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."


 

2009 Ticketing Software Satisfaction Survey by Technology in the Arts and Center for Arts Management and Technology, March 2010

 "As a service to the arts and culture field, we created this survey to learn about organizational needs and to gauge how well current ticketing tools are meeting those needs."

Over 891 respondents evaluated at least one ticketing tool. The survey included 48 software tools and is broken down by Small, Medium, Large and Very Large 'organisation' size.
 

Reclaiming the Box Office by Tim Roberts in Australasian Leisure Management Nov 2007 

Explores the challenge for event producers and venue managers are to recapture the relationship with their customers. Changing the mindset from ticket buyers to event attendees.
 

Assessing The Intrinsic Impacts of a Live Performance by Alan S Brown and Jennifer L Novak of WolfBrown January 2007. Commissioned by 14 Major University Presenters

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 attendance.

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 donors.

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.

Arts audiences: insight

An arts segmentation project conducted by  Arts Council England that resulted in 13 segments of arts consumer engagement followed by other anlysis including Local level modelling and Propensity to engage analysis
 

Don't panic: The impact of digital technology on the major performing arts May 2008

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 .
 

Page 9 explores an interesting model The Hierarchy of Visitor Engagement that examines motivation to visit and expectation vs outcome.
 

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.
 

• 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 yield)
• Proportion of tickets sold at full price
• Proportion of customers buying tickets on the day of the performance
• 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.

 

"According 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 performances (17%)."

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. “ Sound familiar?
 

• Who are the people in the Netherlands with an active interest in cultural heritage and the performing arts, and who prefer to leave these forms of culture alone?
• Have the size and composition of the groups of 'culture-lovers' and 'culture-leavers' changed since the end of the 1970s?

• The Thirst for Knowledge – Audience Data in the Arts. Catalyst Arts undertook a review of current practice in data collection, analysis and usage across the UK in 2003 which led to ADUK.
• Artform Classification - Peter Verwey
• A-Z of Commonly Used Terms And Protocols - Stephen Cashman
• Data Ownership Guidelines - Roger Tomlinson & Tim Baker
• Standard Box Office System Reports - Tim Baker & Roger Tomlinson

• How to enhance and increase sales of innovative contemporary art and private commissions through diverse distribution points;
• How to help artists to become more entrepreneurial in their engagement with the marketplace; and
• How to expand the audience for contemporary work.

• to encourage ‘best practice’ within the event industry;
• to maintain fair standards when providing a service to the public;
• to ensure acceptance and consistency in compliance with these fair standards;
• to provide guidelines on fair resolution of complaints; and
• to provide prospective Ticket Holders with an understanding of the service standards to expect, and how to deal with problems.