Difusión | Cultura y Alianzas

El Mecenazgo de competencias

Francesca Minguella — Tue, 27 Apr 2021 09:22:26 +0000

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Merchandising

Francesca Minguella — Fri, 03 Jan 2020 16:44:44 +0000

Se utiliza también con el fin de darse a conocer entre nuevos públicos. Así, el Museo del Louvre se ha aliado con el diseñador Virgil Abloh en una nueva colección de precio superior al habitual en el merchandising de los museos, https://presse.louvre.fr/off-white-c-o-virgil-ablohbr-amp-the-musee-du-louvre/ . Con ello busca seguir con lo sucedido con el éxito espectacular del vídeo de Beyoncé, https://www.louvre.fr/en/routes/jay-z-and-beyonce-louvre

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Jornada 2016

Francesca Minguella — Sat, 18 May 2019 18:05:58 +0000

Una nueva Jornada se dedicó a las personas como uno de los diversos stakeholders de la Cultura.

IV Jornadas de arte y empresa

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Mecenazgo de los particulares. Ejemplos

Francesca Minguella — Sun, 29 Mar 2015 18:10:16 +0000

El Museo Pompidou de París incluso permite a los donantes participar en la elección de piezas a adquirir para la colección, dentro de un marco fijado por los profesionales del museo. “La Société des Amis du Musée (…) tiene, entre otros cometidos, apoyar el desarrollo de la colección y reunir a los coleccionistas y entendidos que desean participar en la actividad del museo. Desde su creación, juega el papel de catalizador en la formación de las colecciones que se nutre en parte de las donaciones realizadas por los miembros de esta Sociedad. Dentro de la Sociedad de Amigos, el PAC (Projet pour l’Art Contemporain) reúne unos 50 coleccionistas, todos ellos miembros de la Sociedad, que aportan cada uno 5000 euros de cuota para la adquisición de obras de artistas contemporáneos.”[1]

El Museo del Louvre posee el programa “Tous mécénes”, que reúne fondos para proyectos concretos, de manera semejante al “crowdfunding”, http://www.rslnmag.fr/post/2012/11/30/Tous-mecenes-!-Quand-le-musee-du-Louvre-se-finance-par-le-crowdfunding.aspx

El Museo de Orsay halló numerosas ventajas, más allá de la financiación, en su apelación al “crowdfunding”, “Nous avons désormais une petite communauté de contributeurs à gérer, affirme Olivier Simmat. Nous avons créé un groupe d’amis virtuel, qui s’intéressent de manière active au musée. C’est peut-être une solution pour les Amis du musée d’Orsay qui peinent à trouver de nouveaux adhérents. En tous les cas, cela va changer notre façon de communiquer », http://tempsreel.nouvelobs.com/les-internets/20141016.OBS2330/orsay-fait-appel-au-crowdfunding-pour-sauver-un-tableau-de-courbet.html

Asimismo, solicita fondos para exposiciones concretas, « soutenez cette exposition en un clic »

El Museo de Orsay y el Museo de la Orangerie organizan “círculos” de mecenas alrededor de determinados intereses contando con la colaboración de asociaciones profesionales representativas. El “Círculo de Mujeres Mecenas”, https://www.musee-orsay.fr/fr/info/mecenat/cercle-des-femmes-mecenes.html, cuenta con el apoyo del Cercle InterElles, COM-ENT, las Femmes Chefs d’Entreprises, Financi’Elles, Professional Women’s Network, Femmes Business Angels y el Women’s Forum. En el “Círculo Mecenazgo & Finanzas”, https://www.musee-orsay.fr/fr/info/mecenat/cercle-mecenat-finance.html, cuenta con la ‘Association française des marchés financiers” (AMAFI).

En España es de destacar la labor de obtención de fondos para distintos proyectos del museo por parte de la Fundación Amigos del Museo del Prado, https://www.museodelprado.es/museo/amigos-del-museo

Aparte de la labor individualizada de las propias instituciones, resultan del máximo interés las organizaciones que se dedican a canalizar fondos de los particulares para proyectos diversos, una tarea semejante a la de las plataformas de “crowdfunding”. Precisamente la Jornada de este año del programa « Arte y Empresa » con la Fundación Lázaro Galdiano se dedicará a este tema.

Ya ha confirmado su presencia la francesa Fondation du Patrimoine, https://www.fondation-patrimoine.org/fr/national-0/fiscalite-19/mesures-et-informations-fiscales-20/particuliers-21/impot-sur-le-revenu-22

« Les missions premières de la Fondation sont au nombre de cinq :

Sensibiliser les Français au nécessaire effort commun en faveur de notre patrimoine national;
Contribuer à l’identification des édifices et des sites menacés de disparitions;
Susciter et organiser le partenariat entre les associations qui œuvrent en faveur du patrimoine, les pouvoirs publics nationaux et locaux, et les entreprises prêtes à engager des actions de mécénat;
Participer à la réalisation de programmes de restauration;
Favoriser la création d’emplois et la transmission des métiers et savoir-faire.

Même si la Fondation ne s’interdit pas, comme le lui permet la loi, d’intervenir en faveur de monuments classés ou inscrits, son Conseil d’administration, dès juillet 1997, a décidé de donner la priorité au patrimoine non protégé. Car c’est lui qui est, globalement, le plus en péril. »

El gobierno francés con el título de “Mécénat participatif : Tous à l’oeuvre !” ha querido reconocer y fomenta esta forma de actuación colectiva, « Accordé la distinction de « donateur de la Culture » à seize donateurs représentatifs, par la fréquence de leurs dons et leur diversité, du mouvement du mécénat participatif.

Ces donateurs ont été choisis pour le soutien qu’ils apportent au programme «Tous mécènes » du musée du Louvre, à des projets de la Fondation du patrimoine, ou à des projets culturels référencés sur les plateformes de don Babeldoor, KissKissBankBank, My Major Company, proarti, touscoprod, et Ulule.

Les projets auxquels ils ont participé concernent aussi bien la préservation de notre patrimoine (rénovation, achat de pièces significatives…) que des projets artistiques (lancement d’un album musical, publication d’une œuvre littéraire, accompagnement d’un projet culturel…).

Leurs noms figurent dorénavant dans le « Cercle des mécènes et donateurs de la Culture », animé par la mission du mécénat du ministère de la Culture et de la Communication. »

En Reino Unido es de destacar la variada labor de apoyo a los museos que realiza Art Fund, “The national fundraising charity for art”, http://www.artfund.org/supporting-museums/art-weve-helped-buy

[1] Financiación y políticas culturales en el Centre Georges Pompidou, París, Liliane Ines Cuesta Davignon, Beca Culturex de formación en gestión cultural 2011, Mayo-diciembre 2011.

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Mecenazgo de los particulares. Marco

Francesca Minguella — Sat, 28 Mar 2015 19:13:05 +0000

Las medidas fiscales introducidas en el ejercicio 2015 han implicado considerables mejoras en el tratamiento del mecenazgo en el ámbito del IRPF, que lo sitúan en un puesto líder internacionalmente. Ello debería propiciar el desarrollo del mecenazgo de los particulares, pero para que sea así se necesita todo un período de formación y asimilación, no puede esperarse que el éxito sea inmediato. No existe una tradición en este sentido y en la España democrática, por el acento de lo público en la Cultura, se ha generalizado la pérdida del hábito de pago, algo que no sucede, por ejemplo, en el deporte ni en las ONG.

En un país que, desde nuestras latitudes aparece como un paraíso en este sentido, el Reino Unido, se reflexiona sobre el necesario “cultivo” del mecenazgo de los particulares[1]. Debe destacarse en este trabajo:

“The fieldwork identified five clusters of concern for developing donor cultivation strategies. These were:

Organisational factors – the internal organisational characteristics of individual organisations
Contexts and relationships – the socio-political, cultural and economic environment, stakeholders, partners and competitors
Donors – the knowledge and understanding of existing and potential donors
Approaches – the extent and nature of approaching and interacting with donors
Success – the understanding, assessment and use of ‘effectiveness’ within donor cultivation and fundraising more widely

The literature review found that donor cultivation is not a clearly defined concept and is often conflated with more general fundraising models. Bringing the different strands of literature together, we argue that instead of being an independent concept, donor cultivation should be perceived as an umbrella term that combines three strands of thinking about donor relationships: donor engagement where the relationship is of an interactive nature, donor education which is modelled around an instructive relationship, and donor control which takes a directive stance.”

Y propone una herramienta de ayuda, “The ThinKit! Steering Wheel to Donor Cultivation”.

Otro trabajo resalta las posibles barreras al éxito de los esfuerzos en este sentido, en el sector de mayor riqueza.[2]

“This report looks across the findings of two studies conducted by Arts Quarter – our Hidden Wealth Research Project conducted with arts organisations over the period April 2010 to May 2012 which sought to help organisations understand their capacities to engage with high net worth individuals (HNWIs) by taking those organisations through a process of screening audience/ attender data and our 2012 Philanthropy in the Arts Survey, top-line findings of which we reported in April 2012.

This report brings together findings from these two projects so as to provide a snapshot on the extent to which arts organisations have some of the most fundamental building blocks in place in order to embark effectively on the process of soliciting higher levels of giving from individuals, namely:

a community of potential supporters from within their audience and/or visitor bases with a financial capacity to give. Having such a constituency can be critical to developing and indeed delivering in this fundraising area in the medium term in that these are individuals who are already aware of an organisation’s work and possibly have already a financial history of support through ticket purchase,
an articulated narrative on which to base their requests for support – so as to engage these and other prospects (i.e. a Case for Support),
in light of limited fundraising resources, an engaged community of senior volunteers/Trustees to act as fundraising advocates, endorsers, solicitors and indeed givers in their own right.

Possible Barriers to Success: All who took part in interview recognised that culturally, looking to engage proactively with wealthy individuals was likely to raise a number of potential barriers to success. The most frequently mentioned barriers were (greater number of mentions listed first):

Inadequate staff resources to manage a programme effectively – split roles and responsibilities likely to impact on clear focus needed to deliver.
Lack of a cogent Case for Support – a sector-wide issue as evidenced in our April 2012 report and indeed in our findings here.
Lack of understanding of the potential wider channels of support beyond cash gifts.
Lack of sufficiently articulated plans in the medium term (beyond one year) in order to attract support.
Lack of experience and skills within staff to plan and initiate a managed programme of activity and thereafter in managing and engaging with potential and actual donors.
Lack of understanding across organisations as a whole of working with, engaging and managing relationships with potential and actual individual donors outside of the core fundraising function.
Lack of appreciation within senior management generally and at Board levels of the process of engaging and servicing potential high donors and of fundraising in general.
Lack of understanding of the process of gift acquisition and currently unrealistic expectations of the speed at which gifts might be secured and on that basis, the potential for any campaign to be perceived as failing if gifts were not leveraged within a relatively speedy timeframe.»

Internet podría ser un elemento de éxito, democratizando la filantropía, de acuerdo con otro trabajo, también británico, dedicado éste a un público de la máxima amplitud[3].

“Though this report is about digital giving to arts and cultural organisations, the two recurring themes are that technology helps to engage audiences which are then more likely to give and that technology will pervade all parts of cultural organisations.

(…)

This report focuses on how individuals can become philanthropists to the arts.

(…)

Throughout the report, the word “audience” is used. This is taken to mean all the visitors, listeners, readers, observers, beneficiaries, clients, customers or just passers-by who benefit in one way or another from art and culture, be it a concert, exhibition, play, performance, statue, building, monument or any other form of art or culture.

(…)

It may seem obvious to state that voluntary giving does not happen in isolation; it is an outcome from a process of audience engagement which may occur over a long period. In a similar manner, digital technology alone does not magically enable greater giving; it is just a set of tools for better engagement.

It is not productive, therefore, to focus on digital giving in isolation, so this report examines how technology can be used in all aspects of the arts and cultural sector to involve audiences and visitors more so that they feel a sense of participation. This in turn can motivate them to give. Some organisations already do this well but for others it is a daunting task for which trustees and management may feel ill equipped.

Technology can be used to engage wider audiences than traditional major donor campaigns, which tend to target a small number of high net worth benefactors. It can “democratise philanthropy” by embracing larger numbers of supporters from all demographic groups, giving them a sense of ownership and responsibility for the art and culture that they value.

Donors, of course, don’t just miraculously appear; they are nurtured over a period of time. This is only possible if you know who to engage, a task that technology can facilitate, even for organisations that provide free entry. Audience members that return frequently, presumably because they appreciate the art and culture, can be identified in a number of ways and “invited in”, initially perhaps to become a subscriber, then a member, maybe after that a patron and possibly eventually a trustee. Throughout this journey there are opportunities to present the case for support and ask for donations. This is an “escalator of engagement”; the donor develops a greater understanding of the organisation and its needs, thereby assuming an increasing sense of ownership, and in return is increasingly recognised and thanked.

The engagement strategy has to recognise that technology has changed how we all behave. We expect now to be in continuous contact wherever we are and to share our opinions with both friends and strangers. We want to be part of “the wisdom of the crowd” and are prepared to buy and donate accordingly. We have also become producers, not just consumers, able to create and disseminate our own art and culture without intermediaries, whilst art events can now be broadcast live and pop up in unexpected places. These changes are threats to some, but they can be harnessed to great advantage, introducing new audience members, enhancing the artistic and educational experience and generating new opportunities for revenue and donations.

Implementing technology is not easy. It can be costly and confusing, too often there is wasteful duplication and the return on investment can be hard to calculate. Some of these barriers to entry fall as new technologies are adopted in large volumes and prices drop, but others require strategic intervention. The way that charities currently subscribe to giving websites and the arcane processes required to reclaim Gift Aid are cases in point. An effective strategy to use technology to raise money requires every part of the organisation to embrace technology, including curators, promoters, fundraisers, senior management and trustees. Technology no longer lives in a cupboard managed by one department; it is becoming all pervasive. However, the skills and experience to exploit digital technology confidently and cost-effectively are not widespread in cultural organisations, particularly smaller and regional ones. Addressing this skills deficit is a major challenge.

It is inevitable that at some time in the future technology will be widely used to help cultural organisations engage their supporters and encourage them to give; the question is when. The recommendations in this report therefore focus mainly on how to speed up adoption and include:

An industry and Government forum to develop a more cohesive technical architecture for online giving and claiming Gift Aid;
Investment in online matching programmes to incentivise smaller charities to develop their community of supporters;A request for more cohesive, joined-up Government policy to encourage philanthropy;
Increased investment in research and development of digital technology in the cultural sector, with a focus on engagement, and showcasing of the results;
Greater use of shareware and exchange of software, technology, experiences and best practice across the sector;
Incentives to encourage technology skills transfer from business and employment of young technologists;
Suggestions for how cultural organisations that are currently without a digital strategy can develop a plan and introduce new thinking in trustee boards.”

La previa consideración de los costes y oportunidades de la entrada en el entorno digital para las instituciones culturales es tratado en otro trabajo, también británico[4].

“1.2 Overview of key findings

The findings in this report confirm that engaging with the arts through digital media is now a mainstream activity. Crucially, this engagement augments, rather than replaces, the live experience. Just as live music has grown stronger in the era of iTunes, so people still want shared, live experiences in other arts and cultural genres. However, this is not to demote the internet to the role of marketing channel: a significant minority of us use the internet to consume, share and create artistic content. Specifically, our survey of a 2000-strong sample of the English adult online population finds that:

Over half of the online population (53%) have used the internet to engage with the arts and cultural sector in the last 12 months:
1. The most common activities centre around discovery of information about a live event orartist/performer (33%) and ticketing (20%)
2. Other key activities include watching or listening to a clip of an arts performance or exhibition (16%),whilst a further 8% had watched or listened to a full arts performance
3. 6% say they have used the internet to “create something artistic” in the past 12 months.
Interaction with arts and cultural content in digital environments can be classified into five main categories: access, learn, experience, share and create:

Access: discovering what’s on, filtering opportunities and planning attendance or participation
Learn: acquiring new skills and knowledge (for example, finding out more about the life of an artist)
Experience: experiencing the full creative or artistic work online
Sharing: using the internet to share content, experiences and opinions
Create: use of the internet to assist with the creative process itself.

People currently use digital media primarily as a complement to, rather than a substitute for, the live experience:

The most prevalent online activities are those that support access to live events. This is also where the greatest proportion of people can see potential going forward
People who watch/listen to online clips indicate that they are (in the main) doing so in order to sample, filter and decide what events or shows to see live
Most people perceive the live offline experience as being superior to the online.

Music is the genre showing the highest level of online engagement – however, opportunities for other cultural genres remain strong:
1. Of those who had viewed an online clip of an arts event, 81% had viewed a music clip. Dance (30%)and theatre (27%) were the next highest, followed by visual arts (19%)
2. However, there appear to be clear opportunities for other genres: for example, 56% of museums fans and 47% of those interested in archives would like to take a virtual tour of the institution they were visiting online
3. Similarly, five minute performance/exhibition clips appealed to nearly half of those with an interest in visual arts and 41% of dance fans, whilst 44% of dance fans said they would take a virtual tour backstage.
Social media – and in particular Facebook – has become a major tool for discovering as well as sharing information about arts and culture, second only to organic search through Google and other search engines:
- Over half of the online population use social networking sites at least once a month – of these,around a quarter said they shared information on arts or cultural events with friends at least weekly
- A further 15% of regular social networking users comment weekly on arts or cultural events whilst attending/watching.

Brands are really important for audiences in discovering and filtering content online:
- In general, people feel they need credible assistance from trusted cultural brands such as the National Trust and British Museum to help them decide which experiences to look into
- These trusted brands are particularly important for older audience members who tend to be concerned about online security
- In addition, aggregator sites from trusted brands such as Guardian.co.uk, Time Out and View London play a key role – around half (54%) agree that they ‘prefer to use websites that have information from a range of sources and about a range of organisations’

People who engage with arts and cultural content online tend to participate in the arts throughlive events as well – suggesting that digital media is more valuable as a means of reaching out to audiences that are already culturally engaged:
1. Only 1% of the online population have engaged in arts and culture solely online (with no offline attendance or participation) in the past 12 months
2. Attitudinally, those who can see the potential for digital media in arts and culture tend to be those who already enjoy arts and culture.
People fall into five distinct segments based on their behaviour and attitudes to the arts and digital media. Three of these segments are of particular interest to arts and cultural organisations:
1. Confident core (29%): Mainstream internet users, comfortable performing a range of tasks online, including purchasing tickets and using social and rich media. They have an active interest in the arts and culture and regularly attend or participate in live arts and cultural activities. This segment sees the internet as its primary channel for discovering, filtering, planning and buying tickets to live events
2. Late adopters (21%): Show relatively low confidence online – they will use email, Google and a few trusted sites. They may book tickets online, but social media and the mobile internet remain amystery. This segment claims an active interest in the arts and culture although in practice they attend once in a while
3. Leading edge (11%): Technophiles, displaying ‘early adopter’ behaviour such as regular mobile internet access and downloading creative software. Passionate about arts and culture and very participative. Avid users of social media to arrange or share/comment on an arts experience. High expectations (as a result of their engagement with the most sophisticated forms of digital entertainment) can limit their satisfaction with current online arts and cultural experiences.

1.3 Strategic implications for the sector

The findings from this report clearly show that the internet is changing the way we consume, share and create arts and cultural content and experiences.

As a result of these changes, arts and cultural organisations are faced with a dizzying array of opportunities for broadening and deepening their engagement with their audiences. The internet is a marketing and audience development tool, but also a core platform for booking tickets, distributing content and delivering immersive, participative arts experiences (be that a Twitter book club, a location based mobile app guiding us through an exhibition, or something entirely different).

However, this research also shows that the direct revenue opportunities associated with many of these opportunities can be limited. Although exciting, the internet can represent additional cost without any guarantee of additional revenue: arts organisations will need to strike a balance between ambition and pragmatism when deciding where to invest their money in digital media.

One area of investment which can yield clear financial returns is marketing and audience development. The internet is a key route to finding out what is on and then filtering and planning attendance at live events. Arts organisations that are skilled in digital marketing will (all other things being equal) see more people through their doors than ones that rely on a brochure ware website and email newsletters.

Equally, it is important not to relegate the internet to the role of marketing channel. Our respondents saw the Internet first and foremost as augmenting the live experience rather than replacing it, but this did not just mean providing listings and e-ticketing. The Leading edge segment welcome and already use the (sadly few) genuinely immersive and participative arts and cultural experiences that are already available online.

This report confirms that there is an appetite for the sector to innovate and create a new generation of experiences that take advantage of some of the internet’s unique characteristics – however challenging that may be given the current economic climate.

The opportunities are exciting, but they do represent an additional cost. Arts organisations will need to strike a balance between ambition and pragmatism when deciding where to invest their money in digital media, especially as the current business models do not guarantee additional direct revenue.”

[1] Donor cultivation in theory and practice. A Centre for Charitable Giving and Philanthropy / Arts & Business Scotland Discussion Paper © 2011 by Jenny Harrow, Tobias Jung, Hannah Pavey and Jeanie Scott, Centre for Charitable Giving and Philanthropy, Cass Business School, City University, London, United Kingdom.

[2] Increasing Individual Giving to the Arts: Evidence, Aspirations and Potential Barriers to Success, An Arts Quarter Study, July 2012

[3] Digital Giving in the Arts. Democratising Philanthropy, December 12 , Matthew Bowcock.

[4] Digital audiences: Engagement with arts and culture online – November 2010 MTM London

La entrada Mecenazgo de los particulares. Marco apareció primero en Cultura y Alianzas.

El Turismo como público. Oportunidades

Francesca Minguella — Thu, 26 Mar 2015 10:48:47 +0000

La práctica de la actividad turística forma parte de la realidad cotidiana en nuestras sociedades, tanto por parte de las personas, que en su inmensa mayoría son con mayor o menor frecuencia turistas o viajeros, como de las ciudades, cuyo uso comparten, no siempre de manera pacífica, residentes y visitantes.

Si “todos somos turistas” no es menos cierto que “todos los turistas son ciudadanos” y sus derechos como tales deben ser respetados y promovidos. Ello es especialmente cierto en el caso de los ciudadanos de la Unión Europea en toda ella, algo que se refleja en el sistema de tarificación de la oferta cultural.

El turismo cultural, parte actualmente indisociable de todo paquete turístico, se asienta en la Cultura “de financiación pública”[1]. Éste debe ser un elemento indiscutible en la defensa de la financiación de la Cultura en España, donde el turismo aparece como un eje esencial del crecimiento económico,

Los museos son la base de la atracción de las ciudades. No se concibe un destino urbano sin ellos. Según Philippe de Montebello, quien dirigió el Metropolitan Museum de Nueva York durante 31 años, hasta 2008, “Una ciudad sin museo no tiene verdadero prestigio”, http://cultura.elpais.com/cultura/2015/03/09/actualidad/1425929977_023585.html. Sobre la importancia del público extranjero en los principales museos, http://www.nytimes.com/2015/04/02/arts/international/foreign-visitors-flock-to-londons-museums.html?ref=international&_r=0

Y en el Reino Unido, “The Core Cities Cultural Officers’ Group, representing England’s eight largest city economies outside London, made well the point that a strong local cultural sector and asset base is ‘critical to the economic success of cities’ ”.[2]

Nuevos destinos que se construyen en la actualidad, como Qatar y Abu Dabi, hacen de la Cultura y de los museos, propios o franquiciados de museos extranjeros, un elemento básico: Cultural currency is the new buzz in luxury real estate, from Abu Dhabi to Johannesburg, David Kaufman reports, http://howtospendit.ft.com/property/22483-the-art-of-good-living.

El museo se asocia a la idea de apertura y tolerancia. En España el ejemplo del Museo Guggenheim de Bilbao fue pionero en la revitalización y el cambio de imaginario de la ciudad.

Los museos, en el entorno turístico, se ven afectados por la sobreexplotación, la “hyperfrequentation” de la que habla el Presidente del Museo del Louvre. Un fenómeno que nos recuerda lo sucedido en su momento con las playas españolas y que quizás por ello debería haberse previsto y encauzado. Forma parte de la misión de un museo asegurar que todos sus visitantes obtengan de su visita una experiencia enriquecedora.

Vale aquí todo lo dicho en el apartado anterior: http://www.culturayalianzas.es/publico-de-espectador-a-financiador-en-construccion-creacion-de-publicos-asegurar-el-enriquecimiento-personal-en-la-visita-el-caso-de-los-museos/

Existen algunos casos enfocados específicamente al Turismo.

El Palazzo Strozzi (http://www.palazzostrozzi.org/), con su lema “No sólo exposiciones” (“NON SOLO MOSTRE”) constituye un interesantísimo ejemplo de creación de un espacio cultural en una ciudad que sufre los efectos depredadores de un cierto tipo de turismo. Entre sus socios fundadores se halla la Cámara de Comercio y un nutrido grupo de empresarios. La programación del museo atiende tanto al público local como al visitante, con su objetivo de dar motivos para “regresar” a Florencia y no sólo visitarla una vez. Un ejemplo de “comarketing” y “destination management” con los organismo de la ciudad, http://www.palazzostrozzi.org/visita-2/palazzo-strozzi-and-the-city/?lang=en#goTo. Sus programas didácticos le han merecido ser certificado como primera sede internacional de «destinazione per l’apprendimento» por parte de la Children’s University, la organización britanica que propone innovadoras actividades culturales extra escolares para chicos entre 7 y 14 años, http://www.childrensuniversity.co.uk/

En sus programas didácticos dirigidos a las familias, el Museo Thyssen Bornemisza propone una visita adecuada a sus intereses, “La ciudad para familias viajeras”, para españoles y extranjeros, en español y en inglés, https://www.museothyssen.org/actividades/family-thyssen-ciudad-familias-viajeras-26-mayo-2019.

Los Amigos del Museo del Prado y la Societé des Amis du Louvre han establecido una alianza en un un juego que no es de suma cero y que propicia una nueva forma de turismo, más coherente con la vida cotidiana de los viajeros/ciudadanos, http://www.amisdulouvre.fr/accueil-es.php

La ciudad Francesca de Bayeux ha convertido a sus ciudadanos en “embajadores” de sus museos[3].

El objetivo no sólo de atraer a los visitantes de la ciudad, sino de atraer gracias al Festival Temporada Alta (http://www.temporada-alta.net/) visitantes culturales a la ciudad de Girona, es enfocado de numerosas maneras por este siempre interesante, innovador y cívico festival, por medio de su Fundación la Ciudad Invisible, http://www.ciutatinvisible.org/ El Festival defiende el público turístico como una oportunidad para elevar el nivel de sus espectáculos, no para reducirlo como puede parecer a veces inevitable. La notable presencia de visitantes rusos en su área de influencia ha sido un aliciente adicional para incorporar el mejor teatro ruso, con gran éxito.

El Festival de Peralada busca atraer a colectivos de “Amigos de la Ópera” de distintos orígenes, presentando el festival “in situ”.

[1] John Holden: Publicly funded Culture and the Creative Industries, Arts Council England, Londres, 2007.

[2] House of Commons. Culture, Media and Sport Committee, Work of Arts Council England, Third Report of Session 2014-15

[3] Élodie Foucat, MUSÉES DE BAYEUX UNE STRATÉGIE DE MARQUE POUR PROMOUVOIR LA DESTINATION.

La entrada El Turismo como público. Oportunidades apareció primero en Cultura y Alianzas.

La educación cultural y artística

Francesca Minguella — Wed, 25 Mar 2015 09:37:11 +0000

No existe mejor “yacimiento” de públicos para la Cultura que la formación cultural y artística, en todas las etapas de la vida y, en especial, en la temprana. Sin embargo, éste ha sido un ámbito de progresivo abandono en unas políticas que miran más a la Oferta que a la Demanda y, en Estados Unidos, es objeto de debate y de estudio, buscando conclusiones que guíen nuevas políticas.

“State Arts Policy has emphasized Supply and Access, not Demand.”[1] “Investment in demand, by which we mean developing the capacity of individuals to engage in aesthetic experiences, has been neglected in both arts and education policy over several decades (…). “It is our view that without this investment, audiences for the arts will continue to diminish despite heavy investments in supply and access.”[2]

“Arts participation requires capacities for understanding and appreciating the modes of expression, symbol systems, aesthetics, and the cultural context in which the arts are embedded. People who have not cultivated and developed these capacities are less likely to find arts experiences rewarding, and they are less likely to invest time and resources in the arts.”[3]

“In America, we do not reserve arts education for privileged students or the elite. Children from disadvantaged backgrounds, students who are English language learners, and students with disabilities often do not get the enrichment experiences of affluent students anywhere except at school. President Obama recalls that when he was a child ‘you always had an art teacher and a music teacher. Even in the poorest school districts everyone had access to music and other arts’. Today, sadly, that is no longer the case.”[4]

“For more than 30 years, arts education has struggled to maintain space and time in publicly funded education in the United States for children in kindergarten through grade 12. In the nation’s urban centers, reductions in state and local budgets in the 1970s and 1980s led to diminished arts programming in favor of maintaining other subjects. More recently, government-legislated accountability based on mathematics and reading test scores has shifted attention to these subjects, to the detriment of other elements of the curriculum.”[5]

“All the benefits of the arts begin with individual captivation and intense absorption.” So wrote the authors of Gifts of the Muse, a landmark report by RAND that describes the benefits people and communities can gain from participation in the arts. The report reached another conclusion: individuals who experience and learn about the arts at a young age are likelier to reap those benefits over their lifetimes. Unfortunately, the opposite is also true: there are troubling signs that demand for the arts is becoming less and less widely shared. And a likely explanation is that arts learning opportunities have been dwindling over the last 30 years, both in school and outside.”[6]

“Men and women are about equally likely to attend a performance of music, opera, drama, dance, or a museum exhibit, once one takes into account social and personal background characteristics and how much time a person has available to attend an arts performance.

Those who had more arts education were more likely to attend arts performances–a relationship which was about four times stronger than that of any other factor considered.
More than half the initial differences in attendance associated with SES-one’s ability to pay–were removed by considering differences in arts education.”[7]

“The key to lifting demand for the arts may well lie in reversing the 30-year-long decline in arts learning, both in and out of schools. A number of cities have been tackling that challenge by using “coordinated approaches” that seek to have schools and other providers join forces in expanding access to arts learning. Two reports produced by the RAND Corporation and commissioned by The Wallace Foundation – Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy, and Revitalizing Arts Education Through Community-Wide Coordination – explore the challenges and identify the policy implications.”[8]

Y en nuestro país, Francisco Nieva afirmaba en una entrevista en «El Cultural»: “Los recortes en educación provocan que la gente retroceda ante el teatro serio y refinado, y fomentan un público primitivo y embastecido, que sólo responde al chiste fácil”,

Y, en el contexto europeo, la opinión del pianista Pierre-Laurent Aimard, “A la sociedad le cuesta trabajo incorporar lo nuevo, pasa con el pensamiento y con la ciencia. Hacen falta un par de generaciones para asimilar esos descubrimientos. (….) Para esa asimilación es fundamental la educación musical, no solo de los niños, sino de toda la sociedad. Lo que pasa en Occidente es un desastre en cuanto a la educación en las artes. Y estamos viendo los buenos resultados de otros países que han invertido en educación musical. Es el caso de Finlandia, un pequeño país que está dando una gran generación de músicos; o Japón, el lugar que ahora tiene un abanico de conciertos de extraordinaria calidad y un público fenomenal que ama la música, fruto de una buena educación cultural, como en su día tuvo Hungría, que dio una importante generación de grandes músicos”.

En Francia los atentados terroristas de 2015 desencadenaron una nueva visión,

http://www.lemonde.fr/culture/article/2015/02/11/l-education-artistique-apres-charlie_4574394_3246.html

http://www.lemonde.fr/culture/article/2015/02/11/un-nouveau-plan-pour-la-democratisation-culturelle_4574675_3246.html

Mientras la inauguración de la Philharmonie de Paris recalcaba la importancia de la pedagogía: “Homme-clé de la musique classique en France, Laurent Bayle, président de la Philharmonie de Paris, veut tester un nouveau modèle d’éveil et d’éducation à la musique.

Quelle est la part de la pédagogie dans le projet de la Philharmonie ?

Une part essentielle. Nous allons nous appuyer sur l’expérience acquise à la Cité de la musique, et aussi innover. Au-delà des visites scolaires, des ateliers d’éveil et des rencontres avec les artistes, nous allons tester des cafés-musique, un studio radio. La Philharmonie ne se veut pas seulement une salle de concert, mais un lieu de réappropriation de la musique par le public. Celui-ci pourra marcher partout dans le bâtiment, même sur le toit ! Pour créer cette dynamique, nous avons de belles forces vives : la Philharmonie fédère cinq formations résidentes, qui vont ouvrir leurs répétitions au public, développer des concerts pour enfants et des concerts participatifs. Mais il faut aller plus loin. Il faut décloisonner les genres : imaginer un week-end Berlin sur la musique classique, et un week-end flamenco ; un week-end Inde où sera mise en avant la partie traditionnelle du râga, mais aussi la manière dont les jeunes récupèrent cette musique aujourd’hui.

http://www.lemonde.fr/culture/article/2015/01/08/laurent-bayle-la-philharmonie-se-veut-un-lieu-de-reappropriation-de-la-musique-par-le-public_4551903_3246.html#drjLYISZzQIo2D0h.99

La Fondation Total ya había hecho una gran apuesta por la educación cultural y artística, firmando un convenio con el ministerio:

« Cet engagement se traduit pour Total par :

– un soutien de deux millions d’euros apporté à des structures ayant répondu à un appel à projets « éducation artistique et culturelle » diffusé par les Directions Régionales des Affaires Culturelles (Drac) et sélectionnées par un jury composé de représentants des ministères en charge de la Culture et de la Jeunesse ainsi que de membres de la Fondation Total ;

– un soutien d’un million d’euros à des institutions culturelles développant des projets d’EAC d’envergure interrégionale ou nationale ;

– un soutien d’un million d’euros à des projets initiés et financés dans le cadre d’une convention de partenariat avec le Fonds d’Expérimentation pour la Jeunesse (FEJ) pour des projets innovants dans le domaine de l’EAC. »

file:///C:/Users/Usuario/Downloads/Dossier+de+Presse+-+signature+Convention+Education+Artistique+et+Culturelle+-+28+janvier+2014.pdf

La Mission du Mécénat le dedicó uno de sus « Jeudis du Mécénat », http://www.culture.gouv.fr/Actualites/Tous-mobilises-pour-l-acces-des-jeunes-aux-arts-et-a-la-culture

La Ópera de París acogió un coloquio: https://www.operadeparis.fr/saison-18-19/evenements/colloque-liberte-egalite-fraternite?utm_source=Selligent&utm_medium=email&utm_campaign=&utm_content=&utm_term=_

Herramientas facilitadas por la institución americana de fomento de las alianzas, American for the Arts:http://www.americansforthearts.org/by-program/networks-and-councils/arts-education-network/tools-resources/arts-education-navigator-series?utm_source=MagnetMail&utm_medium=email&utm_term=pARTnerS.spain%40gmail.com&utm_content=BCA_Noteworthy_4_1_2013&utm_campaign=BCA%2520Noteworthy%2520April%25202013

[1] Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy, Laura Zakaras Julia F. Lowell, RAND Corporation, Wallace Foundations, 2008.

https://www.wallacefoundation.org/knowledge-center/pages/arts-learning-and-arts-engagement.aspx

[2] INCREASING ARTS DEMAND THROUGH BETTER ARTS LEARNING, KNOWLEDGE IN BRIEF, Wallace Foundation, 2008.

[3] Arts education in America: What the declines mean for arts participation, Nick Rabkin and E. C. Hedberg, National Endowment for the Arts, February 2011.

[4] U.S. Department of Education Secretary Arne Duncan, April 9, 2010.

[5] Revitalizing Arts Education Through Community-Wide Coordination, Susan J. Bodilly, Catherine H. Augustine, Laura Zakaras, RAND Corporation, Wallace Foundations, 2008.

[6] INCREASING ARTS DEMAND THROUGH BETTER ARTS LEARNING, KNOWLEDGE IN BRIEF, Wallace Foundation, 2008.

[7]Effects of Arts Education on Participation in the Arts, Louis Bergonzi and Julia Smith, Research Division Report #36, National Endowment for the Arts, Seven Locks Press Santa Ana, California, First printed 1996.

[8] INCREASING ARTS DEMAND THROUGH BETTER ARTS LEARNING, KNOWLEDGE IN BRIEF, Wallace Foundation, 2008.

La entrada La educación cultural y artística apareció primero en Cultura y Alianzas.

Creación de públicos. Sentimiento de participación auténtica. El ejemplo de la Música

Francesca Minguella — Mon, 23 Mar 2015 11:32:13 +0000

Dos estudios verifican en el ámbito de la Música la importancia del sentimiento de auténtica participación en el público.

El primero de ellos[1] concluye que los sentimientos de inclusión y participación son importantes predictores del disfrute de los participantes en la experiencia del concierto. El público tradicional de la música clásica está envejeciendo y, si debe ser sustituído por otro más joven, éste exigirá un nuevo formato más participativo, como el que está acostumbrado. Ofrecer información, del tipo de una charla introductoria, contribuye a la comprensión así como a desarrollar un sentimiento muy valorado de relación entre los artista y el público.

El segundo[2] estudia la experiencia del concierto desde el punto de vista de la orquesta y del de los asistentes y sus interacciones, con el fin de extraer consecuencias acerca del atractivo de asistir a los conciertos de música clásica y su papel en las vidas del público actual y del potencial.

La inauguración de la nueva sede de la Philharmonie de París ha puesto de relieve su objetivo de reapropiación de la música por parte del público http://www.lemonde.fr/culture/article/2015/01/08/laurent-bayle-la-philharmonie-se-veut-un-lieu-de-reappropriation-de-la-musique-par-le-public_4551903_3246.html#5lex5QJ1mf5qOe7O.99

Y de tender puentes hacia barrios periféricos, en todos los sentidos, objetivo de especial interés en la presente situación francesa, después del atentado terrorista de Charlie Hebdo. La Philharmonie posee una valiente política de precios para jóvenes, en todas las zonas. http://www.nytimes.com/2015/01/14/arts/music/a-concert-hall-in-paris-aims-to-bridge-divides.html?ref=international

En España existen interesantes ejemplos de nuevos enfoques con diversos agentes, con el acento en profundizar, y no banalizar, la experiencia del concierto http://www.cndm.mcu.es/ciclo/bach-vermut.

[1] “New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts”, Melissa C. Dobson, University of Sheffield, UK, Journal of New Music Research, 2010, Vol. 39, Nº 2.

[2] “Understanding the orchestral concert experience from player and listener perspectives Stephanie” E. Pitts, Melissa C. Dobson, Kate Gee and Christopher P. Spencer University of Sheffield, UK, Participations. Journal of Audience&Reception Studies. Vol. 10, Nº 2, Noviembre 2013.

La entrada Creación de públicos. Sentimiento de participación auténtica. El ejemplo de la Música apareció primero en Cultura y Alianzas.

Creación de públicos. Investigación de la Wallace Foundation

Francesca Minguella — Mon, 23 Mar 2015 10:38:40 +0000

Esta prestigiosa institución ha publicado el resultado de años de seguimiento de experiencias[1]. Citamos de esta publicación:

“We highlighted five general principles:

1. Market research can sharpen engagement-strategy development and execution.

2. Audiences are open to engaging in the arts in new and different ways.

3. Audience building is an ongoing endeavour, not a onetime initiative.

4. Audience-building efforts should be fully integrated into every element of an organization’s operations, not approached as a separate initiative or program.

5. Programs that emerge from a clear and well-supported organizational mission develop in environments in which they can thrive.

Throughout the U.S., arts organizations face a changing and challenging landscape. Americans have more options than ever in ways to spend their leisure time, and younger generations have less exposure to the arts in school than previous generations. They may also want to interact differently with institutions than their parents and grandparents did. The good news is that many arts organizations are learning how to adapt so they can continue to fulfil their missions and even expand their audiences in the process. Tis publication details the experiences of 10 such organizations that were among 54 arts institutions that received funding from. The Wallace Foundation between 2006 and 2012 to develop audience-building initiatives. An analysis of these programs—each supported by evaluation data—revealed nine practices contributing to their success:

1. Recognizing When Change Is Needed. Organizations saw a pattern of audience behaviour that presented an opportunity or a challenge for their financial viability, artistic viability, or both. They recognized that change was necessary to seize this opportunity or overcome the challenge. In some cases, the urgency of the challenge or opportunity actually served the initiative by keeping it front and centre, capturing and sustaining the attention of the entire organization over the years needed to build a following.

2. Identifying the Target Audience that Fits. Compatibility has two meanings here: First, organizations had reason to believe, based either on research or prior experience, that they could make a meaningful connection with the target audience. Second, leaders agreed that serving the audience reinforced—and did not compromise—the organization’s other activities or its mission.

3. Determining What Kinds of Barriers Need to Be Removed. Successful organizations identified the types of barriers impeding the target audience’s participation and shaped their strategies accordingly.

4. Taking Out the Guesswork: Audience Research to Clarify the Approach. Organizations often started out knowing very little about the new audience they were targeting and why that audience was not participating. Rather than guess, they went to the source—the target audience itself—for the facts. Using audience research, the organizations gained a clearer understanding of their target group’s interests, lifestyles, general attitudes toward the arts, cultural involvement, and opinions of their own institution.

5. Thinking Trough the Relationship. Some case study organizations went so far as to spell out a vision of the relationship they wanted to cultivate with the new audience, including specific roles for the audience and themselves. By doing so, they gave their audience-building initiatives structure and a sense of purpose. Leaders and staff members understood how they wanted the audience to interact with their organization and developed programs to fulfil that vision.

6. Providing Multiple Ways In. Staff expanded the ways people could access their organizations both literally and psychologically. Many organizations provided gateway experiences to acquaint newcomers with their activities. Others generated interest by making connections to things that their target audience already knew or by showing them different sides of their institutions.

7. Aligning the Organization Around the Strategy. Leaders and staff built clarity, consensus, and internal buy-in around the audience-building initiative’s objectives, importance to the organization, and staff roles in implementing it.

8. Building in Learning. Even with considerable research and planning, organizations could never be sure that a new audience would react favourably to their overtures. There were stops, starts, and some downright failures along the way. To stay on track and develop a working knowledge of what clicked with their audiences, many of them did on-the-ground experiments or used formal evaluations that drove program improvements

9. Preparing for Success. Success for the 10 organizations involved serving new audiences and assuming new responsibilities. Staff often worked overtime to handle an increased workload. Organizations found that they had to develop new capabilities and refine existing practices to accommodate newcomers, all while continuing to satisfy existing audiences. Not every institution that was studied implemented each practice, but generally speaking, the more practices they adopted, the greater the success they achieved. Taken together, these practices promoted audience engagement in two ways. First, they created a shared sense of purpose that kept an audience-engagement program front and centre for leaders and staff, thus enabling the initiative to permeate a wide range of an organization’s activities. Second, the practices helped an arts institution make meaningful connections with its target audience. Staff members developed programs that reflected both the audience’s inclinations and the organization’s mission and strengths. As a result, they not only engaged the audience, but also fulfilled important objectives for their organization, establishing a cycle that reinforced itself and gave the initiative momentum.

These themes are reinforced in the experiences of the organizations in the group of case studies and were more fully developed:

THEATER:

BUILDING DEEPER RELATIONSHIPS How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers into Repeat Visitors. Steppenwolf Theatre Company is building a deeper relationship with its audience by developing an ongoing conversation about the work on stage. Steppenwolf has launched an ongoing dialogue around the process of creating theatre. Audience members take part in nightly post show discussions, attend special thematic events, and enjoy a rich selection of online content—including multiple videos, podcasts, blogs, articles, and slide shows—in which the artists discuss their work from multiple perspectives. The number of non-subscribers who purchased tickets to more than one performance grew by more than 61 percent, to 2,281 households.

OPERA:

CULTIVATING THE NEXT GENERATION OF ART LOVERS How Boston Lyric Opera Sought to Create Greater Opportunities for Families to Attend Opera. BostonLyric Opera (BLO), the largest opera company in New England decided on a plan, Opera for Young Audiences (OYA) program, to nurture a new generation of operagoers. It

would take its abridged operas used in school programs, and turn them into high-quality productions for families. BLO planned to supplement and promote those productions with free previews, scaled-down workshops to be presented at local libraries and other community venues. Ultimately, in all its efforts, BLO hoped to introduce children to the art form, provide more opportunities for their parents to attend performances, and, perhaps, increase attendance at its main stage productions.

SOMEONE WHO SPEAKS THEIR LANGUAGE. How a Non-traditional Partner Brought New Audiences to Minnesota Opera. Learn how an opera company found new audience members among women age 35 to 60. Minnesota Opera’s partnership with Ian Punnett and radio station myTalk 107.1 addressed a serious issue confronting arts organizations across the country: the need to attract new audiences to ensure the futures of their art forms. That challenge is even greater for traditional art forms such as opera, ballet, and classical music that have seen their “bread-and-butter” patrons get greyer with every passing season. Minnesota Opera has certainly noticed the aging of its most loyal patrons. Patrons over the age of 60 make up roughly half of its audience.

GIRLS CHORUS:

ATTRACTING AN ELUSIVE AUDIENCE How the San Francisco Girls Chorus Is Breaking Down Stereotypes and Generating Interest among Classical Music Patrons. The San Francisco Girls Chorus (SFGC) found itself struggling to diversify beyond “friends and family” audiences. Despite producing high-quality, award-winning vocal music, SFGC had difficulty attracting large numbers of classical music patrons to its concert series in the San Francisco Bay Area. Focus group research revealed that classical music patrons were generally unaware of the artistic potential of girls choruses in general, and the SFGC in particular. Determined to improve its local image and awareness to match its performance level, SFGC has embarked on a focused rebranding campaign. The Chorus is overhauling its marketing materials, finding new performance venues, and refining the way it presents its choral programming to project better the image of a world-class performing arts organization. Thanks to these efforts, SFGC is beginning to make inroads in its goal of attracting greater numbers of classical music patrons.

BALLET:

GETTING PAST “IT’S NOT FOR PEOPLE LIKE US” Pacific Northwest Ballet Builds a Following with Teens and Young Adults. A Seattle-based ballet company garnered new interest in traditional and contemporary ballet among teens and adults under the age of 25. The Pacific Northwest Ballet sought to cultivate interest among teens and adults under the age of 25, in part by showing that the art form could be meaningful to them. The ballet company’s efforts included revising promotional materials to appeal to younger audiences, posting online videos to familiarize viewers with the ballet, and holding teen-only previews. One result over four years was a doubling of ticket sales to teens.

MUSEUM:

MORE THAN JUST A PARTY How the Isabella Stewart Gardner Museum Boosted Participation by Young Adults. Senior management gave a team of young middle managers the authority to plan and run an evening event aimed both at attracting more eighteen- to thirty-four-year-olds and encouraging them to engage with the art. Through a series of inventive steps, from hosting games that enabled exploration of the artworks to using hip, young volunteers, the team created a program that exceeded its expectations. Crowds consistently are at capacity; 73% of visitors fall into the target demographic; the museum has recruited 241 new members; 25% of attendees are repeat visitors; and 93% explore the galleries.

[1] THE ROAD TO RESULTS EFFECTIVE PRACTICES FOR BUILDING ARTS AUDIENCES BY BOB HARLOW, Wallace Studies in Building Arts Audiences, 2014

La entrada Creación de públicos. Investigación de la Wallace Foundation apareció primero en Cultura y Alianzas.

El público de la Cultura. Evolución, Motivaciones y Barreras

Francesca Minguella — Thu, 19 Mar 2015 16:07:26 +0000

La creación de público es una de las principales preocupaciones de las instituciones culturales. El objetivo es la fidelización de su público, el paso de visitante o espectador ocasional a “usuario” habitual. Tal fidelización posee implicaciones adicionales, personales y sociales. “Far from being isolated from ordinary experience, the arts, through their communicative power, enhance individual engagement with the world in ways that have both personal and public benefits. We even suggest that these effects are instrumental in that they can open people to life and create the fabric of shared values and meanings that improves the public sphere.”[1]

La estadounidense Wallace Foundation lleva quince años dedicada a la labor de analizar y crear públicos para la Cultura[2]. Los públicos considerados son los que se dirigen a las denominadas «benchmark arts activities», que son aquéllas cuyo comportamiento ha sido recogido a lo largo del tiempo[3].

jazz
música clásica
ópera
musicales
teatro
ballet
museos y galerías

Se observa una continuada disminución desde el año 1992, que se considera debida a:

La reducción en la educación cultural y artística
Los cambios demográficos
La competencia por el tiempo libre
El “boom” de las nuevas tecnologías

Lo que está sucediendo es que internet está cambiando la forma como consumimos, compartimos y creamos contenidos y experiencias culturales. Ello abre un nuevo campo de posibilidades a las instituciones culturales que, sin embargo, representan un coste adicional. Las instituciones deben buscar un equilibrio entre la ambición y el pragmatismo en sus decisiones sobre inversiones en medios digitales, puesto que el actual modelo de negocio no garantiza ingresos directos adicionales[4], lo cual puede cambiar en otro posible modelo de negocio[5].

El objetivo es atraer a la denominada “missing audience”, el público “perdido” o «interesados no asistentes», aquéllos que, interesándose por el arte y la Cultura, no llegan a participar[6]. Es el análisis de las motivaciones y las barreras a la participación el que centra la atención[7], se pasa de los comportamientos observados a las motivaciones que rigen tales comportamientos, por qué la gente no asiste o por qué ni siquiera se interesan. Las respuestas a estas preguntas suministrarán información vital para que las instituciones culturales puedan evolucionar y adaptarse para satisfacer los intereses, gustos y preferencias de un nuevo público.

La participación en la Cultura posee importantes implicaciones en la vida cívica. Los lectores y los participantes en las actividades culturales muestran una participación del doble de la población en general en las actividades de voluntariado[8]. Frente a ello existe una tendencia que pone el acento exclusivamente en el aspecto individual de emoción, “… ese sentimiento hedonista tan poco solidario, que aflora especialmente en épocas de vicisitud…“, contra el que reacciona, entre otros, el movimiento de Humanismo Solidario[9].

Las consecuencias económicas deben ser, lógicamente, también consideradas[10].

[1] Gifts of theMuse, Reframing the Debate About the Benefits of the Arts , Kevin F. McCarthy | Elizabeth H. Ondaatje, Laura Zakaras, Arthur Brooks, RAND Corporation / Wallace Foundation, 2004.

[2] THRIVING ARTS ORGANIZATIONES, THRIVING ARTS. What We Know About Building Audiences for the Arts and What We Still Have to Learn, Wallace Foundation, 2014.

[3] http://news.artnet.com/art-world/why-falling-arts-attendance-has-major-implications-for-the-us-economy-218831?utm_campaign=artnetnews&utm_source=011415daily&utm_medium=email

[4]Digital Audiences: Engagement with arts and culture online, MTM London, 2012.

[5] “Museums should make time for slower digital experiences”, Danny Birchall, digital manager at Wellcome Collection, The Guardian, Culture professionals network, Friday 23 January 2015 11.00 GMT Last modified on Thursday 5 February 2015 09.51 GMT, http://www.theguardian.com/culture-professionals-network/2015/jan/23/museums-slower-digital-wellcome-collection-mindcraft

[6] When Going Gets Tough: Barriers and Motivations Affecting Arts Attendance, NEA, 2015.

[7] Measuring Cultural Engagement:. A Quest for New Terms, Tools, and Techniques, Summary of a Joint Research Symposium titled “Measuring Cultural Engagement amid Confounding Variables: A Reality Check”, held at the Gallup headquarters in Washington, DC, June 2–3, 2014. Co-sponsored by the National Endowment for the Arts and the Arts & Humanities Research Council’s Cultural Value Project.

Motivations Matter FINDINGS AND PRACTICAL IMPLICATIONS OF A NATIONAL SURVEY OF CULTURAL PARTICIPATION, Urban Institute & Wallace Foundation, 2005.

[8] Art-Goers in Their Communities: Patterns of Civic and Social Engagement, NEA Research Note #98October 2009.

The Arts and Civic Engagement: Involved in Arts, Involved in Life – See more at: http://arts.gov/publications/arts-and-civic-engagement-involved-arts-involved-life-0#sthash.uOUrLfPJ.dpuf, 2006 reprint 2007.

Fusing Arts, Culture and Social Change, Holly Sidford, NATIONAL COMMITTEE FOR RESPONSIVE PHILANTHROPY, 2011.

[9]http://www.notodo.com/citas/manifiesto/6871_humanismo_solidario_la_palabra_como_herramienta_social.html

[10] http://news.artnet.com/art-world/why-falling-arts-attendance-has-major-implications-for-the-us-economy-218831?utm_campaign=artnetnews&utm_source=011415daily&utm_medium=email

La entrada El público de la Cultura. Evolución, Motivaciones y Barreras apareció primero en Cultura y Alianzas.