Opetussuunnitelmat

Objective

-The course is intended to be the safe space for students for questioning the answers regarding
cultural organizations and cultural professionals’ role in audience focused activities.
-The pace of the course and all assignments are aimed to facilitate several dimensions of course
participants’ potential: interaction, cooperation, reflection, and written argumentation.

Content

The aim of the course is to provide a multidimensional perspective on the theory and practice of
audience engagement when applied to the organizations that are focused on creative processes.
Its particular focus is on the role for audience directed activities as central to the work of CCI
sector organizations’ professionals: cultural producers, managers, curators and entrepreneurs in
the cultural and creative field. The course is the chance to get the international and crosssectorial perspective on the audience engagement practice.

Location and time

27.2.2025 13:00-17:00 EET (hybrid, Ilkantie in Helsinki and zoom session option)

11.3.2025 13:00-17:00 EET (online zoom session)

25.3.2025 13:00-17:00 EET (online zoom session)

8.4.2025 13:00-17:00 EET (hybrid, Ilkantie in Helsinki and zoom session option)

Materials

The literature and sources - available as links and linked files in several sections of the AECO hoodle platform content.

References' selection:
Bollo, Alessandro, Da Milano, Cristina, Gariboldi, Alessandra, and Torch, Chris. 2017. Study on Audience Development – How to place audiences at the centre of cultural organisations. Luxembourg: Publications Office of the European Union: https://moodle.humak.fi/pluginfile.php/468426/mod_resource/content/0/Final-Report-Study-on-Audience-Development.pdf // Case Studies: https://moodle.humak.fi/pluginfile.php/468427/mod_resource/content/0/Catalogue-%E2%80%93-Case-studies.pdf

Bonet, Lluis, and Negrier, Emmanuel (eds.) 2018. Breaking the Fourth Wall: Proactive Audience in the Performing Arts, Kunnskapsverket, Elverum.

Bonet, Lluis, and Negrier, Emmanuel. 2018. The participative turn in cultural policy: Paradigms, models, contexts, Poetics 66: 64-73.

Cuenca-Amigo, Macarena, and Makua, Amaia. 2017. Audience development: a cross-national comparison, Academia Revista Latinoamericana de Administracion” 30/ 2: 156-172.

Dubois, Vincent. 2016. Culture as a vocation: sociology of career choices in cultural management, Abingdon/New York: Routledge.

Harlow, Bob. 2014. The Road to Results. Effective Practices for Building Arts Audiences, New York: The Wallace Foundation: https://www.wallacefoundation.org/knowledge-center/Documents/The-Road-to-Results-Effective-Practices-for-Building-Arts-Audiences.pdf

Jackson, Annabel. 2015. Imagining Arts Organizations For New Audiences: Values And Valuing, Cleveland Foundation, Paul Hamlyn Foundation: https://www.phf.org.uk/wp-content/uploads/2015/09/Imagining-Arts-Organizations-for-New-Audiences-2015.pdf
Kagan, Sacha. 2015, Prefiguring Sustainability: Response-Ability & Spaces of Possibility. in: M. Le Sourd and H. Van den Bergh (eds.) Art for the Planet's Sake: Arts and Environment, Brussels: IETM
Kawashima, Nabuko. 2000. Beyond the Division of Attenders vs. Non-attenders: a study into audience development in policy and practice, Coventry: Centre for Cultural Policy Studies, University of Warwick.

Martin, Joanne. 2002. Organizational Culture. Mapping the Terrain, Thousand Oaks: Sage.

Paquette, Jonathan. 2012. Theories of Professional Identity: Bringing Cultural Policy in Perspective. in: J. Paquette (ed), Cultural Policy, Work and Identity. The Creation, Renewal and Negotiation of Professional Subjectivities. London: Routledge: 1-23.
Poprawski, Marcin. 2024. Audience Companions Leave No One Behind. Spotlight on Audience Development practice and values in Finland, p. 83-93) in Aspegren, A., S. M. Rasmussen and N. Righolt (Eds). Audiences. 15 Stories About Audience Development. Copenhagen: The Danish Centre for Arts and Interculture and RasmussenNordic, ISBN 978-87-993435-2-2.

Robinson, Roxy. 2015. No Spectators! The art of participation, from Burning Man to boutique festivals in Britain. in: G. McKay (ed.) The Pop Festival: History, Music, Media, Culture. New York: Bloomsbury Academic: 165-181.

Robinson, Roxy. 2016. Music Festivals and the Politics of Participation. London: Routledge.

Strati, Antonio. 1998. Organizational Symbolism as a Social Construction: A Perspective from the Sociology of Knowledge, Human Relations 51/11: 1379-1402.
Strati, Antonio. 2015. Music and the aesthetic study of organisational life. In: N. Beech, Ch. Gilmore (eds.) Organising Music. Theory, Practice, Performance. Cambridge: Cambridge University Press: 28-38.

The Audience Agency. 2017. Creating an Effective Audience Development Plan. An introductory guide to Audience Development Planning, London: The Audience Agency: https://www.theaudienceagency.org/insight/guide-to-audience-development-planning

Teaching methods

It comprises of (a) 4 sessions facilitated by the host lecturer of the course, (b) the access to the interactive Hoodle platform with the content to be studied by participants. The platform gives access to literature files, video materials, and digital sources. Webinars of AECO are organised as a zoom sessions. The first and the last meeting are planned as hybrid (= option for students who are in Helsinki to join the classroom in Humak headquarter - Ilkantie 4.).

Methods: hybrid as online and onsite; mixed method: lecturing, group work, reading and discussions, studying hoodle located digital materials and cases; assignments: group presentations, final written assignment (the 2-pager), an optional individual semi-structured final conversations with the course host;

Content scheduling

Content
The core content of the course has 6 elements elaborated through 4 integrated sessions:
1) Theory and practice of audience development and audience engagement (an introduction);
2) The overview of the characteristics of multiple practice of audience-centred and creative process oriented organisations;
3) Cultures of participations and creative professionals' identities: Creative professionals’ identity in the context of increasing, deepening and diversifying audiences; Textures of practice – cultural management applications;
4) Audience research / the methods of cultural intelligence: the role of cultural/creative professionals, managers and entrepreneurs in collecting and interpreting data – to know their audiences;
5) The strategic and systemic approach to the audience engagement, cultural policies, democracy and audience engagement;
6) Audience engagement, sustainability values and digital transformation as new challenges and opportunities in our work with different audience’s types.

Further information

The course is intended to be the safe space for students for questioning the answers regarding cultural organizations and cultural professionals’ role in audience focused activities. The pace of the course and all assignments are aimed to facilitate several dimensions of course participants’ potential: interaction, cooperation, reflection, and written argumentation.

Evaluation scale

0-5

Assessment methods and criteria

Assignments for 5 ECTS total, grading scale 1-5
1) obligatory - a group work (open style - instructed by the course coordinator – exercises 2 - 4) and the final group’ presentation - groups are asked to submit the final summary (pdf) of their group work after the presentations in the hoodle.
2) obligatory - '2-pager’ written assignment (instructed by the course coordinator) - audience engagement - creative organisation case analysis. The assignment submitted as a pdf.

+
3) optional - individualised 30’ online consultation on the audience engagement solutions for your future / current professional activities (on appointment – registration)

Qualifications

Basich knowledge of cultural production.