Going Viral: The New Generation of “Zombie” Audiences

After posting a video comparing the audience at Oslo's City Hall Square (Rådhusplassen) 20 years ago with today's audience, the post quickly went viral on Instagram. As a choreographer and dance educator, I found it alarming to see such a clear shift in how young people engage with art, music, and live performances.

The Video:

In the video, I described my experience choreographing for the VG-lista concert. Standing on stage, I felt as if we were performing in front of "zombies." Instead of reacting naturally to the music or the performance, much of the audience appeared emotionally disconnected. Their attention seemed focused on being seen by cameras rather than experiencing the moment itself.

As performers, we rely on eye contact, facial expressions, applause, movement, and shared energy. These forms of non-verbal communication create a dialogue between artists and audiences. Without them, live performance loses an essential part of its magic.

I argued that this change goes beyond social anxiety or fear of being filmed. In fact, whenever television cameras pointed toward the audience, many immediately came alive—smiling, dancing, singing, and trying to get on screen. This suggested that the issue wasn't fear of attention, but rather a culture increasingly centered around being observed instead of observing.

The Public Debate

The video sparked widespread discussion across Norway and led to interviews in national newspapers, podcasts, and a live appearance on NRK P1.

Through these conversations, I came to a broader conclusion: audience culture is something we learn.

Throughout history, every culture has developed its own ways of responding to performances. In Norway, audiences have traditionally been more reserved than in many other countries, but there has also been positive development over the years. Some communities—such as football supporters, hip-hop audiences, and heavy metal fans—continue to demonstrate strong audience engagement across generations.

The difference, in my view, is cultural participation. Children who grow up attending concerts, theatre performances, sporting events, and other cultural experiences with engaged adults naturally learn how to participate themselves. They learn curiosity, empathy, appreciation, and how to contribute to the shared experience between audience and performer.

My concern is therefore not directed at young people alone, but at a society in which many adults have gradually stopped modeling those behaviors. Audience culture is not inherited—it is taught.