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Summary of a Joint Research Symposium titled “Measuring Cultural Engagement amid Confounding Variables: A Reality Check,” held at the Gallup headquarters in Washington, DC, June 2–3, 2014.

Governments and cultural institutions often measure public engagement in the arts, though it is a costly endeavor whose purpose is not always clear. Innovative artistic media and changes in audience demographics and behavior patterns present new methodological challenges. Rising costs of household surveys, the availability of big data, and fresh doubts about traditional assumptions add to the need to develop new approaches.

To explore these topics, the National Endowment for the Arts (NEA) and the Cultural Value Project (CVP) of the United Kingdom’s Arts & Humanities Research Council (AHRC) convened a symposium of leading researchers, practitioners, and policymakers from a handful of countries. The event aimed to challenge assumptions about how and why public involvement in arts and culture is measured and to identify research needs and opportunities to promote more meaningful measurement.


Meaningful measurement. A review of the literature about measuring artistic vibrancy 

Meaningful Measurement is a summary of the key research in the area of measuring artistic vibrancy.

It looks at:

• performance measurement in the arts
• proposed models of performance measurement in the arts
• the notion of “public value” and the arts
• the intrinsic impacts of the arts
• assessing artistic vibrancy, including models and examples

This resource was published for the Australia Council for the Arts in december 2009. 


Jul 18, 2019

MARKETING MIX FOR THE PERFORMING ARTS is a presentation by Lanfranco Li Cauli (Marketing and fund raising director of Teatro alla Scala, Milan). Teatro alla Scala is constantly engaged in loyalizing and developing its audience. In these slides we could see the strategies of fund raising, communication and audience development of this theater.

This presentation was published in november of 2017.


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

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