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6 Data-Tested Approaches to Building New Audiences24055GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>It’s safe to say that most museums would like new visitors. Visitors actualize museums’ missions, give them vibrancy as places of insight and connection, and contribute to their financial welfare. Even for museums that receive plenty of visitors in number, there may be interest in seeing <em>different</em> ones, from backgrounds and identity groups outside of the usual audience makeup.</p><p>But though the <em>why </em>is clear, the <em>how </em>can be elusive. There is no shortage of ideas about how to attract newcomers, and it’s hard to know which are worth the investment of time and money to implement. Thankfully, The Wallace Foundation has made it a mission to partner with cultural organizations and help them address this question with research rather than guesswork, publishing the results in a series of detailed and candid <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences.aspx">reports</a>. AAM has summarized the findings from these case studies in <a href="https&#58;//www.aam-us.org/programs/building-audiences/resources/">fact sheets</a>, with key insights and thought-provoking discussion questions tailored to the museum field.</p><p>Though the institutions profiled are an assorted bunch—spanning museums, performing arts organizations, and art studios around the country—many of the lessons they learned overlap. Here are some tips that recurred throughout their experiments.</p><h2>1. Identify a target audience and get to know them well.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/Omar-Lopez-on-Unsplash.jpg" alt="Omar-Lopez-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; Omar Lopez on Unsplash</em><br></p><p>It’s not enough to want “new visitors” in general. Different visitors want different things, and a strategy aimed at everyone is likely to please few. Instead, you need to get specific about who you want to come, so you can identify precisely what they want and why they aren’t already coming.</p><p>Your target audience might be young professionals, teenagers, parents with children, or recent immigrants from Latin America and Asia—to name some of the examples from the Wallace studies. Choose one that makes sense for the type of museum you are and the area you’re located in.</p><p>Once you’ve identified this target audience, start by getting to know them well—ideally by listening to them directly, as Wallace participants did in focus groups and other market research. That way, you can test your assumptions about how they feel and what they want, which are likely to be wrong by instinct. Research can reveal surprising, overlooked, and even radically simple barriers to attendance, <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Fleisher.pdf" target="_blank">like the Fleisher Art Memorial’s revelation</a> that its building was intimidating to people who had never been inside.</p><h2>2. Get the whole organization on board.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/airfocus-on-Unsplash.jpg" alt="airfocus-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p></p><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; airfocus on Unsplash</em></p><p>Before you proceed with an audience-building initiative, make sure to discuss the plans with the entire organization. Cultivating a new audience has real impacts on how you operate, and without sufficient dialogue, staff and board members may feel blindsided or undermined by these changes.</p><p>But this emphasis on transparency and collaboration is not only to preserve morale. Letting staff or leadership express their concerns about your ideas can strengthen them, accounting for wrinkles you didn’t consider and pushing you toward creative compromises to retain existing audiences.</p><p>For many in the organization, a sticking point might be how a plan adheres to the museum’s mission. They may think the museum will lose its focus and change for the worse if it tries to pursue a new audience. For that reason, it’s important to keep your mission statement close at hand while you’re working on audience-building strategies, to think about how they will tie into rather than deviate from those goals.</p><p>Another possibility is that your audience-building work will <em>reconnect </em>you to your mission. In the process of figuring out why a target audience isn’t visiting, you may realize you’ve been falling short of the purpose your museum was created for to begin with. That was the case for the <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.San-Fran-Girls-Chorus.pdf" target="_blank">San Francisco Girls Chorus</a>, which realized it had lost focus on performance in favor of other aspects of its operations, and ended up following its rebrand into a refocused culture and board composition. </p><h2>3. Revamp your marketing.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/Yitzhak-Rodriguez-on-Unsplash.jpg" alt="Yitzhak-Rodriguez-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; Yitzhak Rodriguez on Unsplash</em><br></p><p>If there is one throughline from the focus groups in the Wallace studies, it is that participants expected the cultural organizations’ offerings to be boring, old-fashioned, and intimidating for people inexperienced with the medium or focus area. If you think this is untrue for your museum, your marketing and communications are the place to bust these stereotypes.</p><p>In many of the studies, target audiences were put off by the organization’s existing marketing, reading it as flat, esoteric, and uninspiring. It came from and spoke to an in-group of enthusiasts, or was lacking in intention and flair altogether. Several of the organizations found success by using more dynamic visuals, like emotive close-ups of ballerinas or choral singers, and letting these do most of the talking rather than text.</p><p>But don’t neglect the text in your communications, either. Simple, short, and approachable information was important to many focus group participants, who found existing materials dense and confusing. Based on this feedback, <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Fleisher.pdf" target="_blank">Fleisher Art Memorial</a> redesigned its course catalog to be simpler and more scannable. The <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Minnesota-Opera.pdf" target="_blank">Minnesota Opera</a>, accustomed to marketing its performances with information on composers and historical contexts, tried to speak in terms of storylines and spectacle instead.</p><p>Both in images and words, it helps to emphasize the universal themes and benefits of your experience, those at the root of what you offer. This could be the joy of creating something with your own two hands, as <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Clay-Studio.pdf" target="_blank">The Clay Studio</a> emphasized, or the excitement of watching interpersonal dramas unfold, as the <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Minnesota-Opera.pdf" target="_blank">Minnesota Opera</a> did. You likely already know why your museum is worth visiting—why the subject it explores is fascinating—but for people who don’t, you need to spell it out.</p><h2>4. Roll out the welcome mat.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/Russ-Martin-on-Unsplash.jpg" alt="Russ-Martin-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; Russ Martin on Unsplash</em><br></p><p>As powerful as marketing and communications can be, they aren’t everything. Ideally, they should illuminate an experience that is <em>actually</em> engaging and welcoming, not misrepresent it as such—which won’t go far in cultivating visitors in the long run.</p><p>Ask yourself whether you can offer exhibitions and programs relevant to the target audience. (If not, you probably have the wrong target audience.) Then work to create them, if they don’t already exist. When the <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Jewish-Museum.pdf" target="_blank">Contemporary Jewish Museum</a> wanted to reach parents with children, for instance, it mounted exhibitions exploring the work of famous Jewish children’s book authors, and began a series of special programs designed for parents and children to mingle. When <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Clay-Studio.pdf" target="_blank">The Clay Studio</a> wanted to reach a millennial audience, it adapted to their preferences with relaxed, social alternatives to its normally intensive sculpture classes.</p><p>With a relevant experience in place, you should figure out how to make your welcome loud and clear, especially if your target audience is one used to feeling out of place in your setting. The <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Pacific-Northwest-Ballet.pdf" target="_blank">Pacific Northwest Ballet</a>, for instance, made a special announcement before performances to thank teenagers attending through a special ticket program. The <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Jewish-Museum.pdf" target="_blank">Contemporary Jewish Museum</a> designed its lobby to be inviting to children, with trained staff available to guide them. <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Fleisher.pdf" target="_blank">Fleisher Art Memorial</a> created its first paid visitor services positions and trained staff in cultural competency, to address the unwelcoming atmosphere its immigrant target audience reported.</p><p>In the focus groups, intimidation was a recurring barrier to attending. Rightly or wrongly, many people expect elitism from cultural institutions—that they will be shamed or embarrassed for not already knowing a topic well, or otherwise not “fitting in.” Though it may be hard to perceive from the inside, inviting newcomers to visit your museum can feel like inviting them to a party where they don’t know anyone and won’t be able to follow the conversation. So, just like a good party host, you need to look for ways to make them feel comfortable and bring them into the fold.</p><h2>5. Partner with organizations already serving your target audience.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/My-life-Through-a-Lens-on-Unsplash.jpg" alt="My-life-Through-a-Lens-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; “My Life Through a Lens” on Unsplash</em><br></p><p>Like transparency, partnerships are more than a feel-good buzzword. They can make your job easier, drawing on existing expertise rather than reproducing it from scratch. This is especially true with reaching new audiences—surely there are organizations in your area already reaching the audience you want, and working with them can bring mutual benefit.</p><p>Several of the Wallace participants found luck through partnerships like these. For example, the <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Boston-Lyric.pdf" target="_blank">Boston Lyric Opera</a> went to elaborate lengths to bring full-scale performances to new neighborhoods, but only succeeded in attracting newcomers when it hosted “previews” with local libraries. The <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Minnesota-Opera.pdf" target="_blank">Minnesota Opera</a> partnered with a local celebrity news radio host who effused on-air about the spectacle of its performances, speaking in terms he knew his audience would relate to.</p><p>But not all partnerships are created equal. Don’t just look at them as a means to an end to promote your offerings. For best results, you need your partners to be actively engaged, and the best way to ensure that is to collaborate on a strategy that also meets their needs and abilities. <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Fleisher.pdf" target="_blank">Fleisher Art Memorial</a> stressed this in its work with community organizations serving local immigrants, calling it a “give and take” that required active listening to understand the constraints of its partners.</p><h2>6. Stay agile.<img src="/News-and-Media/Blog/PublishingImages/Pages/6-Data-Tested-Approaches-to-Building-New-Audiences/Fores-Simon-on-Unsplash.jpg" alt="Fores-Simon-on-Unsplash.jpg" style="margin&#58;5px;" /><br></h2><p class="wf-Element-ImageCaption"> <em>Photo credit&#58; Forest Simon on Unsplash</em><br></p><p>Your work on audience-building strategies doesn’t stop after you begin deploying them. On the contrary, you should be vigilant of the data on how they perform, so you can tweak ideas that fall behind and boost those that excel. In the process of refining a lagging strategy, you might discover an important variable you hadn’t thought of, which can then be applied to future endeavors. If nothing will turn it around, you have the freedom to stop doing it and shift resources to successful ideas—a blessing in resource-strapped non-profits.</p><p>At the <a href="https&#58;//www.aam-us.org/wp-content/uploads/2019/12/Fact-Sheet.Seattle-Opera.pdf" target="_blank">Seattle Opera</a>, staff organized their multi-year digital outreach initiative into phases, sourcing audience evaluations in between each phase. From these evaluations, they learned that certain of their early strategies—like podcasts, blog content, and interactives—did not appeal to audiences as much as behind-the-scenes videos. So they dropped the content that was least appealing and channeled their resources into more ambitious video concepts, going with the flow of what audiences were responding to.</p><p>Think of your strategies as experiments. It’s okay—and likely—that some of them will fail. Not even the <a href="https&#58;//www.vulture.com/2020/07/is-anyone-watching-quibi.html" target="_blank">best-resourced company</a> is immune to this. But if you commit to trying, and staying open-eyed about what is and isn’t working, your successes just might revitalize and sustain your museum.</p><p><em>This post was originally published on the <a href="https&#58;//www.aam-us.org/" target="_blank">American Alliance for Museums</a> website and is reprinted here with permission. </em></p> Joseph O’Neill1102020-07-22T04:00:00ZYour source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.7/22/2020 5:01:23 PMThe Wallace Foundation / News and Media / Wallace Blog / 6 Data-Tested Approaches to Building New Audiences Most museums would like new visitors, but pursuing them can be a 767https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Showing Young People They Belong at the Ballet24106GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​Pacific Northwest Ballet (PNB) has been bucking the odds. At a time when teen and young adult attendance at ballet is declining, PNB audiences have grown—and at a healthy clip. “It is now well established that part of the PNB experience is seeing young people in the audience,” says Executive Director Ellen Walker. </p><p>That situation is the result of ongoing efforts to build teen and young adult audiences (up to age 40). The work started in 2009 out of concern with nationwide declines in teen and young adult attendance. During a four-year Wallace Foundation-funded initiative, ticket sales to teens doubled to more than 2,000 annually, and sales to adults under age 25 rose 20 percent. Since then, PNB’s success with teens has only continued, and the company is placing renewed emphasis on research and programs to build traction with the 20- to 40-year-old audience that has not been as responsive as teens. </p><p> <strong>The Early Years&#58; Letting Audiences Know “There’s a Place for You Here”</strong></p><p>Walker believes PNB’s greatest challenge with younger audiences has been breaking through perceptions of the company as what she calls a seemingly inaccessible “castle on the hill”—and showing potential patrons that “there’s a place for you here.” Initial research, described in <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-getting-past-its-not-for-people-like-us.aspx">a case study of the earlier initiative</a>, revealed that many culturally active young people were open to ballet itself. But a lack of familiarity with PNB, combined with stereotypes of the performance hall experience as boring and stuffy, kept them away. Participants in that research also said that PNB’s website and advertising failed to communicate the excitement of a live performance and did little to invite them in.&#160; </p><p>In response, the company—which presents 100 performances a year to a combined audience of over 250,000, and also runs a ballet school—developed a plan to make PNB more accessible on multiple levels. For starters, it introduced reduced-price ticket programs including&#58;</p><ul><li> <strong>25 &amp; Under&#58;</strong> two tickets for $25 (or one for $15) to Friday performances for patrons age 25 and below;</li><li> <a href="https&#58;//www.teentix.org/"> <strong>TeenTix</strong></a><strong>&#58;</strong> a partnership with this Seattle-based teen program providing its members $5 day-of-show tickets and an active online forum to share their experiences;</li><li> <strong>Backstage Pass&#58;</strong> a membership program for patrons ages 21 to 39, offering discounted subscriptions and social events; </li><li> <strong>Teen Night&#58;</strong> a teen-only preview of PNB’s annual choreographers showcase with a $5 ticket price (in 2018, that changed to free admission); and</li><li>Half-price rush tickets and discounted subscriptions (10 to 15 percent off) for university students.</li></ul><p>PNB also overhauled its communications, including&#58;</p><ul><li>A redesigned website with easier navigation and more audiovisual content;</li><li>Increased Facebook activity to build ongoing dialog about PNB’s artists and work. Over the four-year grant period, the organization's&#160;Facebook page grew from 2,000 followers to more than 90,000; </li><li>More visually impactful images in promotions to communicate immediacy and excitement; and</li><li>A series of videos showing everyday goings-on in PNB studios and classrooms which, after a slow start, were viewed more than five million times in their first four years. </li></ul><p> <img alt="PNB-dancers.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/showing-young-people-they-belong-at-the-ballet/PNB-dancers.jpg" style="margin&#58;5px;" />&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;left;"> PNB dancers discussing new work being presented at Teen Night, 2018 © Lindsay Thomas</p><p> <strong>Continued Success with Teens</strong></p><p>PNB’s momentum with teens has continued. TeenTix, for example, sells thousands of tickets annually, even as patrons age out of the program and are replaced by new ones. (A dip in 2016–2017, according to Director of Marketing and Communications Lia Chiarelli, was probably due to relatively few well-known classical works, the biggest attraction for teens new to ballet.) </p><p>The ability to tap TeenTix’s community has been critical to encouraging teens to give PNB a try. In fact, many TeenTix buyers are new to PNB; TeenTix is the first purchase for nearly half (48 percent) of the trackable TeenTix households (that is, neither those teens nor their parents had bought in the past). What’s more, 40 percent of those first-time purchasers return to PNB—a remarkably high level given field-wide estimates that 80 to 90 percent of first-time performing arts patrons never come back. Many also appear to be staying with PNB once they age out of TeenTix. Two-thirds (66 percent) of those returning first-timers eventually purchase a ticket outside of TeenTix—either without a discounted offer or through programs targeting older patrons, such as 25 &amp; Under. </p><p>The size of Teen Night audiences varies but they’re often near capacity, mostly attracting teens who already know the company (such as those in PNB's school). Chiarelli suspects that’s because PNB hasn’t found a partner able to attract an outside teen audience. Still, she says, Teen Night is important for strengthening bonds with existing PNB devotees.</p><p> <img alt="PNB-Case-Study-Update-FINAL-chart.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/showing-young-people-they-belong-at-the-ballet/PNB-Case-Study-Update-FINAL-chart.jpg" style="margin&#58;5px;" />&#160;</p><p> <strong>Digital Marketing Evolves</strong></p><p>Since 2013, digital marketing has become increasingly competitive, as the amount of digital content has grown and social media companies have exerted more control over distribution. At the same time, PNB’s needs have changed, so the company is using digital media differently. “Four or five years ago, getting exposure on social media was free and easy; organic content was sent to a large audience,” says Chiarelli. “Our audience is bigger now, but reach is less because it is at the whim of social media companies.” PNB has expanded to other platforms to boost that reach, including <a href="https&#58;//twitter.com/pnballet?lang=en">Twitter</a> and <a href="https&#58;//www.instagram.com/pacificnorthwestballet/?hl=en">Instagram</a>, where it has more than 200,000 followers, even more than on <a href="https&#58;//www.facebook.com/PNBallet/">Facebook</a>. </p><p>The company still creates videos regularly but they serve a different purpose now. Initially, the goal was to familiarize young patrons with ballet and the company. But because many videos now exist to do just that, this is no longer a focus. Instead, videos showcase programs currently in the works, with a trailer, rehearsal previews and performance clips. The videos are featured prominently online where patrons can purchase tickets, in part to drive those purchases. That sales motive, however, is not the primary one. Says Chiarelli, “Our driving principal is to produce content that is true to PNB and to the program, and highlights the artist and work in a positive way.”</p><p> <strong>New Efforts to Attract 20- to 40-Year Olds</strong></p><p>Like many performing arts organizations, PNB finds the 20- to 40-year-old audience more of a challenge—but also sees engaging that group as critically important. PNB is now targeting this cohort with new ticketing initiatives and programs, which are being supported by funding through The Wallace Foundation’s <a href="/how-we-work/our-work/pages/building-audiences-for-the-arts.aspx"> <em>Building Audiences for Sustainability</em></a> initiative. </p><p>To that end, PNB replaced the &quot;25 &amp; Under&quot; reduced-price ticket program with The Pointe, an e-mail-based program for patrons age 40 and under whose members receive reduced-price, single-ticket offers for every performance. (Earlier, people age 25 to 39 could buy reduced-price subscriptions, but not single tickets.) Sales from The Pointe are increasing, though they have yet to reach the peak levels of 25 &amp; Under. The Backstage Pass program is now “Young Patron’s Circle,” offering the same reduced-price subscriptions and social opportunities as before. </p><p>But PNB’s latest research suggests that “castle on the hill” perceptions remain for many in this age group, and reduced-price tickets alone aren’t enough to break through. To challenge those assumptions, the company has started staging new kinds of performances, such as free contemporary dance in Seattle’s Olympic Sculpture Park in 2016 and 2017, and on the lawn outside the performance hall in 2018. It also began offering one “Beer &amp; Ballet” performance with each program, targeting 21- to 45-year-olds with $29 tickets and beer specials. This program is growing in popularity, selling 248 tickets when it was introduced in the second half of the 2016–2017 season, and 917 by spring of 2017–2018. </p><p> <strong>Ongoing Evolution</strong></p><p>PNB also continues to monitor young people’s expectations, to ensure its future relevance. “There’s a place for you here” means different things to different generations, which need to be engaged on their terms. For example, in a recent round of focus groups with millennials, participants voiced fewer perceptions of PNB as elitist and stuffy than in the past. But they did comment that the audience was overwhelmingly white.<a name="_ftnref1" href="#_ftn1"><sup>1</sup>​​ </a> “Young people’s sensitivities are different now. They are looking for a community to be equitable and inclusive and for ballet to evolve,” says Walker. “That’s important to us too. Our audience and company are more diverse than before. We are moving in the right direction.” </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;"> <a name="_ftn1" href="#_ftnref1">&#160;</a>1 Young people’s sensitivity to diversity and inclusion is not unique to PNB’s research; it also surfaced, for example, in California Symphony’s conversations with millennial and Gen-X audience members; see Aubrey Bergauer, <a href="https&#58;//medium.com/%40AubreyBergauer/orchestra-x-the-results-ec12e48f28fb">Orchestra X&#58; The Results</a>.</p>Bob Harlow822018-07-27T04:00:00ZFollowing success attracting teens, the Pacific Northwest Ballet is working to draw 20-to-40-year-olds7/26/2018 10:00:23 AMThe Wallace Foundation / News and Media / Wallace Blog / Showing Young People They Belong at the Ballet Following success attracting teens, the Pacific Northwest Ballet is working 5141https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Dancers and Musicians Get Audiences Moving at CRASHfest in Boston24064GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p> <a href="http&#58;//worldmusic.org/">World Music/CRASHarts</a>, one of the organizations participating in Wallace’s <a href="/knowledge-center/building-audiences-for-the-arts/Pages/default.aspx">Building Audiences for Sustainability initiative</a>, held its third annual CRASHfest on Saturday, February 24. CRASHfest is a celebration of music, dance, food and culture from around the world. It is also World Music/CRASHarts’s flagship event to help attract younger audiences to the <a href="http&#58;//worldmusic.org/events/list-events">extensive series</a> of performances it presents every year.</p><p>A detailed account of CRASHfest and its role in the organization’s audience-development efforts is due this fall. But that’s too long to wait to post some of the photos we took at the event&#58;<br></p><p style="text-align&#58;center;">​<img class="wf-Image-Left" alt="IMG_8545-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8545-CRASHfest.jpg" style="margin&#58;5px;width&#58;779px;" /> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">New York City's first all-female mariachi band, Flor de Toloache, kick off the festivities on the CRASHfest main stage.<br></p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <br> </p><div style="text-align&#58;center;"> <img class="wf-Image-Left" alt="IMG_8628-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8628-CRASHfest.jpg" style="margin&#58;5px;color&#58;#666666;font-family&#58;freightsans_promedium_italic;font-size&#58;14px;" /> </div><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Subject&#58;Matter, a local tap dance company, wow the crowd on a bump-out stage in the main hall. The bump-out stage,<br> new to CRASHfest in 2018, kept crowds entertained as bands set up on the main stage.<br></p><p class="wf-Element-ImageCaption" style="text-align&#58;left;"><br></p> <p>&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <img class="wf-Image-Left" alt="IMG_8706-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8706-CRASHfest.jpg" style="margin&#58;5px;" /> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Maure Aronson, founder and executive director of World Music/CRASHarts, introduces Malian singer and guitarist,&#160;<br>Vieux Farka Touré</p><p class="wf-Element-ImageCaption">&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;center;">&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;left;"> <img class="wf-Image-Left" alt="IMG_8785-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8785-CRASHfest.jpg" style="margin&#58;5px;" />Malian singer and guitarist Vieux Farka Touré, who appeared to be one of the stronger draws to the main stage.</p><p>&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <img class="wf-Image-Left" alt="IMG_8706-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8835-CRASHfest.jpg" style="margin&#58;5px;" /> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Brazilian dance ensemble SambaAiva teaches the crowd how to &quot;party like a Brazilian.&quot;</p><p>&#160;</p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <img class="wf-Image-Left" alt="IMG_8926-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8926-CRASHfest.jpg" style="margin&#58;5px;" /> <br> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Zimbabwean sextet Mokoomba's synchronized dance moves appeared particularly popular with the audience</p><p class="wf-Element-ImageCaption">&#160;<br></p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <img class="wf-Image-Left" alt="IMG_8969-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8969-CRASHfest.jpg" style="margin&#58;5px;" /> <br> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">The audience gets younger (and on the whole drunker) as the evening wears on and&#160;<br>Zimbabwean Afropop sextet Mokoomba takes stage.<br><br></p><p class="wf-Element-ImageCaption">&#160;<img class="wf-Image-Left" alt="IMG_8990-CRASHfest.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Dancers-and-musicians-get-audiences-moving-at-CRASHfest-in-Boston/IMG_8990-CRASHfest.jpg" style="margin&#58;5px;" /><br></p><p class="wf-Element-ImageCaption" style="text-align&#58;center;"> <br> </p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Two music fans look for a spot to add their photo-booth picture to the Boston skyline.&#160;<br>One in the background poses alongside hers.</p><p class="wf-Element-ImageCaption" style="text-align&#58;left;">Interested in how other arts organizations are trying to build their audiences? See other <a href="/knowledge-center/pages/the-building-audiences-for-sustainability-stories-project.aspx">BAS Stories here</a>. </p><p class="wf-Element-ImageCaption">&#160;</p> <br> <br> <br>Wallace editorial team792018-03-16T04:00:00ZA rich tapestry of global culture at World Music/CRASHarts’s third annual festival of international performing arts.4/4/2018 3:24:22 PMThe Wallace Foundation / News and Media / Wallace Blog / Dancers and Musicians Get Audiences Moving at CRASHfest in Boston A rich tapestry of global culture at World Music 520https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx

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