Online participation has decreased nationally, and audiences are becoming more selective
In March 2021, just under half of the 13,836 past attendees surveyed said they recently participated in an online arts experience (47%). This is somewhat lower than the previous Audience Outlook Monitor survey in September 2020 (70%), when many venues and events were closed or operating under significant restrictions.
Download the Digital Engagement Fact Sheet or read on for more of the findings.
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Watching video content of performances and events remains the most popular activity, whether that be pre-recorded video (25%, down from 46%) or live-streamed video (20%, down from 38%). However, participation in online courses has seen the smallest decrease, and now is one of the most popular forms of online engagement among audiences (21%, down from 31%).
Some audiences say they have grown fatigued of ‘screen-time’ or aren’t interested in digital programs (27%, up from 16%). Others are increasingly selective about what they participate in.
1 in 10 (9%) would select a digital program as their first choice for attending a cultural event today — increasing substantially to 58% for audiences who don’t foresee going out ‘until there is no risk’ of contracting or spreading the virus.
Audiences living with a disability are also more likely to be participating online (57%) compared to those without a disability (46%), confirming the role online experiences are playing in widening access to arts and culture.
Audiences paying for content are spending more on average and premium content could have the most enduring market
As audiences return to physical events in greater numbers, there is strong appeal for content that is available on-demand, with 64% ranking this type of access as an appealing feature when accessing online experiences.
More than one-third (37%) of audiences participating online continue to pay for content (compared to 39% in September 2020) and more of those people are spending over $100 (22% of those paying, up from 14%).
However, the types of digital patronage are changing and vary among audience segments. Fewer people are making a donation for something they consumed (13% compared to 20% in September 2020), though this remains a common method for audiences under 35 (17%). Audiences aged 75 and older are most likely to access digital content as part of a program/season they are subscribed to (15%, compared to 8% generally).
Strategic investment in quality experiences, supported by targeted digital marketing campaigns will help sustain engagement with key segments online and encourage ‘discoverability’ of arts content.
About the Audience Outlook Monitor
The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic, including how audiences respond to changing restrictions on cultural events.
Data was collected in three phases throughout 2020 and is again being tracked in 2021.
Government agencies across Australia are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.
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If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au
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About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
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