Increasing Cultural Participation

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THE UNI T FOR CONT EMPORARY L IT ERAT UREILLINOIS STATE UN I V E R S I T Y

NO R M A L 2001

Increasing Cultural Participation:An Audience Development Planning Handbook for

Presenters, Producers, and Their Collaborators

By Paul Connolly and Marcelle Hinand Cady


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About the Authors

Paul Connolly is vice president at The Conservation Company, a management consulting firmwith offices in New York, Philadelphia, and Chicago that provides strategic planning, programdesign and evaluation, organizational assessment and development, and board developmentservices to nonprofit organizations and philanthropies. He has extensive experience workingwith arts organizations. His recent clients include the National Endowment for the Arts,the Association of Performing Arts Presenters, The New York Foundation for the Arts,Massachusetts Cultural Council, Poets House, Studio in a School, Brooklyn Public Library,

and the Wallace-Readers Digest Funds. He received his masters degree in Public and PrivateManagement from Yale School of Management and a bachelor of arts degree from HarvardUniversity.

Marcelle Hinand Cady is an independent management consultant with significant experience instrategic and program planning, evaluation, documentation, and audience development. She hasworked with a range of clients, including the Delaware Museum of Natural History, LincolnCenter, and the Association of Performing Arts Presenters. Previously she was on the programstaff of the Wallace-Readers Digest Funds and is currently project coordinator of the FordFoundations New Directions/New Donors for the Arts initiative. From 1997 to 2000 she was theproject director of the Audiences for Literature Network and oversaw the audience developmentplanning processes of the eight organizations participating in that project. She received a mastersdegree in Fine Arts from Brown University and a bachelor of arts degree from Skidmore College.

Acknowledgments

We owe a special debt to Susan Sully, who led the planning process for several of the organiza-tions featured in these pages and helped develop the conceptual framework for this handbook.Richard Mittenthal, Christine Korinedes, and other colleagues at the Conservation Company alsoprovided guidance and made significant contributions. Many thanks also to the Association ofPerforming Arts Presenters, particularly Suzanne Callahan, consultant; Sandra Gibson, presidentand chief executive officer; Susie Farr, former executive director; Kenneth C. Fischer, boardmember; and Huong Vu, grants manager, Cultural Participation Programs.

We are grateful to the following presenters interviewed as part of the research for this hand-

book, all of whom generously shared their wisdom and lessons: Elise Bernhardt, The Kitchen,New York, NY; Tom Borrup, Intermedia Arts, Minneapolis, MN; Kim Chan, WashingtonPerforming Arts Society, Washington, DC; Wallace Chappell, Hancher Auditorium, Iowa City,IA; Aviva Davidson, Dancing in the Streets, New York, NY; Ellis Finger, Lafayette College,Williams Center, Easton, PA; Kenneth C. Fischer, University Musical Society, Ann Arbor, MI;Kenneth J. Foster, University of Arizona, Tucson, AZ; Bau Graves, Center for Cultural Exchange,Portland, ME; Susan Hartnett, Boston Center for the Arts, Boston, MA; Colleen JenningsRoggensack, Arizona State University, AZ; Timothy Lloyd, CITYFOLK, Dayton, OH; ArnieMalina, Flynn Center for the Performing Arts, Burlington, VT; Shannon Snead, Bill T.

Jones/Arnie Zane Dance Company, New York, NY; and Laurie Uprichard, Danspace Project,New York, NY.

Special thanks, too, to the organizations that make up the Audiences for Literature Network,which provided a test market for the planning strategies described in this handbook: Jean Trebbi,Florida Center for the Book, Ft. Lauderdale, FL; Michael Warr, The Guild Complex, Chicago, IL;

Ed Taylor and Debora Ott, just buffalo, Buffalo, NY; Linda Myers, The Loft, Minneapolis, MN;Nancy Pearl, Washington Center for the Book, Seattle, WA; Anne Kingsbury, Woodland PatternBook Center, Milwaukee, WI; Joe Flaherty, Writer & Books, Rochester, NY; and Al Lefcowitz,The Writers Center, Bethesda, MD. Elise Paschen of the Poetry Society of America, CorbySkinner of the Writers Voice at the YMCA of Billings, and Lee Ellen Bricetti of Poets House alsohelped us develop case studies about their organizations for this handbook.

This book was made possible by funding from the Wallace-Readers Digest Funds

Edited by Linda Roberts

Designed by Todd Michael Bushman / www.enlivendesign.com

2001 Wallace-Readers Digest Funds


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Chapter 5: Designing Audience Development Strategies

Step 1. Analyze Current Audience Development StrategiesStep 2. Refine Audience Development Strategies and Develop New OnesStep 3. Coordinate Chosen StrategiesStep 4. Forge Partnerships for Audience Development

Chapter 6: Integrating Marketing and Audience Development

Step 1. Position the OrganizationStep 2. Set Marketing GoalsStep 3. Conduct Market ResearchStep 4. Create a Marketing Plan

Chapter 7: Building Organizational Capacity

Step 1. Reexamine Organizational CapacityStep 2. Set Goals and Strategies for Building Organizational Capacity

Chapter 8: Scheduling and Budgeting

Step 1. List Tasks and Assign ResponsibilityStep 2. Plan the ScheduleStep 3. Forecast the Budget

Chapter 9: Documenting

Step 1. Set Documentation Goals

Step 2. Create a Plan and Budget for DocumentationStep 3. Select Documentation MethodsStep 4. Use Documentation

Chapter 10: Evaluating

Step 1. Decide How to Measure SuccessStep 2. Determine Who Will Conduct the Evaluation and Develop an Evaluation

BudgetStep 3. Develop an Evaluation Design and Employ Methods to Gather InformationStep 4. Analyze Evaluation Data

Step 5. Report the Evaluation Findings and Act on Them

Chapter 11: Making a Commitment to Cultural Participation

Appendices:

WorksheetsResources

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58

78

88

98

108

120

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The ALN was modeled after the WallaceFunds Audiences for the Performing ArtsNetwork (APAN) and informed by the pro-gram design of other funds-supported initia-tives such as the Arts Partners Program,administered by the Association ofPerforming Arts Presenters (APAP).

Kenneth C. Fischer is president of theUniversity Musical Society, the multidiscipli-nary arts presenter at the University ofMichigan in Ann Arbor that was a partici-pant in the APAN program. An enthusiasticsupporter of partnerships among literary and

performing arts groups, Ken writes:

When the ALN grantees joined meand nearly one hundred other WallaceFunds grant recipients in the performingarts fields at a gathering in Seattle inJune of 1999, it became apparent to methat all of our organizations shared simi-lar challenges and opportunities in audi-ence building. I promoted the idea ofALN having a presence at the annualAPAP members conference and have

chaired two such meetings to date. Thesemeetings, and the growing number ofcollaborations among local arts organi-zations, are expanding possibilities forpartnerships among literary groups andperforming arts groups to share knowl-edge and to embark on joint programs.

This handbook was supported by theWallace Funds to share some of the discourseand process of the ALN groups with thebroader field of arts organizations. It is the

belief of the Funds that people-centeredstrategies for building public participation inhigh-quality arts programs can help institu-tions of varied disciplines and sizes to diversify,broaden, and deepen relationships with theircommunities. For that reason, this handbookaddresses not only literary presenters, butalso performing arts organizations.

This handbook grew out of the experience ofthe Audiences for Literature Network (ALN),an audience development initiative supportedby the Lila Wallace-Readers Digest Fund(now named the Wallace-Readers DigestFunds and referred to here as the Funds orthe Wallace Funds). This program began in1997 when eight community-based literarycenters were chosen for one-year planninggrants to develop projects through which theywould form partnerships with other commu-nity organizations to build audiences for liter-ature and literature programming.1

The three-year implementation grants thatresulted from the Funds ALN planninggrants will culminate in 2001. Over the years,the eight organizations participating in theprogram have learned a great deal aboutaudience building. In particular, they realizedthat they have much in common with col-leagues across arts disciplines who are striv-ing to increase cultural participation.

According to Michael Warr, ALN nationalcoordinator:

These are extraordinary times in the lit-erary arts. Audiences are flocking toreadings, writing workshops, and poetryslams. Writers are performing with musi-cians, multimedia artists, dancers, andvisual artists. The organizations in theALN consortium have enhanced thestrength and impact of their programsand have amassed a body of knowledgeabout audience building that they haveshared with each other through confer-ences and electronic networking. This

handbook is an opportunity to share thatknowledge and experience with a broad-er range of groups working in diversearts fields. The ALN groups and I areparticularly excited about the expandedinteractions taking place with performingarts presenters, many of whose experi-ences are also reflected in this publication.

Introduction


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chapter 1


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Who Is the Audience for Performing Arts andLiterary Programming?

The audience for performing arts and litera-ture is broad and diverse. A recent NationalEndowment for the Arts (NEA) survey foundthat half of the U.S. population, or 97 million

Americans, attend at least one of seven artsactivities each year (including jazz, classicalmusic, opera, musicals, plays, ballet, or artmuseums). The study discovered that 35 per-cent of the Americanpopulation attends artsevents an average of3.3 times per year.Furthermore, the sur-vey found that peopleparticipate personallyin creating, making, or

performing art at evenhigher rates than attendance at arts events:66 percent of the survey respondents saidthey participate personally in one (or more)art form.2

The audience for literature includes allpeople who read literature and those whoactively participate by attending readings andperformances and taking writing workshops.The NEAs survey of arts participation foundthat in 1997, 123.2 million adult Americans(almost half of the entire population) read

plays, poetry, novels, or short stories, indicat-ing that reading or participating in literatureremains a popular cultural activity in thecountry. The survey determined that 63 per-cent of adults read literature at least once inthe last year, a participation rate that is higherthan any other cultural activity, includingmuseum or performing arts attendance. Some

Understanding CulturalParticipation

experts in the field note that literacy andlibrary circulation rates have risen and areading renaissance is taking place, asshown in the prevalence of poetry readingsand book groups nationwide. On the otherhand, it has been observed that the audiencefor literature is growing at a slower rate than

the overall population, due to increased com-petition from other leisure-time activities.

When you think about who the potentialaudience is for performing arts and literary

presenters, consider the NEA surveys find-ings about barriers to participation in the artsand cultural activities. People stated that thereasons they didnt participate were: It is toodifficult to find time; there are not enoughperformances or exhibitions in their area;tickets are too expensive; and the location ofarts events is inconvenient.

What Is Audience Development?

Audience development is reaching and engag-ing people in local communities by increasingthe number or types of people who partici-pate in arts activities, or deepening an exist-ing audiences level of participation. Itincludes serving both new audiences and thepresent audience more deeply. Through theaudience-building process, arts organizations

Cultural participation acknowledges that the

arts are an interactive, rather than passive, act


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forge bonds between individuals and institu-tions to help create communities that areengaged with the arts. To ensure that thesecommunities grow and remain dynamic, theorganizations in these communities mustdeliberately seek to address the needs, issues,and concerns relevant to the people of thecommunity.

Audience building is a complex endeavor.Thorough planning and comprehensiveimplementation (including not only program-matic but also marketing, organizationaldevelopment, and institutional strategies) arenecessary to ensure that audience develop-ment initiatives are effective.

Changes in Terminology and Knowledge

Terminology regarding attracting and build-

ing the frequency and loyalty of audienceshas changed during the course of the ALNproject. At the outset, the term audiencedevelopment was commonly used. Thensome in the field began using the term audi-ence building to avoid the implication thatthe endeavor was only concerned withincreasing the size of the audience. Lately,cultural participation, which acknowledgesthat the arts are an interactive rather thanpassive act, has been used more frequently.This handbook uses all of these terms.

Knowledge about peoples behavior interms of arts participation has also evolvedover the past several years. At the start of theproject, it was clear that people participate inthe arts at different points along a spectrum,from avoidance to awareness, participation,and active support. In 1999, the WallaceFunds commissioned RAND, a researchorganization, to examine a wide range ofways arts and cultural institutions couldattract new audiences, reach a larger share ofexisting audiences, and deepen the involve-

ment of current participants in their pro-grams. RANDs study analyzes why peopleparticipate in arts and cultural activities andwhat institutions can do to encourage partici-pation. In the first phase of its work, RANDdeveloped a theoretical model to examine thefactors most likely to influence an individualsdecision to participate in the arts. The model

is based on the experiences of a number ofarts organizations that have received grantsfrom the Funds, as well as current literaturein the field. During the second phase of itswork, RAND is surveying arts administratorswho are currently involved in cultural partici-pation efforts. The survey results will help theRAND team refine the participation modeland draw conclusions about the most effec-tive ways to increase arts participation.3

The Wallace Funds and RAND will pro-duce a range of documents based on theresearch they have been undertaking, includ-ing: a bibliography of studies related to artsparticipation; a final report on participation-building strategies with a revised participa-tion model, findings from the national surveyof arts organizations, and an assessment ofthe most effective engagement strategies; a

toolkit with participation-building strategiesfor arts organizations that links institutionalmissions and objectives with the most effec-tive strategies; and a white paper for arts fun-ders on strategic ways to support efforts toincrease cultural participation. The Fundsplan to release these reports by 2001. Someof RANDs early findings, particularly infor-mation about the participation model, havebeen incorporated into this handbook.

Why Increase Cultural Participation?

Most nonprofit organizations are, by theirvery nature, mission driven, not market driv-en. They do not strive to make a profit, butto improve the quality of life, discourse, orart or to support artists and creativity incommunities. Many performing arts and liter-ary organizations struggle financially and facethe seeming indifference of society at large tothe importance of their work.

Therefore, it is not surprising that, facedwith such a set of challenges, the leaders of

organizations may hesitate to embark uponthe complex process of audience building. Yetthe solutions to many of these problems liewithin successful audience developmentwork. By serving larger audiences with moreengaging programs, arts organizationsbecome more vital, visible, and financiallyviable institutions. The former executive


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director of the Saint Louis SymphonyOrchestra explained how audience develop-ment activities have helped his organizationstabilize and thrive:

Changing a few concert formats wouldntsolve the problem; changing the funda-mental nature, but not the content, ofthe symphonys interaction with the com-munity might. We decided that we hadno choice but to plunge into the commu-nity with a completely unapologetic atti-tude toward our art, as self-effacing mis-sionaries for that art, seeking to build asmany points of connection as we couldfind. By engaging in comprehensive,ambitious audience development, wereinculcating [audiences] with the innatelyinfectious nature of our art. We are

actively involved in building our owninfrastructure for broad-based supportdown the line while providing service tothe community in the near term. If we doour job in the trenches now, the questionof our relevance will be moot in twenty-five years.4

For most organizations, audience develop-ment is not achieved by going about business

as usual. Many start their program planningby thinking about content first, based uponcurrent enthusiasms about a certain artist,author, or format. Underlying this process aresuch assumptions as: Audiences are interestedin what the organization is interested in, andpeople who share the organizations enthusi-asms know about its programs.

Thorough audience development planningcalls these and many other assumptions intoquestion. Clearly, an organizations currentaudience shares its interests, but an organiza-tions potential audience may not share itscurrent interests or know that it has interestsin common with the organization.

When planning your organizations pro-grams, you should first ask: Is our currentaudience the same as our potential audience?If the answer is no, and in almost every case

it will be, then you need to ask more ques-tions, such as: What potential audiences arewe not reaching? Why arent we reachingthem? Do they know about our programs?Are they interested in our programs and, ifnot, do we have interests in common that canbring us together? To properly address thesequestions, thorough research, creative mar-keting, innovative program design, andthoughtful evaluation are required.

Is our current audience

the same as our potential audience?


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Objectives of This Handbook

This guide is for performing arts and literary presenters, producing organizations, collaboratingorganizations, and others involved in the audience-building process. It suggests ways to improveorganizations abilities to increase cultural participation in their communities and describes aprocess that can guide organizations through the planning, implementation, and evaluation of suchwork. The handbook also strives to:

share strategies that have helped ALN groups and other performing arts organizations analyzecurrent audiences and programs and implement strategies to deepen, broaden, and expand par-ticipation in arts programs;

inform arts groups of the wide-ranging implications of launching an audience-building initiative; enable organizations to assess whether they are ready for audience building; disseminate the latest thinking and theories related to cultural participation; articulate some of the major issues that staff and boards must confront when they begin the

audience-building process; promote the concept that administrative, programmatic, and marketing strategies must be inte-

grated to effectively build participation in the arts; link audience building, documentation, and evaluation; provide organizations with self-help tools that they can use to evaluate and build their audience

development initiatives.

How to Use This Handbook

This handbook contains step-by-step guidelines to help the board and staff members of arts organi-zations engage more deeply and effectively in the process of audience development. It begins with anassessment of readiness, because successful audience development relies upon a basic infrastructureand organizational self-understanding. The next chapters cover how to assess your organization andaudience, set goals, design audience development strategies, integrate audience development withmarketing, anticipate organizational implications and build capacity, develop schedules and budgets,and produce documentation and evaluation. The last chapter describes how to make an ongoingcommitment to audience development.

Throughout the handbook are recommended approaches to research and creative planning,examples of successful strategies in case studies, models for evaluating the effectiveness of programsand activities, and other tools. This guide should serve both as a catalyst to encourage you to

embark upon the journey of audience development and a compass to help you guide your organiza-tion to its desired destination.The handbook ends with two appendices. Appendix A contains a series of worksheets and sam-

ple forms related to various chapters, which can be reproduced. Resources for obtaining more infor-mation on cultural participation, evaluation, and documentation are described in appendix B.


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chapter 2


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Before formally taking the steps described inthis and the following chapters, identify theindividuals you believe are best suited to par-

ticipate in planning for audience develop-ment. This may include a core group of indi-viduals who are deeply committed to andengaged with the organization, such as theexecutive director, president of the board, andother key staff or board members.

Certain stages of the process will requirethe input of specific individuals, who may ormay not be appropriate for inclusion in thecore planning committee, such as specializedstaff members; board committee members;and outsiders, including representatives

from the wider fields of performing arts orliterature, other organizations serving similarconstituencies, or funders. Periodically duringthe planning process, the full board and staffshould be engaged to share their experiencesand to help shape a vision for the organiza-

tion. Broad participation will help to ensurethat the final plan is fully adopted and imple-mented at all levels of the organization, from

clerical support to board leadership.At an early point in planning, the core

committee should determine what outsideexpertise might be needed to assist with theproject. For instance, a strategic planningconsultant could help guide the entire processor facilitate a key meeting, or marketresearch professionals and equipment andsystems analysts may help with other aspectsof the project. Although some of these maybe availablepro bono through board connec-tions, others may need to be hired for a fee.

Local funding agencies and peer organiza-tions can usually provide reliable recommen-dations, and technical assistance grants maybe available to help cover consulting fees andrelated expenditures.

Getting Ready

Step 1

Is your organization ready to begin planningfor audience development activities? Thereare neither absolute right nor wrongways to engage or expand audiences. Yetthere are proven effective processes and iden-tifiable ingredients present in organizationsthat succeed in audience development.

Prerequisites for success and preliminaryplanning steps are delineated in this chapter.

Form a Planning Committee

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Planning to Reach a New Audience:Arizona State University

Arizona State University (ASU) Public Events Drawing the Lines project aimed to develop newNative-American audiences and educate existing audiences about Native American culture and artforms. ASU placed five Native-American artists in different communities for three-week periods toteach performance skills and create new works. The works were then presented in their tribal com-munities and on stage at ASU Public Events auditorium at a Native-American Arts Festival.

ASU began the project with a two-year planning period. Representatives from ASU PublicEvents, ASU academic departments, a national service organization for Native-American arts, andthe tribal communities all participated on the planning committee. During this period, ASU devel-

oped relationships with the tribal communities and selected residency sites. ASU arranged a series ofmeetings with the artists and community members, during which community needs were discussed.The planning process culminated in a three-day convergence meeting of everyone involved in theproject.

The extensive and inclusive planning paid off. ASU Public Events was able to recruit new audi-ences to the workshops and festival. In particular, Native-Americans totaled approximately 99 per-cent of the workshop participants and about 70 percent of the audiences at the festival.

Forming a Planning Committee:

The Writers Voice

The Writers Voice in Billings, Montana, a regional affiliate of the national YMCA Writers Voice,launched a planning process to analyze the needs of area audiences and develop more appropriateprograms to serve them. The process began with the formation of a planning committee that includ-ed staff and board members from the Writers Voice as well as representatives of other organiza-tions. This six-month-long process involved meetings that brought together representatives of thefull range of institutions providing literary services to the areas population, including libraries,schools, an arts center, and a museum. Through these meetings, the planning committee identifiedschool children in outlying rural areas as an audience that was underserved by literary programs.

Through subsequent meetings with school system representatives and teachers, the planning

committee was able to design a program entitled Poets on the Prairie that pairs local poets andwriters with schools to provide access to creative writing activities for rural school children.Following the six-month planning period, the program was launched in a year-long implementationprocess targeting just two or three counties and schools so that the strategies could be tested andrefined. Following this pilot period, the program was fully implemented in twenty-one counties,resulting in ninety visits by writers and artists from other disciplines during the year.

The following case studies demonstrate the purpose and work of an effective planning committee.

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A commitment to audience developmentoften begins with the recognition that fundersare encouraging arts organizations to commitnot only to serving the art forms existingaudience, but also to engaging new audienceswith that art. A dedication to audience build-ing is crucial to successful fund-raising. Also,increasing cultural participation can help toincrease earned revenues for organizations inother ways, through membership income,entrance costs, and fees for services. Yet aninterest that is based purely on the bottomline is not sufficient to support a lasting andeffective audience-building process. The com-

mitment must be based on an understandingthat sustained audience development is criti-cal to the overall vitality and relevance of thespecific organization to its community, and tothe vibrancy and relevance of culturalendeavors to society at large.

Therefore, assessment of your organiza-tions readiness for beginning an audiencedevelopment process might begin by posingthe following questions for serious reflectionand response by key board and staff mem-bers. (These questions are included on

Worksheet 2.1 in appendix A. See Exhibit 2.1for a sample filled-in version of this form.)

Why is increased audience developmentimportant for your organization?

How will it benefit your organization? How will it benefit the community your

organization serves? How might it benefit the field and society

at large?

These questions might be posed mosteffectively at an appropriate point in regularboard and staff meetings, or at a specialmeeting of board and staff convened to beginthis process of planning for audience develop-ment. Or they could be circulated individual-

ly once the topic has been broached at anappropriate meeting.

If the board and staff do not demonstratea clear understanding of the value of audi-ence development, it may be necessary tointroduce the subject by inviting leaders oforganizations that have successfully launchedsuch programs to speak or build advocatesfor the process by bringing board and staffmembers to meet with funders, colleagues,and consultants who are familiar with the fullbenefits of audience development.

Step 2

Increasing cultural participation

can help to increaseearned revenues for organizations.

Establish a Commitment to Audience Building

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(This is a filled-in sample of Worksheet 2.1 in appendix A.)

1. Why is increased audience development important for your organization?

- We have a number of different audiences for different programs, but they dont even know each other. It would be greatto get the jazz festival audience coming to our Mainstage events year-round.

- There are all sorts of families in the community and their kids know about us and participate in the education program, butthe parents have never even stepped in the door.

- The people coming to the Mainstage plays are getting older; the whole audience for theater might just disappear over time.

2. How will it benefit your organization?

- If we could get families coming to the Mainstage and music programs, they might become members. At least it would increasesubscriptions.

- If jazz festival audiences came to our other programs, our audience would look less old and homogeneous.- More families would mean more young lovers of music and dance and arts, which we want.

3. How will it benefit the community your organization serves?

- Giving more people alternatives to TV and sporting events is our role in the community.- Making the newcomers to our area, the families that relocate here, feel more a part of the community of our organization.

4. How might it benefit the field at large?

- Getting kids interested in all the fields we presentmusic, theater, and dancewill build audiences for the future forthose art forms.

- Figuring out ways to get people to crossover, such as jazz lovers coming to theater, or theatergoers attending dance per-formances. These are lessons that other rural presenters can use across the country.

5. How might it benefit society at large?

- More art, less TV!- Getting kids involved with us may begin to replace the arts education that has been cut in the schools.- Our programs address issues important in our world. Maybe through art people can learn about other cultures or spend time

with people of other races.

Exhibit 2.1Establishing a Commitment to Audience Development

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Step 3 Take Stock of Your Organizational Resources and Record

Certain basic resources are required for audi-ence development, including sufficient per-sonnel; professional ability in areas such asprogramming, public relations, marketing,and fund-raising; the clerical support, paidand/or volunteer, to handle increased infor-mation management and correspondence; andaccess to sufficient equipment and facilities. Itwill be difficult for an organization to suc-cessfully launch audience-building initiativesif it is suffering fromsignificant weaknessesin its infrastructure,such as inadequate

staffing, equipmentshortages, or poorinformation manage-ment systems. By invit-ing a few key boardand staff members tofrankly respond to theOrganizationalInfrastructureAssessment Survey (Worksheet 2.2 in appen-dix A), a better understanding of currentorganizational strengths and weaknesses can

be gained.Once weak points have been identified

and addressed, your organization will be bet-ter prepared to conduct successful audiencedevelopment work. At the onset of thisprocess, key board and staff members mustunderstand the resources needed and be will-ing to improve. Once audience developmentgoals and strategies have been articulated,this will be reviewed to identify new areasthat may require bolstering to support imple-mentation.

Successful audience development is bestbased upon a foundation of experience. Mostlikely, your organization has been presentingprograms and services over a period of timethat has allowed board and staff to formulatehypotheses about the relationship betweenthe organization and the audiences it serves.Experience gleaned through trial and errorregarding planning, presenting, and promot-ing programs is essential to developing suc-

cessful audience development projects. If yourorganization is new, you will need to solicitthe guidance of others who have appropriate

experience with similar programs and targetaudiences. If some of the leadership of yourorganization is unfamiliar with the institu-tions past, it will be essential to build afamiliarity with the organizations historybefore envisioning an appropriate future.(Worksheet 2.3 in appendix A includes ques-tions you can answer about evaluating yourrecord of programs and services.)

It will be difficult for an organization to

successfully launch audience-building

initiatives if it is suffering from significant

weaknesses in its infrastructure.

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A prerequisite for an organization beginningaudience development work is a solid under-standing of its audiences. You will need toanswer the following questions:

Are your board and staff familiar with theorganizations current audience?

Do you know how many people actuallyattend your events and participate in yourservices?

Are you knowledgeable about their char-acteristics, habits, and interests?

Is your understanding of current audiencesbased purely on observation and anecdot-

al evidence, or is it supported with datagleaned through audience surveys andother tools?

(Additional questionsto help in understand-ing your audience arearticulated inWorksheet 2.4, appen-dix A.)

Most successful audi-

ence development proj-ects begin with a solid baseline profile of cur-rent audiences. Many organizations have thenecessary information at hand as a result ofconsistent use of audience surveys and otherevaluative tools. If, however, organizationspreparing to embark upon audience develop-ment projects lack such data, they can beginan intensive process of audience identificationearly on in their planning phase. This mightinclude developing and using audience sur-veys; convening meetings with people who

have the most direct contact with currentaudiences, including program participantssuch as workshop leaders, readers, and othersdirectly in touch with your constituency; andeven directly engaging sample groups of audi-ences through roundtable discussions, focusgroups, and one-on-one interviews.

Ideally, baseline data reflect an entire sea-

son or year of operations. Data can be inten-sively collected at the beginning of a planningprocess, then updated throughout the year toround out the picture. If staff and board lackknowledge of the tools and techniques ofmarket research, you can consult those whoare more expert, such as staff of other organi-zations that might be willing to share theirexperience, a consultant, or some otherknowledgeable individual. Additional marketresearch may be required to learn more aboutpotential audiences.

Once baseline information has been col-lected and analyzed, it will help inform deci-

sions by your organizations planning com-mittee regarding target audiences for future

projects, whether filling an unmet needamong existing audiences or reaching out toan underserved or completely unengaged newaudience group. The data should also provideinformation that will help reveal the currentrelationship of programs and services to audi-ences and make clear what underlying strate-gies are at work. This information is essentialto successful planning for audience develop-ment.

Since audience development is about deep-

ening and broadening bonds with the com-munity in which an organization operates, itis important to have some basic connectionsestablished before embarking upon new proj-ects. For instance:

The awareness and respect of peer organi-zations, including educational institutions,

Step 4 Understand Your Audience and Community

Most successful audience development

projects begin with a solid baseline profile

of current audiences.

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community nonprofits, government agen-cies, libraries, and others, will help toopen doors for sharing information anddeveloping partnerships.

The support or, at least, recognition ofyour institution by local and nationalfunding sources, public and private, willbe instrumental to gaining the fundingneeded for expanded audience develop-ment.

An understanding of your organizationslevel of visibility and reputation amongpeer organizations, the arts community,and general public will provide valuableinformation, which will influence future

public relations and marketing efforts. Relationships with key media contacts will

prove invaluable to getting the word outabout your project.

If these community relationships are notin place, the early planning stages of an audi-ence development project can serve as theideal time for forging them, whether throughsurveys, town meetings, or one-on-one con-versations. (Worksheet 2.5 in appendix Aposes questions that will help you assess thebreadth and depth of your organizationscommunity relationships.)

Involving Community Partners in the Planning Process:

Dancing in the Streets

Dancing in the Streets, a New York City-based group that commissions, produces, and presents site-specific dance and interdisciplinary performances, considers planning to be the key to the success oftheir audience development efforts. By having the whole staff and community partners participatein planning, notes Executive Director Aviva Davidson, we avoid crisis management and engageeffectively with the community.

For the past six years, Dancing in the Streets has sustained a long-term initiative in Red Hook,Brooklyn, a community that is struggling to become more vital and attractive. The work integratescommunity activities, arts education, a performance festival, and professional site work. Dancing inthe Streets has developed partnerships with local schools, social service agencies, and arts organiza-tions. Most of the planning happens during the organizations monthly meetings with these commu-nity partners, during which the participants check in, ask questions, and revise plans.

The following case study highlights an organization that successfully engaged the community duringthe planning process.

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Leadership champions and communicates the vision foraudience development to staff, the board, and other

constituents so that all stakeholders feel a sense of ownersh

Prerequisites for Success

The Wallace Funds have found that organiza-tions that succeed in audience developmentinitiatives typically possess the followingcharacteristics: a clear and shared vision;openness to change; a connection with com-munity; commitment to relevance; organiza-tional capacity and resources; and an abilityto tell the story about audience building.These factors, which encompass both philo-sophical and pragmatic concerns, areexplained in detail below. (Worksheet 2.6 inappendix A poses some critical questions to

help you assess your organizations capacityto plan and manage a successful audiencedevelopment initiative.)

Clear and shared vision. The most effec-tive audience-building efforts usuallyinvolve presenters whose leaders have aclear, common vision of the need for andgoals of audience development. The lead-ership champions and communicates thevision for audience development to staff,the board, and other constituents so that

all stakeholders feel a sense of ownership.

Openness to change. An audience devel-opment initiative usually requires manychanges in an organization, with programsbeing just the beginning. Audience devel-opment also requires organizations to

change the way they do business and man-age resources. Increasing numbers of audi-ence members, diversifying the audiencescomposition, or deepening the participa-tion of the current audience typicallynecessitates a commitment to bringingnew people into the organization andinvolving previous constituents in differentways. Effective cultural participation proj-ects usually involve presenters whoembrace change in the audience, theorganization, and the community.

Organizational capacity and resources.

The potential of even the clearest visionsand the strongest community connectionswill remain untapped without sufficienthuman and financial resources and institu-tional capacity (explained in step 3 of thischapter). The following are some funda-mental characteristics that indicate organi-zational health: a vital mission and clearsense of why the organization exists; well-regarded programs of high artistic quality;capable and motivated leadership, man-agement, and staff; a well-organized board

with able and involved members; clearcommunications and accountability; effi-cient operations and strong managementsupport systems; and solid finances, withreliable and diverse revenue streams.Although few groups exhibit all of thesequalities, if several of them are missing,

Step 5Assess Your Organizations Overall Readiness for

Increased Audience Development Activities

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the best intentioned audience developmenteffort can fail.

Organizations that have attained a cer-tain level of institutionalization, markedby sustainability of programs and servicesand the full development of the organiza-tional systems to support those programsand services, are most likely to be effectiveat launching and maintaining new audi-ence engagement strategies. Successfulorganizations usually have a strong recordof programs and services from which todraw and build upon, as well as an under-standing of audiences gained throughobservation and research.

Connection to the community and com-mitment to relevance. Arts organizationsthat are closely connected to their commu-

nities and deeplycommitted to pre-senting relevantprograms are morelikely to succeed intheir efforts to buildand sustain theiraudience (describedin step 4 of thischapter). Theseorganizations forgeand maintain ties

with their commu-nities by: viewing themselves as a part of awhole community; continuously gainingknowledge about the interests, concerns,and motivations of their current andpotential audiences; and engaging in ongo-ing dialogues with different parts of theircommunities to guide organizational deci-sions. They develop and offer programsthat are relevant to the wants and needsof the communities they serve and buildpartnerships with artists who share their

commitment to audience development.

Ability to tell the story about audiencebuilding. An organizations effort toincrease cultural participation is most suc-cessful when a system is established toenable ongoing communication betweenproject participants and the organizations

constituents. Telling the story of how theartistic work is being developed, the audi-ences experience and reactions to thework, and the issues that the organizationis facing during the project is an integralpart of an audience development project.An organizations ability to establish afeedback loop with audiences, funders,community members, media, board mem-bers, and staff and to use various docu-mentation methods to address all theseconstituents is a key success factor.

Warning Signs for Lack of Readiness

Below are some warning signs that yourorganization is not ready to initiate an audi-ence development project. Organizations thatidentify weaknesses in some of these areas

can gain a better understanding of theirimmediate needs and make plans to overcomethem during the early stages of their audi-ence-building initiatives. Those organizationsthat identify multiple weaknesses may chooseto engage in a preparation period before pro-ceeding with planning and implementingaudience development projects.

Absence of buy-in from stakeholders. Themost crucial warning sign that an organi-

zation is not ready to initiate an audiencedevelopment project is the lack of wide-spread buy-in among all stakeholdersinvolved with the project. An absence ofunderstanding and agreement among theexecutive director, board, and staff can bean enormous liability.

Arts organizations that are closely connected

to their communities and deeply committed

to presenting relevant programs are more

likely to succeed in their efforts to build

and sustain their audience.

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Inadequate communication with the com-munity. Lack of communication withcommunity members is another indicationthat an organization may not be ready totake on an audience-building initiative.The feedback loop between an arts organ-ization and its current and potential audi-ences in the community is an essential ele-ment of effective audience development.An arts organization needs to offer pro-grams and to express issues that are rele-vant to the life of the community andhave a relationshipon which to buildan ongoing conver-sation.

Failure to integrateaudience develop-

ment into the entireorganization. Ifaudience develop-ment is narrowlypigeonholed intoone department,such as marketingor education, then itwill probablybecome an isolatedactivity that will not reach its full poten-tial. Audience-building initiatives that con-

centrate only on selling tickets andincreasing box office sales ultimately havetrouble sustaining themselves.

Addressing Organizational Weaknesses

Once appropriate board and staff membershave considered the questions posed in thischapter, they will be better able to determinetheir readiness to embark upon cultural par-ticipation initiatives. If the responses revealthat your organization has in place the basic

elements of readiness, then an audience devel-opment planning process can begin. If youperceive an organizational shortcoming, hereare some possible strategies to address prob-lems:

Determine the cause of the problem.Avoid the tendency to quickly label the

source of an organizational weakness thatis hampering an audience developmentproject. Since most organizations operateas complex systems, it is usually hard topinpoint one element as being the soleroot of a problem. Devising a solutionwithout a thorough diagnosis can some-times lead to additional problems.

Spend more time planning and educating.If it becomes apparent that some of yourkey stakeholders have a different vision

for audience development, have notbought into the concept, or are resistant to

change, it is usually worthwhile to takethe extra time to hear them out and try toget them onboard. Sometimes people needto read materials, attend training sessions,or visit other organizations to gain a betterunderstanding of audience development.

Start small or scale back the effort. It maybe best to rethink your project and scale itback if some key participants are not com-mitted to it or if you lack adequateresources. If the initiative is in the plan-

ning stage, you can begin with a smallerpilot project, learn from the experience,and apply the lessons to an expanded sub-sequent effort. If the project is alreadyunderway, you can scale it back until thereis the level of support necessary for it tosucceed.

An organizations ability to establish a

feedback loop with audiences, funders,

community members, media, boardmembers, and staff and to use various

documentation methods to address all

these constituents is a key success factor.

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The scope of planning projects can varywidely. Step-by-step guidelines are providedin the following chapters that can provide aplanning template for your organization, oryou may choose to incorporate a selection ofthese exercises. However you choose to uti-lize this handbook, the observations, exercis-es, and case studies that are provided shouldoffer valuable insights into the planning,implementation, documentation, and evalua-tion of audience development initiatives.

After completing the exercises in thischapter, your organizations planning com-mittee should be able to determine roughlywhat scope your planning process shouldrequire. It may be helpful to discuss this withboard and staff from other organizations whohave participated in planning processes, fun-ders who are well versed in this area, or con-sultants. There are also books available onthe subject, several of which are listed inappendix B.

Conducting an Extensive Planning Process:

The Poetry Society of America

The Poetry Society of America in New York City launched a year-long strategic planning processwith multiple goals, including the improvement and expansion of its infrastructure and the reconfig-

uration of its programs. This process, which was facilitated by an experienced planning consultant,included monthly meetings by a strategic planning committee comprised of key board and staff;meetings of board/staff committees assigned with assessing human resources, equipment and facili-ties, finance and development, public relations and marketing, and programs and services; and aday-long board retreat. A telephone survey was conducted to analyze the organizations reputationand perception within its local community and the national field of literature. Information regardingaudiences and programmatic initiatives was gathered and analyzed, and detailed recommendationswere made regarding organizational infrastructure.

The final plan called for a three-year implementation that would not only improve the infra-structure of the organization, but also radically expand the audience it served. A complex array ofunrelated programs was pruned and reconfigured to include three focused program initiatives thatcould be implemented in five cities across the nation. These included Poetry in Motion, a program

that placed poetry posters in city subways and buses; Tributes in Libraries honoring renownedpoets; and Poetry in Public Places readings featuring thematic poetry. These programs were designedto appeal to audiences ranging from those with little prior exposure to literature to those that aredeeply engaged. Marketing mechanisms that encouraged audiences to seek higher levels of engage-ment were designed, and programs that further enhanced and rewarded the deepest level of engage-ment, such as seminars and competitions, were reconfigured.

Step 6 Determine the Scope of Your Planning Project

The case below describes an especially lengthy and extensive planning process.

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chapter 3


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All good planning for the future begins witha clear understanding of the past and present.In the previous chapter, you were asked toassess your organizations readiness byanswering some basic questions. This chapterdelves more deeply into that process of build-ing a comprehensive profile of your organiza-

tion and audience.The best place to start assessment is by

examining your organizations history.Dynamic arts organizations are typicallyresponsive entities.Their leaders respondto needs they perceivewithin the community,interests of new boardmembers, excitingevents in their fields,and challenges and ini-

tiatives expressed byfunders, government agencies, or other insti-tutions. This kind of responsiveness connectsorganizations to their communities and keepsthem vital.

Without an attitude of responsiveness,organizations face stagnation, loss of rele-vance, and ultimately extinction. However,unexamined and undirected responsivenesscan lead to organizational instability, incon-sistency, and ineffectiveness. Planning pro-vides the middle road, allowing organizations

to strategically chart a new direction thatresponds to a carefully selected set of challengesand goals. Operating with a strategic plan canhelp your organization avoid costly tangentsand dead-end projects, establish momentum,

and arrive at its desired destination.Thorough organizational assessment

requires analysis of all aspects of your organi-zation: its mission, programs, services, andinfrastructure; its relationship to similar insti-tutions in the area; its relationship with audi-ences; and its role and image within the com-

munity it serves. It is also important to createa snapshot of the community within whichyour organization is located. For instance,area demographics may have shifted signifi-

cantly, affecting the habits and patterns ofvarious constituencies.

Your organization might begin the assess-ment process by inviting appropriate staffand board members to fill out the worksheetsassociated with this chapter (see appendix A),adapting them as needed to measure andchart the organizations recent path. Oncethese forms have been completed, the datacan be shared with key board and staff mem-bers, who may then consider the analysis

questions provided and engage in a conversa-tion about the issues raised. These discussionswill help you set appropriate audience devel-opment goals and develop the strategies toachieve them.

Assessing Your Organizationand Audience

All good planning for the future begins with a

clear understanding of the past and present.


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Step 1 Examine Your Organizations History

By studying your organizations recent histo-ry, you can identify a general direction that ithas been following. This backward glancewill help make evident the kinds of internaland external forces to which the organiza-tions leaders have been responding over theyears. This knowledge will help the planningcommittee formulate a new road map thatwill direct institutional activities in the yearsto come. Begin by responding to some ofthese general questions:

Have programs and services shifted signif-icantly?

Is the organization offering more pro-grams and servicesthan before?

Have some pro-grams or servicesbeen dropped?

Have new programsor services beenadded?

Has overall atten-dance increased ordecreased?

Are some programs attracting growingaudiences and is attendance dwindling forothers?

Is membership growing, shrinking, orremaining at the same level?

Has infrastructure (board and staff size,financial support, equipment, and facili-ties) grown, shrunk, or remained static?

Is growth in expenditure keeping pacewith growth in income?

Is audience growth paralleled by increas-ing admissions income?

Is audience growth paralleled by increas-ing membership size?

If the answers to these questions indicatethat your organization is on a trajectory of

change, it may be helpful to measure the indi-cators of that trajectory over a period oftime. A chart for historical analysis and aworksheet, including the questions discussedabove, are provided in Worksheet 3.1, appen-dix A.

One of the most common scenarios toemerge from this type of assessment is thediscovery that programs and offerings haveproliferated while infrastructure has remainedstatic. Many organizations have launchedinnovative programs in recent years to fulfillmandates for expanded arts education oraudience development without growing the

infrastructure that is needed to support them.

New programs are created without addingstaff support or launching sufficient market-ing initiatives, thereby resulting in only mod-est audience development gains and signifi-cant strain upon the organizations resources.

On the other hand, some organizationsmay have concentrated on capital improve-ments or other forms of infrastructure growthwithout building the audiences that will bene-fit from and ultimately help support theexpansion. By tallying growth or decline inthe quantity of service and size of supporting

infrastructure, you can obtain a sense of thebalance between service and infrastructureand gain insights into areas that may needbolstering.

Dynamic arts organizations are typically

responsive entities. Their leaders respond

to needs.


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Step 2 Assess Similar Organization

Arts organizations do not operate within avacuum. There is always a constellation oforganizations providing some kind of artsprogramming within the same area, whethertheaters, art museums, or smaller community-based arts groups. These, too, are dynamicinstitutions that develop in response to a sim-ilar set of local and national forces, and thatpossibly serve a constituency that overlapswith your own. Before launching any newaudience development projects, it is impor-tant to find out who these organizations areand what they are doing.

Questions you will want to consider

include the following:

Has the number oforganizations offer-ing arts program-ming and servicesincreased ordeclined in yourarea?

Are you offeringsome of the sameprograms and serv-

ices as these otherorganizations?

Are you serving audiences that are thesame, different, or overlapping?

Is your organizational infrastructure com-parable to that of peer organizations (e.g.,significantly larger, smaller, more compre-hensive, on a par, etc.)?

Does your organization have shared con-cerns with peer organizations?

Does your organization face similar chal-lenges?

Are there resources and experiences youmay be able to share?

Might partnerships with one or more ofthese organizations improve service toshared audiences or improve impact ofoverlapping programs?

Can you define the niche that your organi-zation fills in the community?

Can you eliminate some programs andstrengthen other offerings to define aclearer niche and identity for your organi-zation?

These are the kinds of questions that canbe answered by analyzing the context withinwhich your organization operates. A chart is

provided on Worksheet 3.2 in appendix A,

which can be modified to help gain a basicunderstanding of the comparative relation-ship of your organization to its peers. Havingcompleted this chart, you can better answerthe questions above and those following thechart. Ideally, the process of completing thischart will lead to a productive dialogue withother organizations that serve your area. Suchdialogues can lead to the sharing of valuableinsights and information and spawn strategicpartnerships that can benefit all thoseinvolved, from the presenting organizations

to participating audiences.

Without an attitude of responsiveness,

organizations face stagnation, loss of relevance

and ultimately extinction.


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This step invites you to take a closer look atyour organizations current relationship to itsown audiences. As discussed in the previouschapter, most arts organizations participate insome kind of audience assessment on anongoing basis, such as counting attendancefigures for programs, utilizing surveys todetermine the make-up of their audiences, orcirculating questionnaires among their mem-bers.

Because most funding agencies requiredata from their grantees regarding age, eth-nicity, and gender of audiences served, suchsurveys usually cover

this basic information.Often, they alsoinclude categoriesregarding income, edu-cation level, and occu-pation. Sometimes theyinclude opportunitiesfor audiences to ratetheir level of satisfac-tion with the service orprogram offered.

These surveys usual-

ly provide the funda-mental informationthat can begin to help organizations deter-mine what kinds of audiences participate intheir programs. However, they often lackinformation about habits or practices thatmight help you identify what level of engage-ment audiences enjoy in the art your organi-zation specializes in. They consist of ques-tions like How often do you attend per-forming arts events each year? or Howmany books do you read annually? or

Identify other cultural and educationalactivities you have participated in within thelast year.

Even if your organization has not yetgathered such data, you may be able to makesome general observations about the natureand habits of audiences and the effectivenessof different programs and services in meeting

their needs. To begin, address the followingbasic discussion questions (see Worksheet 3.3,appendix A, and Exhibit 3.1 for a filled-insample of this worksheet):

Is there a typical profile that describes themajority of your audience members?

Are there distinct groups with sharedcharacteristics and habits?

Do these audiences cluster around differ-ent programs and services?

Have the organizations audiences changedsignificantly within recent years?

Is your overall audience growing orshrinking?

Are certain groups within your audiencegrowing or shrinking?

Has the demographic profile of peoplewho make up your membership changed?

Are audience members getting stuck inruts or are they experimenting with avariety of organizational offerings?

If your current data cannot provide theanswers to these questions, then use whatinformation they supply along with anecdotalevidence to form some basic assumptionsabout your current audiences. These will besufficient to begin your planning process. It isadvisable to adopt a more thorough audienceevaluation process during the early stages of

Step 3 Evaluate Your Audience

If the perception of an organization among

its peers, funders, audiences, and the

general public does not correspond to its

leaders vision, it may be difficult for the

organization to fulfill its mandates.


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strategic planning and audience developmentto collect baseline data against which futureaudience activities and attitudes can be meas-ured, and to which implementation may betailored.

Also keep in mind the evolving theory oncultural participation. RAND, in its work forthe Wallace-Readers Digest Funds, developeda model to explain why people participate inthe arts. This model examines the way cultur-al organizations attract new audiences, reacha larger share of existing audiences, anddeepen the involvement of cultural partici-pants. In thinking about your own currentaudience and the audiences you are trying toattract to your new programs, considerRANDs in-depth analysis of an individualscomplex decision to participate in the arts.

The RAND model identifies four stages of

an individuals decision to participate: a pre-disposition reflecting the individuals back-ground, an individuals perceptions, practicalconsiderations about participating in the arts,

and the nature of the individuals actual expe-rience. The model is based on the observationthat attitudes toward the arts play a criticalrole in determining behavior. These senti-ments may be shaped by a variety of factors,including socioeconomic factors such as edu-cation, income, and occupation; demographiccharacteristics such as age, race/ethnicity; per-sonality characteristics; prior experience withthe arts; and identification with a social net-work and a specific community. Some peopleare disinclined to participate in the arts dueto their backgrounds and attitudes and thoseof their friends. Even people who are favor-ably predisposed to the arts may be unlikelyor unable to participate because of such prac-tical obstacles as the time or location ofevents. When people choose to participate inthe arts, the nature of that experience plays a

critical role in influencing their beliefs andperceptions, and thus the likelihood and man-ner in which they will participate in thefuture.5

When people choose to participate in the arts, the nature

of that experience plays a critical role in influencing their

beliefs and perceptions, and thus the likelihood and

manner in which they will participate in the future.


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Conducting a Comprehensive Community Assessment to

Identify Residents Needs:

The Flynn Theater

The Flynn Theater for the Performing Arts in Burlington, Vermont, has expanded audiences forjazz, dance, and theater by building multilayered partnerships with arts organizations in three outly-ing communities. The organization began this initiative by conducting comprehensive assessments ofresidents interests and needs in each community through demographic analyses, surveys, and meet-ings with local leaders. Based on the findings, the Flynn Theater designed responsive programming

geared toward a variety of ages and background and developed off-site venues and partnershipswith local arts organizations in outlying communities. The audience development initiative hasresulted in a 5 to 7 percent increase in the size of the Flynn Centers audiences, growth in member-ship in the target communities, and the strengthening of the local arts organizations.

Using Informal Methods to Assess an Audience:UA Presents

The University of Arizona/UA Presents strives to raise peoples awareness about the arts and con-tribute to the quality of life in the community. It has specifically aimed to attract and retain bothnew audiences who are inclined, but not devoted, to the performing arts, as well as completely newaudiences.

Over the years, UA Presents has realized the importance of informal and intuitive communityassessment and planning in audience development. We have learned that trial and error is anacceptable market research method, Executive Director Ken Foster explains. UA Presents begins byassembling available data about community needs. Then they talk informally with people in the

community. Rather than conducting formal surveys, Foster comments, we meet with the com-munity members and listen carefully.UA Presents found that it needs to be flexible when doing long-term planning for a community

engagement since community needs shift continually.

The following case studies highlight organizations that evaluated their audiences and designedresponsive programs.


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(This is a filled-in sample of Worksheet 3.3.)

1. Is there a typical profile that describes the majority of your audience members? Describe:

- Couples, 5565 years old, white, and affluent

Are there distinct groups with shared characteristics and habits? Describe:

- People who like classical music versus those who prefer dance or jazz- Families whose kids come only to the educational programs- People who attend the jazz festival- Dance students and kids who see the lecture/demonstrations in school

Do these audiences cluster around different programs and services? How?

- Different disciplines are clusters.- The jazz festival is its own cluster.- Education programs are a cluster.

2. Have the organizations audiences changed significantly within recent years? Describe how:

- Audiences are growing older.- Fewer families or working peoplepeople seem to be so busy!

3. Is your overall audience growing or shrinking?Are certain groups within your audience growing or shrinking? Describe:

- Our attendance is flat.- There are fewer people in their thirties and forties; they now have kids.- The weekend audience is very different from the weeknight audience.

Has the demographic profile of people who make up your membership changed? Describe:

- Membership is pretty flat.- It is the same people; they are just getting older.- There are no new families in town.

4. Are audience members getting stuck in ruts or are they experimenting with a variety of offerings?

We havent really tracked the audiences, but you see the same faces at classical programs; they never attend the jazz or new-music programs.

Exhibit 3.1Audience Profile Discussion Questions


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A Community Organizing Approach to Needs Assessment

and Program Planning:

Intermedia Arts

The mission of Intermedia Arts in Minneapolis is to serve as a catalyst that builds understandingamong people through art. Intermedia Arts provides visual, performance, media, and interdiscipli-nary artistic presentations and arts education in schools and the community. Through these pro-grams, Intermedia Arts supports community, youth, and artist development and stimulates dialogueabout current issues.

Intermedia Arts uses a community organizing approach for needs assessment and program plan-ning. Staff begins by conducting a series of focus groups with community members to discuss their

concerns. Themes organically emerge from these roundtable discussions and are developed into pro-grams, such as Red and Black, a three-year project that explored the intersecting histories andtraditions of Native-American and African-American people. Intermedias programming starts withthe community concerns and then finds the art that explores and supports those issues.

Projects are created through a collaborative process that involves other arts organizations, socialservice agencies, educational institutions, and community members at each stage, from initial con-cept through program planning to implementation. Usually, Intermedia Arts contracts with an artistand/or activist from the appropriate community to serve as the projects curator and coordinator.This further ensures that the project is firmly rooted in the community.

Changes within your organization, amongyour peers, and within your audiences maybe indicative of larger patterns affecting yourcommunity. For example, if your organiza-tion is located in a downtown area that islosing its residential base, that may affectattendance at evening or weekend events. Iflocal high schools are cutting arts programs,a new vacuum has been created that organi-zations may be competing to fill. If Spanish-speaking immigrants are migrating to yourarea in significant numbers, programs thataddress their interests may be required. It isimportant to take these kinds of issues into

consideration during the organizationalassessment phase of strategic planning.

It may be helpful to answer some of thefollowing questions with the help of yoursteering committee and others who may be in

a better position to monitor the changingdemographics and resources of your area,such as staff from your local chamber ofcommerce, arts council, department of educa-tion, and others. (See Worksheet 3.4, appen-dix A for a corresponding worksheet.)

Have area demographics shifted recently?If so, how (e.g., aging, becoming moreethnically diverse, experiencing rising ordecreasing income or educational levels)?

Has the community within which yourorganization operates developed new needs?

Has the neighborhood where your organi-

zation is located undergone change? Are there any other external factors in

your community that may have an impactupon your organization now or in thenear future?

Step 4 Take a Community Snapshot

The case study below is about Intermedia Arts, an organization that actively includes the com-munity in its needs assessments.


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Although most of the information gatheredthrough the steps in this chapter is tangible,measurable information, intangibles such asunified vision and outside perceptions alsoplay a critical role in strategic planning. Anorganization can lose focus and effectivenessif its leaders do not share a vision, a commonunderstanding of the potential role or impactof the organization. Vision refers to the inter-nal image of the organization and its role,andperception refers to the external image ofthe organization, which is equally importantto effectiveness and vitality. If the perceptionof an organization among its peers, funders,

audiences, and the general public does notcorrespond to its leaders vision, it may bedifficult for the organization to fulfill itsmandates. Such lack of correspondence canundermine audience development efforts,fund-raising activities, and marketing impact.

Therefore, it may be helpful to include asurvey of your organizations vision within itsinner circle (targeting board and staff) and itsperception within the community (targetingkey funders, peer organizations, audiencemembers, and others), as part of the process

of organizational assessment. Research of thiskind can help to answer the following ques-tions (see Worksheet 3.5, in appendix A):

What was the original vision of the orga-nizations founders?

How was this expressed through the orga-nizations mission statement, programs,and services?

Is this vision still shared by the organiza-tions current leaders?

How is this expressed today through the

organizations mission statement, pro-grams, and services? Does the expression of this vision and

mission still match the needs and demandsof the community the organization serves?

How is the organization perceived withinthe community?

Is the organization recognized within itsimmediate circle and beyond for its pro-grams and services?

What image does your organization havewithin the community at large?

Do public perceptions correspond with theorganizations current vision, mission, andprograms?

Does it have a public image at all?

By responding to these discussion ques-tions, the planning committee can begin toidentify internal shifts in vision and missionand the external perceptions of these. Though

past and present staff and board memberscan best answer questions about mission andvision, outside viewpoints are helpful in ana-lyzing image and public perceptions. For thisreason a sample perception survey form isprovided (Worksheet 3.6, appendix A), whichcan be modified for use by various organiza-tions conducting one-on-one, telephone, orwritten surveys.

If your organizations planning committeediscovers that its members lack a clear,shared vision for the organization or learns

that there is a disconnection between theorganizations current mission, vision, andprograms, it may want to begin redefiningthe organizations vision and/or mission state-ment early on in the planning process. Whilethe final vision and/or mission statement maynot be fully defined until the planning processis complete, a general consensus will beimportant to set the tone for decisionsregarding appropriate target audiences andstrategies. A vision exercise with a focus onaudience development issues is provided in

Worksheet 3.7, appendix A. Even planningcommittees that share a consensus about mis-sion and vision may benefit from participat-ing in this exercise, which can serve to rein-force and reinvigorate an organizations cor-porate understanding of and commitment toits mission and vision.

Step 5 Clarify Your Vision and Mission


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The assessment exercises provided in thischapter should offer your planning committeea much clearer view of the organization itserves. This better understanding will formthe foundation upon which appropriate,effective audience development strategies canbe built. You should not be alarmed if thisprocess reveals challenges that need to beaddressed, such as a lack of correspondencebetween the organizations current vision andprograms, or a disconnection between organi-zational leaders vision and constituents per-ception, or an imbalance between growth in

service and expansion in supporting infra-structure.

Challenges like these identified dur-ing organizational assessment oftenprovide the keys to developing appro-priate goals for audience development.They serve as clues to issues, such asinsufficient infrastructure, shallow mar-keting expertise, or blurry vision ormission, that can be addressed bystrategies that enable the organizationto become more effective and vital. It isat this point, where challenges arerevealed and solutions offered, thatstrategic planning becomes truly excit-

ing and audience development caneffectively begin.

It is at this point,where challenges are revealed

and solutions offered,that strategic planning becomes truly exciting

and audience development can effectively begin

Step 6Build a Composite Portrait of Your

Organization and Audience


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chapter 4


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Step 1 Segment Your Audience

During a seminar regarding the role of plan-ning for audience development, a participantasked, What is the point of all this research?How is it relevant to audience development?The answer is that successful audience-build-ing projects take place at that point where anorganizations mission and path intersect withthe needs of the community it serves. This isthe point at which the project is relevant tothe vision and mission of the organization, its

current capacity and mode of operation, andthe demands of the community.

This chapter focuses more clearly uponthe central issues of audience development:

an analysis of the current relationshipbetween programs and audiences

Setting Goals

an analysis of unserved or under-served audiences

the selection of target audiences fordevelopment activities

the setting of goals describing thefuture relationship between theseaudiences, programs, and services.

These activities will expand uponthe steps taken in the previous chapter,

revisiting the observations that havebeen made and building upon them toform the goals that will direct new cul-tural participation initiatives.

One of the keys to successful audience devel-opment is segmenting audiences. This meansidentifying categories within your organiza-tions current and potential audiences thatparticipate in different kinds of activities, orat different levels, or for different reasons.There are many ways to categorize audiences,including geographic, demographic, and psy-chographic characteristics. Some helpful typesof segmentation are detailed on the following

pages, accompanied by case studies demon-strating how organizations used these cate-gories to analyze the relationship of their pro-grams to audiences.

Level of Engagement with the Arts

You can categorize people according to theirlevel of engagement with the art form. Much

has been written in the area of audiencedevelopment on the inclined and disin-clined audience member, especially inLearning Audiences, an important book forperforming arts presenters about adult artsparticipation.6 The RAND model suggeststhat strategies designed to increase arts par-ticipation need to consider carefully the audi-ences they are trying to target in terms oftheir engagement level. Strategies aimed at

audiences that are not currently predisposedto the arts will need to change individualsattitudes toward the arts and those of theirsocial network. Those geared toward peoplewho are currently predisposed but not partic-ipating will need to consider ways to over-come practical barriers to participation.Strategies intended to deepen the involvementof current participants should strive to enrich


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Identifying Core and Peripheral Audience Segments:

Writers & Books

Writers & Books, a literary organization located in Rochester, New York, discovered through astrategic planning process that its audiences fell into two distinct categories: Core Audiences, people

who were highly engaged with the organization and the literary culture, and Peripheral Audiences,people who benefited from outreach programs that offered them a limited engagement with litera-ture. This analysis (demonstrated graphically in Figure 4.1) helped make clear that there were fewincentives or opportunities for the Peripheral Audiences to go beyond the introduction to creativewriting and literary appreciation they received through outreach programs. The creation of appro-priate programming and marketing strategies that addressed this disconnection between Peripheraland Core Audiences became one of the primary audience development goals of the organization.

the participation experience. In each case, theactual tactics you employ should be designedwith the personal and social characteristics ofthe specific target population in mind.

Relationship to Organization

Another way to break your audiences intogroups is by the nature of their relationshipto your organization, such as deeply servedcore audiences, moderately engaged occasion-al audiences, or nominally engaged under-served audiences. An organization that offersboth on-site programs and a range of off-siteoutreach programs might define groups thatattend programs at an organizations head-quarters as, most likely, audiences alreadywell engaged with the arts, and those whoparticipate in off-site outreach programs as

more passively engaged with the organizationand probably less engaged with the arts. Ifyour organization serves a large geographicarea or national range, your audiences mightbreak down into those living in an area thatis served with frequent live programs andthose outside of that radius who benefit fromother kinds of services or occasional live pro-grams.

Characteristics or Demographics

Audiences can also be broken into categoriesaccording to age, gender, ethnicity, first lan-guage, educational level, income bracket, andprofession in order to determine basic demo-graphic patterns of attendance or engage-ment. You can adopt audience developmentgoals designed to diversify the typical audi-ence to better reflect area demographicstar-geting people who reflect underrepresentedcharacteristics regarding gender, age, ethnicity,and educational levels. There are, however,many other meaningful ways to categorizeaudiences by characteristics or demographics.

Constituencies

Another helpful way of segmenting audiences

is to break them into constituencies: groupsof people who can be defined in relationshipto organizations, institutions, or professionssuch as schoolchildren, library audiences, ormuseum-goers. In chapter 3, you were askedto define your organizations audience bydescribing typical audience members andbasic clusters that these audience membersmay fall into. In this step, you should revisityour findings and break your audience into

This case explains how Writers & Books segmented its audiences


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Audience Segmentation of Writers & Books

Figure 4.1

Writers&

Books

core audiences

central programs

outreach programs

peripheral programs

categories that will be meaningful to audiencedevelopment.

It may be helpful to consider audiencegroups as they relate to different aspects ofyour organizations offerings. One of the easi-est ways to categorize audiences is to make a

list of the different programs and servicesthat your organization provides and describethe kinds of audiences that participate inthese (use Worksheet 4.1a, appendix A.) Thisprocess can help provide a comprehensivepicture of the categories that an organiza-tions audiences fall into and why. It also pro-vides valuable information about who is not

being served by the organization.It is almost always helpful to break audi-

ences into categories of well served, mod-erately served, and underserved whendesigning audience development goals andstrategies. You may also wish to define other

categories that are appropriate to your organ-ization. Take this opportunity to also identifyany unserved audience segments that youwish to reach. Once you have defined cate-gories, it may be helpful to write this infor-mation in Worksheet 4.1a and 4.1.b, appen-dix A (see Exhibit 4.1 for filled-in samples ofthese worksheets).


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(This is a filled-in sample of Worksheet 4.1a. It lists program and service categories and their correspondingaudiences and highlights those audiences listed that comprise the majority of attendants at each program orservice category.)

Program or service: Lecture demonstrations with the dancersAudiences:- Students K6th grade- Dance students at the university- Our education program students

Program or service: Annual jazz festivalAudiences:- The entire community- Families- Young people 2035- Ethnically diverse audiences- People from all over the state

Program or service: Mainstage theater programsAudiences:- Subscribers- White, upper-middle class, older people- People from in town or who have a reason to be in town

Categorizing Audiences

(This is a filled-in sample of Worksheet 4.1b. It describes an organizations current audiences and defines thecharacteristics of the audiences that conform to each category.)

Category:Subscriber audienceCharacteristics:- Come to theater programs, some music- Attend 36 times/year- White, upper-middle class, older- Live or work in town- Also attend the symphony

Category:Jazz audienceCharacteristics:- Younger people

- Diverse, from all races- Dont like subscriptions (have never subscribed)- Never attend plays, maybe some dance

Category:Students in education programCharacteristics:- Parents register them for programs- Only come for the education program, never any performances- Parents are not subscribers or ticket buyers- Diverse, from all races

Exhibit 4.1Describing Current Audiences


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Once the previous steps have been completed,you should have a clearer idea of which pro-grams and services serve what audiences. The

Increasing Cultural Participation

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