This book brings together, for the first time, twenty-two chapters on arts marketing and audience development. Edited and curated to be accessible to both academics and those working in the cultural sector, the book provides an invaluable resource for anyone interested in the traditions, philosophies and approaches which underpin our ideas about increasing audiences for the arts. Covering a range of topics and international perspectives, it tells the story of how arts marketing and audience development came to be such an important management practice in the cultural sector. This edited volume discusses the relationship of audience development to arts management and cultural policy and outlines the foundational arguments which have led to contemporary debates around everyday creativity and cultural democracy. By providing vital insights from both the theory and practice of arts marketing and audience development, the book will serve as an excellent reference work for researchers. Simultaneously, this book will also be an invaluable read for those working in cultural leadership and arts management roles. The chapters in this book were originally published in various Routledge journals.

Encouraging more – and different – people to attend the arts remains a vital issue for the cultural sector. The question of who consumes culture, and why, is key to our understanding of the arts. This book examines the relationship of audience development to cultural policy and offers a ground-breaking perspective on how the practice of audience development is connected to ideas of democratic access to culture. Providing a detailed overview of arts marketing, audience development and cultural democracy, the book argues that the work of audience development has been profoundly misunderstood by the field of arts management. Drawing from a rich range of interviews with key individuals in the audience development field, the book argues for a re-conceptualisation of audience development as an ideological function of cultural policy. Of importance for students, academics and researchers working in arts management and cultural policy, the book is also vital reading for anyone working in the arts, cultural and heritage sectors with an interest in understanding how our relationship with the audience has been constructed.

Drawing on unique multi-arts, multi-city scholarly research, Understanding Audiences for the Contemporary Arts makes a timely and urgent contribution to debates about the place of arts and culture in contemporary society. The authors critically interrogate the challenges of access, diversity, privilege and responsibility in contemporary art. Asking who benefits from, pays for and consumes the arts, the book highlights fresh, forward-thinking audience and organisational attitudes that show the potential of live arts engagement to contribute to engaged citizenship. Complemented by comparative global analysis, the cutting-edge insights in this book are relevant for interdisciplinary researchers across audience studies and beyond. Enhanced by a new framework for the understanding audience engagement, the book is relevant to scholars, policymakers and reflective practitioners across the spectrum of arts and cultural industries management. Chapter 7 of this book is freely available as a downloadable Open Access PDF under a CC BY-NC-ND 4.0 license here.

The Routledge Companion to Audiences and the Performing Arts represents a truly multi-dimensional exploration of the inter-relationships between audiences and performance. This study considers audiences contextually and historically, through both qualitative and quantitative empirical research, and places them within appropriate philosophical and socio-cultural discourses. Ultimately, the collection marks the point where audiences have become central and essential not just to the act of performance itself but also to theatre, dance, opera, music and performance studies as academic disciplines. This Companion will be of great interest to academics, researchers and postgraduates, as well as to theatre, dance, opera and music practitioners and performing arts organisations and stakeholders involved in educational activities.

Event Audiences and Expectations for the first time examines why people participate in festivals and events, the types of events which stimulate participation, and the fanatical antics of fans who become involved in these events. By doing so the book offers significant insight into how event managers can entice and manage participant expectations as well as manage audience involvement. The book is based on primary research using participant observation, as well as in-depth interviews with event participants, event managers and government officials involved in over 50 international events to gain new perspectives into audience behaviour and participatory events. Using numerous international case studies and examples, the book offers a comprehensive outline of the reasons why people participate in festivals and events, the social world that reinforces their behaviours, and strategies that can be used to ensure future successful participatory events. This thought-provoking and original volume will be valuable reading for students, researchers, events managers and tourism and community planners at all levels of government.

Pedagogical Opportunities of the Review Genre unleashes the pedagogical potential of the review genre, reframing the act of reviewing of cultural products as a communicative practice from a pedagogical perspective. Negotiating between traditions of journalism and media studies and pedagogy, the author presents a novel approach that will increase the readers’ understanding of an activity that is on the increase in an era where 'everyone can be a critic'. She identifies, describes, and develops genre-based pedagogies in formal, non-formal, and informal contexts of learning and teaching, in order to recontextualize the review as a form of learning and rethink of its potential as an inclusive, engaging, and a transformative critical cultural practice. This innovative and truly interdisciplinary study will interest students and researchers in the areas of media literacy, digital media, media and communication studies, cultural studies, sociology of arts, and pedagogical studies – in particular, cultural journalism and criticism, audience studies, cultural production, and cultural mediation, as well as critical media pedagogy and literacy studies.

This collection of original essays takes a multi-disciplinary approach to explore the theme of failure through the broad spectrum of public art and social practice. The anthology brings together practicing artists, curators, activists, art writers, administrators, planners, and educators from around the world to offer differing perspectives on the many facets of failure in commissioning, planning, producing, evaluating, and engaging communities in the continually evolving field of art in the public realm. As such, this book offers a survey of currently unexplored and interconnected thinking, and provides a much-needed critical voice to the commissioning of public and participatory arts. The volume includes case studies from the UK, the US, China, Cuba, and Denmark, as well as discussions of digital public art collections. The Failures of Public Art and Participation will be of interest for students and scholars of visual arts, design and architecture interested in how art in the public realm fits within social and political contexts.

The Journal of Cultural Management and Cultural Policy offers international perspectives on a wide range of issues in cultural management and cultural policy research and practice. Attendance at museums and other arts organizations has decreased worldwide, even predating COVID. Audiences have been slow to return to performances and exhibits. Reasons include lack of access, lack of time, high cost, persistent inequities, poor engagement between arts organizations and the community, and even lack of interest. Concern about non-attendance has led to coining the term non-visitors. This issue seeks answers to this problem through two critical lenses of engagement and non-visitor studies.

Cultural policy intersects with political, economic, and socio-cultural dynamics at all levels of society, placing high and often contradictory expectations on the capabilities and capacities of the media, the fine, performing, and folk arts, and cultural heritage. These expectations are articulated, mobilised and contested at – and across – a global scale. As a result, the study of cultural policy has firmly established itself as a field that cuts across a range of academic disciplines, including sociology, cultural and media studies, economics, anthropology, area studies, languages, geography, and law. This Routledge Handbook of Global Cultural Policy sets out to broaden the field’s consideration to recognise the necessity for international and global perspectives. The book explores how cultural policy has become a global phenomenon. It brings together a diverse range of researchers whose work reveals how cultural policy expresses and realises common global concerns, dominant narratives, and geopolitical economic and social inequalities. The sections of the book address cultural policy’s relation to core academic disciplines and core questions, of regulations, rights, development, practice, and global issues. With a cross-section of country-by-country case studies, this comprehensive volume is a map for academics and students seeking to become more globally orientated cultural policy scholars.