Building arts audiences : arts participation and barriers report

This report was commissioned to investigate the level of arts participation in Moonee Valley, and the barriers local residents face in experiencing and accessing the arts. The need for this research is motivated by a desire to ensure the success of Council’s investment in the arts and culture, and to maximise the benefits of participating in the arts for all residents.

Arts marketing challenges in multicultural societies

With an increasingly diverse, multicultural society in many countries, it is timely to look more closely at the current literature on arts marketing, ethnic identity and segmentation issues. The growth of diverse, multicultural societies in many countries warrants a closer examination of arts marketing and the use of ethnicity as a basis for segmentation, as these issues have implications for attracting and retaining arts audiences and other consumers of arts related activities. Researchers in the arts industry have stressed the importance of understanding the fundamentals of audience development and the ability to focus on satisfying the needs and wants of their audiences. The focus on marketing activities comes at a time when there is greater pressure on arts organisations to move beyond their traditional role as subsidized non-profit organisations in order to become more self-supporting. Internationally, audience development in the arts industry has focused on segmentation dimensions such as youth, mature aged individuals, geographic location (rural), individuals with disabilities, low income earners, and individuals with culturally diverse backgrounds. Most of these potential segments are under represented in the population of arts consumers in Australia, the United Kingdom, Singapore, and North America. Of those dimensions, segmentation of arts markets by cultural differences such as ethnic identity appears to be a somewhat under researched area. Hofstede's (1980) model of national cultural differences continues to be widely used as a basis for strategic and marketing decisions in international business. However, the cultural characteristics attributed to individuals in their country of birth are likely to change through immigration to another country. In this situation, the ability to predict the consumption behaviour of various ethnic groups is complicated by acculturation processes in which arrivals attempt to adapt to their new environment. Over time, this process has resulted in the emergence of bicultural individuals who are able to switch, at will, between their ethnic identity and an identity aligned with their host country, or a combination of both at any time. Ethnic identity and affiliation with ethnic groups can also change over time, suggesting challenges for arts marketing approaches, and the application of market segmentation theory in particular.

Audience experience : measuring quality in the performing arts

Traditional measures of quality in the performing arts include critical reviews, awards, attendance data, the reputation of the director, company or lead performers, and attributions of success such as festival participation or sponsorship and grants. However, the recent literature on audience values, quest for authenticity and the personal experience suggests the need for empirical research into the capacity of the audience experience as an appropriate and important measure of quality in the performing arts. The authors use primary research with performing arts audiences to explore notions of quality, audience risk and audience experience to redefine the quality-measurement paradigm.

Measuring the intrinsic benefits of arts attendance

There is an emerging dissatisfaction with the current evaluative regimes for the quality and effectiveness of funded arts organizations. Far too much evaluation rests on audience satisfaction surveys and quantitative measures of audience attendance numbers, production numbers and revenue sources. The intrinsic benefits of the arts to audiences and to society are recognized to be of major importance, but the means to measure these in an acceptable and on-going manner has not been found. This article changes that. It shows, through almost three years of data collection on arts audiences, that a newly developed and tested Arts Audience Experience Index can be used and embedded by companies and government funding agencies to measure the audience experience of quality, alongside other acquittal tools.

Being and becoming : children as audiences

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

1997 survey of public participation in the arts : summary report.

"December 1998"--T.p. verso.

Individuals' perceptions of the impact of art

This research explored the impact of art on individuals in order to enhance the likelihood that the benefits of art can be enjoyed by a broad range of individuals. Art was found to have a significant impact on individuals' wellbeing, emotions, relationships, and their perception of the world.

Coproduction and Casula's Pacifica Program: Initial research findings

This research takes Casula Powerhouse Art Centre’s Pacifica program as a case study to investigate the ways in which museum and galleries are involved in coproduction with culturally diverse communities. Coproduction is defined here as:Museum and gallery practice conducted jointly with communities or other external partiesThe benefits of coproduction are that it leads to more effective and efficient public services (including arts and cultural services) while also building the skills and capacity of the community. However coproduction is not easy, particularly because it requires public service providers and communities to work in ‘equal and reciprocal’ relationships.As an organisation with strong and strategic alliances to its governing body (Liverpool City Council), Casula brings a strong capacity for coproduction. Internally it has support and commitment to coproduction from across the organisation. The staff at Casula bring exceptional relational skills. The organisation’s capacity to coproduce draws heavily on their skills as cultural brokers and experience in community cultural development practice. The communities Casula works with bring strong cultural knowledge and practice, along with a desire to maintain and preserve these community resources. Casula’s coproduction work also meets external political needs for public services to deliver increased public value as well as a greater diversity in the profile of arts audiences.The key challenge for Casula Powerhouse’s coproduction work is the extent to which it aims for joint delivery of public services through ‘equal and reciprocal’ relationships with the community, or uses coproduction as a tool for community engagement and audience development. Advocates of coproduction in the public sector argue for its value as a means of delivering more effective and efficient public services while at the same time building the skills and capacity of local communities. A critical element of coproduction according to these writers and scholars is the development and delivery of public services through ‘equal and reciprocal’ relationships between providers and users.The value of coproduction for Casula Powerhouse and the Pacifica program is its use as a means of community engagement and audience development. Coproduction is a feature of the components of Pacifica that enable the participation of the community and provide entry points for audiences to engage with contemporary art. Evidence of this approach to coproduction can be seen in the dual ‘stakeholder’ and ‘audience’ role that the community have within the Pacifica program. The community is therefore both a contributor to Pacifica and a beneficiary of this work. The benefits Casula Powerhouse receives from the community’s involvement in Pacifica are greater public value of its work and stronger engagement with communities and audiences.Although coproduction may not be the focus of all aspects of Pacifica, the involvement of Pacific Islander communities in the program results in exhibitions and public programs that are not typical contemporary art gallery offerings. Pacifica is further evidence of Casula Powerhouse’s innovative and entrepreneurial approach to gallery practice. The use of coproduction also ensures Pacifica offers an authentic and distinctive gallery experience.

Building audiences: Aboriginal and Torres Strait Islander arts

FOREWORDAs a culturally ambitious nation we are shaped by our cultural engagement and it is an important catalyst for critical discourse. It is vital that audiences and artists discuss their experiences, enabling us as a community to come together through engagement with diverse practice that challenges and entertains. This research has been undertaken in response to the Australia Council’s strategic vision for a nation where there are no borders to accessing Australian arts, and all Australians are able to experience and cherish Aboriginal and Torres Strait Islander arts and culture.Building Audiences provides an insight into the nature of existing Australian audiences and the broader public. It reveals how Australians engage with Aboriginal and Torres Strait Islander arts in the public sphere as audiences, highlighting that this engagement is part of a broader national dialogue about their relationship with and towards Indigenous Australia.

Creating theatre for young audiences : UKULELE MEKULELE and SHOW

A manifesto for creating theatre for young audiences, which also introduces two works by David Megarrity programmed by the Sydney Opoera House in 2004. ----- ----- Presented at educator's forum ‘Creating Theatre for Young People’, Sydney Opera House June 16, 2004

More than just audiences

The creativity in audience engagement is not simply a delight for marketing or communications teams. New ways of engaging young audiences is now about everything from the actual art-making processes and outcomes to the hype surrounding your venue and your artists. In the process of reviewing and reporting on recent Australian and international research and practice this panel will comment upon the strengths and weakness of different ways of framing engagement: as learning, as social participation, as creative expression, and as co-creation.