The work of the National Task Force on Dance Audiences, launched in 1996, unfolded in three key phases. Through research, dialogue, and analysis, the process has drawn on the expertise of many people, both within and outside the field. The major areas of Task Force activity include the following.

Phase 1: Preliminary research and analysis.

First, an effort was made to draw a coherent picture of what we already know about dance audiences. This was achieved primarily by reviewing existing documents and studies, including those done at the national, regional, and local level. Second, a cross section of dance professionals were interviewed to better understand the dominant issues and concerns that are operative within the field and to identify effective practices that might provide guideposts for future action. Key findings from this phase of Task Force activity are highlighted in Part 1 of this document.

Phase 2: Task Force Assembly.

From May 2-4, 1997, more than 50 dance professionals, audience members, and people outside the field gathered in San Francisco to consider preliminary research findings. This gathering included both small and large group work, special presentations and panel discussions, and philosophical and practical reflections by those assembled (see Appendix A: Task Force Agenda and Appendix B: Task Force Participants). Part 2 and 3 of this document summarize the major themes and action principles that surfaced as the Task Force assembly considered the actions that would be necessary to mobilize for the future. An effort has been made to capture both the content and spirit of Task Force deliberations. A variety of appendices provide further documentation of selected Task Force sessions.

Phase 3: Report dissemination and next steps.

The publication of this report marks Phase 3 of the Task Force. It marks a punctuation point in a process that necessarily must continue to unfold at the national, regional, and local level, whether resources are abundant or in short supply. Based on the findings of the Task Force to date, Dance/USA has already pledged to more fully integrate audience development activities into its ongoing programmatic work--from publications, to meetings, to professional development--and is exploring other ways to build upon the important work of the Task Force. It is hoped that readers of this report will draw inspiration from the summary of dialogue and research that follows, and that the findings of the Task Force will generate further dialogue and action in communities across the country.

CONTENTS
Introduction: The action imperative.
Overview: Task force mission and goals.
Summary: Task force overview.

Part I. Understanding the terrain.

Overview: Our history, legacy and challenges.

What does research tell us about dance audiences?

Issues for practioners.
     Issue 1: The sea change in ticket buying habits.
     Issue 2: Beyond ticket sales: Fostering the art form/honoring the social
                  contract.
     Issue 3: The knowledge and comfort gap.
     Issue 4: Limited resources/ambitious goals.
     Issue 5: Clarifying expectations: Artists, presenters and audiences in
                  dialogue. 
     Issue 6: Perennial press and communications problems.
     Issue 7: Gateway experiences: Moving people along a continuum of
                  participation.
     Issue 8: Beyond the proscenium.

Lessons from the field: 
     Strategy 1: Programmatic/artistic responses.
     Strategy 2: New geographies.
     Strategy 3: Audience research.
     Strategy 4: Communitywide collaboration.
     Strategy 5: Long-term partnerships.
     Strategy 6: Targeting.
     Strategy 7: Framing/Contextualized residencies.
     Strategy 8: Translators and mediators.
     Strategy 9: Touring infrastructure and networks.
     Strategy 10: New technology and media.
     Strategy 11: Traditional marketing.

Part II. Approaches to learning and action.

     Approach 1: Use mission as a springboard for action.
     Approach 2: Expand ways to engage and educate audiences.
     Approach 3: Learn about and from audiences on a regular basis.
     Approach 4: Deepem internal and external collaborations.
     Approach 5: Devise fresh ways to present the work.

Part III. Practical challenges and next steps.

     Challenge 1: Enhance professional development opportunities for
                        presenters, artists and others.
     Challenge 2: Strengthen and expand audience research efforts.
     Challenge 3: Increase opportunities for sharing information about best
                        practices.
     Challenge 4: Expand opportunities for locally-based research and
                        development efforts.
     Challenge 5: Restructure workrules and business practices that
                        impede audience building efforts.
     Challenge 6: Find ways to pass the baton to the next generation of
                        leaders.

Part IV. Closing reflections.

Part V. Appendices:

A. Task force agenda.
B. Task force participants.
C. Task force steering committee.
D. Opening address by Bonnie Brooks, Dance/USA.
E. Slide presentation excerpts: A historical review and assessment of 
    research on dance audiences by Alan Brown, Audience Insight LLC.
F. Panel discussion excerpts: Other disciplines/other fields.
G. Panel discussion excerpts: The artist voice/The audience voice. 

An Historical Review and Assessment of Research on Dance Audiences: Presentation and discussion. 
Have we been asking the right questions? 
Dimensions of dance participation. 
The old framework. 
Overview of existing research on dance participation.
Key results from national studies. 
(Demographic characteristics of dance audiences).  
Key results from national studies: NEA SPPAs and 12 cities study. 
Key results from national studies: Race/Ethnicity and dance participation. 
Key results from national studies: Americans and the Arts VI, 1992. 
Key results from national studies: Crossover attendance patterns. 
Andreason's adoption model (from Expanding the Audience for the Performing
Arts, NEA Research Division report #24). 
Andreason's The Great Unwashed Conclusion. 
Results from local studies (survey of lapsed dance subscribers).
The Evolution of market models.
(How we frame audiences).
Aggregated customer data files.
Towards a new audience segmentation model.
Context from other fields.
The hard questions.
The positioning spectrum.
Attitudinal determinants of affiliation/alientation.
No easy answers.
Future research imperatives.