Audience Development

Artists give meaning to the work of art, but the audience gives it life - or vice versa?

No matter for whom (we think) we create - for ourselves or for them, without an audience we can't prove the extrinsic value of our practices, nor can we earn our bread and butter.

How can we make sure our rapidly changing society doesn't abandon the habit of participating in the arts?  What are the ways to develop a mutually enriching and continuous connection between artists and audiences? Is it about authentic relationships or marketing strategies - or both?

Vassilka SHISHKOVA
The Artistic creation outside the urban areas session at IETM Porto added new examples of artistic creation and community arts in the rural areas to those that were presented at IETM Brussels 2017, in the "Meanwhile in the Countryside" session. Thus it confirmed the outcome of the IETM Brussels 2017 session: the point is not to bring culture to the countryside, because it is already there; and that one undertaking artistic work in rural areas has to openly listen and interact with the local people, and be receptive to their stories, creating art together with them, not for them.
Samantha Robinson and James Atherton in Andrea Dunbar’s Rita, Sue and Bob Too at the Royal Court, London, in 2018. Photograph: Tristram Kenton for the Guardian
Elena POLIVTSEVA
Publicly funded art is still dominated by a privileged elite who fail to engage the majority of the population
Elena POLIVTSEVA
Towards cultural democracy: promoting cultural capabilities for everyone is the final report of King’s fourth Cultural Enquiry. On the basis of a 15-month research project, it presents a timely and distinctive vision of how to build a cultural life for the UK that is valuable for everyone, and made by all.
Maria ZAVRAZJINA
This publication will help you better understand the peculiar utilization of the different social media available nowadays to increase the audience of your organisation.
Fernando BITTEN...
Upon entering Frieze New York last May, I ran into a colleague with his two small children. As we crossed the threshold of the bustling fair tent, the kids sprang into action, making a beeline for a red Carsten Höller octopus. They promptly plopped down beside it and began a discussion—“What is it made of?” and “Why is it red?” were among preliminary questions.
Fernando BITTEN...
The co-founder of the nonprofit Center for Artistic Activism explains why his company has officially de-friended Facebook.
‘The Believers are but Brothers’ is on at Bush Theatre
Elena POLIVTSEVA
“I’m interested in fucking up the dominant and racist narratives around communities of colour.” Bradford-born writer, theatre-maker and director Javaad Alipoor certainly does not mince his words. His new play, The Believers Are But Brothers opened at the Edinburgh Fringe Festival and is transferring for a run at the Bush Theatre to kick off its 2018 season.
Elena POLIVTSEVA
This website is the result of the EU project 360 Building Strategies for Communication in Contemporary Dance. It was created to assist you as a dance professional to develop your thinking, skills and practices in the area of communication with all key stakeholders in your career.
A gathering at Los Angeles's Kirk Douglas Theatre to dicuss the findings of the Triple Play study of new-play audiences. (Photo by Victoria Bailey)
Elena POLIVTSEVA
In the middle part of the last century, the nation’s big advertising firms started hiring behavioral experts with Ph.D.s in psychology under the assumption that advertising might be more effective if the firms knew something about what made consumers tick. While they may have been looking for concrete answers, what they found instead was that buyer behavior changes as fast as the tides.
Sylvia BOTELLA
Sylvia Botella interroge le sociologue Éric Fassin sur son point de vue sur le lien entre la sociologie, les arts du spectacle et la politique à l'ère du populisme.

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