Audience Development
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Audience Development - Surviving and Thriving
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Audience Development
- 1. Audience Development Surviving and Thriving
- 7. Audiences Across the EU ‘ Culture and creativity are important drivers for personal development, social cohesion and economic growth.’ European Commission President Jose Manuel Barroso European Cultural Values 2007
- 8. What does ‘Culture’ mean to you? Performance and Visual Arts Traditions, Language, Customs and Community Literature, Poetry and Playwriting Education and your Upbringing Knowledge and Science Lifestyle and Manners Civilisation History Museums Leisure, Sport, Travel Values and Beliefs Not Interested Too elite and boring other 39% 24% 24% 20% 18% 13% 13% 13% 11% 9% 9% 2% 7% 1% European Cultural Values 2007
- 12. Taking Part in Scotland Promoting Arts and Culture in Scotland Promoting Arts and Culture in Southern Scotland Taking Part in Scotland, Scottish Arts Council 2008
- 15. Audience Atlas 2010 Total Potential Audience Attendance
- 16. Culture Segments Enrichment Entertainment Expression Perspective Stimulation Affirmation Release Essence Morris Hargreaves McIntyre Lateral Thinkers 2010
- 17. Culture Segments Morris Hargreaves McIntyre Lateral Thinkers 2010
- 24. Morris Hargreaves McIntyre Lateral Thinkers 2010
- 26. Barriers to Engagement European Cultural Values 2007 42% Lack of Time 29% Too Expensive 27% Lack of Interest
- 29. What do we know about the Scottish Borders ? A Scottish Borders Social Atlas, 2005 Scottish Borders in Figures 2010
- 30. What do we know about their Ages? Age Groups Population Scottish Borders in Figures 2010
- 31. What do they do for a living? Scottish Borders in Figures 2010
- 32. Top Visitor Attractions in the Scottish Borders? Visits Scottish Borders in Figures 2010
- 33. Where do they stay? Scottish Borders in Figures 2010
- 36. Your Audience – Who Are They?
- 38. What does Culture mean to you? How often do you attend a live cultural event? What other activities do you participate in? How did you get to the venue tonight? What is the highest educational level you have achieved? What prevents you from attending a cultural event? Who did you attend today’s event with? Where did you hear about today’s event? What types of arts and cultural events/ activities interest you? Would you be interested in a membership scheme? Have you ever volunteered? Would you be interested? What is your favourite festival, movie, band? Would you like to attend a cultural event during the week? What is your favourite thing about attending a live performance? What is your postcode ? Your age group? What is your gender ? Your Profession ?
- 39. What is your postcode ? Your age group? What is your gender ? Your Profession ? Do you like to take the kids to cultural events/ activities? What was your most memorable cultural experience? Who in your group organised today’s trip to …? What is your favourite arts/cultural venue ever? Did you know that we do…? What do you think would improve your experience today? Have you been to the theatre before? Have you been to this theatre before? If no, what made you decide to attend today? Which visitor attractions do you visit in Hawick? Where is your favourite place to have a coffee and cake locally? Are there any particular types of events you would like to see in the future? Do you use Facebook, Twitter, YouTube? Have you visited our website? How could it improve? How did you first come to hear of us?
- 46. www.facebook.com Signing Up
- 48. My Personal Business Profile
- 49. My Facebook Profile Wall
- 50. Accessing my Facebook Pages
- 52. My Facebook Page
- 53. Posting to Another Page or Profile
- 54. Collaboration, Networking and Sharing
- 55. What’s On?
- 56. Photo Galleries
- 58. To be conversational is key
- 61. Twitter: The Basic Set Up
- 62. Twitter: It’s about sharing and re-tweeting
- 63. Twitter is about conversation too
- 64. Find your Twitter voice
- 65. Keep your audience informed with regular Tweets
- 67. Giving your audiences that extra service
- 68. Using YouTube for Previews
- 69. Using YouTube to Test Audience Reaction
- 74. [email_address] 01463 720 889 www.hi-arts.co.uk Twitter @HiArtsAudiences www.facebook.com/HIArtsAudienceDevelopment http://audiences.northings.com/
Notas do Editor
- Academic definition In practice Versus marketing and promotion Making the effort to understand what your audience wants and presenting your offering in a way that is accessible, inviting and meaningful.
- What can AD do? Increase commitment of existing audiences – a great number of people engaging more frequently, or getting more actively involved Attracting new and wider audiences – engaging with first-time attenders and people from under-represented groups Developing more enriching experiences for all audiences. Ultimately you want to build an audience that reflects the diversity within your community. Broadening audiences generally involves people in the places that you serve, but it may make sense to target communities beyond your geographic area. Existing audiences are very important – and it is recommended that some of your Audience Development work is focused on increasing and/or enhancing their engagement and experience.
- Survive – to remain alive or in existence, to persevere, to remain functional or usable. Thrive – To make steady or vigorous progress, to prosper, to grow, to flourish Evolve – to develop, to undergo gradual change, to work something out, to develop from a simple to a complex form.
- In 2007 the Directorate General for Education and Culture commissioned through Euromonitor a measure of public opinion on culture and cultural values across the EU. This was carried out across all 27 member states and had a sample of 26,755 people. Looked at the following: How European’s conceive the idea of culture Involvement in cultural and artistic activities Barriers towards access Among other aspects.
- Please tell me what comes to mind when you think about the word ‘Culture’. ‘Culture’ is associated with creative activity but ‘culture’ can also define social and cultural communities including their traditions, customers, values and beliefs. The study found that as age increases, the more likely the individual is to think of culture in terms of the Arts. Ideas of culture that revolve around traditions, language and social communities, are more prevalent among younger age groups. The study also found that those educated for the longest period of time were significantly more likely to have the view that culture is linked to the arts. This was also found to be true amongst individuals with Manager, self-employed – white collar jobs.
- Cultural Consumption in Scotland – commissioned by the Scottish Government to explore statistical evidence from survey data to establish whether taking part in culture in Scotland depends both on who you are and where you live. The analysis was able to identify four distinct lifestyle groups for attendance in the cultural sector across Scotland. Omnivores – individual members of the ‘omnivores’ are likely to be engaged in all types of attendance and participation, they are engaged in activities that are traditionally associated with popular and contemporary cultural activities. Over represented in urban areas, not as many apparent in sparsely populated areas. Heritage and Libraries – less depth to their participation habits, likely to be engaged in historical sites, museums and libraries. Audio Visual Arts – differentiated from other groups through their apparent engagement in activities such as theatre, cinema and music. # Low Attendants – less likely to engage with any attendance activity. ‘ To fully understand cultural behaviour it is important not to ignore the influence that the context in which people live out their daily lives imparts on their participation habits.’
- Scottish Arts Council
- Audience Atlas UK – the most detailed survey of cultural audiences by Morris Hargreaves McIntyre. It measures lapsed and potential, not just recent, engagement. It maps motivations, not just behaviour. 2010 From the research MHM conducted they were able to analyse this to develop a new way of understanding who our audiences are and what their motivations are for attending and engaging.
- Graph looks at the percentage each segment represents within the UK population, and the percentage of each segment that has spent on arts, culture and heritage in the last month (2009) Based on this research we can also deduce that on average people attend an arts, cultural or heritage event/activity do so 1.75 times per month. This is yet another useful fact in assessing your own audience engagement and to determine if you match that average, exceed or do not meet this average in your own local area. Looking at how many individuals have attended by using your box office or CRM system is one way of identifying the attendance frequency of your audiences and measuring this against national statistical research such as this can indicate to you the level or work that you may have to develop in order to retain, expand or diversify your current audience composition.
- What drives demand? Children and families – family time, children as consumers and influencers. Socialising and social networks – spending time with friends, how peers affect perception. Identity – personal and cultural relevance, self-expression. Place – a renewed focus on the local, local interest and the everyday. Experience – early exposure, past experience, the event itself, fun. Trust – confidence, role models, word of mouth. How can you stimulate this demand at your venue? Education and outreach – participatory activities, school visits, embedding in the curriculum. Context manipulation – taking culture to familiar settings such as shopping centres, High Street. A focus on families – developing and marketing family-friendly offerings. Representation – non-tokenistic content, staffing and participation. Community – co-creation, consultation and engagement, cultural ambassadors. Creating pleasant surprises – attending to quality, focusing on the experience, varied festivals and events.
- Have to consider the total cost of attending when you consider the price of attending your event for your average local audience member. Report found that men were more likely then women to cite a lack of interest, and women were more likely then men to say a lack of time was a barrier.
- Perception is important in understanding how an individual develops an inclination to participate in the arts. At this stage the individual assesses the positives and negatives of arts participation in terms of his or her own personal beliefs and the beliefs of their social groups. At this stage an individual is disinclined to participate. Their attitude towards the arts has formed a perceptual barrier that must be overcome before they will be inclined to participate. This is the largest pool of potential audiences and the hardest to reach.
- An individual who has decided to become involved in the arts in some way has moved into the practical stage and ready to evaluate specific participation options. They are inclined to participate, but there are still practical barriers they must overcome before they will participate. Addressing What motivates this individual to participate in the arts? Are they looking for entertainment or enrichment, self-focused or social activities? How does this individual want to participate in the arts? What information does this individual need about arts offerings? What conditions (location, time, and cost) would attract this individual to an arts offering?
- Using demographic data like this for your area can help you to set measurable audience development targets. We know that you can’t possibly engage with all the people all the time, by how can we judge impact effectively against demographic data such as population figures. By looking at your Box Office data for a start and identifying those customers who are locally based, you can estimate what percentage of the local population you are in fact engaging with. You can also use population data to set targets, if you do aim to attract all age groups with your programme you can easily set your self some local targets, for instance you might want to engage with 5% of each age group as a target. This works out as 600 0 to 9 yrs 333 10 – 14yrs 337 15 to 19 yrs 1,133 20 to 39 yrs 1703 40 to 59 yrs 1233 60 to 79 yrs 278 80+ yrs Alternatively you can use this as a guide for programming – you know that 10% of the local population is under the age of 10 yrs – so you in theory could allocate 10% of your programming to children’s performances for the under 10s. You could then devote 12% to young people under the age of 19yrs, 50% of your programming to the 20 to 59 yrs market and 27% for the over 60 years.
- Why do we focus on audience research? Because that is the only way that we can implement audience development tactics that will work. We can’t pluck any old idea out of the air, it has to represent your audience, it has to be something that they want but most importantly what they need. Asking specific questions in specific ways can help you to Identify opportunities – for instance how to attract target audiences such as schools or tourists, or towards developing a membership scheme of volunteer groups. Overcome obstacles – for instance the misconceptions about your organisation, performance times, difficulties in booking, lack of knowledge about a performance, venue or location. Improve facilities – feedback from audiences and staff can help you make decisions that will improve your facilities. Improve sustainability – audience research can help you to plan seasons or identify new income streams and increase the effectiveness of marketing and promoting. Improve efficiency – research can help you to identify periods of peak demand and improve staff and volunteer scheduling. Understand your audience – the more you know about them, the more you can meet their needs and turn them into regular attenders or subscribers. Improve audience numbers – audience research can help audience numbers by helping you to identify potential partnerships and cross-promotional opportunities. Provides real Information for staff, government bodies and funders – audience research can be a useful, impartial way of presenting information to staff, funding authorities or boards about your services, facilities or future plans.
- Social media is about Collaboration, connections and participation Starting conversations increasing your profile globally Connecting with your audience Not about direct selling Conversations are two ways – be generous with your involvement Don’t expect to see results right away – it takes time to build a presence. Make sure you have a plan, don’t do it because you can, think about why, what is your reason for using social media? And importantly how will you dedicate the time to it?