• AJ
  • dance
  • ideas
  • issues
  • media
  • music
  • people
  • theatre
  • words
  • visual
  • ajblogs
  • about AJ
    • advertise

ArtsAudience

The Audience Is Changing!

  • AJ Home
  • This Week in Audience
  • Featured Audience
  • AJ Audience
  • about our audience project ~

This Week In Audience: Orchestras For All, General Audiences For Nobody?

December 9, 2018 by Douglas McLennan Leave a Comment

This Week’s Insights: The myth of arts-for-all… Could we bring America together with orchestras?… TV is still Americans’ primary source of entertainment… The limits of crowdfunding… Why are audiences so thoughtless?

  1. The Arts Are For Everybody? The idea that there’s a “general” audience for the arts is a myth, says playwright Alana Valentine: 
     “Are we not part of a generation whose success has been to interrogate all forms of generalisation? So why do we continue to refer to a general audience? And please, I’m not taking issue with the nature of the adjective as a collective descriptor, I’m actually leaning into the definition of general as imprecise, inexact, sweeping, and vague. I’m questioning what it is that we’re referring to as general.” And yet, “arts for all” is something of a rallying cry for the arts sector. There’s an argument to be made that something for “all” is actually something for no one, that being generic means that you satisfy no one. Perhaps more important: if we take a generic approach, then debates about issues such as equity and diversity can be skewed. 
  2. What Could Bring Us Together? Religion? (No) How About Orchestras? Joseph Horowitz: “As a secular American living in Manhattan, I’m a stranger to the world of church and picnics. I worry that religion may be as much divisive as binding in America’s map of red versus blue. My professional world is one of orchestras (with which I work) and cultural history (about which I write). My perspective suggests another opportunity for healing—regaining a lost “sense of place” and shared American identity via our history and culture. And, yes, I mean high culture.”
  3. Meeting America’s Audiences Where They Are: Where that is is in front of the TV.  When Nielsen started measuring TV viewership, American households were averaging four and a half hours a day. This figure rose steadily over the course of the century, but the biggest jump came in the 2000s, when it peaked at almost nine hours. Now it’s a little under eight. Like it or not – everything else in American life is competing with television.
  4. Crowdfunding Meets Its Match: One of the most popular shows in the museum world is Yayoi Kusama’s infinity room. Everywhere it has opened, the crowds have been huge. So the Art Gallery of Ontario thought it would be a no-brainer to crowdfund for its own property. Unfortunately the museum raised only $651,183, about half the cost. Having announced the project, however, the museum says it will pay for the rest out of other sources. 
  5.  Atrocious Audience Behavior, Chapter 476:  Every night there is bad and thoughtless behavior conducted by people who may have spent hundreds of dollars on theater tickets yet seemingly have no idea how to behave in an actual theater. Why should you check that your phone is off, because, gee, that would be way too much trouble. Puleeze, that recorded announcement doesn’t refer to you! An hour later, that ringing sound: Oh, sorry everyone, is that me? Yes, it’s you! Look, you’re in public at the theater! Who knew!

Image: Pixabay

Filed Under: This Week in Audience

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

WALLACE FOUNDATION AUDIENCE RESOURCES

NEW!



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.

ALSO:

VISIT THE WALLACE KNOWLEDGE CENTER

Copyright © 2025 · Magazine Pro Theme on Genesis Framework · WordPress · Log in