SALC60011/60101

Arts Management: Principles and Practice

JB Barrington, Sarah Gait & Caitlin Core perform at Manchester Wakes photo: A. Gilmore

MA in Arts Management, Policy and Practice

Core Module, Semester 1

Convened by Simon Parry

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Overview

This unit provides a comprehensive overview of the field of arts management and some

different routes into the study and practice of creative and cultural work. Sessions will

introduce different disciplinary approaches and a range of case studies involving different arts

forms. You will be introduced to methodologies and resources for developing your

understanding of management functions including business planning, organizational change,

people management, programming, leadership, communications and research. You will also be

encouraged to develop sophisticated approaches to the understanding and analysis of a range

of cultural practices and particular expertise in areas of particular personal interest.

Aims:

Develop knowledge, critical understanding and appraisal of relevant management models and approaches to strategic development, programming, planning and delivery of arts and culture

Provide overview and insight into the various types of and settings for arts management functions and acquaint students with the range of professional opportunities in the creative and cultural sector

Identify the skills and practices required for careers in arts management, cultural policy and related professional practice, and to provide opportunities to learn and develop these skills

Stimulate critical debate, innovation and entrepreneurialism in relation to management principles and practices for the arts, and to consider how these might inform broader management practice

Learning outcomes On successful completion of the course, you will be able to:

Use and develop critical approaches to arts management and cultural policy in order to interrogate and explicate professional practice

Analyse the development of “arts management”, “creative industries” and “professional practice”

Demonstrate direct experience of practices, procedures and policies in arts management and apply a crucial awareness of current issues in the field

Undertake self-directed learning and skills acquisition

Conduct independent, critical fieldwork in arts management and cultural industries

Analyse and evaluate complex data and statistics

Communicate complex research findings through clear written and verbal articulation, supported by appropriate technological tools

Achieve an advanced and critically informed level of group work

Plan and deliver effective presentations to specialist and non-specialist audiences

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Retrieve, select and critically evaluate information from a variety of sources, including libraries, archives and the internet

Orchestrate group work in disciplinary and multi-disciplinary contexts

Communication and office hours

Please make use of Blackboard for general questions about the module content or practical

issues raised by the sessions/assessment. Small group tutorial sessions are also scheduled into

the course at significant points. If you would like to have an additional individual discussion

then please come to my office hours (below) or email to arrange an alternative appointment.

Simon Parry: office hours are Mondays 4-5pm (Martin Harris Centre SL04) or Wednesdays 10-

11am (Mansfield-Cooper 3.03) To book an appointment at this or at another time or for any

personal communication please use email: simon.parry@manchester.ac.uk

We will also establish a programme email distribution list (listserv) which we can use to forward

relevant email information throughout your programme.

You may also want to use the social media platform Twitter to stay in touch and follow

programme and other relevant updates and news. This account is @artsmcr and we can

develop a course list as needed.

Learning and teaching methods

Weekly lectures, seminars and group work. There will also be directed reading from week to

week. The amount of participation and time for discussion will vary from session to session, but

you will be expected to come prepared to all of them. In some sessions, students will carry out

directed readings and project work in small groups. Group meetings and enquiry-based learning

are important components of the course. In some weeks tasks for these will be more precisely

prescribed, but you are encouraged to meet regularly and to use your group as a resource for

peer learning and support.

The detailed outline below gives an idea of the programme for each week including guest

lectures and site visits although this may be subject to change.

Seminar schedule and reading

Seminar session themes, questions and reference materials are set out for each week, including

suggested core and indicative further reading to prepare for the seminars. Any reading

questions posed below are intended only as seeds for further discussion.

The reading and references listed here are only an initial guide. We will also be posting further

reading and reference materials and links on Blackboard during the course, so make sure you

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keep yourself up to date with this resource. You are also encouraged to bring relevant material,

reading and practical examples to seminars to support your contribution to the sessions. The

core reading for sessions will normally be made available electronically either via a digitised

extract accessible through Blackboard, on the internet or within library e-journals. It is often

useful to have a copy of the reading with you in the seminar either in electronic or printed

format.

Course assignments

1. Group project - presentation 30%

You will work in your group on a case study of an arts organization in the North West. In your

group you will select and research the arts organization and develop a presentation for week 11

of the course. We suggest you hold regular group meetings to allocate tasks and to discuss your

case study in relation to the theme of the week. In the schedule we have indicated times when

you might hold these meetings although the scheduling and frequency of group meetings is up

to you.

Your task in the course of the term is to review the activities of the organisation. You should

collate information on the role, structure, background, mission and vision of the organization,

its audiences, funders, users and communities of interest. You should critically assess how the

organisation positions itself within the cultural ecology of the region, how it presents itself to

different constituencies and how its activities might be understood in relation to the themes

discussed during the module. You will need to undertake research to gain relevant information

– this can be both desk research and consultation with staff in the organization.

For the assessed presentation you should select an area of your research to present in greater

detail highlighting and analysing a particular challenge or challenges faced by the

organisation and proposing a potential response or solution the organisation could

implement in relation to the challenge.

The group presentation should be no longer than 20 minutes and will take place in week 11,

and may be given by one or more members of the group, with supporting visual material (e.g.

Powerpoint presentation or Prezi) as appropriate.

The group presentation will normally receive a common mark and the work of each student

should be of equal weight, both practically and intellectually. You will be asked to submit a

joint written statement when you give the presentation which indicates the different roles and

contributions your team has made to the presentation (up to 500 words). In exceptional

circumstances this document may be used alongside the presentation to differentiate marks

within a group.

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Presentations on Tuesday 5 December 2017

2 Essay (70%)

You will produce an essay on a topic relevant to the field of arts management. Please see

blackboard for a list of essay titles. You should submit a plan with an outline of your focus,

provisional structure and initial bibliography by week 7.

Word length: 4,000 – 4,500 words

Final essay to be submitted online 12pm (midday) Tuesday 16th January 2018

Feedback

We will give your informal written and verbal feedback on essay plans. We will also give you informal verbal feedback in group discussion as your project presentation develops.

Final feedback on the presentation will be sent to you as an electronic document – a copy of the feedback form can be found on blackboard.

Final feedback on the essay will be available on turnitin/blackboard.

More information and guidance on assessment and submission of assignments can be found on the blackboard site for this course

All grading criteria and regulations about assessment can be found in the programme handbook. See www.alc.manchester.ac.uk/studentintranet

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Key texts

Core reading will where possible be provided electronically. You will also be introduced to the university library’s extensive print and electronic resources. If you would like to purchase your own copies of key texts from Blackwells, Amazon or elsewhere here are a list of titles to consider:

If you want to buy a single text for the course then one of these would probably be the best. The former is probably a more useful reference work/textbook, the latter is more readable and thought-provoking:

Byrnes, W. (2014) Management and the Arts (Fifth Edition). Oxford: Focal Press. This text also has an accompanying website with additional related resources - http://www.managementandthearts.com/index.php

Please note that this is the fifth edition of Byrnes - as there are also copies in the library of the previous edition we also refer to this (2009, fourth edition) below for indicative reading extracts as well as the commensurate reading in the later edition. The text between the two editions can vary, so please remember this when providing reference to your sources (and include edition and page numbers).

Chong, D. (2010) Arts Management (2nd Ed). London: Routledge.

There are a number of other texts which may be of general interest for preparatory or background reading:

Bjorkegren, D. The Culture Business: Management Strategies for the Arts-Related Business. London: Routledge, 1996.

Bowdin, G.A.J., McDonnell, I., Allen, J. and O'Toole, W. (2006) Events Management (Second Edition). Oxford: Butterworth-Heinemann.

Hagoort, G. (2005) Art Management: Entrepreneurial Style. Utrecht : Eburon.

Hesmondhalgh, D. (2007) The Cultural Industries (Second Edition). London, Los Angeles and New Delhi: Sage.

Hoffman, B. (2006) Art and Cultural Heritage: Law, Policy and Practice. Cambridge: Cambridge University Press.

Kaiser, M. (2008) The Art of the Turnaround: Creating and Maintaining Healthy Arts Organisations Lebanon, New Hampshire: Brandeis University Press.

Kaiser, M. (2013) The Cycle: A Practical Approach to Managing Arts Organizations Lebanon, New Hampshire: Brandeis University Press.

Pick, J. and M. Anderton. (1999) Arts Administration (Second Edition). London: Spon.

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Radbourne, J. and M. Fraser. (1996) Arts Management: A Practical Guide. St Leonards: Allen & Unwin.

Journals

You should consult journals that are relevant to the field in general and to your particular interests (art form or management function). Most of the journals can be accessed electronically on campus or via password protected sign on (your login/password). If you need help accessing these, library staff should be able to help. Here are some indicative titles:

International Journal of Arts Management http://proquest.umi.com/pqdlink?RQT=318&TS=1282753787&clientId=44986&VType=PQD&VName=PQD&VInst=PROD&PMID=52740&Tab=1

Journal of Arts Management, Law, and Society http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:iipa:&rft_dat=xri:iipa:journal:JID10632921

Asia Pacific Journal of Arts and Cultural Management http://www.ojs.unisa.edu.au/index.php/ARTMJ/issue/archive

Arts Professional http://www.artsprofessional.co.uk/

Other activities

We would encourage you to make the most of the vibrant cultural scene in Manchester and the region. There is a wealth of possibilities to suit your particular interests as spectator, audience, participant, producer, critic, researcher etc. You can track what’s going on in a range of places including http://www.creativetourist.com/ and http://www.manchesterconfidential.co.uk/

If you are new to Manchester you might want to start close with the Martin Harris Centre http://www.martinharriscentre.manchester.ac.uk/, Contact theatre http://contactmcr.com/ and the Whitworth Art Gallery http://www.whitworth.manchester.ac.uk/ …. and work out from there

Please also share your discoveries with the rest of the group in seminars or through other (digital) means such as the ICP blog http://culturalpractice.wordpress.com/

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Week 1. Introduction: managing the arts In the first week of the course we will give an overview of the course and what it will cover,

including ground rules, assessment, preparation, group work, reading and resources. It will

include a short introduction to a historical context for arts management. This session will

address some fundamental questions about the practices of arts management:

What are arts organizations?

How are they defined and by whom?

Who manages them and for whom?

What might “manage” mean in different contexts?

How relevant are theories and practices of management to arts contexts?

Core reading (available on Blackboard):

Chong, D. Arts Management. London: Routledge, 2010. 1-29.

Evrard, Y. and F. Colbert. “Arts Management: A New Discipline Entering the Millennium?” International Journal of Arts Management 2.2 (2000). 4-13.

Hofstede, Geert. “Management Control of Public and Not-for-Profit Activities.” Accounting, Organizations and Society 6.3 (1981): 193-211. Indicative further reading:

Adorno, T.W. “Culture and Administration.” Adorno – the Culture Industry, Vol. 3. Ed. J.M.

Bernstein. London: Routledge, 2002. 107-131.

Byrnes, W. (2014) Management and the Arts (Fifth Edition). Oxford: Focal Press. Chapter 2: The Evolving Role of Arts Managers p.31-69

(or: Byrnes, W (2009) Management and the Arts (Fourth Edition) Oxford: Focal Press, Chapter 2: Arts Organizations and Arts Management p. 23 - 56)

Ebewo, Patrick and Mzo Sirayi. (2009) “The Concept of Arts/Cultural Management: A Critical Reflection.” The Journal of Arts Management, Law, and Society 38.4 pp. 281-295.

Kaiser, M. (2013) The Cycle: A Practical Approach to Managing Arts Organizations Lebanon, New Hampshire: Brandeis University Press.

Roodhouse, S. (2008) “Creative Industries: the Business of Definition and Cultural Management

Practice.” International Journal of Arts Management 11, 1. 16 – 27.

Group Meeting

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We will allocate members to groups so in your first meeting you can share your interests and

experiences. What aspects of the arts and management/organisation/production are you

interested in? Use these to guide the criteria for selecting a case study organisation and share

out initial research tasks.

Week 2. Arts Environments I: Structures & Spaces

This week we will be looking at the relationship between organisational missions, strategies,

spaces and operational structures. We will discuss how these might evolve in relation to socio-

cultural and technological changes and in response to localised structures and contexts. We will

examine how arts organizations develop and adapt in response to their environments.

Questions will be raised about arts spaces and the role they play in local community

infrastructures. We will also test out practical approaches to assessing and analyzing

environments and localized cultural ecologies.

Key questions:

How are arts delivery organizations traditionally structured?

How is this changing?

Do different art forms need different structures and management models?

How do arts managers analyse the environments they work in?

What sources of information might be important in developing strategies for new organisations?

How do the physical infrastructures of arts organisations reflect their missions and ethos?

Core reading:

Bilton, Chris, (2007) "Chapter 2: From Individuals to Processes - Creative Teams and Innovation"

from Management and Creativity: From Creative Industries to Creative Management pp.23-44,

Oxford,: Blackwell.

Foucault, Michel, (1986) "Panopticism" from Rabinow, P, The Foucault Reader edited by Paul

Rabinow., pp.206-213, Harmondsworth,: Penguin.

Tapscott, Don, (2006) "Chapter 9. The Wiki Workplace" from Tapscott, Don, Wikinomics: How

Mass Collaboration Changes Everything pp.239-267, New York,: Portfolio.

Indicative further reading:

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Benjamin, Walter (1992) “The work of art in the age of mechanical reproduction.” Illuminations. London: Fontana

Bennett, Susan (2009) "Universal Experience." The Cambridge Companion to Performance Studies. Ed. Tracy C. Davis. Cambridge: CUP pp. 76-90.

Byrnes, W.(2009) Management and the Arts Fourth Edition, Oxford: Focal. 83-119, 155-186.

Fleming, T. (2009) Embracing the Desire Lines – Opening Up Cultural Infrastructure. Manchester: Cornerhouse

Hagoort, Giep. “The Stucturing of a Cultural Organization.” Art Management: Entrepreneurial

Style. Utrecht: Eburon, 2005. 133-192.

Mencarelly, R. “Conceptualizing and Measuring the Perceived Value of an Arts Venue as Applied

to Live Performance.” International Journal of Arts Management 11.1 (2008): 42 – 59.

Group Meeting

Discuss what your main research questions and methods might be in relation to your group

case study organisation. Find out or deduce the organisational structure of your case study

organisation, analyse to what extent this reflects the organisation’s mission and strategy.

Locate or make a diagram or drawing of the structure. Discuss how the structure of your

organisation might have evolved and how it might further evolve in the future in relation to

different scenarios relating to significant technological or social changes. Think about the

implications of moves towards co-production for the organisational structure. Imagine one or

more realistic change(s) that might affect the organisation – this could be a change in audience

demographics, a funding increase or decrease, the arrival of a new artistic director or chief

executive. Devise a new structure for the organization that responds to this change and justify

it. Carry out an analysis using an appropriate tool such as PEST/SWOT of an area of your case

study organisation’s activity.

Week 3: Arts Environments II: Place, convention and tradition

This week we will continue thinking about how places might determine or influence arts

management practices. We will explore how histories and traditions operate through particular

spaces and places.

Key questions

How do arts traditions/conventions/spaces emerge out of particular historical and geographical

contexts?

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What roles do arts managers play in developing, perpetuating or disrupting traditions in art

forms and places?

Core reading

Knowles, Ric, (2004) “Introduction and Chapter 1” from Reading the Material Theatre

Cambridge: CUP p.1-23

Haslam, Dave, (2000) "Introduction" from Haslam, Dave, Manchester, England: the Story of the

Pop Cult City pp.vii-xxxi, London,: Fourth Estate. [25]

http://eml.manchester.ac.uk/lib/SAHC60011/SAHC60011_11458.pdf

Matarasso, Francois. “Summary” and Chapter 2 Only Connect: Arts Touring and Rural

Communities. Nottingham: Comedia, 2004. (7-12, 19-32)

Indicative further preparation / reading

Chose a place you know and think about/ research how it has given rise to particular arts

practices, for inspiration read:

Hamilton, Christine and Adrienne Scullion (2005). “‘Picture It If Yous Will’: Theatre and

Theatregoing in Rural Scotland.” New Theatre Quarterly 21:1 (February 2005).

Harvie, Jen (2005) Staging the UK. Manchester: MUP, 2005. 1-15, 41-73.

Reid, Trish (2007). “’From scenes like these old Scotia's grandeur springs’:The New National Theatre of Scotland.” Contemporary Theatre Review 17.2 (2007): 192 — 201.

Think about traditions/conventions of art forms you are familiar with. To prompt your

thinking read:

Fethe, C “Craft and Art: A Phenomenological Distinction” The British Journal of Aesthetics,

Spring 1977, Vol.17(2), p.129 [Peer Reviewed Journal]

Week 4: Arts Environments III: The social contexts of arts organisations

This week will examine the challenges and opportunities presented by managing in different

contexts. We will explore the applicability of different management models to arts contexts and

test out research methods that might give us access to the day-to-day practices of arts (and

other) managers. We will discuss particular issues that might emerge when managing artists.

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Key questions:

What contextual factors affect the process of managing?

Do different cultural, social, economic environments require different approaches to management?

What particular issues are raised by managing within the arts?

How might concerns about equality and diversity affect the process of managing?

Is arts management more ‘progressive’ than other forms of management?

Preparation

Conduct a short (10 min.) interview of a manager. This could be someone you know well and

does not have to be someone working in the arts. It could be face-to-face, by phone or skype

but should not be by email. Start with the question “What do you do (as a manager)?” If

necessary, you can prompt further or ask follow up questions but try to let them talk as much

as possible. Take notes or record and transcribe.

Core reading:

Mintzberg, Henry. “The Untold Varieties of Managing.” Managing. San Francisco: Berrett-

Koehler, 2009. 97-156. [Physical and online copy available in the library]

Wolff, Janet, (1993) "Social Structure and Artistic Creativity" from Wolff, Janet, The Social

Production of Art pp.9-25, London,: Macmillan. [17]

Quigg, Anne-Marie. “Bullying in Theatres and Arts Centres in the United

Kingdom”. International Journal of Arts Management (2007) 10:1, 52-64

Indicative further reading:

Arts Council England. Disability access: A good practice guide for the arts. London: ACE, 2003.

Arts Council England. Navigating difference: cultural diversity and audience development. London: ACE, 2006.

Byrnes, William J. (2009) “Leadership and Group Dynamics.” Management and the Arts. Fourth

Edition, London: Elsevier. 221- 264.

Smiers, Joost. Arts under Pressure: promoting cultural diversity in the age of globalization.

London: Zed, 2003.

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Week 5. Production I: Programming

This week will examine how creative work is programmed within local, regional, national and

international contexts and arts ‘ecologies’.

Key questions:

What criteria do arts managers need to bear in mind when formulating arts programmes?

What are the practical and theoretical implications of different contexts for arts programmes?

What are the differences between programming and creative producing?

Group Meeting

Look at the programming in your case study organisation. Analyse how it reflects its situation

within local, regional, national, international cultural ecologies. Identify the elements of the

activity which you consider examples of creative cultural production in Bilton’s terms. Discuss

how such creativity might be promoted through other areas of the organisation’s work.

Core reading

Kaiser, M. (2013) The Cycle: A Practical Approach to Managing Arts Organizations Lebanon, New Hampshire: Brandeis University Press. Read Chapter 1- Programming: Is it all about the Art pp.6 – 23

Czach, Liz (2004) “Film Festivals, Programming, and the Building of a National Cinema.” The

Moving Image 4.1 (Spring 2004): 76-88.

Indicative further reading

Gilbert, Helen and Lo, Jacqueline, (2007) "Chapter 4. Marketing Difference at the Adelaide

Festival" from Gilbert, Helen and Lo, Jacqueline, Performance and Cosmopolitics: Cross-Cultural

Transactions in Australasia pp.112-130, Basingstoke,: Palgrave MacMillan. [19]

Jen Harvie (2003) “Cultural Effects of the Edinburgh International Festival: Elitism, Identities,

Industries,” Contemporary Theatre Review, 13:4, 12-26, DOI: 10.1080/1048680032000118378

Wood, Emma H. and Rhodri Thomas. “Festivals and Tourism in Rural Economies.” International

Perspectives of Festivals and Events: Paradigms of Analysis. Ed. Jane Ali-Knight, Martin

Robertson, Alan Fyall and Adele Ladkin. Elsevier, 149-158. <E-book

http://www.sciencedirect.com/science/book/9780080451008>

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Week 6. This week is Reading Week and there will be no seminars in this week

Week 7: Production II: Creative Producing

This week will look at the evolving role of the producer across different art forms. We will

discuss how arts managers situate themselves between artists and the public, how this role

might be changing and why. We will explore what creativity might mean in the context of arts

management and how it can be promoted.

Key questions:

• What is creative producing?

• Are there necessarily tensions between the business/administrative and artistic

dimensions of the arts manager’s role?

Core reading:

Cray, David, Loretta Inglis and Susan Freeman. (2007) “Managing the Arts: Leadership and Decision Making under Dual Rationalities.” Journal of Arts Management, Law, and Society 36.4 pp. 295-313.

Tyndall, Kate. The Producers: Alchemists of the Impossible. London: Arts Council England &

Jerwood Foundation, 2007. http://www.the-producers.org/ .

Preparation

Choose one of the producers profiled in Kate Tyndall’s book. Research and prepare a side of

notes on their work. What do you consider to be creative about their work?

Indicative further reading:

Bilton, Chris and Leary, Ruth. “What can managers do for creativity? Brokering creativity in the creative industries.” International Journal of Cultural Policy 8.1 (2002): 49 — 64.

Eikhof, D. and A. Haunschild. “For art’s sake! Artistic and economic logics in creative production.” Journal of Organizational Behaviour 28 (2007). 523–538.

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Wilson, Nicholas. C. and David Stokes. “Managing creativity and Innovation: The challenge for cultural entrepreneurs.” Journal of Small Business and Enterprise Development 12.3 (2005): 366-378.

Week 8: Production III: Fundraising, resources and organizational change

This week we will explore the ways arts organisations generate income and how/why their

approaches might shift as the organisation or the wider environment changes.

Key questions:

What are the key sources of funding for arts organisations?

What approaches do arts organisations use to generate income or access funding?

How do organisational or environmental changes affect fundraising strategies

Core reading:

Kay-Williams, Susan. ‘The Five Stages of Fundraising: A Framework for the Development of Fundraising’. International Journal of Nonprofit and Voluntary Sector Marketing 5, no. 3 (1 September 2000): 220–40. doi:10.1002/nvsm.115.

Ravanas, Philippe. “Company Profile: Born to Be Wise: The Steppenwolf Theatre Company Mixes Freedom with Management Savvy.” International Journal of Arts Management, vol. 8, no. 3, 2006, pp. 64–74. JSTOR, JSTOR, www.jstor.org/stable/41064888.

Indicative further reading:

Betzler, Diana, and Markus Gmür. ‘Towards Fund-Raising Excellence in Museums—linking Governance with Performance’. International Journal of Nonprofit and Voluntary Sector Marketing 17, no. 3 (1 August 2012): 275–92. doi:10.1002/nvsm.1429.

Boeuf, Benjamin, Jessica Darveau, and Renaud Legoux. ‘Financing Creativity: Crowdfunding as a New Approach for Theatre Projects’. International Journal of Arts Management 16, no. 3 (Spring 2014): 33–48.

Jung, Yuha. ‘Diversity Matters: Theoretical Understanding of and Suggestions for the Current Fundraising Practices of Nonprofit Art Museums’. The Journal of Arts Management, Law, and Society 45, no. 4 (2 October 2015): 255–68. doi:10.1080/10632921.2015.1103672.

Sargeant, Adrian, and Jen Shang. Fundraising Principles and Practice. John Wiley & Sons, 2010.

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Also browse articles at https://www.artsprofessional.co.uk/magazine/arts-fundraising-

philanthropy / http://artsfundraising.org.uk/

Group meeting:

Identify the main sources of funding for your case study organisation. This might include:

earned income through ticket sales or venue hire; grants from government or

trusts/foundations; corporate sponsorship; and individual giving. Can you differentiate between

sources of project, revenue and capital funding? What challenges might the organisation be

faced with as a result of its funding structure?

Week 9: Reception I: Marketing & Audiences

This week we will discuss how organisations understand their audiences and how this

understanding might influence their approaches to marketing and audience development.

Key questions:

What tools, data and analysis help arts organisation identify current and future audiences?

What strategies and tactics do different organizations use in constituting and developing their audiences?

What different relationships do arts organizations have with their audiences?

How are these relationships represented in ephemeral material such as posters, leaflets, marketing emails, websites, social networking, artworks etc?

What are the roles of artists and specialist arts marketers in these relationships?

What challenges do arts marketers have to deal with?

How are relationships between artists and audiences mediated via mass media?

Preparation

Look at the tools and resources available via www.audiencefinder.org – you can register for

free and try these out. Find the Audience Spectrum section and familiarise yourself with the

Audience Agency’s market segmentation. What segment do you belong to, do you think? How

do these different segments correspond to your understanding of audiences and engagement

from your reading? How do they help arts organisations in their work?

Group Preparation:

Select a piece of publicity material (print, electronic, audio, video or other) produced by the

organization your group is studying for your project. Consult with your group so that you bring a

range of examples. Bring one A4 side of notes to the seminar about the material outlining how

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you think it represents particular strategies, tactics or relationships and any comments you

have regarding how it positions its audiences and what roles artists or others have played in its

production. Building on the discussions in the seminar, synthesise an analysis of how your case

study organization positions its audiences through different strategies and tactics.

Core reading:

Bradshaw, Alan et al, (2010) "Chapter 2. Challenging Conventions in Arts Marketing: Experiencing the Skull" from O'Reilly, Daragh and Kerrigan, Finola, Marketing the Arts: a Fresh Approach pp.5-17, London,: Routledge. [13] http://eml.manchester.ac.uk/lib/SAHC60011/SAHC60011_11456.pdf

Brown, Stephen. “Turning customers into lustomers: the Duveen proposition.” Journal of Customer Behaviour 6.2 (2007): 143-153.

Grönroos, Christian. “From Marketing Mix to Relationship Marketing: Towards a Paradigm Shift in Marketing.” Management Decision 32.2 (1994): 4-20.

Indicative further reading:

Arts Council England (2006) Family Friendly Toolkit London: Arts Council England http://www.artscouncil.org.uk/publication_archive/family-friendly-toolkit/

Bennett, Susan. “Theatre/Tourism.” Theatre Journal 57.3 (2005): 407-428.

Bourdieu, P. & Darbel, A. (1991) The Love of Art Cambridge : Polity

Chong, D. Arts Management. London: Routledge, 2002. 85-98.

Heritage Lottery Fund. Thinking about audience development. 2009.

Fillis, I. (2002) “Creative marketing and the art organization: What can the artist offer?”

International Journal of Nonprofit and Voluntary Sector Marketing 7. 2: 131-145.

Hayes, Debi and Slater, Alix. (2002) ''Rethinking the missionary position' - the quest for

sustainable audience development strategies', Managing Leisure 7. 1. 1 — 17.

Hill, E, O’Sullivan, C &T (2003). Creative arts marketing. Butterworth-Heinemann. 36-66.

Olsen, Christopher. (2002) “Theatre Audience Surveys: towards a Semiotic Approach.” New Theatre Quarterly 71: 261-275.

Prescott, Paul. (2005) “Inheriting the Globe: The Reception of Shakespearean Space and

Audience in Contemporary Reviewing.” A Companion to Shakespeare and Performance. Ed.

Barbara Hodgdon and W.B. Worthen. Oxford: Blackwell,. 359-375.

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Radbourne, Jennifer and Margaret Fraser. (1996) Arts Management: A practical guide. St

Leonards: Allen & Unwin, 1996. 45-110. [Chapters 2 & 3]

Rentschler, R. (2007). ed. Special issue on Arts Marketing. International Journal of Nonprofit

and Voluntary Sector Marketing 12.2

<http://www3.interscience.wiley.com/journal/114207230/issue?CRETRY=1&SRETRY=0 >

Scollen, Rebecca. “Talking Theatre Is More Than a Test Drive: Two Audience Development Methodolologies under Review.” International Journal of Arts Management 12.1 (Fall 2009).

Week 10: Reception II: Participation & Engagement – different paradigms for making art with

publics

This session will look at moves from audience development to notions of participation and

engagement. We will take a more critical look at how processes and strategies for audience

development position ‘the public’ in different ways, and will look at organisations who offer

different terms of engagement when working with audiences, which draw on co-production,

education and creative learning and engagement strategies.

Questions

What are audiences, spectators, participants…? How might they differ?

Who are the audiences for different art forms? How might we look at them and what might they tell us?

How do we understand engagement in the arts, and what language best suits this purpose?

What are the factors that influence participation and how do they effect audience development?

In what ways can ‘audience development’ misunderstand and misinform arts organisations about their audiences?

Core reading

Bishop, Claire, (2006) "Introduction" from Bishop, Claire, Participation pp.10-17, London: Whitechapel. http://eml.manchester.ac.uk/lib/SAHC60011/SAHC60011_11501.pdf

Kidd, J. 2011. ‘Enacting Engagement Online: Framing Social Media Use for the Museum’, Information Technology & People, 24 (1), 64-77 Lindelof, A.M. (2015) Audience development and its blind spot: a quest

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for pleasure and play in the discussion of performing arts institutions, International Journal of Cultural Policy, 21:2, 200-218, http://dx.doi.org/10.1080/10286632.2014.891585 Indicative further reading

Belfiore, E. & Bennett, O. (2007)'Determinants of impact: towards a better understanding of encounters with the arts', Cultural Trends 16.3.

Bunting, C et al (2008) From indifference to enthusiasm: patterns of arts attendance in England London: Arts Council England http://www.artscouncil.org.uk/media/uploads/indifferencetoenthusiasm.pdf

Chan, T.K ed. (2012) Social Status and Cultural Consumption Cambridge University Press Fischer-Lichte, Erika. (2008) “The emergence of meaning.” The Transformative Power of

Performance: A new aesthetics. London and New York: Routledge, 2008. 138-160. Freshwater, H. (2009)Theatre & Audience. London: Palgrave,. Goldthorpe, J. (2007) ‘Cultural Capital: Some Critical observations’ Sociologica 2 pp. 1 - 23

Jackson, Shannon. (2011) “Quality Time.” Social Works: Performing Arts, Supporting Publics. Oxford: Routledge 43-74.

Leadbeater, Charles. The Art of With. Manchester: Cornerhouse, 2009. http://www.charlesleadbeater.net/cms/xstandard/The%20Art%20of%20With%20PDF.pdf

Miles, A & Sullivan, A (2010) Understanding the relationship between taste and value in culture and sport London: DCMS http://www.culture.gov.uk/images/research/DCMS_taste_and_value_document.pdf

Rancière, Jacques, (2009) "Chapter 1. The Emancipated Spectator" from Rancière, Jacques, The emancipated spectator pp.1-23, London,: Verso. [23] http://eml.manchester.ac.uk/lib/SAHC60011/SAHC60011_11489.pdf

Reason, Matthew. (2004) “Theatre Audiences and Perceptions of ‘Liveness’ in

Performance.” Particip@tions 1.2 (May 2004) http://www.participations.org/volume%201/issue%202/1_02_reason_article.htm

Russo, A. and J. Watkins. 2007. ‘Digital Cultural Communication: Audience and Remediation’ in Theorizing Digital Cultural Heritage. A Critical Discourse, ed. by Fiona Cameron and Sarah Kerendine. Cambridge, Massachusetts; London, England: The MIT Press, pp. 149-164

Sontag, Susan (2001) “Against Interpretation.” Against Interpretation. Vintage: London

(2001[1966])

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Sullivan, A. (2007) ‘Cultural Capital, Cultural Knowledge and Ability’ in Sociological Research Online 12(6)1 http://www.socresonline.org.uk/12/6/1.html

Week 11. Group presentations

This week will be devoted to assessing your group presentations.

Core reading:

http://www.palgrave.com/skills4study/studyskills/personal/presentation.asp

Week 12. Conclusions & Tutorials

This week will include a short concluding session followed by 1-2-1 tutorials focussed on essay

assessment.