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Apr 16, 2019

The present paper has been prepared, at the request of DG EAC, by the European Expert Network on Culture (EENC). The paper has been written in 2015, on behalf of the EENC, by Mr. Niels Righolt.
Traditionally, countries like the UK, the Benelux and the Nordic countries have been amongst the pioneers in searching and testing new ways of interaction between the arts and the audience and many have looked to them for inspiration and new ways of working. However, the last few years have shown that, throughout Europe, there too has been a range of ground- breaking projects, learning programmes, new research and conferences examining how cultural producers and presenting organisations can improve their relationship with the potential audience, whether it happens through digital tools, education, outreach and community engagement or through more traditional methods such as mainstream marketing approaches. And recently demands for a clearer position on how the institutions and cultural projects will reach out to the public, has entered national legislation and regional priorities in e.g. the Nordic countries. In Denmark the Royal Danish Theatre has audience diversity written into its 4-year contract with the ministry and the same goes for several of the other national institutions in the country.
The digital shift has opened the field of cultural participation and co-creation dramatically, and its democratic implications are all to be examined and decided on. But, as a panel debate on digitalization at the Conference Digital at the Arts held in Reykjavik in October 2014 stated, “We cannot meet the challenges of tomorrow solemnly with the logics and structures of yesterday".

Tags: Digital

Apr 12, 2019

In his talk, Douglas McLennan stresses the importance of technology in the world of culture and describes how it can connect, improve and measure everything it touches. Proper use of technologies allows us, among other things, to get to know our audience better, to draw up questionnaires with the right questions and to obtain results on what we can do for lovers of music. By way of summary, we can quote one of his conclusions; “Today no experience is complete until it is shared”.

Video of Douglas McLennan in 3rd AEOS-BBVA Foundation, April 2015. 

 

Tags: Digital Music

Mar 14, 2019

Behind the ongoing programmatic and financial stresses being felt by nonprofit organizations at a time of economic uncertainty lays a vast territory of change in the sector as a whole. This means practitioners of all stripes unlearning a lot of things we have taken for granted, surfacing new assumptions to drive new thinking, and doing things differently across the board. Organizational innovation is challenging in a resource-strapped sector, but is now essential if field leaders are to successfully re-orient themselves to this new era. Fortunately, innovation can be systematized as a new organizational discipline, one that brings our best thinking together across traditional organizational and sector boundaries, and helps us make competitive use of our creative assets. Organizations across many countries are beginning to see that daring to risk a new approach can reveal new pathways to relevance and sustainability.

Video of the Conference Marketing de las Artes in Madrid 2016.


Feb 21, 2019

This new study by Capacity Interactive will give you a multi-purpose snapshot of digital marketing practices in the arts and cultural industry in 2017. For their sixth iteration of the Benchmark Study, Capacity Interactive revamped tehir approach to focus on the most critical metrics and key performance indicators that shed light on the state of digital marketing practices in the arts and cultural field. The study, published in November 2018, creates a multi-purpose snapshot of digital marketing practices that will help organizations understand where they stand amongst their peers and that can be used as a tool to evaluate priorities and resource allocations.


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