Ex: We host Dance Debriefs after the opening night performance of most dance presentations. Chairs are placed in a circle, in the lobby of our theater and light refreshments are provided. A moderator “lightly facilitates” the discussion; we intentionally avoid setting a tone where the facilitator would be viewed as an “expert” because it can limit the group discussion. Using our discussion guide, the moderator first states that there are no wrong answers to interpreting a performance and reminds attendees of the essay about viewing dance that appears in our program. Then, those present (if the group is not too large) introduce themselves by first name.
One of the key differences between Dance Debriefs and other similar events is we then ask questions of the audience, so that the audience is doing the majority of speaking. Questions are open-ended and also appear in the discussion guide, and are written to elicit impressions of the work just seen. We encourage the group to compare their own viewpoints. The artist is intentionally not present so that the audience would be comfortable sharing their range of views about the work and asking questions. The moderator attempts to get as many people to speak as possible, but does not put quieter people on the spot because we believe that those who are actively listening are engaged. While we want to go for 45 minutes, it’s important to watch for body language that conveys that people are ready to leave, and to adjourn then, because we don’t want to deter people from coming back to future sessions. Our positive evaluation of this format appears below, based on our audience’s response to it over the past season. Attendance at it has been increasing, and if it gets much larger we would need to split the group into two circles, and use a second moderator, in order to maintain the casual, intimate feeling of the discussion.
Is it open to the public or private, invitation only?
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Audience Engagement Cookbook: How the Audience Engages
Hint: Be sure to include how these happen during your program, and whether they happen online or in person. The ways in which they might engage are listed below.
Ex: The audience gets refreshments, and then converses informally, by answering the moderator's questions and offering feedback
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Listen
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Watch
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Move or dance themselves
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Ask questions
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Read (program notes or web text)
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Socialize (with each other or the artist?)
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Eat or drink
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Converse informally (among themselves or with the artist)
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Provide a written response (survey, post-it note, blog entry)
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Offer feedback in other ways (such as ideas for the choreography)
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Audience Engagement Cookbook: Program Logistics
Ex. In the lobby of the theater
Ex. We use 2 members of our outreach staff, 2 volunteers, 2 unpaid interns, and a paid facilitator. Volunteers and interns remind audience members about the event as they enter the theater, direct them to the lobby and encourage them to stay, and help clean up afterward. Staff oversee the event, and interact with any donors who attend. The facilitator starts the discussion and asks questions of the group
Ex. We allot $500 for both members of the outreach staff, $100 plus two tickets for post performance discussion facilitator, and $200 for marketing/advertising of the discussion
Ex: We mention it in our season brochure on the dates when it will occur, on both the pages featuring the dance company and the order form. It is also mentioned in our membership letter. We announce it from the curtain and a flyer is placed in the program. On the day of the performance, we issue a reminder via social media
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Audience Engagement Cookbook: Program Outcomes
Ex. We have held four Dance Debriefs this year, which was the first season in which it was offered
Ex: Having a facilitator encourages attendees to talk. We found that the lobby is more conducive to discussion than the theater. As expected, refreshments doubled attendance
Ex: Adjourn the talk before the parking garage closes! We learned to select volunteers who are comfortable interacting with people. We learned to ask the facilitator to prepare questions in advance, but also to be comfortable with moments of silence during the discussion, particularly toward the beginning
Ex: We began by offering it at contemporary dance performances as this is where we sensed that people had the most questions. We hope to expand to ballet next year
Ex: We distribute a 3-question survey that can be completed in 1-2 minutes so we won't keep people too late
Ex: We may offer fewer of these events in the next season due to the resources involved. But we look forward to comparing the type of discussions after a ballet performance to what we heard after contemporary dance shows
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Audience Engagement Cookbook: Additional Information
Ex: Our board loves this program and we've been successful in getting corporate sponsorship for it
Note: If you would like to submit documents that would help others in replicating your program, please do so by emailing them to EDA staff. In the subject line, please enter the word "Cookbook" and the name of your organization and engagement program (as above). Attach documents as PDFs
After you submit your recipe, EDA staff will review it before publishing. We might contact you to ask questions. Click on “Finish” to submit your audience engagement program to the cookbook.
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