Tag Archives: EU

Mar. 20.

“The Yahoos are truly upon us”

Cultural institutions need to take a deep dive if they really want to attract their missing audiences, according to a new EU report.

By Rich Hadley, Audiences Europe Network

Proving that you shouldn’t judge a book by its cover (or title), there are many compelling reasons to read the EU’s recent ‘Policies and good practices in the public arts and in cultural institutions to promote better access to and wider participati on in culture’ (October 2012)

Depending on your perspective it will either bear out what you’ve been thinking for years, that audience development is much more than a cosmetic nod in the direction of the marketers, or confirm your worst fears, that the Yahoos are truly upon us. (Read Tiffany Jenkins describing the apparent ‘contempt’ for art in the name of inclusion.)

Despite its unsexy title, the report itself is a lively and stimulating read, mercifully light on the Eurospeak.

A three page exec summary gives you the flavour: cultural participation is a basic human right; funded institutions are mainly benefiting the few, those with high incomes and education levels while ignoring those in ‘more deprived circumstances’; equity and efficiency in the use of resources should be ‘guaranteed’. Wow.

So why is it that so many ordinary EU citizens, particularly young people, persistently turn their backs on ‘traditional’ culture? The EU panel of 24 cultural policy experts behind the report come to the startlingly clear conclusion that the problem is not with the audiences, but with the institutions themselves, those places where high arts and culture are traditionally ‘celebrated and conserved’.
Their suggested response has to be nothing short of ‘a deep revision of practices’ if the missing audiences are genuinely to be embraced. Those practices range from ‘re-interpreting and repositioning programming of culture’, including the places in which it happens, to ‘revising the overall approach and mandate of the institutions… [and their] decision-making’.

In other words, the big traditional institutions have to change both for their own sakes – and for the common benefit of European tax payers. Doing more of the same is not an option.

For an EU document, this is radical stuff, just one more demonstration that a paradigm shift in cultural thinking in favour of audiences is well underway. Art for arts sake gives way to Audiences First.

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Mar. 18.

Publikumsudvikling EU-Kommissionens nye fokusområde

Publikumsudvikling bliver fra og med 2014 et nyt tema i EUs kulturprogram. Læs her hvis du vil vide noget om kulturprojekters muligheder for at få støtte fra EU.

EU delte 400 millioner euro – 2.983.000.000 kroner – ud som støtte til kulturprojekter i perioden fra 2007 til 2013. Det erklærede formål med EUs kulturprogram har i perioden været “at styrke europæernes fælles kulturområde og udvikle det europæiske medborgerskab igennem fremme af bevægeligheden for personer, der arbejder i kultursektoren”, samt at støtte en “tværnational udbredelse af kunstværker eller kunstneriske frembringelser” og generelt at være med til at “fremme den tværkulturelle dialog”.

Programmet er åbent for private og offentlige kulturaktører. Det vil sige teatre, kunstmuseer, kulturhistoriske museer, gallerier, kulturforeninger, orkestre, spillesteder, koncerthuse, biblioteker, arkiver, kulturuddannelser, off. kulturadmnistration. Men altså ikke privatpersoner.

I 2007-2011 blev cirka halvdelen af alle danske ansøgninger imødekommet og de modtog et støttebeløb til på sammenlagt cirka 195 millioner kroner, herunder til lønninger til i alt syv danske projektledere og 37 danske projektdeltagere.

Odense Teater, Aarhus Teater, Aalborg Teater, Odin Teateret, Københavns Internationale Teater (KIT), Taastrup Teater, Republique Teater og Østergasværk Teater  var nogle af de danske teatre, der fik EU-støtte i perioden. Også Det Kongelige Bibliotek, Nationalmuseet, Statens Museum for Kunst og Louisiana var med på listen.


Creative Europe
EUs program for den kreative og kulturelle sektor for 2014-2020, som har fået titlen ‘Creative Europe’, ligger i øjeblikket til behandling med et budgetforslag på 1,8 milliarder euro – 13,4 millioner kroner – hvilket er en stigning på 37 procent i forhold til det nuværende program.

Creative Europe har sat sig som et af sine overordnede formål at understøtte og promovere kulturel mangfoldighed i Europa. Og én af tre af kulturprogrammets priorieteringer er publikumsopbygning – og udvikling. “At udvikle europæisk publikum for kulturelle værker,” som det formuleres. De andre to prioriteringer i programmet er Kapacitetsopbygning og Cirkulation af kultur.

Creative Europe ventes endelig vedtaget i EU her i løbet af foråret. Til efteråret vil de konkrete puljer og ansøgningsfrister kunne offentliggøres – med deadline for første ansøgningsrunde i starten af 2014.


Publikumsudvikling
Men publikumsudvikling er altså EU-Kommissionens nye fokusområde, og det gælder såvel de social og økonomiske dimensioner som de kulturelle. Ifølge Lisbet Tegllund fra Cultural Contact Point DK, som er sat i verden for at rådgive og fortælle om EUs kulturstøttemuligheder til danskerne, så forstår EU publikumsudvikling som det at:

• Skabe et nyt publikum
• Uddybe forholdet til det eksisterende publikum
• Få et bredere publikum
• At være inkluderende
• Udnytte digitale muligheder
• Komme ud i Europa med sine værker og produkter

Det handler også om at uddanne børn og unge til at bruge kultur gennem ’outreach’ og bedre adgang, og at række ud efter publikumsgrupper, der er under- eller ikke repræsenterede. Skabe bedre adgang for dem både fysisk og socialt.

Det kan også handler om, at kulturinstitutionerne skal indgå partnerskaber med andre organisationer, erhverv og uddannelsesinstitutioner, sådan som eksempelvis Det Kongelige Teater for nylig har gjort det med et almennyttigt boligselskab og et kommercielt firma. Andre overskrifter i EUs program er:

Publikumsinvolvering
Brugerinddragelse, brugergenereret og -styret indhold, bruger som medskabere.

Publikumssegmentering
Bevidst brug af markedsanalyser, segmentering af publikum, kulturtilbud særligt rettet mod bestemte grupper (børn, unge, gamle, ’de unge på 40’, etniske minoriteter osv.)

Priser
Innovative salgsstrategier, differentiering af priser til bestemte grupper o.lig.

Geografiske forhold
Bringe kultur ud til der hvor brugerne er. Kulturen skal ud af institutionerne.


Tips
Hvis du beslutter dig til at prøve for alvor at søge om støtte til dit kulturprojekt hos EU, skal du gøre dig klart, hvad det indebærer, herunder ting som at
· være ude i meget god tid i forhold til hvornår du vil starte projektet
· at have fundet de rette partnere (i forhold til publikumsudvikling kan et engagement i European Audiences Network være en mulig indgang til dette)
· samarbejde med (eller i det mindste møde) nogen, som har prøvet at modtage EU-midler før
· gøre brug af den danske rådgivningsfunktion, som findes
· sørge for at de involverede partnere får lavet nogle meget klare og nedfældede aftaler med hinanden
· sørge for at have en god bogholder med dig undervejs. (Dette punkt viser sig erfaringsmæssigt at være vigtigere end mange som udgangspunkt forestiller sig!)


Mere information om emnet
• EU-Kommissionens brochure og rapporter om publikumsudvikling
cultureinmotion.eu/European-Audiences/documentation.jsp

• Eksempler på projekter med publikumsudvikling kan ses på
cultureinmotion.eu/European-Audiences/projects.jsp

Cultural Contact Point DK
Mere information om emnerne kan også hentes ved at kontakte Cultural Contact Point DK, som har kontor i Kulturstyrelsen i København. EU-kontaktperson i Danmark er Lisbet Tegllund – lte@kulturstyrelsen.dk
kunst.dk/ccp-eu-kulturprogram
kulturstyrelsen.dk 

EU i Bruxelles
• DG EAC: ec.europa.eu/dgs/education_culture
• EACEA: eacea.ec.europa.eu
• EU-Kommissionens rapport fra dens indledende konference om emnet i oktober 2012: Access to culture 
• Anne Bamford og Michael Wimmer, European Expert Network on Culture: Audience building and the future Creative Europe Programme – 30 siders rapport plus 48 siders appendix med case studies.

 

 

 

CKI var i juni 2012 med til at arrangere konferencen ‘Next Step’, som du kan læse om i denne publikation, ‘Stepping Into The Future’, som diskuterer præmisserne for ‘Creative Europe’ 

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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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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. 03.

Konference i Bruxelles: ‘European Audiences: 2020 and beyond’

The European Commission is holding a conference on 16-17 October 2012 in Brussels which will provide inspirational examples of audience development by cultural organisations and foster European exchange of practice on audience development strategies.

‘Creative Europe’, the Commission’s proposal for its future funding programme for the cultural and creative sectors for the period 2014-2020, proposes an important new focus on audience development in order to foster long-term audiences for European cultural works. With this in mind, the annual ‘Culture in motion’ valorisation conference of the Culture programme will discuss audience development in a practical, “hands on” way, at the Egg, in Brussels.

Around 22 speakers will debate in four different panels, dedicated to empowering the audience, engaging the audience, diversifying the audience and hosting the audience. The speakers are project promoters from the EU Culture and MEDIA programmes, as well as other good practices from the cultural sector.

The conference will be moderated by Mary McCarthy, Cultural Director/Director of the National Sculpture Factory Cork, Ireland and Former programme Deputy Director and Programme Director Cork 2005: European Capital of Culture and by Chris Torch, Senior Associate – INTERCULT/Sweden and Artistic Director for SEAS and CORNERS.

The conference on audience development will be preceded on 15 October by an exchange of good practices among past and future European capitals of culture, taking place at the same venue, and at which the Commission will present its proposal for the future of the European Capitals of Culture beyond 2020. More information on this event will be published soon.

 
A website of the two events is available now, including registration and practical information:
cultureinmotion.eu/European-Audiences

Source: ec.europa.eu/culture

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Apr. 26.

Komponistforening skal lede europæisk projekt om publikumsudvikling

De kommende to år vil Dansk Komponist Forening lede det store europæiske projekt om publikumsudvikling, New:Aud – en forkortelse af New Music: New Audiences.

New:Aud er initieret og udviklet af Dansk Komponist Forening. Det involverer ikke mindre end 16 europæiske lande og flere end 30 ensembler og orkestre i Europa, og det har et budget på tæt ved 4,5 millioner kroner. EU har netop støttet projektet med en to-årig bevilling på 1,5 millioner kroner, der skal gå til at udvikle nye koncertformer og skabe nye måder at formidle kunst på.

New:Aud er det eneste danske projekt, der modtager støtte fra EU’s kulturfond til to-årige netværksprojekter.
Ensemblerne Athelas Sinfonietta og Scenatet kommer til at repræsentere Danmark i New:Aud.

Sådan skal det foregå
De flere end 30 deltagende orkestre og ensembler skal via en række virtuelle møder og konferencer samt gennem workshops og centralt opsamlede interviews dele deres erfaringer om publikumsudvikling.

På baggrund af denne erfaringsudveksling om ‘best practice’ inden for publikumsudvikling skal de deltagende orkestre og ensembler i perioden udvikle nye tiltag, der skal skabe øget dialog med publikum.

Som en del af projektet skal de deltagende orkestre og ensembler fremføre andre landes Ny Kompositionsmusik. New:Aud har dermed en indbygget kulturudveksling, hvor de deltagende landes musik markedsføres internationalt, og der skabes varige bånd mellem de deltagende kulturinstitutioner på tværs af Europa.

Projektets resultater opsamles som en del af et større, engelskstyret forskningsprojekt.

Projektet sættes blandt andet i gang med en konference i Bruxelles, hvor de 16 landes kulturorganisationer deltager. I forbindelse med Dansk Komponist Forenings 100 års jubilæum afholdes en midtvejskonference i 2013 i Danmark, mens slutkonferencen afholdes i et endnu ikke navngivet deltagerland medio 2014.

New:Aud’s sekretariat placeres hos Dansk Komponist Forening, hvor Thomas Demidoff er projektleder i perioden medio 2012 til medio 2014.

Pressemeddelelse:
nissenco.dk/presserum/dkf/new-aud.aspx

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Apr. 22.

Hvorfor Creative Europe-programmet fokuserer på publikumsudvikling

Audience development as a new focus in ‘Creative Europe’

In this seven-minutes video-clip, Ann Branch, Head of the Culture Programme and Actions Unit, European Commission (DG Education and Culture) is interviewed by Chris Torch from Intercult in Sweden on the European Commission’s ‘Creative Europe’ proposal which is currently being negotiated by the Council and European Parliament:

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Mar. 01.

EU søger case study eksempler på publikumsudvikling

EU søger case study eksempler på publikumsudvikling i hele Europa i forbindelse med at Europa-Kommissionen søger både politisk og finansieringsmæssigt at fremme et stærkere fokus på publikumsspørgsmål.

Har du en historie at fortælle?
Deadline er den 9. marts 2012.

Læs mere…

 

Europa-Kommissionen planlægger at holde en konference med fokus på publikumsudvikling i oktober 2012.

 

Her er hvad de skriver:

“The Commission is organising a conference on audience development in autumn 2012 and is looking for good examples from projects supported by the Culture and Media programmes. Conference on audience development in the autumn 2012 “Creative Europe”, the Commission’s proposal for its future funding programme for the cultural and creative sectors for the period 2014-2020, proposes an important new focus on audience development in order to foster long-term audiences for European cultural works.

The European Commission will therefore organise a conference in autumn 2012 in Brussels on the topic of audience development with a view to fostering European exchange of practice. As part of its preparation of this conference, the Commission wishes to identify and showcase some projects already being supported by the EU’s Culture and MEDIA Programmes with an essential and built in audience development component.

Audience development as a concept Audience development is a strategic, dynamic and interactive process of making the arts accessible. It aims to engage individuals and communities in experiencing, enjoying, participating in and valuing the arts through various means including arts marketing and synergies with customer relations. Audience development embraces the long term process of attracting and engaging diverse and new audiences, as well as retaining them by establishing and maintaining strategic, dynamic and sustainable relationships. It therefore has both a widening sense (bringing new audiences) and a deepening sense (improving experience and deepening engagement of the current audience). As well as widening access to culture, audience development is complementary to cultural education in schooling through activities conducted directly by cultural operators. It has cultural, social and economic benefits: cultural in the sense that it helps European works reach larger audiences and fosters meaningful engagement; social in that it is often about reaching young people and the disadvantaged, which has benefits for social inclusion; and economic in that developing audiences can also have the benefit of increased or new revenue streams.

The conference will seek to provide inspirational examples of audience development by cultural organisations and to foster European exchange of practice on audience development strategies. Current and former beneficiaries who have an essential and built in audience development component in their projects and who are interested in presenting their projects are invited to fill out the project template by 9 March 2012.”

Kilde: blogindlægget European Commission Calling — Audience Development Conference:

 

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