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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The main focus of the IETM Rijeka working session Please turn off your cell phone was the issue of attracting new audiences into what are considered as traditional performing arts venues and formats. How do we reach out to potential new audiences that do not identify as regular theatregoers? This report summarises the discussions held on who gets to participate and who remains excluded, and how this occurs when traditional audience behaviours are required.
The far ones, invisibles, uncountables, the multitude - the ones who do not take part. It is not audiences, but their absent relatives, the ones who could not be understood, involved or included who are presenting the biggest disruption in the orderly polis of our culture.
Cultural development is inherently linked with the qualification of so-called artistic excellence and artistic autonomy. At the same time, cultural participation is an inseparable part of cultural democracy. Thus, enhanced cultural participation without compromising the arts represents one of the most important challenges for democratic cultural policy.
Performing arts practices of today survive in a peculiar ecology thanks to the role given to various cultural institutions, whose mission is no longer to produce art but to reproduce a consumerist relation to work in art, whereby the artists grow less and less present through their artworks and more and more through their labour.
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 explores the definition of audience development from different angles, explains the correlation between spectatorship and citizenship, and studies the phenomenon of an implied or implicit audience.
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.

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