Audience development and its blind spot: a quest for pleasure and play in the discussion of performing arts institutions

Lindelof, Anja Mølle

doi:10.1080/10286632.2014.891585

Cited by 17 publications

(23 citation statements)

References 17 publications

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“…The majority of public funding continues to support the same organisations, in the same places (Stark et al, 2013). These are the same organisations that represent themselves as working hard at "outreach" and "audience development" (Kemp and Poole, 2016;Lindelof, 2015;Kawashima, 2006;Hayes and Slater, 2002) even when this activity appears to make little meaningful difference to the constituency of their audiences (Taylor, 2016;Warwick Commission, 2015). For it remains the case that in practice it is those who choose not to attend the organisations receiving the vast majority of public subsidy who are represented as the "problem" rather than the inequitable way in which different types of cultural participation are financially supported by the state.…”

Section: Background To the Researchmentioning

confidence: 99%

The cultural non-participant: critical logics and discursive subject identities

Stevenson

2019

AAM

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Purpose The existence of so-called non-participants is a cultural policy problem in the UK and beyond. Yet, the very notion of a cultural non-participant seems nonsensical against the palpable evidence of lived experience. The purpose of this paper is to understand “who” a cultural non-participant is by first comprehending “what” the cultural non-participant is and why it exists. Design/methodology/approach Drawing on primary data generated in the form of 40 in-depth qualitative interviews, this paper employs a discursive methodology to explore the critical logics (Howarth, 2010) that underlie the problem representation (Bacchi, 2009) of cultural non-participation and in particular the discursive subject identity of the cultural non-participant. Findings Beginning with a discussion about how cultural non-participants are represented as socially deprived and hard to reach, the paper moves on to highlight how they are also presumed to lack knowledge and understanding about what they are rejecting. Their supposed flawed subjectivity is then contrasted with the desirable model of agency claimed by the cultural professionals who seek to change the cultural participation patterns of others. The paper concludes with a consideration of how the existence of the cultural non-participant subject identity limits the extent to which those labelled as such can meaningfully contribute to the field of cultural policy and obscures the extent to which such individuals are culturally disenfranchised. Research limitations/implications Because of the chosen research approach and the geographical limitations to the data generation, the research makes no claim to generalisability. Therefore, researchers are encouraged to test the discursive logics identified at alternative discursive sites. Practical implications This paper proposes a change in the language used by cultural professionals accompanied by changes in practice that abandoning the identity of the cultural non-participant would demand. Originality/value This paper challenges a taken for granted assumption that cultural non-participants exist “in the real”.

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Section: Background To the Researchmentioning

confidence: 99%

The cultural non-participant: critical logics and discursive subject identities

Stevenson

2019

AAM

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“…To date, researchers (Deeth, 2012;Hansen, 2015;Lindelof, 2015;Hazelwood et al, 2009;Osterman, 2012;Villegas, 2016;Barlow and Shibli, 2007;Kemp and Poole, 2016) have mainly dealt with the theoretical explanation of the term audience development, but also with exemplifying and elaborating various strategies . In addition, previous studies have focused on the importance of creating programs in cultural institutions for one specific target group of visitors and developing approaches for their engagement.…”

Section: Introductionmentioning

confidence: 99%

From children to seniors: is culture accessible to everyone?

Tešin

Kovačić

Pivac

et al. 2020

IJCTHR

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Purpose The main objective of the study is to analyse the perception of accessibility to cultural for different age groups (children, teenagers, adults and seniors) in the city of Novi Sad (Serbia). Additional goals were to reveal which cultural contents in the city are the most important to which particular age group and to measure the level of compatibility with their needs. Design/methodology/approach The study sample consisted of 170 respondents of different age groups used for comparison purposes. Data were collected through an online questionnaire and analysed by IBM SPSS Statistics (descriptive statistical analysis and ANOVA test). Findings The results of this research showed that a gap is evident between the current cultural offer and the needs and preferences of visitors of different age groups. One of the significant obstacles that emerged is the inadequate promotion of cultural contents in the city to different age groups of visitors (children, teenagers, adults and seniors). The study also identified the age groups of visitors to whom the cultural offer was least adapted, as well as mapping the cultural institutions which are least accessible to audiences of different ages. Originality/value The paper addresses the knowledge gap related to accessibility to cultural for different generations. It focuses on topics that have not been previously researched – comparison of the needs of different generations concerning the actual offer in cultural institutions, addressing the importance of certain elements of a cultural offer to different age groups and the level of accessibility of such features to different age groups.

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“…Cada institución tiene maneras diversas de entender el arte participativo, en relación con las necesidades y circunstancias de cada ayuntamiento (Johanson et al 2014). Es más, el discurso sobre el desarrollo de las audiencias en el arte está provocando que las instituciones se interesen por sistematizar sus prácticas e investiguen sobre modos en los que motivar la participación de las audiencias (Lindelof 2014), ya que han observado la potencialidad de las mismas en el desarrollo de las ciudades. Lo que queda patente en este proyecto es que el ayuntamiento ha apostado por la revitalización del casco histórico, utilizando herramientas de servicios sociales institucionales (PICH), comunitarias ("Esto no es un solar") y artístico-participativas (Festival de Asalto).…”

Section: Resultsunclassified

El arte urbano como instrumento de empoderamiento y visibilización. El Festival de Asalto

Serrano-Martínez¹

2016

Comunitania

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Abstrac:Among the objectives of Social Work appear to promote social change and the extent of citizen welfare. The frenetic pace and speed socioeconomic changes that affect societies today, make clear the need for new tools to facilitate the achievement of these objectives. The interest of this article is to find new ways to carry it out. A tool that answers the above is the use of art as visibility and citizen empowerment. This is the case of new artistic movements that show new ways of introducing art into the cities to interact with them. Specifically, in Zaragoza there is a particular group of artists that annually performed "Asalto Festival" in that city. As they present the event, this festival aims to "explore, discover or rediscover the urban environment from artistic activities, actions and different urban experiences and transform our city into a vanguardist, participatory, colorful, friendly and culturally open and active Zaragoza" . This article seeks to know more intensely the philosophy of this festival and the group that manages it. It also aims to reflect on whether art could be valued as an applied tool for social change and if all the above have place as an instrument for Social Work, as structures that promote social change and citizen welfare.Keywords: urban art, social change, citizen welfare, empowerment, visibility. Resumen:Entre los objetivos del Trabajo Social aparecen el de promover un cambio social y el alcance del bienestar ciudadano. El ritmo frenético y la velocidad en los cambios socioeconómicos, que afectan a las sociedades actuales, hacen patente la necesidad de utilizar nuevos instrumentos que faciliten la consecución de estos objetivos. El interés en el presente artículo es el de conocer nuevas formas para llevarlo a cabo. Una herramienta que da respuesta a lo anterior es el uso del arte como visibilización y empoderamiento ciudadano. Este es el caso de nuevos movimientos artísticos que manifiestan nuevas formas de introducir el arte en las ciudades con el fin de interaccionar con las mismas. Concreta-

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Audience development and its blind spot: a quest for pleasure and play in the discussion of performing arts institutions

Cited by 17 publications

References 17 publications

The cultural non-participant: critical logics and discursive subject identities

The cultural non-participant: critical logics and discursive subject identities

From children to seniors: is culture accessible to everyone?

El arte urbano como instrumento de empoderamiento y visibilización. El Festival de Asalto

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