Tag Archives: konferencer

Sep. 01.

Efter Arts & Audiences konferencen: Hvad har vi lært?

Niels Righolt, CKIs centerleder, lavede en opsummering på Arts and Audiences konferencen i Helsinki i august 2013. En personlig reflektion over to inspirerende og intense dage.

Se videoen på: new.livestream.com/Infocrea-fi/Arts-and-Audiences

Friday afternoon session 2 – “What have we learned? What do we do with all this?”; Summary by Niels Righolt, Danish Centre for Arts & Interculture – Voting for top strategies

Here is a Think Piece written by Niels Righolt from DCAI (CKI). It was commissioned by the British Council and published on 28 August 2013 together with four other perspectives on Equality Exchange:

‘Scandinavian Equality as a Glimpse in the Mirror’ (PDF)

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Feb. 18.

Fra ord til handling – Norsk Publikumsudviklings årskonference

27.-28. maj 2013 arrangerer Norsk Publikumsudvikling sin første årskonference:

“Ambisjonen er å lage et årlig, nasjonalt bransjetreff for alle som brenner for publikum.

Konferansen har tittelen FRA ORD TIL HANDLING og har fokus på operativ kunnskap og den ofte vanskelige veien til gjennomføringen av konkrete tiltak.

Programmet er i støpeskjeen, men vi kan garantere både rykende ferske undersøkelser, nasjonale og internasjonale case-presentasjoner og rikelig anledning til å treffe kollegaer og knytte nye kontakter. Du kommer til å høre nytt om noe av det vanskeligste innenfor faget: å bygge etterspørsel for ny kunst, og vi kommer til å dykke dypere ned i inkluderingsdebatten og se på hva inkludering kan bety i praksis.

Møt dine kollegaer og bli kjent med det nye NPU under Festspillene i Bergen 27.-28 mai. Programmet annonseres i løpet av måneden.”



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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




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

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
Script&Pitch Workshops | 48
Theater Zuidplein | 50
Theatron | 52
Young Europe 2 | 54

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Nov. 12.

Schweitz: Symposium om outreach-programmer

On 7 November 2012, the British arts consultant Francois Matarasso took part in a symposium about cultural mediation in Basel, organised by Pro Helvetia with Migros.

The symposium marked the end of a four year programme supporting the development of outreach programmes in Swiss cultural institutions. The lively day was oversubscribed and included valuable contributions from Lois Hetland (on arts education research), Janna Graham (on the Serpentine Gallery’s education programmes) and Christoph Deeg, (on new media and outreach), among others.

Francois Matarasso’s contribution can be downloaded here as a PDF.

Excerpt of his blog post:

“The development of outreach programmes—the wide range of activities by which publicly funded cultural institutions seek to reach new audiences—is an important aspect of post-war European cultural policy. It is usually described within a concept of democratisation, in which cultural services are designated a public good, like education and health services that the state should provide to its citizens. The good reason for cultural institutions to extend access to their offer is the belief that the art they care for or create is an enriching human experience, which is true. The less admirable reasons are to secure greater political legitimacy for activities used mainly by a small and privileged part of a society or to promote unquestioned acceptance of elite forms and values. In other words, to use art as a form of state-controlled social instruction.

Whether these justifications for outreach programmes bear much relation to the experiences participants actually get from them is another question. The people who are—in the violent metaphor often used by cultural institutions—‘targeted’ by such initiatives are autonomous human beings, actively engaged in forming their own sense, taste, values, ideas and judgements. They are not passive blanks onto which cultural agents can stamp their impressions. Each of us responds to an artistic experience differently. Our character, past experience, present feelings, education, social position, age—these and many other things that make each of us unique, determine how we respond to experience.

Art offers powerful, complex experiences whose effects we cannot fully understand even in ourselves, still less in other people. Crucially, those experiences are particular to ourselves. An artist creates a work of art. A spectator, reader, listener or participant recreates it through the filter of their own selves in the auditorium of their own mind. But what the spectator, reader, listener or participant recreates is not what was in the artist’s mind, only something new that is enabled by the work of art. That is why no two people have ever read the same book. That is why people can have such violently different reactions to a film , a play or a concert. That is why people can have a fine musical sensibility and manage a concentration camp.

This is a fundamental problem to politicians who like to believe that their policies and spending decisions are based on reason and evidence. Seeing, as they increasingly do, that art has an important place in people’s lives and that it can also lead to positive changes, they have turned to evaluation both to reassure them about something they do not really understand and to give them more power over how it is used. They have used scientific method as the most politically legitimate knowledge system, but without asking how appropriate it is to understanding arts practice and experience. In fact, since people’s experience of art are essentially individual, it is all but impossible to meet the first criteria of scientific method, namely that experiments should be replicable and lead to the same results,  in assessing arts programmes.

Where does this leave us? First, and most simply, it seems evident to me that cultural institutions financed through public taxation have an underlying responsibility to ensure the widest possible access to their work by those who pay for it. That seems straightforward enough: in the terms of the Universal Declaration of Human Rights, everyone has the right freely to participate in the culture of the community and to enjoy the arts. On that level, no further justification of outreach programmes should be required.”


Read more on parliamentofdreams.com

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Oct. 29.

Musikpublikums-projektet New:Aud skudt igang

Projektet New:Aud samler samtidsmusik-ensembler til samarbejde om publikumsudvikling, blandt andet står udvikling af koncertformen som et centralt virkemiddel. 17 europæiske lande og 31 ensembler er involveret i projektet.

Projektet New:Aud holdt sin åbningskonference i Bruxelles i slutningen af oktober.

Under Arts & Audiences i Stockholm præsenterede Thomas Demidoff og Heather Maitland projektet New Music: New Audiences.

“Vi får anledning til at tage fat i problemstillinger, som virker nærmest uoverkommelige at håndtere alene, men som vi nu kan drøfte sammen med 29 andre orkestre. For os som arbejder med relativt smalle produktioner er dette vigtige spørgsmål. At få en arena til at drøfte disse med andre på er også svært givende,” sagde daglig leder for Cikada og Oslo Sinfonietta, Ludvig Claesson, til netmagasinet Ballade.

Læs artiklen Ny musikk, nytt publikum i Ballade.


5. januar 2012

Pressemeddelelse fra Dansk Komponist Forening

Dansk Komponist Forening styrer begivenhederne når projektet New Music: New Audiences løber af stablen fra 2012 til 2014. Projektet finder sted i 17 europæiske lande, og præsenterer et samarbejde omkring publikumsudvikling for ny musik mellem 31 musikensembler og orkestre i hele Europa.

Projektet er en fortsættelse af RE:NEW MUSIC, som DKF også stod i spidsen for, men i det nye projekt er der både flere lande og flere institutioner med.

Hvordan ser fremtidens koncertform ud? Skal en klassisk koncert være en andægtig oplevelse i en støvet koncertsal? Og kan nye rammer for koncertoplevelsen have indflydelse på publikumstallet?

Det er sådanne spørgsmål som Europas kunst og kulturliv stiller sig selv og nu gør de på dansk initiativ noget ved sagen. Et bredt udsnit af Europas fineste ensembler og orkestre samt musikorganisationer skal på en konference i Bruxelles den 24. og 25. oktober drøfte de fælles udfordringer, som europæisk kulturliv har i forhold til at kommunikere med et nyt publikum.

Konferencen afholdes i regi af samarbejdsprojektet New Music:New Audiences (New:Aud), som Danmark, med Dansk Komponist Forening har igangsat og i de kommende år skal stå i spidsen for i perioden 2012-2014.

De 31 udvalgte europæiske ensembler repræsenterer det absolut højeste kunstneriske niveau indenfor den ny klassiske musik. På tværs af landegrænser matches ensemblerne i såkaldte “working communities” , hvor de under temaer som “Børn møder musik”, “Blandede kunstformer” og “Online med dit publikum”, skal afholde workshops, udveksle idéer og erfaringer med hinanden. Alle ensembler vil i løbet af projektet blive involveret i to “working communitues” samt lave to koncerter hver.

De mange erfaringer og idéer samles i et forskningsprojekt. Resultaterne opsamles i et idekatalog, der består af ’best practice’ i forhold til at nå et nyt kulturpublikum i EU. Idekataloget offentliggøres i midten af 2014 og stilles til rådighed for et samlet kulturliv i EU, da stort set alle kunstneriske udtryksformer efterlyser nye måder at komme i kontakt med fremtidens kulturpublikum.

Det vil på en række områder gavne dansk kunst- og kulturliv, at det store europæiske projekt, New: Aud skal ledes fra Danmark. Det store netværk af europæiske deltagende kulturinstitutioner bliver samlet i Danmark, hvilket vil skabe blivende samarbejdsrelationer med væsentlige kulturaktører i Europa. Dansk musik vil som følge af projektets indbyggede kulturudveksling, blive eksporteret og markedsført i de 17 deltagende lande. Endelig vil Danmark som ledende nation opsamle viden om de 17 landes ‘best practice’ inden for publikumsudvikling. Med andre ord vil Danmark med projektet New:Aud blive ledende inden for europæisk publikumsudvikling, og det vil på sigt kunne gavne hele Danmarks kulturliv.

Følg med i projektet på hjemmesiden www.newaud.eu



Yderligere information kan fås hos projektleder Thomas Demidoff på 60 13 35 73 ellertd@komponistforeningen.dk




Niels Righolt at Arts & Audiences. Foto: Åke Sandström
Oct. 29.

Reflektioner fra Arts & Audiences konferencen om inklusion og mangfoldighed

Niels Righolt at Arts & Audiences. Foto: Åke Sandström

Lisa Baxter of The Experience Business reflects on the recent Arts and Audiences 2012 Conference in Sweden which explored ‘Inclusion and Diversity’.

“I was fortunate to have contributed to Audiences Norway’s annual conference in Stockholm a couple of weeks ago. This was my 4th Scandinavia conference in a year. Each time I attend one there I’m deeply impressed and inspired by the depth of engagement with the underpinning issues, the intellectual generosity of spirit that fuels richly rewarding conversations, and the fantastic hospitality and sense of camaraderie they provide.

So, whilst they are still fresh in my mind, I want to create a compendium of high points which have been fuelling my thoughts in the week since the Arts and Audiences 2012 Conference.”

“INCLUSION & DIVERSITY was the over-arching theme of the conference, and throughout the whole event there was a rich seam of debate that raised too many interesting points to mention in this blog. Here’s a snapshot of the questions that caught my attention:

–How can arts institutions navigate the apparent polarity between creating an environment for art and creating one for audiences? What is the democratic responsibility of our arts institutions?

–Do we need to rethink our mission statements in order to be more audience-centric?

–How can we arrive at common goals that bring together artistic freedom/artistic quality with a focus on the audience and their experience?

–Should artists have the liberty to express whatever they want or should they be burdened with the issue of ‘access for all’?

–In what ways can we create new platforms through which we can engage with audiences in a way that creates value for them?

–Are our arts institutions temples, and if so, is this a good or a bad thing?

–In what ways might we address the mismatch between funded diversity projects and what ‘diversity’ really means in today’s cosmopolitan society?

So – rich food for thought there.

If any of these little snippets have piqued your curiosity, please do take a look at the Arts and Audiences website for details and video footage from the conference: artsandaudiences.com 


To read Lisa’s High Points, click here.


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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:

Source: ec.europa.eu/culture

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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. 17.

Oplæg fra konferencen Audiences Insight/out kan læses på nettet

Den 29. og 30 maj var Rotterdam vært for den afsluttende konference i Extending the Margins-konference-serien. Den havde titlen Audiences Insight/out og temaet var publikum-segmentering og publikumsanalysemetoder. Eksperter fra hele Europa mødtes for at tale om og diskutere de behov, fejl, ‘must haves’ og ‘nice to have’ inden for publikum-segmentering og CRM, forskellige modeller og brugen af dem. Det var inspirerende.

For de af jer, der ikke kunne være der, er alle præsentationerne lagt ud på Audiences Europe Networks hjemmeside i gruppen Audiences Insight/out. De vil give dig et et indblik i, hvad konferencen indholdt.

CJ Lyon har også optaget og streamet nogle af oplæggene, og de vil blive lagt op på samme hjemmeside snarest.

• Webadressen er: audienceseurope.net/group/audiences-insight-out-rotterdam

(Hvis du ikke kan se siden, er det fordi du først skal oprette et medlemskab af netværket)

• Powerpoint-præsentationerne fra konferencen er samlet her:


• Norsk Publikumsutvikling – 14. juni 2012:
Norsk Publikumsutviklings resumé fra konferencen i Rotterdam: “På publikumsutviklingskonferansen Audiences Insight/out sto segmentering i fokus. Vi skulle få svar på hvorfor man burde segmentere sitt publikum, og hvordan…”

På publikumsudviklingskonferencen Audiences Insight/out var segmentering i fokus. Vi skulle får svar på, hvor man bør segmentere sit publikum, og hvordan.

Hvad er segmentering?
Segmentering er at kende sin målgruppe. Mere specifikt, så bliver man fortrolig med publikum ved at opdele dem i grupper (segmenter), hvor medlemmer af hver gruppe har lignende præferencer. F.eks. kan familier ‘for at være ét segment, “studerende” kan være en anden. Den segmentoppdelingen spænder fra undersøgelsen som grundlag for kategorierne.

Segmentering kan gøres på mange forskellige måder, ofte ved hjælp af komplekse og i mange tilfælde dyre systemer og metoder. Den enkleste, som de fleste kulturinstitutioner bruger, er en form for billettering, der gør det muligt at indsamle flere oplysninger, end hvis billetten bare blev købt alene. For eksempel giver den mulighed for at få kontaktoplysninger og andre oplysninger, der kan fortælle mere om, hvem denne ukendte publikumstørrelse består af.

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Mar. 16.

Audiences Norway søger gode eksempler på publikumsudvikling

Conference in Førde focuses on the composition of the audience

Audiences Norway’s conference in Førde, Norway, on 5 July has the theme: ‘In with the audience – out with prejudice’.

In the time leading up to the conference on 5 July, Audiences Norway is looking for positive stories about audience development. If you have a suggestion for a case presentation at the conference, please contact Audiences Norway by 1 April 2012.

The conference is organised in collaboration between Førde Traditional and World Music Festival and Audiences Norway (Norsk publikumsutvikling), taking place at the west coast of Norway at a time where artists from all parts of the world meet up for a weekend of folk music.

The organisers write:
“The conference adresses our traditional way of thinking. We have been using Bourdieu’s distinction theories for 30 years now, and in Norway, the term ‘kulturkjerring’ (‘female culture vulture’) became one of the buzzwords of 2011. We are talking about the die-hard fans and true followers, about the general public and ‘the others’.

This year’s conference in Førde focuses on the composition of the audience. Is it written in stone and immutable? Are people’s education and finances the only factors that decide whether an audience will turn up? Are we reaching out to new groups as the consumption of culture increases? Can we break barriers and welcome more people to the cultural arena?

The Førde Conference 2012 invites artists and decision-makers to share facts and experience about audience participation under the slogan: In with the audience – out with prejudice. The participants include Anne Enger, chair of the Kulturutredningen 2014 committee, which is tasked with identifying important challenges facing arts and culture policy in the years ahead.

In the time leading up to the conference, we will be looking for positive stories about audience development. If you have a suggestion for a case presentation, please contact us by 1 April.

Contact person: Harm-Christian Tolden, hct (at) norskpublikumsutvikling.no



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