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Audience Insight Wales

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by

Ioanna Zar

on 12 June 2016

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Transcript of Audience Insight Wales

Attribution
Perception
of benefit
Decision
Experience
Perception
of benefit II
Motivation
Barriers
Participation &
Evaluation
Motivation
Barriers
Decision II
Experience II
Participation &
Evaluation
Demographic

Personality
Factors

Social / Cultural
Identity
Age
Young people
Life Changing Group
Middle Aged people
(Mature Stabilised)
Elderly
HE student
non-HE student
higher status
middle status
lower status
higher / middle
relatively low social status
Demographic Segmentation
Influential factors
Social needs
Time Pressure
Price
Community Influence
Identity
Self-promotion
Entertainment
Art Interest
Crossover potential (art form)
Art Knowledge
Fame (work/star)
Familiarity with venue
Age
Young people
Life changing group
Middle aged people
(Mature Stabilised)
Elderly
HE student
non-HE student
higher status
middle status
lower status
higher / middle
relatively low social status
Group 1: Network young people
Group 2: Life changing young people
Group 3: Middle-status middle-aged people
Group 4: Lower-status middle-aged people
Group 5: Community proud group
Lapsed -
Occasional
Attenders
Not currently engaged
Some engagement
Highly engaged
Group 1: Network young people
Group 2: Life changing young people
Group 3: Middle-status middle-aged people
Group 4: Lower-status middle-aged people
Group 5: Community proud group
Network Young People
Life-changing Young People
Middle-status middle-aged
Lower-status middle-aged
Community Proud Group
Jane
Sex: Female
Age: 24
Job: Student
Education: E-business Management, Warwick University
Location: Warwick Campus
Family: Single
Engagement rate: Some engagement
Motivations
Socialisation: Friends
Entertainment
Trends & reputation

Barriers
Price-sensitive

Other characteristics
18-34
Highly risk-tolerant
Omnivores potential
Social media
Carrie
Sex: Female
Age: 32
Job: Human Resources
Education: Human Resources, Birmingham University
Location: Birmingham
Family: Married (with a 3year-old child)
Engagement rate: Some engagement
Motivation
Socialisation: Friends & colleagues
Entertainment
Trends & reputation
Self-promotion
Identity enhancement

Barriers
High time pressure -work, family, children
Less financially capable

Other characteristics
24-34
Kate
Sex: Female
Age: 42
Job: Customer service manager
Education: Management, University of Manchester
Location: Manchester
Family: Married (with a 15year-old boy and a 10year-old girl)
Engagement rate: Some engagement
Motivations
Family
Socialisation: Friends & colleagues
Identity enhancement
Entertainment
Reputation, quality & service

Barriers
High time pressure

Other characteristics
35-55
Relatively financially capable
Omnivores Potential
Rowen
Sex: Male
Age: 45
Job: Taxi driver
Education: High school diploma
Location: Birmingham
Family: Married (with a 10year-old boy)
Engagement rate: Little engagement
Motivations
Family
Socialising: Friends
Community
Self-improvement
Entertainment
Trends & reputation

Barriers
High time pressure
Less financially capable

Other characteristics
Less risk-tolerant
(Blockbusters/ Faith and families)
(Blockbusters/ Faith and families)
(Network young people /Blockbusters)
(Network young people / Blockbusters)
Jamal
Sex: Male
Age: 42
Job: manager
Education: University of Liverpool
Location: Liverpool
Family: Married
Engagement rate: Some engagement
Motivations
Family
Community: Religion & ethnic traditions

Barriers
Less risk-tolerant

Other characteristics
Content oriented
(Blockbusters/ Faith and families)

Community proud group
Observed
Common Patterns
Socialising : Friends
Family
High-time pressure
Entertainment
Trend and reputation
Community
Cost
Lapsed -
Occasional
Attenders
Not currently engaged
Some engagement
Highly engaged
Outline
1. Who are they?
Audience Insight Wales
Freda Li
Arata Nakashima
Meng Sun
Chen Yang
Jamie Yu
Ariel Yu
Ioanna Zarmpala

Outline
Decision
Negative
Experience
+
Practical
Obstacles
New Stimulus
No New Stimulus - "nothing for me"
2. Why don't they come back?
3. How can we increase
frequency?


Outline
Introduction
Discussion
Lapsed Attenders
Purchase tickets
in one year but
not the next
Purchase tickets
for just one
event
52% 54% £3.5 million
Occasional Attenders
42% 51% £1.4 million
2012/13 2014/15
2012/13 2014/15
Price by itself won't work
Price can be a barrier....
...but audiences care about the perceived value not just cost
"I don't go mainly because it is too expensive"
"I would go if it was less expensive"
6%
18%
Price
Strategies
Added-value
Strategies
i.e. For the needs of socialisation,
a "three for two" ticket discount will guarantee better results than a "pay once, watch two shows"
Empowering your audiences
Flexibility
Customisation and quality of information
Right Medium for targeted information
Enhancement events: discussion/ social sessions
Loyalty rewards
Creating perpetual relationships with your customers
Flexibility of event structure
Break events into more sections
Allow the audiences to decide which parts to attend
easy entrance -exit:
seating areas close to the door
Flexibility of tickets
Change-the-date tickets or
possible cancellation, with a reasonable fee
ie. air companies, hotel bookings
Comprehensive information about upcoming events
Simple language
Preview pictures
Trailers
Background information
Diversity of used media for targeting information
Not only social media...
Information during event intervals
Promote similar events to those taking place
Empowering your audiences
Creating perpetual relationships
partner-up with other organisations
entertaining events that encourage the local community to attend
offer people opportunities to socialise
invite the cast to share stories behind the scene
points of collection to encourage purchases
set expiry dates to the collection to strengthen the results
Partnerships for the organisation of events/workshops
Negative Experience - "not for me"
B. Program
Practical Obstacles - "difficult for me"
B. Cost constraints
Taking Part survey (commissioned by DCMS, Arts Council England, English Heritage, the Museums, Libraries and Archives Council, and Sport England) in 2005–06

Art Council Wales (2010) Arts in Wales 2010: Attitudes, attendance and participation
Volume 1 - Overall report of survey findings July 2010, p34-35
No New Stimulus - "nothing for me"
B. Lack of social stimulus
Facilities
Staff attitudes
Practical Obstacles - "difficult for me"
A. Time
30%
Taking Part survey (commissioned by DCMS, Arts Council England, English Heritage, the Museums, Libraries and Archives Council, and Sport England) in 2005–06

National Endowment for the Arts (2015) When Going Gets Tough: Barriers and Motivations Affecting Arts Attendanc. NEA Office of Research & Analysis:Washington, DC, p33
Negative Experience - "not for me"
A. Service
Overall dissatisfaction with the shows
Lack of time
Unwillingness to commit in advance
Geographical
difficulty
19%
18%
Not given necessary information
A. Not interested in programs
Information failed to reach costumers
No selected information
Ineffective messaging
The quality of the content
Friends or Family
Unfriendly seating plan
view
leg room
Sound system:
Technical troubles
Screen size and proportion
Social space
Box office assistants
stewards
Generally good enough
Increases the value of
attendance
Art forms
visual art
contemporary dance
Knowledge & further explanation
of the content
Evaluation
content quality
chapters, breaks
admission and departure of audience
Impact on
repeating purchasing
trust & commitment
Very busy
or
No time for art events
i.e. Parents busy with children
Avoid scheduling in advance
i.e. unsure about the timetable and mood a month afterward
A. Distance - time concern
i.e. 1:30h for the show
2h on the way
B.Transportation - inconvenience
i.e. infrequent bus service
Price sensitive
"I have less money to spend on leisure than a year ago"
"Value for money is a high priority when deciding on leisure time"
58% Welsh
82%
Practical Obstacles - "difficult for me"
B. Cost constraints
Taking Part survey (commissioned by DCMS, Arts Council England, English Heritage, the Museums, Libraries and Archives Council, and Sport England) in 2005–06

Art Council Wales (2010) Arts in Wales 2010: Attitudes, attendance and participation
Volume 1 - Overall report of survey findings July 2010, p8

Maitland, H. (nd) London symphony orchestra developing young professionals
Possibility
Not real but perceived barriers
Not enough stimulus
for arts as a primary leisure option
Unsure about the information
i.e. name of the artists, "vibrant", "stylish" (?)
far from understandable
i.e. "written by clever people for other clever people who are equally in the know"
wordy and no key points
limited
attention
Many shows on the same period
Hard to chose when they are all "averagely good"
No frequent information for infrequent attenders
No information on the media platforms the audiences are using
72 % of adults believe
socialising to be their key motivation for attending
Barriers
Motivation
Experience
Perception
of benefit II
Participation &
Evaluation
Motivation
Barriers
Negative Experience
Practical Obstacles
No New Stimulus
A. Lack of Time
Key Points to Remember
Price strategies alone won't work

Empowering your audiences
Offering flexible choices
Customisation using quality information
Using the right media to target each group

Building relationships
Partnerships for organising events
Enhancement events - offering discussions or social sessions
Loyalty cards
Yoshitomi, Gerald D. (2002) Engage now!. Heinz Endowments: Pittsburgh. pp7
Brown, A. and Baker,T. (2010) Invisible diversity: a master class on emerging practices in audience segmentation: behavioural segmentation. Wolf Brown: San Francisco. pp13,
E. Garbarino & M. S. Johnson (1999) The Different Roles of Satisfaction, Trust, and Commitment in Customer Relationships. Journal of Marketing. pp 75,78,81

Yoshitomi, Gerald D. (2002) Engage now!. Heinz Endowments: Pittsburgh. pp25
Neill, T. Orme, E. 2006. Walk-ups, advance bookers and non-bookers. Arts Councils: England, Wales, Scotland and Northern Ireland
Boyle, P and Flowerdew, R. (2010) Geographic Analysis of Culural Consumption, Orian Brook, School of Geography & Geosciences University of St Andrews.
Baker, T. and Maitland, H. (2002) Profile of dance attenders in Scotland: section three: Qualitative research report. Scottish Arts Council: Edinburgh, p23-24
Baker, T. and Maitland, H. (2002) Profile of dance attenders in Scotland: section three: Qualitative research report. Scottish Arts Council: Edinburgh, p26

Desmeules, R. (2002) The impact of variety on consumer happiness: marketing and the tyranny of freedom, Academy of Marketing Science Review
National Endowment for the Arts (2015) When Going Gets Tough: Barriers and Motivations Affecting Arts Attendance. NEA Office of Research & Analysis: Washington, DC pp 9, 15
National Endowment for the Arts (2015) When Going Gets Tough: Barriers and Motivations Affecting Arts Attendance. NEA Office of Research & Analysis: Washington, DC pp10
Ings, Richard. ed. (2007) Call It a Tenner: the Role of Pricing in the Arts. Arts Council England: London.
Fujian Grand Theatre. (2016) Upcoming performance of Spanish opera Queen: Laura Alonso Padin [Online Available] from: http://www.fjdjy.com/fjdjy/contents/3/393.html
Silk, Yael Zipporah. and Fischbach, Jordan Raphael. (2007) Characterizing program enhancement events. Value & Impact Study Supplementary Research. Wolf Brown: San Francisco.
Australia council for the arts. (nd) Strategic loyalty and relationship marketing –translating relationships into real value. Australia council for the arts: Surry Hills.
Arts Council England (2008) Arts Audiences: Insight
Arts Council England (2008) Arts Audiences: Insight
Alan S. Brown(2007)A SEGMENTATION MODEL FOR PERFORMING ARTS TICKET BUYERS

T. W. Chan & J. H. Goldthorpe (2007) The Social Stratification of Cultural Consumption: Some Policy Implications of a Research Project. Oxford: Oxford University Press

National Endowment for the Arts (2015) When Going Gets Tough: Barriers and Motivations Affecting Arts Attendance. NEA Office of Research & Analysis: Washington, DC

Brown, A. and Baker,T. (2010) Invisible diversity: a master class on emerging practices in audience segmentation: behavioural segmentation Wolf Brown: San Francisco.

Neill, T. Orme, E. 2006. Walk-ups, advance bookers and non-bookers. Arts Councils: England, Wales, Scotland and Northern Ireland

Lee, S. 2007. Additional Insights on Donors, Ticket-Buyers & Audiences. Value & Impact Study Supplementary Research. Wolf Brown: San Francisco
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