Cultural Democracy in a Period of Cultural Expansion: The Social Composition of Arts Audiences in the United States

Abstract

Students of American society, from the times of Tocqueville and Veblen, have been concerned with the social role of high culture in a democracy. The debate over the extent and consequences of elite dominance of the arts constituency has been intensified in recent years by the rise of government support for the arts. Little is known about the social composition of the arts constituency. Drawing on 268 largely unpublished studies of visitors to museums and audiences of live performing arts, we conclude that the gender and age composition of the arts audience is little different from the general public. However, the social class composition is strikingly elite: audiences are better educated, of higher occupational standing and more affluent than the general populace. Conversely, blue-collar workers, individuals with low incomes or little education, and racial and ethnic minorities are found to be greatly underrepresented. Analysis of differences between and within art forms reveals that museums, particularly science and history museums, draw a broader audience than do performing arts events; frequent attenders within most forms are found to be more elite than irregular consumers. Assessment of audience composition trends since the early 1960s indicates no movement toward a broader inclusion of the public, suggesting that a recent expansion in the scale of arts activities and government subsidies has not been accompanied by a democratization of cultural consumption

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