Culture Segments New Zealand
Culture Segments New Zealand 2011 report prepared for Creative new Zealand by Morris Hargreaves Mcintyre. It's an international, sector-specic segmentation system for arts, culture and heritage organisations. The system is powered by data from Audience Atlas New Zealand, and draws upon a decade’s leading-edge practice helping organisations to truly understand and meet the needs of audiences for arts, culture and heritage.
The principle objective of Culture Segments is to provide the sector with a shared, international language for understanding the audience, with a view to targeting them more accurately, engaging them more deeply and building lasting relationships.
Culture Segments is designed to be more subtle, granular and sophisticated than existing segmentation systems. This is because it is based on people’s cultural values and motivations. These cultural values de ne the person and frame their attitudes, lifestyle choices and behaviour.
The segments are distinguished from one another by deeply- held beliefs about the role that art and culture play in their lives, enabling you to get to the heart of what motivates them and develop strategies to engage them more deeply.
Culture Segments New Zealand
Recommended resources
The John Rylands Library (JRL) is part of the University Library, which in turn is part of the University of Manchester. The library is famous for having a Gutenberg Bible and the earliest known copy of St John’s Gospel – known as the St John Fragment as well as all four folios of William Shakespeare and several important 19th century facsimiles of the First Folio. JRL is especially interesting in its audience development because of the transformation over 7 – 9 years, progressing from a prestigious but rather dusty and old-fashioned institution to a well-loved public organisation. Between 2001 and 2016 its attendances have more than doubled and it has become the number one attraction in Manchester on Trip Advisor.
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The paper is part of the wider Panic! project initiated in 2015, that takes an unprecedented look at social mobility and inequality within the cultural and creative industries in the UK. Led by academics Drs Dave O’Brien, Orian Brook, and Mark Taylor from the Universities of Edinburgh and Sheffield, the paper highlights the significant exclusions of those from working class origins, women and those from Black, Asian and Minority Ethnic (BAME) backgrounds across the cultural and creative industries, which include the arts, music, publishing, advertising and IT.
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