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This Week In Audience: Flipping The Approach To Getting More Diverse Audiences, Challenging The Goal Of What Artists Do

November 21, 2016 by Douglas McLennan Leave a Comment

 hand-1592415_1920This Week: Maybe we need a new strategy to make arts audiences more diverse (the old ways haven’t worked)… An arts funder changes criteria to judge whether the artists “make change”…  The cult of the American “Outsider”… Your cell phone is designed so you can’t not pay attention to it… Do books have to be on pages to be books? (not what the data say)

  1. We’ve Been Working On Diversity In The Arts Forever And It Hasn’t Worked. So… So maybe subsidizing tickets (or productions) is the wrong approach? A UK report puts it in stark terms. “The uncanny similarities between this year’s Culture White Paper and its 1965 ancestor show that this hasn’t really produced an arts sector that enfranchises everyone, despite the best intentions of policymakers. Countless initiatives (and millions of pounds) have been spent trying to shift the demographic profile of arts audiences and workers in the sector. They have remained stubbornly white and well-off.” But what if we flipped the subsidy, like Italy just did, and give audiences money to buy culture? What would that look like?
  2. A Cleveland-Area Arts Funder Changes Its Criteria, And Artists Ask Why: Cuyahoga Arts & Culture switched its criteria for funding from mainly considering the quality of an artist’s work to whether or not an artist “makes change” in his or her community. This is a fundamental shift in what the funder is expecting as an outcome for artists. Does the change force artists to attach themselves tighter to their communities or is it dictating an outcome or goal that artists are forced to share? Does this help build community or audience or does it impose a funder’s will on art?
  3. This Is Arguably The Year Of The Outsider. But Hasn’t Pop Culture Been Teaching Outsiderism All Along?  So much of our popular culture glorifies the lone outsider against the system, the little guy fighting The Man, the David versus Goliath. How about all those car ads that extoll rugged individualism? So are we surprised that there is huge appeal for political candidates who decide to wear the mythology? So a contradiction – when we try to convince audiences that they are lone wolves (and if we’re successful, they all believe they are) then haven’t we sold them all on the idea of being like everyone else? Thus the flawed mythology of American individualism…
  4.  Trying To Moderate Your Screen Time But Finding It Hard? There’s A Reason For That! It’s called design. You might just think it’s your failure of attention. But that itch to glance at our phone is a natural reaction to apps and websites engineered to get us scrolling as frequently as possible. The attention economy, which showers profits on companies that seize our focus, has kicked off what Tristan Harris calls a “race to the bottom of the brain stem.”
  5. Books Are Words, Right? On A Page? Well Maybe Not… Let’s not too stuck on definitions. What, really is the essential definition of a book? Maybe the future of books is not words on pages or pixels on screen, but sound in ears? “The number of audiobook titles increased by nearly 400 percent between 2011 and 2015. E-books, by comparison, are down in 2016, as are adult hardcovers (i.e., printed books from commercial publishers, not including religious or university press titles). Which prompts the question: Do these statistics herald audio as the preferred reading format of the future?”
Image: Pixabay

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WALLACE FOUNDATION AUDIENCE RESOURCES

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WORLD MUSIC/CRASHarts Tests New Format New Name to Draw New Audiences
This article and video are part of a series describing the early work of some of the 25 performing arts organizations participating in The Wallace Foundation’s $52 million Building Audiences for Sustainability initiative. Launched in 2015 in response to concerns about a declining audience base for a number of major art forms, the endeavor seeks to help the organizations strengthen their audience-building efforts, see if this contributes to their financial sustainability, and develop insights from the work for the wider arts field.


Think Opera’s Not for You? Opera Theatre of Saint Louis Says Think Again
Analysis showed that while the company’s core audience bought several tickets each year, even tending to schedule their May and June around opera season, newcomers behaved differently.




Can the City's Boom Mean New Audiences for the Seattle Symphony?
In line with the community’s spirit of innovation, Seattle Symphony is using audience research to help target and woo recent transplants.





Denver Center Theatre Company is Cracking the Millennial Code...One Step at a Time
The average single-ticket buyer at the Denver Center Theatre Company is 50 years old and the average subscriber is 63, despite the fact that millennials, a group often defined as people born between 1981 and 1997, compose the largest age group in Denver. Since 2010, the Denver Center has been engaged in an iterative process of experimentation, evaluation and refinement to help reverse this trend.



The Party’s Still a Hit: The Isabella Stewart Gardner Museum Builds on its Millennial Momentum

That ongoing research has revealed areas to adjust, as well as successes. Soon after the re-opening, for example, the team partnered with a local music school, taking the opportunity to hold 45-minute concerts in Calderwood Hall. But in part through survey results, it realized the approach didn’t work. [read more]



Austin Ballet’s “Familiarity” Problem And How It Learned To Connect With New Audiences



“Encouraging people to attend the ballet more often was less about increasing their familiarity with productions and more about bridging an uncertainty gap. “Familiarity is about information,” notes Martin, “whereas uncertainty about how an experience will feel is much more personal. You can give somebody a lot of information but that’s not necessarily going to reassure them that they’re going to belong in that audience.”

How the Contemporary Jewish Museum
Expanded its Reach



​​​The Contemporary Jewish Museum in San Francisco moves to a larger space and secures a nine-fold increase in family visitors of all backgrounds.

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