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Statistics music venues usefulness and necessity of collecting data How? What? Why? do we collect?

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Presentation on theme: "Statistics music venues usefulness and necessity of collecting data How? What? Why? do we collect?"— Presentation transcript:

1 Statistics music venues usefulness and necessity of collecting data How? What? Why? do we collect?

2 Principles of data collecting Individual use Benchmarking – Responder (venue) is and stays the owner of the data – Improving your own business by comparing your data to other venues Political – Lobbying on a local and regional level Collective use Collecting and publishing collective data - Representing the sector with annual publications (media, pr) Political, economical, social – Use for policy, strategy, collective interests and research – Lobbying on a national level

3 How do we collect? Collecting data (of previous calender year) -annually -through an online survey -collecting data about capacity, activities and visitors (January-February) -collecting data about employees and finance (March-June) -checking and analysing data (July-August) -publishing data and benchmark tool (September)

4 What do we collect? First of all -Only asking for relevant data -Important to collect only data that are comparible, so have very clear definitions. Questions should not be multi-interpretable. -Important to collect only data related to the concert halls (thus not count the data of the cinema, theatre or restaurant of some venues) to make sure data of venues are comparible

5 Survey part A Organisation and Accomodation Legal structure of organisation? Which different functions has the venue? Who owns the building? How many buildings, how many concert halls? Capacity per concert hall and total capacity?

6 Survey part B Program, activities, visitors How many activities? Divided in activities with paid entrance, activities with free entrance and non-public activities (private rental /leisure) Not divided in genres, but divided in: -Concerts (music) -Dance nights (music) -Other activities (non-music)  How many visitors? Divided in paid entrance and free entrance

7 Survey part B Program, activities, visitors Activities in the concert halls with paid entrance Number of activities Of which sold out Number of bands/acts Of which from abroad Number of paid visits Number of free visits (gueslist) Concerts 91 18238 78 22681 2323 Dance nights 67 26 364 117 26508 1458 Subtotal music 158 44 602 195 49189 3781 Other (non-music) activities 21 11 XX 8275 29 Total activities 17955 XX 574643810

8 Survey part C Catering Selling prices of beer, wine and soft drinks Drink Selling price (in euro) volume glass (in centiliter) Softdrink Beer Wine

9 Survey part D Employees Number of persons Number of Full Time Equivalents (FTE) Classification according to finances, i.e. -own payroll -hired (freelancers, payroll) -Volunteers Classification according to function, i.e. -programming/booking -marketing/publicity -technicians -catering/bar  What Collective Labour Agreement (CAO) is used?

10 Survey part E Financial Expenses -Employees costs -Volunteer costs -Direct program costs -Marketing and publicity costs -Housing costs -Purchase costs catering -Other expenses

11 Survey part E Financial Income -Ticket sales -Catering sales -Municipal exploitation subsidy -Municipal housing subsidy -Municipal wages subsidy -Programming subsidy -Sponsorship -Private leisure -Other income

12 the use of benchmarking Data loaded into online benchmark system PAS: www.poppodium.analysesysteem.nlwww.poppodium.analysesysteem.nl  preview Linking efforts and achievements Costs and revenues per activity and per visitor Comparing your data with earlier years (progress, trends) Comparing your data to other, similar venues Highlighting strengths and weaknesses

13 Examples of succesfull use of individual benchmarking External -Venue got more subsidy from local government because it was statistically proven that all comparible music venues in the Netherlands got a higher % of subsidy Internal -Venue reduced hours (FTE) of technical staff, after noticing comparible venues used far less hours for technicians for the same amount of concerts -Venue improved marketing efforts, after noticing comparible venues had much more visitors through investing in marketing employees and costs per activity -Venue increased revenues of drinks per visitor, after noticing people drink more at other venues per visit

14 Principles of data collecting Individual use Benchmarking – Responder (venue) is and stays the owner of the data – Improving your own business by comparing your data to other venues Political – Lobbying on a local and regional level Collective use Collecting and publishing collective data - Representing the sector with annual publications (media, pr) Political, economical, social – Use for policy, strategy, collective interests and research – Lobbying on a national level

15 Collective data Annual publication ‘Music venues in figures’

16 Collective data Capacity >1000 Capacity 400-1000 Capacity <400

17 Collective data Program costs 34,2 mln (37%) Employees costs 31,0 mln (33%) Housing costs 10,5 mln (11%) Catering costs 7,7 mln (8%) Other costs 9,4 mln (10%) Average expenses of all venues

18 Collective data Visitors per concerts Visitors per dance night Average number of paying visitors per concert and per dance night

19 Collective data average ticket price & catering expenses per visit average program costs & ticket price per visit average ticket price average catering expenses average ticket price average program costs

20 Collective data The main conclusions from the figures for 2010 (compared to 2009):  Decrease in the total number of music activities (7%)  Reduction of total visits (8%)  Increase in private rental  Decrease in the number and proportion of volunteers in small stages  Continued strong increase in program costs (mainly due to rising wages) and therefore an increase of the average ticket prize (rise of 65% in 6 years)  An improved total financial result (revenues equal expenditures, compared to 2.2 million loss last year)

21 Collective data Annual publication ‘Music venues in figures’ Delivering data to ´Central Buro of Statistics´ (CBS) in the Netherlands Delivering data to ‘Ministry of Culture’ Delivering data to ´Atlas for Municipalities´ in the Netherlands Delivering (some specific) data to National Tax Authorities

22 Summary Better insight in your own organisation Benchmark with other similar venues and improve Trends and developments visible to participate on Lobby instrument on a local, regional and national level Increasing attention from media and government Tool for the industry association to determine policy and strategy and set priorities Facts instead of speculations and indications Knowledge is power!

23 Any questions?


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