Cultural institutions play an extremely important role in the local community. In addition to their primary cultural role in society, we must not forget that they have a great responsibility for the development of future generations within the community. We can even talk about non-formal or informal education that these institutions provide for the local community and even for various regional communities.
In this context, we observe that more and more institutions are turning to educational concerts in addition to the regular concerts they hold for a general audience. Why is this happening? Because we need to develop and prepare the future audience for concert halls. Any cultural institution manager today certainly faces an increase in the average age of the spectators present in concert halls. One solution to this issue is active involvement of institutions in the daily life of the community and the organization of educational events.
To hold educational events, several aspects need to be considered, and we want to provide managers with some advice in achieving this. First and foremost, we need to be aware that age-specific characteristics of children are an aspect to consider when organizing an educational concert. For this reason, it is best for each event to have its repertoire, instruments, and schedules adapted to these particularities. We can, of course, organize concerts for different age groups, such as adolescents (14-18 years) or younger children (10-14 years).
Interaction with the children present in the audience is another very important element to consider. For children, it is crucial that everything is interactive, and they can communicate with the musicians because longer pieces that exceed 5-10 minutes tend to become boring for younger children. Allocate time evenly between listening and communicating with the young audience to have a successful event.
For your institution to be more visible, it needs to be actively present in society. It is definitely a mistake to just wait for the audience to come to us. We need to go to the audience, meaning we should change the concert hall for venues closer to the local community. Today, most young audiences (20-40 years) often perceive public institutions as outdated and too few understand the importance of classical music. So the whole city should become a location for any orchestra that wants to establish a much closer connection with the local audience and consequently increase their presence in concert halls by attracting a younger audience.
Do not forget that in the community where you operate, there are often disadvantaged groups, and even if they may not be as financially powerful as your target audience, try to take your music to them by organizing concerts in these communities or by offering discounts to attract a new audience to the concert halls.
In conclusion, we must remember that the development of educational and community programs is a viable and sustainable way to attract the audience to the events organized by the orchestra you manage. We need to realize that without concrete measures that all managers must apply to attract the audience to concert halls, we will soon have a crisis among music lovers.