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.
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.
Assessing
the Intrinsic Impacts of a Live Performance
Released in June 08, Alan S Brown of
WolfBrown
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."
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
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?
You
Only Live Twice. ABC's Four Corners asks, just how far
can we all go
in virtual world's like Second Life?
"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."
"The problems of orchestras stem not from the music they play
but from the delivery systems they employ." The Search
for Shining Eyes, 2006, p6
Audience Data UK
- provides guidance and clarification on collecting, processing,
analysing and interpreting audience data.
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.
Who Buys Tickets Online? Matthew Hare of ts.com and
Heather Maitland presented findings of research into online
ticket purchasers at the
TMA UK
Theatrical Management Association 'Open the Box' seminar
in July 2005.
I liked
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
audiences.
Rex Cramphorn Memorial Lecture by a significant theatre
practitioner or theorist aims to encourage honest and
provocative thinking about Australian theatre and culture in
general.
Nick Enright:
Collaboration & Community - An investigation into
the craft of the actor and its contribution to the process
of making new work for the theatre
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
relevant issues.
Code of Practice for Event Ticketing in Australia The
Code applies to the promotion, ticket sales and refunds, and
staging of events where an entry charge is made, including
entertainment and sporting events. The objectives of the Code
are:
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.
Arts
audiences: insight
"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%)."
I liked
everything