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The purpose of this paper is to review the concept of audience development, analysing differences between a number of countries and identifying common elements that underlie the concept regardless of the context.

In addition to the literature review, fieldwork has been conducted in the UK, Denmark, Italy, and Spain applying qualitative methodology. The study has been structured in two phases. The first phase comprised 26 in-depth interviews with European experts in audience development while the second phase consisted of six focus groups with European experts.

The paper reveals differences between countries, ranging from the definition of the term audience development to the approach undertaken. Despite this, a number of aspects, independent of the context and considered key to a successful audience development, are identified. These aspects are related to the consideration of the development of audiences as a transversal long-term strategy supported by the top management of the organisation.

The value provided is twofold. First, thanks to the empirical data used, the paper analyses the socio-cultural aspects that affect the emergence of country-specific approaches to audience development and it individuates general features and ideas that contribute to the better understanding of the concept itself. Second, it is one of the few academic works carried out in Spain on this issue.

El propósito del artículo es revisar el concepto de desarrollo de audiencias, analizando las diferencias existentes entre diversos países e identificando los elementos comunes que subyacen al mismo independientemente del contexto.

Además de una revisión bibliográfica, se ha llevado a cabo un trabajo de campo en Reino Unido, Dinamarca, Italia y España. El estudio, de carácter cualitativo y con finalidad exploratoria, se ha estructurado en dos fases. En la primera se han realizado 26 entrevistas en profundidad a expertos en desarrollo de audiencias europeos, mientras que en la segunda se han llevado a cabo 6 grupos de discusión con expertos.

El artículo evidencia diferencias entre los distintos países que oscilan desde la consideración del propio término desarrollo de audiencias hasta el enfoque desde el que se entiende el desarrollo de audiencias. A pesar de ello se identifican una serie de aspectos, independientes del contexto, y considerados clave para un desarrollo de audiencias exitoso. Dichos aspectos están relacionados con la consideración del desarrollo de audiencias como una estrategia transversal de largo plazo, apoyada por la dirección general de la organización.

El valor aportado es doble. En primer lugar, gracias a los datos empíricos utilizados, el artículo analiza los aspectos socio-culturales que afectan a la aparición de enfoques de desarrollo de audiencias específicos para cada país y al mismo tiempo identifica aquellas características generales e ideas que contribuyen a una mejor comprensión del concepto en cuestión. Por otro lado, se distingue por ser uno de los escasos trabajos académicos realizados en España sobre este tema.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by peer-to-peer dialogue in understanding experiences of unfamiliar arts.

Using a case study with contemporary arts audiences, and setting this in the wider context of studies with other first-time attenders at a range of arts events, the paper explores the use of the “audience exchange” method, in which facilitated conversations after performance events allow newcomers to reflect upon and deepen their first-time encounters with live arts.

The study demonstrates the way in which conversations about arts events can enrich audience experience, and shows how participants use exploratory and emotional language to articulate their understanding of unfamiliar arts events. Peer-to-peer learning occurs through these conversations, in ways that could be further supported by arts organisations as a valuable tool for audience development. The audience exchange discussions also reveal the varieties of participation from “drifting” to full attention that are all part of audience engagement.

This is a small-scale, qualitative study, and the method has potential to be tested in future studies with a greater variety of participants (e.g. younger or more ethnically diverse groups).

Use of the audience exchange for enriching experiences of first-time attendance could be adopted by arts organisations as a regular part of their audience engagement. Greater understanding of how new audience members draw on prior cultural experiences in finding the language to articulate their first impressions of an unfamiliar arts event could be valuable for targeted marketing and increasing accessibility.

The originality of this study lies in its elaboration of the audience exchange method, and its focus on the language and peer-to-peer learning evident in the facilitated post-performance discussions.

The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement.

The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing.

The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences.

The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept.

In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion.

The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.

This paper aims to provide an exploratory investigation into contemporary interpretation methods used in historic gardens and their fundamental role in enhancing the visitor experience and sense of a place.

A series of semi-structured interviews (n = 65) with Wrest Park visitors – who had the opportunity to experience new interpretation methods provided on-site – have been carried out in an attempt to explore their sense of place through interpretation.

The research suggests that interpretation has a fundamental role to play in “telling the story” of historic gardens, with 92.5 per cent of the sample understanding elements of the place’s history, significance and evolution. The findings further suggest the presence of two distinct visitor typologies – history explorers and leisure seekers.

The study provides implications for theory and practice and recommendations for historic garden practitioners.

The importance of conceptualising and operationalising interpretation in historic gardens has received relatively little attention across the extant body of heritage interpretation literature. English Heritage’s Wrest Park, which is amongst England’s most prominent historic gardens, is used as a case study.

The Museo Archeologico Nazionale di Napoli (MANN, National Archaeological Museum of Naples) is one of the most important archaeological museums in the world. In 2017, MANN launched several projects, such as Father and Son, the first video game made by an archaeological museum, and Ancient Present (Antico Presente), a series of five short films produced by the museum in five different languages and based on different artworks selected from the museum's permanent collections. The idea behind these projects was to ‘bring the museum outside the museum’, with the assumption that some tools may improve the museum's ability to speak and interact with its audiences, both in the spatial sense (outside its physical perimeter) and the temporal dimension (not only during the visit experience, but also before and after it). We have studied these two MANN projects, as this museum has explicitly targeted audience development as one of its main objectives (MANN, 2016, p. 72) and these projects are important examples of how to use new ‘languages’ (the digital and the cinematographic) to start a dialogue with new audiences and to address museum accessibility in a new way.

In today’s business landscape, arts and cultural organisations are challenged to search for excellence of their business model management to create and deliver value in a more sustainable way. This study develops exploratory focus groups aimed to capture insights into the practical challenges, wants and needs that arts and cultural organisations across Europe address and face in managing and developing their business models.

The focus groups method has been applied. The methodology included seven focus groups involving arts and cultural organisations operating in different European countries.

The overall feeling emerging from focus groups is that there is an increasing pressure to prove the value of culture, e.g. economic, social and civic, progressively more in quantitative figures. Arts and cultural organisations are greatly concerned about their financial health, and their ability to continue creating and presenting great arts and cultural events. At the same time, there is an acceptance that gaining financial resilience and sustainability can no longer be put off. Organisations are conscious that it is crucial to rethink their way of operating and to improve their value creation mechanisms to get sustainability. Nevertheless, the challenges to face and issues of change to get a more effective business model management are numerous and various.

The study sheds more light on “business dimensions” perceived by arts and cultural organisations across Europe, as particularly crucial for their survival and requiring proper management attention. In doing this, it offers fresh and valuable knowledge about aspects, factors and dimensions to take into account in the managing business model.

It is well known that culture is a catalyst for change, helping economies respond to societal problems and demands and that culture is where people turn to in moments of crisis. In this case study around designing and implementing evaluation methodologies/frameworks for Coventry UK City of Culture 2021, it is suggested that in English public policy and within publicly invested arts there is a maturation of thinking around recognising/measuring the public value of culture including its social value. The purpose of this paper is to chart the recent policy of justifying cultural expenditure with social value claims and highlight challenges for evaluating activity within Coventry UK CoC 2021 as a change in wider policy is taking place.

This paper provides creative insights into the design and implementation of the evaluation methodologies/frameworks for Coventry UK City of Culture 2021. The authors of this paper as the collective team undertaking the evaluation of Coventry's year as UK City of Culture 2021 bring first-hand experiences of challenges faced and the need for a cultural mega-event to evidence its value.

The case study aims to address the concepts of measuring value within cultural events and argues that a paradigm shift is occurring in methods and concepts for evidencing the aforementioned value.

The case study within this paper focuses on the build-up period to the UK City of Culture 2021 year and the thinking and logic behind the creation of the evaluation/measurement framework and therefore does not include findings from the actual cultural year.

It is acknowledged that there are papers examining measuring and evidencing the “value” of cultural mega-events, the authors bring real-life first-hand experience of the concepts being utilised by them on the ground in the delivery and evaluation design of Coventry, UK City of Culture 2021.

The purpose of this paper is to explore the main strategic considerations facing the libraries of national museums over the next decade, and to examine anticipated future service and resource development priorities.

An explanatory sequential mixed-methods study was undertaken, consisting of a quantitative research phase followed by a qualitative phase. An online survey was sent to the head librarians of two hundred national museum libraries for the quantitative phase. Semi-structured interviews were undertaken with the head librarians at seven national museum libraries for the qualitative phase. The survey data were analysed using descriptive statistics and the interview data were analysed through use of recursive abstraction. Mixing of the data occurred following the qualitative phase.

National museum libraries are facing a complex array of future challenges and opportunities as a result of a rapidly changing socio-technical landscape, evolving organisational needs and priorities and ongoing operational constraints. The main strategic considerations for many national museum libraries relate to their preparedness for these issues, and their ability to deliver services and resources that are relevant, required, and responsive to the future research needs of internal and external users. It seems likely that development priorities will focus on consolidating high impact services and resources, whilst also expanding provision into new areas that have the greatest potential for growth.

This study identifies issues of strategic importance for national museum libraries and examines the main priority areas being considered by museum librarians as they prepare to develop their libraries into the third decade of the twenty-first century.