JOBURG MOVES
PRESENTS
THE STAND DIALOGUES
AUDIENCE DEVELOPMENT AND CREATIVE COMMUNITY ENGAGEMENT STRATEGIES
Thursday
25 April 2024 | 17h00
University of Johannesburg Arts Centre
Studio 2 (hired by: STAND Foundation)
Description: The concept of Dance and Theatre Audience Development has been at the tip of our tongues for decades yet we still find ourselves trying to ‘normalise’ and neccessitate access to spaces of theatre and dance preservation and presentation to everyone. Are we doing enough to get our communities to spend and invest in dance, theatre or live performance? What has been working and what needs to be revised or reconsidered given the current socio-economic and political landscape of Mzansi?
Panal: Elroy Fillis-Bell, Songezo Mcilizeli, Mxolisi Masilela, and Albert Ibokwe Khoza.
Facilitated by Tammy Ballantyne Webber
Audience Development Panel Summary:
The recent panel discussion on Audience Development in South Africa's arts industry highlighted several critical insights and strategies for developing a thriving arts scene. One of the primary concerns raised was the noticeable lack of arts journalism in South Africa. This absence hampers efforts to build excitement and awareness before productions reach the stage. A robust presence of arts journalism could provide much-needed visibility and critical engagement, driving interest and attendance. The decline in journalists covering the creative sector in recent years has been severe, making investment into arts journalism crucial for revitalising audience interest.
A key theme was the necessity of engaging with audiences before attempting to develop them. Understanding the motivations ("why"), target demographics ("who"), and objectives ("goals") behind audience engagement efforts is crucial. Effective audience development also requires substantial investment in advertising and marketing. Experts recommend that 10% of an arts organisation's budget should be allocated to these efforts, emphasising that these tasks should be managed by specialists rather than the artists themselves, allowing the art to speak for itself.
Social media emerged as a crucial platform for reaching and engaging audiences. In today's digital age, being where your audience is—primarily online—is essential. To appeal to a global audience, adaptability in creativity is vital. This involves understanding and catering to what people want. For instance, developing a culture of theatre from a young age by encouraging parents to take their children to performances can lay the groundwork for future audience development.
The optimal lead time for advertising and marketing in the arts sector typically ranges from six to eight weeks before the event. This period allows enough time to build anticipation, reach a broad audience, and ensure repeated exposure. Initial announcements can be made even earlier, with a gradual increase in promotional activities as the event date approaches. Effective lead times help create buzz and ensure that the audience has ample time to plan their attendance.
Improving audience educational development involves a multi-faceted approach. Implementing arts education in schools to cultivate an early appreciation for the arts, offering workshops, seminars, and masterclasses to provide deeper insights into various art forms, engaging communities through outreach programmes, and partnering with educational institutions to integrate the arts into curricula and extracurricular activities are all effective strategies. Additionally, creating online content such as tutorials, behind-the-scenes videos, and artist interviews can educate and engage a broader audience.
Direct sales strategies, such as targeting specific groups like uniformed personnel, orphanages, and retirement villages, were discussed as effective ways to broaden audience reach. Enhancing the overall audience experience by creating safe, inviting environments with amenities like bars and merchandise can also boost engagement and revenue. The idea is to create a holistic experience around the show, making theatre-going an event rather than just a performance.
Advertising should target both parents and children but with tailored messages. For parents, highlighting the educational benefits, cultural enrichment, and family-friendly nature of the events is key, as they are often the decision-makers. For children, using vibrant, engaging, and relatable content that appeals directly to them can capture their interest and excitement. Interactive promotions, such as social media challenges or fun educational activities, can be particularly effective.
The panel acknowledged that marketing and advertising don't always translate directly to sales, emphasising the need for diverse strategies and collaborations with different organisations to avoid over-reliance on a single audience source. Building goodwill within the community, though labour-intensive, is essential for long-term sustainability. Collaborations can also prevent the "milking of the same cow," ensuring a fresh and engaged audience base.
Accessibility was another major topic. Making performances and venues more accessible—both financially and physically—can significantly impact audience development. Ideas such as subscription-based shows, preview performances at reduced fees, and transforming theatres into inclusive community spaces were proposed. For instance, offering a subscription-based model similar to timeshares could ensure steady attendance and revenue, while also making theatre more accessible to diverse audiences.
Engagement beyond the performance itself was also emphasised. Allowing audiences to observe rehearsals, participate in Q&A sessions with artists, and witness the creative process can deepen their connection to the work. This approach makes the experience audience-centric and enhances the perceived value of attending performances. Creating opportunities for audiences to engage directly with artists can demystify the art-making process and foster a deeper appreciation and loyalty.
The arts and creative industry can sometimes fall into an echo chamber, primarily interacting within the same circles and missing out on broader trends and strategies. Learning from the entertainment industry, which often excels in marketing, audience engagement, and leveraging technology, could provide valuable insights. Collaborations between the arts and entertainment sectors can lead to innovative approaches, broader audience reach, and shared resources. For example, cross-promotions, adopting best practices in marketing, and integrating advanced technology for audience engagement, such as augmented reality experiences, live streaming, and interactive apps, can significantly enhance audience development.
The discussion pointed to a "State of Emergency" in the sector, calling for increased government engagement to improve access and accountability in funding. Specific actions such as government-subsidised audience development programmes and more effective arts management were suggested to ensure spaces and opportunities are accessible to new generations. Government should also improve the funding models available and learn from successful international examples, adapting them to the South African context. Transparency and accountability in how government funds are allocated and spent are crucial to effectively supporting the arts and audience development initiatives.
Noteworthy examples of successful initiatives included the Windybrow and Sibikwe Centres, Jomba Festival's talk-back sessions, the Angle Theatre Collective in Mpumalanga, and the Basadi Dance Festival. These models demonstrate the positive impact of audience engagement and development strategies. They serve as benchmarks for other organisations to emulate and adapt to their specific contexts.
Finally, the panel advocated for a pay-what-you-can model inspired by practices in the USA. This model could democratise access to theatre, making it financially accessible to a broader audience. For example, in South Africa, adapting this model could mean paying five times your age up to 20 years old, after which the full price is charged. This ensures sustainability while promoting inclusivity. Post-performance discussions were also highlighted as an effective way to keep audiences engaged and informed, providing an opportunity for feedback and deeper connection.
Incorporating these strategies and addressing the outlined challenges can significantly enhance audience development in South Africa's arts industry, fostering a vibrant and inclusive cultural landscape.
Summarised by Quintus Jansen
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