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?

fbittencourt
This first edition of the Cultural and Creative Cities Monitor shows how well 168 selected cities in 30 European countries perform on a range of measures describing the ‘Cultural Vibrancy’, the ‘Creative Economy’ and the ‘Enabling Environment’ of a city, using both quantitative and qualitative data.
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If the essence of art is necessarily elusive and hard to define, so too is the essence of arts engagement. As audiences grow more diverse and demanding, and new digital technologies allow anyone to become a content creator with the click of a button, arts engagement now embraces a wide array of strategies, methods and goals.
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Given the litany of distractions vying for people's attention nowadays, arts organizations need to do a better job at engaging everyone, "diverse communities" or otherwise. The engagement challenge spans demographics, and that's because the very definition of the arts experience is changing.
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.
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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.
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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.
fbittencourt
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.

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