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Jun 22, 2018

This social media manual approaches useful hints and tips which have been drawn together from a series of workshops that took place in June 2016 by Christopher Hogg and colleagues. Aimed at arts and culture organisations throughout the EU, this manual will help to explore how companies can expand their online brand so as to push both the reach and significance of their current eff­orts.


In a time when audiences for NGO arts in the United States are dwindling, artists and organizations are working diligently to build audiences for the future.  These efforts are at their best challenging old models, embracing technology and changing the composition of arts audiences. The idea of “audience,” however, focuses attention on one particular kind of relationship.  How do we encourage non-arts professionals to support and participate in the arts beyond attendance?  Is this the responsibility of the organization or of the artist?  What would be the benefits of cultivating non-attendance behavior?  What are the obstacles the arts community must overcome?  And how must we think differently if we are to move forward in this new millennium?  Join Doris Duke Charitable Foundation Arts Program Director Ben Cameron as he shares the evolution and discoveries being made in building demand for NGO arts.


The XIX century building that now hosts Maison des Metallos (MdM)  was a former music instruments factory, and then became headquarters of the Union Fraternelle des Métallos, a situation that lasted for 60 years and that left an important legacy in terms of place identity. Since the Union left in 1997, the building was run by a committee of inhabitants of the neighbourhood, who occupied it because they felt it was part of local identity. They were concerned about the forthcoming gentrification, which was starting at that time in the former working class neighbourhood. This sense of belonging of the local community had an important role in pushing the municipality of Paris to buy the venue, but also created at first some tension with the occupants as the city decided to convert it in a cultural venue run by an appointed director, that opened in 2007. So the first audience “issue” that MdM had to face, was to find the way to involve and resolve this tension. The relationship with the associations and former occupants took time to be reconstructed, but it’s today an important part of the identity of MdM and of its relation with the neighbourhood.


The theatre building is 4,500 m2, former workshops halls of the school for mechanics, renovated and adapted as a multi-functional cultural facility. The institution is located in the very centre of the 250,000 inhabitants district of blocks of flats for steelworks employees of Nowa Huta. The theatre was attracted to start AD activities as tools for highlighting the cultural identity of residents of the Nowa Huta district. Based on earlier experience, practice and intuition, they were ready to take on the demanding work with people whose trust was manipulated, mystified and idealised through decades of local history and finally betrayed after the democratic transformation of Poland. The Theatre’s response was an affirmation of creativity, transparency and trust, providing symbolic gestures for reconciliation. To Bartosz Szydlowski Łaźnia Nowa Theatre mirrors the tradition of ancient Greece, with myths, polis and logos marking, but not determining, the sense of ‘my’ place. His dream is to develop the best cultural institution in Poland, but the goal is not reached as long as the institution runs only on the leader’s energy.