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Thai dances are defined as any form of posture and vocal styles, designed on Thai conventional basis, a representation of national identity and cultural preservation. Globalization helps bridge a gap between countries through mutual and shared understanding about cultures, ideologies, traditions, and ways of thinking. This study focused on creating a model of managing an abroad touring production of Thai dances by applying autoethnography method in which the researcher was one of the team who managed a touring Thai dance in Canada. This research elicited hand-on experiences from the production called LOR (Love, Obsession, Revenge) which was performed at Fei & Milton Wong Experimental Theatre, Simon Fraser University, Canada, and arranged by the Performing Arts Department, Bangkok University. The study revealed that, for a model of managing a touring production, there were three possibilities that organisers could face and encounter. These included 1) limited budget but with a great opportunity in collaborations; 2) limited budget and limited opportunity in collaborations; and 3) having budget, but limited opportunity in collaborations. Several and different strategies were applied, varying from one condition to another. The input-process-output model (IPO) was taken into consideration for explanations and discussions.
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