Case Study: Rafia Is An Event Manager At The University

Case Study Rafia Is An Event Manager With the University Of The Sunshin

Rafia is an event manager with the University of the Sunshine Coast (USC). She organized a multicultural dance program on USC campus to coincide with a visit from representatives of Savitribai Phule Pune University of India. USC aimed to establish an exchange program with the Indian university. Rafia saw a website advertising Indian classical dance classes called Shastriya Nritya and decided to approach the principal, Kalpana, to secure the main act for the event. After a meeting, Rafia and Kalpana signed a written contract for a performance by Kalpana’s dancers at USC’s multicultural event for a fee. The contract did not specify the type of dance or include Kalpana’s assurance that it would be traditional, classical Indian dance.

Rafia advertised the event extensively, emphasizing that it featured traditional, classical Indian dance. The advertisements showcased images of dancers in traditional costumes and sold many tickets in advance. However, on the night of the event, the performance appeared more Bollywood-style, which disappointed attendees expecting traditional dance. Post-performance, comments from visitors indicated that the dance was not culturally appropriate and lacked the necessary devotional qualities appreciated by Indian audiences. Many patrons demanded refunds, and USC suffered financial losses, refusing to pay Kalpana’s fee. Subsequently, the Indian university’s planned involvement did not proceed, with one visitor remarking that USC’s failure to distinguish between classical Indian dance and Bollywood could damage their reputation for cultural authenticity.

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In assessing USC’s situation regarding the failed multicultural dance event, it is crucial to evaluate the legal, contractual, and cultural implications involved. The core issue stems from the discrepancy between the expectations set by USC’s advertising and the actual performance delivered. Although the contract between USC and Kalpana’s dance school was signed but silent on the specific dance style or cultural authenticity guarantees, USC’s promotional materials explicitly represented the performance as traditional, classical Indian dance. This misrepresentation has significant legal and ethical ramifications under contract law and consumer protection statutes.

Under contract law, a fundamental principle is that parties must adhere to the terms agreed upon. While the contract with Kalpana did not specify the type of dance, the representations made by USC through advertising may be deemed an implied term of the agreement, especially given that the promotional materials emphasized the traditional and cultural authenticity of the performance. If USC’s advertising creates an express or implied warranty that the act would be traditional, classical Indian dance, then the performance falling short of this standard could constitute a breach of implied warranty or misrepresentation. This situation could justify USC’s refusal to pay Kalpana’s fee, given the performance did not meet the reasonable expectations based on the advertisement.

From a consumer protection perspective, the patrons who bought tickets and expected genuine cultural entertainment have grounds to claim that USC engaged in false advertising, which induced them to purchase tickets under false pretenses. Australian Consumer Law (ACL) prohibits misleading or deceptive conduct in trade or commerce (Australian Competition and Consumer Commission, 2021). Since USC’s advertising depicted a traditional dance form, the mismatch between the expectation and actual performance could be seen as misleading conduct, making USC liable for refunds and damages. This legal stance supports USC’s decision to refund tickets and refuse payment to Kalpana’s team.

Culturally, the issue underscores the importance of authenticity and cultural sensitivity in performance arts. Indian classical dance forms such as Bharatanatyam, Kathak, or Odissi are highly revered, and their performance requires deep understanding and specific choreography, costumes, and presentation styles. Bollywood dance, while popular, differs significantly in style and cultural significance. By misrepresenting the performance as traditional when it was not, USC compromised its credibility and disrespected the cultural heritage it aimed to showcase. Such missteps can damage intercultural relationships, especially in events designed to strengthen ties and foster understanding between nations (Kumar & Nehru, 2016).

Moving forward, USC should implement clearer contractual and promotional policies to avoid similar incidents. This can include including specific descriptions of the performance style and cultural authenticity levels, obtaining explicit guarantees, and ensuring vendors’ representations align closely with actual offerings. Engaging culturally knowledgeable consultants or experts to verify performances can serve as quality control, safeguarding the organization’s reputation and ensuring the integrity of similar future events. Additionally, training staff on cultural sensitivity and ethical marketing practices is essential to uphold respect and authenticity in cultural exchanges.

In conclusion, USC’s failure in the Indian dance program highlights the risks and consequences of misrepresentation, whether intentional or accidental. Legally, the situation involves implied breaches based on advertising promises and potential breaches of contract and consumer protection laws. Ethically, it emphasizes the importance of respecting cultural authenticity in multicultural events. To mitigate such issues, organizations must adopt transparent, precise contractual arrangements and truthful advertising, fostering trust and respect with both performers and audiences. By doing so, USC can build a reputation for integrity in cross-cultural engagement and avoid costly disputes and damages arising from misrepresentation.

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