Response to A New Framework In the arts, nearly everything that is done relies on public participation. If organizations aren’t doing what they can to service the population they exist in, they lose their relevance in the local community. Therefore, Organizations must act to reflect on where their participation comes from, why people attend these events, and how this impacts the organization’s future. The article summarizes past studies and ideas concerning arts participation in the United States, but it also provides new concepts and ideas that organizations should consider increasing attendance. New Framework brings up the concept of a background stage of how people participate in the arts. First, is the audience’s predisposition of the …show more content…
“If arts institutions lack a firm understanding of these characteristics, they will not be positioned to develop the right message” (McCarthy 48). The article also stretches the fact that organizations not only need to know their target demographic, but where they are in the decision process so that they can develop a strategic plan to get them to come to events. Throughout, New Framework emphasizes the effect of making sure an organization follows and recognizes the steps needed to develop these new audiences. McCarthy makes many correlations from the data provided, including the elasticity of price and the effect this has on a possible arts participant. In short, when price goes up, interest (and therefor attendance) goes down. This might not be true for all attendees, as an individual who has a positive predisposition to an arts concept might go to an event regardless of cost, but by in large people still in the first stage of decision making will be sensitive to …show more content…
For example, the article points how that all is data doesn’t show how a person becomes engaged with an organization. That is up for the specific organization to decide and the article makes it clear that it is unwise to make vast generalizations about how and why patrons want to come to arts events and performances. A specific example of this oversimplification is with price. “Adjusting price levels in order to spur participation among individuals not inclined to participate in the first place, as many organizations do, is not likely to be very effective” (McCarthy 31). The article covers price trends later, but this is an example of when an organization should market using another tactic: personal
About 60% of all kids in Madison High School participate in some section of the fine arts program which consists of band, choir, orchestra, and drama. This was one of the main reasons that so much money was spent on the fine arts section of the Madison High School, especially the auditorium. It does get quite a bit of use between the four programs and other public events, so it has been worth its money spent on it. During these public events, many kinds of people come to see a good performance and be entertained, but people also go for other reasons, which affects the way that they act at these events.
Print. Compton, Jeffrey. Arts America: Enjoying the Best Art Museums, Theater, Classical Music, Opera, Jazz, Dance, Films, and Summer Festivals in America. Las Vegas, NV: Huntington Press. 2009.
A mutually supportive relationship between artists and society would be the ideal under the First Amendment of the United States Constitution. Our society would recognize and support an expanded role for artists. Free and diverse artistic expressions are vital for challenging people to rethink their assumptions and for educating people about past and present issues. We should oppose censorship in the arts, and encourage individual and social expression by artists. Only by supporting the voice...
...ilm have the ability to impact our perceptions of others, and they also have the ability to impact the perceptions we have concerning ourselves. Performing arts can be used to create a space to for us to be able to examine areas of our lives, and the lives of others, that we might otherwise not wish to look at. When we do make a space to examine our attitudes, feelings and behaviors, including the outcomes that they may have on others, we may find in our own selves a greater degree of compassion and willingness to accept human imperfection. In doing so, we become more accountable to ourselves and to society as a whole.
In sum, cutting arts programs poses concerns on local and national levels. The inequity in education, epitomized by the disturbing revolving door of arts teachers in Detroit, is an issue that cannot be taken lightly. It is imperative that citizens engage individually and collectively through different participation mediums in order to reverse the trend regarding arts programs.
The Met provides the public with further resources, activities, creativity, and knowledge through a variety of programing. “Met Speaks,” offers discussions, films, and forums to explore present issues by applying them to the collections and exhibitions. “Met Celebrate” are special events to celebrate different cultures with art, performances, storytelling, and demonstrations. “Met Creates” allows the participants to look at art in a creative way by doing hands on
“Musical theatre isn’t some ancient, dusty, irrelevant invalid; it is, right now, a thriving, vigorous art form”. This statement by Miller (2007, p. 8) suggests that American musical theatre is still alive and abundant in today’s society. This essay seeks to support this claim by using three aspects of the ‘ecosystems of music’ framework (Schipper, 2009) to determine if musical theatre does indeed prosper in modern society. Specifically, this essay discusses the involvement of musicians and communities, the relevance of the musical contexts in today’s society, how it is disseminated and how it is supported by the media and music industry.
Every theatergoer may consider the question: What is it about performance that draws people to sit and listen attentively in a theater, watching other people labor on stage and hoping to be moved and provoked, challenged and comforted? In Utopia in Performance, Jill Dolan “argues that live performance provides a place where people come together, embodied and passionate, to share experiences of meaning making and imagination that can describe or capture fleeting intimations of a better world (p.2)”. She traces the sense of visceral, emotional, and social connection that we experience at such times, connections that allow audience members to sense a better world, and the hopeful utopic sentiment might become motivation for civic engagement
During my semester abroad at Portsmouth University, I enrolled in a course called Arts & Society. This course was chosen as it was the closest equivalent to a Cultural Studies course; it focused on studying the arts through a sociological lens. In the unit, the term art was employed in its widest definition. It not only focused on the fine arts, such as opera, painting and theater, but also on what commonly is considered the popular culture: film, television series and popular music. The aim of the unit was to give an overview of the sociology of the arts and explore the relationship that exists between society and the arts.
For the recent last decades, art market has become very popular with a boom in total sale revenue worldwide. People start to participate and pay attention to the art world more interactively and frequently. For example, art institutions have gained more admissions than ever before; museum visits surged globally and more people are willing to pursue an art-related career. Generally speaking, art world is broader than the art market. The art world is a overlapping subcultures held by a belief in art. They spread out globally but cluster in art capitals such as New York, London, Los Angeles, Berlin, and the emerging market such as Hong Kong, Beijing and Dubai. The market refers to the people who participate in the art business transaction that is artists, first and second market dealers, curators, collectors and auction houses experts. However in the business operation side, dealers are responsible for channeling and deflecting the power of all the other players, while critics, curators and artists are not directly involved in commercial activities on a regular basis. Most importantly, the art world is a sphere that the cultures and art works themselves play the most fundamental parts while wealth and powers also have a crucial influence on market.
We all know that businesses are in the business of making money so in order to continue to create a profit they will have to increase their prices on other items on their menus which in turns effects the costumers more. As some customers will notice the increase of prices their favorite restaurants or other venues they will be less likely to visit there as often.
...pressing of emotions, identifying with other systems of thought. Theatrical arts have managed to transcend ethical issues, racial differences, and many other facets of discourse in society. If theatre is indeed an engine for social change it should not be held from the people who need it the most. Those who are incarcerated. Programs across the nation have already started to see success in the prisons they operate in, so to think about the effect that theatre in prison would have on a nationwide scale is indeed a beautiful thought. If theatre programs in prison would be funded by the states or nationally, potentially the idea of professional prison playhouses could become a reality, and the world would be introduced into a new era of art that is truly a beautiful thing to behold. Shakespeare writes in Hamlet, “We know what we are, but know not what we may be.”
Seat prices vary greatly so that more people can afford to attend the Opera. Typically those from social classes A and B attended the Opera, and this was partly to do with the cost of tickets. The ENO have made an effort to change this and have introduced more variable ticket pricing. For example...
"Why Arts Education Is Crucial, and Who's Doing It Best." Edutopia. N.p., n.d. Web. 20 May 2014.
Although The Institute of Contemporary Arts (ICA) of Boston was the only place dedicated to contemporary art for more than 50 year, it is having trouble growing into a pillar of the art industry (Reavis, 2010, pg.1). The main problem is the organization’s powerless leadership. According to Peter Northouse (2015), leaders must possess an effective influencing power in order to motivate followers (pg.47). The leaders prior to Jill Medvedow failed to get the local community fondly interested in contemporary art or an environment that showcases it. Therefore, there are no investors, donors, or patrons breaking down the door to fund or see the exhibits presented in the old