Développement des publics

Les artistes donnent un sens aux œuvres d’art, mais le public leur donne la vie – ou vice versa ?

Peu importe pour qui nous créons (ou nous pensons créer) ¬ pour nous-mêmes ou pour eux ¬ sans un public, nous ne pouvons ni prouver la valeur intrinsèque de nos pratiques, ni gagner notre croûte.

Comment pouvons-nous nous assurer que notre société qui change si rapidement n’arrêtera pas de contribuer aux arts ? Comment établir un lien mutuellement enrichissant entre les artistes et leur public ? S’agit-il de relations authentiques ou de stratégies marketing ¬ ou les deux ?

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This study concerns the attendance motivations for cultural services based on the audience’s level of knowledge. The purpose of this paper is to define the role played by general knowledge (e.g. cultural education) and specific knowledge (e.g. communication around a cultural product) in the attendance motivation trajectory of a cultural service.
Goran Tomka looks at what audience development is, the phenomenon of an implied or implicit audience, decolonizing institutions and more.
Dr David Stevenson talks about audience diversification, confronts the dominant hierarchy of cultural activities, and looks to create space for valuing everyone's chosen cultural experiences the same way.
Nevenka Koprivsek puts forward her opinion on what defines the relation between the artist and the spectator while challenging some of the most common concepts around audiences and providing insight into the reality of working in the Balkan region.
The cultural democracy notion stemmed from the belief that many cultural traditions coexist and none should dominate over the others as the “official” or “high” culture. Another premise of cultural democracy is that everyone should be free to participate in cultural life.
This IETM Hull report highlights some voices reinforcing the urge to open up the art world for those who were not privileged to be part of it and to foster everyday creativity.
Goran Tomka looks at how arts and culture organizations can best engage with their communities.
Jamie Potter from Middle Child Theatre discusses how their New Critics' Programme is helping grow and diversify theatre criticism in the UK.
Nan van Houte talks about the importance of creative citizens and expresses a desire for funding bodies to better support cultural democracy.
Nan van Houte parle de l'importance des citoyens créatifs et exprime son désir que les organismes de financement soutiennent davantage la démocratie culturelle.

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