The Report "draws insights from more than 100 nonprofit arts
groups and other experts in the U.S., U.K. and Australia. The
report presents a new model for understanding levels of arts
engagement as well as case studies of participatory arts in
practice. It also addresses many of the concerns that arts
organizations may have in supporting participatory arts
practices and provides inspiration and ideas for exploring this
It introduces The Audience Involvement
Spectrum, a simple framework to describe the different
ways participatory arts programs work, and the various entry
points for participation. "This five-stage model illustrates
a progression of involvement from “spectating” — in which the
audience member plays only a minor role in shaping the artistic
experience — to the point at which there is no conventional
“audience” at all because every person involved is creating,
doing or making art."
Assessing the Intrinsic Impacts of a Live Performance attempts
to define and measure how audiences are transformed by a live
performance. The study develops a simple measurement tool to
assess impact, provides an analytical framework for considering
the results, and suggests how performing arts presenters might
begin to use this information to select programs more
purposefully and evaluate them on the basis of impact instead of
Released in June 08, the study
defined and measured how audiences
are transformed by a live performance. Before attendance the
research explored the audiences’ mental and emotional
preparedness for the performance and after investigated a range
of reactions to the specific performance, including captivation,
intellectual stimulation, emotional resonance, spiritual value,
aesthetic growth and social bonding. One of the outputs was a
new attitudinal segmentation models for performing arts
ticket buyers and
In the opinion of Jerry Yoshitomi "this
work (and future iterations) will be seen as a key breakthrough
in our work to increase participation in the arts."
Alan explores the paradox of latent
demand and importance of social context.
"... there are three times as many Responders as
Initiators in the population of culturally active adults."
He envisions the future of cultural marketing with the linchpin
being the organizer – the person who initiates the group and
holds it together. A Cultural Catalyst.
DonorCentrics Internet Giving Benchmarking Analysis, March 2009, Helen Flannery, Rob Harris,
and Carol Rhine of Target Analytics.
An annual survey of twenty-four US national non-profit organisations on the subject of online
fundraising. To give each participating organisation the information needed to benchmark
their own online fundraising program performance against that of peer organisations and to
provide a forum for sharing best practices about online fundraising techniques and developing a
successful integrated marketing strategy.
The Australia Council major performing arts board discussion
paper on the impact of digital technology on the arts. To
provoke discussion in the MPA sector about the opportunities and
threats posed by digital technology .
Quantitative research that
explored attitudes to the Arts, gaps in consumer knowledge about
the arts, applicability of events/performances to different
segments, barriers to participation and views about what would
increase participation. Qualitative research also explored the
effectiveness of promotional material.
Attendance data from a 2005-06 ABS survey and detailed
employment data from both the 2006 Census of Population and
Housing and an ABS survey on work in selected culture and
leisure activities are the main sources of information about
involvement with the performing arts. This is complemented by
data from a 2002-03 survey of businesses operating in Australia
which gives information on the income, expenditure and
employment of selected music and theatre production and
performing arts festival organisations.
Seven theatres and arts centres in the North West of England
participated in a pilot project to benchmark key marketing
achievements. Customer data was extracted for tickets bought for
events between 1 October 2005 and 30 September 2006 inclusive
and to analyse key benchmarks to enable them to compare:
Proportion of first time ticket buyers
Average frequency of visit
Proportion of ticket buyers purchasing at different
frequencies each year
Proportion of customers whose name and address their
organisation manages to capture
Proportion of complete names and addresses
Average price paid including discounted tickets (ticket
Proportion of tickets sold at full price
Proportion of customers buying tickets on the day of the
Average number of tickets per transaction (group size)
Labor Party's arts policy with a commitment to increase arts
funding, to introduce a resale royalty scheme for visual artists
and to examine ways to adequately protect artist's copyright
given the challenges posed by new and emerging platforms and
changes in consumer patterns.
to the ABS Survey of Attendance at Selected Cultural Venues and
Events, 44% of the population aged 15 years and over attended at
least one type of performing arts performance in the 12 month
period prior to interview in 2005-06. One quarter (25%) of the
population had attended Popular music concerts, while under
one-fifth had seen Musicals and operas (16%) and Theatre
A recent statistical overview of culture in Australia. Issues
include: employment in culture, time spent on cultural
activities, attendances at cultural venues and events,
expenditure on culture, and imports and exports of cultural
goods and services.
“Picture, if you will, two nonprofits. The first has a
donor database that is full of bad data. Donors are getting the
wrong receipts or no receipts at all. The organization cannot
use the database to plan their fundraising strategies or track
their effectiveness. The few reports they can get are useless.
Staff members complain that no one trained them, and they get no
technical support. For obvious reasons, they hate the system.
The second organization loves its database. Their data is clean,
their donors get timely, accurate mailings, the organization has
a good handle on its fundraising activities, and staff get the
reports they want. New personnel are trained on the database
before they ever log in, and someone on staff helps them resolve
any problems and questions that come up.
Both nonprofits are using the same software package. “
"It’s no longer enough for marketers to know what it takes to
drive traffic to their Web site. Marketers must learn the
opportunities and challenges of leveraging RSS to
syndicate their content and distibute it to viewers."
Who Buys Tickets Online? Matthew Hare of ts.com and
Heather Maitland presented findings of research into online
ticket purchasers at the
Theatrical Management Association 'Open the Box' seminar
in July 2005.
everything - celebrating new audiences Anna Hassan Arts
Council England 2004 A wide range of arts organisations from
across the North West participated in the Regional Challenge New
Audiences programme, which looked at ways of developing
Rex Cramphorn Memorial Lecture by a significant theatre
practitioner or theorist aims to encourage honest and
provocative thinking about Australian theatre and culture in
Ticketmaster market behaviour questioned in Congress The
testimony of Pearl Jam to Congress regarding the
anti-competitive business practices of Ticketmaster appealing to
Department of Justice and the Antitrust Division. This may be
back in 1994, but some things never change.
Building an Online Presence An article by Jim Royce
Director of Marketing and Communications for the Music Centre
Los Angeles. It is written in 2001 but still points to some