
(2) * Budi Irawanto

(3) Timbul Haryono

*corresponding author
AbstractPerforming arts organizations at the micro level often face challenges threatening their sustainability. The big challenge is how good organizational management practices can be done with limited resources, local competition, and changing market dynamics. This research aims to examine and improve the effectiveness of micro-organizational management in the context of performing arts, focusing on a case study of the comedy group “Double S†in Yogyakarta. This research is exploratory, using a qualitative approach and case studies as an analytical framework. Data were collected through in-depth interviews with group members, direct observation of performances, and document analysis related to organizational management. Organizational management concepts, such as strategic planning, organizing, and leadership, were applied in the context of micro-performing arts. The results showed that comedy groups as micro organizations have unique characteristics of organizational management practices, namely, organizational management in the context of a very flexible comedy group and the emergence of the central role of the artist who doubles as the group manager. Although it is done with complete improvisation and tends to be unstructured, the flexibility of organizational management has become a strength for the comedy group. The flexibility of management allows the comedy group to adapt to various uncertainties. Microorganizations need managers who have improvisational skills in organizational management. This research contributes to understanding organizational management at the micro level in the performing arts industry. The practical implication is to guide similar performing arts groups to improve competitiveness and sustainability. This study can also serve as a reference for further research on micro-level performing arts organization management and its influence on the development of local performing arts.
KeywordsOrganizational Management; Microenterprise; Comedy Group; Double S; Performing Arts
|
DOIhttps://doi.org/10.31763/viperarts.v6i2.1645 |
Article metrics10.31763/viperarts.v6i2.1645 Abstract views : 132 | PDF views : 28 |
Cite |
Full Text![]() |
References
[1] A. Stott, Comedy. Routledge, 2004. doi: 10.4324/9780203312124
[2] T. P. Putra, B. Irawanto, and T. Haryono, “Comedy In the Perspective of Performing Arts Management: Systematic Literature Review,†Int. J. Creat. Arts Stud., vol. 10, no. 1, pp. 15–30, Jun. 2023, doi: 10.24821/ijcas.v10i1.8300.
[3] E. Listyaningsih and Y. H. Sambung, “Perbedaan Memori Jangka Pendek Lansia Sebelum dan Sesudah Terapi Humor Melalui Media Dagelan Jawa di Unit Pelayanan Terpadu (UPT) Panti Werdha Budhi Dharma Yogyakarta,†J. Kesehat., vol. 04, no. 1, pp. 1–8, 2016.
[4] W. Chang, “How ‘small’ are small arts organizations?,†J. Arts Manag. Law Soc., vol. 40, no. 3, pp. 217–234, 2010, doi: 10.1080/10632921.2010.504604.
[5] F. Ãvila, K. Zambrano, K. Mendoza, and L. Párraga, “Administrative Management, Importance For The Microenterprise,†J. Pharm. Negat. Results, vol. 14, no. Special Issue 2, pp. 1401–1411, 2023, doi: 10.47750/pnr.2023.14.S02.170.
[6] M. K. Loo, S. Ramachandran, and R. N. Raja Yusof, “Unleashing the potential: Enhancing technology adoption and innovation for micro, small and medium-sized enterprises (MSMEs),†Cogent Econ. Financ., vol. 11, no. 2, pp. 1–33, 2023, doi: 10.1080/23322039.2023.2267748.
[7] M. Jordan, “Artist Activism as Arts Entrepreneurship Artists Disrupting Social Structures and Changing the Future,†Artivate, vol. 11, no. 3, 2023, doi: 10.34053/artivate.11.3.194.
[8] U. Sekaran, Research and Markets: Research Methods for Business - A Skill Building Approach. 2003.
[9] J. P. Spradley, Ethnographic Interview. Waveland Pess, Inc., 2016.
[10] K. Bazeley, Pat ; jackson, Qualitative data analysis with NVIVO, Second., vol. 2. London, UK, 2013.
[11] F. J. Stoner, A. E. Freeman, and D. A. Gilbert, Management, 5th ed., vol. 5. New Jersey: Prentice Hall, 1995.
[12] D. Chong, Management of Success, no. June. ISEAS Publishing, 2010. doi: 10.1355/9789814279864
[13] W. J. Byrnes, Management and the arts, Fourth., vol. 2, no. 1. Burlington: focal press, 2009.
[14] F. J. Stoner, A. E. Freeman, and D. A. Gilbert, Management, Sixth. New Jersey: Prentince Hall, 1995.
[15] M. E. Porter, “Competitive Advantage,†Studia Politica, vol. 18, no. 2. pp. 213–240, 2018.
[16] S. Preece, “The Performing Arts Value Chain,†Int. J. Arts Manag., vol. 8, no. 1, p. 21, 2005.
[17] M. Hume and G. S. Mort, “Satisfaction in performing arts: The role of value?,†Eur. J. Mark., vol. 42, no. 3–4, pp. 311–326, 2008, doi: 10.1108/03090560810852959.
[18] D. Cray, L. Inglis, and S. Freeman, “Managing the arts: Leadership and decision making under dual rationalities,†J. Arts Manag. Law Soc., vol. 36, no. 4, pp. 295–313, 2007, doi: 10.3200/JAML.36.4.295-314.
[19] P. DiMaggio, Managers of the Arts, vol. 148. Dexter, Michigan: Seven Locs Press, 1987.
[20] C. Warren, A. Barsky, and A. P. McGraw, “What Makes Things Funny? An Integrative Review of the Antecedents of Laughter and Amusement,†Personal. Soc. Psychol. Rev., vol. 25, no. 1, pp. 41–65, Feb. 2021, doi: 10.1177/1088868320961909.
Refbacks
- There are currently no refbacks.
Copyright (c) 2024 Trisna Pradita Putra, Budi Irawanto, Timbul Haryono

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
___________________________________________________________
International Journal of Visual and Performing Arts
ISSN 2684-9259
Published by Association for Scientific Computing Electronics and Engineering (ASCEE)
W: http://pubs2.ascee.org/index.php/viperarts
E: sularso@ascee.org
Organized by:
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0