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Moya Harris believes the opportunity to experience and enjoy the arts is a fundamental human right, and although being charged with changing the world through audience development presents a huge challenge to even the most experienced arts marketer, as a society we own the problem and it is in our own interests as artists and advocates for the arts to take up this challenge.
The language of the arts in itself reflects the exclusivity and elitism which continues to pervade this world we all share, but experience differently. Given the premise that those who are interested in the arts - in the main - are already patrons and participants readily responding to the valiant efforts of the arts marketers, the term ?audience development? must encompass the need, desire and obligation to include people who have historically been excluded from the arts.

Definitions

Under the broad definition of audience development are incorporated a plethora of related issues including Disability, Cultural Diversity and Social Inclusion. Together they comprise the very real and inherent issues of oppression, discrimination and apartheid which are upheld by many arts organisations, including our largest, most celebrated and best funded.

It has been argued that funding criteria which dictate that these issues be addressed are unrealistic; that it is stretching arts organisations beyond the boundaries of their expertise and resources; that it is asking for social outcomes from what are - in reality - financial targets. Yet if arts organisations are in receipt of public funds, how can any argument be substantiated in support of activities and programmes which directly or indirectly exclude any member of our society? The funding bodies may be a soft target, but occasionally they do get it right, responding to the pressure of civil rights campaigns and recognising the value of diversity in our cultural lives.

Form partnerships

If we believe that the arts are a fundamental right of every human being to experience and enjoy (and if we don?t, perhaps we?re in the wrong badly paid jobs) then we must make every effort to ensure that the opportunities we create are extended to everyone. If that challenges an arts organisation?s expertise, there are plenty of self-led organisations around with whom to seek partnerships. Try working together with Disability Arts Forums; with Black, Asian and Caribbean companies; with arts workers and organisations closely involved with people in the community. If we are completely isolated from the mainstream, our work becomes ghettoised and attempts made by mainstream arts organisations to ?include? us will remain tokenistic and patronising.

Addressing barriers to inclusion (physical, attitudinal, financial and social) will not compromise either your financial or artistic objectives. Take, for example, Disability issues. Access is not just about toilets and ramps (although this is a start), but about information requirements - information in a format we can access enables us to make an informed choice about our attendance at your event. It is also about programming and presentation - include Disability Arts events in your programme or Disabled performers in your company and you will find a new audience of people who are clearly less interested in a solely one-dimensional representation of society.

It is estimated that over 12 million people are covered by the provisions of the Disability Discrimination Act 1995. Disabled People do not live in isolation. We have families and friends who might accompany us to arts events. Where else in the population will you find an almost untapped audience of this size? But don?t expect an overnight response ? the arts infrastructure must recognise how deeply rooted the barriers are in terms of history, culture, prejudice, ignorance and fear. It will take time, partnerships and funding targeted at changing perceptions to achieve a more representative arts community ? at both an audience and a creative level.

Commitment

It may represent a huge challenge to even the most experienced arts marketer to be charged with changing the world through audience development. But as a society, we own the problem ? not the government or the Arts Council ? and it is in our own interests as artists and advocates for the arts to take up this challenge which will, along the way, deepen, enrich and make even more multi-faceted the dazzling array of artforms which are the reason we commit ourselves to a lifetime in the arts.

Moya Harris is the Director of Equata (Equality & Access to The Arts), the Disability Arts development agency for the South West. She is involved in the Survivor?s movement and has been recently appointed to South West Regional Arts Council. Equata is promoting a major international Disability Arts Festival and Conference, ?Above and Beyond?, to celebrate 2003 as Year of Disabled People. For details t: 01884 829265; textphone: 01884 829267; e: info@equata.co.uk

This article is available from Equata in large print, Braille and audio tape.