Our findings also demonstrate the considerable potential of future action research initiatives which combine the ethnographic advantages of in situ conversation and participant observation with the opportunities offered by facilitated, semi-structured conversation. As financial necessity and artistic ambition increasingly prompt arts and cultural organisations to explore possibilities for collaboration Cultural Institute Enquiry, , the audience exchange method offers a powerful tool for developing relationships between audiences, researchers and organisations, extending collaborative working in the arts in ways that are productive for all involved.
At the most practical level, it also begins to encourage the flow of audiences from one organisation to another, offering opportunities for cross-marketing in ways that are now being explored by our Birmingham network of organisations.
The audience exchange approach also suggests possibilities for more effective methods of evaluating arts and cultural programmes and events. One possible direction in which to take this would be to explore the experience of arts events by particular audience groups.
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For example, Gross et al. This audience exchange was with a group of participants from the Arts and Minds Network, and the evaluation addressed whether the festival was accessible and enjoyable to a group of people who at times suffer from social anxiety, exploring these sensitive questions in ways that could have been less productive using conventional research methods. The audience exchange offers one way to reach marginalised groups who might be alienated by standard arts evaluation practices, and so would be valuable in demonstrating the impact of arts engagement on a wider section of the population, as well as identifying ways in which arts organisations can speak more powerfully to the full breadth of their potential audiences.
The findings emerging from our use of audience exchange methods to date suggests that action research initiatives such as these, in addition to generating important new knowledge, offer possibilities for arts organisations and their current and potential audiences to develop fuller, more satisfying and potentially more enduring relationships.
Bennett , L. Burland , K. Dobson , M.
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Coughing and clapping : investigating audience experience - Bates College
Goedde , B. Gross , J. Heim , C. Ivry , B. Jacobs , R. James , M. Johanson , K. Keaney , E.
How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music
Lindelof , A. Long , P. McAdams , D. Margulis , E. Mason , J. Pitts , S. Radbourne , J. Sedgman , K. Sedo , D. Silva , K. Tomes , S. Walmsley , B. The authors would like to thank all the collaborators and participants in the research, and particularly Tim Rushby, Marketing Manager at Birmingham Contemporary Music Group, whose ideas and support launched the project with contemporary arts audiences and have been central to its on-going development. Stephanie Pitts is a Professor of Music Education at the University of Sheffield, with research interests in musical participation, arts audiences and lifelong learning.
Previous to this he worked on collaborative research projects at the universities of Leeds, Liverpool and Sheffield. His research interests centre on questions of cultural value, cultural organisations and cultural participation. Please share your general feedback. You can start or join in a discussion here. Visit emeraldpublishing. Audience response devices have developed considerably, particularly in recent years with the advent of easy to use, wireless mobile technology.
Most significant is the possible anomaly of the social aspects of being at a live concert being usurped by the solitary activity or responding to a self-report device. Search all titles. Search all titles Search all collections.
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