A New Framework for Building Participation in the Arts by Lloyd Dixon Kimberly Jinnett

By Lloyd Dixon Kimberly Jinnett

Arts organisations around the nation are actively increasing their efforts to extend public participation of their courses. This document offers the findings of a RAND learn subsidized by way of the Wallace-Reader's Digest money that appears on the approach wherein contributors get entangled within the arts and makes an attempt to spot ways that arts associations can such a lot successfully impact this method. The document provides a behavioral version that identifies the most elements influencing person judgements concerning the arts, in keeping with web site visits to associations which were relatively profitable in attracting contributors to their courses and in-depth interviews with the administrators of greater than a hundred associations that experience obtained can provide from the Wallace-Reader's Digest money and the Knight starting place to motivate higher involvement within the arts. The version and a collection of instructions to assist associations technique the duty of participation construction represent a framework that could help in devising participation-building methods that healthy with an institution's total goal and challenge, its to be had assets, and the group atmosphere during which it operates--in different phrases, a framework that might permit arts associations to take an integrative method of construction participation within the arts.

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Extra info for A New Framework for Building Participation in the Arts

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Kelley and Freisinger, 2000; Kelley, 1987). The first of these dimensions distinguishes between activities primarily undertaken as a form of entertainment, such as watching television (Robinson and Godbey, 1997), and those undertaken for enrichment or self-fulfillment, or what has been referred to as “serious leisure” (Stebbins, 1992). , is he or she primarily interested in developing proficiency in the activity? 1). Within the group of individuals primarily seeking entertainment, those who are self-focused will be more inclined to participate through the media (by, for example, listening to recorded music or watching a play on television), and those seeking a social experience, the “casual attendees,” will be more inclined to attend a live performance.

Still other organizations are primarily interested in promoting the canons of specific art forms by fostering an appreciation of their art. For these organizations, the potential audience may well consist of two types of 36 A New Framework for Building Participation in the Arts participants—casual attenders and aficionados—which means they may need different appeals for these two groups. Third, and finally, arts organizations need specific information about the lifestyles, specific program interests, and leisure activities of potential participants and how these groups stay informed about their leisure activities.

People falling into a particular cell of this classification scheme are not precluded from participating in other ways. Those who primarily participate in the arts through the media may also attend live performances, as may hands-on participants. Moreover, regardless of their form of participation, individuals will also choose from the various art forms, both the high and the more popular. However, this basic scheme provides a useful device for recognizing that individuals’ motivations for participation and the predominant form that participation is likely to take will differ and that these differences are important to bear in mind when developing an outreach strategy.

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