What do theater leaders see as the role of the performing arts during the time of the COVID-19 pandemic. This will further increase professional awareness and continue the call for diverse female leaders within the performing arts.
Context
Literature Review
Producers must confidently adjust boundaries and create equal leadership opportunities within the performing arts pipeline. Realizing that the current system allows for a lack of female leaders and female leaders of color to have proper mentoring and recognition.
The Substantial Need for the Performing Arts in a Time of Crisis
The COVID-19 pandemic has changed the way we see and experience the performing arts, and "one thing seems certain: we will never look at ourselves as a culture the same way again" (O'Grady, 2020). . The performing arts are woven into pop culture, and the culture has the power to maintain or explode norms regarding adaptation techniques, meaning-making, networking, community, narratives, and leadership.
Theoretical Framework
The best practices outlined in adaptive leadership have been developed to provide targeted methods for mobilization during difficult challenges and currently in this COVID-19 pandemic (Heifetz, Grashow, & Linsky, 2009). Adaptive leadership is about "will and skill" (p. 37). The performing arts community is currently facing many difficult challenges.
Research Questions
What do theatrical leaders see as the role of the performing arts during the time of the COVID-19 pandemic?
How are female theatrical leaders exhibiting the elements of adaptive leadership by responding at this time?
What are the adaptions that female leadership is making at the moment?
Project Design
To gain a range of viewpoints, strengths, and answers to our research questions, I scheduled one-on-one Zoom interviews with professionals in all areas of the performing arts industry. Using both national industry leaders and community-centered leadership, this work aimed to secure a sample that provides findings and insights into themes of adaptive leadership in the performing arts during the COVID-19 pandemic. I arranged, fixed the meeting time and asked all questions to each of the sixteen interviewees.
Insight into these interviews was important in answering all of the research questions as well as highlighting the human concerns that are part of the performing arts career path and.
Data Analysis and Interpretation
I then took these seven categorical themes and reviewed the transcripts in a second round of coding.
Findings
Society Has Expectations for the Performing Arts Experience
I miss being guided by what I can explore and the connection between the artists on stage. There are two threads to this finding – the first is societal expectations for the performing arts experience and the second is the anticipation for the arts to eventually return to live performances. Additionally, there are societal expectations for joy, hope, resilience, storytelling, and healing that must be conveyed and transmitted through the performing arts to weather the COVID-19 pandemic.
There are also societal expectations that theater and performing arts will return to full capacity this year (2021).
Female Leaders observed Interpersonal Communication as a Core Component for Leadership through the COVID-19 pandemic
They also stress the importance of staying home and stopping the spread and staying immersed and interacting with the fan community online. These women leaders make sense and interpret these connections to lead elements of the performing arts business. Seeing things through a theatrical lens is incredible and it's a way of coming together” (Interview, NY 2).
It's not an exact science and it's not like science, it's very much like an interpersonal relationship.
Female Leaders observed Interpersonal Connections as a Modality for Healing, Learning, and Hope
The Performing Arts serves as a Crucial Tool for Community through Acts of Service
Teaching art can be used as a form of communication and personal storytelling” (Interview, NY 3). Uplifting voices and stories allow some people to heal (those experiencing the story) and others to learn (those experiencing the story in their lives). The stories that come out of this are going to be amazing, real” (Interview, Florida, 14).
It's a job where you live and experience their lives firsthand.
Sustainability is Linked to Artistic Resilience. The Fact that Leaders are Proactively Investing in the Artistic Intellectual Relationships
While there are some significant challenges in Zoom in terms of performance options, it's what we're using right now. If ever there was a moment not to go to the theater unless you love it - it's now. It's a way to stay connected to society and to art” (Interview, New York, 4).
That's part of the problem with the adaptation of theatrical productions being virtual and experiences being entirely online – it still makes the experience so one-sided” (Interview, New York, 1).
Technology is Enabling Artistic Resilience but Eliminating Leadership Positions
There are signs and permission to laugh and cry when you are part of the audience. One interview mentioned this setup and described how she, as a performer, was now responsible for several positions herself. In fact, five of the six locations that a production house normally provides for filming a movie have been cancelled.
Worse, women have typically held more of these positions, so we're seeing a cut to even more jobs for women in the arts.
Equity within the Performing Arts is a Balancing Act
Several leaders felt that the theme of equality within the current state of the performing arts allows for an inclusive experience. The level of people who can all share in this show viewing experience is at an all-time high. There are so many people who have access to this and even though some are small, there is a willingness to make the shows happen virtually on the screen and it's so nice that we can enjoy it together” (Interview, Florida, 13) .
These female leaders understand the importance of these theatrical experiences and the vitality of the connections that occur during a pandemic.
The COVID-19 Pandemic Measures are Providing Opportunities for a Hierarchy Shift within the Performing Arts
There is a significant spatial shift within stage work and general performing arts that we (Broadway, regional, local theaters, etc.) were previously producing at a very rapid pace. Theater has changed, due to the fact that there is no hierarchy, so with any creative project we can be reliable and this is reliable". (Interview, New York, 7). Shoot, if you're so happy with what you know and what you're experiencing, then you can do a lot.
There is such a financial banner and stigma that comes with people and some people don't understand that (Interview, Florida, 12).
Staying Active with Personal and Professional Priorities is Essential
Two-thirds of the interviewees interpreted the need to create art and continue within the craft for their own personal practice and well-being. Certain interviewees noted that they took time to process during this pandemic by interpreting the current theater culture as “Essential”. Being isolated during this pandemic has increased personal skills such as connecting with society and listening to oneself.
I expect this tension to continue through the rest of the pandemic and into next year.
Financial and Long-Term Success is a Major Factor within the Performing Arts
There is not an unlimited pool of work, so we need to make sure the work is important. One observation that proves the key to self-preservation is staying embedded in the arts and doing so by staying in the craft and having the funds to provide for yourself and your organization. The only reliable part of theater is connecting with each other and we have to adapt because I want to keep myself doing the things I love” (Interview, New York, 7).
Each interview understood each person's value within the structure of a performing arts production and understood the cost of what we do to create a live production experience.
Female Leaders’ Insights on Value Placement within the Performing Arts Industry
Female Leaders are Undervalued by being Underestimated
Dawson's brilliance, which hit screens in January 2021, highlighted that age should not be a factor in leadership within the performing arts industry. In 1977, Andrea McArdle, who originated the title role of Annie in the Broadway musical, was only eleven years old; she who brought the show from pre-production theater locations all the way to Broadway (MTI shows, 2021). The interviews observed the importance of personal identity and value in tandem with the organization's connection or performing arts production.
It really is a very different profession if you are a woman in the arts.
Female Leaders are Undervalued due to a Lack of Acceptance and Appreciation for a Certain Female Types within this Industry
You have to be better, smarter than the men in this business - but don't be TOO smart. Another interview specifically mentioned the film and modeling space's lack of value or acceptance around their identity as women in the performing arts. Princeton University states "Girls try to balance social pressures and emotional desires, to find a place for themselves" in the theater world (p.228).
I think there is something about being women in art and what we do.
Female Leaders are Undervalued when it comes to Visibility in Production Positions
The finding and its implications highlight some of the biggest challenges faced by current female leaders in the sector not being seen and valued, even when they are in positions of power. This challenge faces current women leaders in both the Jacksonville (local area) and Broadway pipelines. This finding is consistent with the American Conservatory Theater finding surrounding a lack of trust for female leaders in the industry (Ekurt & Cedar, 2016).
It has nothing to do with merit and leadership skills, but rather a lack of trust.
Female Leaders are Undervalued when Observing and Interpreting our Deep-Rooted Strength
Some shows that have to close….We're going to make sure the theater will eventually come back. Not surprisingly, some of these interpretations around value struck a part of me, as a performing arts professional, that I had to hide or keep hidden in order to lead within this industry. Wicked, the Broadway musical has a lyric "this strange quirk I've tried to suppress or hide is a talent that can help me meet the Wizard." There is a part of personal leadership identity tied to one's sense of value and worth.
This continued search for adoption within this pipeline has certainly fueled my desire to find recommendations.
Recommendations
The female leaders of Generation W need to continue the call for performing arts accessibility and meet societal expectations
The San Francisco-based American Conservatory Theater noted the lack of mentoring programs for women in the performing arts industry (Ekurt & Cedar, 2016). This interdisciplinary network could focus on three measures of success, including (1) the mentee's academic success within their high school arts programs, (2) fostering a sense of community support in Jacksonville, (3) developing practical skills within the performing arts . of art. The strategies of this mentoring group are to: (1) facilitate the transition between courses at their current high school, (2) provide information, support and encouragement.
John's Counties (greater Jacksonville area) and debrief with me, Generation W leaders, and other performing arts leaders within the Jacksonville community.
The female leaders in the performing arts should
Having a strong connection to a marketing campaign is one of the many ways we can make our collective voice heard on social media. Real work can be highlighted and propelled with our collective Generation W voices as we capitalize on growth and diversity and continue to build the collective movement.
Female leaders should use their platform as a voice for minorities and marginalized communities by allowing performing arts
Theater companies and organizations can actively begin to be inclusive in their hiring practices for leadership and when a show is broadcast. We can use the virtual platforms on social media, connect with theater companies to start consulting on the season selections, and encourage them to look for female and diverse writers. We can encourage theater companies to seek out diverse female writers, new playwrights, and deviate from the mainstream in their choices for.
The writing paints portraits of women through their own words on what drives them to do what they do.
Strengths and Limitations
Conclusion
Retrieved from https://www.nytimes.com t-magazine/art-coronavirus.html Paulson, M. Broadway, Symbol of New York Resilience Shuts Down Amid Virus Epidemic. A taxonomy of characteristics of student peer mentors in higher education: Findings from a literature review. This information about employment opportunities for the Broadway musical was taken from the Nederlander Theatre's Amazing Grace Playbill (July 2015).
What do you see as the role of the theater arts as the country faces COVID-19?
