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?

It Starts With A Conversation - a guide for artists and producers
Asa RICHARDSDOTTIR
ICE HOT Nordic Dance Platform Partners are proud to announce the on-line publication of a guide written jointly by creative producers Ása Richardsdóttir and Lene Bang Henningsen.
fbittencourt
Our partners at the National Center for Arts Research (NCAR) put out a report recently on metrics by sector for arts organizations. Among the metrics they analyzed was response to marketing efforts.
jweijdom
The 6th issue of our Fresh Perspectives publication series Mixed Reality and the Theatre of the Future explores the issues at stake when designing a mixed reality experience in the context of theatre and performance.
fbittencourt
It can often be challenging in the performing arts to engage with audiences on a relational level. Constraints of time, space and place can combine to restrict and contract the audience experience.
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Many culture makers have embraced the theme of Audience Development (AD); we all want audiences, preferably large and enthusiastic ones. But how can we demonstrate to our investors that we have taken the task seriously?
Agnes Bakk
Kirsty Sedgman‘s background is in performance studies, which, according to her, tends to make big assumptions about audiences: who they are, why they attend, and what they get out of theatre. After encountering the rich field of audience studies, she became committed to research that talks to rather than talks about audiences.
Nan van Houte
From 26 to 29 January, IETM organised a Caravan meeting in Tehran, coincided and partly hosted by the Fajr International Festival. Since we preferred to meet with a broader slice of the performing arts scene, especially the ‘independent’ artists and those forced to work ‘underground’, our daytime programme was compiled by several partners in Tehran.
fbittencourt
Requiring students to attend the theatre can backfire. So how do you attract and inspire theatregoers of tomorrow?
image from International Arts Manager
Elena DI FEDERICO
The last time you watched a show at the theatre, how much did you pay? Was it worth the price? Pay what you decide (PWYD) theatre turns the question on its head, empowering audiences to choose how much money they want to spend. However..
Marta
Are there significant cross-country differences in the frequency of visits to cultural sites? Are the socio-demographic and economic correlates of visits to cultural sites similar across EU countries? Is income more important than education in determining frequency of visits to cultural sites? We provide answers to these questions that preoccupy policy makers, managers of cultural organizations, and students of cultural inequality.

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