Organisational influences of innovation in festival programming: a case study perspective of DA:NS festival in Esplanade (Singapore)

This study contributes to understanding the theoretical concept of innovation in festival programming from the viewpoint of its organisational characteristics. The study hopes to fill the knowledge gap on examining innovation from the perspective of the more complex organisational structure that exist within the spectrum of arts management theory and festival studies. Consequentially, we now live in an era where audiences are spoilt for choices. Already there has been an overwhelming expansion in the festival landscape that it is now difficult to accurately determine the number in existence. Therefore, festivals have to constantly reinvent their programmes to be able to retain and at the same time attract new audiences in today’s saturated market. However, it is essential for festival organisations in the arts industry to also recognise that innovation has to be embedded both in the artistic and managerial practices, as well as in the connections between individual and collective processes.
Within the context of contemporary dance landscape in Singapore, amongst the longest-running and notable contemporary dance festivals is da:ns festival. The festival is presented by Esplanade – Theatres on the Bay, or commonly known as Esplanade, which is the first large purpose-built, multi- venue performing arts centre in Singapore. The festival has been in existence for 12 years and remains to be one of the key contributors in the dance sector in Singapore. One important highlight of the festival is the commissioning of new works. Organisation-wise, because of the multiplicity of complex and interdependent activities taking place due to its large organisational size, Esplanade operates in a cross-functional organisation structure. For the purpose of this thesis, da:ns festival is considered as a project undertaken by the programming department within the organisation.
A case study approach utilising both quantitative and qualitative research methods was conducted to investigate on how then the festival reinvents its programming throughout its years of existence, taking into consideration its content and form in an organisational context. This study examines if its cross-functional organisation structure foster innovation, and to identify the organisational factors and conditions that facilitate innovation in festival programming. The study ends with a call for further research and theory building regarding innovative approaches in festival management.