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 ?

Kawashima - Beyond attenders
Goran TOMKA
Nobuko Kawashima's research paper is one of the first (and best) critical studies into audience development in policy and practice. In 2000, before audience development has swept the plains of all European cultural policies, Kawashima questioned assumptions, expectations and realities of policy on audience development. Namely, she claimed that there is an assumption that participation in cultural activities is good for everyone and desired by all, and that cultural participation is only a matter of certain removable barriers. However, as she formulates it: "such an idealistic view of culture...
Alessandro BORELLI
Data suggest that some types of cultural organizations are perceived as more welcoming than others. Here’s how we could do better.
Elena POLIVTSEVA
"Many organisations will have a subjective view of most of their audiences. To highlight this, I’m going to consider what I might look like to some of the organisations I’ve visited in the past year. I may only be one person, but you’ll see I look very different to the organisations I chose to visit."
Elena POLIVTSEVA
In a world where individualism has killed cooperation and the capacity for being and working together, where cooperation sucks and self-reliance seems so cool, we are smoothly and consistently dismantling all social ties. Why am I supposed to do something with my neighbours? I'd rather do it alone. Cultural initiatives that challenge this extremely individualized model of the world are worth closer attention, as they help us re-establish social ties and our trust in others.
Sally Jane NORMAN
Performing arts allow us to creatively challenge digitally remediated experience, and to collectively reflect on and explore its prolific scales, materials, and modes of existence. Through celebrations of diversity and idiosyncracy, live performance helps us counter the normative pressures of digitisation. My keynote looks at how theatre - Artaud's crucible - is a uniquely powerful means for mobilising the poetic energies that characterise what is human, and what it is to be human. This in turn is seen as a source of vital resilience, tuning our senses of liveness to digital - and post-digital - times.
Julie BURGHEIM
Cet article de Benjamin Hoguet cite notamment une création de la compagnie anglaise Blast Theory, KAREN, évoquée dans le mapping Le spectacle vivant à l'ère du numérique : un tour d'horizon.
Fernando BITTEN...
This free book profiles case studies of innovative audience development approaches led by arts organisations that the foundations funded in their communities.
Fernando BITTEN...
El sector de las artes escénicas, afectado gravemente por la crisis económica (que ha comportado la reducción de recursos públicos y el descenso notable del consumo), debe, en el corto plazo, salvar la oferta y, en el medio plazo, reforzar la demanda.
Marta VAN HAART
The concept of “engagement” in the arts is a tricky, slippery subject with a lot of room for miscommunication. At its most basic, engagement events are ones that allow people not just to be a passive consumer of the arts, but to engage in arts making.
Elena DI FEDERICO
Europe has a ‘problem’; it is becoming a ‘less cultural continent’ as fewer Europeans are ‘engaging in cultural activities’. This paper questions the existence of this ‘problem’ and instead suggests that there is a shared problematisation across Europe sustained by common discursive archaeology that employs various discursive strands in relation to a dominant institutional discourse. The argument is that the ‘problem’ of ‘non-participation’ legitimates a ‘solution’ that predates its emergence: the state subsidy of arts organisations.

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