and the Commission cannot be held responsiblefor any use which may be made of the information contained therein.
IETM R EPORTw w w .ie t m.orgPerforming arts in times of the pandemic:status quo and the way forwardThere is no sector in the global economicecosystem which hasn’t been impacted bythe current COVID-19 crisis. The performing arts sector, for many obvious reasons,has been hit hard: with an immediate andcatastrophic impact on the most fragilepart of the value chain - artists, and withsignificant snow-ball effects rolling out forthe rest of the sector.Here are five takeaways from our members’ feedback:We have circulated a survey among ourmembers, to get a grip on how the newreality has affected them so far. There is anabundance of surveys flying around in thecultural sector these days. The purposes ofours are to sense the spirit embracing theglobal performing arts community today,to detect the solidarity mechanisms andsurvival strategies, as well as to identifythe most burning needs and transformthem into sensible recommendations forpolicy-makers.3. The frozen link with audiences is asdetrimental as economic loses1. Supporting artists means rescuing theentire performing arts ecosystem2. Performing arts are hit hard, theirinternational aspect is under particularpressureThis report is based on contributions from around 80 membersfrom 23 countries. While we triedto make this report as comprehensive and precise as possible, thetext is rather reflecting personaltestimonials of our members thana profound research. We will continue collecting the informationand updating the report.4. Bottom-up solidarity is enormous andtangible5. Live component of the performing artsmust remain alive, even and especiallytodayDiscover more in the following pages. duncan c2P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgWHAT HAS HAPPENED SO FAR?An incredible number of performances,conferences, festivals, international coproductions, tours, all sorts of events inEurope, Asia, US, Canada and Australia(countries where our respondents arebased) have been postponed or cancelled.Many jobs have already dissolved (especially in Spain and Italy), and people areliterally left without any income and possibility to pay their rent. Moreover, independent artists are usually juggling amongseveral jobs, such as teaching, working ina restaurant, retail, so they are hit from allsides.In some countries, like, in the UK, therewasn’t an immediate official order to closevenues and cancel activities, while peoplewere recommended to avoid gatherings.Hence venues lost their income, withouthaving the right to resort to insurance.There is no certainty for the next six- twelve months, and some are concernedabout even longer perspectives. Some festivals planned for autumn or next year arebeing downsized, and often at the cost ofinternational speakers and companies.and 80 880 spectators per week; in twomonths this will mean 13,6 million loss;all together the income of around 4500professionals in the theatre sector inFinland is now severely threatened.for solutions for immediate burning problems have been an emotionally drainingtask as well. Psychological effects of thecurrent crisis are yet to show themselvesin the near future.The Arts and Theatre Institute in Praguecollected data from over 500 culturaloperators and produced the Mappingthe Impact of the Ministry of Health’sExtraordinary Measures on the CzechIndependent Arts Sector. According tothe replies received, the most negativelyimpacted fields are the performing artsdisciplines: music (44.3 %), theatre (21.1%), dance and contemporary circus (6.4 %).An Italian member shared their concernthat the current crisis might have produced a fear in the audience to be partof large gatherings, and it may take manymonths to recuperate the habit of peopleto attend theatres again. A member fromDenmark stressed: “The most negativeconsequences that we face is the lackof communication between artists andaudiences. The value of this exchange isfar, far greater than the economic one”.The new challenges have obviouslyimpacted everyone’s way of working, eventhose who are able to continue workingfrom home. Finding solutions, reshaping, rescheduling and cancelling activitieshave implied a lot of efforts, emotions,and hours of work. Staying in touch withthose in the worst situations and lookingSome funding schemes have postponedopening their calls, and for some of thosewhich are open it has become challengingto apply due to the lack of certainty.Needless to say that the COVID-19 situation has fallen on the top of variouspolitical, economic and social turmoils. Afew members, based both in the UK andbeyond, stated that the negative effectsof the current crisis have added to thealready visible consequences of Brexit,namely in regards to international festivals.Some organisations have alreadyattempted to estimate the losses, and theresults are terrifying. For instance, according to TINFO (Theatre Info Finland), theticket income loss has been 1,7 million Dave Mullen3P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgCOPING STRATEGIESMany members said they hadn’t undertaken any special measures to rescue theirprofessional activities, as there is just toolittle they could do amidst the abrupt suspension of normal life coupled with hugeuncertainty.special Facebook groups to connect artistsand companies to exchange information.They have also started a weekly newsletter with updated information about therelevant support measures undertaken intheir country.While it is obvious that the most tangiblesolutions have to emerge on the government level, one powerful source of reliefthat the sector has naturally and proactively embraced is Solidarity.On that note, many other support organisations, networks and associations havebeen proactive in addressing the information deficits and collecting relevantresources to guide art professionalsthrough the COVID-19-related challenges.See the tips’ page of ISACS (Irish StreetArts Circus and Spectacle Network).Tinder Box Theatre, UK, have launcheda small fund from their reserves to offersome support to their freelance artistswith the view of fundraising to keep thisfund going as long as possible.The overwhelming majority of respondents stated they have paid or are intending to pay artists, technicians and everyoneinvolved, especially those working as freelancers, for cancelled performances andother events. Some are paying reducedamounts, others pay 100% but only for thenext couple of months, being concernedabout their own financial sustainability.Some organisations, an example of whichis Artsadmin, UK, reorganised their activities in a way that artists could deliver themnew services for which they would be paid:online content, blog, micro-commissions,etc.In Germany, ensemble-netzwerk initiateda campaign to create an emergency fundfor artists to help them make their endsmeet, namely to pay the next month’srent. In the same call, they are urging thepublicly funded theatres and venues topromptly pay artists all fees for rehearsals and performances which have beencancelled.In Germany, there are two online petitionsfocused on independent artists: on openpetition and change.org.A common trend is offering online courses,training, workshops to peers for free.A Danish member has been undertaking small-group coaching sessions tohelp colleagues to deal with the statusquo. Performing Arts Hub Norway set upMany organisations of that type indicatedthat they augmented their advocacyefforts. Some organisations whose primarymission has never been advocacy havealso started campaigns and approachedpolicy makers. However, some membersexpressed concerns that in those difficulttimes it is not fair to ask for special attention to the arts, while many other sectorsare collapsing. “Spain seems to be reallyeconomically unstable at the moment so Ifeel a bit ashamed for asking for more support for my sector when a lot of friends arebeing fired from all sorts of jobs”.Some organisations have shifted theirfocus from purely live arts to the art forminvolving digital elements. A memberbased in Romania (public theater) sharedthat they are writing funding applicationsthat involve telematic theatre (theatrethat connects different spaces via videoconferencing) and live-streaming. They arealso considering producing online coursesor presentations on different topics (especially for young audiences).The current reality makes many presentingorganisations think of a different planningof their seasons which would take intoaccount the future possible corona waves,in 2021 and beyond. A Danish memberbelieves that one of the conditions of newcontracts should be the possibility to showperformances at the scheduled time or ata time when this would be possible, whilethere should be an agreement with artists on when they prefer to be paid: “So,the most important clause in a contractbecomes the force majeure clause.”One of the common strategies is documenting losses of income (see examplesfrom TINFO, Finland and Arts and TheatreInstitute Prague above).National Campaign for the Arts launched asurvey to monitor losses and impact on Irisharts community.Julia Popovici, Romanian curator and activist, created a list of all cancelled productionsof independent theatre companies.A German member has also shared that intheir theatre they are undertaking an exactdocumentation of all cancelled activities, infigures, hours, contracts, letters of confirmation, and agreements. The Berlin BühnenPlatform published a list of stages and concert halls that ceased their activitiesThe Arts and Theatre Institute in Prague isworking on developing a methodology ofloss evidence in the sector of live arts during the epidemic.Live-streaming and creating virtual substitutes to performance were widely mentioned as the only solutions to producecontent for audiences. One of the examplesis the “Reconnect Festival” happening oninstagram.At the same time, a member from the USnoted that smaller companies simply don’thave enough money to live-stream or videotape an event. A member from Romania saidthat in their case (a public theatre) the costof live-streaming might be higher than theactual revenue from online ticket-sale: “Ouraudience might not transition easily andsustainably to online viewing”. Moreover,quite a few members expressed their concern with the increasing trend of digitalisinglive performances. They admit there are notmany alternatives, but they are concernedto observe how the value of the live component of their work is transforming.An Australian member shared: “I am encouraging people to take art to public spaces andpop up where people are still gathering andallowed like supermarkets and parks. Weneed live performance to be considered partof the solution for all those who really don’tcare about us yet.”4P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgOVERVIEW OF THE SUPPORT MEASURESTAKEN BY GOVERNMENTSSome cultural, consultancy and media organisations have been collecting information ondifferent governments’ responses to the COVID-19 crisis since the very beginning andare continuing to update the data as new measures see the light. Compedium’s overview(CzechRepublic, Estonia, France, Ireland, theNetherlands, Norway, Portugal, Spain)The Compendium of Cultural Policies &Trends is a web-based and permanentlyupdated information and monitoringsystem of national cultural policies andrelated development. The Compediummobilised their expert authors togather country specific informationon the implications for the sector andthe current measures being taken.The responses received are updatedfrequently. BYP Group’s summary on 24 governments’ responses for the arts and creative industries. BYP Group (Australianconsultancy providing services tothe creative, public and communitysectors) are gathering news on howgovernments and arts funding agencies respond around the world to theCOVID-19 pandemic and its impact onthe arts and cultural sectors. They areincluding general measures which aremost relevant to the arts and creativeindustries, as well as targeted measuresfor these sectors. KEA’s collaborative map to track thecoronavirus policy measures. KEAEuropean Affairs is an internationalpolicy design research center specialised in culture and creative industriesas well as sport. The map collects allthe measures and actions by countryand on the European level. Since it is acollaborative work, the map is subjectto regular updates. Resources’ page compiled by On theMove, Cultural Mobility InformationNetwork, and Circostrada, EuropeanNetwork for Circus and Street Arts:a comprehensive list of resourceson government measures across theworld, campaigns and online petitions,statements, sector-specific informationand advice and much more. The Art Newspaper’s summary ofmeasures (24 March) taken in the UK,US, Germany, Austria, Switzerland,France and Italy. Update on Germanyon Artnet News. Situations in Iceland(link to come on IETM’s website),Romania and Bulgaria.Looking at the countries’ lists, one maysuspect that a considerable number ofgovernments, also within the EU, haven’tundertaken any significant measuresto support their artistic communities.Whether this impression is valid or justbased on a lack of information online, wehope to get some news about the missing countries, and we will share them withyou.Commenting on the actions taken by theirgovernments, some members expressedconcerns that the rescue packages mightbe compiled from crucial budget lines,such as internationalisation, mobilitygrants, etc (namely, in Finland). A fewmembers highlighted the issue of smalland medium-sized companies and theatresthat cannot benefit from public money, norare they eligible to apply for the supportfor self-employed artists. In Germany andespecially in Italy, artists find the supportmechanisms highly bureaucratic. In Italythere is also an issue related to the absentor imprecise definitions of professionalstatutes in the arts, which makes it difficult for artists to receive the economicsupport other professional categories benefit from. The overall concern is that thereis too little vision on a long-term supportstrategy, amidst many helpful but shortterm measures. In many countries, thereis a little hope that some extra subsidieswill be available for culture, at least for theperforming arts.Moreover, in some countries art professionals feel the rescue plan is being shapedwithout proper consultations with thesector. Martin Sanchez5P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgEU’S RESPONSEThe European Commission’s strategy ofmitigating the socio-economic impact ofthe COVID-19 outbreak is outlined here.In a nutshellThe Commission considers that theCOVID-19 pandemic qualifies as an“unusual event outside the control ofgovernment”. This allows accommodating exceptional spending to contain theCOVID-19 outbreak such as health careexpenditure and targeted relief measuresfor firms and workers.In the coming weeks, 1 billion will beredirected from the EU budget as a guarantee to the European Investment Fundto incentivise banks to provide liquidity toSMEs and midcaps. This will help at least100,000 European SMEs and small midcaps with about 8 billion of financing.With regard to culture, the EACEA(Education, Audiovisual and CultureExecutive Agency), which inter alia manages Creative Europe, published this message to the attention of beneficiaries, contractors and experts.On 26 March the European Parliamentapproved in an extraordinary plenary session three urgent proposals as part of theEU’s joint response to the COVID-19outbreak.The Corona Response InvestmentInitiative, meant to channel 37 billion from available EU funds to citizens,regions and countries hit the hardest bythe Coronavirus pandemic, was adoptedwith 683 MEPs voting in favour, 1 againstand 4 abstentions. Sabine Verheyen, theChair of EP Committee on Culture andEducation, stressed that “it is imperativethat businesses and individuals in the cultural and creative sector get accessto this financial support”. Read the pressrelease here.On 23 March, Mariya Gabriel,Commissioner for Innovation, Research,Culture, Education and Youth said onTwitter: “Let us not forget that #Covid19 isalso tremendously affecting independentartists all over Europe. We are workingwith the EU Ministers of Culture to limitthe effects of this pandemic and to safeguard an essential part of our Europeanidentity and history.” Concrete measuresare yet to be taken.The Commission is committed to protectworkers from unemployment and loss ofincome to avoid permanent effect.The Commission will furthermore accelerate the preparation of the legislativeproposal for a European UnemploymentReinsurance Scheme aiming at supportingMember State policies that preserve jobsand skills.Moreover, the Coronavirus ResponseInvestment Initiative will facilitate thedeployment of the European Social Fund– a fund geared towards supporting workers and healthcare.The European Globalisation AdjustmentFund could also be mobilised to support dismissed workers and those selfemployed under the conditions of thecurrent and future Regulation. Up to 179 million is available in 2020.COVID-19: final vote in EP plenary to approve crucial EU support measures - EP6P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgTHE WAY FORWARDOne of the questions on our survey was about which measures policy-makers shouldtake to rescue the sector. Based on the responses, we compiled the following list ofrecommendations which we would like to bring to the attention of the EU, national andlocal authorities (where such measures have not been introduced yet). A more focusedand comprehensive policy document is in progress.Immediate measuresMid-term solutionsLong-term perspective1. Provide emergent support and create hardship funds for everyoneworking on a freelance basis, including self-employed and freelance artists; grants should be bureaucracyfree and easy to manage1. Undertake a comprehensive reviewand calculation of the crisis-relatedfinancial losses and compensate asmuch damage as possible1. Integrate culture and the arts in economic and social regeneration strategies recognising their tremendousvalue for the well-being of citizens,as well as their power to unite people, even in times when it is impossible to commune2. Encourage all public entities topay all contracts and agreements,including those of cancelled events3. Provide clear and accurate information on what help is available for artists at local, national and Europeanlevels2. Enable the sector to emerge from thecrisis by augmenting subsidies for thearts and culture in 2020 and beyond3. Rescue the international dimensionof the performing arts, ensuring thatthe internationalisation budgets donot collapse under the current crisis’pressure and due to the redistributionof finances2. Involve the performing arts sector stakeholders in the dialogue onhow to design a long-term strategyfor reviving and strengthening thesector4. Provide free legal advice, including on how to use force-majeureclauses3. Encourage and empower the sector to readjust their business models through access to consultancy,strategic advice and exchange ofbest practices5. Maintain the existingfundingschemes and adapt their rules:4. Set a cross-border line for helpingartists under existential threata. Apply flexibility to all funding instruments, allowing beneficiaries to decide whether theyshould postpone, cancel or transform activities, depending ontype of activity and circumstancesof each situation5. Make sure future (similar) crises donot undermine the sector again:a. Explore the possibility of introducing a universal basic incomeb. Set-up an EU / global cross-border line for helping artists whoseeconomic survival is under threatb. Extend funding cycles, allowingbeneficiaries to execute projectsbeyond the funding termc. Make sure the co-fundingintended for Creative Europeprojects is not frozen by nationaland local authorities7P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
IETM R EPORTw w w .ie t m.orgCONCLUSIONOur current focus is to keep the conversation with and among our members going,listen to them, process their feedback andhelp pave the way to the collective revivalof our performing arts community whichmust remain connected across borders.We would like to finish this report byencouraging words of Pippa Bailey, one ofour long-term Australian members: “Theopportunity now is enormous and whilewe unlearn and relearn new behavioursand local connections there is so muchopportunity for the arts to help peopleadapt. That is where I am focused.”The first IETM Members’ talk held on Zoom on 20 March 2020, where members were asked to describe how the networkcould support them and what they could offer to the rest of the network in the upcoming weeks of lockdown.8P E R F O R M I N G A RT S I N T I M E S O F T H E PA N D E M I C :S TAT U S Q U O A N D T H E WAY F O RWA R D
The Arts and Theatre Institute in Prague collected data from over 500 cultural operators and produced the Mapping the Impact of the Ministry of Health's Extraordinary Measures on the Czech Independent Arts Sector. According to the replies received, the most negatively impacted fields are the performing arts
Denver Center for the Performing Arts. Denver, CO . Dr. Phillips Center for the Performing Arts. Orlando, FL . Hult Center for the Performing Arts. Eugene, OR . Hylton Performing Arts Center. Manassas, VA . Jazz at Lincoln Center. New York, NY . Kimmel Center for the Performing Arts. Philadelphia, PA . Lesher Center for the Arts. Walnut Creek .
Performing Arts 35 Qualification structure of the Pearson BTEC Level 1/Level 2 First Diploma in Performing Arts (Acting) 37 Qualification structure of the Pearson BTEC Level 1/Level 2 First Diploma in Performing Arts (Dance) 39 Qualification structure of the Pearson BTEC Level 1/Level 2 First Diploma in Performing Arts (Production) 41
The Journal of Performing Arts Leadership in Higher Education is a peer-reviewed journal dedicated to the enrichment of leadership in the performing arts in higher education. Goals 1. To promote scholarship applicable to performing arts leadership 2. To provide juried research in the field of performing arts leadership 3.
The New York Public Library for the Performing Arts. 3. EXHIBITIONS. The New York Public Library for the Performing Arts. A collaboration with Lincoln Center . for the Performing Arts, Inc. In 1962, Lincoln Center initiated a program to commission posters by . prominent artists for the then newly-built performing arts complex. The
Queensland Performing Arts Centre The Queensland Performing Arts Centre (Centre), located within the Queensland Cultural Centre of South Bank, Brisbane is managed by the Queensland Performing Arts Trust (QPAC). As Queensland's state performing arts centre, QPAC's core mandate is to contribute to the cultural, social and intellectual
the visual and performing arts program at your child's school, key resources for getting started are provided. The arts learning examples in this guide are based on the Visual and Performing Arts Framework for California Public Schools, the California Visual and Performing Arts Content Standards and the National Core Arts Standards. While .
Elyse (Ginger Cooley) Applegate ARTS 332B 786-1683 Marketing and Public Relations e.a@alaska.edu Manager, Performing and Fine Arts Division Cedar Cussins ARTS 333 786-4890 Performing & Fine Arts cedar@alaska.edu Building Manager ART STUDIOS DRAWING Arts 101 (no phone) PAINTING Arts 102 786-1352 CERAMICS-HANDBUILT Arts 106 786-1246
Performing Arts Group (AMPAG) as its last substantial contribution to Australian arts policy. It asked how advocacy with government for the performing arts in Australia might be improved. Although AMPAG's members - the National Partnership Organisations - are an important part of performing arts in Australia, the brief was wider: to
