Audience development is somewhat of a ‘buzz word’ within the Australian performing arts sector at present. However, rather than actually engaging with audiences and with non‐attenders to discover how to best serve the community, most of the performing arts organisations approach audience development from a product‐centred viewpoint. In direct contrast to this, the Talking Theatre project (2004–2006) was implemented in regional Queensland and in the Northern Territory in Australia as an audience development initiative focused on the consumer. The project sought to assist performing arts centres (PACs) to better engage with their local communities and to build new audiences for the future. In particular, the research aimed to understand non‐attenders, their reasons for non‐attendance and their reactions to a range of live performances they experienced under study conditions. The Talking Theatre project provided the vehicle for introduction, communication and relationship building to occur to assist in attitudinal and behavioural change. The non‐attenders enjoyed their experiences at the PACs and have begun attending performances outside of study conditions. Limited awareness of the performing arts' relevance to their lives combined with a lack of positive peer influence to attend, were the chief deterrents to attendance for the participants in the study. Copyright © 2007 John Wiley & Sons, Ltd.

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Purpose This paper aims to discuss the role of a grassroots initiative in engaging local people in an innovative place-making fringe festival. Festivals such as the Carnival of Flowers are a major tourism event for regional cities like Toowoomba and contribute to place-making through marketing and engagement. Within the professional management of such events, there exists space for innovation and genuine community involvement, which can assist in authentically reflecting place identity. Avant Garden (2007-2008) models a successful grassroots fringe festival, initiated by community members in response to the challenge of long-term drought. Avant Garden engaged locals and tourists in a positive re-imagining of place via site-specific public artworks generated by the community. Design/methodology/approach A survey of 504 visitors to Toowoomba’s public gardens during the first weekend of the 2007 Carnival of Flowers examined how Avant Garden was received by the community. Findings The paper suggests that fringe festivals can provide place-making capacity in broadening festivals as an expression of local identity. Fringe festivals can allow authentic community engagement within a mainstream festival and can indicate longer-term innovations to place branding. Practical implications The paper includes implications for festival managers about effective ways to engage community in grassroots initiatives which reflect innovation, authenticity and greater diversity. Originality/value The paper provides a study of a visual arts fringe festival in the context of place management. The project described allows a “bottom up” approach to engaging the local community which provides authenticity and broadens the scope of an existing mainstream garden festival.

This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented.

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