Introduction
McCarthy (2001) notes that the performing arts consists of “theatre, opera, dance and music”(p.1). Over the years, there has been rapid development in the performing arts sector.
Historical Background
McCarthy (2001) notes that “during the 19th century, commercial artists and organizations were the major providers of performing arts in America”(p.6). Most of the performances by then were managed by individuals and were staged in large cities and small towns and were entirely for business.
McCarthy (2001) notes that the individual owners made no distinction between “high and popular arts in terms of either programming or audiences”(p.16). University Microfilms (1982) explain that by the end of the 19th century, new technologies which included radio, recorded music, films, radio, and television were introduced, and this led to reduction in the number of live performing arts organizations.
All these were important tools for leisure and recreation. During this period, a lot of customers diverted from the live propriety arts which marked the first major shift in the performing arts. The live high arts were presented in the nonprofit sector while the most popular arts that were both live and recorded fell mainly into the commercial sector.
By mid century, McCarthy (2001) notes that there were live professional performing arts that were supported by nonprofit arts institutions that were centered in major metropolitan areas.
McCarthy (2001) explains that on the other hand, “in the late 1950s and early 1960s, there was an increased growth of funders in performing arts due to the introduction of the new financing technique that was initiated by the Ford Foundation”(p.38). During this period, there was a lot of expansion and geographic dispersion of organizations of nonprofit arts in the country (McCarthy, 2001)
By the year 1980, much expansion in the performing arts sector was experienced (University Microfilms, 1982). It’s quite clear that growth from leveraged funding will not live long. In addition, the live performing arts are dying due to the preferred use of broadcast and recorded media to experience the performing arts.
These developments have impacted both the profit and the non-profit organizations strategies, which in turn have changed the performing arts system with regard to what is performed and the manner in which it is delivered.
A study carried out by Godfrey & Urice (1999) indicates that there has been increase in the number of people purchasing recorded performances and going to watch live performances.
However, Godfrey & Urice (1999) explains that “much growth has been experienced in the market for the non-live arts inclusive of the recorded and broadcast performances”(p.45). Godfrey & Urice (1999) notes that the demand for the non-live performances has risen due to the increased costs of live performances, the need for people to have leisure while at home as well as the improved quality of recorded live performances
On the other hand McCarthy (2001) notes that Americans attendance of live performances increased slightly over the ten years from 1982 to 1992 while more recent findings from the year 1992 to the year 1997 indicate “the number of people attending live performances going up by four percent (opera) to sixteen percent (musicals).”
Analysis of Factors in Performing Arts
A study by University Microfilms(1982) notes “social factors largely affect the performing arts industry”(p.38). For instance, more Americans want leisure activities that are flexible enough, thus the demand for recorded work has increased. In addition, the younger generation to come is predicted that it will enjoy use of internet and other technological tools than attending live performances.
The second issue is the artists. The number of artists has been growing rapidly over the years. McCarthy (2001)notes that “the increase in both nonprofit and commercial arts organizations between 1970 and 1990 led to a doubling in the number of professional artists over that period to 1.6 million, about 261,000 who were performing artists”(p.20).The number of performing artists who pursue performing arts with no expectations of pay is also increasing.
Despite the fact that the job security of performing artists has largely declined, the artists continue to be dedicated to their work. Performing artists usually earn less amount of pay than other professionals. McCarthy (2001) notes that “the median annual salary of professional and technical workers in 1989 was 10 percent higher than the median salary of professional actors and directors, and more than twice as high as the median salary of musicians, composers and dancers”(p.30).
The other factor affecting the performing artists is that the presence of superstars makes people to concentrate on only a few artists. These superstars use internet for marketing themselves directly to their audience. Thus, a few top performing artists are paid almost all the wages, thus leaving the upcoming artists with very less amount.
McCarthy(2001) notes that “ the number of nonprofit performing arts organizations increased by over eighty percent between 1982 and 1997, whereas the number of commercial performing arts organizations increased by over forty percent” (p.32).`In addition, revenues for nonprofit performing groups have gone down for all performing arts except in opera, indicating that the new nonprofit organizations are not big.
Tyler (2010) explains that most performing arts venues were built in the years between 1980 and 1993.These organizations are usually exempted from tax while others are funded by the local government. These are the key indicators of economic benefits of arts. Many theater halls for instance are funded by the community organizations. On the other hand, commercial organizations in the recording and broadcasting industries are increasingly organized globally.
McCarthy notes that between 1977 and 1997, the revenue that was received from “earned income, contributions and government remained steady as the total average annual revenues for performing arts organizations rose steadily”(p.35).Though performing groups have tried a lot to market themselves so as to develop audience, they still mainly rely on the market.
Gregory & Arthur (2005) explains that “frequently, the states and local governments seem to focus more on awarding grants to social and economic benefits and less on arts although private contributions increased steadily between the years 1977 and 1997, though in form of small donations”(p.76). A study by Tyler (2003) indicates that the performing arts sector has come up with several strategies to cater for its financial needs for instance, “strategies for cutting costs, developing revenues, and developing revenues”(p.39).
Future trends and Challenges in Performing Arts.
In future, small firms will try to capture the audience by use of recorded work including the classical recordings unlike the large firms. Small for- profit performing arts firms will make use of technological tools like e-commerce and internet to boost their programming so as to serve a wider and more specialized market.
It is also predicted that in future, the nonprofit sector will be divided between the large and small nonprofits, when it comes to programming, type of audience, and the professionalism of most of the artists.
Sheehy (1994) also notes that there will be “deviations of interest in the nonprofit firms, whereby these firms will lay more emphasis on local and ethnic communities, specialized budgets, low budget, low-tech productions and will rely on volunteers as well as providing opportunities for hand-on participation for non professional artists in traditional –arts forms”(p.33).
McCarthy (2001) explains that “the biggest change that will be experienced will be the opera companies, symphony orchestras, ballet companies and theatre groups in the middle nonprofit organizations”(p.13). Rowe (2004) adds that “probable decrease in demand, costs, and the decreasing funding streams will either make these institutions either larger, though they are likely to lack resources, or smaller so as to keep the costs down and to rely on local talent and in severe cases, some will close down”(p.34).
The major shift in the performing arts events as noted by McCarthy (2001) are in the structure of the system of performing arts. McCarthy (2001) notes that “while the commercial recorded and broadcast performing arts industry is growing more and more concentrated globally, live performances are proliferating at the local level, typically in very small organizations with low operating budgets and a mix of paid and unpaid performers and staff” (p.14).
On the other hand, the middle- sized nonprofit organizations have faced lots of difficulties in getting the public to cater for their costs. Many of these middle-sized nonprofit organizations are likely to vanish (McCarthy, 2001).
McCarthy (2001) explains that “going by the issues that we have discussed, the number of performances will either increase or decrease depending on whether they are recorded or presented as live performances, or whether they involve the high, folk or popular arts”(p.78). For instance, high arts professional performances will be saturated in large cities and will be provided by nonprofit firms that are well financially.
McCarthy (2001) also explains that “in smaller cities and towns, the touring artists and performing groups will present live performances to audiences since they are unable to provide the top performing artists”(p.47).
Rowe (2004) also notes that “small performing arts groups will be in a position to come up with active loyal audiences and small organizations in the nonprofit sector will go on providing low-budget productions with lots of diversity since they will be performed mostly by artists who do not do craft as a vocation”(p 35).
There will be trends that are mostly likely to arrest the development of young talented performing artists (Rowe, 2004). This is because if the phenomenon of superstars goes on and both the number of large and middle sized organizations decreases, then young artists will not have a room to gain experience.
Rowe (2004) explains that in addition, “the pressure on these organizations to earn great revenues will end up producing programming that is appealing to mass audiences”(p.40). If successful market categories are let to determine what is recorded or performed, then there will be less innovation.
In the case of use of internet for marketing work, when so many artists use internet to attract the audience, it will be impossible for the audience to recognize the unique talent.
Finally, changes in accessibility of performing arts will have a great impact. McCarthy (2001) explains that “despite the fact that the number of live professional performances will go down in parts of the country, performances that are community-based and recorded performances will take the part of live performances”(p.48).
Careers and Guidance on Working as a Performing Artist.
There are various careers that exist in the performing arts industry. Some of these careers include; dance therapist, dancer, singer, music director and story teller (University Microfilms, 1982). A dance therapist is a person who uses dance movements and observations in assessing people. He or she is entrusted with the role of ensuring that clients improve their self confidence by using body movements. A dance therapist can work in rehabilitation centers, nursing homes and special education schools among other places.
A dancer is a person who is able to express him self or stories by use of body movements. For one to become a dancer, one must be flexible and have good body coordination. Dancers can work in shows, can do television commercials, and work in movie theatres among other places. The other type of career is a singer. A singer is a person who can use his vocals to produce music.
A singer is supposed to be able to vary his tone depending with the key of the song. Singers can work in music shows, in the television for commercials, in bands as well as in movie theatres. The fourth type of career for performing artists is a music director.
A music director is a person who directs a group of musicians, a film or an orchestra. A music director can work in schools that recognize the need to develop the musical skills of their talented learners and in orchestra bands. A music director is entrusted with the role of choosing the performers, selecting music, hiring professionals in music as well as supervising the rehearsals and organizing the actual performance.
Finally, a story teller is a person who is able to create and tell stories. He must be very creative and charming person. He must know how to read the gestures of the audience so as to know what story to tell and when. A story teller can work in an auditorium; can tell stories in the television, and can work in big entertainment shows.
While Working as a performing artists, one should know that time is of essence. This means that one should maximize the available time. The other important thing to note is that a performing artist should be someone who can imagine and visualize things. This will enable you to come up with items that are unique. As a performing artist, it’s important that you utilize the knowledge that you have to come up with items that are able to capture people’s attention.
At the same time, it’s important for one to be fully aware of him self or her self even as one takes up a career in performing arts. This will in turn enable an individual to work hard towards the realization of goal. Finally, there is need for one to follow his passion in making career choices and when one decides on the career choice, and then one should be persistent in the career. By following all these, then one will be successful in his career as performing artists.
Key Impacts and Ethical concerns of hosting a performing arts event.
In a study by Rowe (2004), integrating arts in schools generally improves the learner’s performance and discipline. Sheehy (1994) explains that hosting performance arts events improve the general well being of a person and promotes economy and good neighborhood. Rowe (2004) also explains that hosting performance events increases capital and leads to the realization of certain community goals.
McCarthy (2001) explains that hosting performing arts events strengthens the performers economically since they are usually paid when they perform .The economy of the country is also boosted in cases whereby tourists are present in the performing arts events (Heibrain & Gray, 2001).
By hosting performing arts events, the community gets to experience the world of the arts and eventually, many community members find themselves participating in the arts. The growth of arts industries is also stimulated when such events are hosted.
Politicians can use the well organized performing arts events to familiarize themselves with citizens. Hosting performing arts events also creates good relationships between countries, especially when the performing arts events are international.
Hosting performing arts also has cultural value. To start with, it creates a sense of collective identity, leading to development of community norms which include tolerance and freedom of expression, and at the same time, it improves the community’s image.
Finally, hosting performing arts events has social value as people come together so as to organize the events and by doing so, a lot of interactions take place between various stakeholders and among people in general.
There are limitations that are usually associated with hosting performing arts events. For instance, the arts events may not always impact on the economy of the likely, like in cases whereby high schools are holding performing arts events.
The second limitation is that hosting performing arts events more often than not tends to favor more interaction among organizations than among individuals.
Finally, hosting performing arts events usually impacts negatively to the environment as it causes noise pollution.
Conclusion
In conclusion, the field of performing arts has grown widely over the years. There are several factors that are responsible for shaping the performing arts among them being political, social, cultural, and technological factors. Among the careers in performing arts include: dance therapist, music director, story teller, singer and dancer.
One of the key things in pursuing a career in performing arts is that one should have a passion for it and be ready to persevere. Some of the future trends of performing arts include: there will be improved changes in recording and broadcasting, a great difference between the large and small performing arts organizations and that the young talents may not have a chance to acquire the required experience in performing arts,
References
Gregory, B & Arthur, C. (2005) A question of morality: artists values and public funding. Wales, University of Cardiff.
Godfrey, M. & Urice, S. (1999) The performing arts in a new era. London, Routledge.
Heibrun, J. & Gray, C. (2001) The economics of art and culture. Cambridge, Cambridge University Press.
McCarthy, K.F. (2001) The performing arts in a new era. London, Oxford University Press.
Rowe, M. (2004) Arts education partnerships: lessons learnt. New York, Rand Corporation.
Sheehy, C. (1994) Managing performing arts collections in academic and public libraries. London: Libraries Unlimited.
Tyler, C. (2010) Good and plenty: the creative successes of American arts funding. New York, Sage.
University Microfilms (1982) Dissertation abstracts international: the humanities and social sciences. London, University Microfilms International.