ARTICLE: Audience Development in Dance: Perspectives, Opportunities, and Examples. An Attempt at an Analysis

In the introduction to the text, I wanted to inform the reader that it consists of two parts^[1]. They belong to different orders. It is, therefore, important for me to make this distinction clear. The first part is para-scientific, in which I introduce the origins and meaning of the concept of audience building/development, as well as the methods for collecting and analysing audience data. In doing so, I refer to publications that have appeared in Poland and (in a very fragmentary way) abroad in the last few years, which can be consulted by those more interested in the subject. In order not to leave my reflections in a vacuum, I will also discuss research in the field of audience development carried out by selected organisations active in the field of dance in Warsaw. I have decided that before going into detail, it is worthwhile (and even necessary) to look at what audience development is or could be. In the second part of the text, which is less structured and more heterogeneous, I take as my starting point Joanna Tabaka’s recommendations for audience development, which were developed together with the participants of a conference held as part of the project of the Centre for Dance Art in Warsaw. Based on them, I go on to present Polish and European strategies and/or activities related to building audiences for dance.

Due to the fact that this area of culture is developing in a very dynamic way, my discussion does not claim to be a comprehensive presentation of the issues in question. It is only intended to open up perspectives, highlight just some of the possibilities, and invite you to explore the topic and potentially work in the field of audience development.

In her article, “Sources and Definitions of ‘Audience Development”^[2], Agnieszka Wlazeł, President of the IMPACT Foundation, a prominent figure in the field of audience development and the dissemination of knowledge about it in Poland, notes that the term was likely first used in the 1950s, in the United States in the film industry. At that time, cooperation with universities was expected to attract students to cinemas. However, according to Wlazeł, if one adopts a more expansive perspective and considers the transformative impact of the Industrial Revolution on societal structures, it can be postulated that the conscious conceptualisation of cultural event audiences has been a sustained endeavour for over a century and a half. Nobuka Kawashima, as cited by this author, argues that the origins of audience development can be traced back to educational activities and the expansion of cultural access for diverse social groups. However, he suggests that the concept originated from cultural or even social policy, with particular reference to British policy. Despite establishing the Arts Council in the UK in 1946, to enhance accessibility to the arts and cultivate a discerning and informed audience base across the country, the organisation lacked a comprehensive cultural policy framework.

Consequently, advancing the arts and accessibility of these cultural resources became contingent upon the prevailing political interpretations and priorities. The Arts Council did not demonstrate a direct commitment to considering audiences in its grant-making activities. The organisation’s primary objective was to support the presentation and production of artistic works rather than to cultivate a demand for the arts. In terms of chronology, the practice of audience development was introduced to Australia and the UK from the United States.^[3] Although the United States is regarded as a pioneering nation in audience development, its current conceptualisation and methodologies have been significantly influenced by the British approach, particularly in Europe (including Poland). This is the point of origin of the concept of audience development in the UK, as indicated by Joanna Tabaka. A few years after the activities initiated by the IMPACT Foundation and her participation in the workshops organised by the Foundation, Tabaka worked on a similar area in several institutions in Warsaw, including the Centre for Contemporary Art Ujazdowski Castle and TR Warszawa. As she explains,^[4] the origins of the practice of audience development (but not the term itself, which has a significantly longer history) in the UK can be traced back to the challenging period for artists under Margaret Thatcher and her controversial belief that culture should be self-sustaining, subject to the exact free market mechanisms as all other economic sectors.

It can be argued that this represents a significant shift in how these fields are conceptualised. While modernist paradigms still exert considerable influence, the advent of a more commercialised approach to thinking about culture and art has brought with it a distinct set of considerations. These have, in turn, shaped how artists and their work are regarded. The legacy of this can still be observed in contemporary discourses surrounding these fields. In the business sector, sales of goods and services represent the primary objective. However, the application of similar criteria in the cultural domain is challenging, despite the utilisation of creative approaches derived from business tools. Accordingly, Tabaka asserts that it is worthwhile to consider the benefits of culture and who its most appropriate target audience is. The author believes that this target audience is simply people. In the absence of an audience, culture cannot exist. As a result, most of my interlocutors emphasised that we can only discuss audience development, which is a complex and somewhat fluid concept when the primary focus is precisely the audience is the primary focus. While this may seem self-evident, it is not. For this approach to be effective, the entire team must be aligned and committed to a shared objective, with a clear understanding of their role and the rationale behind their actions.

While a limited number of cultural institutions in Poland have established dedicated Audience Development Departments, notable examples include TR Warszawa in Warsaw and the Museum of Modern Art, which has an active Audience Development team. However, it is often the case that building and developing audiences is conducted concurrently across various departments and areas within cultural institutions. This approach is driven by the dual objective of facilitating the efficient dissemination of information and the transfer of knowledge and ideas. Audience development draws upon various competencies and tools from diverse fields, including marketing and PR, management, promotion, audience (customer) service, education, animation, sales, and curating/programming. It is also noteworthy that newly established audience development sections frequently result from the consolidation of multiple existing departments. When one begins to consider audiences systematically and comprehensively, the subject matter can appear daunting. It is, therefore, unsurprising that this is the case. Before determining the target audience and the demographic profile of those whom an event is designed to appeal to, it is essential to consider the identity of the institution or organisation. This entails an examination of its vision, mission and goals. In a sense, these are related to audience development and constitute fundamental preliminary steps in subsequent work with audiences. Joanna Tabaka and Heather Maitland, authors of a study on the subject prepared by Aerowaves, a European support network for emerging choreographers, refer to them. An earlier publication, entitled Sztuka dla widza! Koncepcja rozwoju widowni. Wprowadzenie [Art for the Audience! A Concept for Audience Development. An Introduction]^[5] may also be beneficial to provide an introductory overview of the implementation of solutions utilising established and proven techniques.

The issues related to the vision, mission and goal-setting of the institution/organisation are of particular relevance in the context of the rebranding of the pavilion from visual arts to dance, choreography and other performing arts (as outlined in the competition announcement), the formal subordination of the pilot year to the Museum of Modern Art, and the subsequent transformation of the venue, after a year of operation, into a separate municipal cultural institution. Furthermore, the unconventional format of the competition announcement and the ambitious expectations (in terms of both attendance and participation) of the municipal authorities for the team responsible for the pilot year indicate that the fulfilment of these expectations may be contingent upon an initial effort to define the identity of the pavilion. Consequently, the competition requirements will significantly influence the self-definition of the new pavilion and may not align with the perceptions of the dance and choreography community regarding the activities of the institution. Therefore, it is essential to define the vision, mission, and goals of an institution or organisation within a contextual framework.

The vision is of a long-term nature and may be perceived to be “the answer to the question where we are going?”^[6] and it reflects the “long-term internal goal of the organisation”^[7], while the mission is the set of the day-to-day activities that should serve to realise the vision, “the mission statement delineates an organisation’s primary activities and areas of expertise. It should indicate the distinctive role of the organisation, the specific characteristics that allow it to be distinguished from other organisations, especially those operating in a similar field”^[8]. These latter points are particularly pertinent when considering the months-long process of developing a conceptual framework for a dance centre, led by the Warsaw Observatory of Culture (WOK) and also involving discussions about the vision, mission and goals of this place. From the outset, it was intended that the future institution would function as part of the ecosystem of Warsaw’s cultural institutions and NGOs, mainly owing to infrastructural constraints but also because of the wider cultural policy of the City of Warsaw. The initial assumptions and intuitions of the community, as outlined in the preceding sections, are now confronted with the competition announcement. This confrontation demonstrates the difficulty of establishing a separate identity for the venue, which is to be dedicated not only to dance and choreography but also to “other performing arts”.

As audience development researchers and practitioners have noted, a vision should be clear, explicit, and comprehensible to everyone in the given institution or organisation. However, a mission cannot be limited to just a description of a building or feature, or be only a historical outline. Instead, it should map the fundamental purpose and main reason for the existence and action of the planned institution or organisation. In the Aerowaves network toolbox^[9] mentioned above, the vision and mission are more closely intertwined, with the proposed concept primarily serving as a roadmap delineating the objectives of the undertaken activities. In this context, the mission can be further broken down into constituent parts, facilitating its comprehension and fulfilment. This prompts a crucial inquiry into the potential avenues for engaging and developing audiences within each mission statement.

The term audience development is most often used to describe three distinct types of activities, which can be defined differently. For instance, these activities may be classified as quantitative, qualitative, or diversifying (as described by Piotr Firych, the first doctoral student in Poland to publish a thesis on this topic^[10]). Alternatively, they can be categorised according to the terminology used by Aerowaves, which is also prevalent in Poland. In this context, audience development refers to the process of expanding the audience by engaging new individuals who share similarities with those who have already expressed interest in our activities but who may not have been yet fully convinced to participate, intensifying the interest of people who are already familiar with our activities, or diversifying the audience by including viewers who have not yet encountered dance or art in general. Each of these audience categories can be further subdivided and characterised.

Nevertheless, any preliminary assumptions regarding the audience should be substantiated or refuted through empirical research. It is recommended that, initially, data that is already available but scattered and unstructured within the organisation/institution itself be used. Subsequently, research in a similar area that has been carried out by an entity with a similar profile to ours or by a local community or authority/research institute should be sought. Based on previous preparations, only in the last stage can targeted in-depth research be carried out. This may be based on one’s own resources or be done in cooperation with an external research team. Quantitative research is usually conducted using simple or more complex pre-structured questionnaires. These are completed either online or traditionally (increasingly without using a pen, by tearing a sheet of paper in the appropriate places) immediately after an event or sent by email in cases where sign-up for the event was required to participate. Qualitative research, for example, in-depth interviews with representatives of different audiences, is a more challenging undertaking.

The aforementioned quantitative research is conducted regularly by several museums and galleries in Warsaw, including the Museum of Modern Art, the Centre for Contemporary Art Ujazdowski Castle, the National Museum, the Zachęta Art Gallery and the National Museum. Given the scarcity of institutions dedicated to dance in Warsaw, which is exemplified by the absence of dedicated research facilities, it is hardly surprising that the field lacks the resources to conduct and analyse research on a regular or daily basis, so to speak. Nevertheless, it is typically the organisation itself that initiates audience research in the field of dance in Warsaw. To date, this has been achieved by a limited number of local organisations, including the PERFORM Art Foundation and the NOWA FALA Theatre Development Foundation, which in 2019, the latest in a three-year project by the Centre for Dance Art in Warsaw, was conducted in cooperation with the Mazovian Institute of Culture (and previously the KADR Cultural Centre conducted surveys after each performance, gathering data on several variables. These included the respondents’ gender, age, place of residence, professional connection to dance (or lack thereof), sources of information about the event, evaluation of the event itself and the quality of event organisation, as well as whether it was the first visit within the framework of this project.

In the case of performances, 583 completed surveys were collected, 112 completed surveys were received in response to Dance Cinema events and 53 about exhibition openings. The compilation of visual data was accompanied by a written summary, which took into account specific, clearly defined segments among the participants (newcomers, novices, followers, dancers, loyalists). This was a crucial aspect in the context of audience development. The study was conducted by the Research Collective, comprising Dr Magdalena Ochał and Magdalena Różycka. Previously, in 2017, they collaborated with the New Wave Theatre Development Foundation on a similar quantitative audience analysis of HOTELOKO Theatre performances in June (1 show) and September (4 shows).

In Lithuania, analogous surveys were conducted in both analogue and online formats (accessed via QR code) in Lithuanian and English between 2021 and 2023 as part of ConTempo in Kaunas, the largest performing arts festival in Lithuania, which consists of approximately 40 events each year. The surveys were conducted in both languages to facilitate participation by a diverse audience. The organisers intend to maintain this initiative in the future. On the festival websites, we can read a statement from the organisers: “The vision of the organisation is as follows: The objective is to become the largest alternative performing arts festival in the Baltics region. Our goal is to create distinctive experiences for the audience. To initiate collaborative endeavours with the most influential artists of the contemporary era. To provide a forum for local artists to engage in experimentation and professional development. The objective of this undertaking is as follows: The intention is to challenge the very nature of the performing arts, the city and the audience”^[11]. Indeed, they are translating their intentions into tangible actions, which will be discussed in greater detail in the subsequent section of this text.

In Poland, a more extensive and comprehensive study was conducted by Ośrodek Ewaluacji Sp. z o.o. (Magda Szostakowska, Anna Pietraszko, Mateusz Olechowski), commissioned by the Ciało/Umysł Foundation during the 17th edition of the Ciało/Umysł [Body/Mind] International Festival of Contemporary Dance and Performance, entitled “Get oriented!”. (2018). The study employed both quantitative and qualitative methods. Before the researchers conducted audience research, they analysed the underlying premises for the festival in general and the given edition in particular. However, the core reference point for the study was the much broader urban cultural policy of Warsaw. The study adopted three principal criteria: effectiveness, in terms of the established objectives of the festival and its organisers; compliance, about the principles and assumptions underlying the city’s cultural offer; and relevance, insofar as it concerns the extent to which the expectations of festival participants were met. The following research methods were employed: focus group interview (FGI), document analysis, individual in-depth interviews (IDI, n=20), covert participatory observation (n=14), PAPI/CAPI survey (n=255), and audience data analysis. In addition to introducing the organiser and the objectives of the event in the study, the following issues were examined: the profile of the audience, attendance (also in the context of festival promotion), the participation of new audiences, the festival as an inclusive event, degree of audience satisfaction, the strengths and shortcomings of the festival, expectations of the event, the festival’s offering in the context of Warsaw, the festival as a cultural element, and the festival’s presence in the urban space. The event is organised by a local government organisation with a modest-sized staff and only employs additional personnel for a few months leading up to the event. As a result, the organisation faces significant challenges in terms of event organisation and promotion. However, in comparison to other events, the Body/Mind Festival is distinguished by a continuity that is conducive to the cultivation of audiences and the sustenance of their interest. Despite being reliant on temporary grants, it has consistently secured them on an annual basis, with some grants spanning three years. One of the key problems identified (both by the organisers and the audience, yet in the case of the latter it mentioned manifestations of the problems, not the reasons) was the strenuous collaboration with an external institution, i.e. Studio Theatre, whose infrastructural limitations (such as space for a festival stand or insufficient architectural accessibility) or imposition of financial and organisational conditions also affected the event and its reception (for example, insufficient information on the part of the cashiers, their lack of information). Nevertheless, the theatre’s co-organiser role and excellent central location were highly regarded. However, the greatest challenge for the organisers appeared to be their reliance on another institution and the necessity to navigate the complexities of inter-institutional negotiations. This also suggests that the pavilion for dance and other performing arts, scheduled to open in 2025, may face significant challenges in meeting the diverse and often competing expectations of various stakeholders, including city authorities, the local community, and the audience. Following an expanded and increasingly prevalent definition of the term ‘audience’ all of the aforementioned groups are included within its parameters. Notably, the perception of the Body/Mind Festival as a niche event has not been substantiated in the context of establishing a new platform for dance. The quantitative data extracted from the survey does not substantiate the assumption that the festival audience is highly sectoral. The inaugural Dance Fight was met with considerable acclaim and approval at the 17th edition of the festival, yet concerns were also articulated. The other issue related to space was Hala Gwardii (currently undergoing renovation). While it was praised that the organisers reached out to non-professional audiences, the ring’s location within the venue was not well received. It was positioned on an elevation, necessitating stools or stands to watch the performance. The case of an elderly individual, aged 60+, standing on a bench to see the performance serves to illustrate both the interest in the performance and the determination required to engage with it fully. When considering audiences, it is therefore necessary to take into account the multiple dimensions of accessibility. Nevertheless, it is evident that events held in urban spaces, such as the pavilion situated near the Vistula boulevards, can serve as effective avenues for attracting new audiences.

In the context of audience development, utilising a SWOT analysis often met with reluctance by cultural operators and professionals, can prove to be an invaluable tool. It entails a comprehensive examination of the strengths and weaknesses inherent to the organisation and its activities and a discernment of the opportunities and threats that may potentially impact it. The method is employed to obtain data that can be used to inform the development of an organisational strategy. In virtually every conversation with professionals engaged in audience development, the consensus was that it is only possible to discuss this topic in the context of an overarching strategy, i.e. “as the overall programme of activities of the organisation, designed to achieve a desired goal by leveraging the organisation’s potential and resources. Consequently, strategy is constituted of a multitude of interrelated activities^[12]”.

It can be seen that audience development is contingent upon strategic thinking, which in turn requires a period of profound reflection. The aforementioned elements, which are simultaneously indispensable constituents of audience development, emerged during meetings of the dance community conducted by WOK and moderated by Joanna Leśnierowska. In these meetings, the participants engaged in introspective reflection on the subject of the new venue’s area of activity, its target groups, potential institutional alliances (that is, the vision, mission, and underlying assumptions and objectives of the activity), and so forth. An additional perspective was provided by an architectural workshop run by Maciej Siuda, during which the pavilion’s construction was imbued with a distinct identity and a sense of integration within the urban context. In the context of the aforementioned tools or research methods/stages proposed by Aerowaves, it is also worth recalling the recommendation to draw on research that has already been carried out, although not yet by our organisation. In addition to the limited data collected by the Central Statistical Office, in the context of Warsaw, the most relevant source of information is the report entitled Relacje i różnice. Uczestnictwo warszawiaków i warszawianek w kulturze [Relations and Differences. Participation of Varsovians in Culture], developed by Tomasz Płachecki and commissioned by the Culture Office of the City of Warsaw^[13], represents a significant contribution to the existing literature on the subject. To date, this is the only such comprehensive research project conducted in the capital city. From the perspective of audience development, the most intriguing aspect is the segmentation analysis of Warsaw’s audience. “This type of survey enables the identification of ‘segments’, defined as groups of individuals who share similar characteristics within a larger population. This enables the implementation of targeted activities that align with each group’s specific needs and characteristics. A survey was conducted on a randomly selected population of 8,700 Warsaw residents. Consequently, the findings can be generalised to the entire population of Warsaw, comprising individuals aged 15 years and above. The survey concentrated on artistic culture, encompassing activities such as film and television viewing, theatrical performances, engagement with visual art, music appreciation, reading, and literary pursuits. Furthermore, the survey inquired about the respondents’ engagement in creative activities and artistic pursuits. Furthermore, the study encompassed the involvement of children in cultural activities by their caregivers”^[14]. The following audience segments were identified in the study: traditional non-participants, accompanying non-participants, uninvolved, mass consumers, conventional bibliophiles, explorers, child-centred, cultural specialists, super-culturalists, and individual connoisseurs. A comparable, more extensive investigation of the Polish population as a whole in comparison to the inhabitants of Warsaw was conducted a few years earlier on behalf of three institutions, namely the POLIN Museum, the Polish History Museum and the Fryderyk Chopin National Institute, i.e. A Study of the Segmentation of Cultural Participants. A Presentation of the Results of a Quantitative Study^[15]. In this study, the term ‘cultural participants’ is defined as “individuals who have engaged in at least one cultural activity organised by an institution or held at home”^[16]. The principal objective of the study was to “segment cultural participants and characterise the identified groups in terms of cultural needs, styles of using cultural offerings, spending on culture, preferred channels of communication, as well as interests and psychographic and demographic characteristics”^[17]. In the longer term, the study will provide recommendations for the adaptation of cultural offerings to specific audiences, the development of effective communication strategies and the selection of appropriate communication channels. Despite the passage of time, this publication remains an invaluable source of information, inspiring the creation and programming of cultural activities. As Anna Szałas observed in an interview, it is beneficial to ascertain the locations where potential audiences can be found when they are not engaged with our activities.

The implementation of a segmentation strategy, as several interviewees have highlighted, has the potential to significantly enhance audience development. The majority of the aforementioned publications, except a few that are more scientific or cross-sectional, such as Piotr Firych’s study or the monographic issue of Studia Kulturoznawcze [Cultural Studies], are limited by the fact that they were produced prior to the advent of the coronavirus pandemic, which has had a profound impact on how people engage with culture. It is, therefore, always prudent to consider the context of the global network when working with audiences, not only when promoting events. From this perspective, it is worthwhile to consider the article by Ewa Majdecka and Alek Tarkowski, entitled Jak warszawiacy i warszawianki uczestniczą online w kulturze? [How do Varsovians participate in culture online?].^[18] It would be of significant interest to ascertain whether, in the current era, individuals belonging to the older demographic and those with restricted financial resources are less inclined to engage with cultural offerings online, even when provided at no cost, as evidenced in the study mentioned above.

It is important to note that analyses from the audience development field represent merely the initial stage of inquiry. The findings of the research/evaluation should be subjected to rigorous discussion, ideally in a team setting, and consideration should be given to their potential application in the future activities of the organisation/institution. This could entail the implementation of specific changes or solutions based on the findings. Without such reflection, the work may be perceived as an exercise in artistic self-expression, disconnected from reality. While it is not always feasible due to resource constraints, including personnel, time, and financial limitations, I believe it is worthwhile to pursue this approach, even if only on a micro-scale. This approach is not encouraged by the majority of Polish grant programmes, which treat audience research in a quantitative and limited manner, focusing primarily on numerical data. It is also noteworthy that including online metrics in recent years is a positive development. To illustrate, in the case of the Art Spaces – Dance programme, which is run by the National Institute of Music and Dance in collaboration with local operators, the planned or assumed metrics include the following: the number of attendants of live cultural events; the number of attendants of online cultural events; and the number of tickets or accreditations sold. This is somewhat distinct from the reporting requirements of EU programmes, which are different. Such organisations and institutions may disseminate the knowledge gained during the implementation of the project or offer guidance to prospective future beneficiaries. In the event that the targets are not met, there is greater scope for explaining as to why this is the case and for honestly presenting a case for this.

As previously stated, the ability to engage with audiences necessitates the presence of personnel resources, namely individuals who possess expertise or a keen interest in audience development and are motivated to enhance their competencies in this domain. In Poland, this was made possible by the pioneering work of the IMPACT Foundation (currently engaged in supporting audience-building processes in Poland and abroad), as well as European Union programmes implemented by the City of Warsaw. These included ADESTE (2015, with Warsaw acting as an associate partner) and ADESTE+ (2022), which formed part of the Creative Europe programme.^[19] The former initiative involved the participation of employees from a vast array of institutions operating within the city of Warsaw, including representatives from local and national government bodies and prominent cultural centres at the municipal and regional levels. In contrast, the ADESTE+ project, its continuation, is a project directed towards both cultural organisations that are focused on recipients and audiences (cultural institutions) and towards entities that are responsible for the supervision and organisation of the activities of institutions. The objective of ADESTE+ is to develop and promote innovative methods in audience development. The objective of the tools developed is to provide systematic assistance to organisations in their efforts to attract and cultivate informed audiences effectively. In contrast to ADESTE, ADESTE+ adopts a more comprehensive approach, focusing on the institution as a whole rather than on specific employees.^[20] It is also noteworthy that ADESTE+ resulted in the creation of a free guide for cultural institutions on audience development^[21]. Another programme in place was Connect, implemented by the City of Warsaw in cooperation with the Adam Mickiewicz University in Poznań. It resulted not only in the periodical publication Connecting Audiences Poland but also in the launch of postgraduate studies of which two editions were held before they were suspended as a result of the coronavirus pandemic. It is mainly from the participants of these studies and the programmes above that the Polish (and especially Warsaw-based) audience development staff are recruited today.

The second part of the text presents an analysis of selected Polish and foreign strategies for engaging with audiences. In examining the strategies I have observed in Poland, I will consider the activities of the Ciało/Umysł Foundation within the framework of the Body/Mind Festival, a project by the Centre for Dance Art in Warsaw, as well as the “Centre in Process” project carried out by the Burdąg Foundation as part of the activities of the informal choreographic collective Centrum w Ruchu. While the Ciało/Umysł Foundation represents a more strategic approach to audience development, necessitating the allocation of financial and human resources, the juxtaposition of these two case studies is intended to illustrate the diversity of research and projects in the field of dance in the capital. In a broader European context, I draw on a selection of case studies discussed in the already cited publication by Aerowaves (a more concise, point-by-point approach to organising institutions’ programmes that draws on earlier theoretical considerations), as well as in another publication, Dance, Audience & Society. Visions on Building Sustainable Relations with Citizens, edited by Annette van Zwoll, is a more descriptive and even literary text, published by the European Dancehouse Network (now the European Dance Development Network).^[22] A detailed citation of both publications is not provided here, as they are both available online. In the conclusion of her paper, Building an Audience in Warsaw Joanna Tabaka offers recommendations for organisers of dance events held in Warsaw, developed in collaboration with participants of the National Academic Conference on Dance in Warsaw. The Art of Dance and Choreography in the Twentieth and Twenty-First Centuries:

1. Education for non-experts and enthusiasts without an artistic background:

• introductions to performances,
• meetings around the knowledge of dance, but described and named in an understandable and accessible way.

1. Preparation for culture consumption since childhood:

• cooperation with schools, community centres,
• children’s dance activities at dance festivals and performances (e.g. Little Warsaw Autumn – an event for children/families, an integral part of the Warsaw Autumn contemporary music festival).

1. Attracting those closest to the dance field – theatre and opera audiences, classical music concert audiences.
2. Improving the competence of dance artists in terms of audience development,
3. Opening up and targeting new groups, e.g. people with disabilities, senior citizens, and foreigners.
4. Deepening relationships through volunteering or co-producing performances.
5. Investigating motivations and expectations of participants. Initiating nationwide surveys covering non-participants as well. Sharing the results in a forum. Discussing them together.^[23]

In the context of dance and other performing arts in Warsaw, topics 1, 3 and 5 are the most frequently considered. The remaining areas are considered less frequently, yet it is in these areas that the greatest potential for developing long-lasting and dedicated relationships with audiences lies.

It is common practice to hold traditional post-show meetings at most events and dance shows. Such events are a common occurrence within the programme, with levels of audience interest varying considerably. Nevertheless, it is sufficient for the ‘talking head’ expert to relinquish their privileged position, allowing other, dispersed and non-professional voices to speak, for the situation to change. These are feedback conversation formulas in which the facilitator, the audience, and the artists are in a position of parity, often seated in a circle. The conversation comprises the completion of sentences evoking a variety of associations, frequently abstract, pertaining to the performance or its constituent elements. These may include, for instance, colour (if the performance were a colour, what colour would it be?), sound, sensations, emotions, and so forth. In some cases, the response constitutes an answer to a question. An alternative iteration of this discourse is the conventional positioning of the artists and the facilitator in opposition to the audience, albeit with a slight modification: it is not the artists who are situated in opposition, but other members of the audience, who assume different roles. It should be noted that this format of meetings requires a considerable degree of openness on the part of the audience, which may initially feel intimated. In both instances, I was invited to assume the role of a discussion host – at the Centre for Dance Art in Warsaw and as part of the “Centre in Process” – as well as during one of the events held as part of the Studio Dance Scene. In each case, the experience proved to be highly satisfactory. This may have been so owing to the equality of the participants in the discussion, which assumes that there are no more or less accurate statements, opinions, or observations that even the most seemingly distant associations can be shared. I believe this aspect was of particular significance during the meetings in conjunction with the work-in-progress shows at the Centrum w Ruchu, which is situated within the Wawerski Cultural Centre. Rather than pursuing a specific audience-building strategy, the Centrum w Ruchu proposed activities that incorporated elements of such a strategy. The audience, which was frequently composed of local residents and participants in open dance classes, including the elderly, could assume a proactive role and perceive themselves as having the capacity to influence the subsequent evolution of the performance. The informal atmosphere of the venue facilitated free (but structured) conversations. On occasion, meetings were conducted in the same room, where a table with refreshments was consistently provided, or in the adjacent space. Furthermore, the issue of the provision of refreshments for attendees was also raised by participants in the evaluation study for the 17th edition of the Body/Mind Festival. It was observed that the large table situated in the foyer of the Studio Theatre encouraged conversations among attendees. This has subsequently become a tradition of the event, which has consistently proven to be an effective practice. The significance of the table in fostering community was also highlighted at one of WOK meetings by Joanna Leśnierowska during a presentation on her and Maciej Siuda’s visit to the ADC Pavillon in Geneva, which is the most similar in terms of dimensions to the Warsaw pavilion. The venue does not operate a bar or café, but it does provide a space for catering at premieres, as well as for preparing meals on your own. This fosters community-building. Furthermore, the foyer space can be utilised for larger meetings or conferences. The fold-out tables are stored flat in an upright position against the walls, thus avoiding the need for them to take up space. This information was collated by Julia Hoczyk on behalf of WOK. Similar methodologies are employed by Tanzhaus Zürich, whose representative, Catja Loepfe, was available for an online meeting this year. During the meetings, the curators endeavour to provide a secure and welcoming environment in which attendees are encouraged to pose any queries they may have.

Similarly, the Zurich and London-based dance centre The Place, along with numerous other such establishments, frequently organises events termed ‘sharings’. These adopt a format comparable to that of the “Centre in Process”. These talks are not solely presented subsequent to the customary work-in-progress presentations; they are also held during or at the conclusion of artistic residencies when these do not culminate in a final performance. This is a crucial element in the context of a more comprehensive understanding of audiences, particularly when considering them as local residents and members of broader society. This approach is the central theme of the publication Dance, Audience & Society. This is exemplified by the activities of the Duncan Dance Research Centre, situated in a suburb of Athens and established by Isadora and Raymond Duncan. Surrounded by a garden, with a spacious courtyard and a view of the sea, the centre is at the same time a place where the outside and the inside meet, where a constant dialogue takes place between them. At the same time, it offers infinite possibilities for creative action, evoking the history of the site and the architecture, the local dimension and the changing needs of the dance community over time. In addition, the site offers boundless potential for creative initiatives, simultaneously evoking the historical background and architectural features of the location, the local context and the evolving requirements of the dance community over time.

The programme of the ConTempo Festival in Kaunas (European Capital of Culture 2022) includes a substantial number of free events that are held in public spaces and are accessible to all, with the potential to be more inclusive than paid events. The presentation of performing arts in unconventional, non-professional venues is a distinctive feature of this event.^[24] The programme of performing events encompasses dance, circus and other forms of performance, and is held in a variety of locations, including disused factories, derelict buildings, parks and riversides, small courtyards in historic town centres, churches, public squares, museums and shopping centres. This strategy results in a significant increase in the number of attendees, particularly those who may not typically frequent the theatre regularly but are interested in participating in these initiatives in a more informal setting. Moreover, there are instances when individuals who would not typically attend a contemporary performing arts event, upon encountering one such event by chance, express a desire to view additional performances due to the novelty of the experience. Some locations, such as public squares, parks, and streets, are inherently accessible, yet in certain instances, organisers may choose to invest in enhancing accessibility at a particular venue. To illustrate, the 2022 festival presented the landscape opera SIGNAL at Kaunas Lagoon by the duo Strijbos & Van Rijswijk, which took place in a natural setting on the periphery of the city. A ticket including a ride to the venue was made available to spectators, thus providing those without access to a vehicle or unable or unwilling to utilise public transport with a convenient means of reaching the location. It may be reasonably assumed that attendees of a free event, whether held in a hall or an urban space, will be more likely to return for a more conventional performance, or indeed to purchase a ticket.

Additionally, the Croatian Institute of Music and Dance (HIPP), which is responsible for the promotion of music and dance in Croatia, has a history of engaging with the public in outdoor settings and involving groups of residents who may not be immediately apparent. In the absence of a permanent venue, which was established but rather quickly taken over by a drama theatre, it must adapt its approach. In order to disseminate the practice of dance to all members of the community, the organisation has initiated several projects, including Migrant Bodies and Migrant Bodies Moving Borders. These projects have been developed in collaboration with migrants, to establish a connection between rural areas and those situated outside of urban centres. This has been achieved through the involvement of established choreographers who have worked with non-dancers (as per the recommendations in Items 5 and 6) and in an outdoor context. The capacity for audiences who are not professional dancers to engage in the active co-creation of performances is a feature of numerous dance centres and houses. Additionally, it has been intermittently offered within the framework of the Body/Mind Festival, including performances such as Velma Superstar, realised with the Swiss company Velma (the inaugural festival project of this kind, 2008), and The Show Must Go On (2012) and Gala (2017) by Jérôme Bel, Atlas Warsaw (2013), SexyFM (2015) and Trigger of Happiness by Ana Borralho and João Galante (2019). Even thoughthese are largely pre-existing formats through which the creators travel extensively throughout Europe (and on occasion, the wider world), this does not diminish the dedication of the participants or the intensity of their work, nor the value of the experience. This is particularly the case since professional and non-professional dancers and performers frequently interact on stage, creating opportunities for mutual learning and exchange. This represents an excellent method of establishing a community, which may be either transient or enduring, and simultaneously cultivating a new audience for dance. Against the backdrop of all the projects carried out so far as part of the Body/Mind Festival with the community, Atlas Warszawa stands out in particular, which, in my opinion, was characterised by the greatest community-creating potential and became part of the city. The project’s identity is defined by its creative approach to portraying the lives of its participants, resulting in a mosaic self-portrait of their collective identity. The work’s conceptual foundation is rooted in the words of the German artist, founder of social sculpture theory and social activism, Joseph Beuys: The slogans “We are the revolution” and “We are all artists” were also employed. In order to re-engage the theatre with political space, the stage is filled with one hundred residents of Warsaw, selected specially for the project. Together, they create a multicoloured landscape of different professions, attitudes and opinions, reflecting the complexity of the city’s social fabric. This performance marks the beginning of a quiet revolution (from the synopsis of the performance.) It is also important to consider the aspect of the democratisation of art, which involves reaching out to those segments of the cultural audience who are unconvinced or have not participated in similar events at all, let alone in a creative capacity.

Another project by the same pair of artists was Trigger of Happiness, a performance involving teenagers conducted in a highly sensitive manner and successfully captured the concerns and dilemmas of the participants. Furthermore, facilitating connections with young people can be achieved by presenting performances on relevant topics, frequently involving the participation of young artists, and subsequently engaging in discussions. Such interactions are typically facilitated by teachers. There is a growing number of opportunities and proposals for this in Poland, with examples including performances by HOTELOKO Theatre. However, it should be noted that inviting students to participate in rehearsals, as seen in the K3 Zentrum für Choreographie in Hamburg, is not a common practice.

Nevertheless, a plethora of activities pertaining to audience development exists beyond the scope of the aforementioned talks and active participation. Such activities include introductions to performances that have been the focus of the Body/Mind Festival and Tanzhaus Zürich. In both instances, these occur in verbal and kinesthetic forms. The Place, which provided financial support for the Spectator School Social, engaged in a more comprehensive range of activities. This was “a condensed course comprising three weekly evening sessions with a total of 15 participants. The sessions combined the fundamental principles of choreology, and critical analysis and facilitated social interaction, with optional homework assignments designed to encourage participants to further explore the ideas raised in greater depth. Each week, participants engaged in a series of group ‘classes’, followed by smaller group tasks and individual discussions”. The Body/Mind Foundation offered the audience a less intensive form of action on two occasions, albeit in slightly different forms, as part of the European Performing Europe project and the Body/Mind Festival. The KIOSK IN MOVEMENT project comprised a series of meetings, choreographic games, workshops, and the production of a minimedia collection of films and books, created in collaboration with Art Basics for Children in Brussels. Of particular interest in this context was the Body/Mind Game, which is a card-based performative game in which participants can choose to become either a performer (solo or in a group) by selecting the Body option or to engage in a discussion on a chosen topic related to contemporary dance and performance by selecting the Mind option. While participants accrue points, the most significant gain is a collective exploration of the stimulating and unexpected realm of contemporary performance art, where personal experience outweighs knowledge or artistic expertise.

One of the most effective methods for engaging and expanding an audience is to offer a diverse range of dance and movement classes and workshops, targeting a broad spectrum of potential participants. Additionally, it is beneficial to organise community events that may not directly relate to dance, such as garage sales or flea markets, as these can also serve as avenues for attracting and engaging a wider audience.

In the case of the Centro par la Scena Contemporanea in Bassano del Grappa, Italy, it is also a series of projects for different members of the community (or, as they are referred to in the text, ‘citizens’). The latter term is particularly noteworthy as it encompasses a very diverse audience. The participants can be divided into the following categories: children, young people, students and teachers of local secondary schools, the elderly, people with Parkinson’s disease and their family members, people with cancer, visually impaired people, amateur dancers, dance teachers and local artists. All of the aforementioned groups participate in special events. Such projects may be either ephemeral or regular. The former may be held for a set period, for example, once a year, while the latter may be ongoing, as is the case in Zurich. Guillaume Guilherme, a facilitator at Tanhazus Zürich (since 2016), who was a guest of the Body/Mind Festival a few years ago, characterises his role this way: “In my practical workshops, I treat each meeting as a new beginning. Each session comprises a novel constellation of individuals, experiences, specific needs, curiosities, fears, discomforts and diverse sources of pleasure. The primary challenge is to initiate collective dance. I would say that the measures I use to invite the group to engage in movement may be perceived as a form of ‘gentle manipulation’. From my own experience, I have observed that it typically requires a certain amount of time for participants to arrive, become settled in a new environment, and begin to interact with one another. Subsequently, I endeavour to cultivate a trusting environment. Frequently, upon their arrival, attendees find themselves situated in a quiet corner of the room, where Billie Holiday’s music is playing softly in the background. How I speak, stand, move, and touch participants is a combination of calculated and spontaneous actions. I facilitate guiding people through simple yet fundamental actions, such as shaking hands and introducing oneself (before COVID-19). These initial steps serve as a foundation for introducing more complex movements and techniques that challenge the individual to engage with their body in ways that differ from their everyday experience. Ultimately, I find it rewarding when individuals, who initially exhibit physical rigidity, gradually demonstrate the capacity to transcend their limitations, embracing more expansive movements, initiating contact with strangers, and cultivating a sense of ease through the music”. The Zurich-based organisation COOL-Tur/Wild Card/DanceAbility facilitates dance workshops for a diverse range of participants, including primary and secondary school students, asylum seekers, individuals with disabilities, professional dancers, and those with an interest in dance at an amateur level.

Furthermore, the utilisation of performative activities within museological and artistic contexts, as exemplified by the Centro par la Scena Contemporanea in Bassano del Grappa, is identified as a potential strategy for fostering an audience for dance, as evidenced in the aforementioned publications. In Poland, this is already a fairly widespread practice, as evidenced by the Museum of Art in Łódź, the Museum of Modern Art (which will hopefully also become self-sustaining during the pilot period), the Centre for Contemporary Art Ujazdowski Castle, the National Museum, the Zachęta National Gallery, and, more recently, the Museum of Literature. It seems reasonable to posit that a significant proportion of the audience is becoming increasingly receptive to dance, choreography and performance occurring outside of the conventional theatrical or, more broadly, non-staged spaces. It would be beneficial to ascertain who attends such events and how they might be encouraged to visit more traditional spaces, should they not have done so previously or only infrequently.

As previously stated, the advent of the coronavirus pandemic has irrevocably altered how we engage with cultural activities. The pandemic has illuminated the potential of online activities, elucidating their inherent advantages and disadvantages. Furthermore, younger demographics, particularly children, tend to be more receptive to online activities, which they perceive as a natural extension of their digital lives. This trajectory, albeit occurring a few years prior in temporal sequence, was subsequently pursued by London-based The Place in its animated film series, Planet Dance. A visitor’s guide to contemporary dance, available on their YouTube channel^[25]. The concept and its implementation are straightforward yet engaging, effectively conveying the fundamental tenets of dance as an art form in a concise visual-verbal format (approximately 3-5 minutes). This is achieved through an unconventional animation technique, incorporating images in the form of collages, texts, and narration. The introduction sets forth the premise that the subject of study is the planet of dance, which is in a state of constant flux and can be conceptualised as comprising two distinct poles: performance dance and social dance. Contemporary dance, situated at the initial pole, is constituted by individuals who have previously engaged in diverse dance forms, yet are unified by a proclivity for experimentation, which, along with inventiveness and non-conformism, is particularly esteemed in this domain. In the following three films of the series, which form a Body Talk ‘subseries’ in an inviting and empathetic form, any preconceptions about being on the Planet Dance, and therefore its reception and understanding, are set aside. In essence, the body serves as the foundation for both residents and visitors alike. Its language possesses distinctive characteristics, yet it is not as enigmatic as one might assume. Nevertheless, it is markedly distinct from the messages conveyed in everyday life, given that it is, in essence, an art form. This is encapsulated by the three sentences accompanying each of the Body Talk films referenced: “Watching dance make you dance inside”; “Dance is the song of the body”; “Dance is art, not information”. Watching dance can evoke a physical response, prompting one to move in a manner that reflects the rhythm and movement of the dance itself.

The series as a whole succeeds in conveying a great deal of information about the history of dance and its core principles in a relatively concise and synthetic manner. In this manner, the creators of the series eschew an excessively didactic tone, instead presenting the subject matter in a manner that is both gentle and sensitive. This approach is designed not only to familiarise (not only) younger viewers with a subject that is (still) somewhat alien to them but also to foster a deeper interest and fascination in the subject matter.

***

While the second part of this article has described activities that are not always immediately apparent or more challenging to arrange, numerous others are relatively straightforward to implement. These include (but are not limited to) the following, modelled on the activities undertaken by The Place, Tanzhaus Zürich, and the ConTempo Festival in Kaunas:

• Organisation of lectures on dance by specialists (Zurich);
• Kinderdisco: event for children organised while their parents/guardians are watching a show (Zurich);
• Early birds: a series of interdisciplinary workshops for older people in collaboration with other Zurich cultural institutions. Each sequence deals with a special theme, such as happiness, fashion or fiction;
• Welcoming culture: quality of service at the reception and event venues (also in the case of festivals with committed volunteers, co-creating a more welcoming and open environment), atmosphere and facilities in the foyer: in the case of The Place, the refurbishment of this space has translated into much greater audience interest. The space should be functional, aesthetically pleasing and friendly (also for people with disabilities), and provide access to Wi-Fi (Zurich, London, Kaunas);
• Tanzsalon: public presentation of a regular collaboration with the Swiss Performing Arts Archive (Zurich);
• Photo booths or ‘pic stations’ for Instagram at selected events (London);
• Walls to share impressions in writing (London);
• Removal of elaborate performance footers and creator bios from promotional materials (sometimes references to unfamiliar contexts can have an isolating effect), London;
• Educational films with a light narrative and content, including animation, made available online (London in the Planet Dance series I discussed earlier);
• Inviting deaf persons to festival events and offering interpretation to sign language (Kaunas);
• In the case of a festival (especially an extended one), programming or scheduling the events so that they do not overlap and that the audience has enough time to go/get from one location to another, etc. (Kaunas).

In addition to organising post-performance talks in various formats and introductions to performances (verbal and movement-based), conducting workshops and classes aimed at various audiences, delivering lectures and other types of educational events, and collaborating with educational institutions, the organisation also enables carers to attend performances. The activation of the local community through movement-performance projects aimed at them, or the organisation of events that do not involve dance, represent a further avenue for audience development. Smaller or larger activities in this field can contribute to the building and strengthening of contact with the audience. Such initiatives include the creation of web portals offering educational value, comprising short or slightly longer thematic texts accompanied by audiovisual materials. Additionally, the design of welcoming and accessible spaces, encompassing both architectural and broader accessibility features, such as audio description, induction loops, and the provision of assistance for individuals with disabilities, including temporary disabilities, as well as the elderly, children, young people, people of different economic status, migrants, foreigners, and others, is of paramount importance. The institution’s pricing policy (e.g. second ticket for half the price, discounts on selected days, discounts for children, seniors, or young people/students), the quality of the audience and box office service, as well as the language used in official communications on the website, social media, or printed materials, which are generally hard to digest, are also factors that influence participation in events. The question thus arises as to how the audience’s horizons and knowledge base can be broadened in a way that does not overwhelm them with an excess of information and an overly complex vocabulary.

In order to categorise the activities listed in accordance with the diverse audience needs they are capable of fulfilling, Caroline Schreiber of The Place employs a needs-based classification, namely as per “the need for more profound engagement and a stronger sense of community; the need for stimulation that draws people to more entertaining and risky narratives; and the need for affirmation so that they are aware of what they are getting into”. This kind of thinking is already shifting somewhat from audience development towards audience engagement, that is, from audience development towards audience creative engagement. The potentially paternalistic dimension of the notion of audience development was highlighted by Agnieszka Wlazeł and Agata Etmanowicz, who drew attention to the fact that it is not so much about developing/ educating audiences in a top-down manner, but rather about supporting, appreciating, empowering, and giving them agency. It is evident that not all parties are prepared for this transition, whether at the institutional or audience level. Consequently, the concept of ‘building’, as a collaborative endeavour involving the creation of something together, also evokes a more favourable response. This is particularly the case as the number of initiatives that blur the boundaries between artists and spectators continues to grow. It should be noted that the designation itself does not immediately elucidate the character of the activities. Consequently, this interpretation of the concept and its ramifications is postulatory rather than regulative. Indeed, the range of activities involving the public is boundless. For instance, one might never have imagined that museums would organise bicycle tours. Nevertheless, this is already taking place in the case of the Museum of Modern Art and the POLIN Museum. The only potential impediments may be financial and staffing-related, as well as those pertaining to the imagination and, most crucially, whether our understanding of existing and potential audiences – and, consequently, the ideas underpinning events involving their participation – has been informed by rigorous research or is based on intuition and partial observations. Nevertheless, engaging with an audience in a collective manner can also be a political act, with the potential for social transformation and emancipation. This is a crucial consideration worth bearing in mind. 

^[1] Throughout my work, I have also used information (and sources) collected during the interviews I conducted while exploring the topics discussed here. Although I cannot use everything I have learned, I believe that the knowledge gained will pay off in the future. I am therefore extremely grateful to all the interviewees, viz: Agata Etmanowicz, Piotr Firych, Edyta Kozak, Mikołaj Maciejewski, Justyna Matyjaśkiewicz, Eglė Nevedomskė (by email), Marta Skowrońska-Markiewicz, Maria Stokłosa, Anna Szałas, Joanna Tabaka, Agnieszka Wlazeł, Agata Życzkowska.

^[2] [in:] Publiczność w centrum uwagi. Dyskusje o audience development [Audience in focus. Discussions on Audience Development], eds Piotr Firych, Magdalena Grenda, Marcin Popławski, Studia Kulturoznawcze 2022 no. 4, UAM, Poznań. The text is an excerpt from the author’s doctoral thesis at the University of Leeds, UK. However, the entire publication can be downloaded here: http://wnsh.amu.edu.pl/produkt/publicznosc-w-centrum-uwagi-dyskusje-o-audience-development/ [accessed on 15.06.2024].

^[3] Op. cit.. p. 15

^[4] Cf. Joanna Tabaka, “Budowanie publiczności w Warszawie” [w:] Centrum Sztuki Tańca w Warszawie. Miejsce, ludzie, pasja, spotkania [Building Audiences in Warsaw, [in:] The Centre for Dance Art in Warsaw. Place, People, Passion, Meetings], eds Paulina Święcańska, Agata Życzkowska, PERFORM Artistic Foundation, NOWA FALA Theatre Development Foundation, Warsaw 2019. The publication was produced as part of the Centre for Dance Art in Warsaw 2017-2019 project.

^[5] Published by IMPACT Foundation, Warsaw 2011.

[6] Joanna Tabaka, Budowanie publiczności w Warszawie, dz. cyt.

^[7] Agnieszka Wlazeł, “Plan rozwoju widowni” [Audience Development Plan] [in:] Sztuka dla widza! Koncepcja rozwoju widowni. Wprowadzenie [Art for the Audience! A Concept for Audience Development. An Introduction]Art for the Audience! Concept of Audience Development. An Introduction, IMPACT Foundation, Warsaw 2011.

^[8] Ibid.

^[9] A practical introduction to audience development for dance, ed. Heather Maitland, co-funded by the Creative Europe Programme of the European Union, 2019. Available for download at: https://aerowaves.org/audience-development-toolkit/ [accessed on 15.06.2024].

^[10] Piotr Firych, Audience development. Między teorią a praktyką [Audience Development. Between theory and practice], Wydawnictwo Nauk Społecznych i Humanistycznych UAM, Poznań 2023.

[11] See: https://contempofestival.lt/en [accessed on 16.06.2024].

[12] Agata Etmanowicz, Od wizji i misji do strategii [From vision and mission to strategy], [in:] Sztuka dla widza!…

[13] Relacje i różnice. Uczestnictwo warszawiaków i warszawianek w kulturze [Relations and Differences. Participation of Varsovians in Culture], ed. Tomasz Płachecki, Scena Prezentacje Theatre operating under the Biennale Warsaw brand, City of Warsaw, Warsaw 2019.

[14] Michał Kotnarowski, Przemysław Piechocki, Tomasz Płachecki, Tomasz Szlendak, Tradycyjni, masowi, superkulturalni? Segmentacja warszawiaków i warszawianek pod względem uczestnictwa w kulturze [Traditionalists, mass consumers, super-cultural? Segmentation of Varsovians and Varsovian women in terms of cultural participation, [in:] Relacje i różnice…

[15] See: Badanie segmentacyjne uczestników kultury prezentacja wyników badania ilościowego [Segmentation Study of Cultural Participants. Presentation of the Results of a Quantitative Study] Polish History Museum, Museum of the History of Polish Jews POLIN, National Fryderyk Chopin Institute/Smartscope, Warsaw 2017. The publication can be downloaded from the website of the National Cultural Centre: https://nck.pl/badania/raporty/raport-badanie-segmentacyjne-uczestnikow-kultury [accessed on 17.06.2024].

[16] Op. cit.

[17] Op. cit.

[18] [in:] Relacje i różnice…

[19] https://kreatywna-europa.eu/fundedprojects/adeste-audience-development-strategies-for-cultural-organisations-in-europe/ [accessed on 19.06.2024].

[20] See: https://um.warszawa.pl/waw/europa/-/adeste-strategie-rozwoju-publicznosci [accessed on 19:06.2024]

[21] The publication may be downloaded from, also in Polish: https://aced.adesteplus.eu/download-bp [accessed on 19.06.2024].

[22] Dance, Audience & Society. Visions on building sustainable relations with citizens, ed. Annette van Zwoll, European Dancehouse Network 2020. The publication is available for download at: https://www.ednetwork.eu/page/resources/edn-publications [accessed on 20.06.2024]

[23] See: Joanna Tabaka, op.cit.

[24] Information about the event was collected not only from the website but also from an e-mail conversation with Eglė Nevedomskė, the producer of the ConTempo Festival.

[25]The videos are available at: https://www.youtube.com/watch?v=4aeBhLakp3c&t=108s https://www.youtube.com/watch?v=AUZ9a06fOKg&t=27shttps://www.youtube.com/watch?v=D0UZZH8qdJ8https://www.youtube.com/watch?v=BuzGb7VvIMQ [accessed on 26.06.2024]