FY 2023 Art Management Overseas Dispatch Program Report Meeting [Part 1: Report on Activities]

The first post-dispatch debriefing session was held on February 28, 2024, with all participants participating, as an opportunity to widely share the contents and results of the Art Management Personnel Overseas Dispatch Program, which started in FY 2023.

This project provides opportunities for young art management personnel to be dispatched to overseas art festivals and other events on a short-term basis, to directly experience pioneering works and creative sites, to promote creative activities from a global perspective, and to build and strengthen networks with overseas sectors. We aim to encourage young people to create world-class works and convey their values and artistic qualities, and to become the first step in their international activities.

Presentations were given at the debriefing session by four participants who were sent to Edinburgh, Scotland in the first round of applications, two participants who were sent to the Thailand Biennale (Chiang Rai) and Bangkok in the second round of applications, and four participants who were sent to Broadway, New York. During their one-week stay at the destination, they engage in two programs: a basic program, which is set up by the host and implemented without fail, and an original program, which is implemented after the participants themselves conduct research according to their interests and conduct negotiations and adjustments, including visits and interviews with relevant parties.

This report presents the purpose of each participant's participation in the program, the contents of the basic and original programs at each dispatch site, and the results of the dispatch.

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◼️スコットランド・エディンバラ報告

The Edinburgh International Festival is the world's largest performing arts festival held in Edinburgh, Scotland. It takes place over three weeks from August to September and features performances by world's leading artists in the fields of opera, theatre, music (especially classical music) and dance.

At the beginning, the contents of the basic program that all of us participated in were introduced. Hearings were held with the Head of Arts at British Council Scotland and the Deputy Secretary of the Edinburgh Festival Fringe Society to provide an opportunity to gain a systematic understanding of Edinburgh Festival and the surrounding cultural context. We also visited two stage performances.

In particular, they talked about how they used influencers to promote their films and how they provided concrete support to audiences from both Japan and overseas. They said that creativity was necessary not only for the films but also for the organizers, and that they were always searching for and practicing creative approaches that fit with the times. It was also said that the wide vision of the people in charge of the festival, the clear vision and the ability to communicate it accurately, were inspiring. Then, each participant presented the contents of the original program and what impressed them the most.

Nomura-san:

While I was overwhelmed by the number of contents and the variety of programs at the festival, I was also made aware of the diverse roles that theater plays in a single urban setting. For example, I was impressed by the fact that there were opportunities for the players who produced the content to freely create the positioning and context of the content, such as events that sharply cut into social issues and emphasized the community who shared the space.

Okada-san:

It was a spontaneous collection of truly free works, and it made me think again about what "fringe" is and what performance is. On the other hand, it was an opportunity for me to realize that the festival is not only free and voluntary, but also has a well-established management system that supports international activities from a variety of perspectives, with the exchange of arts and culture officials and artists from around the world.

Takamoto-san:

I was impressed by the support and approach of theaters and festival organizers. For example, in the stage art talks I attended, people from a variety of countries discussed their own issues across genres, and through that I was able to see the outline of my own expression and work. I feel that there are not many opportunities and experiences like that in Japan. It is open to people with various visions, and I thought again that it is a platform that enables artists to grow and aim for the world.

Matsunami:

The introduction program of the artist by the theater was impressive. I was impressed by the fact that the local theater has created a place for young artists to present their works, and that it is an international market where there are producers and company directors among the audience, so that they can present their works in a variety of genres and styles.

◼️タイランド・ビエンナーレ（チェンライ・バンコク）報告

The Thailand Biennale is an international contemporary art festival held biennially across Thailand in provincial cities with diverse cultures and rich histories. Led by the government, the 3rd conference was held in Chiang Rai, the northernmost city, from December 2023.

First, they introduced the Basic Program, which they both participated in. In the days following the opening day of the Thailand Biennial, we participated in receptions organized by the organizers, tours for interested parties, and networking with art professionals. In addition, the Japan Foundation Bangkok Office held hearings on the art scene in Thailand (mainly Bangkok) and other art festivals.

In particular, Chiang Rai has a lot of cultural and historical attractions, and he found it interesting that he was able to see all the art works and the cultural heritage of the region, such as a work set in a temple designed by an artist, which was originally located in Chiang Rai. After that, each participant reported on their original programs and their impressions.

Tanji:

I was amazed at the opening ceremony of the work by Nawin Rawangchaikun on the riverbank of the Golden Triangle in Chiang Seng, which I attended in one of the basic programs. Stalls were lined up and people performed against the backdrop of huge works of art. Tourists and local people who had nothing to do with the Biennale mixed in and made merrymaking. In Japan, identity checks would have been necessary for security reasons, but the Thailand Biennale's open-mindedness and openness to everyone's enjoyment made me think that Japan also needs flexibility.

Han:

As an original program, we interacted with many artists and gallerists in Bangkok. I also learned that there are quite a lot of young Thai artists who want to come to Japan as artists-in-residence to create and present their works, and I had a good meeting that made me want to invite them to the art festival I am organizing. In many ways, I felt once again the significance of connecting Japan with other countries, not just within Japan, and I myself wanted to continue the connections I gained this time in various ways.

◼️ニューヨーク・ブロードウェイ報告

Staying in New York, the world's hottest entertainment center, was an opportunity to experience and learn about the appeal of the entertainment business from various perspectives, such as people's lives and culture, as well as Broadway's cutting-edge musicals.

First, the basic program was explained. In order to gain a better understanding of the overall picture of New York Broadway, a world-class theater district, we held meetings with various industry representatives who are active on the local front lines. In line with the interests of not only those involved in the production process, but also those of each of the dispatched workers, interviews were conducted on a wide range of topics, including Broadway's working environment and systems, ticketing business and system operations, and public relations and marketing.

On Broadway, the roles of producers, productions, theaters, and marketing are subdivided, but on the other hand, unions and industry organizations exist and function to protect the labor of all people involved in the stage, from ticket sales staff to cleaning staff. Therefore, each person is proud to be involved, and the industry is united to form, raise, and appeal value. This impressed all four of them. Then, each of them announced their original programs.

Kasuga:

I conducted research on the working environment and sustainability initiatives in the stage industry, and learned that there are advantages and challenges in Japan and the United States. At the same time, it was an opportunity to reaffirm that Broadway is not just entertainment, but is closely related to society. With regard to environmental issues, I was impressed by the fact that the hurdle was as low as possible, and that everyone was conscious of being able to get involved easily in the places close to the stage.

Endo-san:

I talked to a Japanese art director in New York to do some research on the expansion of Japanese artists into New York. First of all, the reason why people from overseas are reluctant to visit Japan is that there is little information in English and it is difficult to access tickets. In contrast to Broadway's efforts to create value as a whole, in Japan, theaters and producers tend to be rivals, and there is a lack of solidarity within the industry in terms of information dissemination.

Mr. Tsuida:

It was meaningful that I was able to visit Broadway.com and have a hearing about the structure of Broadway's largest ticketing site and the impact of dynamic pricing on business. After understanding the situation in the US, I would like to think about how to sell tickets to customers in Japan.

Mezawa-san:

I was inspired by the fact that Broadway works as a team to connect people with society while making use of their strengths. The four players who were sent this time had completely different positions and viewpoints, so it was great that we could face them from different perspectives through the program. I realized that because we have diverse perspectives, we were able to inspire each other as a team and gain more strength by working together. We are talking about how we would like to continue working on projects that will lead to the next generation with these members.

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以上、報告会第1部では、各々の派遣先での活動内容を発表して貰いました。若手が海外に触れる機会を提供したいという事業主旨に対し、それぞれにしっかりと様々な経験をし、多くの知見や刺激を得ることができたことが伝わりました。後半では、第2部のラウンドテーブルの模様をお伝えします。

後編：第2部ラウンドテーブルに続く

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Reporting and text by Arts Council Tokyo Naoko Yuki