Organizer support that works

Together with Norske kulturhus, we have read the report "Mobilization for mobility. Dissemination of independent performing arts (2022)" with great interest, and it provides a good description of the challenges. One of the conclusions in the report is that there is a need for a dissemination network for independent performing arts in Norway where organizers are enabled to gain access to a programming economy and programming expertise. In this context, we explain that there is already an existing funding system that receives government funding - Scenekunstbruket's dissemination scheme is ready-made for use directly to the cultural centers and their audiences in all target groups.

We have read the report with great interest Mobilization for mobility. Dissemination of independent performing arts (2022) and attended a presentation during Porsgrunn International Theatre Festival on June 15. One of the conclusions of the report is that there is a need for a dissemination network for independent performing arts in Norway where organizers are enabled to gain access to a programming economy and programming expertise. It describes, among other things, the potential of collaboration between Dansenett Norge, Norske kulturhus, Scenekunstbruket and Riksteatret and writes that the experiences here "indicate that an expanded national touring scheme across the art forms of dance and theater may be an interesting avenue to explore. Given an important premise, of course: that independent productions and artists are allowed to take part in the activities"(Mobilization for Mobility 2022:70). In other words, that there is a dissemination network that connects the performing arts that are produced with organizers and cultural centers. The ministry, which is currently investigating new support schemes for the performing arts, also states that the existing schemes should be used.

The distributed dissemination model
The conclusion of the report describes a desire for a scheme that actually already exists! Scenekunstbruket was established in 1994 by Performing Arts Hub Norway precisely because the independent field was largely excluded from the centralized dissemination of the Norwegian Touring Theatre. A dissemination model was developed based on a distributed dissemination model that connects performing artists and organizers in an equal network. At the time, the organizers sat around the country and received information from various performing arts companies without an independent assessment of the productions and without funds to program the performances that were offered. Scenekunstbruket systemized this and aimed to have a complete overview of which productions were available for touring. In this system, work is done with quality discussions, the performances are placed in a repertoire that the organizer can choose from, and the right fees and contracts with the companies are ensured. The organizers have contracts with Scenekunstbruket with a mutual obligation in the dissemination and competence network.

Artistic development in a system
We can say that there are generally three dissemination models for performing arts in Norway: the centralized, represented by the National Theatre, the decentralized, represented by the various regional theatres and the distributed, represented by Scenekunstbruket. Dansenett Norge also functions as a distributed network. When The Cultural Rucksack (DKS) became a national scheme in 2001, the dissemination system was already in place. This created a huge demand for performing arts for children and young people - and in the 20 years that have passed, this has led to several performing artists having a genuine desire to reach young audiences. The quality of what is produced is generally at a very high level. The organizers themselves choose what they want to program for their audience - and that choice comes with organizer support funds. And not least: The funds that organizers receive in reimbursement are earmarked for more performing arts on the road. It's an incentive to choose quality and to continue to choose quality. We must never take a steady flow of high-level art production for granted, but continue to strengthen this system that has proved to work very well for artistic development and provides more art experiences for the audience.

The report's mandate did not include dissemination in DKS, but the dissemination model on which DKS is based has important transfer value for other organizers and all audience groups. It clearly shows that if you build up demand, have binding networks and a system where the incentives follow the performance and are given to the organizer, the organizers are able to program more performing arts.

Houses of culture need activity
Houses of culture have been hit by the "post-pandemic", and both activity and visitor numbers are dropping dramatically. When activity drops, so does the diversity of expression and offerings for all audience groups.

This is the status of the cultural centers now: Audience visits (ticket sales) have decreased by 40% compared to the first half of 2019. The number of events has decreased by approximately 60% compared to the first half of 2019. As an interest organization, Norske kulturhus has expected to see weak figures for audience visits, but the fact that the decline in the number of events has been reduced by up to 60% is very surprising. We are afraid that this development will make it difficult to maintain a broad and varied offering across the country in the long term. We need schemes that can actively counteract this, and we can't wait!

Spreading power and strengthening local offerings
In the distributed network, the power of definition is spread and the administrative levels cooperate. Now the time is ripe to extend it to the cultural venues, so that individual cultural venues can choose performances from Scenekunstbruket or Dansenett Norge in the knowledge that they will receive organizer support without having to apply for support in advance. Norwegian cultural venues are ready, and Scenekunstbruket has been ready for 28 years. The state currently spends NOK 18 million on Scenekunstbruket and the nationwide dissemination of performing arts. With NOK 7.5 million in incentive funds for organizers in 2021, more than NOK 40 million was released for the dissemination of independent performing arts - so organizer support is growing along the way. The funds stimulate more productions, more workplaces for artists, increased quality and contribute to a comprehensive dissemination of performing arts where organizers dare to take greater risks.

With the report Mobilization for mobility. Dissemination of independent performing arts has given us a good description of the challenges. Now we must have the opportunity to show that there is already an existing funding system that receives government funding - which is ready to use directly for the cultural centers and their audiences in all target groups.

Norsk scenekunstbruk and Norske kulturhus. The text was published on Scenekunst.no June 23, 2022

Photo: from the performance "Tobias og dagen det smalt" by Rimfrost produksjoner. The production is distributed through Scenekunstbruket's dissemination network.