what makes audiences tick?
DESCRIPTION
Anne Torreggiani's presentation about arts attenders in the UK and The Audience Agency's new segmentation tool, Audience Spectrum. This presentation was delivered at the Arts Marketing Association Conference in Bristol on 23 July 2014.TRANSCRIPT
What makes different audiences tick
Anne TorreggianiChief Executive
AMA Conference 2014
Not-for-profit supporting 800 cultural organisations to understand, engage and grow audiences
Advice & support, research & intelligence
Give-and-gain model: sharing intelligence and good practice. Eg Audience Finder…
Local – National - Local
The Audience Agency…
Outline
• Introduction: how well do we know our audiences?
• Background: Audience Spectrum?• Findings: what makes different audiences tick?• Implications: how should we respond?
Population survey builds on new segmentation
What we wanted to understand• How different are the drivers for each segment?• Who influences who, and how?• How is digital changing all this?• What strategies should we adapt/adopt?• Who are the people formerly known as…
How well do you know your audiences?
The Master and Margarita
Theatre Complicite
Greenwich and Docklands
International Festival
Holkham Hall
Quiz
10 main questions
Circle one from a multiple choice answer to each question. Feel free to collaborate…
Answers at the end. Add up your score.
Questions 1-51. What is the most important motivation for arts attendance among the
population?A) to be entertained B) to learn something new C) to relax
2. What % of the population say that they usually frequent venues they know?A) 23% B) 43% C) 63%
3. What % of the population say that they feel out of place at arts events?A) 14% B) 24% C) 44%
4. (A) What % of the population donate to the arts per year?A) 6% B) 16% C) 26%
4. (B) What % of the population donate to museums per year?A) 4% B) 14% C) 24%
5. (C) What % of highly engaged audiences donate to the arts per year? A) 11% B) 21% C) 31%
5. What % of the population has watched a stream or relay of a live arts performance in the last 5 years? A) 14% B) 24% C) 34%
Questions 6-10
6. What % of the population has ever accessed a museum or art collection online?A) 7% B) 17% C) 27%
7. What % of museum visitors always visit “for something to do with the family”?A) 5% B) 15% C) 25%
8. What % of the population say they recommend arts and cultural activities to others?A) 33% B) 63% C) 83%
9. What % of web-traffic to arts websites is referred by Facebook?A) 3% B) 23% C) 33%
10.(A) What % of the population say social media is important to the way they communicate?A) 29% B) 49% C) 69%
10.(B) What % of highly engaged people say social media is important to the way that they communicate?A) 25% B) 45% C) 65%
Answers
1. A – 91%(across the board) want to be entertained2. B – 43% tend to venues they know3. A – 14% people feel uncomfortable4a. A - 6% donate to arts4b. B - 14% to museums 4c. A - 11% highly engaged5. A - 14% watched live stream6. B - 17% collection online7. C - 25% always visit museums as a family activity8. B – 63% say they recommend arts activity9. A – 3% referrals are from Facebook10a.A – 28% social media important 10b.A - 25% highly engaged
• 50% discount CultureHive GROW programmeNew intensive course to hone strategic audience development skills (worth £125)
• Box of Pick & MixSomething for everyone…
A spectrum of audiences
A new segmentation using national data to understand differences
between audiences – actual and potential
From Audience Finder, the England-wide insight-sharing
programme
Metroculturals
Commuterland
Culturebuffs
Experience
Seekers
Dormitory
Dependables
Trips &
Treats
Home &
Heritage
Up Our
Street
Families
Kaleidoscope
CreativityHeydays
A segmentation of the UK population based
on people’s cultural habits and preferences.
10 distinct profiles, linked to household
and located by postcode.
Helps us understand spectrum of audiences,
plan to meet needs, and find new ones.
A ‘living’ model
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Innovations
• Combines culture-specificity with geo-location (ie Arts Audience Insight meets Mosaic)
• National picture of audiences and non-engagers• Museum relevant• Evolving and enriched using real data• Belongs to the sector, developed with the sector • Shaped by practice• Will be able to profile web-users• Works with AAI and Mosaic micro-segments
Find it here…
• Detailed info, mapping, free to all• Benefit Audience Finder – in reports and tools• Data-profiling, Area Profiles, data-tagging available to all • Buy names, addresses and emails
www.audiencefinder.org/spectrum
Metroculturals
Commuterland Culturebuffs
Experience Seekers
High engagement
22% population, 60% of audiences
Confident, enthusiastic, educated
Habits and tastes vary
Donate: 11% arts, 20% museums
Donors: 14% £100+ arts (exclusively), 7% museums
Digital: Heavy-users
Volunteer: Leading, general 31%, 4% culture
Participation: Highest
Dormitory Dependables
Trips and Treats
Home & Heritage
(Kaleidoscope Creativity)
Medium engagement
41% population, 30% of audiences
Risk-averse, not culture-averse
Location and lifestage are critical
Donate: 4% arts, 14% museums
Donors: 5% £100+ arts, 1% museums
Digital: Moderate – light, varies lifestage
Volunteer: Some, general 21%, culture 1%
Participation: Some, varies
Kaleidoscope Creativity
Up Our Street
Facebook Families
Heydays
Less engagement
37% population, 10% of audiences
Do engage, but low proportions
Lack of interest AND lack of resources
Donate: 4% arts, 10% museums
Donors: 1% £100+ arts, 0% museums
Digital: Moderate – light, varies lifestage
Volunteer: Some, general 17%, culture 0%
Participation: Low
Q&A
What makes different segments tick?
Benefits and preferences
Benefits explored through 1st panel survey
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Benefits
• Entertainment and social are hygiene factors – everyone wants them
• Circa 1/3 all segments want to learn something new
• Highly engaged are looking for much more – reputation, stimulation
• They will do more homework as a result
• Lower engaged groups are more likely to want to relax
• Overall, all segments are put off by the idea of “unconventional”, especially later life-stage groups
Programme Preferences – similarities & differences
“Everyman” activities include
• At least 30% of each segment go to musicals
• At least 40% of each segment go to film
• At least 30% of each segment go to collections museums and galleries
Distinctive habits
• “Contemporary” audiences - super-engagers with eclectic tastes
• Panto a preference for medium and less-engaged
• Higher-engaged more like to visit museums for specific interest
• Participation varies between segments, highly engaged dominating
Barriers?
• Only 27% of least engaged think the “arts is not for me”
• Only 17% least engaged say they don’t feel welcome
• All 10 segments cite “lack of time” as the main barrier to attendance
• Is inertia or indifference the biggest barrier?
• And if so…
Who influences who?
How?
Drivers explored through 1st panel survey
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Who influences who?
• All segments most influenced by people they know
• No clear “maven” segments,
• but highly engaged recommend more, influenced by networks
• Highly engaged influenced by professional reviews
• But also confident in own opinions
• Overall influence of online ratings claimed circa 60%
• Venue provided information still important circa 60%, especially important to knowledgeable, highly
engaged
• Children influence 25% families
• Curatorial recommendation rated low
• Google (20%) then Facebook (3%) key referrals
How does digital change things?
Digital explored throughout
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Digital habits
• Everyone uses the internet
• Everyone says they rely on it more now than 5 years ago
• In all segments, less that 1% have no access, never browse
• Life stage makes a difference to how
• Younger – including less engaged - groups use more social media
• Only small numbers say social media is important communication
• Most people prefer online ticketing
• Highly engaged, urban groups are tech fanatics, using it to organise their lives, consume media (good
targets for apps)
Digital engagement
• More people are watching live-streamed performances than going to opera
• Difference is more marked outside urban centres
• Highly engaged, urban - born digital art/ art online
• Engagement with online collections matches profile of onsite audiences… Some change
• Significant numbers using online information to extend their experience, eg post-
experience
Digital for decision-making
• All agree, use web to find out more
• 2/3 use interest to plan total visits
• 60% say replaced print communication
• 40% say it doesn’t!
• All segments say they do more cultural activity because they have better online access to
information
• Different segments want different kinds of information for reassurance
Digital for influencing
• Overwhelmingly, people still prefer face-to-face or phone to suggest activities
• Email second preference
• However, around 30% younger audiences use social media to recommend and to
arrange cultural activities
Overview
More Engaged
Open to range of experiences
Entertainment and social matter
“Challenge”/ “Reputation”
More active seekers
More likely to instigate activities
Driven by a personal passion
Recommend to others more frequently
Confident navigators
Less Engaged
Shorter menu
Entertainment and social matter
“Relax”
Passive intenders
Need clearer match to benefits
Rural/ Suburban Audiences
Traditional tastes
Range of artforms
Highly social
More influenced by companions
Frequency affected by access
Urban Audiences
Eclectic tastes (style)
Highly-engaged – contemporary
Interested in topicality
Don’t mind attending alone
Frequent and active
With children
25% influenced by children’s choices
25% attend museums as a family
People with younger children do less
Culture offer less part of social life
How to rekindle relationships
Implications?
New strategies
Strategies developed through testing
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Superengagers &
Highly engaged
Speak to multiple benefits
Maximise relationships
Income, advocacy
Content and involvement
Digital revolution starts here
Medium engaged
Increase supply - touring and streaming
Focus on lowering practical barriers
Manage risk
Connect through the familiar
Iconic programme
Focus on social benefits
Different kind of loyalty
Less engaged
Pro-active invitation to overcome inertia
Different offer, different place
Get closer
More involvement
Co-creation, special practice
Creative People & Places
Digital a qualified opportunity
Who ARE the people formerly known as?
Enlist the Super-engagers
Donors
Crowd-funders
Digital innovators
Volunteers
Participants
Innovators
Influencers
Pioneers… where they go, others follow
Retaining, growing and developing audiences?
Ansoff matrix:
New and existing audiences
New digital content, new channels, new
models
Love
Experiment
Test!
Caution
Homework!
Make friends
Thanks
Anne.torreggiani@theaudienceagency.orgwww.theaudienceagency.orgwww.audiencefinder.orgwww.culturehive.org020 7407 4625