02-05-2026, 08:32 AM
The Life of a Showgirl: An Autoethnographic Inquiry of the All-Tukarali Palaces Network on Artistic Inclusion
AUTHORS:
Antonia Salvatera¹
AFFILIATIONS:
¹Vice President of the Performing Arts Committee, Sangon Metropolitan Palace of Culture and the Arts
PAPER TYPE: Autoethnography
DATE OF PUBLICATION: November 5, 5725
KEYWORDS: Palaces network, performing arts, performer, art research, creative industry
AUTHORS:
Antonia Salvatera¹
AFFILIATIONS:
¹Vice President of the Performing Arts Committee, Sangon Metropolitan Palace of Culture and the Arts
PAPER TYPE: Autoethnography
DATE OF PUBLICATION: November 5, 5725
RATIONALE
The All-Tukarali Palaces network has provided a supportive platform for human creativity to prosper in the socialist society, but its bureaucratic nature tends to overlook nuances of artistic expressions that have originated from avenues outside mainstream frameworks. This paper reflects on the researcher's attempts to foster an inclusive space within the Sangon Metropolitan Palace of Culture and the Arts without obscuring the authenticity of alternative art forms.
METHODOLOGY
An autoethnographic approach was utilized over a one-year period, with the researcher's reflective journals, meeting transcripts, and communication letters used as artifacts for data analysis.
FINDINGS
The curation of an inclusive space in the Sangon Metropolitan Palace of Culture and the Arts was successful in ensuring accessibility of utilities, equipment, and technical support for performers and creatives. However, it came with challenges in settling creative differences between the intent of performances and the character of the establishment. Artistic initiatives that relied on provocateur and shock value are still found to be in conflict with the institutional policy of keeping activities decent and safe for attending audiences.
REFLECTION
The main principle of the All-Tukarali Palaces network is concretely achieved: to make the creation and appreciation of art accessible. Policy-makers and influential figures in the creative industry must reflect on what systemic shift must be advocated that is to either re-establish the artistic and cultural monopoly of the Network or recognize alternative venues of performances with non-hegemonic support.
KEYWORDS: Palaces network, performing arts, performer, art research, creative industry