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?

sylensi
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.
sylensi
Sylvia Botella interviews sociologist Éric Fassin about his views on the connection between sociology, the performing arts, and politics in the age of populism.
Matteo Lanfranchi
Stephen Hadley (Queen’s University, Belfast) talks about audience development at the Audience Development è innovazione sociale
Victor Mayot
Dans le cadre des recherches pour le #133 d'Alternatives Théâtrales, nous avons recueilli des propos d’artistes, de directeurs de structures et de représentants d’institutions, en France et en Belgique. Ces paroles sont passionnantes, polémiques, souvent émouvantes et très stimulantes. Nous publions chaque semaine des extraits sur le blog, et présentons la totalité des textes dans cette publication sur le site. Plusieurs personnes ont participé activement à la récolte de ces témoignages : Christian Jade, Laurence Van Goethem, Antoine Laubin, Nancy Delhalle (Alternatives théâtrales), Lisa Guez...
fbittencourt
All cultural organisations are experts in audience engagement – it’s an essential part of what we do. But an audience development plan is more than just an expression of how we do it. It is a forward-looking statement of intent and key to delivering public purpose, to staying relevant and resilient.
Victor Mayot
We develop and test the idea that public appreciation for authentic lowbrow culture affords an effective way for certain elites to address feelings of authenticity-insecurity arising from “high status denigration” (Hahl and Zuckerman 2014). This argument, which builds on recent sociological research on the “search for authenticity” (e.g., Grazian 2005) and on Bourdieu’s (1993) notion of artistic “disinterestedness,” is validated through experiments with U.S. subjects in the context of “outsider” art (Fine 2004).
fbittencourt
In a conversation on “How Tech Companies Think About the Arts” at the 2017 Americans for the Arts Annual Convention in San Francisco, artists and arts organization had an opportunity to connect with philanthropic representatives from Silicon Valley companies to learn and exchange ideas on how to better engage one another.
fbittencourt
Data suggest that audiences do not “age into” greater concern about arts and culture. If organizations want people to care, they need to work to change people’s cause priorities.
Nan van Houte
Recent report of the OMC expert group from EU members states, in the context of the EU workplan 2015-2018 on Policies and Strategies for Audience Development.
fbittencourt
Mobile applications have been a hot topic for a long while within the visitor-serving industry. There are mobile applications for all kinds of museums, zoos, aquariums, historic sites, and performing arts entities. But are people using them? And do they increase meaningful performance metrics like visitor satisfaction?

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