Breakout session 3


  • How can young and emerging choreographers connect to an audience?
  • How are presenters connected to an audience?
  • In what kind of venue or place is this happening?
  • What strategies could be valuable?
  • How can artists and presenters cooperate in reaching out to the audience?
  • How is being in a network beneficial to audience development (quality and quantity)?


  • Shifts in audiences’ needs
  • instead of one long show, shift towards more and shorter programmes.
  • making the evening into an event – marathon shows for example.
  • people want value for their money.
  • audience taking ownership; connecting
  • attention span has changed (diminished).
  • bite-sized pieces of work
  • contextualisation is important.

Connecting venues and artists

  • producing and presenting in the same venue.
  • artists supporting other artists in their work, as an audience.
  • collisions in the venue could be connections.
  • crossovers that happen by chance could be organised and followed up
  • community meets professional/commercial
  • workshops and outreach to connect and develop an audience.
  • relationship between producer and artist or artist and venue is important.
  • dance buddy scheme: partnering artists and theatres for mentoring each other and supporting, including marketing.
  • theatres and venues passing on info on programming, i.e. Newport and Cardiff (Chapter).
  • diversity vs commercial
  • open rehearsals to open doors of curiosity
  • when communicating the performance, loyalty to the artist is important
  • customizing to needs of venue and artist.
  • joint responsibility of artist, producer and presenter of bums on seats.
  • developing further curiosity by good curation.
  • two way partnership: artist and audience

Importance of space to meet

  • art needs spaces to connect in and network in: café, bar, theatre, cinema, art gallery.
  • example of Kitsch & Sync: performance starts in one space and moves to another.
  • Stepping stone theory of audience development, making performances more accessible.
  • moving an audience within a venue to different spaces changes the audience’s mindset.

Contextualising the performance.

  • post show talks
  • programme notes
  • marketing materials
  • reviews
  • how to descrbe the work to make it accessible.
  • podcasts
  • interviews with artists.
  • trailers of work
  • social media
  • performance should be packaged/themed properly
  • curation is the key.
  • performance should be contextualised.
  • how to connect to a local community
  • how to get an audience to be curious.


Facilitate – Curate – Contextualise

  • share experiences
  • networks between artists, venues, organisations, communities.
  • building databases – capturing info
  • trust between venue, artists, programmers
  • safe houses: network of venues providing national tour opportunities
  • Dance Roads model could be rolled out.
  • branding certain evenings, so that audience comes to brand, not performance