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.

By mik | Posted in Udgivelser | Post a comment or leave a trackback: Trackback URL.

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