2. What is audience development?

3. Relationships of course! Existing Audiences and Existing Activities Loyalty / retention Market penetration New Audiences and Existing Activities Strategies for access Existing Audiences and New Activities Cross-over Education / participation New Activities and New Audiences Strategies for inclusion

4. Who is missing out on what we do already Who are we missing out on because of what we do and what we dont do? In a proverbial nutshell …

5. Practical reasons Cost Availability of transport and distance Lack of interest amongst family and friends Lack of education in the arts Not for me Physical and Social Barriers to attendance

6. Underlying Reasons Class distinction for the wealthy Inferiority and fear of not understanding Displacement and fear of being out of their group or class Effort – more like work than leisure Risk Beliefs and Attitudes Barriers to attendance

7. Participation in the arts, at any level, involves risk: money time emotional confidence social confidence intellectual confidence lack of control Forecasts (The Henley Centre) suggest that the level of this risk is likely to grow in the future It is widely agreed that risk is often a necessary component of art and creativity - the need therefore is to help people take the risk and make them feel safe Managing risk

8. The need for varying entry levels into and transitional guides in arts: Sampling (The Best of…..) Increased relevance of content Streamlined options Edited choice (eg Classic FM) Flexibility Advice Mediation Cultural mentors Brand Building cultural self-confidence

9. Developing awareness of choice Developing interest Creating suitable points of entry Increasing confidence through return visits Sustaining the habit Audience development is a process...

10. Planning Consultation Clear, achievable objectives Implementation: consider Product - the whole night out Price – not just the cost of a ticket Place Promotion People Process Evaluation Source:Heather Maitland A Guide to Audience Development … and a process for the organisation

11. Why does it all go wrong? Audience development as a Marketing function Lack of differentiation Finance The project cycle Lack of sustainability Emphasis on quantity not quality If its all so straightforward …

12. Audience Development as a Marketing function Expectations for delivery placed at marketing level and no higher Not taken on board across organisation Not developed with organisational buy-in Opportunities Integration of education, programming, marketing and services Development of core policy at Board and Chief Executive level If its all so straightforward...

13. Lack of differentiation Audience Development needs are not all the same Each organisation has a different role to play There isnt a single model or blueprint Opportunities There are examples of good practice Collaboration is key, but needs understanding of shared aspirations If its all so straightforward...

14. Finance Project funding can be seen as substitute for internal resourcing Difficult for organisations to invest in activities which dont reap immediate results Opportunities Internal resources may have to be re-thought There is a wider understanding now of the need to invest long-term If its all so straightforward...

15. The Project Cycle Activities often seen as the solution rather than a stage in the process Unrealistic expectations - project results - sometimes led by the funding opportunity rather than organisational need Opportunities Audience Development can be more than a first phase or quick fix Find out whats already been done and get the information If its all so straightforward...

16. Lack of sustainability Stranded new audiences and dashed expectations Perhaps it is better not to intervene at all? Opportunities Follow through - build relationships after projects have ended Involve the whole organisation in project legacy and development If its all so straightforward...

17. Emphasis on quantity not quality Climate of measurability puts undue emphasis on how many? Easy to dismiss Audience Development as a failure and not invest Opportunities Engage with the audiences you want to develop, include them Set long-term realistic targets in consultation Investigate best practice If its all so straightforward...

18. Keep Audience Development on the agenda for everyone Lobby for internal and external resourcing Look at your own budgets and resources Set targets - but make them meaningful and realistic Initiate collaboration Dont see it all as Marketing and/ or Education staff responsibility - it has to be cross- organisational Its a matter of survival What can we do about it?

19. Test Drive the Arts – Arts About Manchester The Big Night Out – The Kelvin Ensemble Source: Heather Maitland A Guide to Audience Development Practical Examples

20. Overcoming barriers to first time attendance Non-attenders in postcode sectors with high density of likely attenders Targeted by recommendation, door to door drops and in-person visits Offered free tickets at a variety of events as a catalyst for future attendance Test Drive the Arts

21. The Hallé Orchestra offered a mini-subscription: 3 concerts for £10 Next season those who took up deal are offered 50% off full price subscription; then for the second season 25% off; then full price in the third season Those who did not take up the mini-subscription offer after the first year are offered single ticket deals Test Drive the Arts

22. 1000 households received the Hallé Orchestra offer 560 took it up 60% of the Test Drive audience took up the mini-subscription offer 50% of these took up the three quarter price offer 60% of those took up the half-price offer 60% of these continued to subscribe at full price Test Drive the Arts

23. Expanding and broadening audiences for a student orchestra Targeting students and other young first time attenders Following qualitative research on attitudes to classical music, the orchestra devised a new marketing mix The Big Night Out

24. Product – ticket price included concert, programme book and a post-concert ceilidh (party and dance) Price – kept low for target audience Promotion – fresh, clear single message – The Big Night Out Place – moved to a larger, grander venue The Big Night Out

25. Attendance at the concert increased by 250% 60% of the audience were under 25 Project attracted attention of sponsors who have funded repeat The Big Night Out

26. Questions

27. What is audience development?