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Project


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Music is everywhere! Never before in history has music been as readily available as it is today, mostly for free or at low costs. The result: a trend of decreasing audience participation. So the question arises: why should the audience still actively participate in live performances?

We found five innovative festivals in the fringe of Europe willing to join us on the quest for answers and inspire their peers and their audiences along the way.  In Festivallinks they will exchange artistic knowhow and collaborate to tackle their foremost challenges. Their common goal is to help these particular festivals to master the growing challenge of audience development. Through peer-to-peer learning and an active sharing of good practices on audience engagement we want to invigorate not only the participating partners, but the entire music sector.

 

Do you organize live performances or festivals and would you like to learn more about us? Please contact us via info@festivallinks.eu.


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Timeline


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Festivallinks joins five small and midsize European festivals off the beaten track, coordinated by LUSTR, an innovative cultural agency specialized in audience development from the Netherlands.

Through five steps that we call ‘movements’, we propose a new methodology of exchanging innovative concepts for audience development in Europe. The partners will collaborate to make their organizations more audience-centric, more sustainable and able to reach new, wider and more diverse audiences. To achieve this goal, the partners develop and exchange Good Practice Concepts (GPCs) in two (interlinked) categories: Organization and Artistic innovation.


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Five movements

Movement one

The project partners start off by analyzing their own organization thoroughly under the guidance of the project leader, LUSTR. This ‘zero-measurement’ assesses the current practices of all partners in the organizational and artistic field. The partners are also encouraged to set clear goals for the future. This first movement should draw a clear picture of partners’ current stance towards audience development, and the identification of their respective GPCs.

Movement two

During the second movement, each festival pitches several of their GPCs at the kick-off conference in Budapest. This conference serves as a laboratory. Different ideas are tried and tested on live audiences. This creates the opportunity for immediate feedback from partners and from audiences. Equipped with that knowledge partners weigh the various options in relation to their own goals in audience development. Finally each partner agrees to adopt four of the proposed GPCs by other festivals and implement them in their own organization to enhance their AD.

Movement three

Movement three of the project puts the GPCs to the test. Partners in turns visit each other’s festivals, helping to incorporate their own GPCs inside their partners’ organizations while learning at the same time about alternative practices. In doing so we not only trigger transnational mobility but also ensure a more robust implementation of innovative concepts and practices.

Movement four

In movement four the impact of GPCs is analyzed and compared. By collecting, analyzing and sharing data in a structured way we will be able to conclude which GPCs can be successfully transferred to other countries, organizations and audience groups. A thorough after-measurement enables us to substantiate the results of the project, which should be of great value for the music sector as a whole.

Movement five

Movement five encompasses disseminating the results to other music organizations in Europe, making sure the project adds knowledge of the entire sector on successful European audience development concepts.

“If you think you are boring your audience, go slower not faster.”

Gustav Mahler

“Everyone is not your customer.”

Seth Godin

“Know what your audience wants most and what you do best. Focus on where these two meet.”