A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services.

A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services Final Report:18 th Sept 2006

Participation in the Arts Research, 2006Page 2 CONTENTS SectionPage No. Background, Objectives & Methodology Online Survey Sample and Breakdown Key Models from the Qualitative Research 1.Regular Past-times and Participation in the Arts 2.Information Sources for Arts Events 3.Lead Times, Ticket Purchasing and Pricing 4.Venue Awareness, Experience and Perceptions 5. Promotional Materials – Findings from Qualitative Focus Groups 6. Segment Profiles Overall Conclusions & Recommendations Appendix 1: Qualitative Research Conclusions Appendix 2: Demographics Appendix 3: Additional Demographic Splits 3 9 13 17 26 39 49 76 84 91 101 111 116

Overall Background, Objectives & Methodology

Participation in the Arts Research, 2006Page 4 BACKGROUND This research was commissioned to help Arts Queensland build a body of knowledge about the Arts participation habits and preferences of the Queensland public. This research was intended to complement an earlier report commissioned by the Australia Council (prepared by Saatchi & Saatchi in 2000), which looked at the Australian publics attitudes to the Arts and their Arts participation habits. The Australia Council report proposed that (within Australia) there are five segments in terms of Arts Participation, as follows: –The Arts Lovers – High consumers and/or patrons of the Arts who could not increase their already heavy involvement. –The Satisfied – Those who are perfectly happy with the state of the Arts, who have set participation levels and on this basis will not increase their involvement. –The Interested – Individuals with busy social lives, who enjoy incorporating some arts activities in their schedule. This group would go to the Arts more if it suited their regime/needs better. –The Disinclined – Those who are doubtful about the personal or social relevance of the arts and who face strong practical barriers to participation. They do not have major attitudinal objections to the Arts and indeed may value their contribution to society, but do not view them as a priority activity. –The Disengaged - Individuals who feel no engagement with the Arts and view them as personally and culturally irrelevant to their lives. They are unlikely to develop any connection with the Arts. The overarching aim of the current research was to identify the characteristics, thoughts and feelings of the Interested and Disinclined segments in Queensland, as these are the groups that are most likely to increase participation, if the Arts can be delivered in a way that tackles their particular barriers to participation.

Participation in the Arts Research, 2006Page 5 A two stage research project was undertaken during the period May-August 2006. The first stage was 6 focus groups – 5 in Brisbane and 1 in Cairns. The second stage was an online survey of a representative panel of Queenslanders. –The specification for the sample included in both the focus groups and the survey was that respondents could be identified as being from the Interested or Disinclined segments as defined in the Australia Council’s 2000 “Australians and the Arts” Australia wide survey. –It was also a specification that respondents were not already heavy participants in the Arts. –The qualitative stage of the project aimed to profile the characteristics of these segments as they are particular to Queensland. The discussion during the focus groups was guided to uncover whether particular barriers and triggers to participation in the Arts are experienced in Queensland and to identify what perceptions or experiences people have around major arts venues in Brisbane. –Another aim was to discuss peoples’ views of promotional strategies and ticketing for the arts, as well as looking at how they normally source information about entertainment. –The major objective of the following quantitative stage of the research was to confirm and consolidate the qualitative findings, providing a stronger basis for inference upon which strategies for targeted promotion of the Arts in Queensland could be based. –During the quantitative stage, 429 persons across five locations in Queensland were surveyed (see page 10 for sample specifics). –The quantitative survey was designed to probe further into certain areas - such as use of information sources or how barriers and triggers are experienced on a venue by venue basis – to provide more immediately actionable information that Arts Queensland can use as a basis for developing strategies to promote the Arts to the Queensland public. BACKGROUND

Participation in the Arts Research, 2006Page 6 The overall aims of the research were to:  Identify general attitudes towards the arts and seek to establish how similar Queenslanders’ attitudes towards participation in the arts are to those of the general Australian population, in order to establish the generalisability of the Australia wide research findings to Queensland.  Identify gaps in knowledge regarding what Arts Queensland venues do; namely, the range of venues in existence and the range of arts on offer.  Identify perceived applicability of events/performances to individuals, particular age groups or families.  Explore barriers that restrict participation.  Explore views about what could increase participation. A number of objectives were explored in the qualitative research only. Namely:  Identify the effectiveness of current promotional materials, for example;  Are events advertised so as to seem important in terms of personal identity and development or to seem culturally (or sub-culturally) relevant?  Is the impression of promoted events that they are high-brow or that they are accessible?  Are the right aspects of the event emphasised – can people find information important to them?  Elicit suggestions for improving the types of promotional material currently used in a way that could combat the barriers to participation perceived by the various cross sections we involve in discussion. RESEARCH AIMS AND OBJECTIVES

Participation in the Arts Research, 2006Page 7 The specific aims of the Quantitative stage were:  To quantify the breadth and depth of participation in the Arts by querying participation in regular spare time activities and general experience of the arts.  To quantify what sources of information respondents use to find out about arts events and to quantify how these sources are used e.g. specific sections of a newspaper or specific entertainment radio or TV shows. Also, to quantify which sources are preferred so that Arts Queensland can identify the most appropriate channels to reach these people.  To investigate perceptions of pricing for different kinds of events to quantify any misperception about cost, as the perceived cost of participating in the Arts (or more accurately – whether the Arts offer value for money) emerged as one of the more significant barriers to participation during the qualitative stage of the research.  To investigate how and where people purchase tickets for the Arts and how they would like to do so.  To quantify general awareness and attendance at various venues in Brisbane and in regional Queensland, amongst these segments.  To assess actual experiences or perceptions of venues established in Brisbane, versus perceptions and experiences of venues in Regional locations. RESEARCH AIMS AND OBJECTIVES

Participation in the Arts Research, 2006Page 8 OVERALL RESEARCH STRATEGY Project Planning Qualitative Research Stage: 6 Focus Groups 2 x Interested Segment; Brisbane Metro (1 x 18-30yrs; 1x 31-60yrs) 3 x Disinclined Segment; Brisbane Metro (1x 18-30yrs; 1x31-45yrs; 1 x 46-60yrs) 1 x Mix Interested and Disinclined; Regional (Cairns; 25-45yrs) Presentation and Quantitative Survey Development Online Survey: n= 429 Sample Specifications 50:50 Brisbane Metro: Regional QLD Respondents Split between Interested and Disinclined Segments Representative Spread of Age, Gender and other demography Final Report and Presentation The majority of this report is based on the quantitative stage, as quantitative research provides inferential power to draw conclusions about the general population, whereas qualitative research does not. The qualitative stage provided findings upon which the quantitative stage was based. Generally, the qualitative stage then gave insight as to what lies behind the findings of the quantitative stage. However, it happens that differences may still exist between qualitative and quantitative findings. Where differences exist they are discussed in the body of the report. All research is used to interpret the quantitative findings and to draw final conclusions & recommendations. Where conclusions are based upon qualitative research - which has no inferential power – it is clearly indicated in the section header. The conclusions and recommendations from the qualitative research can be found in Appendix I.

Online Survey Sample Breakdown

Participation in the Arts Research, 2006Page 10 Location:Total n=429* Brisbane216 Cairns55 Rockhampton55 Mackay53 Townsville50 SAMPLE PROFILE – Total Sample Segments:Total n=429 Interested266 Disinclined163 * Total Surveys commenced incl. respondents screened out = 829 Age Group (yrs)Total n=429 18-2428 25-2940 30-3447 35-3967 40-4443 45-4951 50-5445 55-5952 60-6433 65-7015 70 or over8 GenderTotal n=429 Male130 Female299

Participation in the Arts Research, 2006Page 11 OVERVIEW: SAMPLE BREAKDOWN BY SEGMENT InterestedDisinclined Location Brisbane52%48% Regional48%52% Age 18-2918%12% 30-4433%43% 45-5938%29% 60 and above11%16% No. Arts Events Attended 026%56% 132% 2 11% 3 1% Mean value of of Arts in… (1-10 scale) Personal life65 Society76 Proportion of respondents per segment was balanced between the Regional areas and Brisbane Metro. A significantly higher proportion of the Disinclined segment were in the 30-44 year age group. Those who attended more than 3 arts events were screened out of both stages. Still, significantly higher proportions of the Disinclined had attended less Arts events in the last quarter than the Interested. Disinclined assigned a significantly lower mean value to the Arts, in personal life and in society, than the Interested. Based on the totality of findings from the research, we know that certain demographic factors play a role in segment inclusion and we suspect that inclusion in one segment or another is fluid depending on life stage.

Participation in the Arts Research, 2006Page 12 NOTES ABOUT INTERPRETATION: The major aim of the research was to investigate the Arts participation habits of the Disinclined vs. Interested segments and to explore the triggers and barriers to participation experienced by these segments. However, certain parts of the report e.g. Use of information sources and general satisfaction with Arts venues, explore the data on a region by region basis, as this split provided a more appropriate basis for future development of Arts promotion strategies. Throughout the report, where an area is explored by region, or segment, the results have been tested for statistical significance. Where differences are significant a red circle is used to highlight this fact Section 4 looks at awareness of and attendance at, venues around Queensland. It also deals with perceptions and experiences of venues around Brisbane and at a regional aggregated level. Significant differences are circled in red EXCEPT where the slide deals with a mixed positive-negative scale. In this case significant differences are circled in green where they are more positive and in red where they are more negative. The purpose of this is to try and distinguish between a significantly more positive experience/perception and a significantly more negative experience/perception. This will become clearer when looking at the charts!

Key Models from the Qualitative Research

Participation in the Arts Research, 2006Page 14 ARTS RISK MODEL & OVERALL STRATEGY Financial Risk Social Inclusion Risk Practical Risk Enjoyment Risk HIGHEST RISK LOWEST RISK Arts Lovers SatisfiedDisengagedInterestedDisinclined Cost risk occurs where there is enjoyment or social or practical risk involved in participation e.g. Having the right clothes to wear; Not understanding what everyone is talking about; Being culture specific e.g. Being able to find food or parking close by; Having to travel further than for local entertainment; Getting wet. e.g. Unfamiliarity with the genre or the Subject matter – may not like it or companions may not like it Prepared to accept more riskPrepared to accept less risk Several major areas of risk which impact on the decision to participate and general feelings about the Arts were identified at the Qualitative stage. Across segments these have varying levels of influence.

Participation in the Arts Research, 2006Page 15 Individual Activity High Risk Low Risk Social Activity Low risk, Individual Activity: Activities in which people can engage alone. They are free or cheap to do, are not socially elite and are practically accessible i.e. open during the day and conveniently located. Low risk, Social Activity: Activities in which people engage with a strong social purpose, but which are free or cheap to do. They are not socially elite and are practically accessible i.e. open during the day and conveniently located. High Risk, Social Activity: Activities in which people engage to socialise and be highly entertained. They are probably expensive, they may be socially elite or have unfamiliar subject matter. The organiser might feel pressure that their companions do not like the event. They may be less practically accessible i.e. unsuitable timings with limited parking. High Risk, Individual Activity: Generally introspective; people may choose to engage in these alone and they are artistically challenging. Social risk is high, there is pressure to understand the message in the display or the views of the people who are there. Practical risk may be moderate. Venues accessible i.e. open during the day and conveniently located. ARTS AND ENTERTAINMENT RISK MODEL Based on the types of risk associated with the arts and entertainments discussed, the risk model can be broken into the following four sectors:

Participation in the Arts Research, 2006Page 16 Individual High Risk Low Risk Social Library Art Exhibitions Rock Concerts Theatre Pub Ballet OperaExhibition Opening Sports Museum Volunteer work New Media Installations Comedy Show Outdoor Arts Festival Musicals ARTS AND ENTERTAINMENT RISK MODEL INCORPORATING ACTIVITIES Based on the qualitative research the risk levels Queensland respondents associated with different types of Arts and entertainment or activities were as detailed below. These activities and types of venue were then explored further in the quantitative research.

Section 1: Regular Pastimes & Participation in the Arts

Participation in the Arts Research, 2006Page 18 REGULAR ACTIVITY - TOTAL SAMPLE The overall tendency, identified at both qualitative and quantitative stages, was for persons from both segments to participate more in ‘low risk’ entertainments or activities. That is, activities which involve less cost, are more entertaining than ‘challenging’ and which are accessible to a broad cross section of society, or populist. Q6. What sorts of things do you do on a regular basis for entertainment or to pass spare time? N=429

Participation in the Arts Research, 2006Page 19 The trend in past time activity is almost identical between segments. Although, the Interested segment are significantly more likely to take part in certain activities. In terms of non-Arts activities, the Interested are more likely to take part in outdoor activities and go to markets, the cinema or free events. REGULAR ACTIVITY- BY SEGMENT Q6. What sorts of things do you do on a regular basis for entertainment or to pass spare time? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 20 This chart also shows how many respondents rated doing certain activities regularly. The trend across segments is still similar – as the ‘arts’ becomes the ‘Arts’, participation across both segments decreases. However, the Interested segment are significantly more likely to report taking part in a larger range of almost all Arts activities on a regular basis. This theme was very consistent throughout the research. It should be noted that the only activities on this chart that are not significantly more participated in by one segment over another, are Opera, Ballet and art classes. Q6. What sorts of things do you do on a regular basis for entertainment or to pass spare time? N=429 Significant Diffs REGULAR ACTIVITY (cont.)-BY SEGMENT

Participation in the Arts Research, 2006Page 21 Over the last 12 months, respondents from the Interested segment were significantly more likely to have participated in an Arts event than those from the Disinclined segment. Across both segments, all respondents were more likely to report having participated in a populist or ‘low risk’ arts event than in the Higher arts. This again is consistent with the findings from the qualitative research. However, the proportion of each segment that reported participating in each kind of Art event was still relatively low, peaking at 49% for live band performances in the Interested segment and dropping to 0% for attendance at Opera in the Disinclined segment. ARTS PARTICIPATED IN OVER THE LAST YEAR - BY SEGMENT Q7. Please indicate which types of arts events or activities you have attended or been involved in over the last year…. N=429 Not Significant – all other results are significantly different Note: On this page only NON-significant differences are marked as the majority of differences are significant.

Participation in the Arts Research, 2006Page 22 REGULAR ACTIVITY - BY REGION The trend for spare time activity is also similar across regions. The only activity that showed significant difference dependent on region was going to the cinema, with Brisbane respondents being more likely to regularly go to the cinema. From a strategic point of view, segment profiles are much more relevant therefore, than geographic location for arts promotion purposes. Q6. What sorts of things do you do on a regular basis for entertainment or to pass spare time? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 23 REGULAR ACTIVITY (cont.)- BY REGION Again, across regions, similar patterns were reported in the arts activities respondents regularly take part in. Respondents from the Brisbane area were significantly more likely to report going to a museum or art gallery regularly. Overall, there is no great difference in arts activity by region, when compared to the sizeable differences between segments. Q6. What sorts of things do you do on a regular basis for entertainment or to pass spare time? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 24 Once again, Patterns of participation in the Arts are highly similar regardless of region. Only significant differences are marked here. The exceptions are attendance at outdoor festivals and free arts events, which a significantly higher proportion of regional residents report attending. Q7. Please indicate which types of arts events or activities you have attended or been involved in over the last year… N=429 Significant Diffs ARTS PARTICIPATED IN OVER THE LAST YEAR - BY REGION

Participation in the Arts Research, 2006Page 25 PASTIMES & PARTICIPATION SUMMARY There is a significant divergence between the segments in terms of the arts activities that are included as part of their regular spare time activity. This confirms the finding from the qualitative stage that the Disinclined are less likely to spontaneously include arts activities in their list of spare time activities. The Interested segment are significantly more likely to have taken part in a broader range of Arts activities over the last year than those in the Disinclined segment. This finding also supports the finding from the qualitative stage that the Interested were more likely to try out Arts events even if participation was not a regular occurrence. In other words, the depth and breadth of the Interested segments participation in the Arts overall is broader than that for the Disinclined. At the qualitative stage of the research a risk model was developed to encompass the factors that dictate participation in the Arts across the segments (see Section 5: Conclusions and Recommendations for a shortened version of this model). The qualitative stage defined the Higher Arts – Opera, Ballet and Classical Music – as extremely high risk artforms, given that they are niche and tend to social exclusivity. Conclusions from qualitative stage were that those in the Interested segment tolerated a higher level of risk overall with regards to Arts participation (i.e. were less susceptible to the barriers of perception of social elitism, cost, risk of not enjoying the event) than the Disinclined segment, as they demonstrated more positive attitudes to many artforms. However neither segment would tolerate the high levels of risk associated with the higher/niche Artforms. The data collected in the quantitative stage of the research supports this hypothesis. With regard to the higher Arts, there is little divergence between the segments in terms of the breadth of participation over the last year, or in regularity of participation. Further, both segments nominated the higher Arts as something they did least regularly and the also as the artforms they had participated in least over the last year. Tests for difference between Brisbane Metro data and Regional Data showed that there is no difference in the proportion of each segment who participate regularly, or who have participated over the last year, in the arts depending on location. However, those in a regional areas are significantly more likely to include outdoor festivals and free activities in their repertoire of regular activity, whereas those in the city are more likely to go to the cinema. Both these findings may be explained in terms of the proximity and visibility of these offerings in the relevant region.

Section 2: Information Sources for Arts Events

Participation in the Arts Research, 2006Page 27 INFORMATION SOURCES BY SEGMENT Those in the Interested segment are considerably more likely to access a wider range of information sources and to gather information more proactively e.g. they are more likely to pick up flyers in cafes, see information at venues they are at already or to seek information from websites. This indicates that there are different channels that could be used to maximise awareness of events for the different segments. This divergence in use of communication channels also applied across Regions. Q8b. Where do you normally find information about arts events and activities? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 28 INTERESTEDDISINCLINED Despite some differences in the breadth of information sources used by the Interested vs. the Disinclined segments, there is general overlap in the sources they would like to use for arts and entertainment information. While the Interested are more likely to use websites to find information, both segments can be accessed via local papers, radio and television. In this case, we included publications like City News and Brisbane News in ‘Local papers’ to compile Brisbane Residents responses. As shown in the previous slide, word of mouth was a key information source used by both segments however the preference for this form of communication was relatively low. PREFERRED INFORMATION SOURCES – BY SEGMENT Q9. Of these sources, which is your preferred source or the one you use the most? N=No. who nominated each source as one they used

Participation in the Arts Research, 2006Page 29 INFORMATION SOURCES - BY REGION Regional Queenslanders reported using local papers, TV and Radio significantly more as sources of information about Arts and entertainment, while those living in the Brisbane metro region reported using email newsletters or websites more as a source of information. The differences between regions mirrored the trends between segments. We found that segment profiles change slightly in response to the effect of location i.e. the Metro Disinclined use more “Interested” sources and the Regional Interested use more “Disinclined” sources. Q8b. Where do you normally find out about arts events and activities? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 30 The charts above demonstrate the top 5 preferred sources of information for Arts and entertainment events by region. The trend for preferred sources closely mirrors the actual sources respondents reported using. For all regions the local paper/ suburban newspaper is the most preferred method. Brisbane residents have a greater preferences for sourcing information from a website, while those in regional areas have a greater preference for radio and TV. REGIONAL N=213 BRISBANE N=216 PREFERRED SOURCES OF INFORMATION - BY REGION Q9. Of these sources, which is your preferred source or the one you use the most? N=No. who nominated each source as one they used

Participation in the Arts Research, 2006Page 31 USE OF INFORMATION SOURCES - Television Significantly more people in Regional areas use Television to access entertainment information than those in Regional Queensland. The charts to the left and right show where (on the TV) people find the information in question. BRISBANE n=92 TOTAL SAMPLE N=429 REGIONAL n=114 48% 52% 54%46% 57%43% BRISBANE n=92REGIONAL n=114 Q8h. Where do you find information about the Arts on TV? Significant Differences

Participation in the Arts Research, 2006Page 32 USE OF INFORMATION SOURCES - Websites Significantly more people in Brisbane use websites to access information than those in regional Queensland. Of the websites used, the charts to the left and right show the top 5 nominated by region. There are significant differences in the use of certain websites, but this is clearly due to the location of the events that are advertised on the relevant websites. BRISBANE n=86 TOTAL SAMPLE N=429 REGIONAL n=48 31% 69% 23%77% 60%40% Q8f. Which websites do you use for information? Significant Diffs

Participation in the Arts Research, 2006Page 33 USE OF INFORMATION SOURCES - Radio Significantly more people in Regional areas use Radio as a source of information than those in Brisbane metro. The charts to the left and right show that there are similar trends in the way the Radio acts as a source of information across the regions. BRISBANE n=73 TOTAL SAMPLE N=429 REGIONAL n=103 41% 59% 48%52% 66%34% Q8g. Where do you find information about the Arts on the Radio? Significant Diffs

Participation in the Arts Research, 2006Page 34 USE OF INFORMATION SOURCES - Newspapers Regional Daily N=46 Courier Mail** N=86 22% 78% 40% 60% Q8h. Where do you find information about the Arts in the [Regional Daily/Courier Mail]? Significant Diffs

Participation in the Arts Research, 2006Page 35 USE OF INFORMATION SOURCES – Word of Mouth There is more use of word of mouth as an information source for the Interested segment and within the Brisbane Metro region. It is currently viewed as one of the most powerful sources of promotion for a brand or product and (as a medium conducive to arts promotion) given it’s significance amongst channels of communication about the arts, may be an important consideration for Arts organisations. For the Interested segment, word of mouth information is received equally by face to face/ telephone conversations and by e-mail. For the Disinclined segment there is slightly more reliance on word of mouth information being passed on through face to face/ telephone conversations. However, once again, there is more overlap than not. From those who said word of mouth at Q10: Significant Diffs

Participation in the Arts Research, 2006Page 36 COMMUNICATING SPECIAL OFFERS –BY SEGMENT Overall the preference trends for channels of communication for special offers by segment were similar. There were some significant differences in the proportions of respondents who preferred certain channels of information. The Interested segment had a greater preference for e-mail newsletters and those in the Disinclined segment had a stronger preference for the local paper, however this was still the number one preference for the Interested segment. Q10. How would you like to find out about special Arts event offers e.g. Ticket and meal deals? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 37 COMMUNICATING SPECIAL OFFERS –BY REGION There were some significant differences in the proportions of respondents by region who preferred certain channels of information. There was a stronger preference for the local paper and posters or billboards in regional areas, while Brisbane residents preferred websites, e-mail or the Courier Mail. However it should be noted that while Regional residents had a stronger preference for the local paper, this was still the most preferred method for receiving information regarding special offers for Brisbane residents. Q10. How would you like to find out about special Arts event offers e.g. Ticket and meal deals? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 38 INFORMATION SOURCES SUMMARY There are significant differences between the segments and the Metro vs. Regional areas in terms of proactive vs. reactive use of information sources. The Interested segment are significantly more likely than the Disinclined segment to use several sources for information about arts events and activities. No one source is exclusively in use by either segment and across both segments the Local paper is the primary source of information. The Interested segment make significantly more use of proactive sources of information such as websites, email, word-of-mouth communication, finding information at venues, and picking up flyers in cafes. Of their preferred channels for communicating special offers email newsletters and emails from friends both feature. Based on findings from the qualitative research, this may be due to these being trusted sources and also social conduits. Brisbane Metro residents (similar to the Interested segment) were more likely to rely on electronic means of communication and on email newsletters and websites, whereas those from Regional areas report using traditional media significantly more, such as TV, Radio and local papers. In regional areas people were also significantly more likely to rely on billboards or see advertisements outside venues. In terms of communicating special offers the Interested segment and Brisbane residents were significantly more likely to prefer email newsletters. Whereas the Regional and Disinclined were significantly more likely to opt for communication via local papers. There is some overlay between segment and location - that is, the Disinclined in Brisbane Metro are slightly more likely to use electronic means, whereas the Interested in a Regional area are slightly more likely to use traditional sources. This should be a consideration in any promotional effort that is segment based. Advertisements accounted for most of the information all segments received from Radio or TV. Regional residents report using general advertisements most but Courier Mail readers (nearly all Brisbane Metro) were more likely to use the Weekend Entertainment section. Ticketek was the most heavily used website across the Regions. Regional residents were more likely to use Venue websites for information and people in Brisbane Metro using generic sites including OurBrisbane, QTIX and Citysearch significantly more.

Section 3: Lead Times, Ticket Purchasing & Pricing

Participation in the Arts Research, 2006Page 40 Overall, the stated lead times are fairly short for most Arts events. The majority of events are decided upon and attended within three weeks. There is no difference between segment or region in terms of lead time. The events that have a longer lead time are perhaps more costly and logistically demanding. Lead times are significant in terms of timing the advertising relating to these events - see qualitative conclusions also for more discussion of this topic. LEAD TIMES – TOTAL SAMPLE Q8a. How long passed between your deciding to got to the event and your actual attendance at it? (N=SEE X AXIS)

Participation in the Arts Research, 2006Page 41 BUYING TICKETS – BY SEGMENT Q11b. Once you have decided to go to a ticketed event how do you normally look for, or obtain, tickets for it? N=429 The Interested and Disinclined segments generally purchase tickets from the same sources. However, there was some difference - the Interested segment being significantly more likely to report using third party sales offices or websites to purchase tickets. This could be related to the Disinclined having less familiarity with these sources, thanks to more limited attendance at events generally, or to their tendency to attend events opportunistically. Significant Diffs

Participation in the Arts Research, 2006Page 42 PREFERRED TICKET PURCHASE SOURCES – TOP 5 - BY SEGMENT DISINCLINED INTERESTED The trend in preferred ticket purchase sources closely mimics the trend for actual purchase sources. Only the proportion whose preference to use a third party ticket sales office was significantly different between the segments, but the overall proportions who chose to use this source was still relatively small. Q12. How would you prefer to obtain tickets given a choice? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 43 TICKET PURCHASE SOURCES – BY REGION Q11b. Once you have decided to go to a ticketed event how do you normally look for, or obtain, tickets for it? N=429 The trend for purchasing tickets is similar for across regions, although a significantly greater proportion of regional respondents called event specific lines and paid at venues in advance. This may be related to the higher use of billboards and posters as a source of information and to more convenient proximity of venues in smaller regional centres. Significant Diffs

Participation in the Arts Research, 2006Page 44 PREFERRED TICKET PURCHASE SOURCES – TOP 5 – BY REGION BRISBANE N=216 REGIONAL N=213 The trend in ticket purchasing behaviour is closely followed by the trend for preferred ticket purchase sources. There are some significant differences in the proportion of regional Queensland and Brisbane Metro residents who nominate using event specific websites, but these are still the most preferred options in both areas. Significantly more regional residents would like to pay at the door in advance, again this may be due to the proximity of venues in regional areas. While significantly more people in Brisbane would like to buy tickets from a third party website, the overall proportion of people who chose this as an option is relatively small (19% of 216). Q12. How would you prefer to obtain tickets given a choice? N=429 Significant Diffs

Participation in the Arts Research, 2006Page 45 Respondents were asked to estimate what range they thought the price of a single adult ticket to certain types of events cost. The chart above shows the percentage of those who over and under estimated the price of a ticket for each type of event. Results for the Arts are mixed – people tend to over estimate the cost of ballet but underestimate the cost of Opera. The cost ranges upon which this finding is based are those currently published by QTIX. With the exception of Opera, people are more likely to overestimate the cost of these Arts events compared to the cost of more mainstream activities like football and theme-parks. PRICE PERCEPTIONS – Over and Under Estimations Footy Theme-park Ballet Opera Musical Play at QPAC Live Comedy ** Please note: this scale shows % of respondents who over or under estimated NOT % size of over or under estimations

Participation in the Arts Research, 2006Page 46 PRICE PERCEPTIONS – TOTAL SAMPLE Q13a. Approximately how much do you think the cost of a single adult ticket is to the following events? N=429 For many events, perceptions of pricing are well outside of the usual price for this type of event. This may represent a barrier to participation if people believe this type of event is outside of their price range e.g. the Ballet where over 40% of people thought this type of event was more expensive than it is. The next page describes a major disparity between segments in terms of pricing….. Published Price Range

Participation in the Arts Research, 2006Page 47 PRICE PERCEPTIONS – PROPORTIONS WHO “DON’T KNOW” PRICE –BY SEGMENT Significant Diffs For all events the Disinclined segment were the least likely to know the price of the event. There was no clear difference between the proportion of “Don’t knows” by Region. This proportion was significantly larger for the higher Arts. The significant differences between segments are all related to events that Disinclined people are unlikely to have attended in the last year (we did not question attendance at ticketed museum exhibitions). A play at QPAC was the event that had the greatest proportion of respondents from both segments who could not estimate a price, despite the fact that QPAC is a well known venue. Given low venue attendance this may well be due to lack of experience with the venue – it tells us that current promotional material may not be tackling the major barrier of Cost sufficiently.

Participation in the Arts Research, 2006Page 48 Lead Times A significantly higher proportion of respondents take more than three weeks in lead time where the event is a ticketed ‘evening time’ type event. However, this only relates to “musicals”, “comedy” and “live music/Bands”. The Qualitative stage told us that these events were most costly and popular where a big name was appearing, so this may account for the longer lead times despite the general innocuity of these artforms. There were no significant differences across segment, or region, in this regard. Purchasing Tickets In keeping with the trend for reactive, rather than proactive, participation in the Arts, the Interested are significantly more likely to use third party ticket websites or sales offices to purchase tickets, whereas the Disinclined show a tendency to call event specific phone lines (as advertised along with the event) or to go to free events. Advertising specific directions for obtaining tickets along with events may remove a practical barrier to participation for the Disinclined segment. As lower participants in the Arts, they may not be as familiar with the existence of services like Ticketek and may also be less inclined to search for such services to get tickets. This trend is mirrored by the Brisbane vs. Regional segments. Brisbane residents are significantly more likely to use third party sales offices than regional residents, who are conversely, significantly more likely to use event specific ticket lines. Event specific websites were the most preferred source to buy tickets across segments and regions. This may be related to the qualitative finding that respondents want one, easy to access, central, comprehensive source of information about an event. Pricing Perceptions There was a significant difference in the proportion of Disinclined respondents who said they did not know what the ticket price for Arts events was compared to the Interested segment. There was no clear difference between Brisbane Metro and Regional price perceptions. In the case of Ballet and Opera 29% and 27% of the sample respectively, did not know what a ticket might cost. In addition a relatively large proportion of the sample did not estimate the price of a ticket within the range of published prices. Therefore it can be assumed that the sample generally, but particularly the Disinclined segment, may experience price perceptions as a barrier to participation in the arts. LEAD TIMES, TICKET PURCHASING & PRICING SUMMARY

Section 4: Venue Awareness, Experience and Perceptions

Section 4.1: Queensland Venues - Awareness and Attendance

Participation in the Arts Research, 2006Page 51 Brisbane Venue Participation and Awareness Q: Which of the following venues are you aware of? Q: Which of the venues have you been to in the last year? Attendance at, and awareness of, 36 venues across Queensland was investigated. The rates of awareness and attendance, by venue type (combines Interested and Disinclined), in the Brisbane Metro area are displayed above. Although there is relatively high awareness of three of the venue types tested, there is only about one third attendance. Very few respondents knew about or had been to a Contemporary Arts venue. Tests on the data showed that significantly higher proportions of the Interested segment had been to a Performing or Contemporary arts venue. There was no segment difference in terms of who had been to the other venues. Significant diffs. Between segments.

Participation in the Arts Research, 2006Page 52 Q: Which of the following venues are you aware of? Q: Which of the venues have you been to in the last year? Regional Venue Participation and Awareness Attendance at, and awareness of, 36 venues in total was investigated. Across the Regional centres the awareness and attendance levels for the different types of venues was consistent with the pattern shown across Brisbane Metro venues. The average levels of awareness of, and attendance at, each type of venue within the total sample (combines Interested and Disinclined) is displayed above. In keeping with the trend in Brisbane metro, respondents were least likely to be aware of and have visited contemporary arts centres than other kinds of venue. Awareness of and attendance at Performing Arts centres and Museums was comparatively high. The gap between awareness and attendance is largest for Art galleries – only about a quarter of those who were aware of the galleries actually attended. Samples were generally not large enough to test for significance. However, the general trend was for a higher proportion of the Interested segment were aware of, and have attended, the specific venues tested.

Participation in the Arts Research, 2006Page 53 Attendance and Awareness - Regional Differences The most striking difference between Brisbane metro and Regional areas was that although awareness levels of venues is fairly similar, significantly more people in Regional areas have attended certain types of venues. People in Regional areas make significantly more use of their museums, performing arts centres and contemporary arts centres than those in Brisbane. However, attendance at, and awareness of, contemporary Arts venues was still relatively low. Attendance at, and awareness of, Art galleries in both regions was similar. Attendance and Awareness - Segment Differences Due to small sample sizes in some locations statistical analysis of segment differences was not possible for venues. However, some trends emerged from the data which point towards a difference between the attendance levels of the Interested and Disinclined. General awareness of venues tended to be similar between segments but the Interested were, in most cases, very much more likely to have attended venues. This is reflected in the Interested segments’ higher regular participation levels and also to the finding that they participate in more art forms on an annual basis than the Disinclined. It should be noted that in part, the higher levels of participation at an overall level in Regional areas is accounted for by the activity of the Interested segment. This is an important issue when considering promotion of the Arts in regional areas. The barriers to participation in regional areas for the Interested segment may be partially removed by the higher visibility of venues and a lack of other social options when compared to the Brisbane Metro area. Any promotion of the Arts therefore, would need to take account of the already (relatively) strong presence of this segment at venues in Regional areas. Venue Awareness and Attendance - Summary

Section 4.2: Venue Based Participation Barriers and Triggers

Participation in the Arts Research, 2006Page 55 Brisbane Venue Perceptions - Attendees MEAN SCORES ON PERCEIVED ATTRIBUTESFOR ALL BRISBANE VENUES POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative Overall satisfaction with arts venues tested for Brisbane was quite high (overall mean of 7.4). The Disinclined gave a significantly lower ‘overall satisfaction’ rating than the Interested, however there was no segment difference on the other attributes. Respondents had slightly poorer perceptions of the facilities at Brisbane arts venues than they do of staff or value for money, however these are not significant. Among those that attended any Brisbane arts venue in the last 12 months, there was a low agreement with the statement that the experience was uncomfortable. There is a slightly higher agreement with the opinion that (across all venues tested) those who attended an event in the last 12 months were not sure what to do or where to go when they got there. OVERALL SATISFACTION +ve Attributes Higher No. = Better - ve Attributes Lower No. = Better

Participation in the Arts Research, 2006Page 56 Regional Venue Perceptions - Attendees Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? MEAN SCORES FOR ALL REGIONAL VENUES POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative Overall satisfaction with the experience at all regional venues was high, achieving a mean score of 7.3 and was comparable to Brisbane Metro’s 7.4 satisfaction rating. There was a slightly higher perception that the regional venues have helpful and approachable staff and provide good value for money than for Brisbane venues. Similar to the situation in Brisbane, there was a low overall perception that experiences at regional venues are uncomfortable. OVERALL SATISFACTION +ve Attributes Higher # = Better - ve Attributes Lower # = Better

Participation in the Arts Research, 2006Page 57 Statewide Venue Perceptions – Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? MEAN SCORES FOR ALL VENUES: Brisbane v. Regional Respondents were asked how strongly they agreed with the statements above for a range of venues. The average score across regional locations for all venues was compiled, as was the average score across all Brisbane venues. The diagram above gives an indication of how strongly these statements are agreed with in reference to Arts venues overall in Queensland. There a several significant, statistical differences in how venues (generally) are perceived in Brisbane vs. Regional areas. In Brisbane, expense and location are bigger barriers, in Regional areas lack of awareness about events, not liking the programming or having a negative perception about the facility/likely enjoyment of the experience are more significant barriers. MORE POSITIVEMORE NEGATVE - ve Attributes: Lower No. = better Significant Diffs

Participation in the Arts Research, 2006Page 58 Brisbane Venue Perceptions – Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? MEAN SCORES FOR ALL BRISBANE VENUES Overall, the Interested and Disinclined agreed most strongly with the perception that arts venues in Brisbane are difficult to get to and from and that they are expensive. The Disinclined were significantly more likely to agree with the statement that they were not the kind of people who went to arts venues and that they didn’t know much about the programming. MORE POSITIVEMORE NEGATVE - ve Attributes Lower # = Better Disinclined Significantly more likely to agree with these statements.

Participation in the Arts Research, 2006Page 59 Regional Venue Perceptions – Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? MEAN SCORES FOR ALL REGIONAL VENUES Across all regional venues respondents agreed most strongly with the statements that related to lack of knowledge about programming, that there was never anything interesting on and that they were not the “kind of people” who go to art venues. The items whose scores are circled in red indicate statements that the Disinclined agreed with significantly MORE strongly with than the Interested did (i.e. they are greater barriers for the Disinclined). With the exception of perceptions about cost, knowledge about/distance to location and previous experiences, all other factors are more significant barriers for the Disinclined segment. MORE POSITIVE MORE NEGATVE Significant Diffs between Segments

Section 4.3: Performing Arts/Civic Centres vs. Arts Venues in General

Participation in the Arts Research, 2006Page 61 Brisbane Metro Performing Arts Centre - Perceptions of Attendees Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? BASE: Attended last 12 months QPAC POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative Those Interested in and Disinclined who attended the relevant performing arts centre rated performance on almost every attribute close to the average level. However, those who had attended were significantly more likely to state that they were not sure what to do or where to go upon arrival at this type of venue compared to other Brisbane venues. This may be related to the relatively lower attendance levels for this type of venue. OVERALL SATISFACTION +ve Attributes Higher # = Better - ve Attributes Lower # = Better

Participation in the Arts Research, 2006Page 62 Brisbane Metro Performing Arts Centre - Perceptions of Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? BASE: Aware of venue, but haven’t attended last 12 months MORE POSITIVEMORE NEGATVE Across the sample, the perceptions most strongly agreed with were that Brisbane arts venues are difficult to get to and from, that they were expensive and that programming is not relevant. In comparison to the average, respondents in Brisbane were significantly more likely to feel that a Performing arts centre would be expensive.

Participation in the Arts Research, 2006Page 63 Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? BASE: Attended last 12 months POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative On average overall satisfaction with the entire experience at Regional civic centres was significantly more positive than overall satisfaction with regional venues generally. There was also a significantly more positive perception of helpful and approachable staff at civic centres compared to regional venues as a whole. Meanwhile, transport issues were significantly less of a barrier for regional civic centres than other regional venues. OVERALL SATISFACTION +ve Attributes Higher # = Better - ve Attributes Lower # = Better Regional Performing Arts/Civic Centre - Perceptions of Attendees

Participation in the Arts Research, 2006Page 64 Regional Performing Arts/Civic Centre - Perceptions of Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? BASE: Aware of venue, but haven’t attended last 12 months There is a significantly stronger perception that, despite looking, there is never anything interesting at regional civic centres when compared to other regional arts venues. There is also a significantly stronger perception that regional civic centres are more expensive than other regional arts venues. MORE POSITIVEMORE NEGATVE

Section 4.3: Art Galleries vs. Arts Venues in General

Participation in the Arts Research, 2006Page 66 Brisbane Metro - Art Gallery - Perceptions of Attendees BRISBANE ART GALLERY POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative Overall satisfaction among those who had attended a Brisbane Art Gallery was significantly higher than other Brisbane arts venues. There was also significantly stronger agreement that there were helpful and approachable staff and quality facilities than for other Brisbane Metro arts venues. OVERALL SATISFACTION Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? BASE: Attended last 12 months +ve Attributes Higher # = Better - ve Attributes Lower # = Better

Participation in the Arts Research, 2006Page 67 Regional Art Gallery - Experience of Attendees Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? BASE: Attended last 12 months POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative There was no statistical difference in the experience of regional art galleries compared to the average for other regional arts venues. OVERALL SATISFACTION +ve Attributes Higher # = Better - ve Attributes Lower # = Better

Participation in the Arts Research, 2006Page 68 BRISBANE - ART GALLERY Among those who have not attended this venue type over the last year, there is significantly higher awareness of it’s location, than there is of other Arts venues in Brisbane. An Art Gallery is also significantly less likely to be perceived as expensive compared to the other arts venues in Brisbane. There is, however, a stronger perception that respondents’ friends/family wouldn’t attend with them, that they are not they type of person who goes to an Art Gallery and that they don’t know much about the shows / events there, compared to other arts venues in Brisbane. MORE POSITIVEMORE NEGATVE Q: Can you tell me how much you agree or disagree with the following statements? BASE: Aware of venue, but haven’t attended last 12 months Brisbane Metro - Art Gallery - Perceptions of Non-Attendees

Participation in the Arts Research, 2006Page 69 Regional Art Gallery – Perceptions of Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? BASE: Aware of venue, but haven’t attended last 12 months Across both segments in regional areas, there was significantly less agreement with the statement that “I look, but never see anything interesting (at the Art Gallery)” when compared to other regional arts venues. However, there is a perception that regional art galleries are less child friendly than other regional arts venues. MORE POSITIVEMORE NEGATVE

Section 4.4 : Libraries vs. Arts Venues in General

Participation in the Arts Research, 2006Page 71 Q: Which of the following venues are you aware of? Q: Which of the venues have you been to in the last year? Regional Library Awareness and Attendance The range of awareness of, and attendance at, Regional libraries is indicated above. Insufficient data was collected to make a comparison to Brisbane Metro. Use of Regional libraries was high when compared to other types of venue.

Participation in the Arts Research, 2006Page 72 Regional Library - Perception of Attendees Q: Thinking back to when you went to [VENUE] can you tell me how much you agree or disagree with the following statements? MEAN SCORES FOR ALL BRISBANE VENUES POSITIVE ATTRIBUTES NEGATIVE ATTRIBUTES More Negative More Positive More Negative Overall satisfaction with regional libraries was quite high, at an overall mean of 8.0. There was also a very strong intent to re-use the library, and a high opinion of the helpfulness and approachability of staff. Despite the high overall satisfaction with the library, there was a slightly poorer perception of the library facilities. There was no statistical difference between the segments on these attributes. OVERALL SATISFACTION +ve Attributes Higher # = Better - ve Attributes Lower # = Better

Participation in the Arts Research, 2006Page 73 Regional Library – Perception of Non-Attendees Q: Can you tell me how much you agree or disagree with the following statements? BASE: Aware of venue, but haven’t attended last 12 months REGIONAL LIBRARIES Combined perceptions of regional libraries are generally positive. There is, however, a strong negative perception, for respondents overall, that they do not have much in common with people who use the library. There was no statistical difference between the segments on these attributes. MORE POSITIVEMORE NEGATVE

Section 4.5: Venue Summary

Participation in the Arts Research, 2006Page 75 Generally, the aim for Queensland venues is to increase traffic. There were no particular points of dissatisfaction with the venues investigated, as demonstrated by the generally high satisfaction levels reported. Although, there are some specific barriers associated with specific venue types (e.g. performing arts is more expensive) these are perhaps, expected perceptions. This suggests that venues (generally) need to concentrate on emphasising and developing triggers to participation. Triggers to participation were investigated at the Qualitative stage of the research. From the Qualitative research it was concluded that (see qualitative conclusions and profiles): The Interested were motivated to participate when the arts option was more exciting/interesting/worthwhile than the other entertainment options open to them and when it offered a way to combine social obligations i.e. the need to spend time with family and friends. The Disinclined were more motivated to participate when the arts event was something they “could not miss”. For those with children this might be a (free) educational opportunity, or for those without, it might be a “guaranteed” good event. Both segments, for these reasons, emphasised the need for clear promotion of programming that allowed them to decide the “value” of an event/exhibition. Several respondents at the qualitative stage emphasised the need to ascertain at the first point of contact (whether that be a billboard or at the venue) exactly what would be on display and what times and costs were. Both segments reported noting arts events/exhibitions they would like to see, but then forgetting about the event or not following it up, hence a preference for a compiled information source for a venue or venues generally. They both also indicated that promotional materials should provide comprehensive information in terms of the specifics of events. They disliked “cryptic” advertising and were less willing to spend money on or investigate an arts event that did not clearly outline what relevance it had to them. Cost and location information also emerged as important features if promotional material. Increasing Venue Attendance Summary

Section 5: Promotional Materials – Findings from Qualitative Focus Groups

Participation in the Arts Research, 2006Page 77 Looking for ‘Quality’… In each group at least a quarter of Respondents agreed that they pick up flyers advertising events that they ‘know’ they will like. This method of advertising can be effective if a big name show or actor is advertised. People will make the effort to pick this out as it is likely to be a quality offering. When testing the limits of the risk respondents were prepared to accept, all groups agreed that if a big name star or a very famous show is advertised they will pay up to $100-150 for a ticket. If respondents can’t see cost or ticketing information immediately on a small flyer, they are more likely to search for it when the show is a big name one. In effect the famous “Brand” obliterates all other barriers. Function Over Form… Only a few younger respondents from the Interested segment picked up flyers solely based on unusual design or bright colour. Overall, respondents were more attracted to recognisable names or booklets with compiled information about events (see below). The emphasis was on function over form. Respondents wanted to see all the information needed for the decision then and there. They do not make the effort to do further searching if all the information they need is not provided in the initial communication. Promotional Media: Likes and Dislikes During the Focus Groups, respondents were presented with a range of flyers and magazine style publications, gathered from various venues and cafes around Brisbane. Three themes emerged in response……

Participation in the Arts Research, 2006Page 78 The ‘One-Stop-Shop’ Respondents overwhelmingly said they wanted to access one information source that lists a wide range of events and venues and also has a calendar style listing of everything that is happening. This preference was consistent for younger and older groups across segments. Younger respondents without family commitments must decide between competing and immediate entertainment options. The ‘technologically minded’ amongst them agreed that regular email newsletters with an inventory of events and ticket offers might be the best way for the arts to grab a greater share of their entertainment downtime. Those who didn’t access the internet very much, and the older groups, agreed that a booklet or calendar detailing all upcoming events across venues would be a good way to help them plan for an Arts event. It seemed this method of advertising arts events could, therefore, accommodate both long and short lead times, unlike some other forms (e.g. flyers or posters around town which depend more on proximity of respondent or respondent holding on to flyers for some time, which they all said they didn’t do). Further, although respondents didn’t want to receive a lot of ‘junk mail’ e.g. flyers or posters for individual events, they were open to adding their names to mailing lists for this type of promotional material. Promotional Media: Likes and Dislikes

Participation in the Arts Research, 2006Page 79 Promoting the Arts: Respondent Reactions to Press Materials for the New Cultural Centre* When viewing this picture in tandem with the Government logo some respondents said they would not read this ad – they would assume it to be Government ‘propaganda’ of some sort. Only one respondent felt that this ad was ‘intriguing’ Respondents were warm to this piece. The image of the child automatically draws parents’ attention, but everyone thought it was too dark and the child didn’t look ‘happy’ enough. The two youth groups reported being a little put off by the children. They don’t want to go to venues that are too family oriented. Respondents were warmest to this piece, however it had no impact on their motivation to attend this venue. Again, the image of the child automatically draws parents’ attention. They liked that the child looked happy and all were agreed that the “Come and see” phrase was enticing enough to draw them in – nearly everyone said they would read this if they saw it in print media. Even the youth groups who were dissuaded by ‘family’ images reported being drawn in by this ad. *See following pages for full sized versions

Participation in the Arts Research, 2006Page 80 Respondents generally disliked this statement. They felt it was void of meaning for them and congratulatory of the development. They would like to see the “$300 million” figure quantified in terms they can understand – “what do we get for $300 million” was a frequent comment. Again, respondents felt that this statement didn’t reveal enough about what the Cultural Centre offered. They would like to see the names of specific shows or know about specific attributes of venues. Again, respondents felt that this statement didn’t reveal enough about what the Cultural Centre offered. They would like to see the names of specific events, or know about specific attributes of venues. People liked this statement. They felt it was the most concrete in terms of what might be on offer. A few respondents remarked that this helped put the ‘$300 million’ statement in context – they could imagine what sort of venue housed prestigious international exhibitions. It bought the venue to life a little more. Overall, respondents across segments reported that these ads had neutral effect on their motivation to go to the Cultural Centre. Some said they appreciated knowing what a large scale development the new cultural centre would be would be, but they were uncertain that the information in the materials was any more likely to actually make them go along. Promoting the Arts: Respondent Reactions to Press Materials for the New Cultural Centre

Participation in the Arts Research, 2006Page 81 Promoting the Arts: Respondent Reactions to Press Materials for the New Cultural Centre

Section 6: Segment Profiles

Participation in the Arts Research, 2006Page 85 Significantly more likely to be a female, White collar professional/associate professional or in the service industry, to be childless or to never have had children. There were significantly more people in the Interested group who were 25-29 years of age. There was a slight trend for the Interested to polarise into younger and older age groups. This may be the result of migration into and out of segments as lifestage changes. Although, the factors above contribute to inclusion in one segment vs. another, there is considerable overlap between the segments. The nature of barriers to participation in the arts are largely attitudinal and cannot be explained by demography alone. For example, income levels and educational attainment did not segregate the sample at the quantitative stage. There was some hint that education may moderate participation in the higher arts but there were insufficient numbers of the sample overall who had participated in any “Art” to draw inference from. They Interested rate the arts as significantly more personally and socially valuable than the Disinclined. At the qualitative stage a view expressed that may explain the value ratings was that the arts, besides being a source of entertainment, is a valuable vehicle for cultural expression and for maintaining diversity. A qualitative finding was that cost was a major participation barrier across both segments, but in comparison to the others this group was less likely to cite cost as a barrier to participation. At the quantitative stage the Interested also showed a trend to estimate pricing more accurately than the Disinclined. The qualitative stage highlighted that the biggest barrier to Arts participation for this group was competition from busy social lives. The Arts are seen as a luxury. This group has spare money for entertainment, but it is limited and if pushed, they will opt for the safe option that they and their friends will definitely enjoy. This was substantiated at the quantitative stage by the finding that the Interested are generally more socially active than the Disinclined, and significantly more involved in the popular arts, but there was no significant difference between the segments in terms of their low levels of participation in the higher Arts (<7% participation). At the qualitative stage however, they all agreed that they were open to going to more ‘risky’ Arts like the Ballet, Opera or Art Exhibitions if conditions were right. Segment Profiles: WHO ARE THE INTERESTED?

Participation in the Arts Research, 2006Page 86 The males showed slightly less general involvement and objective enthusiasm about the Arts (e.g. were less likely to enthuse about their educational value) than the females at the qualitative stage, but still agreed that if the opportunity arose they would go along to the Ballet to ‘try it out’. They said the major advantage to engaging in their regular forms of entertainment is that the Arts do not accommodate the same social opportunities these other activities do. They would happily go to free events but said they don’t see any advertised. At the Qualitative stage, perceptions of social elitism or Gender Specifism did not emerge as major themes in this group. With some prompting the group revealed that there were people who tried to intellectualise Art and they were dubious about the credibility of, rather than intimidated by, this aspect of the Arts. The quantitative research revealed that proportionately, there were significantly less males in the Interested group (26%) than in the Disinclined i.e. of the males in the group they were more likely to be Disinclined. The failure to achieve a 50% split of males and females in the sample (this is normally achievable) suggests that males were screened out of the survey at the start, this in turn, suggests a higher tendency to be disengaged from the arts. They said at the qualitative stage that the best way to reach them with information about last minute deals is via email. They dislike SMS promotion, as this mode of contact is by personal invite only. They seek information from the internet and newsletters or booklets and are happy to receive these in the mail. The quantitative stage reaffirmed that this group use email and websites sources of information significantly more than the Disinclined. Also, they are much more likely to have accepted permission marketing. At the quantitative stage the Interested were significantly more likely to nominate electronic forms of communication as one of the range of information sources used to keep in touch with the arts, but confirmed the qualitative finding that people are not keen to be contacted by SMS with information about the special offers or events (<2% total sample). They use all the information channels the Disinclined do, but use more sources on average. Segment Profiles: INTERESTED (cont.)

Participation in the Arts Research, 2006Page 87 Most likely to be female, a homemaker, a blue collar worker. To have children and to be in the 35-39 age group. Cost was cited as a more significant barrier for this group than for the Interested, but as noted already, there was no overall effect of income on participation patterns. It is likely that the interplay of cost with the presence of children and the type of occupation/peer group the Disinclined belong to has a moderating effect, rather than income itself. The quantitative stage established that Income and education profiles across the segments were almost identical. Income does not moderate arts participation patterns and although education level does not moderate segment inclusion it may moderate breadth of participation in the Arts. Unfortunately the number of the sample who had participated in the higher arts was too small to use as a basis for inference, but the raw data hints at a trend for higher education to moderate participation in higher arts. It may be that other social pressures (e.g. peer pressure at work, the need to devote more time and income to children etc.) add to the practical, cost and social barriers experienced by this segment. As noted before, the segment differences are not explicable by demography alone. They report a significantly lower personal and social value for the Arts. The qualitative stage respondents explained that while the arts would be a nice thing to do from time to time, many arts weren’t relevant and they were just too expensive. In common with the Interested, the Disinclined arts are seen as a luxury. In common with the Interested, they tend towards less interactive interests, such as watching TV, DVD’s, watching sport and doing things around the home, but they are significantly less likely than the Interested to participate in some more social, involved, interests like going to the cinema or markets and to do outdoors activities e.g. bushwalk or play sport (as well as being significantly less likely to participate in the arts). However, at the qualitative stage a finding for the Disinclined segment, that was identical to that for the Interested segment, was that when they do participate in the Arts, they like high energy, entertaining, live Arts options, like musicals or populist theatre. Segment Profiles: WHO ARE THE DISINCLINED?

Participation in the Arts Research, 2006Page 88 Gender Specifism emerged as a theme in discourse at the qualitative stage. The males in the groups showed less general involvement and enthusiasm about the Arts than the females and the quantitative data showed that there were significantly more males in the Disinclined segment (37%). In terms of communication channels the segments were similar. The finding was that information sources for both segments are diverse, but the Disinclined are significantly less likely to use as wide a range of sources as the Interested. For both segments the top four sources are Local papers/Suburban publications, Word of Mouth (where the Interested show an insignificant trend to use email from friends and colleagues slightly more), TV and Radio. When people use TV and print media, they tend to find information about events and activities in advertisements most of the time, then use entertainment shows, general news and competitions and promotions about 20% of the time. Although there is not much difference in the media sources used between segments, there is significant difference in the price perceptions the Disinclined report when compared to the Interested. For many types of event (particularly arts events) they were significantly over-represented in the lower price range estimations and were significantly more likely to say they did not know how much an arts event would cost. Ticket purchasing behaviour amongst the Disinclined tends toward reactive purchasing – they are slightly more likely to see an ad for an event and call a ticket line to buy tickets. Whereas the Interested were significantly more likely to purchase tickets from third party sources over the internet and at retail centres. Segment Profiles: DISINCLINED (cont.)

Participation in the Arts Research, 2006Page 89 REGIONAL VS. BRISBANE The regional qualitative group conducted in Cairns and included a mix of segments. White collar professions, pensioners, mums, dads, grandparents, childless single people and those in relationships were all represented. Their pastimes and activities reflected the area they lived in. There were reports of Monster truck Derby, sky diving and whitewater rafting, bushwalking and fishing. Some of the group confined their spare time activity to window shopping and entertaining with friends, others were more active in the Arts scene. Those with children reported taking part in a variety of Arts related activities that accommodated family interaction. Some had flown to Brisbane for big concerts and nearly all were familiar with Brisbane’s Cultural Centre. In order to avoid bias presented by Cairns’ status as a tourist attraction, the quantitative stage looked at responses from an aggregated range of regional centres (Mackay, Rockhampton, Townsville and Cairns are included). Comparison with Brisbane shows no (general) significant difference in the level of involvement in the arts on a regular or yearly basis. There were some differences attributable to the provision of certain services e.g. people in metro are more likely to go to cafes, cinemas or theme-parks, while those in regional areas are more likely to be involved in sport or have gone to an outdoor/free event. This group were more informed about the state of the Arts in their area and had a broader and deeper knowledge about both venues and programming. They spontaneously offered a list of venues that could be discussed and most had been to all of them at least once. The quantitative research confirmed that in regional areas people are more likely to see posters and billboards around town and to notice advertisements for events outside a venue. They also listen more to local radio for this type of information and watch TV or read local papers. Moreover, the segment profiles converge around this topic in the regions – that is, the regional Interested are less characterised by their use of electronic sources.

Participation in the Arts Research, 2006Page 90 Their view of the Arts was, in general, very positive. They reported finding it fun, educational and put emphasis on the inclusive and multicultural value the Arts has in their area. However, there was no significant difference in the value Regional people attributed to the Arts (personally or socially) over those in Brisbane. They experienced an indigenous venue called Tjapukai very positively – it attracted the same level of enthusiasm Brisbane’s Powerhouse did in the Metro groups. People liked that it was a multi-functional space where they could go for dinner or a show, that could be used day and night, that children were welcome and that the staff were fun and interacted with the customers. They also enjoyed the events at their Civic centre and most had gone for a walk around the Art Gallery at some point. There was some discussion of social elitism when the talk turned to the ‘Higher Arts” but this did not pose a significant barrier to participation. Only one venue from the selection discussed was perceived to exclusively attract ‘Arty types’. There seemed to be a greater sense of ‘ownership’ of the venues in the area compared to Metro residents who generally viewed the purpose of large flagship venues (like the museum or art gallery) as being there to represent Queensland to tourists or for researchers. The biggest barrier (once cost is removed) was cited as a lack of information about programming. Respondents avoided going to town centre information stops that were frequented by tourists as they had the perception that the attractions advertised would be priced to profit from tourist dollars and this excluded locals. They reported a real aversion to flyers as this was the primary mode of communicating to tourists. A theme that emerged as being likely to increase participation was knowing that local prices were on offer. Lack of targeted advertising was equally emphasised as a problem, with several respondents expressing disappointment at finding out about previous events too late. REGIONAL VS. BRISBANE (cont.)

Overall Conclusions & Recommendations

Participation in the Arts Research, 2006Page 92 ARTS RISK MODEL & OVERALL STRATEGY Financial Risk Social Inclusion Risk Practical Risk Enjoyment Risk HIGHEST RISK LOWEST RISK Arts Lovers SatisfiedDisengagedInterestedDisinclined Cost risk occurs where there is enjoyment or social or practical risk involved in participation e.g. Having the right clothes to wear; Not understanding what everyone is talking about; Being culture specific e.g. Being able to find food or parking close by; Having to travel further than for local entertainment; Getting wet. e.g. Unfamiliarity with the genre or the Subject matter – may not like it or companions may not like it Prepared to accept more riskPrepared to accept less risk To reiterate: several major areas of risk which impact on the decision to participate and general feelings about the Arts were identified at the Qualitative stage. Across segments these have varying levels of influence.

Participation in the Arts Research, 2006Page 93 High Risk Social Low Risk Individual Disinclined Segment Tolerate much lower risk in their entertainment choices. Stick with tried and tested options that are popular amongst family and friends. Avoid trying new Arts activities as they fear not enjoying them for practical and social reasons. Participate in a range of arts events but less frequently than Interested segment. Opera Television & Watching sport Musicals Comedy Show Outdoor Arts Festival Art Exhibitions Ballet Theatre Rock Concerts Volunteer work Pub Museum Library Interested Segment Tolerate a higher level of risk in their entertainment and activity choices. Arts features as a more regular entertainment option. Less concerned about cost and more concerned about enjoyment. Quantitative research showed that higher arts which have a social context are not participated in to a large degree - more willing to do individual activities that are high risk. Perhaps social risk barriers are an issue to tackle in terms of the higher arts for this segment. Arts participation by segment and risk tolerance…. ARTS RISK MODEL AND THE SEGMENTS Home and DIY Book Reading Talks/Lectures Attend Classes

Participation in the Arts Research, 2006Page 94 OVERALL STRATEGY: General In all areas investigated, there was considerable overlap between the segments. This was a finding in both qualitative and quantitative stages of the research. The conclusions that follow draw on the salient differences between the segments, but the reader should bear in mind that the area under discussion is never the domain of one segment exclusively. Please refer to the body of the report to find the relevant data and view graphical comparisons between segments. We can summarise the Interested and Disinclined segments’ inclination to increase their participation in the arts as follows: Interested Segment This segment is both more willing to explore the arts (i.e. tolerate a higher level of risk practically and in terms of enjoyment, are less concerned about cost but susceptible to social risk with the higher arts) but also more able to participate in the arts (e.g. less likely to have children, possibly have higher disposable incomes). Strategies targeting this segment may provide ‘quick wins’ in terms of increasing participation – the Qualitative work suggested this could certainly be the case amongst the younger group. Disinclined Segment This segment are more risk averse in their arts choices and they experience barriers to participation more strongly. Strategies targeting this segment are likely to require a long term approach to attitudinal and behavioural change. There are four strategic directions that could be taken to increase participation in the arts that challenge the risks associated with the range of artforms and that draw on findings from both the qualitative and quantitative stages: 1. Promotional 2. Attitudinal change 3. Demographic based 4. Venue based

Participation in the Arts Research, 2006Page 95 STRATEGY 1: Promotional TARGET: Interested segment – ‘accessible’ artforms/programming In terms of the more ‘accessible’ arts e.g. musicals, the visual arts, comedy and more populist or mainstream drama, the immediate aim is to deepen the participation of the Interested segment. Based on the qualitative findings and what we can infer from patterns of participation, people in this segment are already prepared to overcome and accept the risks associated with more ‘accessible’ artforms. Approaches to increase participation could include: Incentivising (e.g. special offers, discounts, loyalty schemes, competitions, last minute ticket offers (targeted at the younger of the segment)) Streamlining arts information sources (e.g. production and widespread distribution of ‘what’s on’ guide in print and online) Streamlining of arts ticketing (e.g. interlinked ticketing sites/services or develop a universal arts ticketing site) Increasing the general visibility of the arts for this segment (e.g. find out who the interested are and directly contact via email or direct mail – permission marketing) Encourage use of the arts as a basis for social interaction (e.g. encourage friends to email each other with special offers advertised on websites – ‘word of mouse’).

Participation in the Arts Research, 2006Page 96 STRATEGY 2: Attitudinal Change Strategies TARGET: Interested and Disinclined segments – across all artforms In terms of encouraging the Disinclined to participate in the arts at all and to broaden participation by challenging the barriers experienced by both segments to the higher artforms, the individual risks should be tackled at their base through attitudinal change strategies. Both artforms and venues can implement localised strategies to address attitudinal issues. This may require school or community education programs to increase perceptions of accessibility and inclusivity and reduce risks and barriers to participation Or be a case of taking the arts to the community: By offering free tickets to the more challenging types of events to remove the cost risk (existing locations) By creating community based and delivered arts programming and events (e.g. Brisbane Festival). A major attitudinal campaign employing proven social marketing techniques and developed at a whole-of- sector or government level may be required to significantly change attitudes to Arts (particularly amongst the Disinclined) in the longer term. This would include: A public relations campaign using popular media (for example radio or television ‘magazine’ style programming) that deals not only with the Arts, but a broad range of popular interest. Employing high profile spokespersons and advocates for the arts A mass media campaign – advertising, Internet, direct marketing

Participation in the Arts Research, 2006Page 97 STRATEGY 3: Demographics and Lifestage TARGET: Interested and Disinclined segments – demographic specifics GENDER: Across both segments the demographic is overwhelmingly female (70%). This presents some opportunities and challenges. Arts venues, programmers and artists should seek to continue to maximise the support of this female demographic while giving special consideration to attracting a wider male audience. Possible strategies could include: Programming tailored to appeal directly to female audiences (although this is a barrier to male participation) Programs/venues that normally attract a high female audience could feature incentives for male participation. Programming directed at men and issues likely to appeal to men could be developed. Venues and artists could seek to exploit connections with male pastimes, most notably sport. (e.g. co-sponsorship or cross promotional deals could be developed with sporting bodies or clubs or sporting celebrities involved in endorsement, promotion or even as a source of artistic inspiration/development) LIFE STAGE The Disinclined segment are skewed towards the middle age groups, to have children and for those children to be living at home. The Interested are polarised slightly into younger and older age groups. This might indicate a migratory pattern into and out of segments dictated by lifestage. Carefully targeted marketing and programming that appeals to this demographic should increase participation. (e.g. family friendly programs or venues, low cost or no cost programs and programs matched to the life-stage needs of both parents and children) OCCUPATION The Disinclined are much more likely than the Interested segment to work in blue collar professions. This creates opportunities to take both educational or attitudinal change programs and creative programming designed to appeal to this demographic to the workplace. Employers and unions could be involved.

Participation in the Arts Research, 2006Page 98 Target: Interested and Disinclined segments – venue specific The research clearly identified that both segments are responsive to venues that provide a welcoming, accessible and inclusive experience. The barriers to attending venues fell into the following 5 broad categories: 2. Programming awareness or relevance 3. Social Barriers 4. Practical Barriers 5. Enjoyment Barriers Don’t know about shows/ events; Look but never see anything of interest Not the sort of person who goes there; None of my friends would go with me; Not child friendly (this can be social or physical) Difficult to get to/ from venue; Don’t know where it is; Lack of facilities; Expensive; Not child friendly (this can be social or physical) Staff friendliness; Enjoyed previous show. 1. Venue Awareness Low awareness of venue. Barrier Attribute(s) STRATEGY 4: Venue Based

Participation in the Arts Research, 2006Page 99 STRATEGY 4: Venue Based TARGET: Interested and Disinclined segments – venue specific To tackle different kinds of barriers the individual venues could adopt some of the following strategies: Awareness barriers – target the media used by segments to individually promote venues rather than events, so that individual venue ‘brands’ are developed. Programming awareness or relevance – Package and deliver information coming from the venues in segment specific, targeted ways. The Disinclined may respond better to an Art Gallery or museum if there was an emphasis on child friendly, free activities. The Interested may respond better to experiential marketing that promises interactive or social opportunities. Social Barriers – For Art Galleries - emphasise experiential benefits to attendance, people are intimidated by intellectualism or put off by perceptions of social irrelevance. Opening venues up as social centres e.g. promote the use of cafes and restaurants in the vicinity to encourage groups into the area. To promote attitudinal change at this level it may be necessary to give away free tickets to regular events to increase the community’s experience of such venues.

Participation in the Arts Research, 2006Page 100 Physical barriers – Make people aware of public transport availability, or approximate taxi fares from major suburban centres. Emphasise facilities on offer to combat particular barriers and do so at the first point of contact e.g. advertisements, websites, that people may have with a venue or event. The qualitative finding was that people (particularly the Disinclined) will not search for this information. Enjoyment barriers – Offer groups incentives to come to some of the more perceived inaccessible venues, positive social experiences at a venue may help reduce barriers. Encourage staff to talk to attendees and to offer help to apparent newcomers. Emphasise the personal and everyday relevance of programming (whether specific event is fun, or the overall experience will be worthwhile) and clarify what will be seen there – respondents mistrusted cryptic advertising. STRATEGY 4: Venue Based

APPENDIX 1: Qualitative Research Conclusions

Participation in the Arts Research, 2006Page 102 ARTS RISK MODEL & OVERALL STRATEGY Financial Risk Social Inclusion Risk Practical Risk Enjoyment Risk HIGHEST RISK LOWEST RISK Arts Lovers SatisfiedDisengagedInterestedDisinclined Cost risk occurs where there is enjoyment or social or practical risk involved in participation e.g. Having the right clothes to wear; Not understanding what everyone is talking about; Being culture specific e.g. Being able to find food or parking close by; Having to travel further than for local entertainment; Getting wet. e.g. Unfamiliarity with the genre or the Subject matter – may not like it or companions may not like it Prepared to accept more riskPrepared to accept less risk To reiterate: several major areas of risk which impact on the decision to participate and general feelings about the Arts were identified at the Qualitative stage. Across segments these have varying levels of influence.

Participation in the Arts Research, 2006Page 103 General Feelings about the Arts and Barriers to Participation Although both Segments gave the Arts overall high value ratings, the Interested segment had more developed personal opinions/beliefs about the Arts. They were more likely to identify themselves with the type of person who participated in the Arts and gave broader descriptions of what they felt the Arts offered society generally. The objective benefits the Interested perceived that the Arts offering to society were benefits they also personally valued about the Arts. This suggests that they engage with the Arts at the level of social debate as well as in their personal lives. The Disinclined, on the other hand, were more likely to view the Arts purely in terms of entertainment and offered few, or more ‘socially desirable’ responses, about the objective value of the Arts. We used a task that asked the groups to sort pictures of different types of people into those who did and didn’t get involved in different types of artform. The Disinclined were more likely to suggest that the kinds of people who went along to most kinds of Arts events were wealthier, better dressed and a more professional/intellectual crowd. They held stereotyped notions about who didn’t participate, suggesting in response to stimuli that blue collar workers and younger people were less likely to be interested in the Arts. The Interested held the same stereotyped notions about who didn’t participate, but were much more likely to identify themselves as the sort people who did participate in the Arts. CONCLUSIONS FROM QUALITATIVE RESEARCH The kind of person who participates in the Arts The kind of person who does not participate in the Arts The InterestedThe Disinclined

Participation in the Arts Research, 2006Page 104 The Interested and Disinclined differed in the breadth and depth of descriptive terms they used to talk about particular Artforms. For the categories Music/Dance, Outdoor Arts, Theatre and New Media (e.g. Video art) the Interested offered about a third more descriptive terms than the Disinclined. For Visual Arts they offered about a quarter more. Neither segment was familiar with ‘Design’ as an artform and many had difficulty describing what it meant. The descriptive words that were used were abstract or related to obvious characteristics. Difference in the Barriers There was a tendency for overlap between segments in terms of the barriers they experienced. The barriers for the Interested were largely practical (cost and associated costs or difficulty of access) and were absorbed in the gamut of barriers experienced by the Disinclined. The Disinclined tended to experience many more social barriers. As noted above they felt the Arts was out of their league socially and they were much more likely to indicate that they would feel ‘out of place’ with the people they perceived going to Arts events. Difference in the Triggers The biggest draw card to the Arts for both segments was live, varietal, energetic performance which offered an element of escapism. Both segments said that when they did participate it was viewed as a ‘treat’. However, the Interested segment experienced more external triggers. For example, the feeling that they have enriched themselves by the act of going, e.g. “you feel better after you have gone”. There may be an element of ‘keeping up appearances’ to this attitude. The Disinclined expressed that they felt some people participate in the Arts to be seen to do so, they did not experience the feeling that it was socially beneficial to participate. CONCLUSIONS FROM QUALITATIVE RESEARCH

Participation in the Arts Research, 2006Page 105 Breadth and Depth of Knowledge about Venues and Programming Venues: Awareness of venues seemed to be dictated by size and the popularity of programming. Respondents were less able to recall contemporary/alternative arts venues and few had been to this type of venue. The Library and Museum were viewed as fairly functional venues and were not relevant to those without children. Those with children reported using them as free entertainment for the children from time to time. The Art Gallery was, naturally, perceived to have a stronger Arts association, but some descriptions of it related to its functional use e.g. that it was a place for tourists to view, or somewhere to pass the time. It was not a venue that people described as a relevant or interesting place to go on a regular basis. There was some perception that exhibits didn’t change often. Performing arts centres were a real focus of the spontaneous discussion about Arts venues, this was very much based on the events that were offered rather than appeal of the venue itself. Perceptions of Contemporary/Alternative venues were that their programming was niche and that only ‘industry types’ went to both venues. Neither segment spontaneously offered information on other Arts venues they knew of, unless the venue was related to a personal interest. Programming: Both segments had a broad understanding of the programming on offer at performing arts centres and could name shows or events that they had been to (more so in the Regional group). As mentioned above, there were pre-conceived ideas about what happened at Contemporary Arts centres, but no real knowledge about their programmes. Only very few (from either segment) mentioned being aware of active programming at the library, Art Gallery or Museum. A few parents (from either segment) mentioned using interactive options at Arts Galleries/Museums/Libraries. There is a distinct lack of specific knowledge about programming in most venues. Providing more visible information may be important to increase awareness of the options available to people. CONCLUSIONS FROM QUALITATIVE RESEARCH

Participation in the Arts Research, 2006Page 106 Promotional Material – Responses and Ideas (Group Participants were shown a range of promotional flyers, venue booklets and free magazines and asked to identify how likely they would be to use these sources and what the liked and disliked about each one) For both segments, flyer style promotion is only effective where the event in question ‘speaks for itself’. If there is a big name or a famous production involved, respondents said flyers would appeal to them, otherwise they will not pick them up. Respondents from both segments reported being more likely to pick up booklet style promotional material, as they want to see a range of events to choose from. All groups reported being receptive to receiving both of these forms of communication in the mail. The younger Interested group were open to email newsletters, but no other group showed a real interest in this form of communication. For the Disinclined segment, word of mouth was a trusted and reliable source of information. All respondents said they didn’t seek Arts specific information, but did read the various free magazine style publications dotted around the city (the regional group tended to rely on ‘Time off’) to seek out entertainment options. All groups said that the single best way to increase their participation using promotional material was to send a compiled information source with a calendar-style event listing to their homes. The scope of discussion indicated that it would be ideal if this were to include a breadth and depth of information as to the event, specifics about what one could expect to see there and full details about time, location, transport and facilities. CONCLUSIONS FROM QUALITATIVE RESEARCH

Participation in the Arts Research, 2006Page 107 Promoting the Cultural Centre – Responses and Ideas (Respondents were shown mocked up press advertisements promoting the new Cultural Centre development – the ads contained simple images and some text describing the Cultural Centre) Respondents were generally unresponsive to the preliminary press materials presented as stimuli. They specifically disliked that there was no exact detail about the programme that would be on offer, the specific facilities and what would be of direct relevance to them. They perceived the inclusion of details about cost or the scale of the development to be sensationalist and thought that this detracted from the advertisements rather than adding to them. Those with children were receptive to the information about what will specifically be on offer for children to do. This sub-group was the only group who said they might be interested in going along to see the new centre. Overall, people reported that they were not more likely to visit the new Cultural Centre development after seeing these ads. The groups’ suggestions were that they should be more colourful, use happier faces and add variation to the text so that some phrases jumped out to draw their attention in. CONCLUSIONS FROM QUALITATIVE RESEARCH

Participation in the Arts Research, 2006Page 108 Increasing Participation The Interested and Disinclined groups (once cost was controlled as a factor) were primarily concerned about location /venue, timing or notice of an event and having a companion to go with. These are examined in the Risk model proposed in the body of the report. Ways to minimise the impact of these risks might be: Offer a compiled information source with depth and breadth information about the event, what one will see there, timing, cost, location facilities and any other features that are relevant. This could be done using one central “Queensland Events” website. Some respondents mentioned using ‘Ourbrisbane’ but did not consider it comprehensive enough in terms of all these aspects of information, as it deals with a range of information about Brisbane. Incentivise group participation – this is particularly important for the younger groups. Target schools, universities and youth organisations. Create a positive perception of the Arts and it’s viability as an entertainment option in the minds of this group. Attract people through the popular media – use radio casting to advertise events, opportunities to win free tickets. Use the popular press and magazine style publications to broaden awareness. People did not report seeking out Arts information, but do use these regularly to access entertainment information. Location is an important moderator of Participation. Use the central information portal (website) to provide venue information, attempt to create familiarity with the venue. The provision of public transport nearby, a welcoming aspect to the venue (both from layout and staff) and clear directions on where to go and what to do are all things that inform the decision to participate. For those who already participate, welcoming and friendly staff are important to increase positive impressions of a venue. CONCLUSIONS FROM QUALITATIVE RESEARCH

Participation in the Arts Research, 2006Page 109 Five common features that would make the decision to participate an easy one…. Variety - drama, comedy and colour Escapism - takes me away from work Comfortable with good facilities Live stage acts Quality – Big Names To encourage generation of Ideas about what kind of arts event has least associated barriers to participation, at the end of each focus group we asked what combination of things would make the ideal event. Responses were consistent across the segments: Respondents want their arts to be fun, bright and entertaining. Ideally the major financial, enjoyment, practical and social risks associated (see next section) with attending the arts would also be minimal. Though not every event can combine these features. Another idea that arose from spontaneous suggestions made by the groups is that the arts could be combined in an unobtrusive way with the sorts of other activities they take part in regularly….. Venues that received some recognition for successfully combating barriers were the Powerhouse in Brisbane and Tjapukai in Cairns. In both cases people were drawn to their multifunctional use - incidental benefits, such as bars and restaurant facilities, were a draw card and attractive to those with families. It is possible that further investigation would reveal that location mediates certain barriers – the Powerhouse is in a popular suburban park and Tjapukai is semi-open air. Those who had gone to these venues commented on ‘community feel’ and ‘a relaxed air’ and how you could go there for a reason other than the art. CONCLUSIONS FROM QUALITATIVE RESEARCH: The Ideal Event

Participation in the Arts Research, 2006Page 110 Rather than offering highly produced stage shows (as respondents suggested they wanted in the ideal event exercise) we suspect these venues combat barriers by delivering arts activities in part ‘through the back door’. People attend the venues for the overall experience they offer and are less intimidated by the notion that they are taking part in ‘The Arts’. One might increase participation by positioning arts activities within accessible social contexts e.g. in a park, in a restaurant and café hub etc. Or, where the arts are tied to a venue, one might reposition the venue as a social hub – emphasise the social potential for coming there e.g. bars, restaurants, or other close by entertainments. Social barriers are experienced relatively strongly by the Disinclined segment. To ask them to consume ‘art for art’s sake’ is likely to instigate the rise of their attitudinal barriers to participation. Whereas, to ask them to come along to an arts precinct to use a restaurant, café or community park land excites triggers to participation in regular social activity. It may be that adopting a strategy which aligns the arts (physically and attribute wise) with more mainstream activities would have most benefit in this segment. N.B. The quantitative part of the research investigated how people experienced barriers to participation in relation to specific venues around Brisbane – please refer to section 4 for a look at how general barriers to participation in the arts are related to peoples’ perceptions or experiences of particular venues. CONCLUSIONS FROM QUALITATIVE RESEARCH: The Ideal Event

APPENDIX 2: Demographics

Participation in the Arts Research, 2006Page 112 DEMOGRAPHICS - INTRODUCTION The main points of interest arising from the segments’ demographic profiles are that: Income by itself does not moderate segment inclusion, nor the range of Arts participated in over the last year. At total sample level, entertainment preferences and involvement in the populist arts are independent of educational attainment. There is an indication in the data that postgraduate qualifications are related to consumption of the higher arts, but the proportions of our sample who actually participated in these artforms was too low to perform any analysis, despite a those with postgraduate qualifications being well represented in our sample. Occupation, however, very strongly moderates segment inclusion and the presence of children plays a significant role too. Age group also moderates inclusion in one segment over another. We suspect that segment inclusion is fluid rather than static and is moderated by movement into and out of certain life stages and also influenced by ones peer groups rather than obvious demographic factors.

Participation in the Arts Research, 2006Page 113 GENDER TotalInterestedDisinclined Male 30%26%*37%* Female70%74%*63%* HOUSEHOLD STRUCTURETotal Intere sted Disinclined Couple with children at home 37%32%*43%* Couple without children at home 30%31%28% Single parent with children at home 9%11%7% Household with one resident 11%12%10% Shared household of adults 13%14%11% PARENTAL STATUSTotalInterestedDisinclined I have never had children21%25%*17%* I have children at home49%46%52% I have children all do not live at home 30%29%31% AGETotalInterestedDisinclined 18-247% 6% 25-299%12%*6%* 30-3411% 35-3916%12%*21%* 40-4410% 45-4912%14%9% 50-5410%12%8% 55-5912% 60-648%7%9% 65-703% 4% Over 70 2%1%4% DEMOGRAPHIC PROFILE – BY SEGMENT *Indicates Significant Differences

Participation in the Arts Research, 2006Page 114 EMPLOYMENT STATUS n=429 TotalInterestedDisinclined Full time Employment (30+ hrs per week) 44%45%42% Part-time employment (8-29hrs per week) 18%15% Casual 15%5% Retired 10% 11% Home duties 5%16%21% Unemployed 4% 2% Student, attending formal education 3%5% 3% other1%0% 1% HOUSEHOLD INCOME PRE-TAX n=429TotalInterestedDisinclined Under $30,00017% $30,001 - $40,00014%15%12% $40,001 - $50,00010%8%14% $50,001 - $60,00010%12%9% $60,001 - $70,0009% 8% $70,001 - $80,0006% 7% $80,001 – $90,0005% 6% $90,001 - $100,0006% Over $100,00010% 9% Would prefer not to answer13%12%14% DEMOGRAPHIC PROFILE – BY SEGMENT

Participation in the Arts Research, 2006Page 115 OCCUPATION n=414 TotalInterestedDisinclined Associate Professional 17%20%*10%* Sales or cust. Service 16%19%*9%* Clerical or office work 16%18%17% Manager/ Administrator 16%13%20% Homemaker 15%12%*21%* Professional 7% 4% Tradesperson/Labour 6%6%*13%* Production or transport 5%3%*7%* Other**2%2%*0%* DEMOGRAPHIC PROFILE – BY SEGMENT LEVEL OF EDUCATION ATTAINED n=429 TotalInterestedDisinclined Primary or Elementary School1% 2% Secondary and High School45%44%47% Technical/Vocational (e.g. TAFE)24%25%23% Undergraduate (Tertiary)19%20%17% Post-Graduate10% 9% Other (please specify)1% 2% **”Other” = Self-employed

APPENDIX 3: Additional Demographic Splits

Participation in the Arts Research, 2006Page 117 Upper Level of Household Income (pre-tax) Arts Activities Taken Part in over Last Year $40k$60k$100k$100k+ A museum 36%27%31%44% A free arts event 36%24%19%22% An opera 1%2%4%7% A play at a theatre 14%13%15%29% A ballet 1%3%6%2% An orchestra 7%3%8%10% A book launch/reading 8%7%3%10% An art gallery or art exhibition opening 21%13%23%22% A musical 17% 24% A live musician/band performance* 35%42%52%49% A comedy show* 12%21%26%27% A variety show 10%17%8%12% An alternative arts event e.g. seeing circus or street performance 24%22%19%22% An outdoor festival 44%40%32%41% A school play or concert 31%23%36%32% Taken part in a class e.g. craft, dance, painting, sculpture etc. 21%12%16%15% Other (please specify) 8% 6%7% An art gallery 32%29%31%27% *Significant Difference Arts Activities Taken Part in over Last Year by Income

Participation in the Arts Research, 2006Page 118 Arts Activities Taken part in over the Last Year Have had children Have never had children A museum33%30% A free arts event31%22% An opera1%6% A play at a theatre14%17% A ballet2%4% An orchestra5%11% A book launch/reading3%8% An art gallery or art exhibition opening15%16% A musical19% A live musician/band performance*39%58% A comedy show*18%30% A variety show6%11% An alternative arts event e.g. seeing circus or street performance20%22% An outdoor festival40% A school play or concert*48%12% Taken part in a class e.g. craft, dance, painting, sculpture etc.17%10% *Significant Difference Arts Activities Taken Part in over Last Year by Presence of Children

Participation in the Arts Research, 2006Page 119 Arts Activities Taken part in over the Last Year Have had children Have never had children Live musician/band performance42%44% Museum34%32% School play or concert32%30% Art gallery31%28% Outdoor festival*30%52% Free arts event*24%32% Musical22%17% Alternative arts event e.g. seeing circus or street performance21%22% Comedy show21%22% Taken part in a class e.g. craft, dance, painting, sculpture etc.19%15% Art gallery or art exhibition opening18%20% Play at a theatre16% Variety show12%8% Book launch/reading9%5% Orchestra7%6% Other (please specify)7% *Significant Difference Activities Taken Part in over Last Year by Presence of Children

A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services.

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Presentation on theme: "A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services."— Presentation transcript:

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A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services.

Similar presentations

Presentation on theme: "A Statewide Report on: PARTICIPATION IN THE ARTS Prepared for: Arts Queensland CB Contact(s):Sharon Bird & Lisa Scott, Colmar Brunton Research Services."— Presentation transcript:

Similar presentations

About project

Feedback