VISUAL ARTS AUDIENCE DEVELOPMENT IN SAUDI ARABIA: A CASE STUDY ON YOUTH IN RIYADH

Abstract

This study investigates audience development within the visual arts sector among Saudi youth, contextualized within the broader framework of the 2030 Saudi Vision. Initiated in 2016, this vision aspires to elevate the country's social, educational, economic, and cultural facets. Notably, this study underscores a critical gap in the existing strategies, pinpointing a lack of emphasis on audience development despite significant investments in artistic infrastructure and enterprise support. The universal challenge of retaining and attracting audiences, particularly youth, becomes the central focus of this policy-driven investigation. Employing Jennifer Wiggins's MAO Model of Audience Development, the study employs a mixed methodology, combining quantitative and qualitative analyses. The quantitative facet involves 404 youth participants from Riyadh, while the qualitative dimension encompasses youth participants and non-participants in visual arts exhibitions, along with industry experts. The MAO Model scrutinizes Motivation, Ability, and Opportunity factors influencing audience engagement. In terms of Motivation, the study reveals that youth are generally not motivated to participate in visual arts exhibitions, perceiving visual arts exhibitions as entertaining rather than inherently beneficial. In addition, past experiences indicate a historical lack of involvement. When addressing Ability, respondents showcase strengths in financial, physical, and temporal resources for engaging in visual arts exhibitions. However, youth also exhibit limitations in certain mental abilities, particularly in evaluating and analyzing artworks. Opportunity factors pose significant challenges, as there is a prevailing uncertainty and limited awareness regarding Saudi arts and cultural organizations among the youth. The absence of familiarity with visual arts institutions and a sense of belonging to the target audience exacerbates this issue. Youth preferences also emerge, favoring other cultural activities over visual arts showcases. While youth appreciate augmented products from governmental institutions, core visual arts offerings receive a less favorable perception. In conclusion, this study provides vital insights for the Saudi arts and cultural sector, offering a nuanced understanding of audience dynamics through the MAO model. The recommendations drawn from this research are designed to offer strategic direction to the sector in harmonizing its strategies with the 2030 Vision, thereby guaranteeing goal attainment and nurturing enhanced youth involvement in the visual arts field.