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Sep 27, 2018

Creative New Zealand has published the latest Audience Atlas New Zealand research to provide indepth information on this country’s market for arts and culture.

The companion study to New Zealanders and the arts, Audience Atlas New Zealand 2017 is the latest update on the triennial research, which began in 2011. It shows how the market for arts and culture  has changed in composition and value – and how attitudes have changed – over time.

Audience Atlas New Zealand 2017 measures the current, lapsed and potential markets for more than 40 artforms. The study also explores New Zealanders’ behaviour and attitudes towards supporting the arts through donating, volunteering and joining arts organisations.

As well as providing a national overview of the culture sector the research includes specific information by artform, audience segment and region.  It is designed to benefit all arts and culture organisation regardless of size.

Creative New Zealand aims to build arts organisations’ understanding of audiences and increase their ability to develop markets for their work, which will ultimately strengthen the sustainability of country’s arts and culture sector.

Audience Atlas New Zealand 2017 was launched at Creative New Zealand’s annual arts hui Nui te Kōrero on 23 May 2018.

 

View the original article


Connecting Australians: Results of the National Arts Participation Survey is the third in a landmark series by the Australia Council for the Arts, following editions in 2009 and 2013. It measures Australians’ engagement with the arts in 2016 – attending arts events, exhibitions and festivals; reading; listening to music; sharing and connecting with the arts online; and creating art themselves.

The arts encompass theatre, dance, visual arts and craft, music, literature, First Nations and cross-art form work. Engagement with a person’s own cultural background through the arts is articulated for the first time, along with festival attendance and community arts and cultural development activities. The survey also captures the value of the arts to Australians through their attitudes, views about the impacts of the arts, and propensity to donate time or money to the arts. 


Aug 10, 2018

This interesting 2017 resource from TRGarts allows arts professionals to set some of the key metrics for arts organizations to build loyalty. It's very useful to better understand where you are at in terms of your ability to attract vs. retain users as well as to be able to set goals and start your first steps towards an organized loyalty plan in time. It outlines the importance of keeping the churn rate or attrition low as much as acquiring new single ticket buyers in order to grow in a sustainable way, providing good examples and figures to express these concepts.

Tags: Use Of Data

Feb 13, 2018

As public subsidies for the arts change, organizations must rely on people—their audiences and patrons—to provide the revenue to sustain them long-term. How can organizations build a new business model that both serves audiences and relies on them for revenue? The first step is to see what the data says about building these patron relationships.

In this keynote, Jill Robinson of the arts consulting firm TRG Arts will offer data-inspired lessons on how organizations can monetize patron relationships to drive the revenue that allows the entire organization to thrive, instead of merely surviving. Jill will also discuss data collection and privacy concerns, and how to create incentives for genuine connection between patrons and organization. You’ll learn how pricing and demand, patron loyalty, database management, and artistic programming each impact patron-generated revenue, and how they can be integrated into an organization-wide culture to drive revenue. When marketers leverage this integrated model, they can make the most of their marketing budget, and start cultivating audiences for a sustainable future. This session will discuss these specific questions:

  1. Why does loyalty matter? How can higher ROI on each patron build sustainable arts organizations?
  2. Not all patrons are created equal. How can we right-size our marketing investments in different groups of patrons?
  3. Does the type of programming that a patron attends determine future ROI?