Guide to Audience Development Planning
This guide to audience development planning reflects the views and experience of The Audience Agency team and is based on a combination of documented theory and our observations and experience of what helps organisations to develop thriving, sustainable audiences.
It is vital to note that there is no single, right way to create an audience plan. Organisations play different roles in the “cultural eco-system”, and any audience development plan should reflect the scale, resources, personality and purpose of each. Organisations try to reach different audiences for different reasons and do so in different ways. This diversity is the sign of a healthy, creative and audience-focused eco-system.
What this guide suggests is a flexible process that can help organisations surface and test its ambitions for developing audiences and then take realistic steps towards achieving them with a good chance of success. The framework for building a plan is a simple one, suitable for all sorts of experiences, artforms and types of organisations, regardless of scale, resources or mission.
The audience plan – and phases of the planning process - can be more or less integrated into other plans, as long as it is commonly understood and used. This process is embedded in our online audience development planner. The tool offers a simplified 6-step process (as detailed in this article) guiding users through the process of creating their plan. Plans can be saved and downloaded as word/pdf documents in Audience Finder www.audiencefinder.org/plan/
Guide to Audience Development Planning
Let’s make it public! is the title of a valuable selection of articles on developing audiences for the arts and cultural industries which have been written by professionals from different European countries and from different points of view and disciplines.
This publication has good ideas and best practices from Portugal, Spain, the United Kingdom and Italy to use in improving the relationship between artistic and cultural organisations and their audiences.
It has been directed by the team at Asimetrica as coordinators of a work which will be of great use to everyone who works professionally in culture management as well as small scale entrepreneurs who manage their own initiatives.
The CARPET project is coordinated by the Fundación Tres Culturas (Three Cultures Foundation) together with the following partners in other countries: Creative Kernow in England, UK, CEARTE: Centro de Formaçao Profissional para o Artesanato e Património in Portugal and APDN: Agence pour le Développoment du Nord du Maroc in Morocco. This project has financial support from the Europa Creativa European programme.
Articles from: Inês Bettencourt da Câmara, Stuart Nicolle, Raúl Ramos, Antonia Silvaggi, Federica Pesce, Ana Bragança and Ricardo Baptista.
It was published in october 2019.
The present document lists the recommendations carried out within the validation framework of CONNECT, a Knowledge Alliance Erasmus+ project (2017-2019). The validation activities are strictly related to its main output, the Twin-Track Programme (TTP) that was designed and implemented in 5 countries of the Consortium: Spain, Denmark, Italy, Poland and the United Kingdom.
The first 10 recommendations are related to validation and general teaching in both curricular, academic, university-based context and the continuous professional learning context related to non-university teaching and training organisations. Recommendations 11 to 27 consist of more precise issues pointed by the consortium partners that might be seen as more detailed recommendations and guidelines for reflection and change in the practice-oriented teaching and training.
This report is a summary of the results of the monitoring and evaluation activities carried out during the CONNECT over a period of 36 months from 1/01/2017 – 31/12/2019.
It is an attempt to narrate what has been happening, it probably reflects the complexity of the project and what we have achieved, less all the encounters, the serendipity moments, the tough parts and the good parts, that everyone involved from the project consortium contributed to.
We thank all the directly involved 165 beneficiaries: 63 students from Arts/Heritage/Culture Masters’ courses, 61 practitioners from 21 museums, 18 theatres, 6 cultural centers, 5 festivals, 4 orchestras, 3 libraries, 1 historical archive and 12 other types of cultural enterprises from Denmark, Italy, Poland, Spain and the UK. In addition, also 41 mentors, expert in audience development and cultural management, to support the students and practitioner during the learning programme and all the other stakeholders that supported us through this journey.
The twin track programme reflects the density and the diversity of the cultural sector across Europe, which is seen as a valuable aspect of the sector and the project.
This report has been bone By Melting Pro in collaboration with the external evaluator DISAMIS.