A recent study has revealed significant differences in the factors influencing ballet attendance between the United Kingdom and the United States. In the UK, cultural capital—rooted in education and class hierarchies—has a large function in establishing who is seated in ballet’s audiences. On the flip side, making up the US’ most critical factor is social capital — consisting of personal networks, group membership, and a person’s work-oriented connections. This study serves to underscore how cultural and social orientations create distinctly different arts landscapes in these two countries.
This research highlights how in the UK, cultural capital is deeply attuned to the existing class structures and educational norms. The results indicate that education is the strongest and most consistent predictor of ballet attendance. This lends credence to the argument that participation and access to cultural experiences are increasingly limited by social class. The research illustrates that these entrenched class and education hierarchies continue to persist in the UK, thereby influencing attendance rates at ballet performances.
Cultural Capital in the UK
Cultural capital describes non-financial social assets that encourage social mobility independent of one’s economic foundation. In the context of ballet attendance in the UK, it appears via educational attainment and cultural capital. This study indicates that individuals who have received higher education or come from families with a rich cultural background are more likely to engage with ballet.
Educationally, in the UK, we are bound by hierarchies of class and education. Consequently, opportunities for meaningful cultural engagement frequently privilege people within established systems of privilege. The study found that ballet audiences skew towards the privileged. For one, they are often well connected, themselves holding influential positions in cultural institutions. This continues a negative cycle in which elite cultural experiences are only made available to those who already have the cultural capital.
Not attending ballet in the UK is more than just not liking it. Like so many other things, it is deeply affected by socio-economic factors. Together, these findings point to an important and urgent need for initiatives that democratize access to the arts. We need to make certain that people from all backgrounds are equally able to engage with cultural opportunities—including ballet—on equal grounds.
Social Capital in the US
The results from the United States suggest an interesting possibility. Social capital has a greater impact on the likelihood of attending ballet than cultural capital. Social capital encompasses a range of connections, including professional networks and group memberships that facilitate access to various societal resources. Our study found that social capital—in this case, social ties—were a better predictor of attendance to ballet performances. What this shows is just how key networking is in American culture.
The study goes on to emphasize how social mobility can help explain attendance patterns in the US. Individuals who actively engage with community groups or belong to specific professional circles often find themselves introduced to cultural events like ballet. This dynamic highlights the ways that interpersonal relationships can open doors to experiencing the arts, frequently bypassing or circumventing long-established economic barriers.
Paradoxically, this focus on social capital does a complete about turn with what we see happening in the UK. Both countries share a high regard for education, but US history teaches a critical lesson. Connections and relationships—not policies—often do the hard work of getting people to participate in cultural activities. Therefore, building community connections might be the best way to reach the most ballet audiences of all ages and backgrounds.
Implications for Future Engagement
The gaps elucidated by this study carry significant consequences for how cultural institutions should implement a best-practice approach to audience development. In the UK, schemes have done by increasing educational engagement and outreach. These undertakings would go a long way in bringing ballet to communities that have long been underrepresented in this art form. To overcome the gap imposed by these hierarchies, efforts like community workshops, establishing ongoing collaborations with local schools, or offering subsidized ticket initiatives might go a long way.
In the US, taking advantage of social networks to encourage more ballet attendance could go a long way. Community engagement strategies that foster social connections through collaborative, creative activities might help attract newbie audiences. Organizations could focus on building partnerships with local businesses or community groups to foster a culture of inclusivity around ballet.