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What is demand driven?

We want to start a discussion about demand-driven frameworks – how they inform investment, planning, programming, development, growth and evaluation…..

Referring to ‘demand-driven’ arts and culture elicits a variety of responses from the arts and cultural sector:

– don’t ask the public – they don’t know what they want (Touring strategy consultation participant, 2008)

– know thy public -if I don’t give them what they want my business goes bust (Arts for all Queenslanders strategy consultation participant, Yandina workshop, 2013)

– policy documents need to make explicit that audiences are at the centre of arts and cultural policy, and that artists should serve the tastes of those audiences (Alan McKee, 2013)

Some perceive demand as knowing what is popular or about to be popular and then capitalising on the trend.  Others understand demand as a social or cultural need – a strong sense of instrumental value that needs to be gained for a community.   Does being demand driven inhibit or enable creative practice and creative business?  To get the conversation started we asked three experts from Queensland’s arts and cultural sector to respond to two questions about demand.  Here is what they wrote:

 

Rod AinsworthRod Ainsworth, Creative Producer, Creative Regions

What does it mean to be demand driven? Demand driven, in our regional context, means understanding if and when there’s a need (which may or may not be related to ‘the arts’) and finding or making work that fills that need. It means being able to demonstrate connection to community from on-the-ground knowledge and relationships and provide evidence of the need and how it applies to our work. The question is always “how does the work connect to people in and of this place?” Demand driven is the complete antithesis to the fly-in-fly out model of arts production.

 

Why care about demand? Following on from the above, responding to ‘demand’ means you’re listening to a community and/or potential audiences – that there’s a values connection between the people served by the art and people making it – that people want the product we’re selling as arts makers for a tangible and explicit purpose in their communities of interest. It means there’s true, local, front-line engagement between artist and audience. Without an audience, we don’t have art. For us, it’s about making the audience at the same time as making the art.

 

Kate FellKate Fell, Manager, ARTOUR

What does it mean to be demand driven? In the context of arts touring, demand driven means to be market responsive – to understand the market for your work, to be open to and respond to new opportunities. Demand driven means that ongoing conversations with the people who may buy your show are so important. This can be through informal or formal ways – inviting people to see your shows, attending arts markets/showcases, involving them in discussions about future creations and finding out more about what they are looking for.

Why care about demand? Demand is critical with arts touring. Most arts touring involves a presenter buying your show. They will only buy it if they think there is an audience and community demand for what you are offering. You should be working with a presenter to define who your audience is and then help them sell your show to their audiences.

 

 

Mark Fawcett, Manager, Mackay Entertainment and Convention Centre

What does it mean to be demand driven? When programming or seeking funding for programming the demand is the level of participation I would expect to receive.  Differing genres of arts product will have different participation levels and you must decide the level of investment you can afford to satisfy the demand.  Importantly a balanced approach to demand is necessary.  Remember also that demand can be created through removal of barriers, whether that be price, transport or lack of access.  Demand driven practice does not automatically translate into sold out theatres and exhibitions, it is about satisfying the depths of your community, engaging as many community members as possible (sometimes through diversity), remaining relevant and being fiscally responsible

Why care about demand? Love your product, know your audience, and you will care about demand.   Both over supply and under supply can have detrimental effects illustrating that you must care.  An arts programmer is not, or rather should not, be the arbiter of public taste.  A current arts programmer must meet demand.  This cannot be done working in isolation without knowing your audience and venue capabilities.

 

 

What do you think?  Do you agree with these three?  Is there a balance to be struck between push and pull or in this age of co-creation should investment (time, money, effort) only be made in response to proven demand or need for the arts and cultural output?

 

Feature image:  Picture Queensland