Category Archives:Udgivelser

May. 29.

Rapport om publikumsudvikling: ‘Power to the People’

The face of the audience is changing and our means to maximize our reach with them. This quick and dirty guide is the report from Route 5: ‘Power to the People: Strategic Marketing Through Audience Development’.

This is a good read for anyone looking for new ways to initiate conversation. The empathic approach is also valuable when dealing with social problems and group conflict. It’s a five-page publication which means it’ll take you about 10 minutes to read.


 

From the Route description:
“The last decade showed the biggest shift in information consumption since the rise of television 50 years ago. Mass media are losing power to social media, consumers are quickly becoming less passive and more influential. There’s need for a new approach to culture marketing, putting the audience in the middle of your marketing strategy.

This short report is a great 2-minute read for the marketing professional looking to get som good quick tips from other sectors than culture in the field of external communication.

Speakers: Jo Taylor (Morris Hargreaves McIntyre), Victor vad der Wijk (Air France, KLM), Michiel Rovers (Utrecht University) among others.

Report by: Lisanne de Haan for Trans Europe Halles Resource.

 


» Kilde:  www.teh.net


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Feb. 23.

European Audiences – 2020 and beyond

Konklusioner på og refleksioner over publikumsudviklings konferencen ‘Det europæiske publikum – 2020 og derefter’, som blev afholdt under ‘EU Culture in Motion’ den 16.-17. oktober 2012.

Konferencen ‘Det europæiske publikum – 2020 og derefter’ bragte omkring 800 professionelle kulturarbejdere sammen i Bruxelles for at diskutere, hvordan kulturlivet engagerer sig mere meningsfuldt med publikum i dag og i morgen.

Konferencen var tilrettelagt af Europa-Kommissionen, og den præsenterede eksempler på projekter, der har taget deres publikum meget alvorligt, ofte fra de allerførste stadier af den kreative proces. Graden af deltagelse og debat viste tydeligt, hvad der af nogle anses for at være en ny kulturrevolution: publikum er sultne efter engagement, at dele erfaringer, og at opnå en følelse af fællesskab.

Der er således behov for at fremme udvekslingen af praksis på dette område, til at understøtte kulturinstitutioner i at lære ved peer learning med henblik på så hurtigt som muligt at tilpasse sig de udfordringer, som stilles og muligheder, som gives her i det 21. århundrede.

Publikumsudvikling er en af prioriteterne i EUs kommende finansieringsprogram for kultursektoren, “Det Kreative Europa”, som skal overtage det nuværende kulturprogram i 2014.


Conclusions conference

Conclusions and reflections on the Audience Development conference which was held during EU Culture in Motion, on 16-17 October 2012 are now published. It is a quality document with increasing spin-off effects throughout Europe: Citizen / Visitor – what’s the connection?

The conference ‘European Audiences: 2020 and beyond’ brought together some 800 culture professionals in Brussels to discuss about how to engage more meaningfully with the audiences of today and tomorrow.

Organised by the European Commission, the conference presented examples of projects that have taken their audiences very seriously, sometimes from the very early stages of the creative process. The level of participation and debate clearly showed what is considered by some to be a new cultural revolution: audiences are hungry for engagement, for shared experiences, for a sense of community.

There is thus a need to stimulate exchange of practice in this field, to support cultural organisations to learn faster by peer learning in order to adapt more quickly to the challenges and opportunities of the 21st century.

Audience development is one of the priorities of the EU’s future funding programme for the cultural and creative sectors, “Creative Europe”, which will replace the current Culture programme in 2014.


Conclusions conference [PDF, 590 KB]

More information about the conference

Source: ec.europa.eu/culture


Introduction

Engaging a broader public with cultural works is a priority for the European Commission.
This is the reason why “audience development” is one of the priorities in the proposal for “Creative Europe”, the
future EU funding programme for the cultural and creative sectors and why it was the theme of conference “European Audiences: 2020 and beyond” organised by the European Commission on 16-17 October 20121.

Audience development is rapidly becoming more wide-spread, but some cultural organisations have already developed an engaged relationship and dialogue with their audiences for a long time. The conference offered inspiration, experiences and lessons learned from a range of European cultural projects with experience in this field, most of them funded through the EU Culture and MEDIA programmes.

Over a day and a half, some 800 conference participants from across Europe and diverse cultural sectors explored the concept of audience development from various perspectives through 23 European cultural projects presented in the plenary and in an exhibition. The event focused on grassroots cultural operators, projects and practice.

The conference gave an insight into the large amount of fascinating, informed and diverse work taking place across Europe.

Projects were presented from a wide range of sectors: live performing arts including dance, opera and theatre; the visual arts; film; literature; multimedia; heritage and interdisciplinary projects. The examples
included work performed in more traditional and formal settings such as museums, theatres, cinemas and festivals, as well as projects in unconventional settings including old people’s homes, schools, offices and some other very unusual public space such as farms or trolleybuses.

The conference began with a discussion on what audience development is and why one should consider it as a core part of any organisation and event planning. It then explored how audiences could be empowered through involving them upstream in programming, how audiences can be engaged by sharing the experience in dialogue or actively in the process, how audiences can be further expanded and diversified, and challenges for cultural institutions
in terms of hosting and managing the audience and their expectations.

It is not an easy task to summarize the richness of the presentations and the engaged debates during the conference. The aim of these conclusions is to seek to capture some of the main elements which emerged as perceived by the Commission. These conclusions have no formal status.

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Feb. 19.

Teatersamtaler – et redskab til publikumsudvikling


Scenekunstnetværket har udgivet en folder om projektet ‘Teatersamtaler – Giv publikum ordet’, der kan bruges som et redskab til publikumsudvikling.

Hvordan får man fat på nye publikumsgrupper? Og hvordan fastholder man publikum og får dem til at komme igen – og igen? Det er et spørgsmål, som optager de fleste teatre. Og der er mange forskellige måder at gribe det an på.

Scenekunstnetværket i Region Midtjylland har udgivet en lettilgængelig folder på otte sider, hvor de videregiver deres erfaringer fra projektet ‘Teatersamtaler’ og vejleder i, hvordan man anvender teatersamtaler som en metode til publikumsudvikling.

‘Teatersamtaler’ går ud på, at en gruppe af 6-10 tilskuere lige efter forestillingen samlet inviteres til en dialog, hvor udgangspunktet er spørgsmålet: “Hvad oplevede du?” og svaret bliver en samtale på en time til halvanden. Det kan handle om alt imellem det rørende og irriterende, lige fra en snak om skuespillerens mimik til problemer med at finde garderoben, for det er oplevelsen som helhed, teatersamtalen handler om.

Responsen fra deltagerne har været, at samtalerne gør det sjovere at se teater og sætter forestillingsoplevelsen i et bredere perspektiv. Samtidig er teatersamtalerne indgået i SceNets publikumsforskning og danner dermed nu udgangspunkt for, at teatrene får en større indsigt i, hvad publikum egentlig får ud af deres teaterbesøg.

Rapport på vej
Forsker Louise Ejgod Hansen, som i perioden 2010-2012 har gennemført teatersamtalerne i forlængelse af udvalgte forestillinger, barsler nemlig inden længe med en rapport, der tager det store empiriske materiale under behandling. Den forventes på gaden i løbet af februar 2013.

Metoden er udviklet med inspiration fra:
• Sauter, Isaksson og Jansson: ‘Teaterogön. Publiken möter föreställningen’. Stockholm, 1986, samt
• Scollen: ‘Talking Theatre Is More Than a Test Drive. Two Audience Development Methodologies Under Review’ i International Journal of Arts Management, nr. 9, 2009.

Scenekunstnetværket SceNet er et netværk bestående af 19 af Region Midtjyllands små storbyteatre, egnsteatre, landsdelsscenen og andre professionelle teatre med egen scene og kontinuerlig drift. SceNets overordnede formål er at synliggøre, styrke og udvikle scenekunsten i Region Midtjylland.

 

 

Folderen findes i en læsevenlig version her og kan også downloades som PDF.

Louise Ejgod Hansens rapport med en analyse af teatersamtaleprojektet liver tilgængelig på scenet.dk

Kilder: proscenium.dkScenekunstnetværket, CKI

 

 

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Nov. 18.

European Audiences: 2020 and beyond

Rapport fra Europa-Kommissionens om publikumsudvikling. 2012. 56 sider.

This report highlights 22 different cases for inspiration on the topic. The first chapter is an interview with Ann Branch, Head of Unit ‘Culture Programme and Actions’, DG Education and Culture, European Commission:

Why a focus on audience development?

Some big cultural opportunities are being missed in Europe. As a generalisation, when people read books, see films, go to the theatre and listen to music, they tend to choose either local or national culture or so-called ‘mainstream’ global – mainly Anglo-American – popular culture. Both are perfectly legitimate, however, it is a pity that people aren’t getting to see or experience a wealth of rich art works from other countries as much as they might. As a result, there’s a lot of great work that’s not reaching a wide audience.

There are other major opportunities too, that are ripe to be exploited by the cultural operators in Europe who are adventurous enough to grasp them. These are the challenges of responding to the huge changes in audience behaviour and expectations. Part of this arises from technical innovation. The digital revolution has opened up limitless possibilities for cultural operators – everything from museums exhibiting some of their treasures online, to webstreaming concerts and performances that bring a worldwide audience to events that would otherwise only be seen locally, as well as reaching audiences in places with limited cultural infrastructure. At the same time, rising levels of education and the ever-widening choice for leisure and entertainment mean that people are far more demanding and every offering has to be ready to fight for attention. And all this is happening at a time when tighter restrictions on public funding appear more rather than less likely.

This is why it is a challenge as well as an opportunity. But the tougher competition is matched by every-greater public demand, so the result can be much greater prizes for those who are able to deliver what an increasingly discerning public wants. Alert cultural operators also recognise that economic opportunities are being missed, if audiences are not maximised at European level: the EU single market is a concept that can have validity across the cultural as well as the political sphere. But success in these rapidly changing circumstances requires a shift in the mind set of cultural operators. They have to adapt to a new multidimensional world, in which they are no longer the sole gatekeepers of art, nor the only decision-makers about what the public should or shouldn’t see or hear or experience. Audiences have to be treated differently: many people, accustomed to the dialogue of social media, are no longer willing just to be passive; they have become used to commenting, to becoming, as it were, actors themselves. More and more operators are seeing the value in addressing audiences upstream – not to dumb art down, but to link creation and presentation with a clearer idea about audiences, and a clearer identification of what they expect and feel is relevant to their lives. Similar engagement downstream, to meet artists and performers afterwards, is already showing the way ahead in this type of enhanced engagement.

Engagement and participation is central to this new approach. It is no longer a game of ‘them and us’. The proscenium arch cannot be the only prism to refract the contact between artists and audience. And institutions – and buildings – dedicated to culture can no longer afford to stand aloof, waiting complacently for an elite audience to seek them out. Just as efforts are now being made to engage audiences in the artistic process, so the design and use of cultural buildings is being adapted, offering multi-functional usage, easier access, longer opening hours, and new facilities for new publics… In this emerging world, culture and the arts become a channel for civic engagement too.

This process of audience development is not just a one-way street. If artists and organisations listen and share more closely, they too can find themselves transformed. They can create new interactions with their actual or potential audiences, and can at the same time discover new directions and new approaches in their own art.

But realising these opportunities needs a change among cultural agents. They require new skills for new ways of relating to audiences, which means retraining, different recruitment, building novel strategic partnerships – with for example, the retail, publishing and media sectors. There are no simple answers, no ‘one-size-fits-all’ approach. The need for adaptability will be a permanent feature, but there are great possibilities for those operators that are ready to embrace this reality.

Hent PDF

 

 

Foreword

The best part of my job as European Commissioner for Culture is no doubt to witness the tremendous impact that EU funding for cultural activities can have on the lives of Europeans, for audiences and performers alike. Thanks to funding from the European Union’s Culture Programme, many thousands of cultural practitioners from all cultural sectors have, over the years, established professional contacts to help improve their skills, worked on new projects and performed or showed their work for new audiences all across Europe. This exposure has helped them, and other emerging talents, to develop international careers and work across borders, and has likewise given European audiences a chance to experience original work from European artists first-hand.

Engaging the public with European culture is a paramount priority for the European Commission, and it is why we have decided to focus on audience development in the proposal for the Creative Europe Programme. Audience development is a strategic, dynamic and interactive process of making the arts widely accessible. It aims at engaging individuals and communities in experiencing, enjoying, participating in and valuing the arts through various means available today for cultural operators, from digital tools to volunteering, from co-creation to partnerships.

Audience development as a concept may be relatively new, but some cultural organisations have already been engaged in a dialogue with their audiences for a long time. That is why we wanted to present a snapshot of projects supported by the EUs current Culture and MEDIA programmes, other EU programmes or without direct EU-funding, to provide inspiration for our work ahead. In this brochure you will find projects from a range of cultural sectors across Member States that have developed vibrant audience development strategies and techniques.

I hope you feel inspired by them as much as I do. Let us learn from each other and work together towards introducing audiences of all ages and backgrounds to culture, deepen relationships with audiences and foster cultural and social inclusion.

Androulla Vassiliou,
European Commissioner for Education, Culture, Multilingualism and Youth

Content
Why a focus on audience development? | 4
Creative Europe | 8
Artichoke | 12
Audiences Europe Network | 14
Crossing Cultures | 16
Crowd sourced creativity | 18
Europa Cinemas | 20
Exchange Radical Moments! | 22
Fotorally Euro Slam | 24
Four CORNERS of Europe | 26
Kaunas Biennial TEXTILE’11 | 28
Mladi Levi Festival | 30
Modul-dance | 32
Opening the Book | 34
Opera J | 36
Participation and Inclusion | 38
Rec>ON (Reconciliation) | 40
RESEO | 42
Robots and Avatars | 44
SANCTUARY | 46
Script&Pitch Workshops | 48
Theater Zuidplein | 50
Theatron | 52
Young Europe 2 | 54

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Oct. 15.

Norsk rapport om kunstforbrug i storbyerne

Norske Agderforskning har for nylig offentliggjort sin rapport Kunstkonsum i storbyene.

I et interview i Ballade fortæller rapportens projektleder Egil Bjørnsen om undersøgelsens resultater, og han opfordrer kulturinstitutionerne til at tænke anderledes:

I arbejdet med publikumsudvikling i Norge er det gængs at tage udgangspunkt i et veldefineret kunstnerisk produkt, for derefter at forsøge at markedsføre og formidle det til så mange som mulig. Vi spørger, om det faktisk er muligt at nå ud til såkaldt ekskluderede grupper på den måde – eller om institutionene i stedet må tænke omvendt: Gå ud til de grupper, man ønsker at nå, find ud af hvordan de kan engageres, og så gør det, siger Bjørnsen.

Læs hele interviewet ‘Først publikum  – så kunst?

Læs også Norsk Publikumsutviklings præsentation af rapporten.

 

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Sep. 05.

Kickstarter-bog om publikumsudviklingens hjørnesten

BOGANMELDELSE

Shoshana Fanizza: ‘The How of Audience Development for the Arts – Learn the Basics, Create your Plan’ – Audience Development Specialists, 2012, England, 118 sider.

Denne bog om publikumsudvikling bringer os rundt i mange hjørner inden for feltet. Shoshana Fanizza starter med at give udtryk for sin opfattelse af begrebet publikumsudvikling og hvorfor det er en nødvendig ingrediens for en hvilken som helst kunstorganisation, kulturinstitution, kunstnergruppe eller kunstner i dag.

Hun mener, de teknologiske fremskridt har gjort, at kunstorganisationer og kulturinstitutioner i virkeligheden har glemt at kommunikere direkte med deres publikum. At de ikke kender dem mere, og at de i mange tilfælde har været mere optaget af for eksempel antal fyldte sæder i salen og tørre tal på bundlinjen end på at tænke langsigtet og sætte fokus på relationerne til sit publikum – at lære dem at kende – at de er faktisk mennesker – og at servicere dem på den måde, de gerne vil serviceres på, så de kommer igen og igen og engagerer sig i den enkelte organisation, institution eller kunstform, for derved også at bidrage til økonomisk succes.

Partnerskaber
For at kunne skabe og udbygge disse relationer bruger Shoshana Fanizza “de fire C’er”, som står for Community, Connections, Collaborations and Caring. Og hun understreger vigtigheden af at implementere De Fire C’er i enhver publikumsudviklingsplan, hvis projektet skal lykkes.

Bogen går metodisk frem i uddybelsen af de fire begreber og på hvilken måde, de kan sættes i spil i forhold til at nå sit publikum. Shoshana Fanizza tilføjer et femte C, som dækker over tre faktorer, som må tages med i betragtning – og som også starter med dét bogstav: Courage, Consistancy and Conviction. Det kræver mod, tid og kræfter at lære sit publikum at kende. Og forskellen på publikumsudvikling i forhold til traditionel markedsføring er, at publikumsudvikling handler mere om at opbygge et partnerskab ikke kun mellem organisation og bruger, men også brugerne imellem indbyrdes.

Samtidig lægges der vægt på, at partnerskabet er gældende både før, under og efter den kunstneriske oplevelse. Publikum i det 21. århundrede ønsker at deltage og engagere sig og ikke bare sidde passivt ude i mørket og lade sig underholde.
Når det er sagt, går Shoshana Fanizza hurtigt videre til selve bogens kerne, nemlig hvordan det så kan gribes an – og hvad det er væsentligt at kigge på, før man udvikler og søsætter sin publikumsudviklingsplan.

Toolkit
Hun beskriver, hvor vigtigt det er at bygge sin organisation op indefra og sammensætte et dedikeret, komplementerende netværk og team omkring sig, samt at kende sin vision, sin mission og sine mål, før man som organisation eller kunstner vender blikket ud mod omverdenen, for at kigge på sit eksisterende publikum, hvem de er og hvad de ønsker, og hvordan et potentielt publikum kan se ud i det givne område. Jo mere detaljeret og jo mere personligt desto bedre, for at opnå den største succes.

Resten af bogen kan man kalde et slags toolkit til at komme i gang, hvor der videregives inspiration, bud og konkrete løsningsmuligheder.

Den naturlige måde
De sidste kapitler i bogen giver en appetitvækker til Shoshana Fanizzas næste bog: ‘The Tao of Audience Development’ som hun beskriver sådan: “The Tao philosophy taps into living with more simplicity and harmony and being more natural and one with nature. I believe that audience development is a more natural way to build your audience.”

Anbefalelsesværdig bog
Shoshana Fanizzas bog ‘The How of Audience Development for the Arts’ er let tilgængelig og overskuelig, den kan betragtes som publikumsudviklingens A B C, dog uden at give en færdig værktøjskasse, da der arbejdes med kunst i forskellige genrer med forskellige udfordringer og mennesker. Hun skriver engageret og entusiastisk omkring emnet og hvis publikumsudvikling er en nyopdaget størrelse, kan denne bog være et kick-start til at komme i gang med processen.

Hvad der slår én hele vejen igennem læsningen er Shoshana Fanizzas humanistiske tilgang til emnet og hendes tro på, at høj kvalitet, brugerinddragelse, den gensidige værdiskabelse og oplevelse, er det, som også i sidste ende er vejen til økonomisk succes. En af hendes afsluttende bemærkninger lyder: “Traditions are only traditions because we have made them so. Consider making new traditions.”

Karin Seisbøll

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Pris: £1.89 via lulu.com/spotlight/audiencedevelopmentspecialists

Mere information: buildmyaudience.com

Aug. 22.

The How of Audience Development for the Arts

e-book by Shoshana Fanizza: ‘The How of Audience Development for the Arts: Learn the Basics, Create Your Plan’

Do you want to learn how to build a better audience? This book will teach you the basics about audience development so you can create your very own plan.

Published 10 January 2012
Price: £1.89

For sale on lulu.com

Læs anmeldelse

Shoshana Fanizza has been in arts management for over 13 years and has worked with non-profits for over 18 years. She has been involved in the arts all her life (horn, piano, Thespian, choir, voice and dance lessons, puppets, art and jazz history classes, film enthusiast) and has a background in marketing, sales, public relations, and customer service. Shoshana is the founder of Audience Development Specialists and is the main audience development consultant. After attending several arts marketing conferences, seminars and workshops, and being a part of the Boulder County Arts Alliance’s 2006 Audience Development Initiative, it has come to her attention that several experts define audience development, but do not show how to apply the idea of audience development. She is now rolling up her sleeves to work with artists and arts organizations to design solution based audience development plans and projects.

For more information: buildmyaudience.com

Aug. 02.

Ut med fordommane – inn med publikum

Konference-rapport af: Øyvind Lyslo, 1. august 2012

Land: Norge

Referat fra Førdekonferencen 2012, som med titlen “Inn med publikum, ut med fordommene” havde publikumsudvikling på dagsordenen og en håndfuld af foredragsholdere, der satte dette vigtige emne i et nationalt og internationalt perspektiv.

‘Ud med fordommene – ind med publikum’ er et motto, der kunne være taget direkte fra Forde festivalens grundtanke. For at få publikum til at gå til en koncert, hvor de ikke ved helt hvad de kommer til at opleve, kræver en langsigtet og målrettet branding. At dette var sat på konferencens dagsorden af en festival, hvis oprindelige succes med netop dette, vidner om, at Førde festivalen både har evnen til at reflektere og et ønske om at udvikle sig yderligere…

Hent rapporten (PDF, 7 sider)

 

Powerpoints fra oplægsholderne
Norsk Publikumsudvikling: resourcer fra Førde-konferencen

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Jun. 23.

Introduktion til publikumsanalyse i Rotterdam

20-siders hæfte på engelsk, hvor Rotterdam Festivals fortæller, hvordan de gennem de seneste fem år har arbejdet med publikumsanalyse, tal og tendenser.

PDF: We Rotterdammers and Culture


‘We Rotterdammers and Culture – an analysis of figures and trends from five years of audience research’

INTRODUCTION
Audience research has been very topical lately. One of the reasons for this is that the composition of the population has changed over the last few decades and will continue to change in the years to come. Another reason for the interest in audience research is the fact that cultural policy is increasingly linked to ‘the interest and requirements of the audience’.

In cooperation with the Rotterdam cultural sector, Rotterdam Festivals has been promoting a collective and structural approach for audience development in Rotterdam since the late 1990s. For more than ten years now, Rotterdam Festivals has initiated and coordinated research into the Rotterdam cultural audiences in a structured way. For example, by providing insight into the general composition, thresholds and motives of the culture audience.

We compiled the knowledge we have collected in this area in recent years in the Dutch publication Wij Rotterdammers en cultuur (We Rotterdammers and Culture) published in September 2011. Due to the positive feedback on the publication and the interest from our international contacts, we thought it useful to publish an English summary of Wij Rotterdammers en cultuur. Although the data in the studies are based on the Rotterdam area, the results and the approach can also be used by cultural professionals in other
cultural metropolises.

First we introduce the target group model used by Rotterdam Festivals, then we describe the eight main audiences we distinguish (Who are we?).

In Chapter 2 (What do we do?) we show what people do in their free time and determine how the cultural audience of Rotterdam differs from the rest of the Netherlands and Europe.

Then we discuss the barriers people experience with regard to cultural events (What is stopping us?).

Finally, we summarise what the requirements of each of the eight target audiences are (What do we want?).

We hope that you will enjoy reading this English edition. And that it may contribute to increasing your knowledge about your audience so that even more people will benefit from what the arts and culture sector has to offer.

Chapters
Who are we? > p. 4
What do we do? > p. 10
What is stopping us? > p. 14
What do we want? > p. 18

© Copyright Rotterdam Festivals, 2012
Editing: Cynthia Dekker, Eelke Bosman, Johan Moerman
English translation: Paula Truyens en Christy de Back
Photography portraits: 500watt
Photography: Daarzijn
Design: stofrotterdam.nl

Nothing from this publication may be copied without prior written permission from Rotterdam Festivals. The content of this publication has received considerable attention. For any inaccuracies we can not be held liable, nor is this publication legally binding.
Rotterdam Festivals
www.rotterdamfestivals.nl

PDF: We Rotterdammers and Culture

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Jun. 19.

Arts Council England lancerer to nye publikum-toolkits

Arts Council England – briternes kunstråd – har lanceret to nye toolkits/guider, der giver praktiske råd og tips om, hvordan man engagerer to målgruppesegmenter, der tilsammen udgør omkring en tredjedel af kunstpublikummet. De kaldes henholdsvis ‘Middag og et show’ og ‘Familie og samfunds fokuseret’.
Guiderne giver oplysninger, som kan hjælpe kulturinstitutioner til bedre at forstå disse to målgruppesegmenter.

Family & Community Focused Toolkit [PDF]

Dinner and a Show Toolkit [PDF]

 

INTRODUCTION

One of the Arts Council’s 10-year goals is for more people to experience and be inspired by the arts. We know excellent work is being created all over England and that more people than ever are engaging with the arts, but we think there is real potential to attract even bigger audiences, reach even more people and make sure those who engage with the arts do so more regularly.

We want to work with arts organisations across the country to enable them to have an even-stronger focus on building audiences – so that they remain central to the communities they serve. Our aim is to ensure that people, wherever they live and whatever their background, have access to excellent art and that we break down the economic and social barriers that stop people enjoying the arts.

The first step towards achieving this goal, is to understand why and how different people engage with the arts in England. The Arts Council’s Arts Audiences: Insight research identified 13 distinct audience segments and looked at how the arts fit into the lives of these groups, their engagement with and attitudes to the arts, and how they spend their leisure time. It also considered socio-demographic
factors, media consumption and lifestyles. You can read more about this research by visiting www.artscouncil.org.uk/audienceinsight

This toolkit concentrates on the segment we call ‘Dinner and a show’, which accounts for about 20% of the English adult population. It aims to help arts organisations attract this particular section of the population to their work, setting out the characteristics of this group and providing a six-point process for encouraging them to experience the arts.

The toolkit also provides case studies from organisations that have undertaken pilot projects aimed at attracting this audience segment.

I’d like to thank &Co, All About Audiences and Audiences North East who have worked alongside us on these toolkits, and also all the organisations that volunteered to be case studies for this research.

I’m sure these toolkits will be really useful to organisations across the country as they look to attract new audiences to the arts.

Alan Davey
Chief Executive, Arts Council England


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